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ALWAYS - New release coming from La-La Land Records on June 22!


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1 hour ago, Jay said:

The music where Ghost Pete is elated to see Al again wasn't on the OST album either, nor was the music where Dorinda talks about Pete while having dinner with Ted (after they break the wishbone)

 

Yes the unreleased 'wishbone' cue is really nice as well. That'll be great to have! 

 

1 hour ago, Jay said:

I was interested to notice when I finally saw the film the other week that there is no "real" score until the big "Saying Goodbye" cue which starts over 30 minutes into the film.  The only bits of score in the film before that are 3 super short cues: when Dorina and Pete are walking their bikes and see Pete's plane in the blueish fog, when Dorinda sees Pete looking into the fridge and he's covered by more blueish light, and a small section of the argument they have in the kitchen shortly after that.  They are have a similar ethereal sound of the "Pete In Heaven" cue, like Spielberg and Williams wanted to foreshadow his eventual fate.  Then "Saying Goodbye" comes in and goes in the complete opposite direction, with its long building up the big heroic sound for their goodbye kiss

 

It's surprising how late into the film the first piece of music actually begins.

 

These first two instances of score in the film sound like the same cue tracked though? The film seems to use 0.00 to 0.31 from OST Intimate Conversations for both the reveal of the plane at night, and when Dorinda sees Pete's face illuminated in blue light from the fridge. Is this actually two separate, albeit almost identical, cues?

 

I figured the unused music in the second half of that OST track was JW's intended music for the latter scene, because it doesn't appear in the film anywhere.

 

EDITED: Read the rest of your post.

 

26 minutes ago, pete said:

 

Interesting...Where in the 8 minute track does the second cue start?

 

Just wait until you see how it works with the film! The second half of Among the Clouds is an alternate version of Dorinda's Solo Flight, the final cue of the film. And the tone is much darker, melancholic than the uplifting rescored cue.

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For those who missed it, I recorded it:   Chewy · Always End Credits (ClassicFM)

“ALWAYS: LIMITED EDITION”Music by John WilliamsLimited Edition of 3500 UnitsRETAIL PRICE: $21.98STARTS SHIPPING JUNE 30   New Releases available to order starting TUESDAY, JUNE 22, 2021 at 1

7 minutes ago, crumbs said:

The second half of Among the Clouds is an alternate version of Dorinda's Solo Flight, the final cue of the film. And the tone is much darker, melancholic than the uplifting rescored cue.

 

And apart from 'Among the Clouds' and its rescore, there's virtually nothing of interest in this by-necessity boring score for a rather awful movie. But i give it 'Among the Clouds' as one of Williams' more beautiful/ethereal americana concoctions. And one great 9-minute cue is better than many other scores manage.

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The music for them seeing the plane in the blue fog was written for that scene.  The music for Pete at the fridge was indeed that same recording appearing again.

 

Parts of "Pete In Heaven" in the film were replaced with music tracked in from "Promise to Hap".


Parts of "The Rescue Operation" in the film were replaced with music tracked in from "Among The Clouds"

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On 6/2/2021 at 12:06 AM, Jay said:

The music for them seeing the plane in the blue fog was written for that scene.  The music for Pete at the fridge was indeed that same recording appearing again.

 

I thought so! Both instances phased with the OST track when I checked them, so I couldn't work out which scene the music was truly written for.

 

Are you allowed to say if the fridge scene had a different cue recorded, or if no music was recorded and Spielberg decided later to add music there?

 

On 6/2/2021 at 12:03 AM, publicist said:

 

And apart from 'Among the Clouds' and its rescore, there's virtually nothing of interest in this by-necessity boring score for a rather awful movie. But i give it 'Among the Clouds' as one of Williams' more beautiful/ethereal americana concoctions. And one great 9-minute cue is better than many other scores manage.

 

I wonder if Mike will present the complete finale sequence (Among the Clouds) on this expansion twice? The film version with the revised finale in the film presentation, then the OST version (with the original finale cue) in the bonuses?

 

Both versions work beautifully for different reasons. I guess he could just split it into two tracks rather than overlapping them, to reduce repetition.

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I've never seen Mike repeat an entire cue on one of his expansions just to connect it to a cue that has 2 different versions to present. 

 

For example on Minority Report, the cues "Don't Run John" and "Anderton's Escape" were intended by Williams to connect as one long continuous piece of music, and do so in the main program as "Anderton Escapes".  He had a different mix of "Anderton's Escape" to present, and in the bonus track section it's presented on its own - "Don't Run John" is not repeated to segue into it again - as "Anderton Escapes (Alternate Segment)".  

 

Or on Harry Potter 1, "Dumbledore's Advice" and "Hedwig's Time Transition" are combined together in the main program, as intended.  But the earlier version of the second cue "Owl's Flight", is presented in its own track in the bonus track section, "Dumbledore's Advice" is not repeated to segue into it again.  And he let the second version of the "Logo" cue be in its own track, rather than repeating "Prologue" again with it.

 

Or for AI, the "Replicas" alternate is presented in its own track in the bonus section, even though in the main program it's segued (as intended) into "The Reading Room", which isn't repeated in the bonus track section.

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Good one.  I think with "Anderton's Escape", "Owl's Flight", and "Logo", those are more solid compositions that work as their own tracks, while the Knight Bus pieces are significantly stronger presented together with their brethren.

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Well neat! I don't think there was much to expand for this score so I wait to see if this has any interesting alternate material. At least there is the Follow Me which has been on those crappy sounding bootlegs for ages.

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11 minutes ago, Jay said:

I've never seen Mike repeat an entire cue on one of his expansions just to connect it to a cue that has 2 different versions to present. 

 

Quidditch, Third Year?

 

Or is that considered a partial revision rather than a separate cue? Too lazy to check the cue list :lol:

 

I guess the complication with Among the Clouds is how well that works as a standalone OST track, so it would be a shame to relegate it to the OST (though nothing that can't be replicated with a quick edit in Audacity, if the clean ending of the first cue is intact).

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1 minute ago, crumbs said:

 

Quidditch, Third Year?

The album version's one full original take. The film one's the same with a new opening.

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6 minutes ago, crumbs said:

Quidditch, Third Year?

 

That's not what we're talking about.  With that one, a later recorded insert ("Page 394") replaced the opening.


It's kind of like "David's Arrival" in AI, where the main program version has its opening replaced by the newly recorded opening, and the bonus track version is the entire original cue.  

 

Or "The Crime" from Minority Report, where the main program version is the entire original cue, and the bonus track has the newly recorded opening replacing the original opening.

 

 

I've rarely seen Mike present Inserts discretely in their own track.  The old 2010 version of Home Alone has one.  I guess "Logo" from HP1 kind of is one if you think of it as a new opening to Prologue rather than its own cue that happens to overlap with the start of Prologue.

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23 minutes ago, crumbs said:

The film version with the revised finale in the film presentation, then the OST version (with the original finale cue) in the bonuses?

 

The alternate finale cue doesn't match up that good with the tail end of 'Among the Clouds', first half. 

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If you go from the 4:25 point in "Among The Clouds" into "Dorinda Solo Flight" it should be fine - that's exactly what the final film does.

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Yeah I'm guessing the first half will be a standalone track with a clean ending (whatever that cue is called, presumably not Among The Clouds), followed by OST Dorinda's Solo Flight as a standalone track.

 

That way anyone who wants to recreate the OST track will be able to combine it with the alternate Dorinda's Solo Flight from the bonus section.

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3 minutes ago, publicist said:

 

The alternate finale cue doesn't match up that good with the tail end of 'Among the Clouds', first half. 

 

Actually @Jay is right, they do overlap nicely. I just checked an iso score I did a few months back and the overlap works nicely.

 

Here's a preview:

 

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On 6/2/2021 at 12:40 AM, Jay said:

 

Brothersound already told us here.

 

Very good! I forgot about that.

 

So probably something like this to close the film score:

Track ##: Among the Clouds [Film Version]  (just 15M1, with 'film version' to differentiate from the OST track)

Track ##: Dorinda's Solo Flight  (same as OST track)

Track ##: End Credits  (previously unreleased)

 

Then, presumably as the album closer:

Track ##: Dorinda Survives  (the early version of Dorinda's Solo Flight from OST Among the Clouds)

 

It's nice to speculate on a new expansion again!

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6 hours ago, Permanent Waves said:

I do notice that one thing that is "lost" in the new cover is that the bottom curl of the Y is supposed to be a trail from the plane in the original cover (I think)

It is not lost, the plane just merges much better with the surroundings now, while the Y-trail isn't that obvious any more, but it's still there.

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6 hours ago, Marian Schedenig said:

 

I must have bought Eiger in the late 90s at the (then) local Virgin Megastore. I don't think I've ever seen Always in stores.

 

My recollection is that, in the UK, back in the day, Eiger was fairly commonplace in shops whereas I bought Always in Canada in 93 specifically because I’d never seen it for sale in the UK. It might have been the other way around in other countries.

 

Mark

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I don't know if this is useful for anyone, but this is from 

Paths of Fantastic Film Music: Examining Film Scoring Techniques in Films that Alter Space, Time and Death

by Matthew Skelton.

 

Spotting:

Total Picture Running Time: 123 minutes

Total Music Time: 37 minutes, 26 seconds

Percentage scored: 30%

#1. Pete and Dorinda Walk Home (0:32) Music Begins as Dorinda and Pete walk home by the airfield ends as the two lay together by the fire.

#2. Precious Talk (0:20) Begins as Pete opens the refrigerator door for a snack and ends as Pete sits down with Dorinda by the fire.

#3. Saying Good-bye (2:46) Begins as Pete is on the phone and ends as Pete tries to yell that he loves her over the roar of his engines.

#4. Hap (7:01) Begins as Al looks out his window to see Pete's plane and ends as Pete turns around to find the person who he will help.

#5. Catching up with Al (0:20) Begins as Pete walks into Al's office and begins Ted walks into Al's office behind Pete.

#6. Landing in Flat Rock (0:54) Begins as Al and Dorinda approach the strip at Flat Rock for landing and ends as Ted takes off.

#7. Abandoned Airfield (2:36) Music enters as Ted creeps into an abandoned shelter and ends as Ted lands at Flat Rock.

#8. Follow Me (1:08) Begins as Rachel sees Ted landing and ends as the Follow Me tractor plows into Dorinda's porch.

#9. Strange Presence (3:14) Begins as Pete senses that Dorinda is near and ends as Ted introduces himself to Dorinda.

#10. Saving Frank (1:06) Begins as Dorinda wonders how Ted can do what he is doing and ends as Dorinda screeches to a halt in front of her house.

#11. Breaking the wishbone (1:38) Begins as Dorinda tells a story about Pete and ends as Ted brags about how he'll land an A-26 with no fuel.

#12. Shopping in her Sleep (1:47) Begins as Dorinda recites her shopping list in her sleep as before and ends as Dorinda tells Pete goodnight.

#13. Talking With Hap Again (2:06) Begins as Pete finds himself waking up in the woods again and ends as Hap reminds Pete that he has to give in order to gain his freedom.

#14. Handling the Rescue (4:50) Begins as Ted realizes that he should handle the rescue from their base and ends as Dorinda cruises to the drop zone.

#15. Pete Tells Dorinda Everything (7:08) Begins as Dorinda enjoys the peace of flying at night and ends as Pete walks down

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3 hours ago, crocodile said:

Is it likely to be a single disc release or will it contain the OST too? 

 

Karol

 

Look at the flyer again.  It indicates that AI is 3 discs, but says nothing about number of discs for the other releases - because they are all 1disc releases.  LLL's flyers always reveal how many discs (and number of copies) each release has.

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3 hours ago, filmmusic said:

I don't know if this is useful for anyone, but this is from 

Paths of Fantastic Film Music: Examining Film Scoring Techniques in Films that Alter Space, Time and Death

by Matthew Skelton.

 

Spotting:

Total Picture Running Time: 123 minutes

Total Music Time: 37 minutes, 26 seconds

Percentage scored: 30%

#1. Pete and Dorinda Walk Home (0:32) Music Begins as Dorinda and Pete walk home by the airfield ends as the two lay together by the fire.

#2. Precious Talk (0:20) Begins as Pete opens the refrigerator door for a snack and ends as Pete sits down with Dorinda by the fire.

#3. Saying Good-bye (2:46) Begins as Pete is on the phone and ends as Pete tries to yell that he loves her over the roar of his engines.

#4. Hap (7:01) Begins as Al looks out his window to see Pete's plane and ends as Pete turns around to find the person who he will help.

#5. Catching up with Al (0:20) Begins as Pete walks into Al's office and begins Ted walks into Al's office behind Pete.

#6. Landing in Flat Rock (0:54) Begins as Al and Dorinda approach the strip at Flat Rock for landing and ends as Ted takes off.

#7. Abandoned Airfield (2:36) Music enters as Ted creeps into an abandoned shelter and ends as Ted lands at Flat Rock.

#8. Follow Me (1:08) Begins as Rachel sees Ted landing and ends as the Follow Me tractor plows into Dorinda's porch.

#9. Strange Presence (3:14) Begins as Pete senses that Dorinda is near and ends as Ted introduces himself to Dorinda.

#10. Saving Frank (1:06) Begins as Dorinda wonders how Ted can do what he is doing and ends as Dorinda screeches to a halt in front of her house.

#11. Breaking the wishbone (1:38) Begins as Dorinda tells a story about Pete and ends as Ted brags about how he'll land an A-26 with no fuel.

#12. Shopping in her Sleep (1:47) Begins as Dorinda recites her shopping list in her sleep as before and ends as Dorinda tells Pete goodnight.

#13. Talking With Hap Again (2:06) Begins as Pete finds himself waking up in the woods again and ends as Hap reminds Pete that he has to give in order to gain his freedom.

#14. Handling the Rescue (4:50) Begins as Ted realizes that he should handle the rescue from their base and ends as Dorinda cruises to the drop zone.

#15. Pete Tells Dorinda Everything (7:08) Begins as Dorinda enjoys the peace of flying at night and ends as Pete walks down

 

This is an accurate list of all the music heard in the final film - though this list does omit the end credits.


if you include the end credits, that brings you to just over 40 minutes of score in a 123 minute Spielberg movie.  Gotta be a record.

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7 minutes ago, Jay said:

if you include the end credits, that brings you to just over 40 minutes of score in a 123 minute Spielberg movie.  Gotta be a record.

 

Isn't Saving Private Ryan something like 50 minutes of score for a 169 minute movie?

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Munich and Lincoln likewise. A good chunk of music on those OSTs is just theme suites JW recorded for the album, with very little film music is unreleased.

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It's great that Jim reinforced the deep blue hue of the sky as well. Reminds me of his restoration of the Superman key artwork for that expansion (while previous releases had an awful, muddy brown tint).

 

Is it just dated printing technology or scanners that resulted in such horribly inaccurate covers in the past?

 

17 hours ago, Nemesis said:

Hopefully there are some alternates beside "Follow Me"!

 

There should be no less than 6 alternates on the release.

  • Follow Me (alternate leaked on the BOT4J bootleg)
  • Dorinda Survives (an early version of Dorinda's Solo Flight, would make a perfect album closer)
  • Pete and Dorinda (the OST already included both versions of this cue in the same track, but only one version belongs in the film assembly)
  • The Death of Pete (film version has a different mix including a celeste/synth overlay missing from the OST version)
  • The Old Timer's Shack (film version is totally different to album version, with more playful sections and a different ending)
  • The Rescue Operation (the film has alternate sections vs the OST, though these might be tracked from other cues. I suspect they're inserts though)

Track 9 of the OST from 0:31-end features music unused in the film, so that's either an unused cue or yet another alternate. Who knows what for? Guess we'll find out in a few weeks. :)

 

And who knows what else was recorded that didn't make the OST or leak in the bootleg? I'm sure it'll be a packed album, whatever Mike includes.

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Just now, Jay said:

That's just bits of Among The Clouds tracked in

 

Ah, very good! I thought they sounded familiar and oddly anticlimactic for a potentially revised insert ending.

 

I'm curious to discover where that material from 0:31 onwards in OST Track 9 belongs!

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8 minutes ago, Edmilson said:

Maybe Amistad and CMIYC will come next year? It'll be Amistad's 25th birthday and Catch's 20th. 

The only JW/SS scores left for LLL are

  • Hook
  • Amistad
  • Catch Me If You Can and
  • The Terminal

anyway. So there isn't much else to release.

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29 minutes ago, Brundlefly said:

 

The only JW/SS scores left for LLL are

  • Hook
  • Amistad
  • Catch Me If You Can and
  • The Terminal

anyway. So there isn't much else to release.

 

And also Sugarland Express once JW changes his mind on letting that one get released.

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