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Smaug The Iron

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  1. Thanks
    Smaug The Iron reacted to Yavar Moradi in The Official Varese Sarabande Thread   
    I'd classify that more as an additional pressing of the same release. On the Goldsmith front, Varese released this expansion of their 1985 original album in 2006:

    And in 2014 they reissued the same expanded program changing the packaging only slightly, marketing it as an Encore Edition (I think it might be the only Encore Edition that was a straight reissue of a Deluxe Edition rather than an original album...I don't quite count Giacchino's Star Trek because of the significant packaging change):

  2. Thanks
    Smaug The Iron reacted to OneBuckFilms in The Official Varese Sarabande Thread   
    Star Trek (2009) Deluxe Edition comes to mind. There might be some others.
  3. Like
  4. Like
    Smaug The Iron reacted to BB-8 in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    Also got mine a few days ago, and it is still sealed...
  5. Like
    Smaug The Iron reacted to bored in Best single in-film statement of every major Star Wars theme?   
    Was always a fan of the suspenseful interplay between Vader and The Force theme here: 
    In terms of big and impressive statements, I'm a huge sucker for the huge version of Luke's theme interwoven with the Rebel theme:
  6. Like
    Smaug The Iron reacted to HunterTech in Douglass Fake from Intrada has passed away   
    Prior to 2019, the only real soundtrack CDs I had purchased were ones connected to things I would've had a longtime attachment to. Superman and Harry Potter were real no brainers for me to have, but I otherwise stuck to whatever you could easily find rips of online. The most I would've gone out of the limb for then was for an obscure expansion I really wanted that I couldn't find any digital copies for initially. That was it.
    Then I suddenly had access to a spreadsheet of stuff for bootlegs and other rarities that I eventually was allowed to show others. A friend had asked for Young Sherlock Holmes, on the basis that he didn't have any Bruce Broughton in his collection. I complied, and that might've been the end of it in any other scenario. However, this particular item suddenly kept jumping out at me whenever I thought back to it, and I really wasn't sure why. Perhaps because it was (in at least a few circles) such a relatively unknown title to be asked about that it piqued my interest. I really can't recall how much of it I would've heard, but it definitely was enough for me to think that it stood out among the regular glut of stuff I was hearing then.

    Not too long after, Intrada announces that they've now made a new edition for the score, with the first gen masters of the original mixes finally being found for release. Now, I already knew that I could've waited for a rip to pop up online, since I had decent awareness of the prior editions that existed. Yet, with how often they re-released this particular title, I could sense just how much passion they had for it if they were willing to throw away the new mixes they made for the 2014 release. Especially since, even now, just the OST alone wasn't available to stream, so for that to finally have a proper compact disc release was really something special. So, in what would've been an unusual move for the time, I ordered it the moment it became available to purchase.

    I may own slightly less than half of what I have from LLL, but I've pretty much cherished every Intrada release that I do have, even with the warts of some. I do sincerely believe that had I not made that one purchase, my collection wouldn't be anything like it is today, and that's something I'm sure Fake wanted to see in his film music pursuits. Being able to reach hidden gold to the most unsuspecting of listeners. He will be missed.

  7. Like
    Smaug The Iron got a reaction from enderdrag64 in A.I. Artificial Intelligence (2001) - 2021 20th Anniversary Edition (reissue of 2015 3CD set) from La-La Land Records   
    Plus a different version of Inside Dr.Know's
  8. Like
    Smaug The Iron reacted to Thor in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    This was originally way out of my price league, but thanks to some super generous souls on FSM, I've managed to acquire this CD for just the cost of the customs. It was waiting for me in the mailbox when I arrived home yesterday, after three weeks at my parents' place.
    It was a great moment when I could finally chuck the old bootleg in the trash. Looking forward to playing this soon!
  9. Like
    Smaug The Iron reacted to Amer in A.I. Artificial Intelligence (2001) - 2021 20th Anniversary Edition (reissue of 2015 3CD set) from La-La Land Records   
    Luckily I have both versions of this set!! The original edition and the special edition wrong pressing with the unreleased alternates!! That was recalled! 
  10. Like
    Smaug The Iron reacted to crumbs in A.I. Artificial Intelligence (2001) - 2021 20th Anniversary Edition (reissue of 2015 3CD set) from La-La Land Records   
    Ditto! The latter is especially rare, doubt there's more than 50 copies in the wild.
  11. Surprised
    Smaug The Iron got a reaction from Chewy in A.I. Artificial Intelligence (2001) - 2021 20th Anniversary Edition (reissue of 2015 3CD set) from La-La Land Records   
    LAST CALL!!!
    Our limited edition expanded and remastered 3-CD SET of
    A.I. ARTIFICIAL INTELLIGENCE is going out of print!

  12. Like
    Smaug The Iron reacted to Andy in The Official Intrada Thread   
    Hopefully the contacts and relationships with Disney that Doug established can be maintained.  
  13. Like
    Smaug The Iron reacted to Edmilson in The MCU - Marvel Cinematic Universe   
    This smells a bit like desperation to me...
    But at least Silvestri will probably be returning as well.
  14. Like
    Smaug The Iron reacted to Maglorfin in Soundtracks, Compilations, or other recently purchased Music   
    These two lovelies chose to arrive today - exactly on the 51st anniversary of the first day of The Sugarland Express recording sessions! 

  15. Love
    Smaug The Iron reacted to Holko in Restored Isolated Score: HOOK   
    Well, here we are.
    I like this movie and I love this score. This was an absolute pleasure to do. Even if some of it is butchered to shit.
    You know the drill by now, score first, movie edited to it, sometimes even disregarding the actual in-film usage/sync. Primary source was the LLL Ultimate Edition, with the leaked sessions used in only a handful of places for a clean ending/opening where needed. I tried my best to fill some gaps by looping footage and adding back dialogue where possible, the 1991 script was useful for some of this. The sketches with sync point notes were also sometimes helpful but since the leak is incomplete, it was not always as useful as it could have been. The booklet already has a great track-by-track so I wasn't aiming to do the same in full detail, I went more for trying to highlight some specific sync points/scoring choices since in these videos that's the primary focus.
    I stepped a certain aspect of video production up for this project, hope it won't go totally unnoticed .
    Thanks to @Jay for some helpful resources, clarification and help, hook-movie.com for the teaser (how the hell is it still officially unreleased???) and stills, @Goldfingers for some Low Below information and video, @QuartalHarmony for the lyrics transriptions, @Chewy and @crumbs for support and feedback, and of course everyone who worked for years to make the wonderful LLL set a reality!

    Hook Trailer - A mysteriously enticing motif sets the stage as the camera pulls back from the Tristar logo and reveals the map. Jolly Roger comes in as we start to leave The Known (with a strike for the magnifying lens focusing on the Elizabeth Tower). Once we're past The Unknown, the mysterious motif comes to the fore again, then brass accents the glass gliding over ships, and finally the Peter Pan theme comes in as the first cast name comes in full view. The glide from cast to the director credit is accented, the brass turns darker as The Lost Boys come into view as the target, the magnifying glass shifting to focus the light is accented again, a cymbal wipes away any rhythmic elements as the Nevertree starts burning. The title card goes back to Jolly Roger, but the rest of the credits see the return of Peter Pan again.

    1M2 Pt.1 Piano Intro - Mostly unused, the final film pretty much only has the Tinkerbell section, starting midway into the title card. The Tinkerbell section happens to match the shots of all the kids' faces in length so I thought I'd put it there and reedit the titles to fit with the opening notes.
    1M2 Pt.2 Peter's Entrance - The script has a cool introduction scene for Peter (Banning), and I could find evidence that something like this was shot: At the end of the crane shot revealing the audience, he's not sitting next to Jack yet, then it cuts to the closeup where he's there already, fidgeting a bit, possibly as he's just sat down. Therefore I included a reduced version of it and mostly disregarded the film edit sync for both these cues.
    1M3 We Don't Wanna Grow Up
    1M3B Yuppie Sounds - This revised version (the last cue recorded) fits the final cut perfectly.

    2M1 Wendy's Entrance - The first proper orchestral cue starts as Peter reacts to Wendy's call (possibly the most genuine we've seen him so far), and Childhood enters as Wendy comes into proper view, then comes back for a reprise when Wendy playfully tells everyone to stop growing up.
    2M2 The Bedroom - Various mysterious and ominous textures follow, Peter opening the door and closing the window are especially accented.

    3M1 The Nursery Scene - The cue starts as the camera starts properly pushing in after some initial wobbles, then further strengthens the Wendy/Childhood connection.

    3M2 Saying Goodnight - The sketch says this cue starts on "Moira Leans In", but there's no more clues about the missing bits. I guess when JW scored the scene, there were still more remnants of Moira's Lullaby that ended up being removed? Anyway, When You're Alone connects the kids to their parents, Childhood is connected to Wendy again, and we also get the first of many prominent "lights turning off" accents.

    3M3 Hook Returns to Kensington - Finally JW gets some meat to show off his chops, accenting many cuts and beats very dramatically. For whatever godforsaken reason, the final film loops the cue a bit near the end, pushing the obvious stingers for the sheets rising and Wendy's glass falling very much out of sync.

    4M1 Hook is Back - This cue bends the Witches of Eastwick temp track into a similarly highly dramatic and reactive piece.

    4M2 Forgotten How To Fly - Mothers scores the camera pullback through the window appropriately melancholy, and Tootles deserves this fun little opening melody, but its reprise is a bit misplaced IMO.

    4M3 Looney Wendy Insert - This revised first half downplays the titular looneyness quite a bit and goes for a simple magical mood.
    4M3 Looney Wendy (second half) - Low Below and Hook's theme dramatically underline the gravity of the situation.
    4M4 The Arrival of Tink - Spielberg really shows his complete trust in JW for Tinkerbell's introduction, instead of impressive effects it's all Robin's acting and Johnny's music that depict her crazed darting before we are actually allowed to see it. The rest of the cue, based on her theme, is not insignificantly edited down in the final film, but I could find ways to loop material and found some lines in the script to fill it in.
    4M5/5M1 I Don't Believe In Fairies + Extension - The opening is severely cut down, but the rest fits fine. The section where Peter tries to explain Tink away has some of the most peculiarly "out there" scoring in the film for a scene like this, my best explanation is it's JW trying to depict how Robin's mind worked. After this act's buildup, the grand Childhood renditions at the end are thoroughly earned.
    5M2 Arrival at Neverland - The film dials out the opening flutes and strings following Peter's finger, the cue only enters with the crazed sting for the first view of the clock. The ending probably wrongly goes over footage that would be scored by the next cue's ending.
    5M3 Slicing the Hand - Completely unused, but thankfully the script describes the missing scene.
    5M4 I'll Take Those Shoes - JW made some interesting choices here about what to emphasise or leave to the sound effects department.
    5M5 Show Us Your Hook - The perfect Entr'acte to the next act of the story, even if the footage is cobbled together from tiny sad remainders of an awesome musical sequence.

    5M6/6M1 Hook's Entrance - Pompous and tense explorations of Hook's material. Take note of how the music follows the tempo of things like the "Hook, Hook!" chant and his footsteps, almost as if they were still continuing to follow a choreographed routine to playback. The final film dials out everything between "Revenge is mine" and him descending the stairs, for which it uses a different take without the brass and bells embellishments, then it compresses the ending around Glenn Close a bit.
    6M2 Draw Your Sword! - Dark desperate Childhood renditions are briefly interrupted by comedic bits. The final film only keeps the last third, starting with the reveal of the scar. It also runs longer than the cue, I had to cut out a bit around the scar, and some final insults Hook has for him at the end.

    6M3 Hoist the Kiddies - The desperate Childhood returns in various tense and dark variations. This cue is completely unused in the film, the footage was severely cut down, the script describes a different scene (Peter and Hook talk over each other, then Hook just sends Peter to walk the plank), and the cue is missing from the leaked sketches, so this is 100% pure guesswork.
    6M4 Tink Strikes a Deal - After the dark mood continues building, Tinkerbell's theme and some playful stings finally interrupt it and crescendo to a grand Childhood. The film cuts out a good chunk near the start but I couldn't find any good clues about exactly what could have been there.
    6M5/7M1 The Mermaids - Gorgeous impressionistic writing scores the change in mood. The film cuts the end of the sequence down pretty noticeably.
    7M2 To Neverland - Fun scoring for Peter's various misadventures around the island, interrupted by a grand statement of Believe for the island reveal. The sequence was heavily shortened with some pretty noticeably not matching cuts.
    7M3 Lost Boys Appear - The fun continues with lots of stings, runs and whooshes for Peter's falls and Tink's and the Boys' movements, a new fanfaresque motif and some wild Childhood variations. This part of the sequence was also cut down a bit.
    7M4 Enter Rufio - A new ominous motif for Rufio's cart leads to more highly reactive scoring. The cue is completely unused but mostly self-explanatory - the cart sequence was shortened and the conversation at the end was lengthened so I had to try and adjust accordingly.
    7M5 The Lost Boys Ballet (original version) - This mad-tempo powerhouse of a cue mostly fits perfectly, except for a chunk in the middle which was removed. The final film also dials out the final timpani roll and uses an overlay for the basketball part (see later).

    7M6/8M1 The Face of Pan - JW scores this pivotal scene in a very organically grand way, still reacting to beats but you wouldn't know by just listening.
    8M2 Don't Try to Stop Me... Smee! - Hook's themes play in more gentle and understated renditions until he decides to "get dramatic", when pedal notes turn it into more of a march with even gallows-snares entering for the coming self-execution.

    8M3 Smee Steals the Show - Overall this cue is more like a formal arrangement that just plays over the final scene.
    8M4A Pick'Em Up - The film cuts this down pretty severely and noticeably, badly upsetting the obvious call-response-call-response structure. The opening is extended in the film over the shot of Hook laughing.
    8M4B More Never Band - The film transitions into it with a crossfade, losing the opening for the sword.
    8M6 New Hook Lessons - Stick With Me plays in a sugarcoated sleazy version, but only Maggie sees through it, getting an agitated string section for her attack and capture. JW then reinforces the genuine threat for the ending.
    9M3 The Banquet - Williams is firing on all orchestrational cylinders, from the xylophone and flute runs for the corn eating to the tuba for Thud Butt, the more serious mood for Rufio sitting down, the semi-religioso sound when they're preparing to say grace.

    9M4 Cornucopia + Insert - The score comes in as Peter delivers his first real blow Rufio can't respond to (the film only starts fading it in when the Boys start cheering him for it). The insert holds back the return of the Banquet/Lost Boys theme until the camera pulls back and the feast begins again.
    9M5 Cutting the Coconut - At the start, the cue opts to go for Peter Banning's perspective and uneasiness.
    10M1 When You're Alone (film edit) - Since the script describes the original very different scene with Maggie and the slave kids, Hook and Jack seesawing on the cannon and conversations before and after, I opted to just recreate the film edit here (utilising some AI separation to help transition the music and voice at different, better points).
    10MA Believe Your Eyes - This deleted scene is released really weirdly, the first portion with unfinished bluescreen and a long Peter closeup, and the rest starting with a roughly finished shorter wide shot overlapping the same lines as that closeup. I got the unfinished bluescreen wide shot up to a very roughly more finished level, then combined the two into something that made sense and fit with the cue - Childhood comes in as Peter lies down to reflect, Tink's arrival gets harp arpeggios, the mood briefly changes when we see Rufio, then we return to the finished film with the lights turning off with nice accents.

    10M2 Stop That Clock! - After some long ticking, the score picks it up with a clock imitation as Hook opens his eyes, which returns later in the museum when he notices ticking again. Near the end Jack's breakdown and Hook's comforting are scored genuinely with When You're Alone, but the end turns sour exposing the manipulation with a snarling Stick With Me.
    10M3/11MA Take Me Out to the Ball Game - Thought I'd include this for fun. The full piece is used once in its entirety, the rhythm vamping is used twice, shortened both time.

    11M1 The Home Run - When You're Alone comes in as the pirates remind Jack of Maggie, then after a comedic interlude for the switching and a tense section, Williams switches the theme into full sports movie climax mode. Peter's flight attempts are scores by a Childhood that's rushing but doesn't quite have the heart. The ball hit might seem strange like this but it fits well with the sound effect in the final film. The film replaces the opening until the curveball tension with 9M5 Cutting the Coconut.
    11M2/12M1 Follow That Shadow - Believe starts but is interrupted as Peter sees his younger self's reflection. After some Mickey Mousing, Childhood scores him reading out the names and the welcome-home party, with a Tinkerbell phrase also getting a nod.
    12M2 Peter Remembers - Believe finally properly appears and briefly takes over the score as Peter starts to remember. Childhood then dominates until the end of the cue for the flashback scenes. The entire cue is mostly only reactive by using understated accents, changing the instrumentation for the next theme statement, and by fluidly varying the tempo. The final Childhood phrase is removed in the film, I could only solve that somewhat awkwardly.
    12M3 The Flying Sequence - This is a strange mess in the film, it's edited down, sometimes out of sync, so I had to shuffle it around, add gaps but also shorten a shot or two, mostly basing it on the sync point notes ("Pants down", "Glide", "Back stroke"), and other obvious things (kicking up dust). That shot above the clouds with that joyous Childhood statement never fails to make me almost or properly cry.
    12M4 You Are the Pan - The Pan theme returns and keeps growing and growing as everyone now finally happily accepts Peter.

    13M1 Tink Grows Up - After a last round of Tinkerbell craziness, Believe appears in romantic and determined variations. The film shortens the middle a bit and cuts off the end.
    13M2 To War!! + Insert - The Peter Pan theme turns into a preparatory battle march for both sides, then after a fanfare announces his arrival, also scores Peter himself stepping foot on the Jolly Roger. The Carpet Theme is inverted in usage, and the fanfare turns into a bit of a march as Peter steps towards Hook. The film joins these two cues closer than the LLL. It also uses the insert differently than the LLL, and since it matches the footage better that way, I went with the film edit here.
    13M3 Crossed Swords + Insert - The fanfare gets another quick variation, then the Peter Pan theme finally plays in adventurous action versions, and the Banquet theme becomes the Lost Boys' battle fanfare. Williams takes many opportunities to play along with the fun action on screen. The film joins this cue to the previous one in a much more satisfying way than the OST/LLL so I followed that.
    13M4/14M1 Form Rank - The mayhem continues with Lost Boys fanfare and Stick With Mes, then by the end the cue returns to the emotional focus - When You're Alone for Jack starting to doubt his place, and Childhood for Maggie crying out for help. The film added some more shots around the gumball shooter, I had to cut it back down there.
    14M2 Daddy is Peter Pan - The swashbuckling mickey Mousing continues - especially in Hook and Rufio's duel, almost every strike is accented. When You're Alone and Childhood continue to score emotional moments with Maggie and the Lost Boys see a reprise of the Ballet theme as well as their Banquet Battle Fanfare.
    14M3 The Death of Rufio - The battle takes a break and is seemingly over. Childhood joyously scores Peter giving up the fight and flying off. The Carpet Theme makes its final appearance, and a Stick With Me/Childhood combination scores Hook's final threat and Peter's turn. The film shortens something around Rufio's death but otherwise it all fits.
    14M4 The Sword Fight - The Korngoldian swashbuckling completely takes over now. The mood turns tense and dark for the brief moment of Hook overpowering Peter, but Childhood helps boost the morale back up. The cue finishes on a noble string line as Pan gives hook back his sword in good form. The opening duel preparation is slightly shortened in the film.
    14M5/15M1 Winning By a Hair - The fight kicks into a meaner gear with crazier tempos and wild orchestration, but Childhood (and a brief Tinkerbell) is the only theme present, reinforcing how Peter and his friends really have the moral and physical upper hand. Stick With Me does come back as Hook starts to bargain, but When You're Alone diffuses the tension again. Hook seems to accept his loss with a noble fanfare related to his themes, When You're Alone sees Peter off with his kids...
    15M2 The End of Hook - But Hook has literally one last trick up his sleeve. The clock imitation returns with a Dies Irae first for tension, then kicks up a gear with Hook's theme, then finally a grand finale for Stick With Me. Brass stings and harp arpeggios score the shocked reactions, but a grand fanfare reassures us that everything turned out well. The Banquet theme (including bridge) scores the celebration, but it's short-lived: Peter has other priorities. Tinkerbell's theme scores the sprinkling of fairy dust, and a final Childhood scores Peter's directions. The film joins these two cues closer together too, also shortening the gap between the stings for Hook's dagger. I also had to remove a shot of Peter stepping back from the crocodile, and then stretch the dusty anticipation before Too Small moves in to inspect the remains. The film famously (and IMO very fittingly) also dials out the stabs and fanfares between Stick With Me and the Banquet bridge.
    15M3 My Lost Boys - When You're Alone sees Jack and Maggie off, then Believe takes over the cue as a bittersweet farewell to the Lost Boys, reinforcing that Peter wil not forget them again. After the first statement plays out (for Maggie and Jack flying away), the film tracks 7M6/8M1 The Face of Pan over the rest of the cue, IMO very fittingly actually - now it plays when the Lost Boys start to accept Peter as the Pan, when Peter and Rufio also finally accept him as the Pan, and when Peter leaves and names Thud Butt the new Pan.
    15M4 The Next Morning - Gorgeous choral writing with more understated sync points scores the kids' return, flute then playfully scores the shot over the statue of Peter playing the pipes. Tinkerbell gets more overt entrance and exit accents, and her theme also plays for a final time. The film joins these cues closer than the OST/LLL with more overlap, same as in the sketches as far as I could tell. Something was also removed around Smee's return.
    15M5/16M1 Kensington Gardens - Mothers is the main theme of this cue, first playful for Peter's childish spirit, then gentle for Tootles' marbles, and finally grand and climactic for the finale. Childhood and When You're Alone also score Peter reconnecting with Moira/Wendy and the kids, respectively. The film also joins these two cues closer together with more overlap than the OST/LLL.
    16M1 End Credit - The cue for the main credits is based on a happy arrangement of Childhood, later reworked as the back half of the concert piece Flight to Neverland.
    7M5 The Lost Boys Ballet - Since there was no time to come up with, write and record a full credits suite, the first half of the scrolling credits reuses this cue with an extra timpani added to help cut it off early. The film cuts the cue even shorter and reprises 4M4 The Arrival of Tink.
    Exit Music #2 - The second half of the scrolling credits was meant to be this gorgeous arrangement of Believe, but the final film opted to reuse the ending of 15M5/16M1 Kensington Gardens instead.

    1M4 Yuppie Sounds - In the original script, we see much more of Peter's work and how much of an unethical corporate asshole he really is, for example planning a resort over wilderness in stages to trick environmentalists into accepting a smaller one that they'll then keep expanding. The final cut toned that down, probably to make him less unlikeable, the only real remainder being the phone conversation in London, otherwise we pretty much just see him as workaholic. There's much more material than could fit under this cue, so I tried to cut it down in a way that left at least some of that (the most direct setup to the London phone conversation about the rare species and mating areas), but focused mostly on the other stuff, imagining that Spielberg was already in the progress of making Peter less unlikeable.

    4M3 Looney Wendy (original, first half) - This version played up the looneyness/uncomfortableness a lot more with an uneasy Childhood.

    4M4 The Arrival of Tink (Alternate take segment) - The main difference here is that the celeste and strings are in a higher key and less muted, making the music a lot more bright and twinkly.

    4M5/5M1 I Don't Believe in Fairies (Ending segment without extension) - This original version is shorter and less satisfying, must have been for a different edit with shorter effects shots.

    Low Below - Pirate Sequence - Don't expect anything revolutionary, just felt like I had to represent the musical sequence that got standing ovations on set and in dailies but never got assembled into even a rough cut. I used the middle version (see next) as reference for the Smee/hook scene, used some stills for the Hookers, and subtitled the rest. The script describes some more elaborate actions but there was no real good space for them here.
    5M5 Show Us Your Hook (Unrecorded middle version) - After the musical sequence was abandoned and the footage severely edited down to little more than the basics, JW adapted some segments from the prerecording in his sketches, keeping the Low Below and Down in the Deep Below melodies and the final Hook chant. See @ragoz350's excellent mockup and video about it.

    5M5 Show us Your Hook (film edit) - Finally, Down in the Deep Below and the original Hook chant were also thrown out and replaced with Stick with Me and a different Show Us Your Hook chant. The version the film doesn't use the final Hook chants that are included on the LLL, which I've replicated here.

    7M5 The Lost Boys Ballet (segment with overlay) - JW recorded a partial replacement, partial overlay focusing much more on the percussion that was already present in a section of the original version.

    7M5 The Lost Boys Ballet (segment with only overlay, film edit) - The final film dials out the original take entirely and uses the overlay as a full replacement.

    7M6/8M1 The Face of Pan (alternate performance with choir) - While most of the track (except for the opening before the flute comes in) is an alternate take, the most important difference is of course the choir for the final section, nicely foreshadowing You Are the Pan.

    8M4 Believe Your Eyes (original placement) - According to Jay, this cue was originally spotted as 8M4, between 8M3 Smee Steals the Show and 8M4A Pick'Em Up, though by the time it was recorded it was probably already moved later as 10MA. I tried to replicate it nevertheless, cutting off the end of Hook's scene with his laugh, which was apparently a later pick-up take.

    9M4 Cornucopia (original without insert) - The original take goes back into the Banquet theme much faster, with space for two full statements, then one more strangely cut down one before the foodfight starts.

    13M2 To War!! (segment without insert) - This original version has a less refined feeling rendition of the fanfare for Peter's entrance and a Peter Pan theme over Hook's joy for seeing him, with a flute run at the end for Peter flipping down to the deck.

    13M3 Crossed Swords (segment without insert) - In this version the first Lost Boys Battle Fanfare is much more understated, as opposed to the big celebratory insert version.

    15M5/16M1 Kensington Gardens (segment) + Kensington Extension - This addition would have covered Tootles' entire flight until the screen goes black, scoring his acrobatics with a motif from of 9M4 Cornucopia Insert's buildup, and his final straight flight to Neverland with a held brass note. Theory: originally Tootles flew straight for the star and the credits went to black. Then they extended the shot with his acrobatics, Williams wrote the extension to cover this. Then they didn't like it well enough and went back to the original, shorter ending which now placed the final cue/credits cue midway through the shot, so they brought Spielberg's credit forward over the shot to justify the switch.
  16. Like
    Smaug The Iron reacted to Holko in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    Finally have it and listened. 3 times already.
    My main memory from watching the film that really stuck with me is the shot where we first see the policeman, in a moving car, shot from a moving car, with a damn fun groovy percussion and harmonica cue under it (Freedom At Last). I immediately thought "what the hell were all these people on about with 'oh it's mostly just percussive and boring', this is awesome!".
    You know, from a certain viewpont I can definitely see why JW didn't think enough of it to want it released back then or later. Wouldn't his memory mostly be "we jammed a bit one day, then we recorded some string sustains one day and then some silly source music"? But, when put together like this, it really comes together as a satisfying whole with a nice arc, dramatic beats and musical highlights. Love it!
    The booklet is again very nice too, with a very detailed look at the background of the movie and what led to the dynamic duo's meeting. Titus's work is once again great too, I love the back cover (Mike's wrecking crew credit idea is so cute and fun!), and especially the disc image, something about it just feels so right. And glad to see images of such great quality included instead of some of the blown up blurry overly grainy/noisy pictures that are often available to use from films of this age.
    So yeah, happy.
  17. Sad
    Smaug The Iron reacted to Ollie in Douglass Fake from Intrada has passed away   
    A huge loss for the film score community. My condolences to his family, Roger and the  gang at Intrada.
  18. Like
    Smaug The Iron reacted to Amer in Soundtracks, Compilations, or other recently purchased Music   
    Some thing sweet just arrived!!

  19. Like
    Smaug The Iron reacted to Holko in Soundtracks, Compilations, or other recently purchased Music   
    One each from the three greats, even if not necessarily their greatest ones.
  20. Love
    Smaug The Iron reacted to enderdrag64 in enderdrag64's Star Wars Cue by Cue   
    Hi everyone, I mentioned I would do this in the Cantina Band thread a couple days ago.
    I've been writing this series for a few months now over on Wookieepedia, the Star Wars wiki's discussions forums. Originally I envisioned it as an introduction to JW's music for mainstream Star Wars fans, which it has been great at. However, with the exception of a couple regulars, there's very little overlap between the community viewing my posts over there and the community here. Further, there's been increasingly interesting discoveries made and discussions in the comments. For these reasons, I've decided that it may be of interest to JWFans after all, and that there's really no harm in posting the series to both sites.
    Since I already have 21 entries done I'll put them below now, along with some links to the original posts. I would still recommend checking out some of the original posts because there are some good discussions in the comments for a lot of them:
    #0 Introduction (Wook link)
    #1.0 - SW (1977) - Introduction (Wook link)
    #1.1 - SW (1977) - 1m2 Star Wars (Wook link)
    #1.2 - SW (1977) - 1m3 The War (Wook link)

    #1.3 - SW (1977) - 1m4-2m1 The Escape Hatch (Wook link)

    #1.4 - SW (1977) - 2m2 Desert Song (Wook link)

    #1.5 - SW (1977) - 2m3-2m4N The Little People (Wook link)

    #1.6 - SW (1977) - 2m5R More Little People (Wook link)

    #1.7 SW (1977) - 2m6 R-2 (Wook link)

    #1.8 - SW (1977) - 3m1R The Princess Appears (Wook link)
    #1.9 - SW (1977) - 3m2R Lost R2 (Wook link)

    #1.10 - SW (1977) - 3m2N Lost R2 (Wook link)

    #1.11 - SW (1977) - 3m3R The Sand Speeder (Wook link)

    #1.11 - SW (1977) - 3m4-4m1R The Sandman Attacks (Wook link)

    #1.13 - SW (1977) - 4m2 Obi-Wan Kenobi (Wook link)

    #1.14 - SW (1977) - 4m2A The Force (Wook link)

    #1.15 - SW (1977) - 4m3 The Princess Reappears (Wook link)

    #1.16 - SW (1977) - 4m4R A Home Destroyed (Wook link)

    #1.17 - SW (1977) - 5m1R A Home Destroyed (Wook link)

    #1.18 - SW (1977) - 5m2 A Hive of Villainy (Wook link)

    #1.19 - SW (1977) - 5m3-5m3a ("Cantina Band") (Wook link)

    I should be posting the next entry both on Wookieepedia and in this thread some time later today.

    Also @kingpiranha I didn't copy any of your comments over since I didn't write them (meaning my replies as well) but if you're okay with mirroring those here I can copy them over as well

    #1.20 - SW (1977) - 5m4-6m1 Don't Bee That Weigh (Wook link)
    #1.21 - SW (1977) - 6m3R The Inner City (Wook link)

  21. Like
    Smaug The Iron reacted to Andy in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    I keep coming back to this.   I think it’s one of John’s most interesting scores.  There’s something about it, intangible. On paper, it shouldn’t be this compelling, but I’m in love. 
    Out of Gas is a perfect example of how this recording has so much more feeling than the better known concert revision.  Toots is so wistful and soulful here.   It takes its time, in a good way. There’s a slight pause before the more conventional, familiar sound of Williams’ strings come in to lend gravitas to the free feeling… amblin’ melody of the harmonica.   
    The wild takes only give this score more altitude to breathe in a way the confined and over refined concert piece ever could. 
    I bought a lot of CDs this year. I can’t remember any of them moving me like this. 
  22. Like
    Smaug The Iron reacted to HunterTech in Soundtracks, Compilations, or other recently purchased Music   
    I haven't been great about posting many of my score purchases on the forum, so I'll try to show a few of the lots I've bought within the past year or so. This is everything I've currently got in 2024 that isn't some of the individual items that I've likely already shown elsewhere:
    I might make a separate post for 2023 stuff if I end up remembering to do so
  23. Like
    Smaug The Iron reacted to Matt S. in Your favorite JW "religious" musical moments?   
    From The Last Crusade, I’ve always liked the final grand statement of the Holy Grail theme as the temple is crumbling all around and the Knight raises his hand in a final salute.
  24. Like
    Smaug The Iron reacted to ThePenitentMan1 in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    It certainly is!
    I've listened through the score twice.  Once at my computer, and then again as I was doing the dishes this morning.  Early on, I think during The First Chase, I started moving side to side, shuffling my feet to the groove.  It happened again later during another up-beat cue.  "Oh, no, the groove is back!" I said as the dancing started happening again.
    So yeah, I really like this score!
    (Although, I have to admit, I still can't unhear The Twelve Days Of Christmas whenever I hear the theme...)
  25. Like
    Smaug The Iron reacted to Andy in NEW! THE SUGARLAND EXPRESS - World Premiere Original Motion Picture Soundtrack - La-La Land Records   
    Give it time. I couldn’t either for a while. It’s gone now.  
    Im so glad you’re enjoying it.  I keep coming back to it. 
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