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Anyone prefer a re-recording (different orchestra/conductor) to the film tracks (specific track/s)?

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I much prefer Charles Gerhardt's Close Encounters suite to the equivalent OST tracks. Naturally I am approaching this from a listening perspective, not based on the music's effectiveness in the film.

 

I find the tempo on JW's version (although obviously timed to the film) a bit too fast in places, particularly in the Finale. I also prefer the choral performance of the Gerhardt (deep male voices more suitable IMO) and there seems to be a few added sweeteners or flourishes here and there (mostly high woodwinds) in the Barnstorming segment. Lastly, I don't like the When You Wish Upon A Star ending nor the horribly jarring edited one on the OST. All in all, one of the best reinterpretations of JW music IMO.

 

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Sure.

 

One of the quintessential examples for me is Steiner's KING KONG.

 

In terms of Williams, however, I'm less sure. Especially since OSTs often are re-recordings in his case.

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36 minutes ago, King Mark said:

there is a small bit on Amazing Stories The Mission  where I prefer the McNeely one ..The etheral music AFTER the plane lands

 

I also like the Kunzel recording of Throne Room on Time Warp

 

It's a good performance. His version of the end titles promotes the brass and sounds badass.

 

Erich Kunzel's recording of the SpaceCamp end titles blows the original away. It's my go-to track for testing out headphones. Absolutely glorious.

 

Sometimes, there are moments where certain instruments are more prominent and don't have the same "oomph" in the original recording. We'll use Kunzel again in "The Departure" from E.T. In that alternate original segment that was replaced for the film version (which everyone prefers), there's a really bone-chilling rendition of E.T.'s theme (or "The Call" as some refer to it) by the oboe or clarinet (?) that sounds a lot better on the Star Tracks version.

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Almost any re-recording of March of the Resistance is superior to the OST track. Can't put my finger on it but I find the mix of the brass in the OST version just insufferable.

 

The more woodwind friendly recordings really bring the cue's orchestration to life.

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2 hours ago, King Mark said:

there is a small bit on Amazing Stories The Mission  where I prefer the McNeely one ..The etheral music AFTER the plane lands

 

I also like the Kunzel recording of Throne Room on Time Warp

Not a big fan of that one.  The trombones and french horns are way too strong

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8 hours ago, Thor said:

In terms of Williams, however, I'm less sure. Especially since OSTs often are re-recordings in his case.

 

To clarify, I meant re-recordings by other orchestras/conductors, rather than OST recordings done by JW himself as opposed to film tracks.

 

 

7 hours ago, King Mark said:

there is a small bit on Amazing Stories The Mission  where I prefer the McNeely one ..The etheral music AFTER the plane lands

 

love that bit of music. Haven't compared the McNeely yet to the ST (still haven't listened to my Intrada Amazing Stories threesome), but shall make a plan to do so.

 

 

6 hours ago, Philippe Roaché said:

Erich Kunzel's recording of the SpaceCamp end titles blows the original away. It's my go-to track for testing out headphones. Absolutely glorious.

 

Absolutely! That performance of SpaceCamp is the shit. So much so that on hearing the ST rendition I was quite underwhelmed. It sounds a bit flaccid (can't think of a better word to describe it).

 

I do miss Kunzel so.

 

 

Anyone share my love for Gerhardt's CE3K?

 

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Hate to admit it, but somehow and sometimes I think the City of Prague Philharmonic Orchestra's version of "Double Trouble" sounds much more engaging and fun than the minute long version found on the OST album.... Not just the orchestra, but even the choir seems better. 

 

See if you don't agree. 

 

 

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1 hour ago, Docteur Qui said:

That’s a completely different arrangement of Double Trouble to the OST, seems a bit weird to compare the two. One is a large orchestra and choir and the other is a small ensemble of period instruments and a children’s choir.

 

They're different, yes, duh. That's why they can be compared!

 

And I'm saying the Prague version sounds better. JW should have included this version on the OST album, although part of it did make it as Mischief Managed! 

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I actually like the harsh, dry OST mix of TFA, but will take almost any performance of either March of the Resistance or Scherzo for X-wings over the OST.

 

I also much prefer Princess Mononoke's score in the Symphonic Suite album presentation.

 

9 hours ago, JTWfan77 said:

Anyone share my love for Gerhardt's CE3K?

Yes! I wish it were available for rental; it would be great programming for a lot of orchestras.

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11 hours ago, Josh500 said:

 

 

 

And I'm saying the Prague version sounds better. JW should have included this version on the OST album, although part of it did make it as Mischief Managed! 

 

 

I still hope for a proper recording of that arrangement with no choir.

 

Damn Williams writing concert versions after the OST is released

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2 minutes ago, King Mark said:

 

 

I still hope for a proper recording of that arrangement with no choir.

 

 

Why would you want it with no choir? And anyway, we already have that. It's called Mischief Managed! 

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I hate tracks with sung lyrics (wordless choir is different).There's also a (semi good sounding) boot of that track with no choir and it's awesome

 

and it would be even more awesome if he incorporated the film version Insert opening the Credits

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On 3/4/2018 at 11:06 PM, Josh500 said:

 

They're different, yes, duh. That's why they can be compared!

 

And I'm saying the Prague version sounds better. JW should have included this version on the OST album, although part of it did make it as Mischief Managed! 

 

But he hadn't written the concert arrangement until a while after he finished doing the film. That's why it uses so much of "Mischief Managed" in it. You're assuming he writes his concert arrangements before the rest of the score when it's almost always the other way around.

 

 

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On 3/3/2018 at 6:27 PM, Philippe Roaché said:

Erich Kunzel's recording of the SpaceCamp end titles blows the original away. It's my go-to track for testing out headphones. Absolutely glorious.

 

Yep, that's the definitive version of that one, at least for me.

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On 3/4/2018 at 1:07 PM, Josh500 said:

 

 

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Just went to that on iTunes. Window to the Past is also different. One of my favorite themes Williams has ever written.

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On 3/3/2018 at 11:49 PM, Thor said:

In terms of Williams, however, I'm less sure. Especially since OSTs often are re-recordings in his case.

 

It's much less than one tends to think, actually. JW's re-recorded OST albums (meaning a completely different recording made separately from the film recording sessions and made specifically for the record company) are mostly from the 1960s era, where it was very common to do so (Diamond Head, How to Steal a Million, Penelope, Not With My Wife You Don't, Fitzwilly) and a few from the 1970s (Earthquake, The Eiger Sanction, Jaws). All the other OSTs are made from the film recording sessions, usually with the addition of pieces arranged in concert-like form specifically for the album (i.e. Princess Leia's Theme from Star Wars, for example).

 

On 3/4/2018 at 11:16 AM, Josh500 said:

Hate to admit it, but somehow and sometimes I think the City of Prague Philharmonic Orchestra's version of "Double Trouble" sounds much more engaging and fun than the minute long version found on the OST album.... Not just the orchestra, but even the choir seems better. 

 

This is the version Williams orchestrated for full symphony orchestra and choir specifically for concert performance as part of the Harry Potter and the Prisoner of Azkaban symphonic suite (available through Hal Leonard). The version heard in the OST is the recording made for the film and it's orchestrated for small ensemble of period instruments and children's choir.

 

On 3/4/2018 at 8:47 AM, Richard said:

Both CAPRICORN ONE, and THE SWARM OSTs are much better than the expanded scores.

 

The Swarm ain't a re-recording, but a (very artfully) edited version of the film recording.

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2 hours ago, TownerFan said:

The Swarm ain't a re-recording, but a (very artfully) edited version of the film recording.

 

Yeah. I believe that @publicist has also mentioned this, but JG Online suggests otherwise. Either way, it sounds terrible.

 

The extra cymbal-crash on the MAIN TITLE from THE TOWERING INFERNO (the bit that underscores Irwin Allen's credit): was that an overdub, or was it an alternate take?

 

Wasn't JAWS a combination of rerecording, and film versions?

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2 minutes ago, Richard said:

Wasn't JAWS a combination of rerecording, and film versions?

 

No, that was E.T.

 

2 hours ago, TownerFan said:

 

It's much less than one tends to think, actually. JW's re-recorded OST albums (meaning a completely different recording made separately from the film recording sessions and made specifically for the record company) are mostly from the 1960s era, where it was very common to do so (Diamond Head, How to Steal a Million, Penelope, Not With My Wife You Don't, Fitzwilly) and a few from the 1970s (Earthquake, The Eiger Sanction, Jaws). All the other OSTs are made from the film recording sessions, usually with the addition of pieces arranged in concert-like form specifically for the album (i.e. Princess Leia's Theme from Star Wars, for example).

 

You're forgetting The Fury.

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1 minute ago, Richard said:

Wasn't JAWS a combination of rerecording, and film versions?

 

The 1975 MCA OST album is a re-recording. The original film recordings were released by Decca in 2000 for the 25th anniversary release and then fully restored and expanded by Matessino for the 2015 Intrada release.

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4 minutes ago, TownerFan said:

 

Right! The Fury as well .

 

I was aware, in 1978, that THE FURY was a rerecording. It's a much better presentation than subsequent releases.

 

 

 

3 minutes ago, Jurassic Shark said:

 

And a very good rerecording, in my opinion.

 

Musically? Yes. Sonically, it sucks, although I have not listened to the OST on the recent-ish 2-cd set.

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1 hour ago, Richard said:

Musically? Yes. Sonically, it sucks, although I have not listened to the OST on the recent-ish 2-cd set.

 

I've never noticed the bad sonics you're talking about on the MCA OST CD. At least it's miles ahead of the 25th anniversary of the original film recordings. Haven't heard the Intrada one, which surely must be an improvement.

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On 3/4/2018 at 12:51 AM, King Mark said:

I also like the Kunzel recording of Throne Room on Time Warp

 

Unfortunately, in this recording the percussion drowns out the strings in the Force theme right after the fanfare intro.

 

8 minutes ago, Philippe Roaché said:

The Jaws OST sounds like you're listening on crappy headphones with low volume output and no bass at all.

 

Maybe I was listening to it with crappy headphones... :sarcasm:

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4 hours ago, Philippe Roaché said:

The Jaws OST sounds like you're listening on crappy headphones with low volume output and no bass at all.

 

That pretty much sums it up. It sounded awful in 1975, but, to be fair, anything that wasn't engineered by Alan Parsons, sounded awful, in 1975 :lol:

Actually, EARTHQUAKE really is a stand-out recording, especially in 1974: lots of bright top-end, and full midrange. Check out the lovely "woody" piano on CITY THEME.

A really nice-sounding "OST".

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On 3/3/2018 at 11:38 PM, JTWfan77 said:

I much prefer Charles Gerhardt's Close Encounters suite to the equivalent OST tracks. Naturally I am approaching this from a listening perspective, not based on the music's effectiveness in the film.

 

Gerhardt's CE3K suite is indeed masterful!

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As a general note, I think Lockart nailed every piece in Lights, Camera, Music.  Perhaps it is just the fresh recordings, but I like The Towering Inferno, Devil's Dance, and Patriot better than the Williams conducted versions (which admittedly are not identical to those on this album).  

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On 3/3/2018 at 6:27 PM, Philippe Roaché said:

 

It's a good performance. His version of the end titles promotes the brass and sounds badass.

 

Erich Kunzel's recording of the SpaceCamp end titles blows the original away. It's my go-to track for testing out headphones. Absolutely glorious.

 

Sometimes, there are moments where certain instruments are more prominent and don't have the same "oomph" in the original recording. We'll use Kunzel again in "The Departure" from E.T. In that alternate original segment that was replaced for the film version (which everyone prefers), there's a really bone-chilling rendition of E.T.'s theme (or "The Call" as some refer to it) by the oboe or clarinet (?) that sounds a lot better on the Star Tracks version.

 

I grew up down the street from Kunzel and went to pops concerts all the time with Cincinnati. Quite a treat knowing him! He was so lovely.

 

His interpretations are a lot more German inspired. I love that he encourages the brass to be so much more legato than Williams would probably recommend. The Cincinnati Brass has always had quite a reputation. Aaron Copeland wrote "Fanfare for the Common Man" for our brass section and they've sort of tried to keep the sound similar over the years in their choices of players. The percussion overplaying and bright sound is sort of because of the hall. It doesn't reverberate very well and gives you very little feedback; sort of like an old European hall. Thus the percussion would sometimes overplay and not really be aware. It will never sound like most Williams scores given that it's a hall, not a sound stage like he does most of his scores.

 

Kunzel was a perfectionist though and you can tell from his recordings... He never lets a bad take make it to the final record. Love that SpaceCamp recording as well!

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The City of Prague Philharmonic has some really rich, orchestrally beautiful renditions of many JW OST album tracks but I'm not sure yet if I prefer any over their original recordings. But this thread has put the thought in my head and now I'm basically listening to their entire JW collection with a closer ear. 

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