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I can't think of any worse album presentation than Die Hard With A Vengeance. Terrible in every possible way.
Thankfully LLL came to the rescue on that one!
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Posted: |
Jun 18, 2014 - 1:22 PM
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By: |
mikael488
(Member)
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For A Few Dollars More was one of my most disappointing buys, 6 tracks from a score that runs 60+ minutes and worst of all the climatic showdown theme edited all to hell.
Whoever thought that editing the Church Duel and the Final Showdown together to form one cue was a good idea was having a very bad day.
The other thing that really annoyed me was, where was the watch, all those scenes in the film that were accompanied by the "Watch" music, none of it made it to the soundtrack release.
We got one edited track and 5 score tracks, 4 of which were fine and the 5th (Il Colpo) a severely truncated version of the film cue.
Instead of filling both sides of the LP with music from FAFDM, we got the original 6 tracks from a Fistful of Dollars to round out the album.
A very very disappointing release, and here I am 40+ years on, still waiting for a proper release of my most wanted score.
If they release it after I'm dead, I'll bloody well come back and haunt them.
With the possible exception of the main title I'm pretty sure that most of the tracks on the original soundtrack album (FAFDM) were re-recorded and mixed in stereo specifically for the album. The versions in the film sound a bit rawer in most cases. The showdown music in particular is considerably different in the film. And as usual (especially with Morricone) I prefer the film versions.
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The original CONAN THE DESTROYER album freaking sucks. Where's the main title? ANY rendition of Conan's theme? The love theme? It's like they just threw random cues on in a completely random order. There's no album flow, no sense of thematic continuity, etc. The Tadlow re-recording made me completely reevaluate that score, as I never knew what a gem I was really missing...
Well here is what REALLY HAPPENED..
The album was supposed to be released on VARESE SARABANDE and was assembled by TOM NULL with Basil Poledoruis. Mr. Null assembled it as what he thought would be a album listen without regard to show order, something that Mr. Poledouris signed off on..
HOWEVER, Basil has MAJOR ISSUES with the orchestra and felt the performance of the Main Title was so bad that he didn't want it on the LP. along with a number of other cues
At the last minute MCA RECORDS stepped in and took the album away from VARESE and released it themselves.
Ford A. Thaxton
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Die Hard with a Vengeance - I kept on waiting to heat that cool rendition of "When Johnny Comes Marching Home" Instead we got the most boring parts of the score, two classical pieces and some rap music
Black Hawk Down - Most of the score wasn't on the cd and most what was on the cd wasn't in the film. I'm sure Zimmer enjoys his little jam sessions, but I'd rather he keep those to himself and release the music as heard in the film
My understanding is that this album had to be assembled BEFORE THE ENTIRE SCORE was recorded in order to be in stores around the time of the film's release.
That is why it's missing so much of the score.
Ford A. Thaxton
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Also, the original Southern Cross issue of KRULL was really truncated. For a film that probably has one of the most lengthy, exhilarating and dynamic main title cues EVER, it's a sacrilege that that was left off. That's really a score that, whether you're a completist or not, I'm sure most of you will agree is such a rich, architecturally-nuanced musical journey - a tone poem, really - that you need the whole damn thing to truly appreciate how amazing a score it is. It's too good not to have every cue, and there's really only one or two I ever find myself skipping on the subsequent expanded rereleases.
FYI, the original release of KRULL was done in 1983 (Before CDS were commonplace and LPS and cassettes were the norm) So given this, it's presentation wasn't all that bad given the limits of LPS.
SOUTHERN CROSS corrected this later with there CD release.
Ford A. Thaxton
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As stated above quite a few of Michael Kamen's soundtracks were very disappointing particularly for the absense of climactic cues from films. The end stuff from ROBIN HOOD PRINCE OF THIEVES, THE THREE MUSKATEERS, EVENT HORIZON etc. I heard that this was often due to the album being rushed out for marketing purposes before score were even finished but I don't know how true that is.
Once again, as I recall most of these projects had not completed scoring by the time of the album master had to be locked and sent to the pressing plant in order be in stores by the time the film opened.
That is why in many cases the music for the film's end didn't end up on them.
Ford A. Thaxton
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The original release of TRUE GRIT. I had great expectations for the rousing Elmer Bernstein score, and instead got cheesy 1960s arrangements suitable only for elevators. Thank goodness for the recent genuine score release.
FYI, you have to remember that this was done in 1969 and that it was very common to re-record scores for LP release and alter them so it would have a more mainstream easy listening appeal.
Mancini wasa master of this approach.
I don't recall if this album sold, but I understand WHY they did it this way.
Ford A. Thaxton
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For me, it's the soundtrack for "The English Patient," which I've long cited in anger and frustration because there's only a couple of cues of the lovely Gabriel Yared main theme (clocking in at barely a minute and a half!), but more Bach and Middle Eastern chanting that goes on and on.
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Horner's THE NEW WORLD presents the score as he wanted it, but it's mostly unused music, and the beautiful main love theme from the actual film almost never appears on the CD, making just one brief, 5 second appearance. I played it once and never listened to it again.
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