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Elmer Bernstein's WILD WILD WEST (1999) - 2020 Varese Deluxe Edition

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Image may contain: 2 people, text that says 'Original Motion Picture Score ய w w 工 WILD WILDWEST LD Music Composed and Conducted by ELMER BERNSTEIN'

 

Varèse Sarabande Records is thrilled to announce its latest CD Club release: Wild Wild West (Deluxe Edition) Original Motion Picture Score with music composed and conducted by the late Academy Award®-winning Elmer Bernstein and performed by the Hollywood Studio Symphony. The original 10-track album has been expanded to 47 tracks and over 75 minutes of music, including alternate takes and cues that were not used in the film. The Deluxe Edition soundtrack is limited to 2,000 copies, which is now available exclusively on VareseSarabande.com and Intl.varesesarabande.com

 

https://www.varesesarabande.com/collections/cd-club
https://intl.varesesarabande.com/collections/cd-club

 

Elmer Bernstein was an undisputed master of both westerns and comedies—to the point of being typecast in each genre, and he had essentially left both to spend most of the 1990s rehabilitating his “serious” status with directors like Martin Scorsese (The Age of Innocence) and Francis Ford Coppola (The Rainmaker). Bernstein agreed to score Wild Wild West because he loved director Barry Sonnenfeld’s 1997 action-comedy Men in Black. “When I got a chance to work with Barry Sonnenfeld and Will Smith, I thought, cool, I’d like to do this. And when I met Barry, I really liked him and we had a great relationship,” says Bernstein. The film gave him, who studied with the prototypical western composer Aaron Copland, a chance to write an unabashed, non-ironic throwback western theme—one that sits comfortably in his canon next to The Magnificent Seven (1960) and The Shootist (1976).

 

https://www.facebook.com/varesesarabanderecords/posts/1486865991505681

 

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Wild Wild West, The: The Deluxe Edition (CD)
Original Motion Picture Score
Elmer Bernstein
UPC: 888072183490
Release Date: 8/28/2020
Limited Edition Of 2000
$ 19.98

 

Wild Wild West, was composed by the legendary Elmer Bernstein (The Magnificent Seven, To Kill A Mockingbird, Ghostbusters, The Great Escape).   This is a score you’d expect from a master of Western themed scores – chock full of hummable melodies and big orchestral themes.   This 76 minute Deluxe Edition features the score from the film along with additional music by Peter Bernstein as well as alternate versions and music not used in the film.  Mastered by Chas Ferry and transferred from tapes provided by the Bernstein estate.  Featuring detailed liner notes by film music journalist, Tim Greiving.

 

Limited Collector’s edition of 2000 copies


1. Blade (:51)
2. Main Title (2:09)
3. Punch (:28)
4. West Fights* (1:13)
5. Cliffhanger (:35)
6. Whirly Girly (1:19)
7. Punch Up (1:17)
8. Washington (:54)
9. Dismissed (2:11)
10. Man’s Head (1:53)
11. Waltz First Mansion (2:52)
12. Polka (2:33)
13. East Meets West* (1:14)
14. Reeling (2:34)
15. Boobies (:22)
16. Rescue (1:12)
17. Tank (:41)
18. Tank To Catch (2:56)
19. Exit McGrath (1:29)
20. Ritaless (1:18)
21. Missing Something†§ (1:59)
22. Train Attackठ(2:08)
23. The Cornfield* (1:08)
24. Fear (:42)
25. Memories (:23)
26. Spider Canyon (1:46)
27. Big Ride (original Wild Wild West television theme) (:27)
28. Coincidence† (:51)
29. Captured (1:05)
30. The Plan / America (2:25)
31. She Dances (2:18)
32. Eight Ball† (1:14)
33. Avante / Air Gordon† (1:19)
34. Flying Attack† (1:59)
35. Knife Guy† (2:30)
36. Tin Man / Four Of A Kind (2:41)
37. Last Fight‡ (2:43)
38. Bye Loveless / Whoopin’†§° (1:27)
39. The End (Ride The Spider)*§ (2:12)


40. Main Title (alternate version) (2:09)
41. 1M3 Take 119 (not used in the film) (2:06)
42. Whirly Girly Stop (not used in the film) (:30)
43. 4M3 R Take 165 (not used in the film) (1:04)
44. Flying Attack† (alternate version) (1:51)
45. The End (Ride The Spider)§ (alternate version) (2:12)
46. Blood On The Saddle / Arise (instrumental) (1:38)
47. Camptown Races / Oh Susanna (2:21)

 

†Theme by Elmer Bernstein, Music Composed by Peter Bernstein

‡Music Composed by Peter Bernstein

§Orchestrations by Patrick Russ

°Orchestrations by Jon Kull

 

https://www.varesesarabande.com/products/wild-wild-west-the-the-deluxe-edition-cd

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1 minute ago, Edmilson said:

Judging by the tracklist, apparently Peter Bernstein worked a lot on the score, didn't he? Almost all of the major action scenes were scored by him. 

You mean like....       ZIMMER?!

My Lord, what have we done!?

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3 hours ago, Edmilson said:

Judging by the tracklist, apparently Peter Bernstein worked a lot on the score, didn't he? Almost all of the major action scenes were scored by him. 


29% of the original half hour album is his work, and he claimed in this conversation I had with him that he composed 30% of the score, though I haven’t calculated time on this new release tracklisting:

http://goldsmithodyssey.buzzsprout.com/159614/1746388-odyssey-interviews-peter-bernstein
 

Essentially, this is the Bernstein Star Trek: First Contact, where father called son when there was a crazy post production time crunch on the film (listen starting around 94 minutes into the interview.) Peter’s stuff is great, as can be heard in the cue from the original album above.

 

Yavar

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4 hours ago, Holko said:

Varese has really dropped the ball on cover art lately, haven't they?

 

We used the only approved poster art WB will approve.  If you notice the covers people are not happy the most with are in the same boat.

 

Here are two more clips from WWW:

 

Washington: https://082620club.s3-us-west-1.amazonaws.com/08.mp3
Knife Guy: https://082620club.s3-us-west-1.amazonaws.com/35.mp3

Check them out.

 

transparent.gif

 

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I saw the film back in the day, and while it's pretty corny and has some unnecessary elements in the screenplay, it's a bit of fun, and had some good musical moments.

 

After a quick skim on Prime, I went ahead and ordered.

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They've kinda just given up on combining cues, huh? Well at least it's something we can do easily for ourselves.

 

3 hours ago, BryonDavis said:

We used the only approved poster art WB will approve.  If you notice the covers people are not happy the most with are in the same boat.

 

 

Gotta love the studios.

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3 hours ago, BryonDavis said:

 

We used the only approved poster art WB will approve.  If you notice the covers people are not happy the most with are in the same boat.

 

Here are two more clips from WWW:

 

Washington: https://082620club.s3-us-west-1.amazonaws.com/08.mp3
Knife Guy: https://082620club.s3-us-west-1.amazonaws.com/35.mp3

Check them out.

 

transparent.gif

 

 

I don't think you need to make excuses for the cover. Looks exactly like the movie did in 1999. 

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What's the excuse for a FORTY SEVEN TRACK presentation?

." It's madness. Madness"

----- Bridge on the River Kwai

😁

 

" No one wants to listen to an album filled with twenty five second tracks"

-'''''''E. Morricone

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9 hours ago, Holko said:

Varese has really dropped the ball on cover art lately, haven't they?

What did you expect from Wild Wild West? :lol:

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2 hours ago, Gruesome Son of a Bitch said:

 

I don't think you need to make excuses for the cover. Looks exactly like the movie did in 1999. 

 

Not making excuses. Pointing out facts.

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How's the music?

How's mix?

How're the liner notes?

 

The cover art?  I could give a shit about it, but my bowels are empty.

 

C'mon on, now.  Eye on the prize.

 

When I met Elmer after a concert, I told him I wished I had footage of him conducting, because I got tossed from my conducting class for wanting to do it left-handed.

 

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1 hour ago, BryonDavis said:

 

It's not that simple.  If we combine the cues, we get grief from a whole different segment of the fanbase.  We've always chosen to go with the layout the composer/engineer gives us.  It's all a creative choice in the end.  Some releases get combined, some don't.  Hope that explains the methodology.

Maybe you would expand the fan base with more listener friendly programs

 

As it stands, you're only appealing to the
 hardcore base.

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37 minutes ago, bruce marshall said:

Maybe you would expand the fan base with more listener friendly programs

 

As it stands, you're only appealing to the
 hardcore base.

 

When has purchasing film scores or even getting into film scores for that matter (besides the BIG franchises) ever been a casual hobby for people?

 

Listening to film scores has always been a rather niche hobby, even when it was just the OST programs that you romanticize about.

 

I mean there are huge franchises with 3,000 copy releases that still haven't sold out.  To me that shows it will always be a niche hobby, regardless of it being an OST or expanded release.

 

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10 minutes ago, Bellosh said:

 

When has purchasing film scores or even getting into film scores for that matter (besides the BIG franchises) ever been a casual hobby for people?

 

Listening to film scores has always been a rather niche hobby, even when it was just the OST programs that you romanticize about.

 

I mean there are huge franchises with 3,000 copy releases that still haven't sold out.  To me that shows it will always be a niche hobby, regardless of it being an OST or expanded release.

 

You make good points.

But, there are ' casual' film score fans too.

I love Goldsmith, but compared to Moradi I'm a ' casual' fan. Same goes for JW; compared to Thor , I'm a dilettante. 😆.

I doubt Elmer would have wanted his music presented this way. It is not a great showcase of his prodigious talent.

But, I certainly appreciate the efforts.

I started writing about our shared passion to promote the music and it's practitioners.

 

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1 minute ago, bruce marshall said:

You make good points.

But, there are ' casual' film score fans too.

I love Goldsmith, but compared to Moradi I'm a ' casual' fan. Same goes for JW; compared to Thor , I'm a dilettante. 😆.

I doubt Elmer would have wanted his music presented this way. It is not a great showcase of his prodigious talent.

But, I certainly appreciate the efforts.

I started writing about our shared passion to promote the music and it's practitioners.

 

 

Yes there definitely are, I'm still very casual compared to a lot of people here (to the extent that I really only listen to Williams, and a few from Horner, Goldsmith, Barry and others.)

 

But man, I know it's anecdotal, but I don't think I've ever known someone to buy a film score.  And if they did, it was probably for 1 or 2 tracks, and even then it was probably a soundtrack from various artists, not even a score.

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Soundtracks used to be big sellers.

Anecdotally, I remember seeing ENGLISH PATIENT, OUT OF AFRICA, TITANIC, THE MISSION NIGHTMARE BEFORE CHRISTMAS, BEAUTY AND THE BEAST....in many homes

Times have changed, for sure.

But, I still think the audience is there to at least expand our little universe.

 

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Casual fans already have had the OSTs from Day 1 for the vast majority of somewhat bigger scores for decades and decades. I don't understand the want to also casualise the probably one chance in a long long time do do the scores right (as in, allowing everyone to take them in as originally written, then easily personalise them if they desire so).

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1 minute ago, Holko said:

Casual fans already have had the OSTs from Day 1 for the vast majority of somewhat bigger scores for decades and decades. I don't understand the want to also casualise the probably one chance in a long long time do do the scores right (as in, allowing everyone to take them in as originally written, then easily personalise them if they desire so).

 

This I also agree with.

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I think it's good to try and attract new fans.

Zimmer sells well partly because he puts alot of thought into his albums.

You can't duplicate his unique  presentation by " personalizing" your own version.

 

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Yeah, those are the OSTs that already available Day 1. Completely irrelevant to complete releases coming years later.

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1 hour ago, bruce marshall said:

You make good points.

But, there are ' casual' film score fans too.

I love Goldsmith, but compared to Moradi I'm a ' casual' fan. Same goes for JW; compared to Thor , I'm a dilettante. 😆.

I doubt Elmer would have wanted his music presented this way. It is not a great showcase of his prodigious talent.

But, I certainly appreciate the efforts.

I started writing about our shared passion to promote the music and it's practitioners.

 

 

Bruce, Peter had a lot of input here. So not arguing or anything but I would think if anybody knew what Elmer wanted it would be his own son. I do appreciate this conversation. Good posts.

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1 hour ago, BryonDavis said:

 

Bruce, Peter had a lot of input here. So not arguing or anything but I would think if anybody knew what Elmer wanted it would be his own son. I do appreciate this conversation. Good posts.

 

Not necessarily. Elmer was a big proponent of rerecording scores (not only by himself, but also by others), and re-organizing them for listening. He's even been vocal about it, like in this interview:

 

Quote

 

JS: So many of your scores are available on record. How do you feel about soundtrack recordings, in general?

 

EB: Not all film music lives well on record. Film music is supposed to be designed to service a film. Very often if you want to put something on record, you take the material from a film and reorganize it so that it exists as a piece on its own. I’ve done that with many of my film compositions. 

 

 

That being said, I'm well aware what the market is these days, and what the 'hardcore base' wants. So I'm not surprised about the C&C trend over the last couple of decades, and that Peter - or anyone else - will not only give a release like this the OK, but also be involved in the process. I just don't agree it would necessarily have been Elmer's preference.

 

As for the cover art, it's almost exactly the same as the OST back in the day, so I'm not sure what people are reacting to?

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8 minutes ago, Demondm810 said:

Utterly blown away how some of you speak to the people who work hard to bring these releases. Christ. 

 

I must be missing something. Where did someone speak 'out of order' to Bryon Davis (whom I presume you refer to)? As far as I can see, most of the replies have been constructive feedback, occasionally jokingly (which is part of this board's default mode).

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1 minute ago, Thor said:

 

I must be missing something. Where did someone speak 'out of order' to Bryon Davis (whom I presume you refer to)? As far as I can see, most of the replies have been constructive feedback, occasionally jokingly (which is part of this board's default mode).

 

We're expected to be sycophants. 

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Apparently.

 

I think everyone has tremendous respect for the work that goes into releasing something like this - from rights clearance to mastering. That's a given. But it would be incredibly cumbersome to introduce a feedback with a long applause for this work, and then go into possible issues one has, whether it has to do with artwork, sound, presentation, liner notes or other things.

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Cover art looks fine to me - I don't understand what the problem is; it's the same image used by the original album.

 

I actually like the shorter tracks, and join them myself where I feel it helps. Doing it this way at least avoids the common complaints about crossfading, re-orderings, and so on. If the Varese guys had done those things, they'd be facing a different set of complaints.

 

One other thing - the song by Will Smith is absolutely fricking godawful. Bernstein's main theme on the other hand, is one of my long-time favourites.

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