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About jwalk713

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  • Birthday 07/13/1984

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  1. 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.
  2. 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!
  3. 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.
  4. 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.
  5. 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?
  6. 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!
  7. 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.
  8. 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.
  9. I too was hoping for more of a permanent or lasting change to the story. For a moment, I actually wondered if Gordon was going to be killed or captured during the final battle. They've thrown a few legitimate curve balls this season, so it wouldn't have been too much a stretch for me. There were some marvelous pre-commercial-tension build-ups with the orchestra; and I thought the battle music was pretty thrilling. But definitely agree that the entirety of part I's score was superior. It was wonderful to behold Ty's bravery; I LOVED that for once, Yaphet wasn't screwing around-- he was 100% serious and protective of Ty. There's something about those sparing moments, in a show like this, when the characters step out of their quirkiness and become sincere, that is very touching. And as for the final battle-- it was pretty awesome that they waited until this far into the second season to give us a battle of this calibre. There have been skirmishes, of course; but it was a slow burn to get to a full on dogfight /cruiser battle, which makes it all the more spectacular. Seeing Ed upright and focused in the Captain's seat, everyone at full alert and fighting hard--- loved it. The Kaylon ships arriving to Earth, and the ENTIRE Untion fleet awaiting them-- made me cheer out loud! As a result, I was on the edge of my seat. I thought we were gonna lose Halsey! Not QUITE the payoff I hoped for, but I still loved it. And I think this two-parter cemented a 3rd season for us.
  10. Thanks for rubbing it in, good fellow. But for real and for true-- I ordered mine within 9 minutes of it posting. I desperately hope it's en route and they haven't updated the site. I'm NOT bitter. lol I'm just SO ready for this one!!
  11. I THOUGHT I was hearing the 'Darkest Day' homage in there. Completely agree, I cannot get enough of this show. I've already had quite a few emotional reactions to events this season, and it appears we're just getting started. Also, I was thrilled they finally let Gordon sing!
  12. Happy (day after) Valentine's Day indeed!!! Ordered! I will be checking the tracking on a daily basis!
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