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The Official Intrada Thread


Trent B

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The good thing is our specialty label heroes know exactly what we want and want to release them too (ie Tomorrow Never Dies, License to Kill, Moonraker).  We can completely blame the big studios on this one.

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9 minutes ago, Jay said:

The good thing is our specialty label heroes know exactly what we want and want to release them too (ie Tomorrow Never Dies, License to Kill, Moonraker).  We can completely blame the big studios on this one.

 

Are TWINE and DAD the only Bond scores (thus far) to have a modern expansion by the boutique labels? Those 3 scores you mentioned will make a fantastic addition to the collection, once they happen.

 

But just wondering if I've missed anything. It seems a few had expansions of sorts in the early 2000s (and CR and QoS had "bonus tracks" on their digital releases).

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34 minutes ago, crumbs said:

Are TWINE and DAD the only Bond scores (thus far) to have a modern expansion by the boutique labels?

 

Monty Norman's 1962 score to Dr. No has been expanded by various labels, but it's some sort of quasi-legal thing due to different country's copyright laws

 

Burt Bacharach's score to the 1967 Casino Royale has been expanded by Kritzerland and Quartet

 

But as far as the scores people want, IE the Barry era forward, it's just TWINE and DAD that have been done by the specialty labels.

 

Many of the older scores were expanded in 2003 by a major label (EMI) with Lukas Kendall producing, but they aren't really the "specialty label style".

 

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Next release is Feb 23rd but no clue this time... 

 

Quote

Roger Feigelson writes:

Our next release is 2/23.

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8657

Let the flailing begin!

 

https://www.filmscoremonthly.com/board/posts.cfm?threadID=142904&forumID=1&archive=0

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It's not accurate at all to say there's no clues this time; Intrada hasn't done clues for many years now.  Roger just posts what the title is the week before it goes in sale. Since it goes in sale Feb 23, he'll post the title around Wednesday the 17th-Thursday the 18th.  There's nothing unusual happening here. 

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14 hours ago, Bespin said:

I just saw they will expanded Howard Shore's Silence of the lambs... Oh oh!

 

But they're not.  Quartet did in 2018, and now they are reissuing it because it went OOP.  

 

https://quartetrecords.com/product/the-silence-of-the-lambs-2/

 

Intrada has nothing to do with this.

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I know, I posted too quick after receving an Intrada newsletter! My bad!

 

BTW, I don't know why Intrada announces Quartet reissues in their newsletter... that's another thing.

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Update from Doug Fake on the next release :


 

Quote

 

Our next new release, due later this month is actually an all-time favorite of mine, oft-discussed amongst my friends here and coming from my personal favorite era of movies and film scores. The composer, a multi-Oscar nominee, wrote a lot of fantastic scores but this one coming up is in my opinion his most exciting and memorable. Opinions may vary but this is mine so give it some weight. The main title cue is certainly one of the most riveting and powerful opening credit sequences that ever set a movie in motion. Watch it on screen, listen to it on your audio player, either way it’s an incredible piece of music. Needless to say, I’ll play this one often

 

 

http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8670

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37 minutes ago, publicist said:

I hope for a better 'On Dangerous Ground' (Herrmann) or 'The Lost Command' (Waxman). I hope it's not just another incarnation of 'Capricorn one' or similar.

I thought of Legend.

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Eiger Sanction? That Main Title is certainly riveting, but maybe not "powerful" (and I wouldn't describe the ensuing score as 'exciting' either, unless training montages are your thing :lol:)

 

Soooo... Heartbeeps? :P

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2 hours ago, Brundlefly said:

I thought of Legend.

 

Though it is a cryptic wording for that title, i'd love to have a release in 2021 standard (sound, unreleased stuff etc.). Supergirl, too. 

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2 minutes ago, Laserschwert said:

So probably not Willow, because Horner could just as well be called a multi-Oscar winner. Same for Williams, obviously.

 

It's worded nebulous purposefully, obviously. If you would spell it out, it would be too easy to guess. 

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I assume since he called the composer a "multi-Oscar nominee", any composer who actually won an Oscar is out of the running for this one

 

EDIT: Woops, that's already being discussed on this page.  I wrote it after reading the last page.

 

I genuinely think only composers who were nominated but didn't win should be considered for this, and I'd also assume Doug's "personal favorite era of movies and film scores" is golden age - but someone can correct me if I'm wrong about that

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Not relevant to the current discussion but I just came across this interesting post from Doug about Jerry's score to In Harm's Way and since we don't have a thread for that release I'm plopping it here

 

Quote
Quote

I'm sitting here, listening to the latest release of In Harm's Way, and was wondering if Doug might still be searching for the rest of the score. If he were ever to find the rest of it, I'd buy a release in a heartbeat!


YES!!!!!! I mean, yes. People in my orbit know this just happens to be my personal favorite album of Goldsmith's. When we finally located the never-before-released first-generation masters that Jerry had pulled out of the 1/2" 3-track stereo mixes for consideration on RCA's 1965 album, I was delirious! That masterpiece cue "The Rock", playing as cut 3 on side one of the record and written for an intended intermission, remains to this day my own top Goldsmith cue. Hearing it from the multi-tracks for the first time was an indescribable experience. And just getting a few additional cues made the moment that much sweeter. Ahhhh... if the rest of those multi-tracks ever do appear, what a treasure trove of action music we'll finally have: all the naval combat and PT Boat sequences that Jerry (darn him!) left off the record.

By the way, I once talked to him about "The Rock". He actually said the orchestra got into the piece so enthusiastically that he recalled going with the earliest complete take because it just sounded so exciting. Yes sir, he nailed that one. I can only imagine what that incredible piece sounded like live in that recording hall. Marty!?? Where's my DeLorean? :wink:
--Doug

 

http://www.intrada.net/phpBB2/viewtopic.php?p=83540#p83540

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Reading through the discussion over at the Intrada forums, it seems Doug's favorite era isn't necessarily golden age, but more 60s-mid70s ish


The two big titles mentioned in that thread are

 

Jerry Fielding's The Outlaw Josey Whales (1976)

and

Frank De Vol's What Ever Happened to Baby Jane? (1962)

 

The most important part of Doug's clue is certainly his description of the main title cue - "certainly one of the most riveting and powerful opening credit sequences that ever set a movie in motion" - which rules out a lot of scores just based on that

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Yea, I am reading the FSM thread now and they are saying Doug's favorite era is simply the 60s: "I always thought Doug's favourite era was the 60s.
I remember him saying that TARAS BULBA ('62) got him into scores and IN HARM'S WAY ('65) is his favourite Jerry Goldsmith score, so I reckon it's something from that era."

 

So Frank De Vol's What Ever Happened to Baby Jane? (1962) seems like the best guess currently.  He has 4 Oscar nominations but never won

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8 minutes ago, Jay said:

The most important part of Doug's clue is certainly his description of the main title cue - "certainly one of the most riveting and powerful opening credit sequences that ever set a movie in motion" - which rules out a lot of scores jut based on that

 

It's either Capricorn One or Night Crossing then, two Intrada mainstays (+ DF favourites) and fitting the description.

 

Though of course i could be completely wrong. For the record: Baby Jane didn't leave much of an impression on me, musically, and i saw it several times.

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2 hours ago, Jay said:

The most important part of Doug's clue is certainly his description of the main title cue - "certainly one of the most riveting and powerful opening credit sequences that ever set a movie in motion"

 

That's weird - Quartet Records released the score to Lady Jane just a few years ago.

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