It takes an enormous amount of work for us to give sound clips for every track (not just selected tracks). We also offer twice the length of the typical sound clip (60 vs. 30 sec). The resolution is low(er) because that's what the studios asked for and it saves on file size. I hope people actually buy the CDs so they're not living with the low-res sound clips?
they ask for lower resolution even for truncated mp3s??? What are they afraid of ??
I'd prefer fewer cues in higher resolution. It gives a better idea of what you're purchasing, specially on "archival recordings". 60 sec of EVERY cue is not really necessary and it's a lot of work for you to edit and upload, I presume..
It takes an enormous amount of work for us to give sound clips for every track (not just selected tracks). We also offer twice the length of the typical sound clip (60 vs. 30 sec). The resolution is low(er) because that's what the studios asked for and it saves on file size. I hope people actually buy the CDs so they're not living with the low-res sound clips?
Lukas
Lukas, you made my dream come true!! Do you remember, how we talked via email years ago about a possible release? You said no can do because of Paramount. Now we are here, and this is my release of the centruy, even packed together with "The Parallax View". WOW
Thanks for so much hard work and great effort, my friend!
Congratulations to FSM for this. Two important American 70s scores paired intuitively.
It's interesting how a stream of American film music followed a more minimalist route in the late 60s to the mid 70s. Marathon/Parallax are the among the best examples which included David Shire's All The President's Men, plus scores by Jerry Fielding like The Outfit and Escape From Alcatraz, and even William's Poseidon Adventure/Towering Inferno has such elements, as does Goldsmith's Chinatown. Maybe the grand-daddy of them was Johnny Mandel's Point Blank.
But there's a precursor in classical music: anyone who likes Marathon/Parallax or that style of composition should check out some of Morton Feldman's orchestral work, especially "Madame Press Died Last Week at Ninety".
I was so damn busy with ebay yesterday that I never visited here. This morning my eyes nearly popped out of my head. So it's all true. I can't believe this CD has happened! Lukas, you're the best, man. THE BEST!
As my shelf space continues to shrink week by week, my collection of FSM soundtracks are never going to be shuffled into boxes for storage. They are the jewels of my collection. And again, thanks to Lukas for all that you've given us, and all the rest yet to come.
"....I know that man.....(muttering) It...cant...be... Szell?........(not sure) Szell?........(a question) SZELL...!!!!...(shouting) Szell ...Szell...!!!........ My God, stop him..! Szell...! Stop Szell...! It's him, Szell...! Der Weisse Engel...! Der Weisse Engel is here...! Oh my God! Stop him...! Stop him! Der Weisse Engel...! My God, he gets away...! Der Weisse Engel...! He's here! Szell! Stop him! Please help me...! He's beast...he's a murderer...stop him..! There he goes..! He's getting away..! Der Weisse Engel...! He's here! Stop him! Stop him!
....I will stop him... .....SZELL!...." (Car screeches).
Congratulations to FSM for this. Two important American 70s scores paired intuitively.
It's interesting how a stream of American film music followed a more minimalist route in the late 60s to the mid 70s. Marathon/Parallax are the among the best examples which included David Shire's All The President's Men, plus scores by Jerry Fielding like The Outfit and Escape From Alcatraz, and even William's Poseidon Adventure/Towering Inferno has such elements, as does Goldsmith's Chinatown. Maybe the grand-daddy of them was Johnny Mandel's Point Blank.
But there's a precursor in classical music: anyone who likes Marathon/Parallax or that style of composition should check out some of Morton Feldman's orchestral work, especially "Madame Press Died Last Week at Ninety".
Cheers again to FSM.
Agreed. I'd add though that Small's brand of minimalism did not come at the expense of melody. He probrably never got an Oscar nomination because there's no bombast in his work, but those themes sink into you. I'm only sorry there are no workable elements for a Night Moves release. I've had that silky opening in my head since I saw the film on TV maybe 30 years ago.
I'm amazed that this thread doesn't have more replies. It certainly deserves more.
Me too think this is the Release of the Year so far from a US Label can't think of anything that would be able to Top it.
The only two scores that could possibly equal the release of Marathon Man as far as I'm concerned would be Jack Nitzsche's Hardcore and Walter Scharf's Walking Tall.
face it guys; Small is not a well known or popular composer. Neither of these facts has ANYTHING to do with his talent. So, dont get yer panties in a bunch 'cause there is not as much excitement about this release as there is for POSEIDON bruce
My parents have a "No-R-Rated-Movies" rule, so I had never heard of these films or the composer. But I will check out the sound samples once I get home.
MM is a very entertaining and exciting film but i defy anyone to explain the plot. one of those films where it doesn't matter whether it makes any sense- you just go along for the ride!
My parents have a "No-R-Rated-Movies" rule, so I had never heard of these films or the composer. But I will check out the sound samples once I get home.
Bummer, dude! How old are you? I'm sorry that more parents don't see how arbitrary a litmus test "R" ratings can be when it comes to what's appropriate for young people. At 11 or 12, my parents let me watch The Godfather but not The Exorcist, which makes sense to me in retrospect. They are vastly different kinds of R rated movies.
