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Sony reissues Bernstein's Ghostbusters score


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lol Rick Moranis is funny

 

So which score cues does that scene fall between?

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Cool, so the only mysteries left about the Sony CD is what "Mistake" is, and what is combined with "Halls"

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Yes. I will know tomorrow when my copy arrives. You should also note in your spreadsheet that "Zuul Part 1" is the film version of the first 40 seconds of "Zuul Part 2". The alternate is based on Dana's theme, while the film version is based on the Ghostbusters theme.

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Oh, that explains why he mentioned things that way in this Film Version list:

 

https://chrono-score.blogspot.com/2009/04/ghostbusters.html

 

So in the 22 track boot, they put hte New Opening AFTER the full original cue, and on the Varese they put it as a separate cue before . Neat!

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Yes, "Zuul Part 1" on the Sony album is "Date" on the VS album, but the first 40 seconds of "Zuul Part 2" ("Zool" on the VS album) are unused. In the film "Zuul Part 1" goes directly into "Zuul Part 2" without the first 40 seconds heard on both albums.

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I finally had a chance to take a look at this.  It seems like Mistake would have been the lead in cue to Protection Grid from the VS release.  The music fits the scene as the protection grid shuts off perfectly.

 

And I'm not saying that just because that track follows Judgment Day on the album either. ;)

 

And here's my analysis of all the albums, including one of the bootlegs.

 

https://docs.google.com/spreadsheets/d/13Owf1At4Abr5SlettoC_dVICWwkzEXsfHxak2aAv_RI

 

As for the Halls track, there are 26 seconds on the bootleg that can't be found elsewhere and 31 seconds from the sample of the new release that would go between the bootleg music and the previous varese track.  A small part of the previously unreleased section of the sample can be heard in the film but it appears they dialed out the rest of it.

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What is bootleg track 8 (Hotel Haunting aka Hard Work) from 1:29-2:17 ?

 

Could "Mistake" be an ALTERNATE or "The Protection Grid"?

 

 

9 hours ago, Turbo said:

As for the Halls track, there are 26 seconds on the bootleg that can't be found elsewhere and 31 seconds from the sample of the new release that would go between the bootleg music and the previous varese track.  A small part of the previously unreleased section of the sample can be heard in the film but it appears they dialed out the rest of it.

 

I don't follow what you're saying here.  Can you say it another way, maybe with timestamps?

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1 hour ago, Jay said:

What is bootleg track 8 (Hotel Haunting aka Hard Work) from 1:29-2:17 ?

 

That's part of We Got One (Alternate) (2:04) from the Varese release.

 

1 hour ago, Jay said:

Could "Mistake" be an ALTERNATE or "The Protection Grid"?

 

Without any insider knowledge, it could be.  The sound effects are so loud though it likely couldn't have been heard.

 

1 hour ago, Jay said:

 don't follow what you're saying here.  Can you say it another way, maybe with timestamps?

 

Sure.  31:29-31:50 (from the film) or track 7 on the bootleg 4:28-End is not found on any other album.  It's right when the Ghostbusters step out of the elevator on to the 12th floor.

 

Then you have Halls from the Varese release which is 2:03 and includes the rest of the music both which is heard (:00-:22) dialed out (:22-:57) and then heard again in the final film (:57-End).  In the film this is 32:18-34:17.

 

In short, with the time difference between the varese track (2:03) and the 2019 Sony release (2:30) my guess is the new release may include the missing music found on the bootleg which is about 25 seconds.

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I think I understand you know;  You are speculating that "Halls" might be longer than the Varese track of the same name because it contains the "12th floor" cue that wasn't on the Varese at all but was on the bootleg?

 

Actually wait, you're not speculating, you said you can hear it in the sample right?  I thought when I listened to the sample, it wasn't the same music as that "12th floor" cue from the boot, but you're saying it is the same?

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1 minute ago, Jay said:

I think I understand you know;  You are speculating that "Halls" might be longer than the Varese track of the same name because it contains the "12th floor" cue that wasn't on the Varese at all but was on the bootleg?

 

Correct.

 

Also (Hotel Haunting aka Hard Work 1:29-2:17) or on the varese release 39-We Got One (Alternate) (1:29-End) is the film version whereas 14 - We Got One (128.8-End) is an alternate.

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Aha!

 

So Varese track 14 "We Got One" is how Bernstein originally scored the scene.  Then he wrote a New Ending insert, and on the Varese they combined his new ending with the rest of the original cue and called it track 39 "We Got One! (Alternate)".

 

On the Sony, they only included his original version as track 14 "We Got One", and didn't include his New Ending insert at all.

 

On the boot, his original version is in track 7 from 2:25-4:28, while the New Ending insert on its own is in track 8 from 1:29-2:17.  Wow!

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Exactly.  So, if what I noted about Halls is confirmed, the only music that is needed from the bootleg (for those interested) is the ballroom source music and the Tavern on the Green source music.  Otherwise, the bootleg should not be needed at all.

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Isn't the bootleg track 13 from 0:00-0:57, the sort of alternate take of a portion of Zuul Part 2, also not on either CD?  Not that it's really worth the bother...

 

BTW, it's been a while since I've listened to them; Are the three "Album" tracks (Main Theme, Dana's Theme, Zool/Zuul) complete concert arrangements he recorded specifically for the OST album, or are they EDITS of film cues?

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Many thanks for the google doc on this one Jason, really helpful in working out what's what on the two releases, I was getting really confused trying to figure it out myself!

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No problem I always enjoy making these

 

I think I'm done updating it if anybody else wants to give it a looksee

 

https://docs.google.com/spreadsheets/d/1PAHHY_4JXo1xDY2EyGZVlymhPRFXSYsy0xBTxSYS84U/edit?usp=sharing

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Some website called The Playlist just posted an exclusive preview of 2 full tracks - Halls and Mistake.  Coincidentally (?) the exact 2 tracks I mentioned yesterday as being the only mysteries left on the CD!

 

https://theplaylist.net/ghostbusters-exclusive-music-20190606/

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Weird that Sony and/or the Bernstein estate chose to release a previously unheard source cue, but couldn't be bothered to include the ballroom and Tavern restaurant music.

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6 minutes ago, Corellian2019 said:

Weird that Sony and/or the Bernstein estate chose to release a previously unheard source cue, but couldn't be bothered to include the ballroom and Tavern restaurant music.

 

Yes, or include all the music (except the "Magic" cue) which was on the VS album.

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13 minutes ago, Corellian2019 said:

Weird that Sony and/or the Bernstein estate chose to release a previously unheard source cue, but couldn't be bothered to include the ballroom and Tavern restaurant music.

 

Very weird, although "unheard" isn't the best word to use since it IS heard in the film. 

 

But yea what odd set of circumstances led to Bernstein recording 3 source pieces, 2 of them turning up on a boot but not the Sony, and one of them turning up on the Sony but not the boots!

 

Maybe Peter Bernstein just liked it

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According to the liner notes of the Varèse Sarabande album the track "Ghostbusters!" ("Let's Go" on the Sony album) was replaced by the song "Savin' the Day" by Alessi. The song was used for the scene where the Ghostbusters arrive at Spook Central. After they arrive there's an earthquake. On the Varèse Sarabande album and Sony album "Ghostbusters!" or "Let's Go" is placed after the earthquake music. So, those tracks should be switched.

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Nah, Saving The Day is used more than once in the film, including AFTER the earthquake sequence; The Varese order is correct.

 

Check out this link, and go to the second section, the "Film Version" section, for a nice list of everything heard in the final film:

 

https://chrono-score.blogspot.com/2009/04/ghostbusters.html

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8 hours ago, Jay said:

Isn't the bootleg track 13 from 0:00-0:57, the sort of alternate take of a portion of Zuul Part 2, also not on either CD?  Not that it's really worth the bother...

 

BTW, it's been a while since I've listened to them; Are the three "Album" tracks (Main Theme, Dana's Theme, Zool/Zuul) complete concert arrangements he recorded specifically for the OST album, or are they EDITS of film cues?

 

Nope, there's no real difference between takes so I don't count that.

 

And yes the three tracks are concert arrangements.

 

And since we now know what the full cue of Halls contains, aside from the source music the boot is moot.

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I didn't see this until now.  Very interesting.  So with a combination of the Varèse and this re-issue the score will be complete now?   Glad to know the boot is obsolete.

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Just noticed that the track "News" ("Dana's Room" on the Varèse Sarabande album) fades out at the end. The Varèse Sarabande album had a proper ending.

 

4 hours ago, The Original said:

How does the sound quality compare with the Varez?

 

It's more detailed.

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4 hours ago, FrankV said:

Just noticed that the track "News" ("Dana's Room" on the Varèse Sarabande album) fades out at the end. The Varèse Sarabande album had a proper ending.

 

Nice catch!  I put a note in the spreadsheet about it :)

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On 6/7/2019 at 9:10 AM, Jay said:

 

Nice catch!  I put a note in the spreadsheet about it :)

Just a note about your note on these notes (haha):

 

The new Sony actually goes on longer than the Varese, though not much. That little ostinato ("repeated doodad") fades out ten bars after the clarinets drop out at 1:19. In the Varese we get to the 9th bar and it stops after the first beat. I kinda like that better (it's definitely more of a proper ending as Frank said), but the Sony doesn't fade out early. We just hear the fade out. 

 

Edited to add a P.S.: that spreadsheet is awesome! I missed the Varese but picked up the Sony. It arrived yesterday and I've enjoyed reading the spreadsheet and this thread. Good stuff and a lot of work! 

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My copy arrived today! (The jewel case broke as I was taking the plastic wrap off, and I'm additionally having trouble getting the liner notes out...I have truly suffered for my love of CDs.) Can't wait to take a listen, as I also missed the Varese.

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14 hours ago, Datameister said:

My copy arrived today! (The jewel case broke as I was taking the plastic wrap off, and I'm additionally having trouble getting the liner notes out...I have truly suffered for my love of CDs.) Can't wait to take a listen, as I also missed the Varese.

 

My jewel case broke while unwrapping also....dang, it's like that stuff was hot-glued onto there. 

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On 6/6/2019 at 3:55 PM, Jay said:

Very weird, although "unheard" isn't the best word to use since it IS heard in the film.

 

Well, I meant unheard outside of the film -- it wasn't on the bootlegs.

 

I have the sneaking suspicion that cuts were made to avoid manufacturing this as a 2-CD set, which is what this score really deserved.

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On 6/7/2019 at 5:55 AM, FrankV said:

Just noticed that the track "News" ("Dana's Room" on the Varèse Sarabande album) fades out at the end. The Varèse Sarabande album had a proper ending.

 

On 6/7/2019 at 10:10 AM, Jay said:

Nice catch!  I put a note in the spreadsheet about it :)

 

On 6/8/2019 at 12:32 PM, airmanjerm said:

Just a note about your note on these notes (haha):

 

The new Sony actually goes on longer than the Varese, though not much. That little ostinato ("repeated doodad") fades out ten bars after the clarinets drop out at 1:19. In the Varese we get to the 9th bar and it stops after the first beat. I kinda like that better (it's definitely more of a proper ending as Frank said), but the Sony doesn't fade out early. We just hear the fade out. 

 

 

Ahhh OK thanks.  So the Sony presents the whole cue as recorded, and for the Varese they sort of "cleaned it up" with a faked early ending to sound better for album presentation.  I'll adjust the note.

 

 

Quote

 

Edited to add a P.S.: that spreadsheet is awesome! I missed the Varese but picked up the Sony. It arrived yesterday and I've enjoyed reading the spreadsheet and this thread. Good stuff and a lot of work! 

 

Thank you!

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  • 1 year later...

I echo JTWfan77's sentiments, as I read this Discogs review that said the mix on the Sony release had instruments less pronounced than the Varese release. I compared the main theme from both, and while I do think the instruments and general mix seemed more pronounced and clearer on the VS copy, Sony honestly wasn't very far behind. It seemed more to me like they were aiming for something that would've sounded more natural in the 80s, as too not make it feel too "modern." Of course, someone with better ears and more familiarity with the score can set the record straight. The VS definitely is louder and more compressed, so that likely affects it a bit.

Also, @Jay great work on the spreadsheet. I never quite understood what exactly was different about "Zuul (Alternate Segment)," probably thanks to the rather odd mix and general middling quality the bootleg has.

EDIT: Okay, so I'm listening to the one track the review outlined ("We Got One!"), and holy hell I didn't think it'd be this different. That being said, I think I actually prefer the Sony one in this case, since the drums feel so out of place on the VS copy. That might just be because I'm more used to that version, but it just blends in with the orchestra and other instruments better. I'll leave the rest of you lot to judge the rest.

EDIT 2: Decided to listen to the Lincoln boot for the hell of it, and yeah the drums were more prominent there too. This is such an odd choice to be making, since I feel you probably could make it fit without feeling so jarring. Either way, still prefer the Sony.

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It's really a bummer that Sony decided to start finally expanding their catalog scores themselves since the result is so far under the bar set by the specialty labels and their experienced producers. 

 

Now that they've made this (and the upcoming Ghostbusters 2) it's so unlikely we'll ever see a proper definitive edition done by our specialty label heroes in our lifetime

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7 minutes ago, Jay said:

Now that they've made this (and the upcoming Ghostbusters 2) it's so unlikely we'll ever see a proper definitive edition done by our specialty label heroes in our lifetime

I'd bring up the mere 3 year gap between the digital halfassexpanded and the LLL Jurassic Park... but Sony is Sony, so, yeah.

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On 9/3/2020 at 6:46 AM, Jay said:

It's really a bummer that Sony decided to start finally expanding their catalog scores themselves since the result is so far under the bar set by the specialty labels and their experienced producers. 

 

Now that they've made this (and the upcoming Ghostbusters 2) it's so unlikely we'll ever see a proper definitive edition done by our specialty label heroes in our lifetime


I'm curious: would Peter Bernstein have made the same demands if this were LLL or anyone else? Because I get the feeling he called all the shots on the 2019 release, for which Sony would've complied with because they wouldn't know any better. As such, would there have been more resistance to the mix being altered like it was in spots?

I get the feeling that the Ghostbusters name would have to become seriously unprofitable for it to get on any other record label's hands (do remember the comics and merch exist). Especially as I doubt they really have any other plans for expanded scores of their properties, since I'm guessing GB only gets that treatment thanks to how well previous albums have sold. Anything can happen though, so who knows.

Also, I'm just reminded of this thought I had last year, now that I'm here:
 

On 6/6/2019 at 7:53 AM, Jay said:

So Varese track 14 "We Got One" is how Bernstein originally scored the scene.  Then he wrote a New Ending insert, and on the Varese they combined his new ending with the rest of the original cue and called it track 39 "We Got One! (Alternate)".


Um, isn't "We Got One! (Alternate)" an entirely different beast from the original cue? Like, I've checked the boot to make sure, and that ending bit is still attached to the main track. I'm assuming the confusion came from the film only using that part, thanks to the source music replacing the rest of it. And I still haven't heard about what makes "Zuul (Alternate Segment)" different.

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11 hours ago, HunterTech said:

I'm curious: would Peter Bernstein have made the same demands if this were LLL or anyone else? Because I get the feeling he called all the shots on the 2019 release, for which Sony would've complied with because they wouldn't know any better. As such, would there have been more resistance to the mix being altered like it was in spots?

 

Very doubtful; PB seemed pretty hands on with this release, likely because Sony asked him to me.  The modus operandi of the specialty labels is to gather the elements and have their experienced producers/edits/mixers/masterers create the album they want, then sent that master to the composer for approval.  I find it unlikely that PB would have heard an album, say, Mike or Neil might have put together, and thought it sounded like shit and asked for a bunch of changes.  He probably would have respected the work they did and said it is fine to release, would be my guess.  But we'll never know!  It's also possibly they might not have even run it by him; there's likely nothing in any contract that states they had to.  Varese chose to involve PB in their Wild Wild West expansion, but did they have to?  I have no idea.  They didn't involve PB with their old Ghostbusters expansion so who knows.

 

Quote

I get the feeling that the Ghostbusters name would have to become seriously unprofitable for it to get on any other record label's hands (do remember the comics and merch exist). Especially as I doubt they really have any other plans for expanded scores of their properties, since I'm guessing GB only gets that treatment thanks to how well previous albums have sold.

 

Exactly right, unfortunately...

 

Quote

Um, isn't "We Got One! (Alternate)" an entirely different beast from the original cue? Like, I've checked the boot to make sure, and that ending bit is still attached to the main track. I'm assuming the confusion came from the film only using that part, thanks to the source music replacing the rest of it. And I still haven't heard about what makes "Zuul (Alternate Segment)" different.

 

>shrug< I dunno.  I mostly aggregated all the information everyone shared in this thread about all the differences.  I didn't have time to line up 4 releases of the score and go through every single cue to fact check what people said.  Feel free to double check everything you are saying here and provide a detailed analysis and I can fix it up!

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  • 11 months later...

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