Label Threads The Official Intrada Thread

[Yavar Moradi 1,788]

There’s also a trailer made by Joe Sikoryak as he’s been doing for every Intrada release since the two Lifeforces:

Yavar

[filip 16]

Personally hoping the McNeely's are the remaining Tinkerbells. Would love the neglected Disney sequels he did, too.

[Yavar Moradi 1,788]

Right there with you, especially for Secret of the Wings and Pixie Hollow Games which have received no commercial release at all (The Pirate Fairy and Legend of the NeverBeast at least got substantial, if incomplete, digital releases…)

 

Yavar

[Jay 31,998]

Intrada's next title is John Beal's Funhouse

 

Our other Halloween release -- John Beal's The Funhouse. One of my favorite horror scores...and it includes a passacaglia!

 

 

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=9008

[Jurassic Shark 9,744]

Never heard of it.

[A. A. Ron 1,010]

I've never even heard of the composer.

[Jay 31,998]

I own one John Beal CD

 

 

 

[Andy 2,526]

A good movie from Tobe Hooper made prior to Poltergeist that has some vibes that will make you rethink the Spielberg directed Poltergeist argument. 
 

Anyways, I don’t recall the score standing out, but I’m pretty sure without googling that Beal did a lot of low budget horror scores. 

[Jay 31,998]

The OST album is on streaming services

 

https://open.spotify.com/album/4zNOqzyr22HOOjGVg4xhbx?si=eoR7clTTS1qkMz1rqNHKqg

https://music.youtube.com/playlist?list=OLAK5uy_l46uflhBO2KvxDkGTOH9rmtxmffuAQ_eI

https://tidal.com/browse/album/35949515

https://music.apple.com/us/album/the-funhouse-music-from-the-original-film-score/923418626

[Jay 31,998]

 

[Jay 31,998]

01/22/2023

Success! We’re back from Glasgow! And I’m already at work with the session masters, helmed by Mike Ross-Trevor, the extraordinary engineer we’ve had on our Excalibur team dating all the way back to our 1986 re-recording of Jerry Goldsmith’s Islands In The Stream, when we were still in our infancy. We had not yet given the Excalibur brand to our re-recordings, mainly because we had no idea that the series - or even our label - would ever survive. But it did! And now we have our new recordings of Bernard Herrmann’s The Man Who Knew Too Much and On Dangerous Ground “in the can” and ready for assembly. Some 90 players of the Royal Scottish National Orchestra brought these two truly classic Herrmann film scores to life, both under the peerless direction of William T. Stromberg. Mike Ross was also with us when we did Ivanhoe and Julius Caesar in London. And in particular, he gave us that crisp, clean sound for Jason And The Argonauts, our first Herrmann release, under the baton of our dear friend Bruce Broughton. So it be that we again went for the crisp and detailed sound that Herrmann’s music begs for… and we got it! The “Prologue” from The Man Who Knew Too Much is a powerhouse piece, led by Nathan Van Cleave’s “VistaVision” logo. And the action music for On Dangerous Ground is legendary amongst Herrmann aficionados, understandable given the virtuoso writing for the massive French horn section. Balance this with the haunting viola d’amore solos that weave in and out of the score and you get the textbook definition of a classic!

Much more recent, by some three decades, is John Beal’s also-powerful orchestral score for the Universal horror film The Funhouse, directed by Tobe Hooper in 1981, just before Hooper tackled Poltergeist. It’s a genuinely scary picture and Beal delivered the goods in grand style. The complete score goes on sale Tuesday, January 24. The one sheet entices: Pay To Get In, Pray To Get Out. But remember it’s only a movie, with a sensational score to go with it!

 

http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=9009

[Dr. Rick 940]

Wouldn’t it be awesome if JW revisited some of his older works and re-recorded them in pristine sound?  Especially scores where the material is lost or badly damaged.  

[Tom Guernsey 1,715]

38 minutes ago, Dr. Rick said:

Wouldn’t it be awesome if JW revisited some of his older works and re-recorded them in pristine sound?  Especially scores where the material is lost or badly damaged.  

I don’t think he ever would but I’d be very happy for someone else to do it if possible. Especially, as I’ve mentioned elsewhere, suites of his tv scores for Irwin Allen as they would benefit from decent sound not in mono. 

[filmmusic 1,365]

I don't like re-recordings (even if the original recordings are in mono or don't have very good sound).

I can accept them only in instances where the original material has been lost or badly damaged.

[A Farewell to Kings 3,786]

4 hours ago, filmmusic said:

I don't like re-recordings (even if the original recordings are in mono or don't have very good sound).

I can accept them only in instances where the original material has been lost or badly damaged.

What about when there is unrecorded material?

[filmmusic 1,365]

5 hours ago, Clockwork Angel said:

What about when there is unrecorded material?

Yes, of course, there too.

[Holko 8,205]

Or when the original recording/performance is mediocre or even kinda sucks because of time and budget limitations they had? Totally not thinking of the Conans.

But rerecording Superman and BTTF seems like a waste to me too.

[A Farewell to Kings 3,786]

12 minutes ago, Holko said:

Or when the original recording/performance is mediocre or even kinda sucks because of time and budget limitations they had? Totally not thinking of the Conans.

But rerecording Superman and BTTF seems like a waste to me too.

Superman (not the Varese rerecording) has unrecorded material.......

[Holko 8,205]

Hmm, by is I kinda meant was. But still, spending effort to overwrite a great 1.75hr '78 JW/LSO recording just for a couple additional alternates wouldn't be the most efficient excercise.

[Tallguy 1,821]

17 hours ago, filmmusic said:

I don't like re-recordings (even if the original recordings are in mono or don't have very good sound).

I can accept them only in instances where the original material has been lost or badly damaged.

 

This kind of proves that film music is different from "regular" music. That's like saying that we only need one recording of Beethoven's Sixth.

[Jurassic Shark 9,744]

1 minute ago, Tallguy said:

That's like saying that we only need one recording of Beethoven's Sixth.

 

Of course, since there's a film music recording.

[Yavar Moradi 1,788]

2 hours ago, Tallguy said:

This kind of proves that film music is different from "regular" music. That's like saying that we only need one recording of Beethoven's Sixth.

Except that many people feel differently and have room for more than one recording of a great film score on their shelves.

 

Yavar

[blondheim 1,031]

I believe there should be as many recordings of scores as there are symphonies. Bring it on! There’s room in my heart for all of you.

 

I don’t personally love Tadlow’s Conan the Barbarian but I LOVE most of their Rozsa. And other people adore their Conan, so it has every right to exist. I also wish conductors wouldn’t try so hard to make it sound like the original recording when there are re-recordings. (I’m looking at you, Mr. Dudamel!) Give it the Gerhardt treatment and for god’s sake, some rubato!

[Tom Guernsey 1,715]

3 hours ago, Tallguy said:

 

This kind of proves that film music is different from "regular" music. That's like saying that we only need one recording of Beethoven's Sixth.

That's exactly how I feel about it and if we're going with the "but Beethoven didn't record his music" then there are plenty of composers who lived into the recording era who did and have, perhaps most notably Igor Stravinsky who recorded most (all?) of his orchestral works but I don't know many classical/Stravinsky aficionados who lay claim to his recordings being the best or even necessarily definitive. They are certainly pretty fine (and the sound is good despite the age of some) but I don't think any count as a top choice or the last word on his music. The same should go for film music; yes many of our favourite composers who conduct are/were very fine conductors or hired fine conductors to conduct their music, but that doesn't mean there isn't room for other people to interpret their music.

 

Is it good to hear the original? Of course, but there's plenty of room for interpretation and if there are multiple options, then even better. I think it's frustrating that so many people have the "original tracks versus re-recordings" mentality, it's so very "them and us" rather than the original recording simply being one of several recordings of a work. Sure, some subsequent recordings are perhaps not as good as they could have been (the Varese BTTF and Superman albums, for example, have a few ropey moments) but most offer fine to excellent interpretations of some classic music and should be enjoyed in that way.

[JTWfan77 1,394]

I guess growing up listening to Gerhardt's CE3K has spoiled me for the "original is only valid option" stream.

 

I still prefer those particular parts to the original film recording, particularly the almost ridiculously prestissimo end credits. 

[mstrox 5,860]

Love hearing different recordings of works, keep ‘em coming

[GerateWohl 2,822]

23 hours ago, filmmusic said:

I don't like re-recordings (even if the original recordings are in mono or don't have very good sound).

I can accept them only in instances where the original material has been lost or badly damaged.

With that view you would have to reject many OST albums like E.T. or The Fury which carried different recordings than the original film recordings. Or tracks like The Imperial March or Duel of the Fates which were just recorded for the album???

[A Farewell to Kings 3,786]

Concert arrangement recordings don't count @GerateWohl, they are basically seperate cues.

 

Also, DOTF was recorded for the End Credits, not for the album only

[filmmusic 1,365]

30 minutes ago, GerateWohl said:

With that view you would have to reject many OST albums like E.T. or The Fury which carried different recordings than the original film recordings. Or tracks like The Imperial March or Duel of the Fates which were just recorded for the album???

No, I don't reject ost versions/albums, I just reject re-recordings made years after the original recordings, when there's no reason to do so.

[JTWfan77 1,394]

What about anthologies that re-record select pieces from a number of different scores? There's hundreds that I could name. Are these also considered unnecessary?

[filmmusic 1,365]

1 minute ago, JTWfan77 said:

What about anthologies that re-record select pieces from a number of different scores? There's hundreds that I could name. Are these also considered unnecessary?

Haha. I guess we should start a new thread about re-recordings.

Well, maybe, yes. I don't know...

I just had in mind complete scores, that are re-recorded when the original recordings are perfectly fine eg. Conan, Superman etc.

Now for the rest, I haven't given it much thought.

[Yavar Moradi 1,788]

2 hours ago, filmmusic said:

No, I don't reject ost versions/albums, I just reject re-recordings made years after the original recordings, when there's no reason to do so.

No reason to do so… in your opinion

 

1 hour ago, filmmusic said:

Haha. I guess we should start a new thread about re-recordings.

Well, maybe, yes. I don't know...

I just had in mind complete scores, that are re-recorded when the original recordings are perfectly fine eg. Conan, Superman etc.

Perfectly fine… in your opinion.

 

Conan for example was originally composed for instruments (including the cimbalom for example) which weren’t used in the original recording because the orchestra in Rome didn’t have them available. Now the re-recording does have its own issues but I personally prefer it for much of the actiony stuff (while I like the original for the softer passages). My wife really dislikes the original recording and loves the re-recording.

 

As for Superman, yeah the Blue Box sounds pretty good and the LLL even better. But when Varese did their new recording of that score the only available CD release of the original recording frankly sounded pretty bad!

 

Most new recordings of classic film music are more than justified. Like 99%.

 

Yavar

[Jay 31,998]

Dynamic orchestral score by John Beal arrives on CD! Universal releases no-nonsense horror film in 1981, brings attention to career of director Tobe Hooper, who follows year later with hit scare-fest, Poltergeist. Young cast features Elizabeth Berridge, Cooper Huckabee, Largo Woodruff, Miles Chapin as group of four teens attending local carnival, with veteran Kevin Conway as memorable Barker. Larry Block scripts, John Beal scores.

 

Vivid orchestral score is anchored by waltz theme emphasizing intervals of the tritone, not just in melody but in harmonic structure as well. Interesting shape has theme begin in solo flute in upper register, increase in weight and density, then close in powerful statement for full orchestra. Harmonic vernacular continues throughout, and in one instance stands out in pure tritone major chords for French horn during closing bars of “All Alone No. 1”, a highlight. When scares arrive, Beal unleashes in kind with intense fortissimo episodes of musical fury. Interestingly, while intensity is keynote, Beal relies on propulsive energy and exciting jabs of color rather than overt dissonance to underscore the thrills. Results are striking!

 

First half of score leads to the horror, second half provides the thrills. Standout action cues include “The Unmasking”, “Hatchet Job”, “Liz and the Knife”, “Losing Battle”. Spotlight unquestionably goes to lengthy “Monster Mashed” sequence: As gears and chains grind away underneath the Funhouse, so does the score with a relentless obstinate for basses and cellos underneath sharp jabs from the orchestra above. Spoiler alert: As lone survivor Amy struggles with monster, Beal adds chopping figures to his ostinato, creating powerhouse buildup of musical terror. Fortissimo intensity plays all the way up until monster is mashed between the gears. Sensational cue! When all the horror subsides, picture winds up without cheap gimmicks, and Beal returns to his solo piccolo to usher Amy away from danger… albeit all alone. As fadeout turns to ending credits, Beal returns with his powerful waltz theme to close. Very strong finish to dramatic score! Following are numerous extras featuring carnival music, calliope tunes, assorted cues scored by Beal and used as “source music” as teens stroll throughout carnival. Even the bulk of these pieces play with an unsettling veneer.

 

Complete score presented courtesy of Universal, mastered from the 24-track session tapes recorded by Rick Riccio, mixed by Matt La Point. Score recorded at Evergreen Studios in November 1980. Orchestrations by John Beal, Miles Goodman, Richard Ellis, Don James. Graphic CD package designed by Kay Marshall, informative booklet notes by John Takis. John Beal composes, conducts. Intrada Special Collection CD available while quantities and interest remain!

 

01. Funhouse – Theme (Main Title) (5:50)
02. God Is Watching (1:12)
03. Embryo (1:58)
04. No Escape (1:31)
05. Crystal Ball (0:16)
06. Scary Stuff (0:21)
07. All Alone No. 1 (1:31)
08. Too Serious (1:11)
09. Zena Dies (1:47)
10. Bad Idea (3:07)
11. The Unmasking (1:21)
12. No Place To Be (1:50)
13. Hang-Up (0:33)
14. Hatchet Job (1:19)
15. Liz And The Knife (3:13)
16. The Last Of Liz (0:55)
17. Losing Battle (4:54)
18. Manic Montage (2:29)
19. Monster Mashed (5:00)
20. All Alone No. 2 (0:54)
21. Funhouse – Theme (End Title) (1:32)
Total Score Time: 43:28

 

THE EXTRAS
22. Funhouse – Theme (Alternate Main Title) (2:41)
23. Carousel March (2:50)
24. Carousel Waltz (2:54)
25. Merry-Go-Rag (1:47)
26. Zena’s Zingaresa (2:27)
27. Eatery Source (3:24)
28. Stripper Source (2:26)
29. Tee-And-A-Tease (4:46)
30 Organ Loop #9 (2:34)
31. Dementia Rag (1:02)
32. Cockeyed Calliope (John Berkman) (5:19)
33. Funhouse – Theme (End Title – Alternate Take) (1:31)
Total Extras Time: 33:58

Total CD Time: 77:35

 

 

https://store.intrada.com/s.nl/it.A/id.12769/.f

[Jay 31,998]

Looks like Roger is staying true to his word - there's still no mention of SHATTERED on Intrada's own forum on their website.  I guess he's only announcing on Facebook from here on out!

[Jay 31,998]

On 15/12/2022 at 9:25 PM, BrotherSound said:

Looks like we’re not getting any more JW from Intrada anytime soon, but scores from lots of other great film composers are in the work:

 

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8996

Quote

Here are some composers you can look forward to hearing from -- Jay Chattaway, Alan Silvestri, John Beal -- these guys are at the plant. Then we have James Newtown Howard, Bernard Herrmann, Marco Beltrami, Danny Eflman, Jerry Goldsmith, Joel McNeely, James Horner, John Barry, Richard Band, Hans Zimmer -- all on deck.

 

 

Doug has added one composer to Roger's list with his latest Doug's Corner post (bolding by me)

 

02/5/2023

 

Coming up for this Tuesday, February 7th, is our greatly expanded release of Alan Silvestri’s 1991 thriller score, Shattered, from MGM. It’s in time for Valentine’s Day aficionados who like mystery and murder mixed in with their romance! Updating our latest two scores just re-recorded with the Royal Scottish National Orchestra in Glasgow, conductor William Stromberg and I are working together on assembling everything as I write. Mike Ross-Trevor’s dynamic, crisp recording really brings Bernard Herrmann’s magnificent music to light and before too long listeners will be able to enjoy both Herrmann’s action-oriented score for On Dangerous Ground and his fabulous suspense score for Alfred Hitchcock’s The Man Who Knew Too Much in all their musical magnificence. The latter even features several cues not used in the film and they are being heard here for the first time. This should be a pretty impressive release! And with important soundtracks by that popular triumvirate of John Williams, Jerry Goldsmith and James Homer plus important work by Danny Elfman, John Barry, James Newton Howard, Hans Zimmer, Marco Beltrami and several others all in production, we have a really busy pipeline ahead, one of the most exciting that I can recall!

 

By the way, I do take breaks between all of this producing to enjoy the cool releases from fellow soundtrack labels such as the ever-busy La-La Land and Quartet. Here I give a shout-out to a few titles that are occupying my free time: The Magnificent Seven Collection offers four CDs premiering (at last!) all of the first film’s legendary score, plus albums for the three sequels, thanks to Quartet, Chaplin by John Barry in which La-La Land offers all of Barry’s rich and masterful score for Richard Attenborough’s 1992 film and the powerhouse score John Williams wrote for Steven Spielberg’s epic Amistad, another terrific expanded release from La-La Land. Also getting extra playtime for me right now is the newly-remastered release of Mimic, by Marco Beltrami, one of my all-time favorites from this prolific composer. Nods to Varese Sarabande for bringing this one out. What a fabulous time to be a soundtrack fan!

 

https://store.intrada.com/s.nl/sc.13/category.60330/.f

 

So, combining Roger's list with Doug's list, we have:

1. Jay Chattaway - Silver Bullet
2. John Beal - Funhouse
3. Alan Silvestri - Shattered
4. Bernard Herrmann - The Man Who Knew Too Much / On Dangerous Ground
5. James Newton Howard
6. Marco Beltrami
7. Danny Elfman
8. Jerry Goldsmith
9. Joel McNeely
10. James Horner
11. John Barry
12. Richard Band
13. Hans Zimmer
14. John Williams

[Tallguy 1,821]

Moonraker! Oh, and Star Wars!

[Jay 31,998]

What are the most desired non-Bond John Barry scores?

[Tallguy 1,821]

I know some people who would be very happy with a reissue of The Black Hole. As for new release? I'm afraid I'm at a loss.

[JTWfan77 1,394]

33 minutes ago, Jay said:

What are the most desired non-Bond John Barry scores?

 

I'd love releases of his rejected scores for Goodbye, Lover and Year of the Comet, although apparently the latter is stuck in V/S's wheelhouse.

 

I'd also welcome Inside Moves as a premiere, I understand the vinyl release only had one Barry score cue.

 

I'm intrigued about that Joel McNeely release, I wonder what that could be?

[Jay 31,998]

Resuming Tinkerbell releases maybe?

[BrotherSound 1,973]

1 hour ago, Jay said:

And with important soundtracks by that popular triumvirate of John Williams, Jerry Goldsmith and James Homer plus important work by Danny Elfman, John Barry, James Newton Howard, Hans Zimmer, Marco Beltrami and several others all in production, we have a really busy pipeline ahead, one of the most exciting that I can recall!

Alright, so we will get some JW from Intrada this year after all! I’m hoping it might be The Patriot or Nixon, since they’re likely the only label that could do those given the Hollywood Records–Disney connection, and they both have a ton of unreleased music.

[JTWfan77 1,394]

7 minutes ago, Jay said:

Resuming Tinkerbell releases maybe?

 

Yeah, that came to mind, but then the lack of sales for the prior three releases made we wonder if Intrada would take a risk on another one.

[A. A. Ron 1,010]

1 hour ago, Jay said:

Resuming Tinkerbell releases maybe?

 

Here's hoping! Those scores are great.

 

2 hours ago, Jay said:

What are the most desired non-Bond John Barry scores?

 

I missed out on the FSM Born Free and the Intrada Indecent Proposal, so I'd love to get reissues of those. I'd also be curious to hear his demos for The Incredibles one day.

[JTWfan77 1,394]

2 hours ago, BrotherSound said:

Alright, so we will get some JW from Intrada this year after all! I’m hoping it might be The Patriot or Nixon, since they’re likely the only label that could do those given the Hollywood Records–Disney connection, and they both have a ton of unreleased music.

 

Either of those would be fantastic, I just hope whatever it is gets mastered properly.

[NL197 364]

4 hours ago, Jay said:

And with important soundtracks by that popular triumvirate of John Williams, Jerry Goldsmith and James Homer plus important work by Danny Elfman, John Barry, James Newton Howard, Hans Zimmer, Marco Beltrami and several others all in production, we have a really busy pipeline ahead, one of the most exciting that I can recall!

 

 

[bruckhorn 99]

In Jay’s defense, the typo is in the original material.

 

An important score by Homer?  Um, Beerfest?

[DangerMotif 656]

Intrada's Shipping/packaging and customer service is so much better than LLL

[Jay 31,998]

Intrada's next title is Marco Beltrami's The Faculty, coming Tuesday March 7th

 

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=9019

[Tom Guernsey 1,715]

19 minutes ago, Jay said:

Intrada's next title is Marco Beltrami's The Faculty, coming Tuesday March 7th

 

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=9019

Hmmm, I remember that one being pretty good. Might have to check it out.

[Brando 1,040]

Could this be a hint at their next title???