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I watched the Blu-Ray on this one minding Ford Thaxton's claim that the MCA/Varese album was a clever edit of the score tracks.
Wrong, Ford!
Give a listen to that film main title and compare it to the album. The pace of the slow, atonal glissandos in the strings at the beginning are much faster in the movie compared to the album, and the main theme is more rushed and less stately than on the album.
The Main Title might be the only do-over for the album; in fact I think that's likely. Yet I've finally worked up the nerve to challenge you on this one 'cause I'm pretty damned certain. And I wouldn't challenge you lightly.
Can we bring back YOR, THE HUNTER FROM THE FUTURE for the coming imbroglio on this one, board master? I'd love nothing better than seeing the two of them tangle on this controversy!
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They've always sounded different to me.
Much beefier sound to the album.
Also, like many other JW albums of the time, he works around the film edits and timings, making the album cues play out more rounded with extended transitions.
Not sure it was a complete re-recording or alternate takes used, but anyone with ears should be able to notice the difference.
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Hate to beat a dead horse, literally. The horse tromping the grave cue and Langella's entrance to the dinner party cue would be molto desireable as additional cues on a re-release.
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I've always loved the little theme (motif?) Williams employs when we see the car making it's way through the mud. I've not seen the film in yonks and refuse to watch any horrible saturated versions, but that bit stands out and I do remember the great horse stomping sequence/music too.
Bring on the expansion with improved sound.
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I've always loved the little theme (motif?) Williams employs when we see the car making it's way through the mud.
Are you referring to the "To Scarborough" scherzo that accompanies the car/cart chase toward the end of the film, or something I've failed to notice? Hadn't seen the film in ages before last week, and since I do have to consider volume levels in a communal situation, I could be missing it.
By the way, I also suspect "To Scarborough" on the album is a concert version-style, and not the score recording.
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No, it's not To Scarborough (which does indeed sound like a beefed up concert version on album).
It's a very short, jaunty melody that plays over (under?) a gray, outdoors scene earlier on.
All I can remember is an old-style car trundling by in the mud. And Williams' great (unreleased) music.
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No, it's not To Scarborough (which does indeed sound like a beefed up concert version on album).
It's a very short, jaunty melody that plays over (under?) a gray, outdoors scene earlier on.
All I can remember is an old-style car trundling by in the mud. And Williams' great (unreleased) music.
Yes, JW was penning short, throwaway motifs that would be other composers' A-level music in great profusion in those days. Like the Droid motif in THE EMPIRE STRIKES BACK.
I'll check on that motorcar cue and get back to you.
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We therefore need a complete new recording, or a competent remastering if the original tapes exist with presumably better sound.
Yes, if another series of Williams recordings ever takes off, this demands the lead-off spot. Who knows, maybe even JW himself could be persuaded to sponsor it himself, if not conduct/produce.
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Seems to me that the same issue of "different" recordings is evident with THE FURY. Actually, I prefer what was originall released as an LP soundtrack recording. The actual score from the film seems harsh and dry.
The relative dryness of the score cues from some bits of DRACULA and much of THE FURY is a by-product of molding the music to the film. I feel certain that one or some album do-overs for DRACULA were necessary to do justice to the music.
And that Fury "Original Soundtrack Recording" does achieve a grandeur the score cues couldn't by a large margin, in my opinion. The score cues have to rush and jangle. The OSR doesn't.
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