Tom Guernsey

Sorry, I wasn't clear in saying who "they" were - call it the royal they rather than meaning to imply Intrada did it! If the Tadlow recorded cues from the Chairman were reconstructed, that's pretty impressive (and even if it's not perfect, it sounds pretty authentic). I forgot quite how much of The Sand Pebbles Tadlow included too, a shame they didn't pick one of the damaged cues, although I guess they went for the most interesting ones!

A little dance?
 
"Dark Waltzes: A Compilation of Film Scores with Haunting Themes"

1. "The Third Man" by Anton Karas
2. "Pan's Labyrinth" by Javier Navarrete
3. "The Boys from Brazil" by Jerry Goldsmith
4. "Shutter Island"
5. "The Godfather Part II" by Nino Rota
6. "Requiem for a Dream" by Clint Mansell
7. "Edward Scissorhands" by Danny Elfman
8. "The Addams Family" by Marc Shaiman

Short and sweet as scores go!
 
La-La Land Records and Paramount Pictures present the world premiere release of legendary composer Elmer Bernstein’s (THE MAGNIFICENT SEVEN, AIRPLANE!, GHOSTBUSTERS) original unused score to the raucous 2001 big-screen comedy RAT RACE, starring Rowan Atkinson, Whoopi Goldberg and Jon Lovitz, and directed by Jerry Zucker.

Having scored such legendary comedies as AIRPLANE!, ANIMAL HOUSE, GHOSTBUSTERS, STRIPES as well as many others, it’s no accident that Maestro Bernstein was initially the composer of choice for this madcap ensemble comedy in the vein of IT’S A MAD, MAD, MAD, MAD WORLD. Now for the first time, and with the blessing of the composer’s family, Bernstein’s take on the film is here for us all to enjoy and it’s an orchestral comic delight – a rollicking wonder that embraces the film’s outlandish, desperate characters and overall cartoonish verve. The composer’s approach is as off-the-wall as it is classical – an impressively energetic and complex work of comedic scoring.

Produced by Dan Goldwasser and mastered by Doug Schwartz, this limited edition CD release of 1000 units features exclusive, in-depth liner notes by writer Daniel Schweiger, with new comments by the composer’s son, Peter Bernstein and the composer’s protégé, Bear McCreary, and zippy art design by Goldwasser.

TRACK LISTING:

THE SCORE:
1. Eyebrow / Daughter / Psychic 2:03
2. Gamblers 0:34
3. News 0:34
4. Sand 0:29
5. Directions / Toilet 0:35
6. Hit 0:34
7. Downhill 1:07
8. Plans 0:47
9. Gas 1:29
10. Aria (for tenor) 2:49
11. Drifter 0:53
12. Rocket 1:02
13. Staggered / Sleep / Horse / Waltzing Away 2:45
14. Finale 3:18

SOURCE CUES
15. In the Hall of the Mountain King 2:33
16. I Love Lucy Theme 0:45
17. America the Beautiful 0:38

BONUS TRACKS
18. Brothers (Alternate) 0:20
19. Directions (Album Version) 0:32
20. Gas (Alternate) 1:29
21. Gas (Album Version) 1:29
22. Finale (Album Version) 3:29

TOTAL ALBUM TIME: 30:52

I've finally completed the set of Star Wars cover!
 
Here are the version without any text:
 

 

 

 

 

 

 

 

 

 

 

 
Here's a second post for the one with the Original Motion Picture Soundtrack label:
 

 

 

 

 

 

 

 

 

 

TRACK LISTING:
 
DISC 1
 
SCORE PRESENTATION 53:32

1. Theme From Sabrina (Extended Version) 5:19
2. Main Title 1:28
3. To Paris :57
4. Learning The Ropes*† 1:34
5. Thinking Of Home / Work Montage 2:10
6. Photographing Paris† 1:51
7. Growing Up In Paris*† 3:01
8. La Vie En Rose 1:20
9. The Drive 1:48
10. Sabrina Is Home* 2:06
11. Linus And Mother 2:44
12. Off To The Vineyard* 1:44
13. On The Porch* 2:12
14. Beach Walk* 2:21
15. Linus And Father* 3:05
16. Sabrina To The Office* 1:09
17. Dinner Montage* 2:21
18. The Princess Grows* 3:16
19. Have Your Tea :39
20. Eavesdropping* 1:10
21. Sabrina’s Return To Paris* 2:24
22. Wrapping It Up* 1:35
23. Linus’ New Life* 2:46
24. End Credits 4:24
 
ADDITIONAL MUSIC 25:09

25. (In The) Moonlight - Instrumental of Moonlight* 2:59
26. To Paris (Alternate) :58
27. Learning The Ropes (Film Version)*† 2:13
28. Work Montage (Alternate) 1:47
29. Growing Up In Paris (Alternate)† 2:43
30. La Vie En Rose (Alternate) 1:18
31. Sabrina Is Home (Alternate)* 1:59
32. On The Porch (Alternate)* 2:12
33. Have Your Tea (Alternate) :38
34. Linus’ New Life (Alternate)* 2:47
35. Theme From Sabrina (Reprise) 5:21

DISC 1 TOTAL TIME: 78:43
 
DISC 2
 
PARTY IN THE MOONLIGHT • SONGS OF SABRINA
1. Moonlight* 5:23
Performed by Sting
2. (In The) Moonlight Piano Improvisation* 4:29
3. Stella By Starlight 2:58
4. Call Me Irresponsible 2:39
5. Moonlight Becomes You 1:20
6. Isn’t It Romantic? 2:36
7. (In The) Moonlight Piano Interlude* 2:51
8. (In The) Moonlight Party Instrumental* 3:17
9. All The Way / High Hopes 2:22
10. I Wish I Were
In Love Again 2:30
11. My Old Flame :35
12. How Can I Remember?† 2:50
Performed by Michael Dees
13. How Can I Remember? Party Instrumental† 3:17
14. (In The) Moonlight Piano Interlude No 2* 4:03
15. (In The) Moonlight Party Instrumental No 2* 4:13
16. For All We Know 3:37
17. When Joanna Loved Me 2:36
18. The Shadow Of Your Smile 2:53
19. La Vie En Rose Party Instrumental 1:12
20. How Can I Remember? Party Instrumental No 2† 2:56
21. (In The) Moonlight Party Instrumental No 3* 4:43
22. (In The) Moonlight Piano Closing* 4:22
 
DISC 2 TOTAL TIME: 68:39
 
* Contains “(In The) Moonlight”
† Contains “How Can I Remember?”
Original Music Composed and Conducted by
JOHN WILLIAMS
Performed by The Hollywood Studio Symphony
 
This is a CD format release.

I tried a while ago, but it's too primitive for that. I got it to declare that HAL's actions in 2001:ASO are HAL's own responsibility, but it still insisted that if ChatGPT itself were to evolve into something with self consciousness, whatever it did would still be its developer's responsibility.
 
People mostly completely misunderstand what ChatGPT is and isn't, anyway. There's little danger of that type of AI becoming autonomous and endangering mankind. The much bigger danger is people asking it serious questions and believing all the random lies its algorithm makes up.
 
 
I love Dark City! It's mostly a moody score, but there's something gripping about its atmosphere that I've heard in little other music. It's probably become one of my most frequently played scores in recent years because of that.

Glad you enjoyed it. I've just finished a re-listen of Emma in case I was too harsh... I'm not sure I was too harsh as such, it's pretty lovely but I would still rate S&S much higher.

They are very different scores... Sense & Sensibility is much more restrained (albeit not a boring way) whereas Much Ado is considerably broader in sweep and more, well, theatrical. Much Ado is (if I had to choose) probably my favourite Doyle score but S&S is easily top 5. It's an embarrassment of riches!

Glad you enjoyed it. I've just finished a re-listen of Emma in case I was too harsh... I'm not sure I was too harsh as such, it's pretty lovely but I would still rate S&S much higher.

One of my favourite Doyle scores, absolutely gorgeous, several superb themes and the sung version of the main theme, Weep You No More Sad Fountains, is utterly lovely (although I do marginally prefer the more plainly sung version that appeared on a Silva compilation to the more operatic performance for the movie, but it's minor thing). I still find it mystifying that it was Rachel Portman's Emma was the one that got the Oscar (the year after) - don't get me wrong, Portman's score is lovely, but Doyle's is far more interesting and memorable, on a whole other level.

Yeah, I agree completely!

One of my favourite Doyle scores, absolutely gorgeous, several superb themes and the sung version of the main theme, Weep You No More Sad Fountains, is utterly lovely (although I do marginally prefer the more plainly sung version that appeared on a Silva compilation to the more operatic performance for the movie, but it's minor thing). I still find it mystifying that it was Rachel Portman's Emma was the one that got the Oscar (the year after) - don't get me wrong, Portman's score is lovely, but Doyle's is far more interesting and memorable, on a whole other level.

I've not seen the film but it seems to be moderately well regarded. I just enjoyed the music as a standalone listening experience (as with most scores to be fair!). The two releases listed there are just the original US (Varese) and European (Colosseum) releases. The new release, as Yavar said, is digital only and is on Tempest Music so make sure you pick that version when buying!
 
Qobuz: https://www.qobuz.com/gb-en/album/triumph-of-the-spirit-original-motion-picture-soundtrack-cliff-eidelman/eqwty7oe7p8mc (inexplicably £8.99 in the UK, versus $7.49 in the US, although still a pretty decent price!).

One of my favourite Doyle scores, absolutely gorgeous, several superb themes and the sung version of the main theme, Weep You No More Sad Fountains, is utterly lovely (although I do marginally prefer the more plainly sung version that appeared on a Silva compilation to the more operatic performance for the movie, but it's minor thing). I still find it mystifying that it was Rachel Portman's Emma was the one that got the Oscar (the year after) - don't get me wrong, Portman's score is lovely, but Doyle's is far more interesting and memorable, on a whole other level.

Finally got round to the remastered Triumph of the Spirit and it really is quite the improvement - who knows why the original sounded so terrible, but I'm glad he was able to go back to the original tapes and produce a vastly improved release of a very fine score. Having not listened to it in a while, the rather strident Main Title feels a bit over the top but it soon becomes a lot darker and haunting, with some very fine choral writing, notably The Slaughter and Death March which are both as chilling as you might suppose, although there are some more  hopeful moments as in Mercy on to (unto?) Us. It does all feel a bit more like what one might expect the score to a Hollywood score for a film about the Holocaust to sound like, with a considerably more grandiose approach compared to the understatement of Schindler's List. Still, as a standalone piece of music, a superb score and, were it not for the subject matter, would likely be mentioned in the same breath as Star Trek VI as one of Eidelman's finest works.

What I love is that the Essential collection + The 2nd CD of "The Blue Max" rerecording makes a pretty good Jerry Goldsmith Anthology!

I squeed like a fan girl. Sounds great. Can’t wait. For any of it. 

That first one isn't bad at all; I remember thinking it was one of the first Silva compilations not featuring music by John Barry that was generally pretty good. Yes, some of the performances are a bit ropey at times (Star Trek in particular doesn't come out brilliantly and Under Fire is a bit limp compared to the original) but some are great, notably a nicely strident Capricorn One, a terrific suite from the Omen as well as including a number of tracks that were originally on the long out of print Master's Film Music album from the late 80s (which Silva made more generally available). However, it's not a patch on the Blue Max follow up, truly one of my favourite film music collections outside of anything conducted by Charles Gerhardt.

Jerry Goldsmith by Nic Raine on this rainy morning.
 

 

Ugh, I'm glad that, while I wouldn't call myself uncritical of poor recordings/performances, I don't notice this kinda stuff. A bit of a shame though as it's otherwise excellent. Amazing to think that The Man Who Knew Too Much hasn't have any kind of release or new recording until now.
 
Thought I should give the Storm Clouds Cantata (not appearing on this recording) which famously covers the climax of the movie (shame Herrmann didn't get to write something new it has to be said) and realised that of the two recordings I have of it (one on a Chandos album of Benjamin's music and the other a Mauceri conducted Hitchcock album), one is just under 8 minutes and one is 10 minutes... 2 minutes difference on a work of that length is some speed difference, so I'm wondering if maybe one has edits. It'll have to wait until after Barry's King Kong though!
 
Regarding On Dangerous Ground, great to hear another fine recording of the Death Hunt even though I'm not sure I'd have put it in the same track as the cue that follows it but it's a minor grumble. It doesn't surpass the Gerhardt performance but comes pretty close. Interesting to compare it to the recording of the same piece that appeared in the Stromberg conducted Battle of Neretva which is fine enough but not as good as this new version. Can't for the life of me remember if there's any reason Herrmann reused this cue unless it was just one of those times the director/producer wanted it... which would make sense.
Update... the Mauceri Storm Clouds Cantata is from a concert and includes applause. What a dull explanation!

Can't say I've noticed any issues with the sound which seems pretty great to me, capturing excellent performances by the RSNO. Is it me or does The Chase & The Knife from The Man Who Knew Too Much give off Jaws vibes - I know a piano ostinato does not make something the theme from Jaws, but with the low end piano over the same interval, the overall tone of the track is quite similar. Elsewhere, I was surprised by some of the earlier cues - the lilting violins and flutes in Nocturne in particular I'm not sure I'd have recognised as Herrmann out of context. Really lovely though.
 
Need to give them a bit more of a listen before commenting further - so much new stuff!

Yeah. I’m lookin’ at YOU, “The Arrival at Tatooine and The Flag Parade”! I have to listen though all this boring Jar Jar Wanders Around music before my freakin’ FLAG PARADE???
 

So you would omit the two Williams-composed songs for the film which are integral with the score? Or the fantastic Mike Lang improvisation on one of his main themes, which was played in the podcast?
 
Yavar

Actually it’s pretty substantial. Though the (poor sounding) original album is just a little over half an hour, there’s about 15 minutes more in the film itself… but many cues in the film are truncated (dialed in or out so the full composition isn’t heard) and some cues Goldsmith wrote didn’t make it into the film at all! So possible (likely?) that the full score is around an hour long! The written music for the full score survives at the Academy’s Margaret Herrick Library so those cues could be included (no reconstruction by ear should be necessary).
 
I do still like your idea of pairing a little something extra with it though, and my wish would be for Intrada to add the two cues from Goldsmith’s The Sand Pebbles which don’t survive any more in music only form. (One of those two did survive on a music & effects source, and Intrada did include that on their 2CD set — “A Crushing Affair”. But I want it music only!) Maybe add one or two other cues and call it a “bonus suite”, Intrada? I can’t think of any other more appropriate Goldsmith re-recording for these couple lost cues to tag along on…
 
Yavar

Return of the Jedi (cinema)

Have any of you seen this? Good flick!

Fortunately the least Special Editioned on the OT. None of the changes made me feel like I'd been kicked in the goodies. (Well, Darth Vader saying "NO!" was not great.)

I hesitate to say, Hayden kind of worked for me. Then I thought... They should have gone the whole way and given us Ewan. If they really wanted to tie it back to the Prequels, that would have been the way. Pity about Padme, I suppose.

And since this was a legit re-release rather than Fathom the sound was AMAZING. I felt like I was at a real movie.

Decent sized crowd on a Sunday, too. Didn't get many laughs. I remember seeing it on May 25th, 1983 and when Vader picked up the Emperor the crowd went NUTS. Like, Endgame nuts. But everyone applauded at the end and everyone seemed happy to have seen it. A nice demographic of nerds.

There is such a difference in performance when you see it on the big big screen. For the first time I really felt during the Jabba's palace scenes that everyone is kind of nodding and making eye contact significantly. "Everything still going the way we planned it?" "Yup."

I hope before I die I get to see the non-SEs of Star Wars and Empire like this.
 
 
That's funny.