Thomas Newman's FLESH AND BONE (1993) - NEW! 2022 La-La Land Records

[Jay 37,323]

 

Coming from La-LA LAND RECORDS
May 3, 2022

Expanded and Remastered

Music Composed by Thomas Newman

Limited Edition of 1000 Units

 

Source: https://www.facebook.com/lalalandrecords/posts/10160609737453755

Tracklist coming in tonight's email newsletter about 2 1/2 hours from now or so

[Jay 37,323]

FLESH AND BONE: LIMITED EDITION LLLCD 1597
Music by Thomas Newman
Limited Edition of 1000 Units
RETAIL PRICE: $21.98

 

STARTS SHIPPING MAY 3

 

Order yours from www.lalalandrecords.com starting 12 noon (pst) on 5/3

 

La-La Land Records and Paramount Pictures proudly present a remastered and expanded CD release of renowned composer Thomas Newman’s (LESS THAN ZERO, THE SHAWSHANK REDEMPTION, SKYFALL) original motion picture score to the 1993 dramatic feature film FLESH AND BONE, starring Dennis Quaid, Meg Ryan and James Caan, and directed by Steve Kloves. Composer Newman’s sumptuous, atmospheric and haunting work is pitch perfect for this thoughtful, dark Western neo-noir drama. It’s a seminal score by Newman – a milestone in establishing the composer as one of the most unique musical voices in Hollywood. Remastered and expanded with previously unreleased music, this limited edition CD release of 1000 units is produced by Dan Goldwasser, mastered by James Nelson, and the exclusive, in-depth liner notes are by writer Jeff Bond, featuring new interview comments from director Steve Kloves. The art design is by Dan Goldwasser.

 

TRACK LISTING:

 

SCORE PRESENTATION
1. Hinge (Main Title)* 1:38
2. Blue Dimes* 0:59
3. Ginnie Steals Ring / Twenty* 1:21
4. Elliot Tone / Diner / Ginnie By 1:32
5. Two Ride Together* 0:52
6. Pudge’s Warehouse / Gypsy Grandma* 1:32
7. Moments* / Talkin’ to Rosie 1:11
8. Lazy J* 1:48
9. Activity 1:16
10. Steal You Blind / Horses* / Pond 2:50
11. Star-Crossed* 1:22
12. Sink / First Picture / Flesh & Bone* 3:14
13. Departures 1:07
14. Ghosts** / The Picture* 2:15
15. The People in the Picture* / Separation 1:42
16. Elliot 1:07
17. Sour Fortune 1:21
18. Surprise (film version) 3:44
19. Arlis Arrives 0:38
20. Baby Kay / That Sound 1:30
21. Reckoning* / Bruise (film version) 5:59
22. Everything He Told You (End Title)* 2:45
TOTAL SCORE TIME 42:24

 

BONUS TRACKS
23. Hinge (Main Title) (alternate mix) 1:38
24. Twenty (alternate) 0:54
25. Diner / Ginnie By (alternate) 0:48
26. The Ride Together (alternate) 1:01
27. Activity (alternate) 1:18
28. Sink (album mix)* 0:56
29. Departures (alternate) 1:07
30. Ghosts (alternate)** 1:25
31. Surprise (alternate mix) 3:44
32. Baby Kay (album mix)* 0:48
33. Bruise (alternate) 3:13
34. Bruise (album mix)* 2:37
35. Neutral Strings Wild 0:28

TOTAL BONUS TIME 20:21

TOTAL DISC TIME 62:51

* previously released
** contains previously released material

This is a CD format release

 

https://secure.campaigner.com/csb/Public/show/4our-2j6ld5--z4pm9-ag4f6q3

[Thor 7,478]

It's a good score. It's one of those I lost in my harddrive crash a few years ago, but was never able to retrieve. Hopefully, it's possible to arrange this new release into the OST program.

[Jurassic Shark 12,033]

That's why you should buy CDs.

[Richard Penna 3,676]

No, it's why you make backups  

[LSH 968]

A great score from my favourite period in Newman's career (~'86 - '93).

[GerateWohl 4,343]

2 hours ago, Thor said:

It's a good score. It's one of those I lost in my harddrive crash a few years ago, but was never able to retrieve. Hopefully, it's possible to arrange this new release into the OST program.

Just one really honest question on your preference for OSTs. 

I mean, there exist these lots of 30 minute Jerry Goldsmith OSTs. And they are not just 30 minutes long because the composer prefered it that way musically, but because it was just cheaper and at that time you had to pay the orchestra per half hour and this way production was easier and more affordable.

So question, couldn't it be that an Expansion could be closer to a composers vision of an appropriate soundtrack presentation? And if it was, would you still refuse to listen to it?

[Jurassic Shark 12,033]

For Goldsmith, I'd say a 15 minute suite usually suffices.

[Holko 9,499]

23 minutes ago, GerateWohl said:

So question, couldn't it be that an Expansion could be closer to a composers vision of an appropriate soundtrack presentation? And if it was, would you still refuse to listen to it?

He doesn't care about the composer's vision, he picks the first release he listened to and/or the shortest one.

[Jay 37,323]

Samples and direct order link:

 

https://lalalandrecords.com/flesh-and-bone-limited-edition/

[Thor 7,478]

1 hour ago, GerateWohl said:

Just one really honest question on your preference for OSTs. 

I mean, there exist these lots of 30 minute Jerry Goldsmith OSTs. And they are not just 30 minutes long because the composer prefered it that way musically, but because it was just cheaper and at that time you had to pay the orchestra per half hour and this way production was easier and more affordable.

So question, couldn't it be that an Expansion could be closer to a composers vision of an appropriate soundtrack presentation? And if it was, would you still refuse to listen to it?

 

Most of them were closer to 40 minutes than 30, but I actually think those limitations frequently became a conduit for creativity - forcing the composer to think long and hard about which highlight cues to include, so as to make it both representative and succinct. Whenever I encounter good scores these days, that are sadly presented in excessive durations of 80, 90, 120 minutes, you name it, I find myself longing for those times.

[LSH 968]

24 minutes ago, Thor said:

forcing the composer to think long and hard about which highlight cues to include

 

But Thor, on many many many many releases, highlights were demonstrably missing.

 

Over to you.

[Thor 7,478]

Not for me. I've never really cared about what's missing, as I never use the film as a point-of-reference in my soundtrack listening. Could be an unreleased Beethoven symphony for all I care. I've only ever cared about what's in front of me, and how that holds up. I leave it to the composer to curate his or her own selection of highlights, and then I judge it from there (whether it's good or bad).

[LSH 968]

I'm not gonna fall out with you over this (like others have done) because you're a mate .

 

I will, however, salute you for defending this bizarre approach for so long. I still love you pal.

[Jay 37,323]

Artwork preview:

 

https://warmbutter.com/albums/flesh-and-bone/

[Thor 7,478]

3 minutes ago, LSH said:

I'm not gonna fall out with you over this (like others have done) because you're a mate .

 

I will, however, salute you for defending this bizarre approach for so long. I still love you pal.

 

He, he, thanks. It's not really something that needs defense, though. It's just a minority preference that stems from my rather unusual pathway into soundtrack listening (see Geratewohl's concurrent thread about why we listen to soundtracks).

[Jurassic Shark 12,033]

16 minutes ago, LSH said:

I'm not gonna fall out with you over this (like others have done) because you're a mate .

 

I will, however, salute you for defending this bizarre approach for so long. I still love you pal.

 

I wouldn't call it bizarre. Curating a film music album aimed at appreciating the music on its own is similar to "serious" composers condensing stage works down to suites.

[LSH 968]

1 hour ago, Jurassic Shark said:

 

I wouldn't call it bizarre. Curating a film music album aimed at appreciating the music on its own is similar to "serious" composers condensing stage works down to suites.

 

I'm not biting. There isn't much spark left in this long and boring debate. You all do you, and we'll do... wus? 

 

 

I am glad that Newman's earlier works are slowly and surely getting a look in, both in terms of absolute release and expansion, what with this, Whispers In The Dark, and Less Than Zero in recent years.

 

My holy grail from this early Newman era, however, is Men Don't Leave (1990). I would literally stab a baby to get that.

[GerateWohl 4,343]

10 hours ago, Jurassic Shark said:

For Goldsmith, I'd say a 15 minute suite usually suffices.

There is some undeniable truth in this. 

[Jurassic Shark 12,033]

8 hours ago, LSH said:

I am glad that Newman's earlier works are slowly and surely getting a look in

 

We need more Alfred Newman releases for sure.

 

 

 

 

8 hours ago, LSH said:

I would literally stab a baby to get that.

 

You should see a doctor about that.

[TSMefford 1,509]

Ordered! Never heard this score or seen the film. Should be fun.

[Thor 7,478]

14 hours ago, LSH said:

I am glad that Newman's earlier works are slowly and surely getting a look in, both in terms of absolute release and expansion, what with this, Whispers In The Dark, and Less Than Zero in recent years.

 

Indeed. LESS THAN ZERO quickly rocketed to my third place (after SHAWSHANK and OSCAR & LUCINDA) when it finally came out a few years ago. I just adore those early, synth-heavy Newman scores (DESPERATELY SEEKING SUSAN, MAKING MR. RIGHT, THE MAN WITH ONE RED SHOE, WELCOME HOME ROXY CARMICHAEL, THOSE SECRETS, JOSH & SAM etc.). 

 

FLESH & BONE does not fall in this category, but has some of those excellent early 90s "quirky ensemble" elements that I also love.

[Anthony 572]

22 hours ago, Thor said:

I just adore those early, synth-heavy Newman scores (DESPERATELY SEEKING SUSAN, MAKING MR. RIGHT, THE MAN WITH ONE RED SHOE, WELCOME HOME ROXY CARMICHAEL, THOSE SECRETS, JOSH & SAM etc.). 

 

This is super interesting! Despite hearing all of them, the only two of these I have kept music from is Those Secrets and Josh And S.A.M.

 

The End Title from Flesh And Bone is the "playlist cue".

 

I've got a playlist of Newman material that's over 9 hours long. The guy is brilliant (from around 1992 onwards ).

[Thor 7,478]

1 hour ago, Anthony said:

This is super interesting! Despite hearing all of them, the only two of these I have kept music from is Those Secrets and Josh And S.A.M.

 

Sorry to hear it, but I'm a sucker for that kind of electronic sound. Pre-dates my film music fandom by several years.

[Anthony 572]

If the majority of Newman's discography consisted of music like that, then I'd be sorry. But I've got 10 hours of other Newman music I love...so I don't exactly feel like I'm missing out. 

[Thor 7,478]

Yes, that's the good thing about Newman. Although he always sounds like himself, whatever idiom he works in, there are many sort of 'sub categories' to this work -- there's the big and broad Americana, the small, acoustic, quirky ensemble, the ethereal synth/synthpop things, the ethnic stuff. I both like and dislike things within all of these.

 

But then there's also the totally uninspired, insipid Newman that I can easily dismiss. Sampling his recent OPERATION MINCEMEAT recently, for example, that's probably one of the most boring scores I've ever heard in my life. Sheesh.

[Disco Stu 15,495]

2 hours ago, Anthony said:

The guy is brilliant (from around 1992 onwards ).

 

1991!  Gotta include Fried Green Tomatoes, his first capital G Great Score imho

 

 

[Anthony 572]

2 hours ago, Thor said:

Sampling his recent OPERATION MINCEMEAT recently, for example, that's probably one of the most boring scores I've ever heard in my life.

 

I'd place this label on The Little Things. Mincemeat at least has the "Room 13" track.

 

2 hours ago, Stu said:

 

1991!  Gotta include Fried Green Tomatoes, his first capital G Great Score imho

 

 

 

Amen! This is actually what my playlist starts with. I only said 1991 because Tomatoes was his only great 1991 score, whereas all 4 of his 1992 scores ended up with tracks on my playlist.

[Disco Stu 15,495]

4 minutes ago, Anthony said:

whereas all 4 of his 1992 scores ended up with tracks on my playlist.

 

Scent of a Woman is the obvious best score of '92, but I do really love The Player in all its quirky glory.  Those two scores represents the two sides of the Thomas Newman coin well.  The gorgeous highly individual orchestral style and the experimentalist offbeat style.

[Anthony 572]

Those Secrets and The Player have at least a great track in each, and Whispers In The Dark has several fantastic cues.

[Thor 7,478]

THOSE SECRETS wins 1992.

[Disco Stu 15,495]

It was a great year for him, but Scent of a Woman smells like the winner to me

[FunnyML 81]

4 hours ago, Anthony said:

I'd place this label on The Little Things. Mincemeat at least has the "Room 13" track.

I like a couple of cues from The Little Things, like 3M1 Vacation Days or 4M3 Freeway Cat & Mouse. But I can understand that people find it rather boring.

[Jay 37,323]

My copy arrived in Friday's mail.  Would you believe this is only my second Thomas Newman purchase?  I really have a lot of catching up to do because I keep hearing samples of his works I like after initially being really turned off by his Bond stuff.

 

I also was curious about how many times the specialty labels have done one of his scores, and am I right that it's only happened 4 times, and all by La-La Land?  This, Shawshank, Red Shoes, and Less Than Zero?

[Bespin 8,480]

Intrada expanded Whispers In The Dark in 2012.

 

I think Thomas Newman's OSTs are so efficent (and sometimes offered as an immersive gapless album, we have to say it), there is no real need or demand for expansions...

[TSMefford 1,509]

I need and demand Thomas Newman expansions. Please and thank you. And of course, my demand is enough to cover all the bills producing an album takes.

 

In other news, my copy arrived! Looking forward to hearing this - I haven't heard this score at all besides the samples on the LLL website. Should be fun!

 

 

 

Wait a second....

 

 

 

 

 

 

 

 

 

 

What?! How did this happen????

 

 

Oh... I see... I'm a moron.

In my defense... It was a busy week that week and I had pulled some all-nighters.

 

Welp. No idea what to do with this other copy. I guess I'll just hang on to it, leave it sealed, and sell it on eBay in a few years??? Contribute it to the Forum Giveaway during donation season? ¯\_(ツ)_/¯ 

 

I must have mystified someone at LLL when they packed my order, unless it's common for someone to order two copies of an album at once.

[Yavar Moradi 2,593]

I'm sure sometimes people order an extra copy for a friend (or for trading/selling later).

 

6 hours ago, Bespin said:

Intrada expanded Whispers In The Dark in 2012.

 

And it is SO good...one of my T. Newman favorites. (But their release of T's brother D. Newman's Paradise is even better...)

Some years earlier on their Amazing Stories volumes, Intrada also released each Newman brother's scores for the series. Thomas's was "Santa '85".

 

6 hours ago, Bespin said:

I think Thomas Newman's OSTs are so efficent (and sometimes offered as an immersive gapless album, we have to say it), there is no real need or demand for expansions...

 

I think an expansion of Little Women would be fantastic; one of my grails at this point.

 

7 hours ago, Jay said:

My copy arrived in Friday's mail.  Would you believe this is only my second Thomas Newman purchase?  I really have a lot of catching up to do because I keep hearing samples of his works I like after initially being really turned off by his Bond stuff.

 

I'm a T. Newman fan but his Bond scores (particularly SPECTRE) are easily among my least favorites of his work.

 

7 hours ago, Jay said:

I also was curious about how many times the specialty labels have done one of his scores, and am I right that it's only happened 4 times, and all by La-La Land?  This, Shawshank, Red Shoes, and Less Than Zero?

 

Robert Townson put out a limited edition of Those Secrets (less than 20 minutes for the complete score) on his Masters Film Music label, released in one of the last batches of the original Varese Sarabande CD Club. Of course Varese put out a lot of T. Newman scores as regular store releases too.

https://www.soundtrackcollector.com/catalog/composerdiscography.php?composerid=188

 

Yavar

[Jay 37,323]

Do any JWFanners have any thoughts on this release?  I haven't found the time to open mine yet.

[Trope 520]

I got it recently and am really enjoying it. As a big Thomas Newman fan, there are plenty of characteristic sounds and colours, as well as some more ambient/dark stuff. It grows on me every time I re-listen to it!

 

Could anyone who has the 1993 release help me out as to how I might recreate the original OST program from the 2022 version? I know it can't be 100% accurate given that different cues have been combined into single tracks in 2022, but I'd like to create something as close as possible. Many thanks if you can help.