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Alan Silvestri THE MUMMY RETURNS Intrada 2CD set!

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8 hours ago, rpvee said:

(It's also interesting the page for The Mummy notes remastering, but I don't see any mention of it on Returns'.)

The liner notes state that Douglas Fake edited and mastered this new set with DDP mastering by Joe Tarantino (what ever that is).

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1 hour ago, Jay said:

The advantage is to legally own them and support the labels that make these releases happen, over pirating the material illegally

 

Well, of course. I meant more as in “what are the big differences between the versions”?

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9 minutes ago, rpvee said:

 

Well, of course. I meant more as in “what are the big differences between the versions”?

 

The Mummy features a new sound mix showcasing more instrument detail than you can hear on the Decca OST, or on the DVD iso score track.

 

Mummy Returns doesn't seem to sound terribly different from the session leaks from what I've read

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A bit confused with the response to the sound quality with this and Goldsmith's.

NOW THERE'S INSTRUMENTAL DETAIL I COULDN'T MAKE OUT ON THE ORIGINAL ALBUM MIX YAY

 

ARGH THEY BRICKWALLED IT THE FIENDS

 

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On 8/4/2018 at 8:35 PM, kaseykockroach said:

A bit confused with the response to the sound quality with this and Goldsmith's.

NOW THERE'S INSTRUMENTAL DETAIL I COULDN'T MAKE OUT ON THE ORIGINAL ALBUM MIX YAY

 

ARGH THEY BRICKWALLED IT THE FIENDS

 

The Goldsmith score presentation is mostly great but a couple of the film cues seem to have been miked too hot so there is some static present in the right channel in the sessions but those cues can swapped with the OST equivalents without too much hassle which don't have the same issue. And there are a couple of tracked pieces but that is not a big gripe as you can also take the Sand Volcano from the OST presentation for Goldsmith's intended end credits.

 

Silvestri's score is unfortunately brickwalled and the unreleased tracks' quality varies. E.g. Rick Battles Imhotep sounds like it was recorded in the next room from the orchestra and choir with odd muffled quality to it that is clearly noticeable compared to the surrounding cues. Almost like no one remixed the score when putting this release together.

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5 minutes ago, Incanus said:

Silvestri's score is unfortunately brickwalled and the unreleased tracks' quality varies. E.g. Rick Battles Imhotep sounds like it was recorded in the next room from the orchestra and choir with odd muffled quality to it that is clearly noticeable compared to the surrounding cues. Almost like no one remixed the whole score when putting this release together.

 

I thought Intrada was opposed to brickwalling. Roger had some major (valid) issues with Erick Labson's horribly brickwalled remaster of Peggy Sue Got Married. Strange that they've seemingly done the same with TMR. Pity.

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Ah, well. I'll keep that in mind in regards to the first one. I like the Goldsmith album as is, but I'm open to trying out the whole score and seeing if there's any juicy stuff contained within. 

I think the only reason The Mummy Returns' treatment doesn't bother me is that I had a lot of bootlegs of unreleased scores in my younger music-lovin' years (grandpa collected a lot of them, even for scores he didn't like just because the opportunity was there), so my ears grew accustomed to crappy muffled quality. Anything that doesn't sound like a dry Giacchino recording is passable in my book! 

I know it's different here since this is an official release and not a bootleg so we should expect better, but as someone who practically subconsciously expects crappy quality from years of listening to, say, the complete score to Deep Blue Sea, I listen to this and think "Hey, I can actually hear the music! Cool beans!".

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I like that the notes are mostly about the music, including Silvestri and Sommers quotes. But it's weird how they keep mentioning the "London sessions", then never bringing up the LA sessions - why specify London then?

And Mr. Fake nicely avoids the now controversial mix unlike for The Mummy, and Techincal Talk is almost exclusively reserved for explaining the alternates.

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While the booklet has Silvestri saying "it's still one of my favourite recordings of a score I've done."

So far, I'm not hearing any particular problems with either Mummy, though that may change when I listen to them on good headphones instead of OK laptop speakers.

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It's very obvious once you listen to the stereo spread under headphones. The string group, i. e. in 'Scorpion Shoes', seem to wander into mono territory on occasion, 'Canyon Deluge' also has similar problems. Once you spotted them it can't be unheard. Once you checked with the Decca, you decide you stick with that in some cases.

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Just wait until you can get bionic ears with electronic nerve replacements!

 

Good God that song is horrendous. It's so early 2000s it physically hurts. That's the emo phase in the western mainstream culture's life it tries to forget - too bad the counterreaction spawned the bland, forgettable and completely exchangeable personalitylessness of the 2010s.

 

The score in all is prety good. Has some downtimes and repetition, but also major highlights. Prefer the first one in its cohesive fun adventure-ness. And even in some of its highlights - My First Bus Ride is great and gets my head banging, but when the swirling motif reenters at 2:30 of Night Boarders completely over the top, I just can't help grinning ftom ear to ear.

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On 8/4/2018 at 1:26 PM, Jim Ware said:

http://store.intrada.com/s.nl/it.A/id.11534/.f

 

Intrada have updated the album page with LA session dates and a list of musicians.

 

I called it!

 

 

On 8/5/2018 at 5:05 AM, Luke Skywalker said:

But now that page seems to imply that the whole score was recorded in California by the US orchestra....

 

No it doesn't, it says:

 

Quote

The Mummy Returns Tracks 14 & 25 on CD 1, Tracks 7, 10–14 on CD 2 Recorded on April 7 & 13, 2001, at TODD AO, Hollywood, California.


This soundtrack was produced in cooperation with the American Federation of Musicians of the United States and Canada.

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The album Throwing Copper was pretty good, and they had a very small handful of good singles after that.  They are from just down the road from me, and used to play locally a good bit.  Man, I hated their song from this movie, though.

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6 minutes ago, mstrox said:

The album Throwing Copper was pretty good

 

Just not my taste.  That overly self-serious, “sensitive dude” 90s altrock stuff that culminated in shit like Creed and Staind.  Blech.

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1 hour ago, Luke Skywalker said:

I could swear that when first posted, it didn't say which tracks were recorded in califorfia, only the session dates...maybe I read it wrong....

 

You are correct.  The track list is a bit off - technically only the revised ending of disc 1, track 14 (Evy Kidnapped) was recorded in LA.  Disc 2 tracks 9, 20 and 21 are also LA recordings.

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3 minutes ago, Jim Ware said:

Disc 2 tracks 9, 20 and 21 are also LA recordings.

 

I thought so!

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Haven't had a chance to listen to either score on proper headphones but TMR sounds great in my car, unlike TM, which sounds brickwalled to hell and back, with maddening volume changes from track to track. Not even the wide dynamic range of Alien 3 gives me this much grief on my car speakers with volume changes. 

 

Disappointing to hear that TMR is apparently even worse with the brickwalling on proper speakers. I figured the ordinary sound quality in some tracks was just my car speakers, but it seems whatever "enhancements" they made to the sessions might have reduced the sharpness of the recording. Or they just did an ordinary job remixing the multi-tracks. Will have to form my own opinion I guess.

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1 hour ago, Disco Stu said:

 

Just not my taste.  That overly self-serious, “sensitive dude” 90s altrock stuff that culminated in shit like Creed and Staind.  Blech.

 

Agreed with the back half of that for sure.  The mid-late-90s alt rock trends (well, at least the ones that weren't far worse like KoRn and Limp Bizkit) brought us to the awful Creed Staind Nickelback Evanescence early 2000s.  Man, at the time I really liked Lightning Crashes, All Over You, and Lakini's Juice though.

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Live is nothing like those other bands and I'm not sure why Disco Stu is connecting them.  Weird.

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You think if you asked those bands who their influences where, they'd say Live?  Interesting...

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