HanFiredFirst

Raiders in May at the Royal Albert Hall with the LSO performing live is next up for me - though as it falls on a Bank Holiday weekend in the UK I'm in two minds about going, as London on a holiday weekend is not my idea of fun. Home Alone in concert at the RAH was great fun and a perfect pre-Christmas film. The same weekend we went to The NIghtmare Before Christmas, which I've now seen a couple of times, and it's always brilliant, with John Mauceri conducting and lots of original cast members. I was meeting John backstage after the concert and got to meet Danny Elfman and Phoebe Bridgers - an amazing night.

Thanks GPS - I'll give it a try, though I think a playback without Danger Zone included in it (whether it's strictly a screen accurate representation or not) feels wrong. To be honest, I prefer to lose some accuracy to enjoy a song - otherwise I'd be cutting songs down to reflect only the bits you hear in a film, and I'm not that anal about it. So Danger Zone I think has to go back where it *feels* like it should be, at the start of the track listing. This again, is what annoys me about the release - the songs used are part of the score with Top Gun, it's impossioble to imagine without Berlin or Kenny Loggins, so separating them out makes no sense.

I caved, I bought the new 3 CD version Sorry not sorry

My copy arrived today having spent the best part of a week at UK Customs. Really wish they'd put a note in the liner notes to give us the chronological sequence - trying to remember/guess where songs appeared in relation to track names is a bit hit and miss - even with the helpful Charlie Brigden cue breakdown from 2010.

Yes! Got an email from CDJapan this morning with a pre-order for the SACD - pre-order in! https://www.cdjapan.co.jp/product/UCGG-9233

I fear we’re straying way off-topic here.

If you get this upset with a soundtrack company that specialises in releasing better sounding soundtracks when they come across new material, then maybe the world of expanded soundtracks is not for you. Dude.

A. There was no misleading. I'm not even going to comment on the compensation part of your reply. B. Your actual comment, "dude", says you have listened to the score once in 4 years: I still haven't listened to it more than once, and not even all three discs. So other than the JG purists, I don't know who's going to get this expensive 3-Disc re-re-re-release

Wait, what - so you're not actually that bothered about the soundtrack you're screaming blue murder about Intrada reissuing?

I mean, that's just ridiculous. Reissues containing the same music that has been remastered happens ALL THE TIME. I own 4 copies of Solti's Ring Cycle. Each time Decca has reissued the cycle having cleaned up the original masters, or having discovered a new way of extracting a bit more detail, or adjusting recording errors and faults in tapes, and made those new copies available. You don't have to buy them. It doesn't denigrate an earlier version. The idea of crying foul (or just plain crying) because an album has been reissued in a slightly different way is childish. Demanding that the labels send you free copies/discs/digital downloads is pure entitlement.

I'm not sure I get the argument that an earlier release becomes obsolete just because there's a newer, maybe better, maybe improved, version available. For example, I prefer the sound and album assembly from Intrada's Gorky Park to the newer LLL release - and the same with ST: Wrath of Khan where I prefer the sound and assembly from the FSM rather than the LLL issue.

I wonder if the machine used by Deutsche Grammophon/Emil Berliner studios would also be able to play it? I'm not technical enough to understand the nuanced detail, but for their new issue of the Karajan/Richard Strauss's Vier letzte Lieder/Tod und Verklärung they use a machine specially constructed to play 1/2 inch 4-track tapes...

And you bought what was, at that time, the best version available. They've since uncovered different elements, and re-released it - and that's why I don't get your angst (or your ANGRY emoticon). Your argument would lead to three possible outcomes, none of which are reasonable, logical or warranted: 1. If any soundtrack label discovers new elements, additional material, they send out a new version free of charge to anyone who has bought any earlier version. Economically unviable. 2. The label discovers new elements, or is given access to a newly discovered master, and for fear of upsetting anyone who owns a previous version, they don't release it. 3. As above, but the label simply sits on it for, what, ten years? So they don't risk upsetting people who bought the previous version four years ago. Demanding that you get a new release because you bought an older release four years ago is, well, entitled.

I own the 2020 release of Inchon, and that's good enough for me. I'm not actually a great fan of the score (much as I love JG) but that's not going to be changed by a slightly improved quality of sound. I'd also like to point out that I'm not the least bit offended, upset, outraged or disappointed by Intrada putting out a 2024 release from elements they weren't aware of four years ago - it happens, and it simply means that for completists there's a chance to add a new version, for those who didn't buy any of the previous iterations there's an opportunity to buy a new release rather than paying exorbitant e-auction-site prices, and for those who aren't bothered then we simply scroll past. It's happened with Die Hard and Gorky Park, and as I love both scores I've been happy to add the new versions and contrast and compare - I certainly didn't feel anguish that I';d bought earlier releases. Demanding that Intrada send out copies of their new release gratis to anyone who bought a previous version is, well, unhinged, unrealistic and frankly entitled.

Yes, I read Mike's notes in the "About this release" section of the liner notes, though I don't recall him mentioning there anything about any baked-in distortion, just that they'd used the 1971 1/4" master. Maybe he talks about the quality (and issues associated with it) of the original master tapes elsewhere. I have the La-La Land Records release from 2012 (sadly I only have the digital files and not the original CD on my shelf!) and to me that pretty much sounds identical, even with Doug Schwartz at the helm rather than Mike M. It's a lovely score - and even with the technical limitations (which are strange considering it was Anvil Studios with Eric Tomlinson at the desk) it's a delight.