 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Great to see this one back in print again. Do the liner notes give the recording dates?
Night Crossing was released in the US in February 1982, but I seem to recall an old interview (from Soundtrack!! Magazine) with Jerry Goldsmith around mid-1981 when it was on his slate of upcoming projects - at that time, the film's working title was still Escape to the West - along with Raggedy Man. Does anyone know which one he did first?
Cheers
SG
|
|
|
|
|
|
FAN-FREAKING-TASTIC!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Well, we have to wait to make a fourth edition lalaland with missing End Credits in those 2 minutes. This is my downfall!
I think you're the only one who is making a big deal out of this. They looped the end credits in the film for just a few seconds. Those seconds are on the CD, but only once like Jerry Goldsmith wrote it. A fourth edition will have the same cue Jerry wrote, so don't wait for it because you won't get it the way you want it.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Does it say somewhere how limited this edition is? If so, I missed it....
Yep, as Solium says...
Intrada will still print a limited quantity, but if that initial quantity sells out while sales are still fast, they'll extend it and re-press. Then once sales have slowed down they will then just run out the remaining quantities.
So in practice, many titles will still be limited at 3,000 or whatever, if they don't sell out in the 'fast' selling period.
It's just that if you had a Capricorn One or a Bandolero or an Inchon situation today, where the initial limited quantities sold out within a day or so, they'd automatically extend their license and press another run.
But once the hot period is over, it'll then be limited at whatever the residual quantity is.
Cheers
|
|
|
|
|
|
Well, we have to wait to make a fourth edition lalaland with missing End Credits in those 2 minutes. This is my downfall!
LEONCIO,
I'm curious.
Do you still think there is music composed and recorded by Goldsmith not on the CD?
Do you disbelieve everyone who tells you that some music editor extended the length of the end credits in the editing room, as a cut-and-paste job?
Whilst it might be nice to get both edits, I'd prefer the pure version written and recorded by the composer.
|
|
|
|
|
|
Got mine today! Already on my iPod, and am really enjoying the score. Although I've had the original release, its been years since I've listened to it.
Hearing it today it is like hearing a Goldsmith score for the first time. Unmistakably his sound, and from the period of his career I enjoy the most.
Great booklet, and amazing music.
|
|
|
|
|
|
|
|
|
|
1982 was the year that Jerry Goldsmith was the gift that just kept on giving. And to someone who had only discovered filmusic (I always liked that spelling) two years earlier, it was an embarrassment of riches for my 18 year-old ears.
Poltergeist alone would've made 1982 a landmark year for Jerry. But, holy cow, he gave us that plus The Secret of NIMH, First Blood, Inchon (made in 81 but released in 82), The Challenge and Night Crossing. You just can't point to that kind of prolific output on the part of a single composer in the course of a year very often. (James Horner had a similar banner year in '83.) I played the crap out of those records.
And those 1982 scores tend to be the ones I reach for most when I need a Jerry fix. I have the LP of 'Night Crossing," but it'll be terrific having the remastered CD with the extra cues.
Which I guess is a really long way of saying: ORDERED.
-
|
|
|
|
|
|
|
|
|
|
I never even thought about that, but you are so right - 1982 was an amazing year for Jerry.
I'd add an amazing run for Jerry.... The Omen, Twilight's Last Gleaming, Capricorn One, The Great Train Robbery, Coma, Magic, The Boys from Brazil, Alien, Star Trek: TMP, The Final Conflict, Night Crossing, First Blood, The Secret of NIMH, Inchon, Poltergeist, Under Fire, Twilight Zone: The Movie... : :
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
