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Posted: |
Dec 15, 2017 - 4:29 AM
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By: |
Graham Watt
(Member)
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Funny that michael 469 mentioned Ligeti when he did, just as it's funny that yesterday I asked if Tadlow's "Thriller Vol. 2" had already been recorded, and learned that the first recording session is today.
Anyway, yesterday I switched the radio on to see if there was anything decent on the national classical station (there often is - I think it casts its net wider than the Beeb's Classic FM for example), and within about five seconds of hearing the middle of the piece that was playing, I said to my wife in my usual jokey know-all with a superior attitude intonation, "That, as you will understand, is quite clearly the work of Ligeti, don't you agree"?, to which she told me to stop being so annoying. One minute later she said, "If I'm not mistaken darling, I do believe that it's from the soundtrack of Close Encounters, by John Williams, a score you claim to hold in esteem as one of your favourites".
And once more she was right in every way. I am annoying, I mistook it for Ligeti, and the Williams score is one of my all-time favourites.
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Posted: |
Dec 15, 2017 - 1:29 PM
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By: |
Filmmaker
(Member)
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Anyway, yesterday I switched the radio on to see if there was anything decent on the national classical station (there often is - I think it casts its net wider than the Beeb's Classic FM for example), and within about five seconds of hearing the middle of the piece that was playing, I said to my wife in my usual jokey know-all with a superior attitude intonation, "That, as you will understand, is quite clearly the work of Ligeti, don't you agree"?, to which she told me to stop being so annoying. One minute later she said, "If I'm not mistaken darling, I do believe that it's from the soundtrack of Close Encounters, by John Williams, a score you claim to hold in esteem as one of your favourites".
And once more she was right in every way. I am annoying, I mistook it for Ligeti, and the Williams score is one of my all-time favourites.
Your wife sounds hot.
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Must you?
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Sadly my copy got lost somewhere in France nearly two weeks ago according to the parcel tracking, so I still haven't heard it. Don't think I'm ever gonna see that parcel.
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Wow. What a glorious treat.
Christmas this year was Titanic and Close Encounters. If you had told me when these were announced that I would be listening to Close Encounters nearly as much as I have been I wouldn't have believed you. (I'm finally getting to Titanic. It's great.)
For the last 20 years I've listened to the original LP quite a lot and the 20th anniversary edition hardly at all. And I have no idea why this is so different. It really makes me want a "John Williams' original intent" double LP length Return of the Jedi more than ever.
And then I got this:
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Sadly my copy got lost somewhere in France nearly two weeks ago according to the parcel tracking, so I still haven't heard it. Don't think I'm ever gonna see that parcel.
In France?
Tres suspicion!
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All true, Amer. I think my greatest pleasure in this release has been the re-constructed Original Soundtrack tracks, especially "Climbing Devils Tower". The door squeak got removed just right.
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All true, Amer. I think my greatest pleasure in this release has been the re-constructed Original Soundtrack tracks, especially "Climbing Devils Tower". The door squeak got removed just right.
WHAT "door squeak"??????
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Jim Cleveland: WHAT "door squeak"??????
Jim, listen to "Climbing the Mountain" from the Collector's Edition soundtrack. After the piano scherzo, between the first and second trombone notes. You can barely hear it on the La-La Land "Climbing the Mountain". Good sonic massage from Mr. Matessino.
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WOW! I just cant get over this terrific release. Listening to this score once again in its full regalia has nothing less than a Tour De Force experience. The remastering and the pristine sound quality is STUNNING! Also the flow of the program has to be complimented as both discs display a familiar narrative. I had thought That I would only play a few selections from Disc1 and jump directly to Disc 2 but that never happened as I was totally mesmerised by the flow of the music. The Choir is so much ethereal and alive at times that it gave me goosebumps. The first generation tapes gives a whole new life to this score and allows the sound to become an organic breathing living sound. Kudos to Mike Matessino on doing such an astounding work on editing, assembling, mastering and producing this fine work. I'm sure La-La Land Records, Steven Spielberg and John Williams must be beaming with pride on this final product. Also I love the liner note/ essay on the set.. Specially noted is how various key scores from John Williams most prolific output of the late 70's and early 80's come to play in and around the making of this score and film. This is by far is the best restoration and preservation of a Williams score to date. The bar keeps getting Higher!
ARRGH! Coming from you that's extremely high praise. I mean, I have the old CE deluxe, and was quite happy with it.
But now....
My wallet is already groaning but thanks!
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W O W ! ! !
I have only listened to the double LP version as yet, but I've listened to it a couple of times already. The arrangement and placement of the cues is fantastic… it has a definite musical flow to it, in stark contrast to the relatively choppy Arista edition. I always felt the original LP was an okay representation of the score, but this blows it completely out of the water.
The score is so dependent upon its textures and orchestral detail that the sound quality is actually a major element of why this release feels so revelatory. Much of this is the same music I've already had, but it is so much clearer, so much more detailed.
I think the music for the abduction sequence is one of the best musical illustrations of the actual experience of fear that I have ever heard.
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Posted: |
Jan 18, 2018 - 5:52 AM
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By: |
Dadid L
(Member)
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This is by far is the best restoration and preservation of a Williams score to date. The bar keeps getting Higher!
ARRGH! Coming from you that's extremely high praise. I mean, I have the old CE deluxe, and was quite happy with it.
I'm ok with that, and I'm sorry to criticize, BUT helas in the new LLL edition there is a disturbing (and musically illogical, to my taste) long blank between "Contact" and "End Titles"... The sequence was ok in the Arista edition.
I understand this is to allow the programming of the alternative versions from CD2, but when listening the CD1 as a whole, the emotion produced by the "grand finale" is partly wasted. I'll correct that by (re)mixing it myself and burn a CD, but still... It's disapointing !
Apart from this "detail", this is a really great edition !
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Posted: |
Jan 18, 2018 - 7:00 PM
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By: |
MikeP
(Member)
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This is by far is the best restoration and preservation of a Williams score to date. The bar keeps getting Higher!
ARRGH! Coming from you that's extremely high praise. I mean, I have the old CE deluxe, and was quite happy with it.
I'm ok with that, and I'm sorry to criticize, BUT helas in the new LLL edition there is a disturbing (and musically illogical, to my taste) long blank between "Contact" and "End Titles"... The sequence was ok in the Arista edition.
I understand this is to allow the programming of the alternative versions from CD2, but when listening the CD1 as a whole, the emotion produced by the "grand finale" is partly wasted. I'll correct that by (re)mixing it myself and burn a CD, but still... It's disapointing !
Apart from this "detail", this is a really great edition ![/endquoute]
That is the version approved by Williams, maybe he requested or preferred it that way. It follows the original Arista album in being separate tracks.
That's fine with me though, because I can't stand the Wish Upon A Star version of the end titles, so keeping the tracks separate is okay ( although I would have liked Contact to segue into the album version of the end titles )
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You certainly will be warmed up when you get this. 
