THE RIVER expanded and remastered by Mike Matessino now available from Intrada Records

[A. A. Ron 1,736]

4 hours ago, Jay said:

I highly recommend Jaws, Jaws 2, Apollo 13, Alien, The Rocketeer, Edward Scissorhands, and The Last Starfighter 

 

Edwards Scissorhands is OOP and expensive, unfortunately, but yes, those are all wonderful releases.

[crumbs 14,287]

8 minutes ago, A. A. Ron said:

Edwards Scissorhands is OOP and expensive, unfortunately, but yes, those are all wonderful releases.

 

Yeah I went searching for that, no dice.

[Romão 2,274]

The OST for Edward Scissorhands is still a pretty good release of the score. It's not like the expansion was huge

[Holko 9,491]

6 hours ago, ATXHusker said:

Across the Stars (deluxe version) is 82 minutes long, that would probably be the top banana.

I know Jay doesn't have it, but the Naxos Robin Hood rerecording is 82:43, the longest I know of.

[Amer 2,078]

I ordered this along with Who Framed Roger Rabbit?. 

 

But God knows when these will arrive! 

(Awaiting these already: Legends of the Fall, Shogun, The Swarm, Far and Away, Thin Red Line...) 

[Jurassic Shark 12,008]

9 minutes ago, Amer said:

I ordered this along with Who Framed Roger Rabbit?. 

 

Is that a question?

[Dr. Know 326]

Blown away by the sample from “The Telephone Call”. Seems to be a previously unreleased gem.  Mine is ordered!

[Luke Skywalker 1,792]

1 hour ago, Amer said:

I ordered this along with Who Framed Roger Rabbit?. 

 

But God knows when these will arrive! 

(Awaiting these already: Legends of the Fall, Shogun, The Swarm, Far and Away, Thin Red Line...) 

I ordered far and away the 7th of April and it has not arrived yet. Damn virus. Usually the take 7-15 days as much

 

Ordered the river.

 

This is really becoming a very expensive hobby. :/

[Brundlefly 2,385]

So it is the expected Chinatown or Monsignor treatment.

[filmmusic 1,822]

"Releasing the doe"?

I don't remember any doe in the film.

 

The cue title in the written score is "releasing the door".

One of the two is wrong. But which is it? Hmmmm....

[Luke Skywalker 1,792]

Just now, filmmusic said:

"Releasing the doe"?

I don't remember any doe in the film.

 

The cue title in the written score is "releasing the door".

One of the two is wrong. But which is it? Hmmmm....

Doe could be a female sheep, cow, goat, rabbit any of those in the film? Like they have a cow they have to set free so she doesn't drown in the flood or something? 

[Jurassic Shark 12,008]

5 minutes ago, filmmusic said:

"Releasing the doe"?

I don't remember any doe in the film.

 

The cue title in the written score is "releasing the door".

One of the two is wrong. But which is it? Hmmmm....

 

Jay did the proof-reading. It's his signature to leave one error.

[filmmusic 1,822]

Whatever it is it's an unused in the film cue. That's why I can't remember it.

[Disco Stu 15,495]

4 hours ago, Dr. Know said:

Blown away by the sample from “The Telephone Call”. Seems to be a previously unreleased gem.  Mine is ordered!

It sounds a lot like “From Farm to Factory” which is an OST arrangement of material from that cue plus an extension that sounds like it’s from “Leaving Home” judging by the samples maybe?  Either way, yes the sample sounds amazing and I can’t wait to hear the film recordings in full!

[filmmusic 1,822]

11 minutes ago, Disco Stu said:

It sounds a lot like “From Farm to Factory” which is an OST arrangement of material from that cue plus an extension that sounds like it’s from “Leaving Home” judging by the samples maybe?  Either way, yes the sample sounds amazing and I can’t wait to hear the film recordings in full!

This isn't whining, but in my opinion, some of the tracks should say "contain previous unreleased material" and not "previously unreleased".

The specific track (Telephone Call) has only its beginning unreleased (some 30 seconds), and then it plays exactly like the ost track (From Farm to Factory).

Unless by "previous unreleased" we're refering to the recording.

[Jurassic Shark 12,008]

Or the mixing.

[Disco Stu 15,495]

9 minutes ago, filmmusic said:

Unless by "previous unreleased" we're refering to the recording.

I’m guessing this is the case and it is technically true!

[Jay 37,265]

Yea it's a completely different recording. 6 of the OST tracks were recorded on a special day just for album recordings, like ET. 

 

And Doe is correct, and Door was the typo

[crocodile 7,977]

Sweet. That means very little redundancy. I might need to create a custom playlist combining the two.

 

Karol

[Jay 37,265]

Well, it's worth noting that while six tracks on the OST LP were recorded directly for it, the other 5 tracks pulled from film cues were all remixed by Dan Wallin for the OST so sound different than their film mix counterparts in the Score Presentation, which is another reason it made sense to include the entire OST album here.

[Holko 9,491]

So pretty much the Monsignor situation again.

[Jay 37,265]

Precisely!

[crocodile 7,977]

So like Monsignor basically.

 

EDIT: Ninja'd! 

 

Karol

[Jay 37,265]

There's 3 entire tracks on this release no one has ever heard before, as they are both not in the film AND weren't on the OST album (or re-recorded for it either)

 

13 Leaving Home* (2:56)

22 Releasing The Doe* (1:05)

26 The Family (Alternate)* (1:39)

[filmmusic 1,822]

5 hours ago, Luke Skywalker said:

I ordered far and away the 7th of April and it has not arrived yet. Damn virus. Usually the take 7-15 days as much

 

 

Twilight Time movies says this in an  email I got about a sale:

 

Quote

The US Postal Service is now sending most packages by sea instead of air causing typical delivery times well in excess of the normal 4 to 6 weeks.  Even longer if there are weather, port or customs delays.

 

So, maybe the same situation applies here.

5 minutes ago, Jay said:

There's 3 entire tracks on this release no one has ever heard before, because they are both not in the film AND weren't on the OST album

 

13 Leaving Home* (2:56)

 

 

 

Yeah, it seems this is darker than the film version which uses the main guitar theme.

I don't know if this is a regular thing, but is it my idea that Williams usually prefers his original version in the main programme than the revised film version in these expanded releases?

[Jay 37,265]

3 minutes ago, filmmusic said:

Yeah, it seems this is darker than the film version which uses the main guitar theme.

 

Right, which makes the film version a nice closer for the entire album here!

 

3 minutes ago, filmmusic said:

I don't know if this is a regular thing, but is it my idea that Williams usually prefers his original version in the main programme than the revised film version?

 

In this case, both versions were recorded on the same day, back-to-back!  I couldn't tell you which he conceived in his head first.

[filmmusic 1,822]

4 minutes ago, Jay said:

 

In this case, both versions were recorded on the same day, back-to-back!  I couldn't tell you which he conceived in his head first.

According to the sheet music the "alternate" in the title is referring to the film version.

So, I would guess that the dark version came first.

[Jay 37,265]

Sure, I know what the sheet music says, how could we possibly know which sketch he started writing first?  Or finished first?  Or which idea was the first one he thought of before eventually writing two versions?

[filmmusic 1,822]

3 minutes ago, Jay said:

Sure, I know what the sheet music says, how could we possibly know which sketch he started writing first?  Or finished first?

Well, if I write a cue, the first cue I'll write won't say "RxPx something alternate".

That's how i see it. I don't know if I'm wrong.

Alternate, revised etc. come in mind in second versions of cues...

[Jay 37,265]

I think you're most likely right, for sure!  In his mind the scene needed a certain tone, but the director thought a reprise of the main theme would work better, so he wrote that too, and they luckily recorded both options.  Makes the most sense to me.

[Marian Schedenig 8,154]

13 hours ago, ATXHusker said:

Across the Stars (deluxe version) is 82 minutes long, that would probably be the top banana.

 

And that's actually longer than I've been able to burn on a CDR with my burner and media and all safeties switched off.

[Luke Skywalker 1,792]

15 minutes ago, Marian Schedenig said:

 

And that's actually longer than I've been able to burn on a CDR with my burner and media and all safeties switched off.

Yep I tried to make a copy for the car and the prayer for peace cuts 20-30 seconds before finishing.... 

 

For me I prefer the film versions in the main body of the score..because it is usually what you are accustomed to hear in the film. For example binary sunset and sail barge assault.

 

BUT if the score has had countless revisions due to director influence...I tend to prefer the complete original composers intention (ie ALIEN) 

 

Or if the original version is much more interesting or thematically appropriate I prefer it too

 

 

[Smeltington 1,436]

There are extreme cases to support either approach. Really the decision of putting a film version vs. alternate in the main program has to be handled case-by-case.

[Jay 37,265]

Indeed

[Naïve Old Fart 9,489]

Wasn't one of the Academy FYC discs of A.I. ninety minutes?

[Jay 37,265]

Nope.

[GlastoEls 556]

Fantastic, ordered and on the way to London!

[phbart 609]

7 hours ago, filmmusic said:

"Releasing the doe"?

I don't remember any doe in the film.

 

The cue title in the written score is "releasing the door".

One of the two is wrong. But which is it? Hmmmm....

Doe is correct. Composer is John Williams.

 

John... Doe...

[Brundlefly 2,385]

4 hours ago, Luke Skywalker said:

Or if the original version is much more interesting or thematically appropriate I prefer it too.

I think, for example, it was the wrong decision to insist on always putting the film versions in the main program on the Harry Potter set, because a considerable part of the alternate/original versions was musically more interesting and appropriate.

 

5 hours ago, filmmusic said:

So, I would guess that the dark version came first.

The dark version always comes first. Think of Back to the Future, Binary Sunset, The Lost World and many other examples. It's the common process of streamlining the edgy original idea of the composer.

[Jay 37,265]

4 minutes ago, Brundlefly said:

I think, for example, it was the wrong decision to insist on always putting the film versions in the main program on the Harry Potter set, because a considerable part of the alternate/original versions was musically more interesting and appropriate.

 

We didn't always do that though.  For example in HP2 the film version of the Christmas cue is in the bonus tracks while the longer version originally recorded is in the main program.  Same with the original much better ending of Transformation Class in the main program and wimpier shorter ending used in the film in the bonus tracks.

 

Quote

The dark version always comes first. Think of Back to the Future, Binary Sunset, The Lost World and many other examples. It's the common process of streamlining the edgy original idea of the composer.

 

Haha, very true!

 

Except The Lost World has no revised cues outside of the opening 15 seconds of the end credits.  All the other changes in the final film are just editing and tracking.

[Brundlefly 2,385]

3 hours ago, Jay said:

We didn't always do that though.  For example in HP2 the film version of the Christmas cue is in the bonus tracks while the longer version originally recorded is in the main program.  Same with the original much better ending of Transformation Class in the main program and wimpier shorter ending used in the film in the bonus tracks.

Yeah, I'm aware of that, however, although things like that Lupin's Transformation overlay or the alternate ending of Saving Buckbeak are nice to have, their integration into the main program is not nearly as elegant as the untouched originals. That and the three more interesting alternates of the second score (Car Escapes, Petrified Colin, Follow the Spiders) would have improved the listening quality of the main program even more.

On the other hand things like Trouble Takes Many Forms is one of the best cue combinations ever! It is still a sublime way to present the scores after all.

 

3 hours ago, Jay said:

Except The Lost World has no revised cues outside of the opening 15 seconds of the end credits.  All the other changes in the final film are just editing and tracking.

I find it funny that the only cues that got revisions on both Jurassic Park movies are end credits cues.

[Bellosh 3,369]

I have never listened to a single cue of this score before, nor have I seen the movie.  So it'll be fun to have my first listen through on a complete version of it.

[filmmusic 1,822]

5 minutes ago, Bellosh said:

I have never listened to a single cue of this score before, nor have I seen the movie

I wish I were you!

[The Five Tones 302]

Ordered. Saw the film somewhere in the 80s and haven't thought about it or the score since. I would rather The Reivers (if we ever get it) with its time capsule approach to Americana, than The River which feels like a time capsule now by default, but it is from his golden decade so hard to pass up. I'm sure I'll find material I'll gravitate to even though I'm more fantasy/gothic side with JW.

[Jay 37,265]

Hmm which scores/tracks exemplify his "gothic" side for you the most?

[Holko 9,491]

Dracula!

[Romão 2,274]

For sure. Even Jane Eyre and The Fury

[The Five Tones 302]

Those for sure would be a "top 3 Gothic" alone, but I mean it very generally to refer to the darker, melodramatic, almost (but not quite) operatic side. So not just the actual period Gothic setting of those pieces, but the American gothic of pieces like Nixon or Black Sunday or even Minority Report, bits of Sleepers. The Kryptonian act of Superman which I love. "The Hungry Sea" episode of Lost in Space, that weirdly explosive First Act Finale from Fiddler on the Roof. Gothic in the way ANH is that none of the other episodes quite are (possibly due to the darker sound of its recording). TLJ minus the Canto Bight sequences. Much of CE3K. When the Chinese invade in Seven Years in Tibet. The macabre, tragic or foreboding moments, still very tonal as opposed to the modernistic or experimental textures. And not the rhythmic, action/chase stuff, which I also love. Definitely it's there in places in the sound samples I heard of The River. Obviously, only one side of what he does so well. I'm looking forward to this score as I suspect it captures a more casual, personal JW ca. 1984, as well as including other sides like Americana (he has 52 flavours of that), folk and pop/contemporary. Not sure 16 year old me would agree, and would have far preferred ToD back then.

[lairdo 726]

I received a tracking number this morning!

[Jay 37,265]