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I don't think it's right for me to participate in the speculation of any upcoming Williams releases.  I know too much!

Intrada: Can we release expanded SW scores? Disney: No, we will do that ourselves. Intrada: That means they will get a release? Disney: No.

Really? IMHO that score is terrible in either form once you get past the main titles.  Could be my disdain for the movie itself tainting the soundtrack. 

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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2 hours ago, publicist said:

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

The Boys from Brazil? These Intrada re-releases should at least take fair turns.

 

Or maybe it's the long-awaited Inchon reissue. I mean, it's OOP.

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11 minutes ago, Holko said:

They've been discussed in their threads in their time, will it suffice if I say they don't exactly have the same attention detail in editing and mixing as, say, a Matessino production?

Can you summarize the high level?  I remember there were complaints about Bruce Botnik's mix on The Mummy, but that didn't have much to do with Doug. He would have likely mixed it regardless of label that released it.

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I can pick some individual examples like Night Boarders where possibly a performance edit was solved with a long crossfade and the music just starts phasing with itself. Or the last minute or so of Camel Race and its scratching in the right channel - if it's the source that was damaged, the undamaged album master is right there to grab it from, even included on Disc 2. Helpful that it has Night Boarders too to replace the phasing version with.

Or My First Bus Ride, for which the intended performance edits were not recreated, and one take with a not very pleasant flub was put in the main program and the other which was used to patch it up for the final film version put in the alternates. Or that the later recorded cues sound worse and narrower than the bootleg.

 

Just generally, making these mistakes and overlooking them could seem somewhat amateurish when compared to the slew of (on average) better done specialty releases coming out nowadays.

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As much as I love Intrada, Mummy Returns is a botched job. Even cues from the Decca, i. e. 'Scorpion Shoes' sound like the stereo field was narrowed down by 40% on the new release (exemplified by the short 'Canyon Deluge', which was probably from the LA sessions, but also features this strange anomaly).

 

Whoever worked on this stuff should have noticed these obvious quality drops and at least addressed them.

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11 minutes ago, Holko said:

I can pick some individual examples like Night Boarders where possibly a performance edit was solved with a long crossfade and the music just starts phasing with itself. Or the last minute or so of Camel Race and its scratching in the right channel - if it's the source that was damaged, the undamaged album master is right there to grab it from, even included on Disc 2. Helpful that it has Night Boarders too to replace the phasing version with.

Or My First Bus Ride, for which the intended performance edits were not recreated, and one take with a not very pleasant flub was put in the main program and the other which was used to patch it up for the final film version put in the alternates. Or that the later recorded cues sound worse and narrower than the bootleg.

 

Just generally, making these mistakes and overlooking them could seem somewhat amateurish when compared to the slew of (on average) better done specialty releases coming out nowadays.

I would need to check these to see what is up. Remember the mixes on the Decca album and the complete sessions were quite different so mixing and matching might be jarring. But largely, I haven't heard of any issues with Land Before Time, Psycho III, Last Castle, Species II so it seems like Mummy might be a corner case so not sure why you'd throw Doug under the bus for everything. 

2 minutes ago, publicist said:

As much as I love Intrada, Mummy Returns is a botched job. Even cues from the Decca, i. e. 'Scorpion Shoes' sound like the stereo field was narrowed down by 40% on the new release (exemplified by the short 'Canyon Deluge', which was probably from the LA sessions, but also features this strange anomaly).

 

Whoever worked on this stuff should have noticed these obvious quality drops and at least addressed them.

Which is odd, these were the mixes Silvestri provided - so no remixing was done -- but I will check as I don't recall it sounding mono, which is what your note seems to imply. 

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I've only heard Land Before Time out of those and that does have that one terrible edit that was in the finalised performance edits source, that wasn't fixed by going back to the multitracks we know were available because... it wasn't. Oh, and that missing insert for which new copies had to be pressed.

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4 minutes ago, Roger said:

Which is odd, these were the mixes Silvestri provided - so no remixing was done -- but I will check as I don't recall it sounding mono, which is what your note seems to imply. 

 

I'm sure there was some mixup involved, but listen to 'Canyon Deluge' or the whole final battle cues under headphones and compare it with the first cue of the score and you will notice a strange narrowing of the stereo spread. 

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The only thing I ever noticed with Returns was how distant the final battle cues sound, but given that they sound exactly the same on the boot, I've assumed since that the original recording wasn't very good. They don't sound mono, but, there's something very flat and distant about the sound, compared to the rest of the score.

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4 minutes ago, Richard Penna said:

The only thing I ever noticed with Returns was how distant the final battle cues sound, but given that they sound exactly the same on the boot, I've assumed since that the original recording wasn't very good. They don't sound mono, but, there's something very flat and distant about the sound, compared to the rest of the score.

Yes the only way around this would be to rerecord the cues. The recording is the recording. I'm a little confused because you say it sounds the same as the boot, but above Holko says it sounds worse. 

10 minutes ago, Holko said:

I've only heard Land Before Time out of those and that does have that one terrible edit that was in the finalised performance edits source, that wasn't fixed by going back to the multitracks we know were available because... it wasn't. Oh, and that missing insert for which new copies had to be pressed.

I'm not following you. The required edit wasn't documented but was fixed anyway and sounds fine. So what is the issue?

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23 minutes ago, Holko said:

The insert was fixed after the listeners who already bought it noticed it for the producer. The edit I mentioned is a bad harsh performance edit in another track I think.

All labels make errors that get through.  Lalaland most recently on Karate Kid II, BSX with T-Rex...Quartet with the channels reversed on Awakening...I think you underestimate the complexity of what it takes to get these projects out. Again, I would still trust all these labels to produce great albums as well as make fixes when something pops up. It's all good. So again, bashing one producer is extreme and I think unreasonable. 

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You also run into the very natural problem that you can't be as familiar with minutiae details of all the scores you put out as hardcore fans. For the record, even I, being familiar enough with Land Before Time, wouldn't have noticed the muted horn line in the first cue without it being pointed to me, so I would have released the same cue as Intrada. 

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49 minutes ago, Roger said:

Yes the only way around this would be to rerecord the cues. The recording is the recording. I'm a little confused because you say it sounds the same as the boot, but above Holko says it sounds worse. 

 

Probably a bit subjective, but I don't really hear a difference. * shrug *

 

And yep - the recording is what it is - not a lot can be done about that. They just sound a bit 'muddier' and lack the crispness of the rest of the score, but evidently something must've been done different during the recording. Oh well :) 

 

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3 hours ago, publicist said:

You also run into the very natural problem that you can't be as familiar with minutiae details of all the scores you put out as hardcore fans. For the record, even I, being familiar enough with Land Before Time, wouldn't have noticed the muted horn line in the first cue without it being pointed to me, so I would have released the same cue as Intrada. 

 

You gotta be a real nut to notice all this shit

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