TheCat
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Posts posted by TheCat
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Anybody figured out Fantastic Mr Fox (the OST and the 'abbey roads additional music' release), perhaps?
Sure the album is quite chronological as it is and the "additional music" is a total rip-off, containing almost no new music.
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Would the person who runs the chrono-score.blogspot contact me either in PM or e-mail? Thanks!
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Anyone know the correct order for <i>Sleeping With The Enemy</i> by Jerry Goldsmith?
You can find it here:
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I'd like to recommend the Sequencing section of my Daily Film Music blog. There's a new sequencing guide for old and new favorites almost every week. You can access the listings directly through this link:
http://blofeldscat.livejournal.com/tag/sequencing
If you just want to look around, you can do it here:
www.dailyfilmmusic.tk
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[Original post deleted]
Drop me a line, Whill.
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And that helps us exactly exactly how?
Well presumably, if the team who's out to resurrect/continue the concept of expanded Bond CD's actually knows where the music is located and therefore the people who own/control it, you have a better chance of success
Yeah, only problem - nobody cares.
Back on-topic, Neil and others, for some scores people have posted missing cue lists. Can, or has, anyone done this for "The Living Daylights"? Is there indeed missing music not appearing on the CD (but in the movie)?Yes. The complete recorded material runs just over 80 minutes. This includes some 6 minutes of tracked material, all source music (including miscellenous material like Kropfitsch scaling practice for Kara) plus about 3 or 4 minutes of unreleased original music that wasn't edited down from existing material.
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It was just cues from "Dr. No," "From Russia With Love," and "Thunderball." Nothing was new. While it might be nice to have, its all music that we already have and can edit ourselves if we really so desire.
That is the case, tracked music pretty much without Barry's knowledge - an afterthought if you will.
So then please tell me precisely which cues these are and where I can find these recordings so that I can assemble this.
Neil
The cues come from the following - Dr. No (Track 6), FRWL (Track 1) and TB (Track 7).
I thought Moonraker and AVTAK were the missing ones, and Kendall/you/whoever else knew the locations of Octopussy, TSWLM, TMWTGG and so on.And that helps us exactly how?
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It was just cues from "Dr. No," "From Russia With Love," and "Thunderball." Nothing was new. While it might be nice to have, its all music that we already have and can edit ourselves if we really so desire.
That is the case, tracked music pretty much without Barry's knowledge - an afterthought if you will.
Look at it any way you like, but master tapes sitting in a vault or Abbey Road sucks- the prospect of them sitting there being absolutely no use to anyone is what's pathetic, not my post.The real problem is - they don't sit there at all with the exception of TMWTGG and maybe TSWLM. But the rest - who knows?
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I'm also interested by the poster TheCat, who sounds like a member of Lukas Kendall's team.
Thank you for the interest.
Bad news - no score will be released in the forthcoming years as far as I can tell. So tough luck. Regarding anything else, those questions are not to be discussed in public. Thank you.
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So what happened to the thread about it at FSM ?They just make it dissapear because someone doesn't want us to know something?
Whoa... Wicked, King Mark. Can this be a SURE sign of an official release? Or is it just the "unmentionable" discusion?
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Yeah, that's what I said, just twisting the words a bit too much.
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So the second half really is 'arrival in Vienna' and not 'retrieving the cello'?
Well, if you insist on giving titles instead of the good old fashioned reel format. That cue is meant to represent Arrival in Vienna, but its edited form is also used for the chello retrieval and the ferris wheel scene the same way Inflight Flight is tracked into the kitchen fight sequence. TLD has about 15 minutes of tracked music.
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'Into Vienna' is simply an instrumental version of the 'If There Was a Man' song, which was produced for soundtrack and single purposes, it was never meant to appear in the movie. It was named like this to make a connection with a scene in the movie, whereas the original wasn't available anyway.
Regarding the chello music, rob is not far from the truth, as the orchestral sweeteners scattered thoroghout the score have been edited down from the two instrumental versions of the song. There are short cues mixed out from Arrival to Vienna appearing when Kara fetches the chello and later on the ferris wheel, while Bond Meets Kara is reused during their conversation in Afghanistan (the one about a horse's arse).
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If one would like to place it in the film, it starts on the shot of Bond in the helicopter after his POV of the priest giving him the blessing. It kinda works, but kinda not.
It's alternate that was dropped when the acknowledgements had to be shifted within the cue.
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I'm afraid there are many mistakes in this listing. I'll try to post some additional info when I have time, but I'm tied down with work at the moment.
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That is the correct order.
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Regarding the ammount of music, about 30 minutes is on the soundtrack, rouglhy 65 minutes were written in total and about 15 MORE minutes are used in the movie as tracked pieces from other scenes. The ammount of unused music (recorded but not used in the picture) is only about 3%, some scenes that have been edited in post-production and the cues were edited accordingly (such as the end of 'Sanchez Is In The Bahamas').
About MCA's policy on soundtracks, their primary goal was to boost their artists' career with linking them to the picture - they weren't particularly interested in the score as such. Gladys Knight just went solo if I remember correctly, while the LaBelle song was attached to the picture later (wasn't written for the movie per see). The rest of the "songs" by Ivory and Tim Feehan are free bonuses for members of the Ivory & Tim Feehan Fan Club. At least we didn't get to hear the all important source song "La Bamba".
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One more thing about LTK before re-listening: you might want to skip the oddball pop songs. So just get tracks 4 and 6-10 for pure Kamen fun.
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The complete Kamen score in the movie is roughly 80 minutes, but it's hard to say because there are lots of odd cuts here and there. Many parts have been cut out from the album for obvius reasons - such as those little pizzicato cues at the end of the first cue of 'His Funny Valentine' - there are 3 of them on the album as opposed to the eleven in the movie! And of course there's lots of unreleased music - roughly 50 cues are unreleased or partially unreleased. The album surprisingly misses two great opportunities to stabilish Kamen's score as better than average. First, there are many great action cues that are left out, which is where LTK was VERY strong. Another odd thing is that they skipped many of the arrangements of Pam's Theme, which sounds even better in its various inclusions. My personal favourite is a cocktail piano arrangement which was composed as a source piece for the casino sequences. And without the finale cue (yes, another Pam-variation), the album just feels dangling in the air.
There are obvious faults however that are really hard to sell for the average buyer - there is lots of suspense cue that do not make a compelling listen and many are quite short. The other thing is the extreme number of reused cues - not themes, the actual cues! I knew it was an existing phenomenon, but only when I listened to the full score the first time did I realize how excessive this phenomenon is. One lesser known example: they reused the same cue for the scene where Bond is reading Felix's computer (after escaping the Wavekrest) and after he has immolated Sanchez. What the strangest thing is that in both cases, there is a hint at Pam in the cue, and it fits both scenes! In the first case, it appears when Bond reads the name Bouvier, P. on the list. In the second scene, it's played when Pam appears with the truck! I found it strange when I first spotted this, but taking into consideration how it happens with more obvious and larger cues, it's not surprising at all.
Five (!!) composers on the title song...Two of those composers never touched the song.
In fact, they weren't even credited on the original releases, only after some legal eagles pointed out it's not fair not to credit Barry and Bricusse if you've "borrowed" from them. Those two names were only added for subsequent releases (such as Best of CDs) and of course there was a nice financial deal worked out as well. -
Well, that's the most expensive part of the whole business. I'll just settle for my copy of the score.
As for further re-releases of a possible series, we're in the unlucky situation that roughly half of the scores have releases that can not really be improved, but it wouldn't make sense to release only the other half with extensions - an expanded AVTAK would never sell on its own. What I can imagine is a relase similar to the 30th anniversary double CD.
The soundtrack rights were always a separate thing to the movies, and some rights are still owned by other labels.
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People who want the score released. I usually say "Bond fans", but I'd like to include everybody interested in this selection. So collect the money, we'll get to Paris and we can start working right away.
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Why, want one?
The official answer - as soon as we get a sponsor and fork out a fee for the rights.
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Hey folks!
I found this discussion through Rob and thought I'd join in. I'm currently writing a book on the subject, have some nice documentations and I'll happily answer any questions about James Bond music, whether its sequencing, unreleased pieces or anything like that. Just please don't ask for unreleased music.
The Chronological Film Score Thread
in General Discussion
Posted
Well, I DO have a more detailed rant on the subject:
http://blofeldscat.livejournal.com/160757.html
But let me emphasize, there's no new music of much worth on the CD. What can be added is mentioned there.