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Trope

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  1. Thanks
    Trope reacted to Holko in Restored Isolated Score: The Godfather   
    I've thought about doing this since I saw the film and the LLL tracklist with the tons of little stars marking unused material. The film drops multiple cues, some motifs entirely, removes clarinet solo sections, and switches usages of the Corleone and Michael themes around - overall, I can't say I disagree with most of the choices they made, even heavily agree with some exclusions, even if I like the cues they pretty much all make the film better with more dramatic weight or contemplative silence.
     
     


    Main Title sets up the Corleone theme.
    Corleone Waltz #1 continues with it as a piece of source music finishing the lengthy wedding sequence.
    Hollywood A and B are unused in the film, but they'd have set up what I call the "travel theme" in these montages.
    The Horse's Head is partially unused (opening was tracked over), it would have consistently (to me almost playfully) ominously scored the sequence of zooms.
     
     
     


    Solozzo the Turk's opening is unused (it's dialed in when Vito asks about his prison record), so the film loses this nice clarinet introduction to the theme for the mafia politics.
    Luca Brasi is a slow partial variation on the Corleone theme.
    Christmas and Prelude to Murder are completely unused, the former's opening is partly replaced by a Have Yourself a Merry Little Christmas needledrop. The cues alternate between 2 different Christmas motifs and the Politics motif for the cutaways to Luca Brasi. I can 100% agree with the decision to drop these, even if they're fun, regardless of the ominous Politics motif inclusions, their soundscape is completely alien to the rest of the score and seriously undercuts the tension and weight of the scenes.
    The Aftermath is a short clarinet and mandolin Corleone lament for Vito.
    Bad News starts with shocked Corleone fragments, then introduces Michael's theme as he rushes to the phone to get news, closing Kay out. The film only uses the first Corleone bits, and places them later, when Michael starts running for the phone - but I think this is a better placement for the entire cue.
    Bad Luck starts with the tension motif, and changes to Michael's theme as he arrives. IMO the film starts it a bit later than it should.
    Sicilian Message is a short reprise of Politics.
    Meditation is a short unused bit of Michael's theme.
     
     


    The Halls of Fear is based around the Tension theme and Michael's theme. The film only uses the first 2/3rds (dialed out before the brass Michael reprise) and a different mix.
    Michael's Decision starts with the Corleone theme for him comforting Vito, then the Politics theme comes in as he takes charge. The film dials out the first half of the Corleone material and replaces Politics with tracked Tension material.
    The Waiting Game starts with Politics again and transitions to a comforting Michael to seemingly resolve the scene until the cops arrive for more Politics. The film continues the Tension tracking from the previous cue over the Politics part of this one, but switches back for Michael.
    Armed and Ready starts with a very different Politics segment and transitions to the latter, less often used part of the Corleone theme. The film replaces this Corleone bit with a part of Set the Meeting.
    Set the Meeting is an ominous progression of Corleone, not used here as intended for this push in on Michael as he starts becoming the leader of the family.
    Michael Takes Over is a slow sad Corleone for his temporary goodbye, not used here (though the tracklist indicates it is fully used so it might be tracked somewhere), the film instead tracks a Michael statement here.
    The Pickup is a completely unused maybe too fun exploration of the Politics and Travel themes, for the very opening the film uses a short Tension part, otherwise it plays musicless.
    The Getaway is a short brass cry of Michael's theme.
     
     


    Sicilian Pastorale features a new, stuffy, hot, almost middle eastern one-off theme on clarinet, which is unused in the movie - the transition is scored by a tracked Love Theme statement, the score only enters when the Love Theme is first introduced as composed.
    Love Theme From The Godfather is a wonderful orchestral exploration of the love theme for Michael and Apollonia's courtship.
    Corleone's Waltz #2 is unused - my best guess is that it could have been planned to be used here at the wedding to tie Michael to Vito at the beginning (also waltzing at the previous wedding to Corleone Waltz #1), but ultimately it was replaced with Sicilian source music.
    Apollonia - A guitar, mandolin and accordion rendition of the love theme.
     
     


    Sonny's Dead is comprised of mournful Corleone fragments - the film dials it out when Vito takes the glass.
    Reunion scores Vito's simultaneous threats and peace declaration with Corleone, the discussion in the car with Tension, and Michael's return with his theme. The film starts the cue at the end of the Tension bit, dials everything else out.
    Marry Me, Kay tries its best to put the melancholy Michael material into a gentle and loving form.
    Las Vegas Strip sees the return of the Travel motif, in a similar but more subdued rendition as in the Hollywoods. Completely unused, meaning this entire theme appearing in 4 cues is missing from the film entirely.
    Too Little Time, for Vito's last words of guidance to Michael, starts with pained violin then transitions into quite a straight Corleone.
     
     

    The Baptism is a lengthy organ variation on Corleone, intensifying in mood together with the picture. Completely unused, replaced with a Bach organ piece in the film, the tracklist is wrong in this case.
    No Tears for Tessio starts with another standard solo Corleone, and finishes with Michael. The film only keeps the latter.
    The New Godfather is completely unused, this is my best guess for it, underlying the growing ruthlessness of the business Michael's building.
    Corleone Waltz #3 is completely unused - here my best guess is that it's just an album piece that was put here in the main program to present it separately? There's really no good place for it at this part of the film, but I tried nevertheless even if I don't really feel I succeeded.
    Finale completely gives over the Corleone-ness to Michael and closes the door on his transformation.
    For the End Credits I used the fuller take that starts with Michael, goes into the Love Theme, then finishes with a slowly ramped up Corleone, the film version removes the big loud Love Theme rendition in the middle.
     
     

    And now for the alternates, Main Title (alternate) sets a much more ominous mood with this Corleone version.
    In the final film, both Hollywood cues were replaced by this arrangement of Manhattan Serenade, both times only used partially, never using the final portion - here I just synced it up for the first one and let it run.
    I also added the film edit of Horse's Head, which replaces the first part of the cue with a more standard Corleone solo.
    Set the Meeting (alternate) creates a more uncomfortable mood with its offkey sections.
    Halls of Fear Pt. 1 (film version) features a lot thinner orchestration and/or mix.
    I thought I'd sync up the album version of Love Theme From The Godfather too, with its added percussion and choir.
    In the final film, Las Vegas Strip was replaced by this Carmine Coppola piece, "Lucky".
  2. Thanks
  3. Like
    Trope reacted to Edmilson in Vertigo (remake written by Steven Knight and starring Robert Downey Jr)   
    I had a Hitchcock phase back in 2013 or 14 (I think) when whenever I felt like watching an old classic movie I for the most part would choose a Hitchcock suspense from the 40s to 60s. So I saw a lot of stuff from his "golden days". Out of those movies, Vertigo was certainly one of the most memorable.
     
    And that's due to not only its psychological complexity and an intense portrait of obsession, but also due to BH's score. To this day, I think this is one of the best marriages between movie and music that I have ever seen. The music works so amazingly well with the pictures, it blew my mind.
     
    So yeah, the movie is not perfect, but the score is perfect for it.
  4. Love
    Trope got a reaction from jwalk713 in SUPERMAN: THE MOVIE - 3CD Set from La-La Land Records   
    Yes, I read that in the liner notes (haven't actually seen the film...). But my point was that it seems the transfer of the end title (every time it appears in "The Prison Yard and End Title", "Prelude and Main Title [Film Version]" and "Theme from Superman [Main Title]") is pitched slightly lower and plays back slightly slower than in previous soundtrack releases of Superman. The same goes for other tracks, like "March of the Villains".
     
    Check it out for yourself. JW's original main title sounds incredible, whereas there's a slight drop in pitch for the "film version" main title, where the end title music is used. The pitch drop is less noticeable in the full "The Prison Yard and End Title" track, since the whole track is slightly pitched down - It's more noticeable in the build-up from the "film version" main title as it is an edit that sticks 2 different bits of music side by side, where the tuning doesn't completely line up (again, I assume due to differing tape transfer speeds or some other technicality). I hope that makes a bit more sense.
     
    Superman - Prelude and Main Title (Film Version) Excerpt.m4a Superman - Prelude and Main Title Excerpt.m4a
  5. Like
    Trope reacted to Holko in SUPERMAN: THE MOVIE - 3CD Set from La-La Land Records   
    The "film version" main title is actually the opening of the original recording combined with the end title.
  6. Like
    Trope got a reaction from Jurassic Shark in SUPERMAN: THE MOVIE - 3CD Set from La-La Land Records   
    I am so glad to finally have this set, especially after all the nearly-universal high praise it has received. However, the first thing I noticed was that some tracks have somewhat obvious speed/pitch issues - I discovered this by accident when I skimmed through the "film version" of the Prelude and Main Title, and noticed that the music that plays from 1:42 onwards is pitched slightly lower (the same thing happens at 0:41 in track 1 disc 3), undercutting the power of the music at that moment.
     
    I then went on to compare these with the Rhino release (available on Spotify) and these pitch alterations certainly appear more obvious on the LLL. Did anyone else encounter these speed/pitch issues and did it affect their listening experience? I assume it has to do with the transfer of the new tapes, as some of the tracks on LLL run for a longer time when compared to the Rhino release. I'm aware that similar speed/pitch issues have affected other score re-releases like Star Wars and Indiana Jones.
     
    Still excited to dive deep into Superman though, as I'm very unfamiliar with all the music except the main title, and it's undeniable that the clarity alone of the LLL release is unmatched by previous versions.
  7. Like
    Trope reacted to JNHFan2000 in The Bad Batch - The Clone Wars Spinoff show   
    Woooow Episode 14 is amazing!!!!
     
    So much happened and so many characters. Rex and Echo in action. Cameo by Tarkin.
     
    This is truly some of the best Star Wars right now.
    I love Crosshair. That says a lot, because in S1 I kinda hated him. But the way that his story is unraveling and his point of view is changing is well written and fantastic too watch. His escape attempt and his contact to Hunter etc got me a bit emotional. It was wonderful to see him still really care about them.
     
    The opening action scene was fun. The moment that the ship came out of hyperspace I knew it was Rex. I believe it's the same ship where we meet him in Rebels. The whole was well done.
     
    As for the music. This season is some of the best SW music Kiner (and co.) have written. There's more melody, better writing.
    The opening action scene, Crosshairs escape, Omega's flying lesson. It's all wonderful.
  8. Love
    Trope reacted to Jay in Indiana Jones is better than everything   
    How great is this
     

  9. Like
    Trope reacted to Drew in James Horner's Romeo and Juliet (2013)   
    Like this post if you're willing to BUY Horner's Romeo and Juliet on the day it comes out! The powers that be need to know that we're willing to buy it! Please release it!
  10. Like
    Trope reacted to Amer in James Horner's GLORY (1989) - NEW! 2021 2-CD Expanded Edition from La-La Land Records   
    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.
  11. Like
    Trope reacted to ThePenitentMan1 in What is the Last Cue You Listened To?   
    I bought the blu-ray 2-pack for The Rescuers films recently, and decided I needed this score immediately.
     
    This cue especially is just so amazing!  I love the mickey-mousing for every city the message hits in the map shots, and just how upfront Broughton is with his themes in general!
     
     
  12. Thanks
    Trope reacted to fenrik in Hans Zimmer: Live (2023 album)   
    Just a heads up, the CD version does NOT have those few awkward fade outs between the split tracks inside the suites. They play 100% seamlessly! Guess I'm gonna have to use my CD rip instead of the digital version, lol!
  13. Haha
    Trope reacted to Holko in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    Only a flip cover is a marketing tool that makes it into every announcement. Gee, I'm really not sure about buying this releHOLY SHIT IT HAS A SECOND UGLY PICTURE PRINTED INSTEAD OF BLACKNESS, SOLD!!
  14. Haha
    Trope reacted to crumbs in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    Their art director is having a laugh if they're charging extra to save artwork as a high-res JPG 
     
    It's more work downsizing it to a lower resolution!
  15. Haha
    Trope got a reaction from enderdrag64 in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    I'm not savvy with exactly how album artwork is created for these releases, but I assume most of it is done on the computer before being printed on a booklet (at least that's what I've come to understand from checking out some of Jim Titus' behind the scenes posts). So wouldn't it be possible to upload the exact same high-resolution cover design used on the printed booklet onto the website?
     
    And wow, I didn't realise it would cost them extra money to provide the covers... Maybe whoever is in charge of the online album covers department at Intrada is scamming the company owners by convincing them it will cost money to upload the exact same high-resolution image and then pocketing the extra cash! 
  16. Like
    Trope reacted to Richard Penna in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    Ah yes I remember that - no one here had any idea what he was talking about in terms of how providing and hosting artwork cost untold amounts of time and effort. Literally every other label in the business provides often mega high resolution cover art.
     
    Maybe it was overflow from the complaints at the time for Apollo 13's cover, which did look like shit initially, and turned out they'd uploaded a draft version of some sort. Everyone has a bad day I suppose.
  17. Surprised
    Trope reacted to A. A. Ron in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    Yep. They've also stupidly suggested that offering album artwork on their website isn't a marketing tool for them, but a "courtesy" for us ungrateful fans, as you can see in this asinine post Roger made over on FSM.
     
     
  18. Like
    Trope reacted to filmmusic in Volker Bertelmann's ALL QUIET ON THE WESTERN FRONT (2022)   
    There is a main theme that is stated a couple of times.
    from 0.23''-1.46''
     
  19. Like
    Trope reacted to Romão in Volker Bertelmann's ALL QUIET ON THE WESTERN FRONT (2022)   
    I found the score to be fairly anonymous and would work pretty much the same way in a number of other films and subjects.
     
    For this sort of approach, I found Thomas Newman score for 1917 to be far more interesting and accomplished, bearing in mind they are still different films
  20. Like
    Trope reacted to Not Mr. Big in Volker Bertelmann's ALL QUIET ON THE WESTERN FRONT (2022)   
    Ok score.  Its win convinced me that even with a narrative/highly acclaimed film and a weak field of nominees, John Williams will never win a sixth Oscar.  
     
    The "anything but John Williams" choice
     
  21. Thanks
    Trope reacted to Chewy in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    Yes I posted what I found a while ago:
     
     
  22. Love
    Trope reacted to Edmilson in What is the Last Cue You Listened To?   
    I'd have no problem paying a lot of money to see a Thomas Newman concert, conducted by Newman himself, where he'd play this:
     
     
  23. Love
    Trope reacted to Edmilson in What is the Last Cue You Listened To?   
    My favorite cue from Braveheart. Love the crescendo in the first part, culminating in the love theme:
     
     
  24. Love
    Trope reacted to Edmilson in What is the Last Cue You Listened To?   
    I remember watching this movie when I was young and being very moved by this cue. Years later, I found out it was written by one of my favorite composers:
     
     
  25. Thanks
    Trope reacted to Jay in WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020   
    I strongly feel that when a new expansion of a score you like comes out, people should listen to the new presentation more than once without thinking about what's where - just take in the new program.
     
    This is why I don't like to make Google Docs available nor participate too much in discussion of breaking down each track right after an expansion comes out; I like to give the music an opportunity to speak for itself, and I hope people heed my advice!
     
     
     
    I also understand the desire, and enjoyment that can come from, re-editing a release to organize the music in a different way.  And I strongly feel that all known information about every film score should be out there and accessible to everyone.
     

    So with all that said, he's my Google Doc
     
    https://docs.google.com/spreadsheets/d/1QtG5OuCLOrQj4iYNUEBgIU81gH2q2USCDhqLQwzHLKY
     
    As always, I welcome all corrections and omissions
     
     
     
     
     
    And for those who don't like looking at Google Docs and/or get overwhelmed by all the notes, etc, here's a simplified look at what's in every track on the release
     

    1. Prologue And Opening Montage • 2:54
    1M2    Film Prologue 2. Is It Over? • 3:05
    MK Sc23    "Is it Over?" 3. The Intersection Scene (Film Version)** • 4:10
    MF Sc30    The Intersection Scene, with the same placement and use of choir as the film, and well as the as-recorded ending 4. What Happened? • 3:36
    MA    "What Happened?" 5. Driving Away From Trouble** • 3:39
    2M4    Driving Away From Trouble 6. Surveying Wreckage / Watch The Lightning* • 2:15
    0:00-1:17 = 3M1    Surveying Wreckage 1:17-end = 3M2    Watch The Lightning 7. Bodies In The Water / Ray And Rachel** • 3:47
    0:00-0:42 = MD Sc72    Bodies In The River 0:42-2:15 = 3M4    "Who Will Take Care Of Me?" 2:15-end = 3M4X    CD Extension 8. Attacking The Car** • 2:53
    ME Sc76    Attacking The Car 9. In The Cafe* • 1:12
    MJ Sc77    The Cafe Scene 10. The Ferry Scene (Extended Version)** • 5:56
    MP    Ferry 11. Woods Walk* • 1:55
    MB Sc103    Woods Walk 12. Refugee Status (Extended Version)** • 4:12
    0:00-2:00 = 4M4    Refugee Status 2:00-end = 4M4X    CD Extension 13. Robbie Joins The Fight • 3:27
    4M5 New    Robbie Joins The Fight 14. The Basement* • 2:42
    MH Sc117    The Basement Scene 15. Harlan Ogilvy* • 2:37
    MC Sc118    Harlin Ogilvy 16. Probing The Basement (Extended Version)** • 4:24
    MG    Probe, with the proper ending used in the film 17. The Aliens* • 3:16
    MQ    Aliens 18. Ogilvy’s End* • 1:49
    5M4    Ogilvy's End 19. Red Planet** • 3:56
    5M6    {untitled}, with some different passages compared to the film version, and no edits 20. The Basket** • 3:17
    6M1    The Basket Scene 21. The Entrance To Boston** • 4:43
    0:00-1:16 = 6M2    The Entrance To Boston 1:16-1:38 = 6M2 New Insert 1:38-1:51 = 6M2    The Entrance To Boston {continued} 1:51-2:11 = 6M2 Insert 2:11-end = 6M2    The Entrance To Boston {continued} 22. Defeat And Reunion** • 2:35
    0:00-0:39 = 6M3    Reunion In Boston, only the beginning "dying alien" part of the cue; The "street reunion" part is only in the OST program 0:30-end = 6M3 C Major Version, the 5th version of the street reunion recorded 23. Boston Street Finale** • 2:13
    6M3    Horn and Piano Version, the 4th version of the street reunion recorded 24. Closing Montage** • 1:36
    0:00-0:52 = Pull Back Shot (Ver 1) 0:52-end = Pull Back Shot (Vers II) 25. Epilogue (Film Version) • 3:14
    6M4    Epilogue, with the same edit points as the film  

    1. Prologue • 2:53
    1M2   Film Prologue, with Morgan Freeman narration 2. The Ferry Scene • 5:49
    MP    Ferry, edited down 3. Reaching The Country • 3:24
    4M5 New    Robbie Joins The Fight 4. The Intersection Scene • 4:14
    MF Sc30    The Intersection Scene, with the different placement and use of choir than the film, and well as a looped ending 5. Ray And Rachel • 2:41
    0:00-1:13 = 3M4    "Who Will Take Care Of Me?", with the ending omitted to instead segue into: 1:13-end = 3M4X    CD Extension 6. Escape From The City • 3:50
    0:00-0:29 = 2M4X    CD Intro 0:29-0:59 = an early tracking of 2M4    Driving Away From Trouble (the part that will later be heard from 2:38-3:08) 0:59-end = 2M4    Driving Away From Trouble, edited down 7. Probing The Basement • 4:13
    MG    Probe, edited down and with an alternate take at the end 8. Refugee Status • 3:51
    0:00-1:41 = 4M4    Refugee Status, with the ending omitted to instead segue into: 1:41-end = 4M4X    CD Extension 9. The Attack On The Car • 2:44
    ME Sc76    Attacking The Car, edited down 10. The Separation Of The Family • 2:37
    6M3    Reunion In Boston, everything after 0:39 is the 1st version of the "street reunion" not available anywhere else on the Intrada set 11. The Confrontation With Ogilvy • 4:35
    0:00-0:39 = MD Sc72    Bodies In The River 0:39-end = 5M6    {untitled}, edited down and with the same takes as used in the film 3:13-3:15 and 3:41-3:58 12. The Return To Boston • 4:29
    0:00-1:49 = 6M2    The Entrance To Boston 1:49-2:08 = 6M2    Insert 2:08-end = 6M2    The Entrance To Boston {continued}, edited down 13. Escape From The Basket • 9:21
    0:00-2:55 = MK Sc23    "Is it Over?" 2:55-6:24 = MA    "What Happened?" 6:24-end = 6M1    The Basket Scene 14. The Reunion • 3:17
    0:00-1:30 = 6M3    Horn and Piano Version, but only 90 seconds of it 1:30-2:01 = 6M3    C Major Version, but only 31 seconds of it 2:01-2:17 = Pull Back Shot (Ver 1), but only 16 seconds of it 2:17-2:36 = Tracked music from 1M2    Film Prologue 2:36-end = Pull Back Shot (Vers II), with Morgan Freeman narration 15. Epilogue • 3:13
    6M4    Epilogue, with different edit points than the film  
     
    16. Prologue And Opening Montage (Alternate)* • 2:43
    1M2    Prologue Orch 17. Before The Escape • 0:35
    2M4X    CD Intro 18. The Entrance To Boston (Alternate)** • 4:40
    6M2    The Entrance To Boston, premiering the music replaced by 6M2 Insert in both other tracks, and also alternate takes from 3:15-end 19. Boston Street Finale (Alternate No. 1)* • 2:03
    6M3 Alt    Boston Street, the 2nd version of the street reunion recorded 20. Boston Street Finale (Alternate No. 2)* • 2:00
    6M3 New, the 3rd version of the street reunion recorded 21. Epilogue (Alternate)* • 3:24
    6M4    Epilogue, entirely comprised of different takes than the final version
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