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Originally posted by Cole:
How would you reorganize the tracks on the CD to run chronologically with the film?

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Originally posted by Cole:
How would you reorganize the tracks on the CD to run chronologically with the film?

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There's something I've never been able to understand. This isn't supposed to come off as an insult, but I am sure it will. Are you watching the music WITH the film? To me, composers arrange the tracks the way they do on their CD's for a reason. A lot of the time, if you listen to a CD in order outside of the film, the CD is boring. So they mix it up a bit to create an enjoyable listening experience.

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True, but the composer's idea of an enjoyable listening experience isn't always the same as the listener's idea of an enjoyable listening experience.

The choices that are made when producing an album aren't necessarily what the listener wants to hear. John Williams is actually a good example of this, he is one of my favorite composers but also one of my least favorite album producers. On the other hand, I like Elliot Goldenthal's albums much better. They're not doing anything different, both are creating non-chronological presentations that mix cues up within tracks, but while I am generally not going to like Williams' choices, I will tend to be satisfied with Goldenthal's.

So while the composer may have perfectly logical reasons for restructuring the score for its respective album, the taste of the listener comes into play once they buy the record. Some people feel that there are some scores which are more linear in structure that are better served by a more chronological presentation; either way, the film order is the original default (not counting edits, retracking and whatnot) from which the listener may or may not choose to reprogram at their convenience.

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Originally posted by Swashbuckler:

True, but the composer's idea of an enjoyable listening experience isn't always the same as the listener's idea of an enjoyable listening experience.

The choices that are made when producing an album aren't necessarily what the listener wants to hear. John Williams is actually a good example of this, he is one of my favorite composers but also one of my least favorite album producers. On the other hand, I like Elliot Goldenthal's albums much better. They're not doing anything different, both are creating non-chronological presentations that mix cues up within tracks, but while I am generally not going to like Williams' choices, I will tend to be satisfied with Goldenthal's.

So while the composer may have perfectly logical reasons for restructuring the score for it's respective album, the taste of the listener comes into play once they buy the record. Some people feel that there are some scores which are more linear in structure that are better served by a more chronological presentation; either way, the film order is the original default (not counting edits, retracking and whatnot) from which the listener may or may not choose to reprogram at their convenience.

[Message edited by Swashbuckler on 06-16-2008]

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I agree with you about Williams, I loved his scores to Munich and Memoirs of a Geisha, and both CD's proved to be somewhat boring... I think Geisha may have even been in the film order.

Another person who's CD's I think suck... Trevor Rabin. I like his music (not so much his recent stuff) but I am sorry, if you put the huge finale at the beginning of the CD and follow it with a bunch of short tracks, it proves to be a horrid listening experience. I think the only CD I thought was well done of his was Armageddon (which also had some "pacing" issues around track 12). Con Air doesn't count because that was with Mancina. But Mancina's Speed also bothers me, after about track 6, it gets boring.

Williams, while providing usually seamless integrations of different cues for album release, makes this sometimes a frustrating listening experience: I'm talking specifically about the original Phantom Menace release, not the even more wretched "Ultimate Edition"; it omitted a major theme too, and many of the best action cues in the film--a horrendous mix.

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Originally posted by Swashbuckler:
Actually, I think most of Newman's scores are not only edited but produced differently for the album. Some of his more traditional scores are presented somewhat more chronologically than the kinkier ones, but that is because he is developing themes over the course of the score.

I like Newman as an album producer as well, and am usually satisfied with his records.

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