Popular Post Jay 37,359 Posted June 11, 2021 Popular Post Share Posted June 11, 2021 Paycheck: The Deluxe Edition (Music From The Motion Picture) (2-CD) Regular price $ 24.98 John Powell burst into film scoring with a magnificent, emotional and modern soundtrack to John Woo’s iconic hit, Face/Off (1997). Six years later, Woo and Powell reunited for Paycheck (2003), a sci-fi techno-thriller based on a 1953 short story by Philip K. Dick (Blade Runner, Total Recall). Ben Affleck stars as a programming engineer who undergoes a voluntary memory wipe to protect his client’s secrets—but upon going to collect his paycheck, he is given an envelope of seemingly random trinkets and items. He must use these clues to unearth the terrible secrets of his own project. By 2003, John Powell had already scored The Bourne Identity and had his finger on the pulse of the modern action-thriller score. Paycheck blends synth and pop-rhythms with orchestral scope and, most importantly, Powell’s impeccable sense of taste. Despite almost non-stop action and suspense, he focuses on emotion and utilizes melody to elevate the proceedings. Paycheck was released by Varèse Sarabande at the time of the film. This 2CD set Deluxe Edition greatly expands the playing time to over 95 minutes, and features new liner notes by Brian Satterwhite, incorporating new interview comments with Powell. Music Composed by John Powell Limited to 2000 copies TRACKLIST Disc One: 1. Paycheck: Main Title From The Motion Picture (3:29) 2. A Kiss Of Flexible Morality (1:10) 3. Memory Wipe (0:54) 4. A Good Life (1:05) 5. Party Of Two (0:32) 6. Portents Of Crystal Balls (2:11) 7. Injection (0:32) 8. A Second Chance (1:54) 9. You’re Done (1:16) 10. Freeze Frames (1:59) 11. Hot Seat (7:39) 12. The Ring (0:42) 13. That’s You (0:31) 14. Twenty Items (5:39) 15. Lucky Number (2:01) 16. Wolfe Pack (4:01) 17. The Third Rail (3:28) 18. Reservations (3:25) 19. Mirror Message/Imposter (8:43) Disc Two: 1. Hog Chase Pt.1 (3:18) 2. Hog Chase Pt.2 (4:06) 3. I Don’t Remember (1:33) 4. I Don’t Remember (Alternate Version) (1:35) 5. Tomorrow’s Headlines (4:27) 6. Return to Allcom (3:13) 7. Future Tense (7:58) 8. Bio Lab Bash (3:08) 9. Fait Accompli (6:39) 10. One Big Payback (5:37) 11. Uma’s Tune (Bonus Track) (2:55) Produced by John Powell and Batu Sener at 5 Cat Studios Deluxe Edition Executive Producer for Varèse Sarabande Records: Cary E. Mansfield Deluxe Edition Mastered by John Traunwieser at 5 Cat Studios Art Direction and Design by Bill Pitzonka https://www.varesesarabande.com/collections/cd-club/products/john-powell-paycheck-the-deluxe-edition-2-cd DemonStar, crumbs, publicist and 4 others 7 Link to comment Share on other sites More sharing options...
Raiders of the SoundtrArk 2,433 Posted June 11, 2021 Share Posted June 11, 2021 Nice. I'll finally take a look at this score. Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 11, 2021 Share Posted June 11, 2021 I will get this but not straight away. Karol Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 11, 2021 Author Share Posted June 11, 2021 Anyone know what Uma's Tune is? I like how John Powell's own 5 Cat Studios is producing and mastering these new expansions of his old scores. Since HTTYD showed up on digital platforms I expect this will too eventually (but I'm happily buying the CD edition now). I wonder why only Cary is mentioned as an exec producer for Varese, but not @BryonDavis as well? blondheim 1 Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 11, 2021 Share Posted June 11, 2021 13 minutes ago, Jay said: Anyone know what Uma's Tune is? Based on the length, I'm assuming it's "Rachel's Party" from the OST - a string quartet version of the love theme which isn't used in the movie. There is a scene with a string quartet on-screen, but they play something else. Disc one, track five ("Party Of Two") is an overlay to that source music, but swapping this for "Rachel's Party/Uma's Tune" is a better listen away from the film. I'm not sure if "Rachel's Party" was originally composed as source music for that scene - I'd suspect not, as it would stand out quite a bit. So perhaps it was always intended as an album arrangement. The fact it as originally called "Rachel's Party" makes little sense, as while there is a party scene in the film, it's not for her! Yavar Moradi and Jay 2 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 11, 2021 Author Share Posted June 11, 2021 Brilliant, thanks for that! Link to comment Share on other sites More sharing options...
Popular Post Anthony 572 Posted June 11, 2021 Popular Post Share Posted June 11, 2021 Like the Solo Deluxe, album versions of cues appear to be absent, so the optimal listening experience will require both: Disc One: 1. Paycheck: Main Title From The Motion Picture (3:29) Superior film version 2. A Kiss Of Flexible Morality (1:10) 3. Memory Wipe (0:54) 4. A Good Life (1:05) 5. Party Of Two (0:32) 6. Portents Of Crystal Balls (2:11) 7. Injection (0:32) 8. A Second Chance (1:54) 9. You’re Done (1:16) 10. Freeze Frames (1:59) 11. Hot Seat (7:39) 12. The Ring (0:42) 13. That’s You (0:31) 14. Twenty Items (5:39) Extended film version 15. Lucky Number (2:01) 16. Wolfe Pack (4:01) Extended film version 17. The Third Rail (3:28) 18. Reservations (3:25) 19. Mirror Message/Imposter (8:43) Extended film version (album version is actually better) Disc Two: 1. Hog Chase Pt.1 (3:18) 2. Hog Chase Pt.2 (4:06) 3. I Don’t Remember (1:33) 4. I Don’t Remember (Alternate Version) (1:35) One of these will be the superior film version 5. Tomorrow’s Headlines (4:27) 6. Return to Allcom (3:13) 7. Future Tense (7:58) 8. Bio Lab Bash (3:08) 9. Fait Accompli (6:39) 10. One Big Payback (5:37) 11. Uma’s Tune (Bonus Track) (2:55) And finally, my recommendation for the optimal listening experience: 1.01. Paycheck: Main Title From The Motion Picture (3:29) 1.04. A Good Life (1:05) 2.11. Uma’s Tune (Bonus Track) (2:55) 1.06. Portents Of Crystal Balls (2:11) 1.07. A Second Chance (1:54) 1.11. Hot Seat (7:39) 1.14. Twenty Items (5:39) 1.16. Wolfe Pack (4:01) 1.17. The Third Rail (3:28) OST4. Mirror Message OST5. Imposter 2.01. Hog Chase Pt.1 (3:18) 2.02. Hog Chase Pt.2 (4:06) 2.03. I Don’t Remember (1:33) (or whichever version turns out to be the film version) 2.05. Tomorrow’s Headlines (4:27) 2.06. Return to Allcom (3:13) 2.07. Future Tense (7:58) 2.08. Bio Lab Bash (3:08) 2.09. Fait Accompli (6:39) 2.10. One Big Payback (5:37) Yavar Moradi, A. A. Ron and Smeltington 3 Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted June 11, 2021 Share Posted June 11, 2021 I’ll wait and see if the expansion adds anything or if the album was indeed fine as was. Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 11, 2021 Author Share Posted June 11, 2021 What makes the separated OST versions of Mirror Message and Impostor better than the combined & longer film versions? Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 11, 2021 Share Posted June 11, 2021 The OST was released at a time when albums were cut off at 30/45/60 minutes - 45 minutes did not do this score justice! 6 minutes ago, Jay said: What makes the separated OST versions of Mirror Message and Impostor better than the combined & longer film versions? I personally combined the Mirror Message and Imposter and also the two-part Hog Chase into two single tracks - I'll never listen to one half without the other. The Deluxe (film version) of Imposter is slightly extended, but it doesn't add any meaningful new material - the album version plays better for pace. Hog Chase will be the same on both versions, but I prefer it as a single track. The film version of Wolfe Pack has a drawn out intro (which the album did a good job of shortening), but contains some good extra material on the end. This is one of few examples where each version does something a little better than the other. Jay and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted June 11, 2021 Share Posted June 11, 2021 Loved the OST. Purchased! It's going to be hilarious if both this and The Matrix make it here before Lionheart Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted June 11, 2021 Share Posted June 11, 2021 A*C*O*C* Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted June 11, 2021 Share Posted June 11, 2021 1 hour ago, TSMefford said: Loved the OST. Purchased! It's going to be hilarious if both this and The Matrix makes it here before Lionheart Sure would be nice if they could combine Lionheart shipping-wise with the new batch! Yavar TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post Anthony 572 Posted June 20, 2021 Popular Post Share Posted June 20, 2021 My Filmtracks-level review of Paycheck: The Deluxe Edition. There are not many scores I could write about in this level of detail. Sci-fi thriller Paycheck sees Ben Affleck as a reverse-engineer who works on top-secret technology for shady corporate clients. In order to protect their intellectual property, he has his memory wiped upon the completion of each assignment. After accepting a highly-paid but suspicious job offer, and falling for colleague Rachel (Uma Thurman) along the way, the film cuts to the end of his assignment. But with his memory wiped and his - you guessed it, paycheck missing - it’s up to him to unravel the mystery of what he was working on and why he’s now being hunted by the FBI. Based on a short story by Philip K. Dick - whose other works have been adapted into films such as Blade Runner, Total Recall and Minority Report - and directed by John Woo (one of his few Hollywood films), it’s equal parts preposterous and entertaining. While the lack of chemistry between Affleck and Thurman makes it unsurprising that he forgets about her (memory wipe or not), one thing that shouldn’t be forgotten is the exciting and surprisingly intricate score by John Powell. Powell scored his first major Hollywood film, Face/Off, also directed by Woo, in 1997. Hans Zimmer was originally approached for the assignment but recommended Powell instead, on the condition that he would step in and write the score if Powell messed it up. Thankfully, Powell didn’t mess it up and it’s presumably one of the reasons he’s gotten to where he is today. While Face/Off sounds like the many heavily synthesized Media Ventures action scores of the late 90’s, Powell managed to subsequently (and quickly) distance himself from that sound and start doing his own thing. After a busy year writing highly-competent scores that were far beyond the films they accompanied, including Agent Cody Banks and The Italian Job remake, Paycheck was released at the back end of 2003 - Powell’s far more selective approach to projects in recent years not established at this point. While some may rally for a “quality over quantity” approach, there’s no denying that even in Powell’s busiest years, he still produced a huge amount of high quality, hugely entertaining music, with Paycheck remaining one of his best - if sometimes forgotten - scores (how meta of it). With the recent emergence of deluxe editions for Solo and How To Train Your Dragon (arguably his two most popular scores), either Powell himself or the record labels seem to be tackling these expanded releases in a remarkably logical way, with Paycheck easily being the score next most deserving of special treatment. (Let’s hope The Bourne Supremacy and Mr. & Mrs. Smith will follow). Paycheck’s original soundtrack featured 48 minutes of music, but no less than four major action cues (over 17 minutes worth) remained absent, as well as a number of suspense and discovery cues that accompany Affleck’s character as he pieces clues together. Like the Solo and Dragon deluxe editions, this new release contains the full, unedited score as written for the film (minus the end credits, which repeats tracks from the score). The original soundtrack included micro edits to create some streamlined album versions of cues. However, with the deluxe edition featuring the unedited score, some cues which are now extended with interesting, previously unreleased music sometimes also suffer by having the original micro edits undone (or technically, not done) here. Take for example “Twenty Items” and “Wolfe Pack” - both include new material which adds to the listening experience, but they also feature several meandering moments of suspense or repeating elements which haven’t been edited out. With these little bits of fat not trimmed, unless you’re au fait with audio editing and combine the best elements of each version while restoring the micro edits, you’ll have to make a decision of whether you prefer the original album or deluxe tracks. “Mirror Message/Imposter” is arguably the only track where the original album version remains superior, with no meaningful new material added on the deluxe version. (For more information on which cues are extended or were previously unreleased, see the tracklist below this review.) These quibbles aside, the deluxe edition does a faithful job presenting one of Powell’s best scores, and with several lengthy, previously unreleased cues now available, fans can finally create a playlist that works for them. (If you have both the original and deluxe albums, instructions to create an “optimal” no-editing-required assembly is also included below this review). Compared to other modern action scores - whether those from the early 2000’s or the present - Paycheck is still surprisingly refreshing. Powell wrote the drum-loop heavy score for The Bourne Identity a year prior, and while the style of this (and the superior Bourne Supremacy which followed in 2004) has since been heavily emulated by others, Paycheck benefits from a seemingly overlooked but far more interesting and lighthearted sound (the closest thing to it since is Source Code by Chris Bacon). The score takes itself far less seriously than the film, including an appropriate level of heightened melodrama and an over-the-top, action adventure style. While Paycheck still features a sizable amount of drum loops and electronics, they’re used to embellish a sizable orchestra consisting of driving strings, punchy brass and fluttering woodwinds. The electronics themselves are clean and crisp rather than brooding and overbearing, with Powell often utilising them for rhythm rather than droning or atmospheric effects. When things need to get loud, he unleashes blaring brass and walloping percussion rather than just turning up the volume of electronics. The way in which woodwinds are incorporated into the action music is also noteworthy, with them often playing extremely fast, rhythmic passages before handing them off to the strings. There are also a few blink-and-you’ll-miss-them (cover-your-ears-and-you’ll-miss-them?) moments of choir for a couple of revelatory moments (“Lucky Number”, “Tomorrow’s Headlines”), though given how brief these appearances are, I assume it’s sampled. From what I recall, the vocals in “Lucky Number” are samples of vocalist Lisbeth Scott, which Powell also utilised in Agent Cody Banks. On the subject of Agent Cody Banks, which parodied elements of David Arnold’s James Bond scores, Paycheck may also remind listeners of the more contemporary Bond sound, not only because of the clever blending of orchestra and electronics, but through some extremely ballsy brass writing. Just listen to “Portents Of Crystal Balls”, “Wolfe Pack”, “Return To Allcom”, “Future Tense” or “Fait Accompli” and imagine what John Powell could do if he scored a Bond picture. The score for Paycheck revolves around a central love theme. Hints of it appear from the very first track, with the first five notes being heard on piano in “Main Title” before being fleshed out into full form throughout the rest of the score. In typical Powell fashion, it’s an extremely malleable theme, with him twisting and manipulating it throughout as the different puzzle pieces of the film come together. It’s a really lovely theme, and not what you’d expect in a film such as this, let alone it being the main theme. A more ominous, descending motif appears in the final third of the score (“Tomorrow’s Headlines”, “Return To Allcom”, “Future Tense”) and there are also a few repeating rhythmic elements, but largely, the main love theme does the heavy lifting throughout and works extremely well. The shorter previously unreleased cues are nearly all in the first half of the score and are arguably the least engaging, their brief length limiting any kind of interesting development. Cues such as “A Kiss Of Questionable Morality”, “Memory Wipe”, “Party Of Two”, “Injection”, “You’re Done”, “Freeze Frames”, “The Ring”, “That’s You”, “Lucky Number” and “Reservations'' are all consistent in style with their longer counterparts, but they fail to do much beyond extending the listening experience at the cost of sacrificing pace. It’s nice to finally have them, but they are not cues which are likely to be returned to frequently, unless you insist on listening to the complete score. With that out of the way, the amount of excellent (and often lengthy) previously unreleased material should not be understated. “A Good Life” is a short but tender piano-based cue, while “A Second Chance” features some gorgeous woodwind material before building to a crescendo that launches into the first of the real highlights of the score: the action music. The longest previously unreleased cue “Hot Seat” is a 7 minute masterclass in tension which gradually builds into frenetic cat-and-mouse chase music as Affleck’s character is captured by and subsequently escapes from the FBI. “The Third Rail” is another huge action set piece full of rumbling piano and thundering percussion. Ironically, despite the volume of this cue, it’s virtually inaudible in the film, buried under the sound effects of a subway train hurtling through a tunnel. It’s fantastic to finally be able to hear it, Powell doing his typically busy writing - I wonder if he knew how the mix would turn out at the time of composing? Other highlights on the first disc are those which were also on the original album - “Portents Of Crystal Balls” is a “Bond-arrives-at-the-lair-esque” cue as Affleck’s character travels by helicopter to commence his mysterious new assignment. “Twenty Items” underpins a key piecing-the-puzzle-together scene with an electronic drum beat forming the backbone of the cue which strings and percussion gradually build upon. (What was presumably a mastering or editing oversight in this track on the original album has been fixed here - see if you can spot it.) “Wolfe Pack” is another chase cue full of furious strings and blaring brass, all supported by the electronic percussion. The second half of the score doesn’t waste a note, with every track on the second disc offering something noteworthy. Launching straight into what is arguably the score’s centerpiece: the seven and a half minute duo of “Hog Chase” cues, together, these are truly two of the best action cues John Powell has ever written. The sheer number of layers of orchestra, percussion and electronics and the way in which he seamlessly shifts the focus between all of them is immensely impressive. For casual listeners, these cues will undoubtedly be the highlight of the score and should immediately go onto any “best of John Powell” playlists. A note for fans who are already familiar with the Hog Chase cues - the deluxe versions both have a clean ending and beginning, rather than the two parts being conjoined/crossfaded as presented on the original album. While I’m never normally one for supporting cues being linked together unnecessarily (there’s a gap between them in the film), this is a rare exception where removing the dead air between them improved the listening experience. I’d never listen to part 2 in isolation, and a rip of the original album tracks as a merged track will likely remain my go-to version. Those familiar with part 2 may also notice subtle changes in how different sections of the cue are edited together - we’re only talking milliseconds difference compared to the original album version, but it’s noticeable and may take some getting used to. If you’re not already familiar with the cue, this point is moot, and everything aside, the Hog Chase cues remain two of Powell’s best-ever tracks which get frequent air time - this likely being the reason the changes are noticeable at all. Even with the Hog Chase cues over, things are far from finished. The deluxe album features both the (superior) film and original album versions of “I Don’t Remember”, a melancholy cue as Uma Thurman’s character understands the heartbreaking extent of her partner’s memory wipe, with Powell really having to do the heavy lifting to inject some emotion into the scene (it would be comical without it). The original album (alternate) version reveals itself to be a more somber extension of “A Good Life” from earlier in the score. “Tomorrow’s Headlines”, the darkest and most dramatic cue in the score accompanies the realisation of the sinister technology that Affleck’s character was actually working on, and that it was he who set the plan in motion to turn things around, which of course, he’d since forgotten. More Bond-esque style permeates “Return To Allcom”, another previously unreleased highlight, while “Future Tense”, “Bio Lab Bash” (another massive action cue, also previously unreleased) and “Fait Accompli” combine to create a nearly 18-minute action extravaganza. Powell really pulls out all the stops here, with the different elements of the score prior - the glorious main theme, the punchy action, and the necessary drama and heroics - all culminating in an immensely satisfying finale. Listening to the score alone, you really would think it was for a film of much higher calibre. The album rounds out with some slightly cheesy “happy ending” music in “One Big Paycheck”, though it’s still largely appealing and unmistakably Powell, before ending with a lovely string quartet version of the main theme in “Uma’s Tune” (“Rachel’s Party” on the original album). The deluxe edition has been completely remastered by John Traunwieser at Powell’s swanky 5 Cat Studios (which I believe now features one cat and a couple of poodles). Like the Solo deluxe edition, a score which already sounded great, they've somehow found a way to get even more clarity out of the music, the brass sounding subtly but noticeably crisper than before. There also appears to be some more dynamic range in the bass, and the orchestra sounds as though it’s been brought ever so slightly forward in the mix, benefitting the frequently complex action writing that deserves to be heard in all its glory. The quality of Powell’s work in the early to mid 2000’s should not be underestimated - it should have been no surprise that he would become one of the best composers in the industry, though one could be forgiven if they only looked at the list of films on his resume rather than listening to the music he actually wrote for them. While he may have only gained more mainstream recognition in 2010 for How To Train Your Dragon, Paycheck is a worthy highlight from early in his Hollywood career. It’s strange to think that Paycheck came only 6 years after his first major work on Face/Off, and at the time of writing this review, we’ve had another 18 years of John Powell scores since. Paycheck remains in my regular listening rotation and is still one of the greatest examples of the John Powell sound. While it may not have the scale of the Dragons scores or Solo, it’s up there as one of his most entertaining scores. The deluxe edition contains at least 30 minutes of previously unreleased music that’s just as good as what is on the original album, and almost 15 minutes of consistent but unessential additional music that it’s nice to have the option to listen to. It would have been nice if the original album versions of tracks were also included and benefited from the improved sound quality, but overall, this is a very welcome release. Casual John Powell listeners may wish to first try out or refresh themselves with the Hog Chase cues and original album before committing to the deluxe edition, but Powell fans, or anyone who enjoys the original album already should make this an immediate purchase. Tracklist and original album comparison Disc One: 1. Paycheck: Main Title From The Motion Picture (3:29) “Main Title”, extended 2. A Kiss Of Flexible Morality (1:10) Previously unreleased 3. Memory Wipe (0:54) Previously unreleased 4. A Good Life (1:05) Previously unreleased 5. Party Of Two (0:32) Previously unreleased 6. Portents Of Crystal Balls (2:11) “Crystal Balls” 7. Injection (0:32) Previously unreleased 8. A Second Chance (1:54) Previously unreleased 9. You’re Done (1:16) Previously unreleased 10. Freeze Frames (1:59) Previously unreleased 11. Hot Seat (7:39) Previously unreleased 12. The Ring (0:42) Previously unreleased 13. That’s You (0:31) Previously unreleased 14. Twenty Items (5:39) “20 Items”, extended 15. Lucky Number (2:01) Previously unreleased 16. Wolfe Pack (4:01) Extended 17. The Third Rail (3:28) Previously unreleased 18. Reservations (3:25) Previously unreleased 19. Mirror Message/Imposter (8:43) Previously separate tracks, both extended Disc one length: 51:15 Disc Two: 1. Hog Chase Part 1 (3:18) Clean ending 2. Hog Chase Part 2 (4:06) Clean beginning 3. I Don’t Remember (1:33) Film version, previously unreleased 4. I Don’t Remember (Alternate Version) (1:35) Original album version 5. Tomorrow’s Headlines (4:27) 6. Return to Allcom (3:13) Previously unreleased 7. Future Tense (7:58) Extended 8. Bio Lab Bash (3:08) Previously unreleased 9. Fait Accompli (6:39) Includes “The Finger” 10. One Big Payback (5:37) Previously unreleased 11. Uma’s Tune (Bonus Track) (2:55) “Rachel’s Party” Disc two length: 44:30 Total length: 1:35:45 “Optimal” no-editing-required assembly Although the deluxe edition does benefit from improved sound mix, combining music from the deluxe and original albums is unlikely to result in a noticeable difference in quality. 1. Paycheck: Main Title From The Motion Picture (3:29) Deluxe track 1.01 2. A Good Life (1:05) Deluxe track 1.04 3. Uma’s Tune (Bonus Track) (2:55) Deluxe track 2.11 4. Portents Of Crystal Balls (2:11) Deluxe track 1.06 5. A Second Chance (1:54) Deluxe track 1.08 6. Hot Seat (7:39) Deluxe track 1.11 7. 20 Items (2:53) OST track 2 8. Wolfe Pack (2:54) OST track 3 9. The Third Rail (3:28) Deluxe track 1.17 10. Mirror Message / Imposter (7:30) OST tracks 5 & 6 (join if possible) 11. Hog Chase (7:17) OST tracks 7 & 8 (join if possible) 12. I Don’t Remember (1:33) Deluxe track 2.03 13. Tomorrow’s Headlines (4:27) Deluxe track 2.05 14. Return to Allcom (3:13) Deluxe track 2.06 15. Future Tense (7:58) Deluxe track 2.07 16. Bio Lab Bash (3:08) Deluxe track 2.08 17. Fait Accompli (6:39) Deluxe track 2.09 18. One Big Payback (5:37) Deluxe track 2.10 1:15:50 The Illustrious Jerry, crumbs, MrJosh and 6 others 3 6 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 20, 2021 Author Share Posted June 20, 2021 Wow! Impressive post! Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 20, 2021 Share Posted June 20, 2021 Great. I read your post and immediately ordered this album. I blame you @Anthony! 😡 😉 Karol Link to comment Share on other sites More sharing options...
mxsch 115 Posted June 22, 2021 Share Posted June 22, 2021 Varese will release this in digital later, right? Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 22, 2021 Share Posted June 22, 2021 It is reasonable to assume so. Karol Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 22, 2021 Author Share Posted June 22, 2021 Yea, no reason to expect otherwise. But it's not like they ever tell us ahead of time, they just randomly show up one day Link to comment Share on other sites More sharing options...
WampaRat 1,105 Posted June 23, 2021 Share Posted June 23, 2021 Terrific review! I remember checking out the OST from my local library. “20 Items” and “Wild Hog Chase Pt 2” were on repeat constantly. I dreamed/hoped this Powell guy would get the chance to score a big Epic of some kind (this was the era of Gladiator/Troy/Alexander etc) While he never got a sword and sandal film, he did compose HTTYD several years later. And the rest is history! Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 23, 2021 Author Popular Post Share Posted June 23, 2021 I am seriously impressed with the action music in this score. I can't believe I never knew this score before this announcement! Chewy, Yavar Moradi and Tom Guernsey 3 Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted June 23, 2021 Share Posted June 23, 2021 1 hour ago, Jay said: I am seriously impressed with the action music in this score. I can't believe I never knew this score before this announcement! I can't believe it either! It's always been one of my favorite Powell scores. Yavar Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 23, 2021 Share Posted June 23, 2021 1 hour ago, Jay said: I am seriously impressed with the action music in this score. I can't believe I never knew this score before this announcement! From what I can tell, we have similar tastes. We must compare notes and see if either of us have any absolute examples of "I love this score" that the other hasn't heard! Jay 1 Link to comment Share on other sites More sharing options...
Popular Post crocodile 8,012 Posted June 24, 2021 Popular Post Share Posted June 24, 2021 Got it! Karol Anthony, MaxTheHouseelf and Chewy 3 Link to comment Share on other sites More sharing options...
MrJosh 892 Posted June 24, 2021 Share Posted June 24, 2021 23 hours ago, Jay said: I am seriously impressed with the action music in this score. I can't believe I never knew this score before this announcement! That's exciting to hear, because I bought it blind along with The Matrix. Haven't listened to the OST, haven't watched the film, and didn't even listen to the samples. Jay 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 24, 2021 Author Share Posted June 24, 2021 Ooh boy, I hope you end up liking it! Do you like the action music in the HTTYDs, Bournes, and Solo? MrJosh 1 Link to comment Share on other sites More sharing options...
MrJosh 892 Posted June 24, 2021 Share Posted June 24, 2021 23 minutes ago, Jay said: Ooh boy, I hope you end up liking it! Do you like the action music in the HTTYDs, Bournes, and Solo? Yep, that's kind of why I just went for it based on descriptions! More-so I like the HTTYDs and Solo, and I like some other Powell's like X-Men 3, Horton Hears a Who. Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 25, 2021 Share Posted June 25, 2021 Jay and MrJosh, I think you'll like Mr. & Mrs. Smith, Hancock and Knight And Day if you haven't heard them already. Jay and MrJosh 2 Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 25, 2021 Share Posted June 25, 2021 I wasn't familiar with this score at all and really enjoyed my first listen last night. I was expecting more Bourne sound and while it does have some similarities to that there's way more melody and colour in this. Karol Yavar Moradi and MrJosh 2 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted June 26, 2021 Share Posted June 26, 2021 This album is now available digitally on Bandcamp for just $15. https://varesesarabandedigital.bandcamp.com/album/paycheck-deluxe-edition-soundtrack MaxTheHouseelf 1 Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 27, 2021 Share Posted June 27, 2021 On 6/25/2021 at 8:41 AM, crocodile said: I wasn't familiar with this score at all and really enjoyed my first listen last night. I was expecting more Bourne sound and while it does have some similarities to that there's way more melody and colour in this. Karol Yeah! I think the heavy use of woodwinds really brightens things up. The score takes itself far less seriously than Bourne. Fans of either should also check out Mr. & Mrs. Smith, although - and this is being far too general - that sounds a bit like "Spanish Bourne". X-Men has a few bits of brass writing that remind me of Paycheck, but Powell hasn't really done anything else like Paycheck. Jay 1 Link to comment Share on other sites More sharing options...
Positivatee 327 Posted June 28, 2021 Share Posted June 28, 2021 On 6/26/2021 at 7:10 PM, A. A. Ron said: This album is now available digitally on Bandcamp for just $15. https://varesesarabandedigital.bandcamp.com/album/paycheck-deluxe-edition-soundtrack So you can just preview each track in a web browser in its entirety... Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted June 28, 2021 Share Posted June 28, 2021 Just gave this a second listen (lots of new music!) And only just noticed that the violins are divided between left and right. I initially thought that the channels have been flipped but it seems unlikely that JP would’ve made such a screwup in producing the album! Interesting that he chose that arrangement which is fairly atypical (for those who aren’t familiar with standard orchestral set up, the violins are usually on the left, violas in the middle, cellos and basses on the right). It certainly works particularly well with the echoing string figures as they bounce between headphones or speakers. Enjoying revisiting a great score that I had rather forgotten about somehow even though it’s probably one of the first scores byJohn Powell that got me into his music. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Jim Ware 526 Posted June 28, 2021 Share Posted June 28, 2021 I have no idea if these slate numbers are correct, but they came up on freedb when I ripped the disc. Disc One: 1. Paycheck: Main Title From The Motion Picture (3:29) 1m2 2. A Kiss Of Flexible Morality (1:10) 1m4 3. Memory Wipe (0:54) 1m5 4. A Good Life (1:05) 1m6 5. Party Of Two (0:32) 1m7 6. Portents Of Crystal Balls (2:11) 1m10 7. Injection (0:32) 2m11 8. A Second Chance (1:54) 2m13 9. You’re Done (1:16) 2m14 10. Freeze Frames (1:59) 2m15 11. Hot Seat (7:39) 2m16 12. The Ring (0:42) 2m17 13. That’s You (0:31) 3m18 14. Twenty Items (5:39) 3m19-21 15. Lucky Number (2:01) 3m22 16. Wolfe Pack (4:01) 3m23-24 17. The Third Rail (3:28) 3m25 18. Reservations (3:25) 4m26 19. Mirror Message/Imposter (8:43) 4m27-28 Disc Two: 1. Hog Chase Pt.1 (3:18) 4m29a 2. Hog Chase Pt.2 (4:06) 4m29b 3. I Don’t Remember (1:33) 5m30v1 4. I Don’t Remember (Alternate Version) (1:35) 5m30v2 5. Tomorrow’s Headlines (4:27) 5m31 6. Return to Allcom (3:13) 5m32 7. Future Tense (7:58) 5m33 8. Bio Lab Bash (3:08) 6m34 9. Fait Accompli (6:39) 6m35 10. One Big Payback (5:37) 6m36 11. Uma’s Tune (Bonus Track) (2:55) Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted June 28, 2021 Share Posted June 28, 2021 What are the differences between the album and the extended versions of some cues? Do I need both releases? Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted June 28, 2021 Share Posted June 28, 2021 6 minutes ago, blondheim said: What are the differences between the album and the extended versions of some cues? Do I need both releases? Probably just if you want micro-edited versions of some cues, for some reason? Yavar Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted June 28, 2021 Share Posted June 28, 2021 Just now, Yavar Moradi said: Probably just if you want micro-edited versions of some cues, for some reason? Yavar Oh. If that's all, then I'm probably fine. Unless this turns out to be a little exhaustive of an experience and then maybe we will see about a one disc presentation. These new Powell expansions are mixed incredibly well. I am having a hard time getting used to Coming Back Around because I listened to the original mix so much and it's SO forward. The drumline just wailing. But every other cue sounds so much better on the new release of Dragon. Paycheck will give me a chance to get used to this new mastering first so that doesn't happen again. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 28, 2021 Share Posted June 28, 2021 3 hours ago, blondheim said: What are the differences between the album and the extended versions of some cues? Do I need both releases? If you want every single possible option for cues, yes. If you just care about having as many bars of music as possible (and not an optimised listening experience), you'll be satisfied with the Deluxe edition only. Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted June 28, 2021 Share Posted June 28, 2021 15 minutes ago, Anthony said: If you want every single possible option for cues, yes. If you just care about having as many bars of music as possible (and not an optimised listening experience), you'll be satisfied with the Deluxe edition only. Are there actual differences? Inserts or alternate sections? Or just micro-edits as Yavar mentioned Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2021 Author Share Posted June 29, 2021 16 hours ago, blondheim said: Are there actual differences? Inserts or alternate sections? Or just micro-edits as Yavar mentioned See here Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted June 29, 2021 Share Posted June 29, 2021 17 hours ago, blondheim said: Are there actual differences? Inserts or alternate sections? Or just micro-edits as Yavar mentioned It’s just microedits. Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 29, 2021 Share Posted June 29, 2021 13 minutes ago, A. A. Ron said: It’s just microedits. No it isn't. The OST has microedits but also shortened tracks (entire parts of cues missing - more than just cutting out a few seconds of repetition). The Deluxe has everything restored and included, although that's not necessarily the best way to listen to it. See the lengthy review post above. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted June 29, 2021 Share Posted June 29, 2021 Yeah I read your post. I guess we can argue about what counts as a microedit if you want, but my point is that there are no alternate mixes, takes or differently written cues on one album vs the other. All of the differences between them are literally just edits. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Faleel 5,347 Posted June 29, 2021 Share Posted June 29, 2021 9 minutes ago, Anthony said: No it isn't. The OST also has shortened tracks (entire parts of cues missing Which are also microedits... Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2021 Author Share Posted June 29, 2021 To be fair "microedits" is a made-up term that as far as I can tell started on online discussion forums such as this one, and is only used in such places; The people in the industry don't actually use this term. Link to comment Share on other sites More sharing options...
Faleel 5,347 Posted June 29, 2021 Share Posted June 29, 2021 I presume it was borrowed from the writing term (or more likely just a coincidence) https://www.jenniferellis.ca/micro-editing Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2021 Author Share Posted June 29, 2021 Plus to be fair, Jeff Bond's liner notes for the War of the Worlds expansion include the term, so maybe it will be legitimized Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 29, 2021 Author Popular Post Share Posted June 29, 2021 So.... this score is really good! I've probably listened to it.... 4 or 5 times now. Every time I find new cool parts to enjoy I missed on prior listens. I truly don't recall anyone mentioning this score before; I saw the movie in theaters when it came out but I guess didn't really notice the music then, and have never seen the film again since. But boy, there's so much to like in this score. At times I feel like I am listening to a proper James Bond score, and now I'd be equally happy if him or Arnold get to do the next Bond film (I really hope it won't be Zimmer from now until he retires...) I'm so glad Varese decided to make a Deluxe Edition, as it spurred me to discover this score! I can't wait for my Deluxe Edition to arrive in the mail! Tracking says it was in Texas yesterday, yet won't be at my house until July 6th... Chewy, Yavar Moradi and Tom Guernsey 3 Link to comment Share on other sites More sharing options...
Anthony 572 Posted June 29, 2021 Share Posted June 29, 2021 1 hour ago, Jay said: At times I feel like I am listening to a proper James Bond score, and now I'd be equally happy if him or Arnold get to do the next Bond film (I really hope it won't be Zimmer from now until he retires...) BUT...Bond films include violence. So I guess it's not what JP is interested in any more. Oh, how I loved the days when we'd get fantastic music for terrible films, presumably because one couldn't be as picky about what they worked on. Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2021 Author Share Posted June 29, 2021 Solo included violence and he scored that Yavar Moradi 1 Link to comment Share on other sites More sharing options...
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