Jump to content
Jay

James Horner's APOLLO 13 - NEW! Intrada 2CD Edition produced by Mike Matessino

Recommended Posts

Quote

NTRADA Announces:


ImageImage

APOLLO 13
Music Composed and Conducted by JAMES HORNER
INTRADA ISC 415

Intrada kicks off 2019 with a 2-CD set showcasing James Horner's stunning, Oscar-nominated score to the Universal Pictures film Apollo 13. The film was nominated for nine Academy Awards, winning for Best Sound Mixing and Best Film Editing. The film recounts the harrowing true-life story of the Apollo 13 mission that fails when an oxygen tank explodes, crippling the command module en route to the moon. The astronauts and Mission Control desperately team to prevent the capsule from drifting off into space or burning up during reentry. On film, the Apollo 13 team had composer James Horner along for the flight to envelop the audience in the astronauts' dire circumstances and hope for a safe return to earth. 

For this tale of quiet nobility and brilliant professionalism, director Ron Howard agreed with Horner not to turn Apollo 13 into an action movie, but convey patriotism and the American spirit instead, giving the score a majestic, sometimes ethereal soul. The main theme is correspondingly elegant, particularly when rendered with virtuosic grace by trumpet soloist Tim Morrison. While the astronauts triumph in what seemed certain disaster, their mission ultimately failed – a juxtaposition Horner musically captures with the haunting vocalise of Scottish singer-songwriter Annie Lennox.

At the time of the film's release, MCA released a concept album featuring period vocals, dialog and portions of Horner's score interspersed throughout. Horner had prepared a 59-minute score-only presentation for release, which was the original intent, before it morphed into the concept album. Nonetheless, MCA pressed up a limited number of promotional copies for Oscar consideration, featuring a black-and-white version of the cover. For this new edition, producer Mike Matessino accessed the 192k 24bit high-resolution transfers of Shawn Murphy’s original mixes on 1/2” tape, with all performance edits meticulously recreated. Disc one features the complete score, with the synthesizer tracks in a suite after the main orchestral program, while disc two recreates the original 59-minute program Horner had originally intended.

Special thank you goes to Universal Pictures, Universal Music Group and Imagine Entertainment for making this release possible. 

INTRADA ISC 415
Barcode: 720258541505
Retail Price: $29.99
NOW SHIPPING
For track listing and sound samples, please visit the Apollo 13 soundtrack page.
http://store.intrada.com/s.nl?it=A&id=11453

 

Quote

James Horner


Label: Intrada Special Collection Volume ISC 415
Film Date: 1995
Album Date: 2018
Time: 135:05
Tracks: 35
Price: $29.99

World premiere 2-CD release of James Horner score for Oscar-nominated Ron Howard film! Highly regarded, award-laden film chronicles eventful Apollo 13 mission to the moon, heartbreakingly aborted late during trip due to an explosion aboard command module that jeopardized lives of crew and their ability to return safely back to earth. Universal releases, Imagine Entertainment presents, Tom Hanks, Kevin Bacon, Bill Paxton, Ed Harris, Gary Sinise, Kathleen Quinlan give top-notch portrayals, Dean Cundey photographs, Brian Grazer produces, Ron Howard directs. Film is drawn from Astronaut Jim Lovell’s book “Lost Moon”, written with Jeffrey Kluger. Hanks plays Lovell in nine-time Academy Award-nominated film, including nominations for Picture and James Horner score, winning Oscars for sound and film editing. Director Howard describes film not as one of action or distress but of “absolutely brilliant professionalism and quiet nobility”.

Though Howard championed two separate albums for release from the soundtrack, incredibly just a “souvenir” release featuring the songs, dialog highlights, sound effects and limited selections from Horner’s score became commercially available through the MCA label. Horner did prepare a disc of 59 minutes of his music for internal Academy Award consideration but it never saw commercial release. Subsequently a special “Gold” edition of the soundtrack was issued but it remained the song and dialog album. Finally, through the combined cooperation of UMG, Universal Studios and Imagine Entertainment, Intrada proudly presents for the first time ever the entire score by Horner, both in the versions heard in the film lasting 76 minutes on CD 1, and in the selections Horner prepared for promotional purposes running 59 minutes which included several alternate versions and different performances of certain cues on CD 2.

Album producer Mike Matessino has also assembled the 9 minutes of music Horner scored for electronics, following the orchestral score on CD 1. The number of highlights in this important work are numerous but easily commanding a spotlight is the rich Americana flavor throughout, movingly provided by elegiac trumpet work from acclaimed soloist Tim Morrison. Lengthy musical journey includes moments of stunning power such as 10-minute “All Systems Go - The Launch”, terror (“Master Alarm”, “Manual Burn”), dynamic “Re-Entry And Splashdown”. Special mention is due Horner’s brilliant musical architecture, opening with trumpet and snares, then mirroring variety of dramatic onscreen events with emotionally overwhelming music before finally cadencing all with haunting simplicity of just solo trumpet alone. Poetic and sublime! Graphic design by Kay Marshall features flipper covers showcasing both film’s striking advance key art campaign, subsequent release style with star Hanks.

Detailed notes from John Takis plus “tech talk” from producer Matessino bring additional weight to dramatic package. Horner’s gift for writing magnificent, emotionally rich music has never been on better display. Shawn Murphy records at Todd-AO, Steve Bramson & Horner orchestrate, Annie Lennox provides haunting wordless “End Credits” vocal, James Horner composes, conducts. Intrada Special Collection 2-CD release available while quantities and interest remain!

CD 1
ORCHESTRAL FILM SCORE

01. Main Title (Film Version) (1:53)
02. Lunar Dreams (2:40)
03. A Son's Worries And Simulator Crash (4:37)
04. Night Visitors (1:08)
05. All Systems Go – The Launch (10:19)
06. Docking (2:26)
07. Master Alarm (Film Version) (3:31)
08. Into The L.E.M. (Film Version) (5:10)
09. The Dark Side Of The Moon (5:18)
10. Carbon Dioxide (5:45)
11. Manual Burn (1:56)
12. A War Story (1:06)
13. Four More Amps (3:22)
14. L.E.M. Jettison (1:37)
15. Re-Entry And Splashdown (Film Version) (9:15)
16. End Credits (Film Version) (6:55)
Total Time: 66:56

ELECTRONIC CUES
17. Marilyn’s Nightmare (0:58)
18. Canister Explosion (0:24)
19. Reactant Valves (1:09)
20. Out Of Control (1:08)
21. Power Off (0:57)
22. A Square Peg (3:49)
23. Cosmic Connection (0:44)
Total Time: 9:08

CD 1 Total Time: 76:07
 
CD 2
COMPOSER’S SOUNDTRACK ASSEMBLY

01. Main Title (2:40)
02. Lunar Dreams (2:41)
03. All Systems Go – The Launch (10:21)
04. Docking (2:26)
05. Master Alarm (3:06)
06. Into the L.E.M. (5:10)
07. The Dark Side Of The Moon (5:17)
08. Carbon Dioxide (5:45)
09. Manual Burn (1:57)
10. Four More Amps (3:20)
11. Re-Entry And Splashdown (9:15)
12. End Credits (6:59)
CD 2 Total Time: 58:58 

 

Quote

Tech Talk From The Producer…

This Intrada Special Collection release presents James Horner’s score in two incarnations. CD 1 offers the music as heard in the film, with the main program consisting of all the orchestral cues, while the wholly electronic cues (most of which are short and atmospheric and were added later in the production) are grouped as a separate collection at the end of the CD. Listeners may, of course, create a playlist incorporating these cues in narrative sequence using the following track order: 1, 2, 17, 3, 4, 5, 6, 18, 7, 19, 8, 20, 21, 9, 22, 10, 11, 12, 13, 23, 14, 15, 16 

CD 2 marks the first commercially available presentation of Horner’s originally planned 59-minute album. Created with engineer Shawn Murphy for release on MCA Records, this assembly features some performances and cues that vary slightly from the film versions (notably, “Master Alarm,” which is completely different). The album never materialized commercially, however, as the filmmakers opted for a CD that incorporated dialogue and sound effects highlights as well as pop songs from the period that could be heard in the film itself, alongside a reduced presentation of Horner’s Academy Award-nominated score. This official release was effectively a “souvenir” album, which included such luminous voices and performers as Walter Cronkite, Neil Armstrong, James Brown, Jefferson Airplane, The Who, Jimi Hendrix, Hank Williams and The Mavericks, as well as those of the film’s stars: Tom Hanks, Kevin Bacon, Ed Harris, Gary Sinise and Brett Cullen. 

This new release was sourced from 192k 24bit high-resolution transfers of ½" stereo masters of Shawn Murphy’s original mixes, with all performance edits meticulously recreated for this newly mastered presentation of one of James Horner’s best known and most engaging scores.. 

—Mike Matessino

 

 

Quote

Composed and Conducted by James Horner.
Recorded on March 24th, 25th, 29th, 30th and May 1st, 2nd, 3rd, 4th, 5th, 8th, and 12th, 1995 at TODD-AO SCORING, Studio City, California.

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



CONDUCTOR 
James Horner 

CONTRACTOR 
Sandy DeCrescent 

VIOLINS 
Clayton Haslop 
Eun-Mee Ahn 
Richard L. Altenbach 
Arnold Belnick 
Robert L. Brosseau 
Lily Ho Chen 
Bonnie J. Douglas 
Bruce Dukov 
David Ewart 
Ronald Folsom 
Berj Garabedian 
Julie Ann Gigante 
Galina Golovin Zherdev 
Endre Granat 
Alan H. Grunfeld 
Tamara L. Hatwan Chang 
Patricia Johnson 
Karen Jones 
Miran Haig Kojian 
Eun-Sun Lee 
Dimitrie Leivici 
Isabella Lippi 
Rene M. Mandel 
Gregory D. Moore 
Ralph Morrison III 
Robin Olson 
Sid Page 
Claudia Parducci 
Katia K. Popov 
Rafael Rishik 
Rachel Robinson 
Jay Rosen 
Anatoly Rosinsky 
Sheldon Sanov 
Haim Shtrum 
Paul C. Shure 
Sheryl Staples Centanni 
Polly H. Sweeney 
Roger D. Wilkie 
Kenneth Yerke 

VIOLA 
Pamela Goldsmith 
Brian Dembow 
Miriam Dye 
Marlow G. Fisher 
Rick Gerding 
Steven A. Gordon 
Keith Greene 
Scott Haupert 
Carrie Holzman-Little 
Roland Kato 
Janet Lakatos 
Donald McInnes 
Victoria E. Miskolczy 
Dan Lionel Neufeld 
Maria L. Newman 
Michael Nowak 
Robin R. Ross Chineduh 
Linn Subotnick 
Mihail Zinovyev



CELLI 
Douglas L. Davis 
J. Antony Cooke 
Matthew Cooker 
Christine Ermacoff 
Barbara George 
Rowena Hammill 
Todd Hemmenway 
Barbara Jane Hunter 
Dennis Karmazyn 
Armen Ksajikian 
Timothy E. Landauer 
Dane R. Little 
David Low 
Earl Madison 
David Speltz 
Sebastian Toettcher 
John A. Walz 

BASSES 
Charles Domanico 
Arni Egilsson 
Nico C. Abondolo 
Timothy C. Barr 
Drew D. Dembowski 
Steve Edelman 
Richard Feves 
Edward Meares 
Bruce P. Morgenthaler 
Susan A. Ranney 
Paul J. Zibits 

FLUTES 
Sheridon W. Stokes 
Louise M. DiTullio 
David Shostac 
James R. Walker 

OBOES 
Barbara Northcutt 
Phillip Ayling 
Thomas G. Boyd 
Kathleen T. Robinson 

CLARINETS 
Gary G. Gray 
James M. Kanter 
Emily Bernstein 
Gary S. Bovyer 
Michele Zukovsky



BASSOONS 
Kenneth E. Munday 
Rose Corrigan 
Patricia Kindel-Heimerl 
Michael R. O'Donovan 
John Steinmetz 

FRENCH HORN 
James W. Thatcher 
Steven B. Becknell 
David A. Duke 
Todd L. Miller 
Brian D. A. O'Connor 
John A. Reynolds 
Richard J. Todd 

TRUMPETS 
Warren H. Luening, Jr. 
George Burnette Dillon 
Timothy G. Morrison 

TROMBONES 
Richard Nash 
William C. Booth 
Alan L. Kaplan 
Robert F. Sanders 

TUBA 
James M. Self 

DRUMS/PERCUSSION 
Robert J. Zimmitti 
Dale L. Anderson 
Alan Estes 
Gregory Goodall 
Peter Limonick 
Thomas D. Raney 
Donald J. Williams 
Jerry D. Williams 

HARP 
Gayle Levant 
Jo Ann Turovsky 

KEYBOARDS/SYNTH 
Randy M. Kerber 
Ian R. Underwood 
Ronald Aston 
Michael Fisher 
Ralph E. Grierson 

COPYISTS 
Robert Bornstein 
Emmet Estren 
Kirby Furlong 
David A. Izzard 
Robert W. Joles 
Jeffrey Hoyt Jones 
Steven Juliani 
Jon K. Marquart 
Margaret J. Maryatt 
Laurie Robinson 
Victor Sagerquist 
Kendall Schmidt 
Roy Wood 

ORCHESTRATORS 
Steve Bramson 
Don Davis

 

 

media.nl?id=16595&c=ACCT67745&h=7218f8e0

 

media.nl?id=16596&c=ACCT67745&h=60fdd431

 

media.nl?id=16597&c=ACCT67745&h=c439e0d5

 

 

http://store.intrada.com/s.nl/it.A/id.11453/.f

http://www.screenarchives.com/title_detail.cfm/ID/36730/

https://www.musicbox-records.com/en/cd-soundtracks/6818-apollo-13-expanded.html

https://www.moviemusic.com/soundtrack/M11683/apollo-13/

Share this post


Link to post
Share on other sites

So is it safe to assume that all tracks on CD 2 differ from those on CD 1 in one way or another? Because even some of the ones with the exact same track titles differ in runtime. Well, Mike says "some performances and cues" are different, so I guess some are also the same.

Share this post


Link to post
Share on other sites

Yes some are different and some are the same.

 

The 5 tracks that specifically say "Film Version" on disc 1 would be different on disc 2, while the other 7 tracks are the same on both discs, AFAIK.

 

Main Titles and Master Alarm are certainly the ones with the most obvious difference.

Share this post


Link to post
Share on other sites
13 minutes ago, NL197 said:

 

Oooh I loved reading this about Go For Launch::

 

Quote

A brief note on the improvements made here in the overall sound quality of this Intrada release: The cluster of bells at 6:23 (album track timecode) into the cue shines through loud and clear on both inclusions of the cue on this album. The OST was clipped and drowned out with overpowering bass, similar to the film’s sound mix which was completely buried under the rumbling low end subwoofer channel adding to the power of the rocket. A magical moment finally given its due.

 

Kudos to Mike for working on that section!  Not all producers would do that.

 

EDIT: This too, about Four More Amps:

 

Another mention must be made of the improvements to the overall sound quality of this release, as the prior promotional album suffered from a lot of upper-range hiss because this cue was recorded virtually whisper-quiet.

 

EDIT 2: Just finished reading the whole article.  WOW, GREAT work, @NL197!  Wonderful article, I really enjoyed reading it.

Share this post


Link to post
Share on other sites

Kjell wrote the narrative aspects of the article, while I wrote out those moments involving the presentation / quality improvements and observations, along with the various release info. 

Share this post


Link to post
Share on other sites

That's a really nice article :)

 

Also, has to be re-emphasized, the moon cover as posted above, with my current monitor the cutout around the logo couldn't be more blatant if they tried. I'm astonished that found its way onto a commercial product.

Share this post


Link to post
Share on other sites

Hopefully some low-res WIP version was accidentally grabbed for the site, and the final printed booklets look normal.

Share this post


Link to post
Share on other sites

And it should be noted, that we go into as much detail as we can about classical influences, quotes and the like. We're not deaf like some out there think of Horner fans as. If we weren't, we wouldn't have put Appalachian Spring's cover in there or talked about Britten in Troy. 

Share this post


Link to post
Share on other sites

My first Horner album would have been The Wrath of Khan, I think.  This was one of my first, and the "academy promo" I bought from Screen Archives was one of my first "bootleg" purchases along with the Predator boot they were selling at the time

Share this post


Link to post
Share on other sites
2 hours ago, NL197 said:

http://jameshorner-filmmusic.com/apollo-13-expanded-edition-our-exclusive-review/

 

We also included info about the different releases and how the promo was initially distributed to the public via the DVD. 

 

I love the cue-by cue analysis you've done. Particularly, it answers a question I had when the sessions leaked - I couldn't find the Typhoon Warning cue and as pointed out it's actually heavily edited from the end of Docking. Until that point a little bit of me thought a minor cue was missing.

Share this post


Link to post
Share on other sites

I wonder why Horner wanted an unused version of Master Alarm on his intended album.


His albums are generally use the revised film versions, yes?  Well, I guess not in Search for Spock or Titanic's case, come to think of it.... there's probably others too.

Share this post


Link to post
Share on other sites

Balto used original versions rather than film versions (Balto Brings The Medicine being the best example), and Mighty Joe Young used original versions of the main title and Burning Ferris Wheel cues rather than the much bigger and frenetic film version. 

Share this post


Link to post
Share on other sites

Yea I guess I didn't think long enough before posting that.  So I guess he generally likes to showcase his original intentions for scenes before the directors asked for changes, on his OST albums.

Share this post


Link to post
Share on other sites
34 minutes ago, Jay said:

Hopefully some low-res WIP version was accidentally grabbed for the site, and the final printed booklets look normal.

According to Erik Woods the art for Mummy Returns and others also had problems and the online art matched the printed booklets

Share this post


Link to post
Share on other sites

http://www.filmscoremonthly.com/board/posts.cfm?threadID=133975&forumID=1&archive=0&pageID=1&r=348#bottom

 

Quote

The sky is falling! The sky is falling! Frankly I'm surprised at how much bandwidth has been consumed by the discussion of the covers. The amount of work by an army of licensors and Intrada folk that it takes to get a release like this out really makes every release a minor miracle. I'm still amazed the licensors find it worth their while to return my calls. Given that, the these graphics were never meant to be publicly provided. They take time to prepare and post and we get no revenue in return. It's done as a courtesy, which I am reconsidering. Someone like Erik Woods, who I thought was one of the good guys, certainly must realize that. But this endless harping is discouraging. Nonetheless, I asked our art director to provide the final version, so here it is. Whether we continue providing these in the future will be a topic of discussion, because it costs us to prepare online versions separate from the actual release. 

49948202_10156208482117169_2473787955748

Share this post


Link to post
Share on other sites

Ah ha, so they did indeed post unfinished versions. This one looks great!

 

Surely they have the finished cover art to put on their website... clearly someone made a mistake here and put a draft version on.

 

'endless harping'? A few comments about how something is unusually wrong with the cover art? All respect to Roger, but a mistake was made here and deserves a mention.

Share this post


Link to post
Share on other sites

Hmm this quote intrigues me:

 

Quote

An audio anomaly on a CD that people pay for is an urgent priority to get fixed. No one pays for the graphics and as time permits we can update the art, but sometimes we just forget and/or get consumed with the next priority project. Just sent another Horner score to the plant. Putting them up was a good deed -- that as with many good deeds doesn't go unpunished!

 

Karol

Share this post


Link to post
Share on other sites

I have no complaints about them accidentally grabbing the wrong version to put online.  That happens.


I don't understand his comment that it "costs money" to put graphics on their site?  That's... illogical.

Share this post


Link to post
Share on other sites

The only thing Roger needed to say was "Woops!  We put the wrong version up.  It's fixed now. The printed booklets will be fine too".

 

I don't really get all the other stuff he said.

Share this post


Link to post
Share on other sites
1 minute ago, Jay said:

I don't understand his comment that it "costs money" to put graphics on their site?  That's... illogical.

 

It makes perfect sense. If the company does not employ someone gifted in Photoshop to do the image editing, then they need to outsource the labor to someone who can. 

Share this post


Link to post
Share on other sites

I'm not implying it doesn't cost money to create the cover art.


I am questioning what he said, which was that it costs money to host it on the site.


Obviously, hosting anything costs money, that's not my point.


His sentence implies they would have to pay money to update which version of the cover art is hosted on their site.  Which makes no sense.

 

I mean, shoot, he already posted the fixed version for free to the FSM forum.

Share this post


Link to post
Share on other sites

But don't LLL and Varese post artwork too?

 

It would surprise me greatly if it were something that cost the labels so much that receiving one complaint about an incorrect upload causes them to reconsider.

 

@Jay yeah my comments are directed at Roger's quotes. I agree 100%,

Share this post


Link to post
Share on other sites

There is no world in which the specialty labels aren't allowed to host the cover art of their licensed projects on their store page selling these projects.


I dunno what he's talking about.

Share this post


Link to post
Share on other sites

Roger again.

 

Quote

We don't charge folks to download the graphics off the website. The high res printer files are sent to the plant to be included in the jewel case. That's our end goal and yes if those have an issue I get very concerned. The posting on intrada.com is just a courtesy, but clearly if we're going to get judged by the quality of the downloads requiring more scrutiny and effort with the resources we have, it might not be worthwhile.

 

 

 

Personally, I don't give a flying fuck. They can sell those in cardboard sleeves for all I care.

 

Karol

Share this post


Link to post
Share on other sites

Yea, he's still not making sense.  They don't put high rest versions on their website.  They only put 600x600 versions there.


And they don't need to scrutinize what they put there.  They simply need to grab the finished one, the same one they sent to the plant, not some early version by mistake. 

 

I dunno.

Share this post


Link to post
Share on other sites

That wouldn't surprise me - I have old versions of edits and album covers lying around all over the place.

 

Although obviously I don't do it professionally, in which case I'd expect to be a tad more organised.

Share this post


Link to post
Share on other sites

Probably best to speculate that in the Intrada thread and leave this thread to be all about Apollo 13.

Share this post


Link to post
Share on other sites
1 minute ago, crocodile said:

I think it's just about him being tired with endless whinging. And while there might be some valid criticism to be raised here and there, going through message boards must be really depressing read for any label owner. The amount of people that feel the urge to express their dissatisfaction that certain release doesn't cater to their own tastes is staggering. It's just endless parade of "meh", "oh I hate that score", "why waste time on this?", "not going to spend money on that" or "why don't you release.. instead?" My blood is boiling when I read that. 

 

Anyway, I'm more interested what this "other" James Horner might be? Any guesses?

 

Karol

 

 

I just don't know why I'm not one of the good guys anymore for pointing out a potential issue with the artwork? Again, the high res art features the exact same issues with the low res art.

 

I don't think I was disrespectful... I didn't say "meh", "oh I hate that score", "why waste time on this?", "not going to spend money on that" or "why don't you release.. instead?"  

 

Anyway... it doesn't seem to bother Roger so... there you go.

 

-Erik-

 

 

 

Share this post


Link to post
Share on other sites
 
6 minutes ago, Jay said:

Probably best to speculate that in the Intrada thread and leave this thread to be all about Apollo 13.

 

I didn't even notice it wasn't this thread. :lol:

 

6 minutes ago, Erik Woods said:

 

I just don't know why I'm not one of the good guys anymore for pointing out a potential issue with the artwork? Again, the high res art features the exact same issues with the low res art.

 

I don't think I was disrespectful... I didn't say "meh", "oh I hate that score", "why waste time on this?", "not going to spend money on that" or "why don't you release.. instead?"  

 

Anyway... it doesn't seem to bother Roger so... there you go.

 

-Erik-

I wasn't talking specifically about the cover issue, or yourself Erik. It's the general message board climate these days. I think this is what caused Roger to react in the way he did. We're all only human after all.

 

Karol

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...