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Posted: |
Feb 8, 2024 - 9:44 AM
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By: |
JB Fan
(Member)
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From Roger via Facebook
Coming 2/13.
Why is Intrada releasing INCHON again?
Intrada has visited Inchon several times since they initially released their first expanded version back in 1988 and each release has sold out owing to the score’s popularity with Goldsmith aficionados. Each release also has its own anomalies, owing to the oft-discussed less-than-ideal recording circumstances that took place in Italy as well as a number of disparate session master elements. Intrada had access to voluminous rolls of tape, including the 1” 8-track masters, which themselves were folded down from the 2” 16-track tapes, numerous ½” 3-track dubdown masters which contained the mixes made for stereo prints of the picture and the ¼” 2-track stereo print masters, which were primarily identified as “safeties” by session engineer Len Engel. We also had both rolls of the original Regency ¼” album masters that included all of the edits that Goldsmith and Engel had out together for the 1982 LP. So that all adds up to a lot of tape!
But each of those formats had audio issues that were compensated for by various means such as the DBX noise-reduction system championed by Inchon’s original recording engineer Engel back in the day, the Aphex Aural Exciter processing unit which he also utilized, and an artificial boosting of the high end to deal with issues on the multi-tracks that likely dated all the way back to the initial 1982 recording sessions and subsequent “dubdowns” made by Engel for the film soundtrack and subsequent record album.
All of our previous releases of Inchon have been assembled and mastered from the various multi-track formats. We have worked with both Goldsmith and Engel’s initial expanded elements that were approved for Intrada’s first release of the score by the composer as well as subsequent remixes for later reissues in which we dropped the Aphex Aural Exciter processing that seemed to create audio issues of its own. The only thing we did not work with were the ¼” stereo safeties, making the same assumption that Goldsmith and Engel had determined: everything in the massive chain of tapes ahead of the safeties would be superior.
But we were wrong. These ¼” mixes were leagues ahead of all the other elements we had gone through. So in all fairness to those two artists who had originally composed, conducted and engineered this powerhouse score, we simply had to go back to square one and reassemble and remaster our last 3-CD release, this time using those ¼” elements and allowing their work to sound better than it ever did before.
INCHON (2024 REMASTERED - 3CD)
Music Composed and Conducted by Jerry Goldsmith
Label: Intrada Special Collection Volume ISC 501
Film Date: 1982
Album Date: 2024
Time: 162.31
Tracks: 72
Intrada again reissues popular Jerry Goldsmith action score!
Intrada again reissues popular Jerry Goldsmith action score! Issued several times previously and selling out each time, Intrada yet again issues popular and exciting score for Korean War drama but with a change of face:. Master elements for the score, recorded in Italy, all survived in several formats with composer Goldsmith and engineer Len Engel working from and preferring the 1” 8-track masters for our initial CD release and reissue. Subsequently, Intrada created new masters from these elements in tandem with the 1/2” 3-channel stereo film mixes, including editing between the formats. Based on assumptions they would prove inferior, the tapes never utilized were the 1/4” safeties, which were stereo mixes made and stored simply as backups in case of damage to all the other rolls of tape. We finally addressed those tapes expecting more of the same notoriously thin dynamics. Happily we were wrong. Reasonably free from blemishes and noise, these rolls proved to have crisper and cleaner audio with improved dynamics, allowing us to rebuild the entire previous 3-CD program with what should be the best audio available… famous last words? There are few guarantees in life, but the excitement and power of this score remains one of them! While the contents are ostensibly identical to the previous three-disc releases, we found a few additional early print takes and alternates were previously unreleased and, while offering no significant musical differences, might make Goldsmith completists just a little bit happier to take yet one more trip to the well. As before, the first CD offers the original 1982 soundtrack album in the best possible sound, the second CD presents the entire score utilizing the editorial assemblies created by the composer and engineer for our earliest reissue and the third CD carries the complete score in unedited fashion so bars at the end of cues previously edited together now play in their entirety. So three different presentations of this magnificent score, each with its own merits! The film itself, chronicling events surrounding the Korean war, had a much-troubled production history that spanned two years, saw the death of cast member David Janssen and ultimately led to the editing of more than a half hour of footage prior to its general release. Happily Goldsmith scored the longer version and all of his music survived in beautiful condition. Other film production credits were top drawer, including Terence Young (of James Bond fame) at the helm and stars Laurence Olivier, Jacqueline Bisset, Ben Gazzara, Toshiro Mifune and Richard Rountree in the cast. Goldsmith’s “Main Title” opens in aggressive, declamatory fashion, an abundance of propulsive energy and jagged rhythm that puts it in a very small family of Goldsmith title music that includes Night Crossing, Capricorn One, Face Of A Fugitive and The Salamander. The score is thematically rich with ideas for not only the conflict, but the locale and specific characters (Lim’s theme is an emotional highlight) as well. A sparingly used love theme and powerful action material for the tank sequences are major assets! Len Engel engineers, Arthur Morton orchestrates, Jerry Goldsmith composes, conducts. Intrada Special Collection 3-CD set available while quantities and interest remain!
CD 1 1982 Soundtrack Album
01. Main Title (2:26)
02. Resignation (2:17)
03. The Bridge (3:37)
04. The Church (4:03)
05. The Mines (4:24)
06. Task Force (3:12)
07. Medley (2:18)
08. Love Theme (2:55)
09. The Tanks (3:47)
10. Lim’s Death (3:18)
11. The Trucks (2:58)
12. Inchon Theme (3:28)
CD 2 2006 Score Assembly
01. Prologue And Main Title (3:53)
02. The Bridge (3:37)
03. The 38th Parallel (1:23)
04. Medley (2:18)
05. Love Theme (Album Version) (2:55)
06. The Aftermath (0:55)
07. The Tanks (3:47)
08. A Change Of Course (1:16)
09. The Church (2:29)
10. MacArthur’s Arrival (0:55)
11. The Harbor (1:20)
12. The Trucks (3:08)
13. Corpses (1:21)
14. The Children (Original) (0:51)
15. The Apology (2:43)
16. The Lighthouse (2:34)
17. The Clock Watcher (0:40)
18. The Mines (5:12)
19. Resignation (2:17)
20. The Landing (1:23)
21. Lim’s Death (2:12)
22. The Scroll (2:22)
23. Task Force (3:08)
24. Inchon Theme (3:24)
Total Time: 56:06
CD 3 Complete Score In Sequence
01. Prologue (1:41)
02. Main Title (2:26)
03. The Bridge (1:50)
04. The 38th Parallel (1:23)
05. MacArthur (1:00)
06. The Aftermath (0:55)
07. The Tragedy (1:14)
08. Tanks Arrive (1:59)
09. A Change Of Course (1:16)
10. The Church (2:29)
11. MacArthur’s Arrival (0:55)
12. The Harbor (1:20)
13. The Tanks (2:59)
14. The Trucks (3:08)
15. Lim And The Children (1:28)
16. Corpses (1:21)
17. The Pledge (0:39)
18. The Children (Original) (0:51)
19. The Apology (2:43)
20. The Clock Watcher (0:40)
21. The Lighthouse (2:34)
22. The Ships (2:23)
23. The Mines (4:31)
24. Resignation (2:17)
25. The Landing (1:23)
26. Lim’s Death (1:43)
27. The Scroll (2:22)
28. Task Force (Revised) (1:20)
29. Inchon Theme (3:24)
30. Love Theme (Album Version) (2:55)
Total Score Time: 57:17
THE EXTRAS
31. The Children (Revised) (0:48)
32. The Ships (Alternate) (2:26)
33. The Bridge (Early Take) (1:49)
34. The Pledge (Early Take) (0:42)
35. The Trucks (Early Take) (3:07)
36. Task Force (Original) (1:20)
Total Extras Time: 13:20
Total CD 3 Time: 67:40
https://store.intrada.com/s.nl/it.A/id.12981/.f?sc=13&category=-113
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Maybe it's just as well that I didn't buy the previous re,re,re,re,re,re,re,re- release. 
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From Roger via Facebook
Coming 2/13.
Why is Intrada releasing INCHON again?
Intrada has visited Inchon several times since they initially released their first expanded version back in 1988 and each release has sold out owing to the score’s popularity with Goldsmith aficionados. Each release also has its own anomalies, owing to the oft-discussed less-than-ideal recording circumstances that took place in Italy as well as a number of disparate session master elements. Intrada had access to voluminous rolls of tape, including the 1” 8-track masters, which themselves were folded down from the 2” 16-track tapes, numerous ½” 3-track dubdown masters which contained the mixes made for stereo prints of the picture and the ¼” 2-track stereo print masters, which were primarily identified as “safeties” by session engineer Len Engel. We also had both rolls of the original Regency ¼” album masters that included all of the edits that Goldsmith and Engel had out together for the 1982 LP. So that all adds up to a lot of tape!
But each of those formats had audio issues that were compensated for by various means such as the DBX noise-reduction system championed by Inchon’s original recording engineer Engel back in the day, the Aphex Aural Exciter processing unit which he also utilized, and an artificial boosting of the high end to deal with issues on the multi-tracks that likely dated all the way back to the initial 1982 recording sessions and subsequent “dubdowns” made by Engel for the film soundtrack and subsequent record album.
All of our previous releases of Inchon have been assembled and mastered from the various multi-track formats. We have worked with both Goldsmith and Engel’s initial expanded elements that were approved for Intrada’s first release of the score by the composer as well as subsequent remixes for later reissues in which we dropped the Aphex Aural Exciter processing that seemed to create audio issues of its own. The only thing we did not work with were the ¼” stereo safeties, making the same assumption that Goldsmith and Engel had determined: everything in the massive chain of tapes ahead of the safeties would be superior.
But we were wrong. These ¼” mixes were leagues ahead of all the other elements we had gone through. So in all fairness to those two artists who had originally composed, conducted and engineered this powerhouse score, we simply had to go back to square one and reassemble and remaster our last 3-CD release, this time using those ¼” elements and allowing their work to sound better than it ever did before.
Ok, shurra I'll get it so!
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I love it and will order!
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Love this score so I’m almost certainly IN even though it’s a triple dip for me. I wonder why Len Engel didn’t remember his better sounding safeties in 1988, only 8 years after he recorded the thing! I mean, why wouldn’t he think, “Hmm… I remember this sounding much better the last time I worked with it?” But I guess people can forget a lot in 8 years.
Yavar
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Correct — similar configuration/packaging it looks like, but brand new master using Len Engel’s “safeties” which apparently sound better than the earlier generation tapes Intrada had used for their three previous editions, for whatever reason! Roger also shared with me that the notes have been updated, for anyone who cares about that.
Yavar
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re-re-re-RiRi-Rihanna Savage X Fenty
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Aha!
This might also explain the oddities with the pricing of the virtual release of the last release. We talked about it here: https://filmscoremonthly.com/board/posts.cfm?threadID=142438&forumID=1&archive=0&pageID=4&r=651#bottom
Unrelated, actually. I messaged Roger to ask about the odd pricing increase for the digital album (not on all sites selling it, I would point out). I asked if he would mind me sharing what he replied and he didn't seem opposed even though he didn't want to wade into that thread himself. His exact words: "No idea what they're doing or why. We go through a distributor and the retailer can sell at whatever price they want."
Yavar
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Therapy....
I can't help but wonder of the demographic that is around 50, that felt a spark here at round...4? 5? of this piece being released.
I support Intrada always, I do, and am certain the composer list they shared have Incredible works waiting for us.
I share their frustration at artist likeness approvals or approval approvals.
There comes a point of support and a point of "You gotta be F*in kidding me".
A point of, I have upgraded thrice and the piece is good but not MASTERWORK quality. I'm glad I'm aging, because I can start saying No to things more easily. I used to upgrade everything, but lately it's just biding time. Roger's press release is terrific, breaks down the tapes situation very well, and I respect the work they surely put in.
But...its INCHON. A forgott... that isn't enough, a lost film. I have a youtube saved of it I haven't watched yet. For years. Has anyone actually ever seen the film?
Best of luck hamsters, eagerly awaiting the next non-reissue, and understand "we work with what we got".
Therapy....
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I’ve seen Inchon thanks(?) to YouTube.
I don’t recommend it. How Goldsmith wrote a score that good…
Yavar
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I've had enough of the score, thank you very much. Good or bad, I want the film to be released. I'm sure there's a lot worse out there.
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