Jay

Close Encounters of the Third Kind - La-La Land MUSIC Discussion

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6 hours ago, rough cut said:

Hey hey hey, now, settle down, I said I’d been out of the PC game for a while. Just that, for me, I haven’t heard the name Winamp in a loooooong time, I’m sure it works just fine. It just brought back a lot of memories of a time when mp3s and burning CDRs were new, which seemed to stand in contrast to your comment.

 

Yeah I thought it was odd they misinterpreted your post "I haven't used Winamp in a long time" to mean "I hate Winamp".

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Can anyone tell me about the cue  "Main Title and The Vision", disc 1 track 1 on this set ?  Is the latter cue 'The Vision' thematically is same as 'TV Reveals' choral motif ? ( I haven't seen the film in a while and I don't want to spoil the fun by watching it just now but until I've gotten my set.) Just curious exactly what this part is.

 

The original OST Cue of 'Main Title and Mountain Visions' is one of my favourite cues on that album. So I'm thinking the new presentation of 'Main Title and Visions' sort of parallels it in some way (and ofcourse omitting 'Roy and Gillian on the Road') 

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23 minutes ago, azahid said:

Can anyone tell me about the cue  "Main Title and The Vision", disc 1 track 1 on this set ?  Is the latter cue 'The Vision' thematically is same as 'TV Reveals' choral motif ? ( I haven't seen the film in a while and I don't want to spoil the fun by watching it just now but until I've gotten my set.) Just curious exactly what this part is.

 

The original OST Cue of 'Main Title and Mountain Visions' is one of my favourite cues on that album. So I'm thinking the new presentation of 'Main Title and Visions' sort of parallels it in some way (and ofcourse omitting 'Roy and Gillian on the Road') 

 

On 3.12.2017 at 4:17 PM, Jay said:

 

1-01A [0:45-end] The Vision (0:43) {Wild recording of the vision motif, unused in the film}

On 4.12.2017 at 2:36 AM, Jay said:

It's a wild recording - "wild" means it was recorded without any footage running to sync to.  Its probably just to give Spielberg options of putting various different versions of the vision motif into various scenes if he wanted to.

 

And no, he didn't end up using it in the film.

 

And for this film, nothing was recorded specifically for the album.

 

 

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Last night listened to the complete playlist (incorporating Inside). Now trying the new disc 1 programme. It is a well put together sequence overall. Combining some tracks help the score flow bit better in some areas. So for a casual listen it might be preferable to go with this one. I am more interested in the correct sequence but it's nice to have different presentations to choose from.

 

This album makes me so pumped for live concert in June. Other than E.T., which I'm also seeing in January, it is the most perfect score to be presented in such a form. One of the reasons for that is how integral music is to the storytelling. It's one of those I won't hesitate to call a masterpiece. :)

 

Karol

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6 hours ago, azahid said:

 

I read those posts but my question is not answered. What is 'The Vision' motif?

 

Have you read the liner notes?  Because Mike Matessino very clearly describes all the themes used in this score, including the vision motif.

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I see now that azahid doesn't have his set yet.

 

To answer the original question: Yes, the vision motif is the choral motif that opens TV Reveals.

 

11 hours ago, azahid said:

The original OST Cue of 'Main Title and Mountain Visions' is one of my favourite cues on that album. So I'm thinking the new presentation of 'Main Title and Visions' sort of parallels it in some way (and ofcourse omitting 'Roy and Gillian on the Road') 

 

Exactly right!

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Got mine today.  What a fantastic release!  Really enjoying listening to it in such a presentation.  Hard to believe this was recorded in 1977 it sounds so vivid.  I also realize two of my former professors worked on score.  The booklet is excellent but I wish they listed the orchestra roster as that is fun to read. 

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26 minutes ago, Jay said:

The orchestra roster ABSOLUTELY is in the booklet!  Maybe you just skipped over it by accident?

 

D'oh!!! It's behind the CD!!  I didn't see it since I am still on CD 1.  Ok I'm happy now...perfect booklet.

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12 hours ago, Jay said:

I see now that azahid doesn't have his set yet.

 

To answer the original question: Yes, the vision motif is the choral motif that opens TV Reveals.

 

 

Exactly right!

 

Thanks Jay. yes Mine hasnt shipped.  Pending at SAE.

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17 hours ago, crocodile said:

Last night listened to the complete playlist (incorporating Inside). Now trying the new disc 1 programme. It is a well put together sequence overall. Combining some tracks help the score flow bit better in some areas. So for a casual listen it might be preferable to go with this one. I am more interested in the correct sequence but it's nice to have different presentations to choose from.

 

I bought it for the better sound and the Williams sequencing but even with his keen sense of editing i find that first half a slog. Since i know the score well enough from the Arista i could easily edit out the dead spots (Into the Tunnel and Chasing UFOs, False Alarm and the Helicopter) and cut out some cues altogether, so at 65 minutes it now flows reasonably well. The sound is now near-perfect but tbh, the old LP edit worked really well, if not for some bad noticeable editing. Those 40-minute programs have their merit!

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I have no clue why but I am really enjoying Disk 2 Track 29: Advanced Scout Greeting, I think it is because it is form the film and was always amazing scene for me. I find it too be relaxing and something I could listen to to unwind. Anyone else have any thoughts on this?

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8 hours ago, dillweed97 said:

I have no clue why but I am really enjoying Disk 2 Track 29: Advanced Scout Greeting, I think it is because it is form the film and was always amazing scene for me. I find it too be relaxing and something I could listen to to unwind. Anyone else have any thoughts on this?

 

I like it a lot!

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Been listening to this set a lot, and will try to organize my thoughts based on first impressions.

 

To begin with, the sound quality is simply stellar (never has source music from the 70s sounded so crisp!), and the insightful liner notes can be appreciated on a musicological level apart from the behind-the-scenes stories.

 

It's interesting to compare some of the tracks between the 1998 CD and this set; when lining them up, it seems that the fade-outs were shortened for whatever reason on the earlier edition. But there are also alternate mixes for "The Dialogue" (previously "Wild Signals") and "The Appearance Of The Visitors" (previously "The Visitors") present on that CD, if you're into that.

 

The only disappointment (and it's a small one) is the absence of brief overlays during "Climbing The Mountain"; in the film, they appear right when the helicopters begin spraying EZ-4. To be sure, those are only 3 to 4 seconds long, so most listeners will probably not lose sleep over it; to me, it makes a difference. And I think I prefer the film mix of "Advance Scout Greeting", where it sounds like an actual (French?) horn from the orchestra accompanies the five tones instead of a keyboard. But those are small chinks in an otherwise gleaming armor :)

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Ok, because I'm mixed up again:

R5P3 The Pillow is D2T6, right?

 

because an extract I have with Bill Wrobel's handwriting (and also his notes about the cue in his score rundown), doesn't match with that track.

According to the sheet music, the Pillow is the Vision motif again.

So, maybe D2T6 is an alternate/revised version?

 

Does the booklet mention slate numbers?

 

 

 

 

Close Encounters.jpg

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As recorded, 5M1 Shaving Cream Mountain is disc 2, track 7 "Another Vision".

 

5M3 The Pillow is disc 2, track 6 "Vision Takes Shape".

 

Does that sheet music match what's heard at the end of disc 1 track 1, or the music heard at the end of disc 2 track 19?

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Maybe the music starting at 0.52'' of track 19.

I am not entirely sure since I think i hear more twinkling in that one than what is written.

 

Definitely not the one in track 1.

 

 

Also, The Saving Cream, doesn't have that bass drone written like we hear in D2T7.

It sounds more like the end of D1T1. (if we take out the overlap with the high strings of the main title)

Close Encounters.jpg

 

To sum up, what it seems to ME according to sheet music and my ears:

R5P1 The Saving Cream = 2nd part of D1T1

R5P3 The Pillow = 2nd Part of D2T19

 

D2T6 = bass drone (this does sound like a wild take)

D2T7 = R5P1 + same bass drone underneath fading out earlier

 

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3 minutes ago, Muldoon said:

I'm surprised no one's posted a breakdown of each cue/slate against the new LLL edition.

Maybe because noone knows for sure?

 

So I guess the booklet doesn't mention slate numbers.

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Podium changes are usually small things in instrumentation.

 

i wouldn't assume that The Pillow, from being written as the vision motif in the sheet became a bass drone on the podium.

And at the minute that it matches that second part of D2T19.

 

Maybe there's been a mix up when they compiled the cues and put them on cd?

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On 12/8/2017 at 6:45 PM, Corellian2019 said:

The only disappointment (and it's a small one) is the absence of brief overlays during "Climbing The Mountain"; in the film, they appear right when the helicopters begin spraying EZ-4. To be sure, those are only 3 to 4 seconds long, so most listeners will probably not lose sleep over it; to me, it makes a difference. 

 

Are those "overlays" actually just tracked in bits of "Watching The Skies"?

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5 hours ago, Jay said:

Could they just be pitch-shifted?  I don't have the film handy right now to check anything myself.

 

I don't think so; to my ears, the strings in those overdubs are arranged differently from the other cues. And I forgot to mention that in the moment when Larry succumbs to EZ-4, it's scored with a tracked segment of "Outstretched Hands", also with a string overdub. I can upload samples here for evaluation, if you want

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