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jwalk713

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About jwalk713

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  • Birthday 07/13/1984

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  1. I've waited my whole life for this one, man. This is my favorite JW score, and I'm hearing instruments for the first time. It's been on constant replay since I got it. Glad you're enjoying it too!!!
  2. Great review, sir. This movie holds holds a special place in my heart, because it was the 'Jaws' film that I saw the most frequently, until we FINALLY bought a copy of the first film. I really enjoy the music, which gives the film a leg to stand on. There are a few legitimately effective sequences in the movie, which the music elevates, of course. I think Sean's death is scene is actually terrifying, largely because of his acting and the fact that you don't see much of the shark. lol you literally see its JAWS!! There are some effective 'death chords' in the brass before the shark theme comes on hot and heavy, and it sets the movie up for a level of terror that wouldn't be matched again. There are some fabulous orchestrations here and there, and it's got a high nostalgia factor for me. Thanks for the write-up!
  3. :: sigh :: So I guess we just have to suffer one more nail in the damned coffin before we get the jewels of the kingdom? All right. I'll take that bullet.
  4. Sounds about right. Now we just need someone within the Disney machine to be willing to give this project to Mike, and all will be righted.
  5. A 3CD presentation of 'Temple of Doom' would be a dream come true. There is so much music IN the finished film, and a host of alternates and still unreleased pieces. I don't know the history of this production as well as I should, but I believe I once read that the sacrificial music was one lengthy piece that was broken down and heard 'as needed' in various parts of the film. The most terrifying portions from the film haven't been released yet. A pristine-quality version of 'Mola Ram's Speech' would give me shivers. All the Palace Source music, and separate overlays would be marvelous. Also-- I'd love for someone to help me confirm or 'disconfirm' this: I'm 97% sure that there is an alternate insert in the film version of 'British Relief,' Firstly-- the cymbal clash on the downbeat of the fanfare is much louder in the film than on the CD (likely just a matter of mixing), but when the horn cluster reprise/variation begins-- the tempo is slightly different, and I'm pretty sure one particular chord is changed, slightly. (any other obsessors feel free to commune with me on this! lol)
  6. I don't like it more than the second half, but I'll concede that the two halves almost sound like two different films. The first half is epic, operatic symphonic story-telling; second is vintage 70's romantic/thrilling underscoring. But that works for me, because the differences are visual as well.
  7. Man.... You are the only person I've encountered in 30 years whose thought process on this was identical to mine! Thank you! I too thought it was some mystery version that was recorded for the opening, that would never see the light of day. The end title on the original LP was my first clue that they had simply cranked the pitch and speed. Next, when the Special Edition DVD was released, they had a score section with some 'alternate cues.' This included an alternate take of the film version prelude (the only release it's ever had), that segued into the pitch altered end title, following the timpani roll. But, unique to THIS version, was a right channel mix that was accurate to the 2001 sound mix. (Insert eye twitch of impending madness) The left Channel was STILL almost inaudible, though. So I began work on my most ambitious fan edit ever: I painstakingly pitch and speed altered the Left channel of the FSM end title, and synchronized it with the DVD version's RIGHT channel. It wasn't completely perfect, but it worked. I successfully matched the speed/pitch, and came closer than ever to duplicating the actual film version. I'll dig it out send it to you, if you'd like to hear it!
  8. Many thanks, sir! I agree with your assertions here as well. As soon as I read Mike's reference to 'levels,' this is exactly what came to mind. The Alternate 'Prelude and Main Title' does indeed, finally, sound wondrous. Particularly, from the moment the 'B' theme is heard until the end, it is stellar. It would be a dream come to see the original footage/opening that this accompanied. Likewise with the 'Fortress' cue, which, like its revision, is a near-religious experiences to behold. Just when I think I have learned everything there is to know about this film, we are presented with another fascinating revelation. Out of curiosity, when it comes to the March or Main Title-- what is your favorite presentation/Iteration of it? Presently, for me, it is the as-intended Prelude and Main Title.
  9. I wondered this for the end title in particular; but for whatever reason, the pitch altered version doesn't strike me as being off (other than the jarring moment IN the film when the edit makes the pitch change abundantly clear). But in its current iteration on the new album, it's a tad bit tinny on the 1 to 5 jump in the fanfare. Nevertheless, the level of roundness and clarity that's present here is breath-taking. All the individual notes in the brass chords can be heard so clearly. I've always thought the end title truly sounds like a refined concert version of the piece, while the intended opening title has a more intense energy propelling it. There's even a grittiness in a few moments that I love. The bass ostinato leading to the 'up and away' trumpet call is utterly thrilling.
  10. How fascinating! I hear what you mean. It's really interesting to hear certain familiar passages somewhat buried or re-mixed, versus ones that are now seemingly illuminated for the first time: ie, in the disaster motif of 'The Helicopter Sequence,' I'm 99% that I can now hear a piano, in the bass register, doubling the bass/bass cellos/bones underneath the horn melody. EDIT: Anyone with score sheets wanna confirm if there is a piano line in the piece? Confirm my rightness/madness?
  11. Of interest-- in the original 1978 LP (and the subsequent CD releases based upon that program), the end title actually includes the tempo / pitch change that was applied when the end title was edited into the opening of the film. This is not the case in the new program, which is totally fine. Additionally-- the mono version of the film's audio track, which was on my worn out VHS tape-- seemed to favor the left channel; -- meaning, that the altered pitch 'Prelude and Main Title' was not only slightly faster and pitch-adjusted, but the strings and woodwinds were VERY prominent, swirling a magnificent tapestry around the many brass passages/fanfares. Interestingly, on the 1978 program AND this new set, said strings and woodwinds are very faint in the mix, favoring the brass far more prominently. The Blue Box presentation, however, closely matches the alternative sound mix, in which the strings and woodwinds are very pronounced. Therefore, I remain happy in my choice to purchase every iteration of this score, as each one of them has something wholly different to offer!
  12. That is QUITE the toss up, good man. He was on such a creative roll during this time. I've always felt like those two scores have characteristics that are wholly unique to themselves, that aren't repeated or varied in other works. They represent creative 'breakthroughs' in my mind.
  13. I did too, man. I did during "Leaving Home,' and 'The Fortress of Solitude' as well. The latter became a favorite in recent years, and is an incredibly spiritual, almost religious experience musically. It is the full symphony unleashed, and reminds us how truly spectacular it can sound with the right music.
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