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Amer

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Posts 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. On 8/12/2021 at 11:20 PM, Amer said:

    Well my copy shipped, so that’s a relief! 

    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. 

  3. 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

  4. 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 ..

  5. 2 minutes ago, Bespin said:

    Well... many used CDs again...

     

    James Horner - Balto OST

    James Horner - Fievel Goes West OST

    James Horner - Dad OST

    James Horner - Deep Impact OST

    Goldsmith - Innerspace OST (well, 5 tracks of Goldsmith music, I'll start with that!)

    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 

  6. 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. 

  7. 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?

    7 minutes ago, Jean-Baptiste Martin said:

    In this case I still need to improve my English because I thought Amer was talking about the version we can finally hear in 2021 because some rules have changed.

    Lol. You were correct. Your English is quite splendid . Take a bow.

  8. 19 hours ago, Jay said:

    Thanks!

     

     

    Interesting to notice the titles almost all line up with the LLL set, with a couple exceptions:

     

    "Intro", "Fife and Drums", and "54th Regiment" are not titles used on the LLL set

     

    While "Worth a Life" it on the LLL set but not in the book.

     

    The book also has three versions of "After Antietam", while the LLL set only has two; But then the LLL set has two versions of "Charging Fort Wagner" while the book only has one.

     

    Weird.

    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. 

  9. 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

  10. 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. 

  11. 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. 

     

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