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 Posted:   Oct 18, 2020 - 7:38 PM   
 By:   Grecchus   (Member)

Sorry, Mike. You did mention the hi-res stuff during the video talk. It does seem, however, that going the extra mile (with the analog material seemingly off limits nowadays), in the sense that nobody really wants to bother with it if they don't have to, is down to the simple expedience brought about by the big P. That's the crux of where I'm coming from, because as you point out very clearly and eloquently; times, how they have changed. Thank you for replying. On that note, I'll give my gnashing teeth a rest. Of course, it is great this score has been wheeled out because God knows, the sound of music is thin on the ground at best.

To my mind, the last big contemporary scores were for the likes of Jackson's King Kong and such like. Broadly speaking.

 
 Posted:   Oct 18, 2020 - 7:41 PM   
 By:   Advise & Consent   (Member)

My copy is being held back by Children of the Damned, but should ship soon. I predict an epic day of music in the near future.

 
 
 Posted:   Oct 22, 2020 - 1:25 PM   
 By:   king mark   (Member)

Last few tracks of Disk 1 unplayable and skips when I try to rip it because of scratches on the edge of disk .The scratches are actually small so I'm surprised.

I heard a few people had that exact problem and it might be a defective batch?

I asked SAE for replacement disk I hope they accommodate me or do I have to ask Intrada even if I didn't buy it there directly?

 
 Posted:   Oct 23, 2020 - 1:09 PM   
 By:   The Mutant   (Member)

Haven’t noticed any issues with my set. I’ve listened to it about 4 times and it sounds great. I realized that I never actually listened to the prologue and epilogue on the older album since the dialogue bugged me. I love having those tracks clean now.
Great set. Much better in expanded form.

 
 
 Posted:   Oct 27, 2020 - 12:16 PM   
 By:   Mike Petersen   (Member)

My copy finally arrived here in Toronto (Canada) and the first thing I did was inspect it for the scratches that everyone has mentioned. Yup. Visible scratches on Disc 1. But then I played it and it's fine. Whew!

This is my favourite of the Matessino remasters so far. It's full-bodied, rich, and detailed. Really incredible work.

 
 
 Posted:   Oct 27, 2020 - 1:49 PM   
 By:   chriscoyle   (Member)

My copy finally arrived here in Toronto (Canada) and the first thing I did was inspect it for the scratches that everyone has mentioned. Yup. Visible scratches on Disc 1. But then I played it and it's fine. Whew!

This is my favourite of the Matessino remasters so far. It's full-bodied, rich, and detailed. Really incredible work.


Mine had visible scratches, played and ripped fine too.

 
 Posted:   Oct 27, 2020 - 1:54 PM   
 By:   Jason LeBlanc   (Member)


I realized that I never actually listened to the prologue and epilogue on the older album since the dialogue bugged me. I love having those tracks clean now.


The closing narration is over the "Reunion" track on the OST, the Epilogue cue has always been available clean

 
 Posted:   Oct 27, 2020 - 6:03 PM   
 By:   Steve H   (Member)

This may be a question for Mike?
The Epilogue is part 2 of the end credits. However, Part 1 appears to be the original Escape From The City from the original album. Since this track only appears on the original album as such, was it an edit of Before The Escape and Driving Away From Trouble and just included on the album or was it a seperate recording for the end credits?

 
 Posted:   Oct 27, 2020 - 6:44 PM   
 By:   Jason LeBlanc   (Member)

Spielberg just tracked Driving Away From Trouble into the start of the end credits. Epilogue is the only thing Williams recorded for the end credits.

Escape from the City on the OST album contained an edited version of Before The Escape followed by an edited and looped version of Driving Away From Trouble

 
 Posted:   Oct 29, 2020 - 4:44 AM   
 By:   Nyborg   (Member)

Well, one thing is for sure, this score plays GREAT in C&C format.

 
 
 Posted:   Oct 29, 2020 - 6:30 AM   
 By:   William R.   (Member)

This is perhaps the only John Williams score where Williams's original album presentation was actually a disservice to the score. It plays much better and is more coherent in C and C form.

"The Intersection Scene" in particular is an indelible combination of images and music. Just a slicing, churning nightmare of a piece, with Williams again using the "Stravinsky chords" as he did in JAWS.

 
 
 Posted:   Oct 29, 2020 - 11:17 AM   
 By:   KeV McG   (Member)

Sadly, my copy also has those dreaded scratches on the outer edge of Disc One that affect playback of the last few cues.
I got lucky with The Rocketeer, which also had some, but much lighter ones.
I've contacted Intrada and have no doubt they will fix the problem within my next/future order.
Fantastic release though. A revelation, programme and music-wise.

 
 Posted:   Oct 29, 2020 - 12:19 PM   
 By:   judy the hutt   (Member)

Sadly, my copy also has those dreaded scratches on the outer edge of Disc One that affect playback of the last few cues.
I got lucky with The Rocketeer, which also had some, but much lighter ones.
I've contacted Intrada and have no doubt they will fix the problem within my next/future order.
Fantastic release though. A revelation, programme and music-wise.


I hope intrada will take care of this. they helped me out just a few days ago with another order.

 
 
 Posted:   Oct 29, 2020 - 2:35 PM   
 By:   jamesluckard   (Member)

This is perhaps the only John Williams score where Williams's original album presentation was actually a disservice to the score. It plays much better and is more coherent in C and C form.

"The Intersection Scene" in particular is an indelible combination of images and music. Just a slicing, churning nightmare of a piece, with Williams again using the "Stravinsky chords" as he did in JAWS.


I think the album for Revenge of the Sith, released that same summer, also undermines the score by reorganizing it so much. The score has a narrative flow, and the album jumbles it into a collection of random compositions.

I didn't love the album at first, but reordering the tracks on a burned CD was a revelation.

 
 Posted:   Oct 29, 2020 - 9:47 PM   
 By:   Steve H   (Member)

Spielberg just tracked Driving Away From Trouble into the start of the end credits. Epilogue is the only thing Williams recorded for the end credits.

Escape from the City on the OST album contained an edited version of Before The Escape followed by an edited and looped version of Driving Away From Trouble


Thanks for the info. smile

 
 
 Posted:   Oct 30, 2020 - 8:28 AM   
 By:   KeV McG   (Member)

This expanded release really is a revelation!
While the C&C presentation allows the music to ebb and flow SO MUCH better, in comparison to the rather haphazard sequence Williams bizarrely constructed for the initial release, it's the sound that really packs a punch.
The tech notes by Mike M go into great detail about the original recording being built back up from scratch, working with and around out-dated/obsolete storage and capabilities.
The original CD release always sounded a bit muddy/murky to me.
This one screams out in fury and anger.
It's like a titanic collage of his scary CE3K music alongside the dark/oppressive sounds of NIXON and the chase/action of BLACK SUNDAY.
Even the respite cues are lonely and bleak and forlorn, offering very little light or hope to the audience or the listener.
Everything about this release batters the original version into the ground.
If you think you know this score from the old release...Think Again.

(I will be getting a replacement disc 1 with my next Intrada order...although bizarrely, an old battered Sony boom box I still have does allow me to play the last few cues with minimal skippage).

 
 Posted:   Nov 17, 2020 - 6:02 AM   
 By:   Totoro   (Member)

This is by far one of Williams' worst scores.
Completely bland and unremarkable, no emotional punch whtasoever, the suspense/action tracks totally generic.

I blame the movie for this, since it is a utterly mess, with the worst cast choices of all time.
The conclusion is just ludicrous - the first time in history that we learn how the aliens invasors got defeated via a boring narration by a famous actor that is not even in the film!

Williams obviously felt the same and composed a score by the numbers, completely on auto pilot.

I wonder what Goldsmith would do for this stupid movie, which has some hysterical action scenes nontheless.
Goldmith always delivered great score for trash movies like this one...

 
 Posted:   Nov 17, 2020 - 10:46 AM   
 By:   Grecchus   (Member)

Totoro - yes and no.

The scene on the Tripod in which Ray and Rachael are temporarily held captive is not in Wells' book. He made passing references to people being plucked from the ground by the war machines and tossed into 'baskets' in which they were being caged. During the Ferry scene, Spielberg gives us very graphic images of this happening - Farrier and his kids are in the water watching this happen at very close range but this time they all manage to escape being caught. I suspect the scene in the basket was added to give Cruise his audience affirming 'hero' moment, although I think Spielberg coaxed the vulnerable aspects of Farrier's character out. It also connects with the earlier Ferry scene in which Farrier & co could very easily have ended up as terminal victims, for although Cruise almost single-handedly gets to knock one of the machines out by grabbing some grenades from a military belt that just so happens to be hanging off the bars of the basket/cage prior to being sucked into the machine's innards where the victims blood is presumably drained from the body, it is another soldier/marine captive of the basket who incites a human daisy chain with himself on the end to drag Farrier back out from the machine's interior where Farrrier has discharged the activated grenades. When Farrier is back in the basket he has the grenade pins in his hand, which is visibly shaking from shock. The soldier sees the spent pins and orders everyone to get down and cover themselves as best as possible because there's going to be a fire in the hole. These are clever and subtle filmaking techniques that a master like Spielberg wields with subliminal effortlessness. Earlier scenes connected to later scenes by virtue of storyline atmosphere.

I tend to think of Williams' music that accompanies all this as being part and parcel of the mix and very memorable it is, too.

 
 Posted:   Nov 17, 2020 - 10:57 AM   
 By:   richsto   (Member)

Can debate the merits or lack thereof of the movie and soundtrack - movie was ok and the soundtrack is not my favorite Williams. Your mileage will vary.

What is for certain is that this particular restoration and arrangement transforms this soundtrack from an inconsistent ho hum moment to a driving, effective experience. Not in any way the same OST. Still not my favorite Williams but I find myself drawn back to it time again. New transfer is powerful and sounds terrific.

Like the music or not, well done!!!

 
 
 Posted:   Nov 17, 2020 - 11:05 AM   
 By:   Damian   (Member)

L

I wonder what Goldsmith would do for this stupid movie, which has some hysterical action scenes nontheless.
Goldmith always delivered great score for trash movies like this one...

Simmonds drums and tick tock metronome synths as was the custom during the period.

 
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