1) mis-labeled/badly-labeled tracks (i.e. Face/Off - "Furniture." It's the film's runway and prison escape sequence)

2) incorrect track running times (I got a CD around her somewhere that has a track listed as running 6:50, while it actually runs 7:59)

3) multiple titles for one track (i.e. "The Killing/The Escape/The Diamond/The Pusuit/The Victory." I don't mind two, like "Ben's Death/TIE Fight Attack," but three or more is overkill on a single track's title).

4) Just plain stupid track titles (i.e. some of Goldenthal's Batman Forever tracks).

Those are the only ones I can think off. Got anymore to add?

oh, and 5) track listings that have no times WHATSOEVER!!

and 7) titles that don't represent the music as heard during the scene described (as I recall, isn't most of "Qui-Gon's Death" music from the pod race, when Anakin's vehicle starts malfunctioning?)

One thing I love is when track titles are named for dialogue snippets. Pick up any Goldsmith score. Some examples:

Porno Tracks
------------
- The Big Suck (Twister)
- Re-Entry & Splashdown (Apollo 13)
- Wanna See a Trick? (Powder)
- X Marks The Spot (Indiana Jones and the Last Crusade)
- The Orgy (Conan the Barbarian)

Overused Tracks
---------------------
- The Batrayal
- Farewell
- The Chase

Violent Tracks
-------------
- Kynette is Impaled (Cliffhanger)
- An Inch Of His Life (Shawshak Redemption)

Edible Titles
-------------
- Celery Roots (Emma)
- Bitter Coffee (The Edge)
- Sex with an Olive (Goodbye Lover)
- Hot Dogs (Wing Commander)
- Peanut Butter Man (Meet Joe Black)
- F*$@%#* Cookie! (Mickey Eye Blues)

Oxymorons
---------
- The Battle for Peace (Startrek VI)
- An Unexpected Surprise (Mission to Mars)
- Shadows In The Dark (The Hurricane)

Definitely the best track cues at present are written by Christopher Young -- one of the few composers who has a genuinely writerly side to him. (As eloquent as they are in their music, neither Goldsmith nor Williams nor Morricone have ever been terribly interesting in either liner notes, nor cue titles -- as I think about it, John Barry, I've noticed, likes to paraphrase dialogue in his cue titles as much as possible.)

NP: not a thing.

Sleepy Hollow
Universal Soldier: The Return (Davis)
Edward Scissorhands
Batman Returns
Batman
Living Daylights (Barry)
Bone Collector (Armstrong)
Enemy of the State (Rabin)
Portrait of Terror (Ottman)
Demolition Man (Goldenthal)
Body Parts (Dikker)
Replacement Killers (Gregson-Williams)

quote:

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Originally posted by dantoris:

2) incorrect track running times (I got a CD around her somewhere that has a track listed as running 6:50, while it actually runs 7:59)

oh, and 5) track listings that have no times WHATSOEVER!!

[This message has been edited by dantoris (edited 27 March 2000).]

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You think that is bad, the CD to Michael Giacchino's score to The Lost World Jurassic Park has it's last track listed as 2 minutes, but in actuality is 18 minutes.

BTW, am I the only one who hates the track listing for Jerry Goldsmith's Congo?

Anyway, I wish all CDs had the track listing, running times for each track, and an CD running time as well. And if it is not to much trouble list the correct times.

Regards,
Sean Robert Abbey

g -
Nice (and funny) points, but I think your "Porno tracks" section is a bit of a stretch... if you want to see something that actually fits that description, check out the titles in Don Davis' BOUND.

I actually like it when track titles are obscure (as long as the track are in chronological order). Titles like "A Wild and Distant Shore" or "Some Lives form a Perfect Circle" are much more interesting and poetic than something like "The Chase" or "The Fight." But if the tracks are out of order, then I welcome the bland titles since it can get hard to place things. THE MAN IN THE IRON MASK was mentioned... that's a perfect example. Some very neat titles but everything is so out of order that it's very difficult to place the tracks.

Oh yeah, I love Chris Young's track titles, too!

Jimmy, Bobby, did it EVER dawn on you that some people have not yet seen THE SIXTH SENSE?!

Milky Way Breasts (Species)
Jumbo Children Splat Fat (The Vagrant)
Hot Mustard Leadpipe (Judicial Consent)
Hush, Little Baby, Don't You Cry, Mama's Gonna Buy, You and A (Hush)

The list goes on!

His short and sweet tracks are just that, short and sweet. Zimmer never one to repeat the soft melodies within the same track.

Most of his action cues are long and journey-like, taking the listener through a roller-coaster ride through the actual scene in the movie.

As for the track titles....check out Broken Arrow.

Brothers
Secure
Stealth
Mine
Nuke
Greed
Hammerhead
Broken Arrow

Most tracks contain 2 or more tracks just put after each other with a break in between.
It's not like Starwars where the music continues...no this is separate cues just lumped together so that the CD won't have around 30 tracks.

I hate it because my favourite piece 'Together in Heaven' is found after two other pieces...meaning that I have to wade through 5 or minutes of music before I get to the beginning.

Still a beautiful score.

Over and out

quote:

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Originally posted by Marian Schedenig:
And what about "First Passacaglia", "Second Passacaglia" and "Third Passacaglia"?

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I don't have any idea of what it means. Do you?

Anyway, maybe I was too harsh on Morricone since I really appreciate the way he name his tracks. He seems to be very careful about it. Just see "Mission to Mars": "A Heart Beats in Space", "A World Which Searches", "Where?", "To All the Friends", "Ecstasy of Mars" and so on. His track names, insted of just point what's on screen always bring some kind of comment about the music.

Maybe what I was trying to say is that I don't like strange track titles from movies I don't remember where the music is... You know, that kind of movie you only see once and wants to forget about it. Well, them why I 'm so worried about knowing where the music is played?

Geez! I'm really getting confused now...

If a composer combines tracks for the album and changes the titles he/she needs to file an amended cue sheets saying the cues from a specific film are "AKA" (also Known as) to their performing rights society will make sure if these cues are used in other films,TV Programs,radio shows,etc the composer will get his performance income.

As for giving away plot points, sometimes studio music depts and publishing companies doen't want to file addtional "AKA" cue sheets and they demand that you use the titles as they appear on the original cue sheet on the soundtrack album.

That's life in the big city.

And if anyone is interested my choice for the CD with the best track titles:

BOUND by Don Davis.

Regards

Dantoris, how can you not like Goldenthal's witty "Batman Whetever" track titles?

In the case of annoying combo track titles, when I make minidiscs of score albums for commuting purposes, I usually place track markers at the point where the cue stops being "Finale" and starts being "End Titles."

I refer to these as slash tracks.

Hmmm... the tracks on Michael Kamen's wonderful "The Adventures of Baron Munchausen" album are bizarre; there is the track itself, and four or five subtracks afterwards. These are not cued separately at all, although there is a "What Dreams May Come" -like pause between them. They don't even have "Indexes." Anybody remember "indexes?" I only know of three CDs that use this feature, two are Telarc Kunzel CDs, and the other is "Get Yer Ya-Ya's Out," the classic Rolling Stones live record.

quote:

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Originally posted by Swashbuckler:
Anybody remember "indexes?" I only know of three CDs that use this feature, two are Telarc Kunzel CDs, and the other is "Get Yer Ya-Ya's Out," the classic Rolling Stones live record.

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<= Hey, that's cooooool!

I remember my father once told me about the "index" feature, but I didn't really believe him, having never seen an indexed CD. They really exist? Do these indexes work on any CD player?

If you had a nice long symphony, it was nice to be able to jump to a certain section immediately.

Wasn't Telarc the only record label to index their CDs?

First there is 18 cues, however they are edited into 4 suites. It is another of those type of tracks that still has the breaks in between the cues. So I can't help but to wonder why release it that way? Though I didn't mind it too much. But would prefer it was released with each cue having it's own track.

The other problem with the release is all the running times of the tracks are way off.

Track 1 is listed as (7:12 minutes) (Approx. 6:00 minutes)
Track 2 is listed as (21:45 minutes) (Approx. 18:30 minutes)
Track 3 is listed as (22:07 minutes) (Approx. 13:00 minutes)
Track 4 is listed as (12:48 minutes) (Approx. 11:00 minutes)

Which is almost 20 minutes longer than the disc actually is. Not good IMO. I wonder if they have heard of quailty control?

However, while the release is sub-par. The score itself is excellent. And would rate it 5 stars.

Regards,
Sean Robert Abbey

Varese Sarabande used to have a big problem with track timings. On the disc cover it would list erroneous timings, but the correct ones would be on the disc itself (this was back when they actually printed the track listing on the disc).