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Posted: |
Feb 4, 2010 - 11:11 PM
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By: |
Mike W
(Member)
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Nicola:
Confirmed the click on D1T3 4:47. Don't think I would call it 'big' but it is there. I didn't notice it before, and now probably won't be able to forget about it.
Shaun:
Definitely not a rip issue, have checked this on a non-computer CD player. Again, it's pretty minor at best, but bizarre given that the D2T10 version, along with the Elektra original don't exhibit this defect.
I also found some of the cue combinations to be a bit jarring, but figured there had to be some kind of (business) reason.
Regarding "Helicopter Chase", in the film it sounds like the first part of "The Hand" was used while Gerrard is running around ("Put a light in there!") and it quickly goes to sound effects only until the shot of Kimble in the tunnel - suggesting it might have been tracked in and not ever intended for that scene. And clearly, it would never have worked had it gone on long enough to include the oboe solo, etc.
Don't think the ID photo bit is so much a missing cue as it is an alternate intro to "The Montage". My guess is that all the cues that involved the drum machine bits probably involved lots of editing, and this must have been lost somewhere along the way. Interestingly, the intro as it plays on the albums doesn't appear anywhere in the film to my knowledge.
All of this said, I would much rather _have_ this new edition of the score with its minor glitches, than none at all. And as a huge Wayne Shorter fan, it's great to learn of all the extra overdubs he recorded that never made the film.
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Nicola:
But still I would like to know WHY these defects are there…
Nicola
-----------------------------------
Because the label wants to get the CD out there making money rather than spending time getting it right. We, the buyer, get screwed.
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Has LaLaLand issued any kind of statement about this, or have any of you contacted them and gotten an update?
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No digital clicks in any of the tracks you mentioned on my set. Sounds like you guys are just unlucky! 
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I would have to agree with Shaun here and I actually missed a bunch of the analomies in the liner notes myself. This is a terrific score and I'm grateful that it's out there. It still bothers me somewhat that the ID cue which starts the montage is glaringly missing. It's not explained in the liner notes to its inconspicious absence. Other than that, I like the way it the album was assembled in parts and it plays very well overall. The original Elektra album was a solid presentation but it also had the problem as Shaun pointed out before of combining cues that don't relate to each other, but still was a good repsentation for its time despite the channels being reversed. I wouldn't say that LaLaLand didn't take care or was careless about the project. I would definitely say that MV definitely does care about it and I'm sure if he wasn't under too much time pressure, it would've worked out better. No label is perfect. All they can do is do the best they can do with what they have to work with and if the studio dictates such and such during a release, well there's really nothing you or the label can do about it except work with them the best they could to conclusion that would satisfy both parties and film score fans. At least try to please them.
Personally, I think it's a joke to have an album that would feature 30 or more cues and running time of say 50 minutes or more for example and there are too many of these. Night At The Museum was a perfect example and while it's a fun score in the film, it just doesn't work on an album because of too many short cues and not enough development of the material to play through as as whole. For that reason, I hardly play the album because the album starts and stops, starts and stops, it's a pain in the ass to listen to scores like that are just bleeding chunks of music that work better in seperate sections within the film itself rather an album. It just doesn't work! It's one of the reasons I like John Williams' older albums because he put together some mini suites of short cues into a coheivesive listening experience. Sadly, he doesn't do it that much, but when he did you had a memorable listening experience. To me, it's not good to have short bleeding chunks of music that really don't go anywhere as a listening experience.
Where's the glitch on Killing Room? I'm very curious about this now.
As for Falling Down, Shuan you are so right on this one too.
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It still bothers me somewhat that the ID cue which starts the montage is glaringly missing. It's not explained in the liner notes to its inconspicious absence.
IIRC the liner notes explain that the beginning of the Montage as heard in the film is indeed different, but all that was found was the album opening.
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I would have to agree with Shaun here and I actually missed a bunch of the analomies in the liner notes myself. This is a terrific score and I'm grateful that it's out there. It still bothers me somewhat that the ID cue which starts the montage is glaringly missing. It's not explained in the liner notes to its inconspicious absence. Other than that, I like the way it the album was assembled in parts and it plays very well overall. The original Elektra album was a solid presentation but it also had the problem as Shaun pointed out before of combining cues that don't relate to each other, but still was a good repsentation for its time despite the channels being reversed. I wouldn't say that LaLaLand didn't take care or was careless about the project. I would definitely say that MV definitely does care about it and I'm sure if he wasn't under too much time pressure, it would've worked out better. No label is perfect. All they can do is do the best they can do with what they have to work with and if the studio dictates such and such during a release, well there's really nothing you or the label can do about it except work with them the best they could to conclusion that would satisfy both parties and film score fans. At least try to please them.
Personally, I think it's a joke to have an album that would feature 30 or more cues and running time of say 50 minutes or more for example and there are too many of these. Night At The Museum was a perfect example and while it's a fun score in the film, it just doesn't work on an album because of too many short cues and not enough development of the material to play through as as whole. For that reason, I hardly play the album because the album starts and stops, starts and stops, it's a pain in the ass to listen to scores like that are just bleeding chunks of music that work better in seperate sections within the film itself rather an album. It just doesn't work! It's one of the reasons I like John Williams' older albums because he put together some mini suites of short cues into a coheivesive listening experience. Sadly, he doesn't do it that much, but when he did you had a memorable listening experience. To me, it's not good to have short bleeding chunks of music that really don't go anywhere as a listening experience.
Where's the glitch on Killing Room? I'm very curious about this now.
As for Falling Down, Shaun you are so right on this one too.
Yeah, most of my issues with The Fugitive were things that could've been corrected with a simple once-over before releasing it to the masses. The combining of cues that have no business being together is another story.
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