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Do you still listen to the shortened "Rescuing Sarah" from The Lost World OST?


Do you still listen to the shortened "Rescuing Sarah" from The Lost World Original Soundtrack Album?  

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  1. 1. Do you still listen to the shortened "Rescuing Sarah" from The Lost World?

    • No, never. These days I ALWAYS listen to the Expanded LLL version.
    • Yes, sometimes.
    • Yes, regularly.


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Very rarely, but I still do. After all, this is the version I grew up with, the version I've known for over 20 years. Let's just say, I haven't completely written it off. But needless to say, I very much prefer the expanded (full) version. Kinda like with "Summon the Heroes," come to think of it. 

 

One of John Williams's most accomplished and breathtaking action cues of his career... The one where the percussionists almost threw in the towel (according to legend). :D

 

 

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I think condensing a 2 hour score into a 74-minute album is sort of an art. Some people just complain about the fact that the music is not complete... But that's really not the point. The fact that th

I only ever listen to the complete version of the cue now. This is one of those cues (like e.g. Desert Chase from Raiders) where I really don't understand the composer's logic of excising a portion of

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27 minutes ago, Holko said:

Never heard the OST and never planning to. It's very much par for JW to butcher one of his best pieces for no reason.

 

You never listened to it! What do you know? 

 

If one didn't know from watching the movie, one wouldn't even notice anything was missing.... From a strictly musical standpoint, it even makes a certain sense.

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5 minutes ago, Datameister said:

I can't remember the last time I listened to the OST version. There are omissions that help album listening experiences...but this ain't one of them for me.

 

The full version is better, no question. I think we all agree on this.

 

But my point is, the shortened version is still very listenable, it hasn't been ruined by its omission. In fact, when I first listened to this track on the soundtrack album I didn't even realise anything was missing.... 

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I did a fresh rip of my TLW OST last year and attempted a listen the other day. I couldn't believe how muddy and muffled the sound quality is compared to the LLL.

 

Not only have I not bothered revisiting the OST version of Rescuing Sarah, I can't see any reason why I'd revisit the OST again. I'd sooner recreate that entire assembly using Mike's fresh master, which is vastly superior to the 1997 master.

 

This specific microedit in Rescuing Sarah was one of the most egregious instances of music editing in any JW soundtrack, only bettered 8 years later in Revenge of the Sith.

 

Sometimes you just scratch your head and wonder what JW was thinking.

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This is one of those scores where now that we have the complete version, I truly have no need or desire to ever go back to the OST album.

 

There are plenty of times where I still enjoy listening to the ole' OST album again sometimes after we get an expansion of a score, but this isn't one of them.

 

There are plenty of times where JW made really cool edits or cue combinations for an OST album that are still nice to listen to forever, but this isn't one of them.


If I want a shorter  run through the score instead of the whole 110 minutes, I'd rather listen to my own 75 minute playlist than what Williams put together in '97.

 

The completely jumbled up chronology doesn't do it any favors, the bit snipped out of the middle of Rescuing Sarah doesn't improve things, and only including the first 95 seconds of Ripples is just... weird.

 

 

Usually when I am in the mood to hear anything music from this score, I'm probably going to want all 110 minutes of it.  

 

And if I was going to put this cue on like, a playlist or compilation of some kind, I'd always want the whole cue and not the shorter OST edit.

 

 

The only bummer I find with the longer version is that for some reason, the previously unreleased section has a noticeable change in sound quality when it begins.  I don't know why that would be.  It's the same as the noticeable difference between the end of The Raptors Appear and the start of High Bar and Ceiling Tiles.

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I think condensing a 2 hour score into a 74-minute album is sort of an art. Some people just complain about the fact that the music is not complete... But that's really not the point. The fact that the composer, the creator of the music himself, put in the effort to assemble the album makes me value it more (it'd be a whole different story, if Shawn Murphy, Ken Wannberg, or even Spielberg himself was doing it!). This shows me what he himself deemed important or not, what he wanted to "show off" to his audience, how he would have told the story in a musical way, freed from the constraints of the movie format... 

 

So I would never haughtily look down on the decisions made by the creator himself, even if I may not always wholeheartedly agree with them. 

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I only ever listen to the complete version of the cue now. This is one of those cues (like e.g. Desert Chase from Raiders) where I really don't understand the composer's logic of excising a portion of the cue since the deletion doesn't really improve the piece or its flow to my ears in any way.

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Yep. Like, it's still a great cue in abridged form, but the full version doesn't feel choppy or overlong or anything. And the material missing from the OST is pretty fantastic, particularly as you get to the final stretch of that material. You really get a sense of Eddie's desperation, and of his impending grisly demise.

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There was no reason I can see for this cue to be shortened in the first place, so no, I never listen to the OST edit.

 

2 hours ago, Incanus said:

I only ever listen to the complete version of the cue now. This is one of those cues (like e.g. Desert Chase from Raiders) where I really don't understand the composer's logic of excising a portion of the cue since the deletion doesn't really improve the piece or its flow to my ears in any way.

 

I've seen a few cues where a section is removed and it does improve how it plays as music, but most Williams examples don't fall into that category.

 

This is why I strongly feel that the best way to release most scores is to do two simultaneous releases - one arranged album whose focus is 100% on playability (with no regard for what remains unreleased, and reordering/microedits done to the composer's heart's content) and another presenting the complete score in C&C, with nothing left unreleased.

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I prefer the OST mix to the LLL. The remastering sounds too forced, like they made each section too crisp and then mixed it back together.

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30 minutes ago, Drew said:

I prefer the OST mix to the LLL. The remastering sounds too forced, like they made each section too crisp and then mixed it back together.

 

Interesting. I prefer the OST mix for the first score over the LLL mix, but for the second score I prefer the LLL mix.

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3 hours ago, Drew said:

I prefer the OST mix to the LLL. The remastering sounds too forced, like they made each section too crisp and then mixed it back together.

 

You know, I initially felt that way too. I also felt that way when LLL released the expanded A.I. But that was just at the beginning. I think that sometimes happens because we're so darn used to the old versions, a slightly different version (even if improved) may sound a bit jarring and odd to our ears... 

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18 hours ago, Jay said:

 

The only bummer I find with the longer version is that for some reason, the previously unreleased section has a noticeable change in sound quality when it begins.  I don't know why that would be. 

 

Honestly, I don't hear it. Change in sound quality? 

 

Are you talking about the point at 2:14 when the long drawn-out brass note starts, before it opens up at around 2:17? It seems to me that this is the way it's intended to sound.... 

 

Unless you mean a different moment? 

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5 hours ago, Drew said:

I prefer the OST mix to the LLL. The remastering sounds too forced, like they made each section too crisp and then mixed it back together.

That applies for The Mummy by Intrada and Looney Tunes Deluxe Edition by Varese - every instrument is very present and trying to draw all attention to itself.

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The microedit in Rescuing Sarah is absolutely baffling to me. Maybe he was unhappy with the full cue and decided to edit out the bits he wasn't satisfied with. That's the only explanation I can think of that would make sense.

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My only explanation is that, at the time, JW didn't like that bit and decided to cut it. Maybe he felt the scene was too violent or something like that, I dunno.

 

Anything goes.

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5 hours ago, Josh500 said:

 

Honestly, I don't hear it. Change in sound quality? 

 

Are you talking about the point at 2:14 when the long drawn-out brass note starts, before it opens up at around 2:17? It seems to me that this is the way it's intended to sound.... 

 

Unless you mean a different moment? 

 

I mean the entire previously unreleased section sounds different to me, and I don't think it's only because I was used to the album version for 19 years before hearing the full thing.  To me it sounds like the new section is mastered differently than the parts that were on the album or something.  The "air" seems different and so does the sound of the horns.

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I hear it too, even if I can't put my finger on it. It was a bit jarring the first few times I listened to it.

 

But I've heard it probably hundreds of times since the LLL came out and I'm used to it now.

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51 minutes ago, crumbs said:

But I've heard it probably hundreds of times since the LLL came out and I'm used to it now.

 

Yeah, same here. 

 

54 minutes ago, Jay said:

 

I mean the entire previously unreleased section sounds different to me, and I don't think it's only because I was used to the album version for 19 years before hearing the full thing.  To me it sounds like the new section is mastered differently than the parts that were on the album or something.  The "air" seems different and so does the sound of the horns.

 

I used to feel that way about the different beginning of "The Lost World" (Main Title), too, but not anymore. After listening to it many, many times, I don't hear the difference in sound quality or whatever it is anymore. Maybe my ears have just gotten used to it, I don't know. 

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9 hours ago, Brundlefly said:

That applies for The Mummy by Intrada and Looney Tunes Deluxe Edition by Varese - every instrument is very present and trying to draw all attention to itself.

 

The Mummy is an exception to the rule. What an atrocious mix. JP set isn't bad, just not as good as the original mixes.

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  • 4 weeks later...
20 hours ago, mxsch said:

IMO you can throw away Lost World album when it comes to the expansion, because it is so much better. 

 

Why throw it out, though? You don't have to listen to it... 

 

I mean, would I throw out my wife just because I have a younger, hotter girlfriend? :D

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59 minutes ago, Josh500 said:

 

Why throw it out, though? You don't have to listen to it... 

 

I mean, would I throw out my wife just because I have a younger, hotter girlfriend? :D

I've just made a one big exaggeration

 

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1 hour ago, Josh500 said:

I mean, would I throw out my wife just because I have a younger, hotter girlfriend? :D

 

Would I throw out the Japanese OST booklet just because the expanded booklet is just bigger, more colorful?

 

:D:):P

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1 hour ago, Chewy said:

 

Would I throw out the Japanese OST booklet just because the expanded booklet is just bigger, more colorful?

 

:D:):P

 

I don't know, but why not ask @mxsch? Anyway, I'm arguing for not throwing it out...

 

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Do you still listen to the shortened "Rescuing Sarah" from The Lost World OST?

 

Of course. It's the only version that exists in my mind.

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I dunno, "Nocturnal Pursuit" from the CE3K OST album from 1977 is one of the worst ever I think.


Cutting out a section of a cue with a different tempo to create a version with a steady pace throughout is more understandable to me, than the needless looping he did there

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