jwalk713

Hey partner! I’m glad you were able to track it down and give it a good listen! I agree, the overlay (though brief) is WAY more exhilarating and heroic than what was originally composed for that moment. In 2019, when I was campaigning for a re-re-release of the score, one of the challenges was trying to convince the movers and shakers that there were, in fact, actual, original compositions missing, and not JUST edits created with existing material. Of course, I fully believe they would have sorted that out on their own eventually; but I did feel like a schmuck having to (politely and humbly) tell recording engineers that worked on the film, ‘No, Guy who actually worked on the score, I’m looking for some pieces that WEREN’T tracked in. Here are some time stamps.’ Understandably, I’m sure my persistence probably made their eyeballs twitch, but… more pieces were found, thank Christ. Not everything, but more so than for the previous release. 😊 And including ALMOST all of the pieces I was personally craving in good quality.

You're on, good sir!

Thanks for the information! And that was what I said, in a far more convoluted way-- 'Taxi Chase,' as heard on the sample released on the site yesterday, is NOT in the film. Thanks for the information! And that was what I said, in a far more convoluted way-- 'Taxi Chase,' as heard on the sample released on the site yesterday, is NOT in the film. Sorry for the confusion, everyone. No, 'Taxi Chase' is NOT used in the film. But the corresponding rock jam, for which 'Taxi Chase' can be overlaid, IS. I was lamenting the lack of the rock jam, by itself, as heard in the FILM. But, having concluded that this portion may well be owned by Queensryche (or whatever label they were contracted with at the time), I completely understand why it couldn't be featured on this new release. At any rate, in the OST from 1993, you can actually hear these two pieces successfully merged, and it's pretty awesome:

Can't wait for this to arrive. 😊 Not trying in ANY way to be a Debbie Downer here, but there is at least ONE piece on this release that seems to be incomplete, so to speak: 'Taxi Chase.' This piece originally featured a pretty rad rock jam, with electric guitar and driving percussion, that I am now guessing was contributed by Queensryche. The OST has this section in the second half of the track 'Real World.' On the OST, this section features the rock jam with an orchestral overlay-- hi strings performing a counter melody and some times echoing the melody of the guitars. In the FILM, it's just the guitars and drums. But, it seems that on this new release, only the orchestra overlay is featured. It sounds amazing, of course, as there is far more happening than just the high strings performing. Nevertheless, it seems I'm gonna have to try and track down a clean recording of Queensrych's portion. I've reached out to them to see if this is possible, so we'll see!

SO excited for this release!! One of my absolutely favorites 😍!! Hey there! For me, this is Karen's best rock/symphony fusion score; he also continues his tradition of adapting classical/baroque themes for his villains, including use of Vivaldi's Four Seasons, for the villain Tony Vivaldi. He even quotes at least ONE of his own themes from 'Lethal Weapon,' as a joking nod to the franchise. Some great stuff in this score!

It's kind of amazing. I'm going to go through the entire film this weekend and write it up. The takes used in the original version of the film (and on the soundtrack release) are superior, but it is a fascinating treat to hear some of these cues. Additionally, the London cues that ARE used, are mixed VERY differently. The main title really sticks out, with a few lovely flourishes and a few tragic twangs. My suspicion is that they used the Germany cues for as much as they could, and filled in the gaps with the London bits. I'd love to hear other people's thoughts on this!

This is fascinating to learn. Can you confirm-- did the RSNO John Debney Recording from '98 utilize this version? Because, in that recording, the music preceding Superman's descent to the street is almost identical to the moment in 'II,' right before Clark uses his heat vision.

Are the William Loose arrangements available anywhere? They're quite lovely!

I think 'Mystery Men' did it better than any of them.

The release is glorious as is; but that you folks would go the extra mile and make this adjustment is just amazing. Thank you for all the hard work you do!

Not not in the case of 'Marriage Plans/Robin's Alive.' this was, in fact, a separate and original composition. Granted, more than half of this cue is generic Sheriff villain music, with a few little sprinkles of Robin's motif. But the last minute or so is a glorious reprise of the sombre theme that plays at the end of 'Village Destruction #2,' and then a full orchestra statement of Robin's Theme. It's brief, but magnificent. In addition to the source music that I mentioned earlier, there is a four or five second overlay (Heroic Robin ALT), that is inserted in the film, when Robin crashes through the window to duel with the sheriff. Sadly, this was not recovered for this release. I do expect the remnants to appear one day; after all, 'Celt Battle Part 3' was an orchestration by composer Mark Watters, the recording of which has been in his possession for nearly 30 years, until Intrada connected with him and obtained it for this release. I suspect that the missing music may be sitting on other people's shelves, much in the same manner. The Kamen Estate conducted a very lengthy search, in Los Angeles, New York, and London, to find the music that IS vailable on this release. But this production had such strange variables and occurrences that seem to have scattered source recordings across the globe, it's a bit of a wonder that this much of it has been found. If and when the remaining elements are discovered, I think it could be beneficial to consider a digital release that features the remaining music, rather than another full-on CD release. But I only think that because, I feel that they have gone above and beyond with this, and there are indeed many other scores that deserve the same kind of attention. 😊

I've received it, good fellow. Now, I'm clearly biased with this one, because it is my favorite work of Mr. Kamen. But truly, this release is quite amazing. There isn't a HUGE difference in overall sound quality from the previous release, but it is definitely a rounder, fuller sound. There are quite a few pieces in which little details are more apparent. ie, all of the Music for the Merry Men, in which the dulcimer and Renaissance roots are very crisp. The treat here is having completed sequences that have been missing over the years. The new music really elevates the program, and illuminates the compositional through-line of the story. The End Credits piece is so tender and lovely, and it actually answers an editorial question I've had for years: the end/edit of 'Maid Marian' on the OST; That piece seques into a few- second, fading section of the End Title music. So, we actually HAVE heard a miniscule bit of it before. If you enjoy this score, then you'll really appreciate this edition. As has been mentioned before, there are still a few source cues that didn't turn up-- 'Wild Times,' as played and sung in the style of the other Medieval Dance cues; 'Kyrie Eleison,' for the Mass. For me, the true loss is 'Marriage Plans/Robin's Alive.' (I've expressed that ad nauseum 🤣🤣)But, that is certainly not a deal-breaker, by a long shot. This is the definitive presentation of 'Robin Hood,' and well worth the buy!

Didn't you say that already? 😄 Or something similar?

Yeah, man. They conducted a most thorough search in london, Los angeles, and other places, and we're unable to locate a few things. Wasn't from a lack of trying, though.

This is a dream come true. 😊 This score is truly magnificent, and to have completed sequences available now will quite elevate the listening experience. As always, I greatly appreciate Intrada going back and re-working/re-issuing these projects when they discover new elements. T'is a labor of love! Huzzah!