shockwave

http://filmmusicreporter.com/2023/12/07/new-soundtrack-album-for-batman-beyond-to-be-released/
 
95 tracks….
 
https://x.com/filmmusicrep/status/1732683568823103689?s=46&t=o_hiIfM33XZ3jFeOtSvXLA

Happy 21st anniversary to LLL Records!
 

Kiner was sort of Arnold-lite, so naturally he scored some early eps of Stargate SG-1.

Every score ever written should be released in complete form to anyone who wants to buy it

Lots. I rewatched the theatrical cut last night for the first time in around 13 years and I was surprised by how much was missing. The music for Decker's killing scenes is missing, along with the cue for Boone getting run over, the build-up to 'Meat for the Beast', the cue for when the police torture one of the breed, a very strange cue for when the priest meets Baphomet and lots of bombastic action from the last half hour (including a cue by Shirley Walker and, significantly, the fight between Boone and Decker).

This is a great and under appreciated score for a similarly wonderful film (especially Barker's 2.5 hour director's cut that makes the LGBTQ+ politics of the narrative very brilliantly explicit).
 
The score is from Elfman's prime era, where this track especially rocks in that idiosyncratic 90s way
 
 

This one's a no-brainer:
https://www.kickstarter.com/projects/nightgalleryart/the-jerry-goldsmith-companion
 

According to his Facebook page, there is a remastered re-release of his score to Triumph of the Spirit through his Eidelman's own label, Tempest Music. There's a Q&A on his Facebook about it (which I've not had the chance to watch) but the re-release seems to be available at various places, notably Qobuz: https://www.qobuz.com/gb-en/album/triumph-of-the-spirit-original-motion-picture-soundtrack-cliff-eidelman/eqwty7oe7p8mc. It's also on 7Digital, but isn't lossless (for some reason). Also on Spotify for the streaming crowd... 
 
Apparently he financed this himself so hopefully it'll get a decent number of buyers and maybe lead to some more of his scores being remastered/expanded and maybe lead to a CD release if LLL or someone wants to collaborate with him.
 
If anyone has any more info, do feel free to add! It's a great score that certainly shows the promise that he never quite had the opportunity to fulfil.

I've gone through each episode with AHA Music (I've been trying every few days since the first episode) and here's what will be included on the first soundtrack release for the the second series! (Unfortunately, it only credits Kevin Kiner, so the full track credits are unknown)
 
I suspect this means that it will be released sometime this week!

Wow!!!! The 2-parter (Ep. 7 & 8) midseason was incredible.
It was a really good political thriller.
I felt that the scenes in the Senate were maybe the best it was e er done. It really felt like a true Senate that was debating over how to rule the Galaxy. Then add all the characters from both Clone Wars & Rogue One that showed up for cameo, it was just really well done.
 
And I really liked that Senator Chuchi got a larger role in both episodes. She was the driving force behind the story moving forward. Very well done.
 
I also wanted to note how in these episodes  It really felt like the Empire was incredibly dangerous and scary. It's been a long time I felt that way. Mostly during the coversation in the Senate or with Senator Chuchi it always felt like the Empire was behind every corner.
 
Couple small things I really like:
- The Bad Batch never using blasters on the Clones but always non-lethal.
- The music has really been excellent this season. Can't wait for the album(s)
- Palpatine's entrance into the Senate gave me goosebumps. He really is such an interesting character.
- I did not expect to Rampart to be taken out so early, but it did make the point that The Empire is unstoppable.
 
I hope this continues for the entire season because this was peak Star Wars. Loved it!

The music was so good. That synth stuff in the first episode was paranoid and creepy. I want it!
 
The rendition of The Emperor's theme that played at the end of the second episode, with the super high chorus and then then being handed all around to different instruments, was that from one of the prequels, or TROS? Or did Kiner come up with that on his own? One of the best renditions of a theme that was not wanting for great renditions.
 
Oh, and Ian McDiarmid for the win! I wish he could have looked that good in Revenge of the Sith! Yikes!
 
The stun blasters are a little... Showy? If nothing else, isn't that like a calling card for who they are? I was also a little leery about how out in the open Omega is. She's still a wanted asset and she's pretty distinctive.
 
Always good to see Bail.

Intrada knows fans would love to buy the expansions of Rogue One and Solo on physical CD and would very likely partake in making that happen if Disney Records was willing to license those releases to them.  Whether or not they've actually tried to do so is not something they have publicly revealed.

I own one John Beal CD
 

 
 

Has anybody watched this yet? I just finished it, only having heard about it through a review on British radio.
 
It's excellent!
 
Without spoiling too much, it's basically about a guy who is a talented and massively lauded chef in New York who is beckoned back to his recently deceased estranged brother's sandwich cafe in Chicago, that he left to him in his will. When he arrives, he has to deal with the existing staff and manager who, stuck in their ways, don't exactly agree with his plan for improving the joint. Add to that, a talented yet inexperienced young chef arrives with her CV in hand - equally determined to put her mark on the place. 
 
It's eight episodes of very easy viewing (only about 30mins each) but anybody who has ever worked in a kitchen will relate enormously to some of the events portrayed. And it's very funny.

Independence Day is exactly the same in terms of its bad editing of the score for the added scenes. 

Unlike Stargate, the theatrical of iD4 is the (far) better version, though some scenes in the extended are interesting enough. The problem is the audio mix for them is essentially mono and likely temp. The two worst examples of the music not flowing with the film are: 

1. The short added scene during the "Welcome Wagon" sequence where David and his father Julius are in the Oval Office. Julius is mesmerized by simply being there, which prompts David to joke that "imagine a poor immigrant like me. It's a dream!"

The scene not only breaks the tension too much, but literally breaks the sequence (and music) in two - it's dropped in there with no style or effort whatsoever. 
 
2. in the height of the end battle sequence, after the brief moment of levity with Julius gathering people to pray and Nimziki saying he's not Jewish ("nobody's perfect" Julius remarks. Unlike the added Oval Office scene this light tension breaker works well here - and it's theatrical) another scene is just dropped in without any effort put into it: This whole unnecessary subplot of the Casse children / daughter bonding with another kid (the curly-haired kid from "My So Called Life") was added to this extended cut, and culminates in a lame payoff of an earlier joke of the daughter not wanting to die a virgin. Very low in the audio mix you can hear the faintest bit of "Master Alarm" from Horner's APOLLO 13 in there, clearly temp score (as Arnold mentioned in the LLL album liner notes). 
 
I adore Independence Day. All these years later it's still one of my dearest favorite movies (and favorite score) but man...the extended cut isn't worth a watch more than once. 
 
 
As for that abrupt cut in the Stargate music, I think I know which scene you mean: 

The 'Slave Rebellion' sequence was extended with a sandstorm and the music cuts were just piss-poor. Just awful.
 

So, I’ve been playing this score a lot lately, and over the weekend decided to revisit the film in order to see the context for all the music
 
I ended up watching the Extended Cut, which overall I found to be a better film than the Theatrical cut.  The one downside, though, is that it’s extremely clear that Arnold never scored any of the footage they put back in (other than the opening Abduction scene), which is to be expected.... however the problem is that whoever was in charge of adding music to the new scenes did a very bad job!  Often the tone of the music put in didn’t really match the tone of the scene, but much worse is that some of the edits are super noticeable and jarring, not smooth at all.  There was one time where a cue was artificially ended so abruptly and obviously I wondered how it ever passed whatever quality control they had when making this cut… 
 
So long story short, if you want to watch the film solely to appreciate the score, watch the theatrical cut; If you want a more developed story with more character development, watch the Extended Cut - but just be prepared to be annoyed by bad music edits in some of the additional scenes  

After watching the film, I went to see if the original cue titles were in GEMA, and it turns out they are!  After finding them all and sorting through them, I learned that there are actually many times on the original soundtrack album where Arnold actually put two cues together in one track, though in all cases they are cues that are also joined in the film (though the transition between cues is not always the same).
 
Here’s a quick table showing all of Arnold’s original titles (well, at least the titles on the official cue list, we all know sometimes sheet music has different titles than the official cue list) and how they relate to album names:
 

  Cue LLL Varese Deluxe OST 1 Main Title Stargate Overture Stargate Overture Stargate Overture 2 not in film Abduction Wild Abduction   3 Giza 1928 Giza, 1928 Giza, 1928 Giza, 1928 4 Envelope Unstable Unstable Unstable 5 Unstable, Part 1 6 Unstable, Part 2     7 The Coverstones The Coverstones The Coverstones The Coverstones 8 Translation Translation Translation   9 In Case You Succeed In Case You Succeed     10 Orion Discovery Orion Orion Orion 11 The Stargate Opens The Stargate Opens The Stargate Opens The Stargate Opens 12 Send In The Probe Send In The Probe     13 You’re On The Team You’re On The Team You’re On The Team You’re On The Team 14 Commencement Sequence 15 Entering The Stargate Entering The Stargate Entering The Stargate Entering The Stargate 16 Galactic Rush 17 The Other Side The Other Side The Other Side The Other Side 18 Bomb Assembly #1 Bomb Assembly Bomb Assembly   19 Bomb Assembly #2 20 Mastadge Mastadge Drag Mastadge Drag Mastadge Drag 21 The Mining Pit The Mining Pit The Mining Pit The Mining Pit 22 King Of The Slaves King Of The Slaves King Of The Slaves King Of The Slaves 23 Caravan To City Caravan To Nagada Caravan To Nagada Caravan To Nagada 24 The Eye Of Ra The Eye Of Ra The Eye Of Ra   25 Sari's Moon Daniel And Sha’uri Daniel And Sha’uri Daniel And Sha’uri 26 Spread Out Spread Out     27 Skaara And Gun Skaara And Gun     28 Symbol Discovery Symbol Discovery Symbol Discovery Symbol Discovery 29 Sarcophagus Opens Sarcophagus Opens Sarcophagus Opens Sarcophagus Opens 30 Mastadge Finds Dan Daniel’s Mastadge Daniel’s Mastadge Daniel’s Mastadge 31 Leaving Nagada Leaving Nagada Leaving Nagada Leaving Nagada 32 Ra's Entrance Ra – The Sun God Ra – The Sun God Ra – The Sun God 33 Daniel's Death 34 Attack On Nagada The Destruction Of Nagada The Destruction Of Nagada The Destruction Of Nagada 35 Nagada Destroyed 36 Myth, Faith, Belief Myth, Faith, Belief Myth, Faith, Belief Myth, Faith, Belief 37 Processional Procession Procession Procession 38 Slave Rebellion Slave Rebellion Slave Rebellion Slave Rebellion 39 We Don’t Want To Die We Don’t Want To Die We Don’t Want To Die We Don’t Want To Die 40 Execution Execution Execution   41 The Kiss The Kiss The Kiss   42 The 7th Symbol The Seventh Symbol The Seventh Symbol The Seventh Symbol 43 Against The Gods, Part 1   44 Against The Gods, Part 2 Against The Gods Against The Gods   45 Quartz Shipment Quartz Shipment Quartz Shipment Quartz Shipment 46 The Battle Battle At The Pyramid Battle At The Pyramid Battle At The Pyramid 47 The Battle Continues 48 The Countdown Begins 49 The Surrender The Surrender The Surrender The Surrender 50 Transporter Horror Transporter Horror Transporter Horror   51 Kasuf Returns Kasuf Returns Kasuf Returns Kasuf Returns 52 The End of Ra 53 Last Salute Going Home Going Home Going Home 54 Going Home 55 End Credits End Credits Closing Titles (Intro)  
So with all this in mind, I can quickly break down how Arnold constructed his original OST album
 
The take(s) chosen for the album are all the same as the film except for a few spots I will point out throughout
 
1 Stargate Overture (3:01)
“Main Title” 2 Giza, 1928 (2:10)
“Giza 1928” 3 Unstable (2:07)
0:00-0:26 = “Envelope” 0:16-end = “Unstable (Part 1)” In the film, “Envelope” plays almost all the way to the very end of the recording before “Unstable (Part 1)” comes in just as its finishing up; Neil re-created this timing exactly in the LLL track “Unstable (Film Version)”.  For the original score album, Arnold has “Unstable (Part 1)” come in super early, overlapping most of the final chord of “Envelope”.  
 
In the film, “Unstable (Part 2)” comes in as “Unstable (Part 1)” is finishing up, again exactly re-recreated by Neil for the LLL album. The original score album omits “Unstable (Part 2)” entirely, giving us the full clean ending to “Unstable (Part 1)”
 
4 The Coverstones (0:58)
“The Coverstones” 5 Orion (1:29)
“Orion Discovery”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 1:00-1:10, when the military theme plays on brass.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where the brass military theme was taceted out, and that version went into the film (and LLL main program).  
 
This is also the only cue noticeably edited down in the final cut of the film, some footage was clearly removed around the spot where he holds the newspaper up next to the Orion glyph.  Whatever it was, was not restored for the Extended Cut.
 
6 The Stargate Opens (3:58)
“The Stargate Opens” 7 You're On The Team (1:55)
0:00-1:09 = “You’re On The Team” 1:06-end = “Commencement Sequence” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
8 Entering The Stargate (2:57)
0:00-2:29 = “Entering The Stargate” 2:26-end = “Galactic Rush” These two cues do overlap in the film, but were crossfaded together much more tightly for the album version where-as in the film "Entering The Stargate" has more room to breath at the end before "Galactic Rush" begins.  Neil re-created the join as heard in the film exactly for the LLL main program.
 
9 The Other Side (1:44)
“The Other Side” 10 Mastadge Drag (0:56)
“Mastadge” 11 The Mining Pit (1:34)
“The Mining Pit” 12 King Of The Slaves (1:15)
“The King Of Slaves” The final film mixes in a low string chord (recorded as a pick-up opening) over the beginning, starting the music a bit earlier than initially spotted, but the album presents the originally-intended opening
 
13 Caravan To Nagada (2:16)
“Caravan To City” 14 Daniel And Sha’uri (1:53)
“Sha’uri's Moon” (misspelled “Shari’s Moon” on the official cue list) 15 Symbol Discovery (1:15)
“Symbol Discovery” 16 Sarcophagus Opens (0:55)
“Sarcophagus Opens” Arnold chose not to include the choir on the album that is heard in the film mix
 
17 Daniel's Mastadge (0:49)
“Mastadge Finds Dan”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 0:26-end, a full lush ending to the piece.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where a lot of the instruments are faceted out, creating a more subdued ending, and that version went into the film (and LLL main program).
 
18 Leaving Nagada (4:09)
“Leaving Nagada”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 3:03-3:26, with a fuller brass performance.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where some of the brass was tacted out, and that version went into the film (and LLL main program).
 
19 Ra - The Sun God (3:22)
0:00-2:10 = “Ra’s Entrance”, an entirely different take than the film uses 2:08-end = “Daniel’s Death” I don’t know exactly what it is about the take(s) heard on the album that Arnold preferred over the take(s) in the film, but they are entirely different performances from one another, most noticeable in the slightly different ending.  The film version also has choir that is not heard on the album.  
 
“Daniel’s Death” seems to be exactly the same take(s) in the film and the album, the segue from either version of "Ra's Entrance" into it seems to be about the same between the album and film.
 
20 The Destruction Of Nagada (2:08)
0:00-0:35 = “Attack On Nagada” 0:31-end = “Nagada Destroyed” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
21 Myth, Faith, Belief (2:18)
“Myth, Faith, Belief” 22 Procession (1:43)
“Processional” 23 Slave Rebellion (1:00)
“Slave Rebellion” 24 The Seventh Symbol (0:57)
“The 7th Symbol” In the film, the ending of this cue segues directly into “Against The Gods (Part 1)”, but Arnold didn’t include that cue on the score album at all, giving us the full clean ending of “The 7th Symbol”.  “Against The Gods (Part 1)” was appended to this cue for both the Varese Deluxe Edition and LLL main program.  
 
Curiously, there’s a whole unscored scene in the film before “Against The Gods (Part 2)” plays, so it’s a bit odd Arnold gave both compositions the same cue name instead of two different ones.
 
25 Quartz Shipment (1:27)
“Quartz Shipment” 26 Battle At The Pyramid (5:02)
0:00-2:10 = A slightly altered arrangement of “The Battle” and “The Battle Continues” combined together and recorded just for the album 2:09-end = “The Countdown Begins” So this is an interesting one.  The film has the cue “The Battle”, a pause, “The Battle Continues”, another pause, and then “The Countdown Begins”.  “The Battle” and “The Battle Continues” both technically debuted on the LLL set, because for the original score album, instead of these 2 cues, we get a unique recording that takes the material in both of them and records it as a single piece without a pause in between them.  Additionally, the album segues right into “The Countdown Begins” so the full clean ending of this album-only recording is not available anywhere.  As far as I can tell, “The Countdown Begins” is the same take(s) in the film and the album.
 
27 We Don't Want To Die (1:57)
“We Don't Want To Die” This is the only track out of chronological order on the score album (chronologically it would go right after “Slave Rebellion”)
 
28 The Surrender (1:44)
“The Surrender” 29 Kasuf Returns (3:06)
0:00-1:32 = “Kasuf Returns” 1:32-end = “The End of Ra” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
30 Going Home (3:09)
0:00-1:17 = “Last Salute” 1:17-end = “Going Home” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 

Back in stock!
 
https://lalalandrecords.com/stargate-25th-anniversary-expanded-limited-edition-2-cd-set/

Even if that were true (and I think it isn't)... that's like half the length of what's currently available from the score. So as with Goldsmith's Damnation Alley or SPYS, adding 10 minutes is adding a third of the score, and probably very significant in terms of architecture and development!
 
Yavar

Red October is one score that's perfect in the film, but outside of obvious musical highlights, doesn't play great in complete form on album. I'm still grateful for the complete release but I edit it down.
 
Yavar

Definitely. The album version of Red Route I alone makes owning *some* release a must.

I haven't noticed any sound issues either, except in the end credits suite - I'm too lazy to dig out the liner notes, but I expect they were taken from film stems or something. They're just a rather harsh copy & paste suite of film tracks anyway, though the beginning is nice to have because it features the choir bits without the orchestra track and you can hear details in the choir writing that get completely lost in the full mix.
 
The expansion is no revelation though. The album had plenty of filler stuff already, and aside from one or two nice moments, the expansion mostly adds more of that. And the film versions of some cues are also much inferior to the album versions - I'm looking at you, Red Route I.

https://www.facebook.com/lalalandrecords/posts/10160179438883755

We all know how much 'Charging Fort Wagner' cue sounds so similar to the famous Classcial Piece Carmina Burana and how James Horner ripped it off for GLORY.

But the actually truth is how much he was forced if not influenced by the director to use the piece in the tapestry of the score. In 1992 James Horner did a 1 Hour Master Class Seminar for UCLA students. The entire session is taped and available on youtube. You can see that Horner explain in detail how the whole thing about  the cue came to being and how he saved the film makers from being sued becuase the director were listerally obsessed with the cue. Its a classical case of temp tracking and falling in love with it.

Ive just painstakingly transcribed the entire GLORY segment for you to read and relfect.

The actual discussion starts around 16 minutes.
 



Enjoy:


JAMES HORNER: [In] the last scene of GLORY.. The storming of Fort Wagner in the end, the director had put in temporary music: ‘Carmina Burana’ which most of you all know and is certainly a big classical 'Warhorse' so to speak, its been used everywhere on movies, in concerts. And it’s a very popular piece.

JAMES HORNER: “ He put it in for the sequence and he fell in love with it. He knew he couldn’t get it. He knew he couldn’t license it, he knew he couldn’t have it literally, but he asked me to write it sideways.

JAMES HORNER: And as an composer..

(Class Audience starts Giggling)

JAMES HORNER: …as an artist You say: Right, well, It’s over here ; you start over here. I know what he wants, I know what HE is after. It has to be done with a chorus and orchestra; it has to have a drive. And I would play for him and gradually over the course of the 3 weeks prior to the scoring sessions, he wasn’t happy, he wasn’t happy, he wasn’t happy, he wasn’t happy [indicating the sequences visually] until he was very close to where I was uncomfortable with it legally. That I felt, that he forced me into a position that I could either refuse to do the piece of music or apprise everybody that we had a legal problem and do it anyway. Which I did. But, its a .. when you know how to work the system, I knew this if I got too close to it legally he will be really screwed because he wouldn’t be able to not only use my piece of music that I recorded. He wouldn’t, he still wouldn’t be able to use Carmina Burana. What would happen is that (legally) I‘ll be forced to record a third piece of music for the sequence. And the lawyers would be telling him: you can’t have what you want that James do the score; but legally he has to do this. Okay?. And .. Ed Zwick, the director, left me alone. I did a new sequence that was original music and put it in and he ended it up liking it much better than any of the stuff that we’ve done before.

JAMES HORNER: But we never would have gone to that point unless I forced the issue by actually going legally to close the Carmina Burana or we would be sued by the Estate. All of those things happened. It’s fascinating. Sometimes, sometimes.. directors, you know, put temporary mood.. music in a movie ..and they would fall in love with it. And no composer alive can get him out of that way of thinking. That’s .. how he starts thinking. He edits the movie with that music in it, he dreams about it, he thinks about it, or she thinks about it ..

JAMES HORNER: Then they come to hire the poor composer….

[Class Audience starts laughing]

JAMES HORNER: …and they say: “the slate is clean I don’t have a preconception in my mind” You know.. all it takes is 20 minutes worth of him to find out…”No I don’t like that”, "No I don’t like that, ”No I don’t Like that” “ Well the temporary score we did this and it works very well for me” And you find that all of the directors do that. That’s part of working in Hollywood.

Just pointing this out: Star Trek III has different licensing requirements. Maybe it could have been mentioned to Paramount in the same breath with revisiting II, but the original album program to III is owned in perpetuity by a completely different record label than II...
 
Yavar

Oh that's interesting information I hadn't realized!
 
Star Trek 2's OST was released by Atlantic Records (now owned by WMG), and LLL's press release starts off by saying "La-La Land Records, Paramount Pictures and Atlantic Records proudly present..."
 
Star Trek 3's OST was released by Capitol Records (now owned by UMG)
 
UMG is the entity that was slow to approve titles for over an entire year until the floodgates finally opened this spring, so LLL might not have even attempted to get a license from them for it, with so many projects already waiting for their approval first...
 
Between 2020 and 2021, the only UMG titles LLL has gotten out the door are:
 
2020 Jan - Darkman
2020 March - Far and Away
2020 July - Two Mules for Sister Sara
2020 August - Casper
 
2021 May - X-Men
2021 June - Always
2021 July - Somewhere In Time
[EDIT] 2021 September - Glory
 
So with that in mind, a new edition of Star Trek 3 sounds increasingly unlikely.  Maybe in 2024 for it's 40th!