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Definitely NOT film stems, no. I was planning to save this story for an Odyssey Soundtrack Spotlight, but now I feel like I have to silence the speculation about sources...
Varese searched high and low for complete session tapes and really did their due diligence. Warner Bros, Taliafilm, Mike Ross-Trevor, Bruce Botnick...nobody had more music from this score. Nothing in Goldsmith’s own archives either. All Varese had to use was their original Vol. 1 and Vol. 2 album masters (thankfully those had been preserved in pristine condition and sounded fantastic.)
So Varese actually reached out to me many months ago to see if with my Goldsmith Odyssey connections, I knew anyone who might have more music from the sessions. I bothered a bunch MORE people, on the slim chance they might have something. (I.e., did Mike Lang happen to help do the keyboard overdubs after the Hungarian sessions, and might he therefore have a copy of the full score as recorded? Nope, he didn’t, and nope, he didn’t. But he IS a super nice guy and suggested even more people I could try.)
Finally, I remembered something at almost the last minute: Intrada’s re-recording of Islands in the Stream was done as a piggy-back fifth day of sessions at the end of four days of Lionheart sessions in Hungary. Doug Fake himself was there in Hungary, in 1986, for the original Lionheart sessions leading up to the first rerecording he produced with Jerry. And in multiple conversations with me, Doug has said, “I save everything I can.” Surely, Doug would have made himself a copy of those original Lionheart orchestral sessions, I thought! After all, this is the guy responsible for preserving copies of City of Fear and Studs Lonigan, for *decades*, which would otherwise be lost to time.
So very last minute (they were finalizing the track list), I asked Cary at Varese for permission to reach out to Doug, and thankfully (though skeptical there would be anything) he agreed to let me contact the head of another film music label about a high profile upcoming Varese edition, even though all my other avenues of inquiry over the previous week or two had come up empty.
Did Doug have tapes as I suspected he might? Yes, he had 84 minutes of Lionheart spread over three tapes he’d had made for reference purposes. These were not commercial audio cassettes, they were professional grade tapes. But they were still copies and never intended to be a source for an album. Doug told me this and warned me they wouldn’t be up to the quality of the album master tapes Varese had. In fact, he didn’t even know how they would sound because he hadn’t listened to them in decades. But we had no other avenues to check; this was a last ditch effort to include more music that would otherwise never get out to Goldsmith fans. So I put Cary and Doug in touch, and Doug generously had his tapes transferred to digital and sent to Varese.
It turned out the unreleased music totaled almost four minutes spread over two cues that went unused in the film. But I figured out where those cues should go in the film, and David at The Goldsmith Odyssey edited them in for the scenes they should have scored, and they were a perfect fit to the final cut of the film! These cues are in fact very important ones because they clearly establish the thematic material for the villainous Black Prince, before it gets incorporated into the action cue “Children in Bondage”, mixed in with a lot of other stuff. That cue was never meant to be the first appearance of the theme, and IMO its development makes so much more sense now, with those two cues preceding it.
One problem: since the two previously unreleased cues were definitely in inferior sound quality to the rest of the score, Cary wanted to put them at the end of disc 2 (after the end credits) as bonus tracks. I lobbied hard for them to be included in chronological order and just labeled with asterisks that they were in lower sound quality, but Cary didn’t like the thought of having great sounding cues on either side of poorer sounding ones. This is where Lukas Kendall, who also assisted Varese on this release, came in with a good compromise: keep the full score in chronological order which I felt so strongly about so that the thematic development can be preserved...but have the new cues end Disc 1 instead of Disc 2. That way they were still bonus tracks at the end of a CD rather than interrupting in between great sounding cues. So for those of you wondering why disc 1 is 22 minutes and Disc 2 is 62 minutes, this is why. It wouldn’t all fit on one disc, and it actually does work out well as a split because Children in Bondage is actually a great opener to Disc 2. If the extra music had survived the ages in pristine sound, The Road from Paris is where I’d have started Disc 2. But given the circumstances, I think the split makes total sense and I hope everyone else enjoys this new presentation of a top 10 Goldsmith score as much as I do.
I’ve probably gone on about this longer than I should, but I wanted to head off a bit of the Monday night quarterbacking (“I would have done it THIS way!”) I was seeing here and at FSM. Rest assured a ton of work went into this release and no decision was made lightly.
Chas Ferry did remaster this actually. In fact I haven't even heard his work on it yet -- its very likely that he made the two new cues from Doug Fake's tape sound better than when I last heard them in the album mock-up I made. I'm very interested to hear what his new mastering sounds like.
I think you mean Nic Raine? Nick Redman is no longer with us and was not a conductor but an album producer for Fox. In any case, I would definitely be up for a re-recording of this score someday, and I know it's one Tadlow reconstructionist Leigh Phillips *almost* did a few years ago (Thriller narrowly beat Lionheart in a poll he ran, and thank goodness because those Thriller volumes actually made back their money which Lionheart probably couldn't due to how immense the expense would be.) But for now, let's celebrate the fact that the original (and still quite good) Lionheart recording under Jerry's baton has been reissued (and even expanded with two more cues) after being out of print and unavailable for *decades*! A lot of people are going to have the chance to own this masterpiece of a score again. I'm so glad Varese decided to revisit it.
To be honest, all of this might be true but I bet it wasn't quite that dramatic in person. Things always seem more aggressive is someone writes it down. People care about how their work is presented and don't want others to meddle with it or misrepresent it. Perfectly understandable. I bet Giacchino was asked to quote old themes verbatim by the studio which Williams simply thought was inappropriate. I see no big controversy here really. Could JK stop anyone scoring any HP film? Sure, she did veto the release of the children suite. Maybe she finds his music not to her liking. Simple as that.