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WAR OF THE WORLDS (2005) 2CD edition from Intrada Records 2020


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Here.   I'm over the moon!   Karol

https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/   Also available as a YouTube video:   Hope you'll like it, gents!

Just ripping my copy now. The booklet looks nice, but I’d wish they’d make space for a full cue-by-cue chronological discussion, and there’s no notes about the alternates at all. It’s very wel

18 minutes ago, Jay said:

I think you're hearing a synth line in the music and confusing it with hiss

 

Yes, I did wonder that, as in the Prologue it seems to coincide with the change of synth texture at 00:20. It still sounds to me more like hiss rather than a synth sound, though. Having said that, I notice the synth parts in the sketch for "What Happened" ask for "awe" and "haze", so perhaps one man's hiss is another man's haze...

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On 10/28/2020 at 3:12 AM, Chewy said:

The ending of Probing the Basement 

definitely has a different take on the OST, and I wonder if there are more similar minor differences between film version takes and the ones chosen for the OST.

 

On 10/28/2020 at 10:56 AM, Jay said:

IIRC, the OST version is just edited down at the end.  I remember comparing both after I got the new edition and thinking the main program ending sounds sooo much better than the OST ending.

 

I did not recall correctly!  The film used a different take of the ending of the cue than the album did (the album version has microedits earlier in the track, also)

 

Also it hasn't been mentioned, but for The Intersection Scene, the new main program debuts the clean ending as recorded; On the OST, that extra stuff at the end is actually them looping back in stuff from earlier in the cue for some reason

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2 minutes ago, Jay said:

On the OST, that extra stuff at the end is actually them looping back in stuff from earlier in the cue for some reason

Probably because the cue as is ends pretty abruptly and unsatisfyingly.

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I suppose so, but it doesn't really that bad of an ending to me >shrug<

 

In the film the ending is kind of masked by abruptly switching from Cruise on the streets to him coming home as What Happened? is starting

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54 minutes ago, Jay said:

Also it hasn't been mentioned, but for The Intersection Scene, the new main program debuts the clean ending as recorded; On the OST, that extra stuff at the end is actually them looping back in stuff from earlier in the cue for some reason

I think, it is just the last few seconds of the OST track which are taken from the very first few seconds of the same cue. I don't know why an artificial fade-out seemed necessary to Williams.

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It's strange, but the post has been jammed for months in most countries. Australia Post started rerouting parcels to Sydney to handle the overflow of sorting. I've got things I've been waiting on for a few months now somewhere in the system.

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14 minutes ago, Jurassic Shark said:

My LLL order (to Norway), placed some time in May, went on a long detour to Japan. I'm sure it had an interesting time!

 

Out of interest, what port does it usually enter Europe to reach Norway?

 

Japan seems a lot more logical for a European destination than an Australian one. :unsure:

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11 minutes ago, crumbs said:

 

Out of interest, what port does it usually enter Europe to reach Norway?

 

Japan seems a lot more logical for a European destination than an Australian one. :unsure:

 

Well, Japan sure is closer to Australia than to Norway. 

 

I believe packages usually enter Europe through Germany or the Netherlands, because of their huge airports. 

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2 minutes ago, crocodile said:

I never understood why you'd have the militaristic climactic cue before the basket sequence. The music culminates by track 12 and never really recovers after that and just falls flat as a listening experience. 

 

It's clear right off the bat the score is better in chronological form. Yes, there are some low-key cues here and there but they placed all over the programme. True, the basement sequence is really slow as a result but that serves as a break of sorts between the high emotion of the hill scene and the adrenaline of the three climactic that follow. And it is also true to the book so dramatically makes sense given how the plot becomes more introspective and claustrophobic. It is interesting to hear so many of the bigger cues undoing some of the more curious microedits.

 

Assembly-wise or sound-wise, I have absolutely no complaints. Placing two reunion cues right next to each other is a nice and elegant solution to the “four alternates” dilemma. I don’t necessarily need to have the old album on here but it’s nice to have it in upgraded sound. Plus I actually like the album version of Escape from the City. And it's nice to hear a slightly different performance of Epilogue in the bonus section. Very happy with this album but I wouldn't expect anything else from Mike.

 

The score's pretty new to me and I didn't feel I could do a proper writeup after just a couple listens so far but I very much agree with all this!

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So while starting work on the isolated score, I noticed how different the Intersection Scene choir sounds in the movie, compared to the version presented on the Intrada release.

 

Intrada version (track 1-03):

 

Film version:

 

Do we have information on what happened here? It almost sounds like totally different takes of the choir were used for the movie, maybe tracked from somewhere else but I can't think of any similar choir in the score.

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The extensions are on both discs, but in the main program the original film cue finishes completely, debuting each cue's natural ending for the first time (even the session leak didn't have them), and then the CD extension starts clean after.  On the OST (and session leak), the CD extensions replaced the ending of the film cues with their openings (which is how they were intended to be used)

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1 hour ago, Jay said:

How so?

If you play the main program, you get the entire score, including the extensions he wrote for those 2 cues

 

Yeah, but he wrote those extensions specifically for the OST and not for the score proper, if I'm understanding things correctly, and they're already on disc 2.

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Spielberg should have considered the CD, lol.

 

Mike does the best he can, I know. I can't help wishing that if things were going to be this complicated for even us superfans to figure out, that all the material was carefully documented in the liner notes so it would be easy to decode.

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I hear what you're saying but.... if you put in disc 1 and press play and listen to the whole thing, is there anything wrong with it?


Because that's the primarily goal of these things.  Everything on disc 2 is just bonus.

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Yes, for an ideal listening experience, I think the album inserts should be treated consistently... either all of them edited into their respective cues as they were intended, or else all of them left out. You could make a case for either. Personally I hope to edit all of them into their respective tracks.

 

Otherwise there's nothing wrong with it that I know of. I'm cool with the two versions of 6m3 back to back.

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6 hours ago, Smeltington said:

Yes, for an ideal listening experience, I think the album inserts should be treated consistently... either all of them edited into their respective cues as they were intended, or else all of them left out. You could make a case for either. Personally I hope to edit all of them into their respective tracks.

"Before the Escape" doesn't work as an opening to "Driving Away from Trouble" without the special edit from the OST. A section from the end of the latter replaces the beginning of the same cue.

 

The other two OST extensions are musically reasonable.

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3 minutes ago, Brundlefly said:

"Before the Escape" doesn't work as an opening to "Driving Away from Trouble" without the special edit from the OST. A section from the end of the latter replaces the beginning of the same cue.

It works alright, much better than just joining What Happened and Driving Away. Or leaving them unjoined.

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27 minutes ago, Brundlefly said:

"Before the Escape" doesn't work as an opening to "Driving Away from Trouble" without the special edit from the OST. A section from the end of the latter replaces the beginning of the same cue.

 

21 minutes ago, Holko said:

It works alright, much better than just joining What Happened and Driving Away. Or leaving them unjoined.

 

I disagree with Brundlefly and agree with Holko.  I took "Before The Escape" and mixed in "Driving Away from Trouble" over the final chord as Williams intended and it sounds great!

 

The OST edit doesn't sound bad either, but I don't think it was only created because the intentions didn't work like they thought they would.  I think he just got some wacky idea to extend the overall cue with looping and they went with it.

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