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Just listened to the samples and noticed something very strange: The final chord of the last track (22), which should also be the final "confirmation of the key" the music is written in (I'm not a musicologist so pardon my terminology) doesn't fit at all the chords before it, giving it (for me) a strange "unfinished" feeling because you await a final comforting chord to close it off (mirroring the one starting at 1.06 min) and so it ends somehow "off"... Can anybody follow me here...? :-) Do we know for sure that is the end of the track, as opposed to the end of the audio sample? Either way, unexpected modulations happen all the time in music. When watching the film the piece plays perfectly against the picture, moves me to tears actually. One of those rare times with visual, narration and music that fit so darn perfectly. For those on the fence, I tell you what. If you buy this album, listen to it a couple of times and can tell me honestly on this thread that the music sucks, I'll buy back your album, reimburse you! There you go, I said it. I've always stood by this score as one hell of a solid listen worthy of a release.
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For those on the fence, I'll tell you what. If you buy this album, listen to it a couple of times and can tell me honestly on this thread that the music sucks, I'll buy back your album, reimburse you! I'll tell YOU what, Peter. If this title is still available from Intrada next week I'll buy it along with The Mummy (if that is next week's title). I very rarely buy a soundtrack from a film I haven't seen but I'll trust you on this one. No need for reimbursement if I don't like it, though! If you like melodic gorgeous music, you should be a happy camper with Rocket Gibraltar. IF The Mummy comes next week I may just pass out from excitement, WOW!
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"Rocket Gibraltar" – Making My Dream Come True Proudest Moment Of My Professional Life! I’m sitting here on a lazy Sunday afternoon June 24th the night before the wonderful folks at Intrada Records release to the world the first ever soundtrack album to "Rocket Gibraltar" composed and conducted by Andrew Powell all the while listening to the score for the 1000th time. I’m remembering just how much work this was for me to get released so others could hopefully fall in love with the beautiful melodies that Mr. Powell composed some 30 years ago. The journey of making my dream a reality will be an interesting read maybe for a few, if not keep scrolling to the next photo of someone on a red carpet with one of their feet facing forward. For my family and friends back home, they’ve grown up with my “interesting” tastes in music, in particular film music. My Aunt Jean used to say, “for someone so silly and funny, your tastes in music are so mature.“ I saw "Rocket Gibraltar" years ago on VHS and was captivated by the story, the acting and most importantly the orchestral, lush, romantic, poignant, nostalgic score that Andrew Powell created. I was humming the themes after my first viewing and have continued to remember them and hum them now 30 years later. And interesting we found out during all of this that members of the band The Alan Parsons Project actually performed on a few cues! For many soundtrack fans, we know Andrew as the composer to "Ladyhawke", which had a lot of synthesizers mixed in with the orchestra. Some fans enjoyed it, others not so much and would have preferred a more traditional, orchestral score for "Ladyhawke". Andrew’s score for "Rocket Gibraltar" is a side of Andrew that many soundtrack fans have never heard as he has not scored a lot of films during his career. He’s known mostly for his work with the band The Alan Parsons Project. Once you listen to this entire score I hope many will say, “This is a side of Andrew Powell I wasn’t aware of.” Years ago, I sent Andrew a note through his website telling him about my absolute love and admiration for this phenomenal score that sadly never got the pomp and circumstance it so richly deserved. For many soundtrack fans, we call a score we really want released a “holy grail,” and this was mine. As Edwin and I starting down the road to a release, Andrew informed me he did, in fact, have tapes for this score including several alternates. Upon talking with my fiancé Edwin Wendler we thought, what if we did all the leg work so that we would present a pretty much finished CD master with finished liner notes to Varèse Sarabande Records, a place I’m very happy to be working at. We thought, if we could deliver to them a CD pretty much finished, and costs associated with tape transfers, liner notes (Randall Larson), mixing etc. all paid for by us, plus an 80 page binder filled with a ton of useful data I collected from various message boards showing people would buy this, there's no way they’d say no. Plus it would mean we could get this out this year in 2018 for the movie’s 30th anniversary. So we all worked so very hard, especially Edwin in cleaning up the audio. He used some stunning software that the pros use, and spent a couple of months cleaning up the audio. Talk about a miracle worker! Keep in mind this is a 30-year-old recording. In the end, Varese wasn’t able to get this out, but in the end were glad to see my holy grail get released, and had a full plate of wonderful releases ahead of them. And a little bit later Varese was sold to Concord Music Group so the switching from one company to another and all the fun stuff that comes goes along with that etc. All the hard work and money Edwin and I put into this as well as the hard work from Andrew and his lovely wife and Randall's work on the liner notes etc., it looked like it would all be for nothing. It was very important to me to get this out this year for the film’s 30th anniversary. And here we are, no company to release this wonderful score. In comes Intrada Records who've been producing top quality soundtracks for over 30 years and who were the first independent soundtrack company that I had became away of way back in the 1980's. Intrada quickly secured a license to release the soundtrack, and we were off to the races. They wasted no time in getting this into full production. Upon hearing the complete score that Edwin and I had in our possession, the folks at Intrada were eager to get this out to all of you. They quickly understood after hearing the complete score why I've been so in love with this score for 30 years. The music speaks for itself. Working with Intrada has been a dream come true. Their passion for soundtracks cannot be understated. They live and breathe soundtracks. The amount of hard work I put into this as I look back now is a bit bewildering, as I can’t believe we actually made it to the finish line. There were so many obstacles to overcome on so many levels it makes my head spin looking back. So much work was done in the last several years on this by so many people. Andrew was a pure joy to work with and even in times when we didn’t see eye to eye - just explaining to him my deep, deep love and devotion to this score and my decades of listing and buying soundtracks - he always came around with, “Peter, I trust you.” And with that trust, I only hope he’s happy. I along with Edwin, Roger, Doug, Kay and many others put our heart and soul into this release. Thank you Kay for the beautiful package you put together. Randall your notes were beyond what I could have asked for. Edwin, your tireless devotion and organization and editing this never went un-noticed or un-appreciated. Roger and Doug my goodness gracious, I'm eternally grateful to you both from the bottom of my heart. THANK YOU. Andrew, thank you for above all creating this magnificent score that now after 30 years the world can finally enjoy! I’ve not produced a lot of soundtrack albums, but I will tell you this, I am the proudest I’ve ever been right now as a producer on this release. Intrada gave this score the respect it deserves. This score has resonated with me on such a personal level for over 30 years, and I hope it will touch your soul like it has touched mine. The road to this release was a long one, filled with quite a few potholes, but we made it to the end. One final thing worth mentioning is the catalogue number Intrada gave to this release, #411. What’s interesting about that number is, Edwin and I share the same birthday which is April 11th (4/11). When we found out the catalogue number was going to be 411, we just knew this was destined to come out on Intrada Records! A final plea to my fellow soundtrack friends. You probably have not head of this movie nor seen it. You may not have enjoyed the score to "Ladyhawke", but please do not let that be a factor in you at least listening to the audio samples and hopefully adding this to your collections. I know many of us have been burned in buying a soundtrack that we were told was great and right up our alley only to listen to it and say, "well I just waisted $20." I myself have been burned many times, but you won't be this one time around. I can whole heartedly say this would be one of those times you say after you listen to it and say, "glad I took a chance on this." Maybe folks are saying, "hey Peter you keep harking on us to buy it, you must be getting paid for each one sold." NOPE. Edwin and I make zero from this project. I'm pushy because I know this is a great solid listening experience that folks who take the chance will enjoy it. I have always known how good this music is, so I'm hopeful I can get a few more people to say WOW lovely score! I give to you one of the most beautiful scores you’ll ever listen to, "Rocket Gibraltar" by Andrew Powell. Intrada 411 $19.99 (Now Shipping) LIMITED to 500 copies Audio Samples & ordering: https://tinyurl.com/yd5p4khv
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How is this selling? It would be great if all this time, energy and perseverance was paying off.
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Consensus has been people are glad they took the chance. My offer still stands, buy this, listen to it a couple times. Don’t like it and can honestly say it sucks, I’ll buy it back from you.
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Posted: |
Jul 16, 2018 - 9:11 PM
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By: |
bobbengan
(Member)
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Thought I'd share a few honest thoughts, these coming from a listener whose knowledge of this score began with the "mystery clip" Peter posted a ways back, and who has no larger context of the score in the film, no nostalgic connection, etc. It's very nice score, gorgeous in a few moments. The mystery clip that set a lot of us salivating (the end title, as it turned out) is, I have to admit with a pinch of disappointment, the very best cut the score had to offer by a miracle mile - I'm glad we get two iterations of it, one being unattached to an aggressive action cue that leads into the finale. Most of the other cuts from this score are built around much lighter statements of that idea. Gorgeous as it is (especially rich is the achingly tender cadenza-like flute and harp variation in "Grandpa's Birthday Present" - that wonderful little cue is just far too brief), the melody just cries out for a few more full-ensemble performances... But we don't get those by nature, I imagine, of what the film required. Based on Intrada's thorough breakdown of the film's narrative, it frankly sounds like a very pedantic and "lite" affair of little consequence, and large sections of the score reflect this with thinned-down orchestration for extended periods of time. There's a good many 'dialogue underscore'-sounding cues for a reduced ensemble, which sometime feel like they're striving hard to stay out of the way of the drama on-screen. Again, understandable, but it impacted my investment in the listen to be sure. There's really only a small handful of composers who I think genuinely write genuinely involving music for these sort of "light, musically unimportant" sequences of extended interpersonal character exchanges and I think Powell falls into the same trappings a lot of otherwise excellent composers do of allowing these cues to stay pleasant but also very anonymous in nature while they await the next big thematic highlight that will allow them to sing. I would have happily traded any number of these cues for more of the impressionistic woodwind flourishes a la the onset of "The Naming of Rocekt Gibraltar", which adds life and intrigue to the proceedings in a compelling way. "Fixing Up Rocket Gibraltar" and other associated upbeat, boisterous cues are very enjoyable in their brass tones, evoking fun frolicking summer activities on the beach in an energized, vigorous setting - Not written with the same panache as, say, Williams' application of similarly-rendered ideas in his JAWS scores (or even the excellent Alan Parker effort for JAWS 3D), but effective and pleasing all the same. I flat-out hated the dated synth-rock stuff and don't really have any good words to say about those interludes, I'm afraid. Sorry. I'm glad I wasn't alive in the 80's when I hear things like that. Action cues are solidly-rendered, if sometime lacking in body and rigor - again, perhaps as a desire not to overwhelm the film or add too much gravity to the proceedings. Powell demonstrates a surer hand for my money with intimate emotions than danger-oriented strum und drang - also evidenced by that lovely "She Was Sad at First" cue from LADYHAWK, a lone standout of that score to me. Not bad action music here by any means, just not outstanding. It feels like the orchestra is sometime straining to sound more formidable in these parts than the scope of the ensemble could actually allot for. In terms of managing expectations, I think a later day Elmer Bernstein drama effort like FRANKIE STARLIGHT is a good comparison here - with regard to tone, complexity, dramaturgy. It's a very nice score with a great main theme and a lot of heart, and both its fullest and most stripped-down performances are wonderful listening. Everything in between, comprising the larger body of the score, is a potpourri ranging from very enjoyable, to pleasant but anonymous, to annoyingly dated and skippable. Allow me to clarify. I like this score. I'm thrilled Intrada chanced such an obscure release and I hope it sells well... And most of all I'm happy for Peter, for whom this release was obviously a massive labor of love. I hope he and others get years of enjoyment out of it. I know I'll be revisiting it now and then, and I compiled a fifteen minute suite of highlights for my own listening in what I consider an ideal presentation of highlights. Just don't go in expecting a hidden masterpiece of towering drama a la Ray Cook's CAREFUL, HE MIGHT HEAR YOU. That's a score that lives up to (and perhaps surpasses) the effusive hype the few who've heard it usual bask it in, but it also had a canvas better-suited to that kind of musical exploration than it sounds like this film did. My two cents! Peter, I hope you won't track me down and kill me. I liked this score a lot. Honest! Just thought I'd share a few critical or discerning thoughts.
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I have found that listening to this between the action packed Mummy scorees helps a lot. Lots of variety here. Looking forward to finding the flick to see how the music is placed. Thanks everyone involved especially intrada and peter.!
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OK, Peter. Your reputation is secure. I like the score very much and the sound quality is excellent on this CD. I think this is one of those scores I'll enjoy on a quiet Sunday morning along with other favorites like Stanley and Iris and Cocoon. And congratulations on your Executive Producer credit on the CD. Thank you so so much Adam B. It really means a lot. Love hearing from others who are enjoying it. Like I said when I was chatting to Andrew all those years ago and to some fellow soundtrack friends, I really believe this is one of those rare hidden gems that 99% of the fanbase have no idea how great it is. Thank you again man so much!!
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FREE AUTOGRAPH BOOKLET 30 years ago today the film "Rocket Gibraltar" was released and no one saw it, nor heard the beautiful score...UNTIL NOW! Intrada released this lovely album with my assistance. I have two autograph booklets from the composer Andrew Powell that I'll send to two lucky people for free. HOW TO WIN! 1. Order this soundtrack from Intrada or wherever you order your CD's. 2. Take a screen shot & send to me in Facebook messenger showing you ordered it or email it to me. Email in profile. Black out any private info you don't want me to see of course. 3. Post below that you did it. I'll draw two lucky winners tomorrow Sept. 3rd at 12PM (PT). Audio samples & ordering: https://tinyurl.com/y87szlh8 _________________________________________________ WHAT ARE PEOPLE SAYING ABOUT THIS SCORE??? (taken from various film music sites and FB) 1. “Just two samples in, and I can hear why he had such a passion for this score. Sounds like something to get for sure.” 2. “Sometimes a film score comes along from a film you know very little about and you take a chance on a minute or so of samples. Then you get to play it and you are so pleased you made the right decision. Such is the case with ROCKET GIBRALTAR. Thanks intrada.” 3. “Once again I am enjoying this score with numerous playings.” 4. “Never heard of this film, never saw it, but damn the score is solid. Only know Andrew because of Ladyhawke and one Alan Parsons Project LP I have, but this album is well worth the money. Glad I took a chance. Been burned so much by taking chances, nice that this wasn’t one of them. Those on the fence on this do it buy it you’ll be happy you did.” 5. “Absolutely fantastic! Playing now and loving this gorgeous music. Thank you to all involved. Dreams do come true- eh Peter?” 6. “Samples are so so good. Cannot wait to pick this up. Thanks you Intrada and Peter for your efforts to release great unheralded gems like this, sounds like it was well worth fighting for! On an unrelated note, it's kind of amazing that a project with so many famous people involved is totally, 100% forgotten.” 7. “This is an extremely enjoyed and varied score, and as long as it is, I was never bored. A superb job all around, including the liner notes and clean layout. I was totally unfamiliar with the score and the movie, but now know why Peter was so gung-ho on getting it released. Andrew Powell did superb job on the music. Peter and Edwin – here’s to all your future endeavors, and may they all be as wonderful as this one is. A fine addition to Intrada’s incredible catalog. Pick up your copy before they’re all gone!" 8. “I never thought this would see the light of day and I am eternally grateful to Peter, Edwin, the Powells, and everyone at Intrada for making this happen.” 9. “These samples sold me. Sounds mighty fine...! Thanks, Peter, for your passion & all involved!” 10. “Well, Peter, based almost solely on your passion for this (and the samples sound really good too), I ordered my copy. Never saw the movie, so may need to check it out too. Thanks for letting us all know about it.” 11. “SOLD! Just ordered my copy. Thank you Peter, Edwin and all at INTRADA!!!” 12. The clips sound gorgeous, as expected. There's a hint of the beautiful LADYHAWKE love theme in the main theme there. Always a plus. It's very distinctly." 13. “It’s a sweet and noble drama score. Sound-wise I’d compare it to the many scores written by Georges Delerue for similar family films. It’s got upbeat melodies with occasional pop elements, plus a noble turn for the Viking Funeral not very far from the thought provoking mode of Jack Nitzsche’s THE RAZOR’S EDGE.” 14. “I have found that listening to this between the action packed Mummy scores helps a lot. Lots of variety here. Looking forward to finding the flick to see how the music is placed. Thanks everyone involved especially Intrada and Peter.” 15. “As a happily devoted "soundtrack geek", thank you so much for making this happen! I love when the passion of dedicated fans results in soundtrack releases that would otherwise never happen.” 16. “Ordered. I'm a great fan of Andrew Powell from his days as orchestral arranger with The Alan Parsons Project and Ladyhawke. I don't know the film but I will track it down!” 17. “Oooo… Nice! I was always a fan of Rocket Gibralter. Instant purchase.” 18. “Never heard of the film or this score before, with that said those samples sound beautiful in everyway. Kudos to Peter, Edwin & Intrada and of course Andrew for opening my eyes & ears. Copy 400 & something ORDERED !” 19. “I have never seen the movie and am not too keen on composer Andrew Powell’s score for Ladyhawke. The only reason I bought this now is because I know how enthusiastic Peter Hackman ist about this score, otherwise, I most would have missed this completely. Now I just ordered it on a whim. (Did not even check the clips.)" 20. “Glad to have this. It may be no Colossus or One Red Shoe in my view, but it is very lovely music that most of the ‘80s enthusiasts would rush to buy if they had grown up seeing the movie.” and more where that came from ...
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I posted my FREE AUTOGRAPH on Facebook as well. Even though I said 2 winners, I picked three and they are: Ivan Sorokin Danny Gonzalez and Andy Phoenix. Who knows maybe I'll do another autograph raffle in the future ...
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