I got it now the motorbike chase is tracked from Lethal 2 and the film version of freeway chase is just edited for the film nothing to do with kamen but they did edit that awesome guitar riff from underwater fight concludes into the chase cue, the same guitar bit that is first leard in Lethal 2 when riggs is thrown into the water.
Question for Neil. I noticed that the film version of Lorna's First Fight in LW3 was tracked with the Stilt House fight from LW2 only without the sax overlay. Did the material from that version without the sax overlay survive?
So much to talk about after having a quick listen... First what a treasure that BMW chase is from LW2! Never knew a whole 5 minute action cue was dumped from that scene. What a surprise! Just when I thought I knew of all the action cues from the series...
Another interesting observation... that sonorous opening strings in "Riggs & Murtaugh In Toilet" are the same chord progressions backing up Clapton singing "Knockin' on Heaven's Door" in the final cue of the movie. Nice sense of musical symmetry there, with Riggs supporting Murtaugh in the first instance and then the reverse situation at the close of the film, drawn together by those "Knockin' on Heaven's Door" string chords...
Another interesting observation... that sonorous opening strings in "Riggs & Murtaugh In Toilet" are the same chord progressions backing up Clapton singing "Knockin' on Heaven's Door" in the final cue of the movie. Nice sense of musical symmetry there, with Riggs supporting Murtaugh in the first instance and then the reverse situation at the close of the film, drawn together by those "Knockin' on Heaven's Door" string chords...
Yeah, film composers used to do things like that in the late 20th century.
Another interesting observation... that sonorous opening strings in "Riggs & Murtaugh In Toilet" are the same chord progressions backing up Clapton singing "Knockin' on Heaven's Door" in the final cue of the movie. Nice sense of musical symmetry there, with Riggs supporting Murtaugh in the first instance and then the reverse situation at the close of the film, drawn together by those "Knockin' on Heaven's Door" string chords...
Yeah, film composers used to do things like that in the late 20th century.
Well, they do it in the 21st century too, such as David Arnold relying on the chords + melody in "You Know My Name" in his CASINO ROYALE score and also "Another Way To Die" in QUANTUM, but it certainly is more rare now. I just thought it was neat and that it wasn't something obvious to me even when watching the film and on the first few listens to this set I didn't really catch it.
So Lorna's first fight from LW3 is also different then the film version... Must be another tracked cue. Amazing how many of Kamens original cues were replaced... Can't stop listening to this set. Getting a little obsessive!
So Lorna's first fight from LW3 is also different then the film version... Must be another tracked cue. Amazing how many of Kamens original cues were replaced... Can't stop listening to this set. Getting a little obsessive!
I had to force myself to set my iPod to shuffle in order to break the LETHAL WEAPON cycle...
Just a few random thoughts and observations of the set. I really like the art design of the whole set. The color choices for each movie's case, the design of the back of the CDs, the way the front covers all line up in a square with the red cross between them. A really well thought out and attractive design. I like having the correct version of Bobby Helms' Jingle Bell Rock to start the first CD. I had placed Jingle Bell Rock at the beginning of the Bacchus edition when I listened to it, and it was Bobby Helms, but it was a different version and didn't sound the same. I never could find this version and it's nice to have it on this set. I'm glad to finally have the film version of Suicide (not sure why it's not called Suicide Attempt, as it was on the Bacchus CD). The sound quality of the whole set is superb. Oh, and I haven't seen the second film in such a long time, I had forgotten that it had the short little Looney Tunes intro at the very beginning. That is very cool and fits perfectly with Riggs' character and the dynamic between Riggs and Murtaugh. That's all for now. Still have a lot more listening to do.
I live in Finland and received my set on Friday. I listened to the album presentations then and now on Saturday I'm going through the complete scores. The sound quality has improved since those original releases and I'm finding some minor new details in the music, although I've listened to the original releases in the past like an obsessed person. Hearing new tiny things due to better mastering is a great bonus. I'm now listening to the first one. Oh what great new material and crisp sound. For me all these complete scores will be great musical journeys. I cannot praise enoug this music and those who made it available.
However I have a question, and I'm sorry if the answer is within the booklet, which I never read before listening. Who are these "09/19/86 AT ENACTRON" folks? What material did they record? Why does this ensemble mainly consist of Japanese people? (Judging by their last names. Also, I'm not asking this in any kind of racially derogatory manner, just out of curiosity)
11. "Drive to the dealer's House"; love this instrumental with 'jake and the fatman'esque sax
21. "The Desert"; I like lengthy tracks and this one delivers plenty, could have easily been part of the Die Hard scores, very tense.
22. The "Riggs Escapes" second half of track 22, groovy and love the drum playing.
25. "SOB knows where I live" another funky track with some great sax
My general impression with the first Lethal Weapon is that Kamen, Clapton and Sanborn work marvelously well together, the sound could have sounded dated but the playing is great and feels improvised at times. I do like Roger more than I do Riggs music-wise. The Kamen-only stuff is very close to Die Hard and definitely a taste of what was to come.
