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The February release of THE BLUE MAX probably ties in with the Blu-Ray of the movie from Twilight Time.
So, what's the selling point this time?
Cheers
Well I think it's one of those titles that should always be in print.
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Archival means something, but I don't recall what MV said. It's not the first LLLR's release to be labeled that.
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That's great to hear The Matrix Revolutions is coming this month! Even though I knew it was coming this announcement still caught me by surprise. I guess I wasn't expecting it so soon. This will make an excellent companion to last fall's Reloaded. Escape From L.A. is a nice big surprise, too. Walker and Carpenter on Snake! As much as I love Escape From New York though, the score for L.A. never grabbed me much beyond the main title. I'll have to check out the samples and maybe track down bits of the score on youtube or something...any way I can hear it without having to revisit the film itself, you know.  I'm sure it will go fast at 1500 copies, though.
Oh, and all those covers look great. Especially The Blue Max and Flesh + Blood.
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Posted: |
Feb 5, 2014 - 9:11 AM
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By: |
Grecchus
(Member)
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It will be interesting to see if La La gets one track right, that all other cds got wrong - the attack.
It runs 6:30 and mostof the first two thirds are not in the film.
Joe, according to the inlay, the Intrada version of The Attack runs 6:31. On my mp3 player it actually says 6:34. Intrada's is a very good presentation. Doug Fake says in his tech talk notes that according to JG First Blood/First Victory and The Captive/The Victim were meant to be linked as one, so instead of 4 tracks there are only 2. Now, as far as I'm concerned First Blood/First Victory works on the Intrada. First Blood has it's dramatic run and then there's a slight pause followed by the beautifully flighty First Victory (you can almost hear the trumpets performing a barrel roll in triumph  ) - it's a very effective complementary combination. The same thing happens with the second combo - a slight pause for dramatic effect signifies the difference between Stachel bringing in his airborne prisoner alive and in plain view of his home airfield, only to shoot the 'victim' down on arrival because the observer/gunner he wounded earlier makes an apparent move for his gun, having previously been inert.
The things I noticed in the Intrada were: in track 2 The New Arrival - the volume fluctuates a little upwards at about 0:37, then towards the end at about 1:16 it turns down slightly. No big deal though.
Track 10, A Small Favor was called Mocking Waltz on the Citadel LP. I remember from the back side of the cover JG mentioning he received some flak for it, but WTF, it was written for the movie!
Track 14, Prelude To Part 2 exhibits a characteristic on the Intrada, and that is a sudden opening up of the left channel at about 1:10. You can hear the flourish start and then suddenly jump up in volume and clarity at about that mark. It's almost as if there is a join at the point, but it was so carefully spliced it's almost subliminal.
Track 15, The Bridge was called Taste Of Blood on the Citadel, if I remember right.
Tack 17, Retreat is one cue, but on the Citadel Album it was broken down into two parts: The Retreat, part one and The Retreat, Part two.
Track 21, Stachel's Last Flight exhibits the most obvious signs of damage. At about 1:28 it has sporadic dropout where sounds go alternately dull then sharp. The left channel noticeable dips for a while until 1:48 (towards the end of the track) when it suddenly snaps back in. Sounds like maybe the tape was crimped.
Here's a short reference to the only other version I've heard other than the Intrada:
http://www.discogs.com/Jerry-Goldsmith-The-Blue-Max/release/3135733
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Posted: |
Feb 5, 2014 - 10:50 AM
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By: |
Grecchus
(Member)
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Grechus, in a reply to me, you manage to mention everything except the information I gave about the attack.
The Retreat is one track on some versions and part one and two on others.
that is because there is a reel change in the middle of the piece.
Wonder how Twilight Time is going to hook all this together for the blu ray.
Why is the new LLL a two disc set? is there suddenly enough musicfor twodiscs, when past CD versions claimed theirs, on one disc, was complete?
In that case Joe, I misread what you were implying. Sorry. I just had a look at the film sequence in which The Attack music is used and, blow me down, there's serious cutting going on. It starts at the end of the German ground offensive when Stachel and squadron spot the RFC planes above and engage them. The first section of the first part of The Attack is edited out - it's a very sloppy cut IMO. Most of the aerial dogfight is only the first part of this track, however, the main body of the music doesn't play out in the film. Only the last part of the track I originally came to know as 'Battle' is tagged on to plug the gap right up to the end of the dogfight sequence. But as far as I know, the Intrada has every bar of that musical spectacle bagged and tagged.
I can't imagine how La La Land have stretched this one out.
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Posted: |
Feb 5, 2014 - 11:35 AM
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By: |
davefg
(Member)
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It will be interesting to see if La La gets one track right, that all other cds got wrong - the attack.
It runs 6:30 and mostof the first two thirds are not in the film.
Joe, according to the inlay, the Intrada version of The Attack runs 6:31. On my mp3 player it actually says 6:34. Intrada's is a very good presentation. Doug Fake says in his tech talk notes that according to JG First Blood/First Victory and The Captive/The Victim were meant to be linked as one, so instead of 4 tracks there are only 2. Now, as far as I'm concerned First Blood/First Victory works on the Intrada. First Blood has it's dramatic run and then there's a slight pause followed by the beautifully flighty First Victory (you can almost hear the trumpets performing a barrel roll in triumph ) - it's a very effective complementary combination. The same thing happens with the second combo - a slight pause for dramatic effect signifies the difference between Stachel bringing in his airborne prisoner alive and in plain view of his home airfield, only to shoot the 'victim' down on arrival because the observer/gunner he wounded earlier makes an apparent move for his gun, having previously been inert.
The things I noticed in the Intrada were: in track 2 The New Arrival - the volume fluctuates a little upwards at about 0:37, then towards the end at about 1:16 it turns down slightly. No big deal though.
Track 10, A Small Favor was called Mocking Waltz on the Citadel LP. I remember from the back side of the cover JG mentioning he received some flak for it, but WTF, it was written for the movie!
Track 14, Prelude To Part 2 exhibits a characteristic on the Intrada, and that is a sudden opening up of the left channel at about 1:10. You can hear the flourish start and then suddenly jump up in volume and clarity at about that mark. It's almost as if there is a join at the point, but it was so carefully spliced it's almost subliminal.
Track 15, The Bridge was called Taste Of Blood on the Citadel, if I remember right.
Tack 17, Retreat is one cue, but on the Citadel Album it was broken down into two parts: The Retreat, part one and The Retreat, Part two.
Track 21, Stachel's Last Flight exhibits the most obvious signs of damage. At about 1:28 it has sporadic dropout where sounds go alternately dull then sharp. The left channel noticeable dips for a while until 1:48 (towards the end of the track) when it suddenly snaps back in. Sounds like maybe the tape was crimped.
Here's a short reference to the only other version I've heard other than the Intrada:
http://www.discogs.com/Jerry-Goldsmith-The-Blue-Max/release/3135733
I listened very closely for those issues and didn't notice them. Are you listen to the Intrada version on headphones?
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