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Everything posted by Amer

  1. I saw this update on LLL website today about STAR TREK II: UPDATE: We greatly apologize for the wait on WRATH OF KHAN shipments, as this delay was unexpected. We expect re-stock by month's end, if not before. If KHAN is only a portion of your overall current order, and you wish us to get that out to you now (and send KHAN separately later) please let us know at info@lalaland-ent.com
  2. Thanks. Since I haven't heard Disc 1 as yet is the Flugelhorn version found on Disc 1 program in any form/variation or is it exclusive to Disc 2 OST?
  3. I see. Again what were the new tracks introduced on CD 2 which were basically re-recorded but not included?
  4. Well, I finally found time to listen to the OST album and its stunning. For me its certainly a 'Lost score' since I never had it or heard the original OOP album. And hearing it first in pristine sound- remastered et al is a great experience. I have opted to play this disc2 first and will continue to play only this until I'am completely familiar with the mood and presentation of the programed music. Thereby giving me enough ground before I experience the film version of the score - which most of you find superior as a presentation and sound. Can this really be better sounding than JAWS after all ? Right now the previously unreleased 'Flugelhorn' version of the 'Eiger Theme' is certainly getting the most replay of all the cues. I just love the smoky/sultry jazz inspiration here.
  5. Looks like the next Intrada release is TO KILL A MOCKINGBIRD paired with WALK ON THE WILD SIDE. Just revealed by Roger Figelson on the FSM Board. Basically, I think its the AVA Recordings set being reissued in piecemeal. The set itself is now sold out. (Intrada had previously come close to releasing the original film recording of MOCKINGBIRD years ago only to get the release canceled when an approval was denied by a producer of the film) Timely conversation because our next release is a reissue of the Ava Mockingbird paired with Walk on the Wild Side on a single disc. But I wouldn't put that in print and I'll deny it if anyone says I said anything. https://www.filmscoremonthly.com/board/posts.cfm?threadID=145213&forumID=1&archive=0&pageID=1&r=870#bottom
  6. Come to think of it there may have been a more earlier version which Horner may have composed but never recorded. That piece may have been more closer to the Orff piece. Somehow the discussion that Horner made makes subtle reference to it. This new alternate which he recorded probably didn’t satisfy both of them and Horner then made the final version ..
  7. Eventually Zwick liked this final version better. Because it still sounded like Carmina Burana but different from the the first version. I find 3 elements which are reminiscent of the Orff piece, the opening, the mid section with the drive and the conclusion. JAMES HORNER: 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 ..
  8. Innerspace was my first Goldsmith score. I loved that edit. But LLL edition is something else. This should be back in print with the OST
  9. Iam not even discussing that version. It’s separate story. It’s woven from the same cloth as every knows very well. We are talking about the original version and it’s exclusion in the OMNI book. Didn’t you read Horner’s discussion I posted a few days ago.?
  10. I’m still saying thing as you are saying above except that you are suggesting it’s not like anything like Carmina Burana. Because I think it’s the version that Ed Zwick wanted and Horner made a lot of hue and cry of not following those instructions because of the impending legal complications. So, eventually it got recorded - it’s that piece which is basically on disc 2 and is not on the book for those reasons. The Silva version is not exactly the same as Jean pointed out in his article.
  11. My dears , Iam referring to the 2nd version on the OST which that was recorded by Silva and The book surely doesn’t show that piece. That piece was the first draft written by Horner and eventually rejected because of being to close to the original Carmina Burana .Right? Lol. You were correct. Your English is quite splendid . Take a bow.
  12. The 2nd version of Charging Fort Wagner was probably excluded because of its much stronger Carmina Burana influence which probably would have required legal clearance from the Estate. As a recorded piece different rules allowed that recording to resurface on the new LLL set.
  13. STRIPES: 40th ANNIVERSARY LIMITED EDITION LLLCD 1569 Music by Elmer Bernstein Limited Edition of 2000 UNITS RETAIL PRICE: $21.98 STARTS SHIPPING SEPT 28 La-La Land Records and Columbia Pictures proudly present a limited edition expanded and remastered release of legendary composer Elmer Bernstein’s (THE MAGNIFICENT SEVEN, THE SONS OF KATIE ELDER, GHOSTBUSTERS) original motion picture score to the 1981 big-screen comedy classic, STRIPES, starring Bill Murray, Harold Ramis and Warren Oates, and directed by Ivan Reitman. Bernstein expertly melds robust military and heroic motifs with blues-and-jazz infused comedy riffs to create one of the most iconic scores to one of the most popular ‘80s era comedies. Newly remixed by Michael McDonald from the original analog 3-track tapes and featuring nearly ten minutes of additional music, this definitive CD release, commemorating the film’s 40th Anniversary, shines light on Bernstein’s deft and inspired handling of comedy, a vital part of the movie’s rousing success. Produced by Neil S. Bulk and mastered by Doug Schwartz, this limited edition of 2000 units also features exclusive, in-depth liner notes by writer Jon Kaplan and art design by Dan Goldwasser. TRACK LISTING: SCORE PRESENTATION 1. Overture (The March From “Stripes”) 1:33 2. Winger 1:29 3. Depression :43 4. Push-Ups 2:12 5. In :28 6. The March From “Stripes” 2:19 7. Haircut 2:38 8. First March :21 9. Training 1:53 10. Threat :28 11. Escape 1:40 12. Cops 1:25 13. Celebration / Victory 1:45 14. Home / Contact 2:19 15. Graduation March 2:23 16. Italy / Resurrection 1:18 17. EM-50 :44 18. Gone 2:27 19. Captured 1:30 20. To The Rescue 1:08 21. Into The Fire 2:55 22. Rocket :53 23. Rescued 1:50 24. Guard Shack :56 25. Moving :30 26. V-J-R 2:32 27. Freeze Frames 3:48 28. End Credits 2:13 TOTAL SCORE TIME: 47:18 ADDITIONAL MUSIC 29. “Stripes” Trailer 2:08 30. End Credits (Extended Version) 2:49 TOTAL ADDITIONAL MUSIC TIME: 4:57 TOTAL ALBUM TIME: 52:15
  14. GLORY: LIMITED EDITION (2-CD SET) LLLCD 1560 Music by James Horner Limited Edition of 5000 Units RETAIL PRICE: $29.98 STARTS SHIPPING SEPT 14 La-La Land Records, TriStar Pictures and Capitol Records proudly present a limited edition, remastered and expanded 2-CD release of renowned composer James Horner’s (STAR TREK II – THE WRATH OF KHAN, FIELD OF DREAMS, TITANIC) original motion picture score to the classic 1989 Civil War drama starring Matthew Broderick, Denzel Washington and Morgan Freeman, and directed by Edward Zwick. One of James Horner’s finest musical achievements, the Grammy® winning GLORY score is a superb demonstration of the composer’s unique ability to strongly communicate the emotional and dramatic core of a film to its audience. This is clearly evident within this special reissue, which showcases his masterwork remastered from the original digital tapes and expanded with previously unreleased music. Disc One features the score presentation and source music, while Disc Two presents the re-mastered 1989 Original Soundtrack Album and additional music. Produced by Neil S. Bulk and Mike Matessino and mastered by Mike Matessino, this 2-CD release is limited to 5000 units and includes exclusive, in-depth liner notes by writer Jeff Bond and art design by Jim Titus. TRACK LISTING: DISC ONE SCORE PRESENTATION 1. A Call To Arms 3:16 2. After Antietam (Film Version) 2:28 3. Flashback :44 4. Forming The Regiment (Film Version) 3:43 5. Jefferson & Liberty (Full Version) 2:01 6. The Decision / Second Flashback 2:34 7. Lonely Christmas 1:56 8. The Whipping 2:12 9. New Shoes 1:16 10. Worth A Life 1:27 11. The Year Of Jubilee (Film Version) 2:28 12. Burning The Town Of Darien 2:34 13. Our Time 1:52 14. The Battle Of Grimball’s Landing 3:17 15. Promise Me / What Do You Want Of Us? 1:40 16. Brave Words And Deeds 3:11 17. Preparations For Battle (Film Version) 7:40 18. Charging Fort Wagner 2:54 19. An Epitaph To War (Film Version) 2:35 20. Closing Credits (Film Mix) 6:51 Total Score Time: 56:39 SOURCE MUSIC 21. Drei Klavierstücke, DV.946 2:30 22. Jefferson & Liberty 1:00 23. Old 1812 1:14 24. Jefferson & Liberty (Film Mix) 1:23 25. Hoist The Flag 2:18 26. The Sicilian Circle 1:52 27. The Bonnie Blue Flag 1:17 Total Source Music Time: 11:34 Disc One Total Time: 68:47 DISC TWO ORIGINAL SOUNDTRACK ALBUM 1. A Call To Arms 3:10 2. After Antietam 2:40 3. Lonely Christmas 1:55 4. Forming The Regiment 5:27 5. The Whipping 2:09 6. Burning The Town Of Darien 2:31 7. Brave Words, Braver Deeds 3:10 8. The Year Of Jubilee 2:26 9. Preparations For Battle 7:35 10. Charging Fort Wagner 2:53 11. An Epitaph To War 2:35 12. Closing Credits 6:52 Total Original Soundtrack Album Time: 43:23 ADDITIONAL MUSIC 13. A Call To Arms (With Wild Opening) 3:29 13. Flashback (Alternate No. 1) :44 14. Worth A Life (Alternate No. 1) 1:25 15. Flashback (Alternate No. 2) :43 16. Worth A Life (Alternate No. 2) 1:23 17. Charging Fort Wagner (Alternate) 2:55 Total Additional Music Time: 10:39 Disc Two Total Time: 54:13 Two-Disc Total Time: 2:03:00 Order yours starting Sept 14th at 12 noon (pst) at www.lalalandrecords.com
  15. It'll be in stock by Friday. I had asked MV privately this Monday. So cheer up.
  16. Let's not forget Quartet Records. They did IMAGES recently. So they should be doing more obscure titles. Maybe... a reissue of TOM SAWYER in full stereo!
  17. I am a fan. His take of THE ASTEROID FIELD is also quite an impressive performance.
  18. That must have been in between. The fact he protested knowing very well that this piece of music was widely known in the public domain he couldn't risk it upon his own name if he went too far. I therefore say he wised up and realized he could still get away occasionally without making it too obvious. Now that's a talent. And as they say or said that a good composer always steals.
  19. It's one thing to use an entire piece on its own (and pay the heavy fee) and another to copy as a near clone and call it an original piece. Horner/ company was already stung by legal subpoenas when he used or was forced to use Nino Rota's AMARCORD in HONEY, I SHRUNK THE KIDS back in the 80's. So I guess he smarted up real quick. That's why Take #1 was rejected after careful thought and Horner refashioned another piece while maintaining the same rhythm but rounded it as close to the scores thematic material. The opening/ending crescendos are similar to the piece and the central charge motif with the Latin text is mostly driven by a string motif derived from the score thereby allowing Horner to retain it as his own. BTW, Bruce Broughton also came close to doing the same for the cue 'Waxing Elizabeth' in YOUNG SHERLOCK HOLMES.
  20. 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.
  21. I believe Intrada isnt accepting orders for Ireland also due to some customs regulations issue there.
  22. The McNeely recording is available easily off eBay but the price tag is high but in the $60+ range. The Intrada issue is next to impossible. The really upgraded the sound and fixed the errors that were found in Rhino.
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