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Why the hell is “Raindrops Keep Fallin’ On My Head” on the Danny Elfman score? Shouldn’t it be on the motion picture soundtrack, along with “Vindicated” and “Ordinary”?
Many Elfman scores include a song at the end of the album.
The song fits better with the score rather than the more alt-rock oriented soundtrack album.
Ryan
But it still sucks. :p
I don’t think the song affects the score album in any way.
I think it does, because after “At Long Last, Love” there just *has* to be an “End Credits” track to round off the album. Instead we get that stupid song.
The song is great and works perfectly in the film ! Stop complaining everytime there’s a song on a score album. Elfman tracks will last around 45 minutes and most of the majors cues are on it unlike the first one. So why not have a little extra with “Raindrop” ?
ok.
“I think it does, because after “At Long Last, Love” there just *has* to be an “End Credits” track to round off the album.”
Well, that isn’t the song’s fault — Elfman put it there.
You’re assuming that.
Who the hell cares? Whats the point of pissing and moaning about it now? The decisions been made, the CD is coming out here in 9 days…
DEAL!Wow, great argument! You can use that anytime you want, always works:
A: “What I didn’t like about the film is that they re-used badly edited cues from the first Spidey instead of new music.”
B: “Well, who the hell cares? The decisions been made. DEAL!”
Yeah! so what’s the point of ever complaining about anything ever?! There is none!
I like “Raindrops”, it’s a great song that was put in a humerous scene for the sequel. Danny still could’ve put an End Credit, which could of been a mixer of cues from the whole film, to conclude the album.
“You’re assuming that.”
No, sir.
>>After the event, Dan Goldwasser and I talked with Richard Kraft (Danny’s agent) who set us straight on a couple things:
-Elfman has delivered a master for the SPIDER-MAN 2 score album…<<
Hey, people, people…. Edward Scissorhands and the Tom Jones track. it’s a crap track, but an integral part of the the album, as it fits in with the score’s dramatic comment. That’s why!!
>¦:o)
The JNot nearly as bad as raindrops.
Hey Bodhi,
what do you mean, Elfman has delievered a master for SPIDERMAN 2 score album?
Is there another Spiderman 2 album with danny’s music attached to it?
hahaha
>>After the event, Dan Goldwasser and I talked with Richard Kraft (Danny’s agent) who set us straight on a couple things:
-Elfman has delivered a master for the SPIDER-MAN 2 score album…<< LOL
How does the fact that “Elfman has delivered a master for the SPIDER-MAN 2 score album” prove that it was his decision (and not Sony’s) to include that song? Show me a statement by Danny that he really wanted that song on the album (he would be one of the only composers who actually want songs composed by others on their score albums…) – or stop making assumptions.
(And quit calling me “sir” btw.)I am assuming… but it’s a safe assumption.
What do you think it entails when a Score Album (like Spider-Man 2) is delivered to the studio heads by the composer — that the master was made under strict supervision?
Are there any examples where songs have been forced onto an album without the composers wishes? If you have something that contradicts my assumption then I welcome it.
At any event, do you think that Elfman had any reservations about putting in Country Sweat or Face to Face in the Nightbreed and Batman Returns album’s? Do you think it was the studio heads idea to put Indian Love Call and It’s Not Unusual in Mars Attacks soundtrack? I doubt it.
“…he would be one of the only composers who actually want songs composed by others on their score albums…”
Where’s your source on this?
In case you didn’t know: “Face to Face” was co-written by Danny Elfman, so no, I don’t think he had any reservations.
Wasn’t it written and composed by Danny Elfman and performed by Siouxsie & the Banshees?
At any rate, your right; it’s a no-brainier that Elfman would put the song on the album.
“Are there any examples where songs have been forced onto an album without the composers wishes?”
Do you really think that, if a film composer could choose between a 120 minutes double CD representing his hard work or a 38 minutes CD including “Preaching the blues”, “So sleepless you” and “Deliver me”, he will choose the latter? Do you really think it’s up to the composer to decide if (and which) songs end up on the CD? They’re happy enough that their music gets released at all, so they won’t complain if the studio decides to add a song or two…
On “The Frighteners”, Peter Jackson wanted a song at the end, and Danny was free to choose “Don’t fear the Reaper”, but I really think these occasions are very rare. I know of Elliot Goldenthal who wasn’t too crazy about “Sympathy for the Devil”, and that song still ended up on his “Interview with a Vampire” CD.That following quote is by Danny, talking about how he thinks about pop songs in movies. It doesn’t prove anything at all and it’s nothing we didn’t already know, but I’ll share it anyway:
>>With everybody today, most important is to sell a couple of million albums and to make a lot of money. I understand that a movie studio is in business to make a lot of money, and that they want to get a video on MTV and some catchy songs to market their movie, on the other hand, the blatantness with which poppieces get jammed into movies is horrendous. It’s hysterical hearing a song that couldn’t possibly fit in any less well, yet you have these studio people saying, “Wow, how beautifully this song fits in here!”<< “Anywhere but here” all the way…
However, what I wanted to say in my first post was: What I really miss on that “Spider-Man 2” CD are some cool “End Credits”. These are usually the sweetest tracks by Elfman, and I really loved the ones from the first movie.“Do you really think it’s up to the composer to decide if (and which) songs end up on the CD?”
Perhaps not always, but in the case of Spider-Man 2, I’d bet the theoretical Ranch that Danny Elfman had no misgivings in having the song on the album, it’s the quirky type of thing that Danny would do, similar to having the Worm Lounge as the first track in Men in Black 2.
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