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Jerry Goldsmith's L.A. CONFIDENTIAL (1997) - NEW! 2022 Varese Deluxe Edition


Jay
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Nice, includes the fine original album alongside the expanded programme. As I'll buy more or less anything Jerry related, that's a must buy. I always think he was probably in with a better than average chance of a Oscar with LA Confidential, but had the misfortune for it to come out the same year as the sinking ship movie...

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13 minutes ago, Romão said:

Now the usual questions: how much essential music was missing from the LA Confidential OST? It was a quite short cd release

 

I suppose "essential" is in the eye of the beholder, but the Apple Music page says the new album is 75 minutes long, and the original 30 minute score album is included at the end, leaving a new 45 minute main program. 

 

So I guess 15 minutes was unreleased, possibly more if the new main program includes different versions than what was on the score album in spots

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22 minutes ago, Jay said:

 

I suppose "essential" is in the eye of the beholder, but the Apple Music page says the new album is 75 minutes long, and the original 30 minute score album is included at the end, leaving a new 45 minute main program. 

 

So I guess 15 minutes was unreleased, possibly more if the new main program includes different versions than what was on the score album in spots

 

 

Thank you, I hadn't noticed the the OST program was included at the end

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29 minutes ago, Jay said:

 

I suppose "essential" is in the eye of the beholder, but the Apple Music page says the new album is 75 minutes long, and the original 30 minute score album is included at the end, leaving a new 45 minute main program. 

 

So I guess 15 minutes was unreleased, possibly more if the new main program includes different versions than what was on the score album in spots

 

I'm guessing there are at least differences (maybe different takes or at least different mixes) between SOME of the original album tracks and the film versions, and since there was room on a single CD (as with Monsignor by Williams) they just decided to include both and make as many people happy as possible. Seems like a classic Neil S. Bulk move.

 

Yavar

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1 minute ago, Jay said:

I wonder if there are some fun unused cues too, that wouldn't have been on the isolated score track as a result

 

Well, the new Rudy DE premiered 3-4 short cues which went unused in the film and weren't included on the isolated score track, and Intrada's Hollow Man release included a number of cues not on the isolated score track (and apparently unfortunately omitted a couple film versions which were on it, like Linda & Sebastian) -- the big one being the full original composition "I Can't See Him", which is heard in the extended cut of the film (it's for the very unpleasant scene where Rhona Mitra is raped, which even Verhoeven apparently considered too much for the theatrical cut). The Blu-ray of the extended cut didn't have an isolated score track, so that cue (and some others) premiered on the Intrada.


Yavar

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I wonder if Varese's press release tomorrow will tell us who the producer of the new expansion is.

 

I had no idea that Mike Matessino produced their Death Becomes Her expansion until the physical copy arrived at my house over a month after I ordered it (on release day).

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47 minutes ago, Luke Skywalker said:

I’m craving the moment the labels run out of goldsmith scores to expand and hope they tackle williams next with the same release ratio….


Impossible or at the very least extremely unlikely, since Goldsmith was like 5x as prolific as Williams. But even so we were supposed to get five Williams expansions this year… two were just delayed for approvals.

 

Horner and Silvestri fans have been having a great year too…

 

Yavar

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Plus there's a variety of catalog producers working on Goldsmith's back catalog, while only Mike works on Williams' feature film scores

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Great news! One of the last few Goldsmith grails I had on my wishlist. :) 

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So Neil S. Bulk has posted on the FSM forum that the 22 second track "Badge of Honor" from the song compilation OST album could not be included on this new expansion because of rights issues.


However, that song compilation album also had a 2:31 Goldsmith track titled "L.A. Confidential", as well.  Is that music also unique to the song compilation album?

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Looks like it includes all the cues from the complete score shared elsewhere.  Ahem..

Just now, Chewy said:

So here are the credits for the first track (found on Qobuz):

 

image.png

 

Produced by Mike Matessino, Neil S. Bulk & Lukas Kendall!


Appears the Goldsmith Estate is no longer holding that LK grudge...

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18 minutes ago, DeltaPupJux said:

Appears the Goldsmith Estate is no longer holding that LK grudge...

 

What's this now?

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2 minutes ago, Jay said:

 

What's this now?

I'm sure I read on Lukas' facebook some time ago about how he kept "something" belonging to Jerry's daughter and it's sparked a lot of backlash, etc.  Not those exact words, but something 'along those lines'.  

I'm just saying, now..however, that if he's involved in current JG titles, then perhaps those 'ill feelings' have [since] subsided.  

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Here's the entry on Varese's website for the physical CD edition

 

L.A. CONFIDENTIAL (CD)
UPC: 888072480872
11/18/2022
Regular price$ 19.98

 

No composer was better suited to score a picture than Jerry Goldsmith with L.A. Confidential (1997), director Curtis Hanson’s masterpiece of the James Elroy novel about corruption in 1950s Los Angeles. Not only was a Goldsmith a master of the thriller and crime genres, but his own career started in the era depicted in the film, and he had scored the all-time great detective noir, Chinatown.

 

 L.A. Confidential starred Russell Crowe, Guy Pearce and Kevin Spacey as police detectives, with Kim Basinger as a Veronica Lake-lookalike prostitute, in a labyrinthine but brilliantly constructed plot connecting city hall and the cops, organized crime, Hollywood tabloids and the gutter. The film received nine Oscar nominations—including for Goldsmith’s score—and won two, for Basinger and Best Adapted Screenplay. It was heralded as an instant classic and, 25 years later, is every bit as captivating.

 

Goldsmith’s score combines a modern pulse, pace and suspense with period idioms—notably a bluesy trumpet theme, performed by Malcolm McNab, which to Goldsmith represented masculinity. The score distills the 1950s atmosphere of smoke and seediness, as well as a certain bygone era of honor and justice, while making the film ingeniously slick and contemporary—and, as always for Goldsmith, emotional.

 

L.A. Confidential’s score album was released by Varèse Sarabande after the film in 1997. This Deluxe Edition features two programs on one disc: 28 tracks, running 45 minutes, representing the cues heard in the film, followed by the original 11-track, 30-minute score album. New liner notes are by Tim Greiving.

 

Limited to 2000 copies.

 

https://varesesarabande.com/products/l-a-confidential-cd

 

It does not indicate who produced, edited, mixed, or mastered this album of music.  Hopefully Neil reveals who did that in the FSM thread.

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1 hour ago, Jay said:

It does not indicate who produced, edited, mixed, or mastered this album of music.  Hopefully Neil reveals who did that in the FSM thread.

 

Well the Qobuz credits indicate all of that:

 

2 hours ago, Chewy said:

image.png

 

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It appears the Qobuz information is incorrect.  Neil just posted this to the FSM thread:

 

Mike and I produced this album. I edited the original 48/16 Bruce Botnick film mixes from the 3348 tapes and sequenced the album. Mike mastered the release and dealt with the studio.

 

https://filmscoremonthly.com/board/posts.cfm?threadID=149758&forumID=1&archive=0

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15 minutes ago, Yavar Moradi said:

What's incorrect?

 

Qobuz indicates Lukas was a producer, Neil says he was not.

 

Most likely someone typing data into qobuz attached the wrong credit to Lukas's name

 

 

Oh, his post is slightly longer now

 

In terms of audio work, Mike and I produced this album. I edited the original 48/16 Bruce Botnick film mixes from the 3348 tapes (newly transferred for this release by Tal Miller) and sequenced the album. Mike mastered the release and dealt with the studio.

 

Others at Varese obviously contributed as well, but I don't know all of their responsibilities.

 

 

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Nope. qobuz is just wrong. Neil emailed me:

 

He's credited on the album with "Production Assistance." 

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I don't know the answer to that, but I was credited with "Production Assistance" on Schindler's List, and I wouldn't say that what I did for that counts as being one of that album's producers

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Another question is: What is the difference between "Production Assistant" and "Project Assistant"?

 

I have no idea!

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Production to me implies a factory or manufacturing process, assisting in the production of something (film etc.), perhaps for an ongoing set of products.

 

"Project Assistant" suggests a specific project or task, perhaps assisting a research project, or the construction of a particular building.

 

But that's just my intuition based on semantics.

 

Real world? Probably both can be used interchangeably for a sidekick role.

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Whipped up a quick google doc to show where the new cues are

 

7 out of 11 tracks on the old score album combined music from two different scenes together

 

https://docs.google.com/spreadsheets/d/1H2ANe8gvARqfxca4KKBMGyLp_fgwM86aKrm4wy7NK1k

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5 minutes ago, Jay said:

Whipped up a quick google doc to show where the new cues are

 

7 out of 11 tracks on the old score album combined music from two different scenes together

 

https://docs.google.com/spreadsheets/d/1H2ANe8gvARqfxca4KKBMGyLp_fgwM86aKrm4wy7NK1k

Would it be easy to compare with the recording sessions too?

I wonder if we're missing anything from the new Varese cd.

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17 minutes ago, Jay said:

Whipped up a quick google doc to show where the new cues are

 

7 out of 11 tracks on the old score album combined music from two different scenes together

 

https://docs.google.com/spreadsheets/d/1H2ANe8gvARqfxca4KKBMGyLp_fgwM86aKrm4wy7NK1k

It's interesting that he mostly combined cues that had quite different moods so that the transitions also meant a rapid change of pace: "Out of the Rain", "The Café" and above all "Bloody Christmas".

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12 minutes ago, filmmusic said:

Would it be easy to compare with the recording sessions too?

I wonder if we're missing anything from the new Varese cd.

 

I am not really interested in doing that, and I find it hard to believe Neil & Mike would have left any cues unreleased.  They included "3M1 The Deal", which was not used in the film or on the original album, after all.

 

 

1 minute ago, Brundlefly said:

It's interesting that he mostly combined cues that had quite different moods so that the transitions also meant a rapid change of pace ("Out of the Rain", "The Café" and above all "Bloody Christmas").

 

Yea, that rapid change of tone in the "Bloody Christmas" album track is super jarring!  So happy to have those properly separated now

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18 minutes ago, Brundlefly said:

It's interesting that he mostly combined cues that had quite different moods so that the transitions also meant a rapid change of pace: "Out of the Rain", "The Café" and above all "Bloody Christmas".


May be one reason why I never really cared for that old album much…

 

Yavar

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I compared the new Deluxe presentation to the old album presentation if anyone's curious

 

Bloody Christmas (track 1 vs track 29 0:00-1:41)

 

  • The album version has cool distant horns and strings during the first 43 seconds, while the film version streamlines things with just the main driving rhythmic idea.

 

Turn It In (track 2 0:00-0:17)
The Deal (track 2 0:17-end)
The Badge (track 3)

 

  • These cues were not on the old album.

 

The Café (track 4 vs track 30 0:00-1:21)

 

  • They're the same

 

The I.D. (track 5 0:00-0:51)
Odds (track 5 0:51-end)
Late Arrival (track 6 0:00-0:50)
The Raid (track 6 (0:50-end)

 

  • These cues were not on the old album

 

Questions (track 7 vs track 31 0:20-end)

 

  • The album take has a different horn performance around 40 seconds in

 

Back-Up (track 8 vs track 30 1:21-end)

 

  • They're the same

 

Don’t Move (track 9)

 

  • This cue was not on the old album

 

Bud and Lynn (track 10 vs track 29 1:41-end)

 

  • They're the same

 

False Information (track 11 vs track 32 0:27-end)

 

  • The album take has a different tempo

 

Susan Lefferts (track 12 vs track 32 0:00-0:27)
Rats (track 13 0:00-1:50 vs track 33 0:58-end)
A Gift (track 13 1:50-end vs track 31 0:00-0:20)

 

  • They're the same

 

Rodents (track 14)

 

  • This cue was not on the old album

 

Rollo Tomasi (track 15 vs track 34 1:03-end)

 

  • The album mix omits a synth effect heard in the film mix

 

Not So Dumb (track 16 vs track 35 0:00-1:01)

 

  • They're the same

 

The Facts (track 17)
The Perp (track 18 0:00-0:55)
Know Him? (track 18 0:55-end)
Ex-Cop (track 19)

 

  • These cues were not on the old album.

 

The Photos (track 20 vs track 35 1:01-end)
Out of the Rain (track 21 vs track 33 (0:00-0:58)

 

  • They're the same

 

Records (track 22)

 

  • This cue was not on the old album

 

Out The Window (track 23 vs track 34 -0:00-1:03)

 

  • They're the same

 

Patchett’s Dead (track 24)

 

  • This cue was not on the old album

 

The Keys (track 25 vs track 36)

 

  • The album version has horn and string passage from 1:08-1:22 that is not present in film version

 

Visitors (track 26 0:00-2:35 vs track 37 0:00-2:26)

 

  • They're the same take, but it's shortened on the old album

 

The Shootout (track 26 2:35-end vs track 37 2:26-end)

 

  • They're the same take, but it's shortened on the old album

 

Good Lad (track 27 vs track 38)

 

  • The abum version omits the opening, and has extra strings (from 1:46-end) that are missing from the film version

 

The Victor (track 28 vs track 39)

 

  • I am sure these are different somehow, but I cannot tell what the difference is
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On 19/11/2022 at 11:01 AM, filmmusic said:

Would it be easy to compare with the recording sessions too?

I wonder if we're missing anything from the new Varese cd.


Everything from Goldsmith’s sketches is accounted for in the new release: 

https://collections.new.oscars.org//Details/Archive/71303052

 

Quote

2-4 "Bloody Christmas," 6 pages; 3-a "Turn It In," 1 page; 3-1 "The Deal," 2 pages; 4-1 "The Badge," 2 pages; 4-2 "The Cafe," 2 pages; 4-3 "The I.D.," 1 page; 5-1 "Odds," 3 pages; 6-1 "Late Arrival," 3 pages; 6-2 "The Raid," 2 pages; 7-1 "Questions," 5 pages; 8-1 "Back-Up," 3 pages; 8-3 "Don't Move," 2 pages; 8-5 "Bud and Lynn," 1 page; 9-6 "False Information," 3 pages; 10-a "Susan Lefferts," 1 page; 10-1 "Rats," 2 pages; 10-2 "A Gift," 1 page; 10-3 "Rodents," 1 page; 10-4 "Rollo Tomasi," 4 pages; 11-2 "Not So Dumb," 2 pages; 11-4 "The Facts," 2 pages; 12-1 "The Perp," 1 page; 12-2 "Know Him?," 1 page; 12-3 "Ex Cop," 1 page; 12-4 "The Photos," 3 pages; 13-1 "Out of the Rain," 1 page; 13-2 "Records," 3 pages; 13-3 "Out the Window," 3 pages; 13-4 "Patchett's Dead," 1 page; 13-5 "The Keys," 4 pages; 14-1 "Visitors," 5 pages; 14-1a "The Shootout," 6 pages; 14-2 "Good Lad," 3 pages; 13-2 "Records," 3 pages; 15-1 "The Victor," 4 pages

 

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This is me noticing that the filmversion of Bloody Christmas is still missing a a bit of percussion which must be a late insert

 

 

I guess I have ruined everyone's holidays now over a few bloody seconds.

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