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I do really like Herrmann's Jane Eyre too, but Williams wins this contest for me. So many gorgeous themes as well as one breathlessly exciting action cue.
Yavar
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I thought the Varese Club version of the original album recording was WAY too hot. I can't remember if LLL fixed that, but at least there's the original Varese release of the Arista album.
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I've got the Varése and never much thought about upgrading. I don't feel like re-buying the same scores over and over again and will do only do if I think a sound upgrade is really warranted. I upgraded PAPILLON from Quartet, THAT was REALLY a worthy upgrade (and I own several previous releases of that score), but while LLL may sound even better than the Varése, it does not appear enough to warrant an upgrade.
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I do really like Herrmann's Jane Eyre too, but Williams wins this contest for me. So many gorgeous themes as well as one breathlessly exciting action cue.
Yavar
Hmmm. I do have Jane Eyre (Welles movie) with score only option. I might have to make another LLL cart...perhaps throw Krull in there.
I had a great time watching the War of the Worlds extra with JW and Spielberg and the score. It was a real smile bringer to watch Williams scoring directly to the film with the orchestra. Love the old school!
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I've got the Varése and never much thought about upgrading. I don't feel like re-buying the same scores over and over again and will do only do if I think a sound upgrade is really warranted. I upgraded PAPILLON from Quartet, THAT was REALLY a worthy upgrade (and I own several previous releases of that score), but while LLL may sound even better than the Varése, it does not appear enough to warrant an upgrade.
This has been an opinion voiced by several folks I've spoken to outside this forum.
Now I'm a bit at odds. I'd hate to get a CD of this score with distortion...and I do own and love several Varese deluxe editions and they're great imo. It's just that I know LLL is pretty darn meticulous as well.
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a small parenthesis about this score.
JoAnn Kane had posted at facebook long ago a few bars from the original main title.
As you can see the music is very different from what we know, but I guess unfortunately it wasn't recorded.
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I don't read music, but is there any chance that the original main title was similar to the re-recording's "Epilogue" track? Though not in the film, it's one of the favorite tracks by Williams - it's like a requiem. Glorious and tragic with an astonishing build. I can see it, perhaps, as the basis for a more somber main title.
No.
it's an entirely different theme (not heard at all in the whole score).
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I don't read music, but is there any chance that the original main title was similar to the re-recording's "Epilogue" track? Though not in the film, it's one of the favorite tracks by Williams - it's like a requiem. Glorious and tragic with an astonishing build. I can see it, perhaps, as the basis for a more somber main title.
No.
it's an entirely different theme (not heard at all in the whole score).
My semi-ability to read music tells me the theme is a "cousin" to the Epilogue track Dylan cites.
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Here's another vote for the LLL. In truth I don't listen to the film tracks nearly as often as I do the album re-recording, but it's still really nice to have, and there's plenty of good music not on the LP presentation - it plays as a different listening experience altogether.
That being said, it really is hard to understate just how damn GREAT that LP is - both the program as a listening experience, and also the quality of the recording itself. The sonics are just amazing! And the re-tooled cues like "For Gillian" are just such a delight. Williams is almost always a treat as is, but this, like the equally-underrated JAWS 2 from the same year, are just true marvels in an already full and amazing career. Many argue that roughly '77-'83 were Williams' finest years as a composer and I think I overall fall into that camp - and THE FURY is just another shining example of musical excellence from this extremely inspired window of his career.
Get that LLL album stat!
I enthusiastically second every word of this! THE FURY is among the very, very best of Williams’s work and that LP has never left my top five since 1978. The LLL treatment if the LP and film tracks, along with those priceless extras, is more than worth the extra trip to the well.
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In the 1970s I used to listen to the original LP album on an old turntable and, even though I was really young, I could tell there was something exceedingly complex, passionate and special about the music. The LLL set is worth every penny. The movie itself, er, not so much.
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I'm a bit biased, but for the La-La Land Records release we got away from the bone dry sound of the previous edition. Additionally there are extra tracks and source music not included on the earlier release. For the album recording, a better master was located and a bonus track only on the first of the two Varese editions was included.
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Posted: |
Mar 7, 2018 - 6:46 AM
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By: |
Grecchus
(Member)
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I'm a bit biased, but for the La-La Land Records release we got away from the bone dry sound of the previous edition. Additionally there are extra tracks and source music not included on the earlier release. For the album recording, a better master was located and a bonus track only on the first of the two Varese editions was included.
Mike, when you say a "better master" for the album, do you mean 1st gen, or that the master used for the original album has since gone cuckoo due to time. Was the original album cut from a second gen in the first place, and if so, was it because 1st gen is so valuable that a read head making contact, other than to create a required 2nd gen, risks a real world insurance claim? You can kick the shit out of any 2nd gen, but 1st gen is always 1st gen. Has any reverence ever been hung on score jewels by their primary handlers, or, does the value inherent within certain scores increase the closer we get to the here and now? Just wondering, because if JW's Dracula ever showed up by some quirky set of circumstances, what would it be worth? You wouldn't want the likes of Yuri Geller going anywhere near mag tape. 
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I'm the odd man out on this score, as, for me, the film tracks were such a revelation. The LP is great, great enough that it paired well with Elfman's Batman 11-ish years later, sounding not at all dated in style or quality. But the film tracks took me right back to the aforementioned era and sound of Jaws 2. What stood out for me with Williams in that hot zone everyone rightly loves was how he scored the unimportant moments, when buildings or lives aren't being threatened, but instead people are just walking down the sidewalk having a nice chat. His most incidental music was at its most magic at this time, and the film tracks carry that so well. That said, the LLL, which has more of its superiorities with those tracks, is probably the way to go.
And look, most people love the LP. I love the film tracks. It's not a competition, rather great reviews for both. You'll probably love it all.
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Lorien sighting! I agree with you, but do love that album recording as well!
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I don't read music, but is there any chance that the original main title was similar to the re-recording's "Epilogue" track? Though not in the film, it's one of the favorite tracks by Williams - it's like a requiem. Glorious and tragic with an astonishing build. I can see it, perhaps, as the basis for a more somber main title.
No.
it's an entirely different theme (not heard at all in the whole score).
My semi-ability to read music tells me the theme is a "cousin" to the Epilogue track Dylan cits.
Correction: I got my tracks mixed up. I should have said the opening to the LP version of "Death on the Carousel".
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Correction: I got my tracks mixed up. I should have said the opening to the LP version of "Death on the Carousel".
You're right.
That strings melody is the same with a passage in that track.
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