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Where's "The Hounds Of Sumner" on the film disc?
That's "Arresting Aaron" on disc 1, track 8 (original cue title).
Mike
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Where's "The Hounds Of Sumner" on the film disc?
That's "Arresting Aaron" on disc 1, track 8 (original cue title).
Mike
Oh, I guess I just assumed it'd be at the start of a suite of cues because it's such a standout from the score, rather than having it in the middle.
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The first disc is in chronological order.
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The first disc is in chronological order.
I get that. I just assumed that cue would at least be first in the index, rather than stuck in the middle. It's one of the highlights of the score.
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I'm not familiar with the film or score but have just listened to the samples and they are gorgeous. Have just added this one to my next SAE order.
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Posted: |
Jun 4, 2013 - 2:14 PM
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By: |
jonnyquest
(Member)
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Have been enjoying this upgrade to Rosewood immensely. As usual: wonderful sound, art and presentation and just delightful having both versions to enjoy and explore. And my special - and usual - shout-out to Jeff Bond, for another fabulous job on the liner notes. It adds so much, Jeff.
Putting aside all the familiar arguments for and against expansions, I have to say what a wonderful world if would be if every score we loved was presented, by default, such as this. What isn't there to love about a treasure box containing a score you love in the form you heard it in the cinema, an "LP" version to create a more concise listening experience, and lots of beautiful art along with notes that bring the whole thing to life? The good news is my shelves are starting to get pretty heavy with many, many such definitive releases.
Thank you all.
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Been listening to CD 1 now for the fourth time. Just a wonderful Williams score. Bluesy, subdued, delicate and full of class. That`s my kind of Williams. Fantastic score.
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Jeff was relaying information I gave him, so I can answer. The film version of "Arresting Aaron" uses slate 37 in its entirety but the album partially uses slate 36. I don't know the exact timings. You'd have to sync up both and see where the change occurs but the point was to be accurate to the film. Sometimes decisions are made because of timing issues, whereas performance takes precedence on the album.
Mike
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Been listening to CD 1 now for the fourth time. Just a wonderful Williams score. Bluesy, subdued, delicate and full of class. That`s my kind of Williams. Fantastic score.
Couldn't agree more. One of my all time favorites by him. Thanks LLL for the deluxe treatment!
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Posted: |
Aug 5, 2013 - 2:20 AM
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By: |
fommes
(Member)
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Jeff was relaying information I gave him, so I can answer. The film version of "Arresting Aaron" uses slate 37 in its entirety but the album partially uses slate 36. I don't know the exact timings. You'd have to sync up both and see where the change occurs but the point was to be accurate to the film. Sometimes decisions are made because of timing issues, whereas performance takes precedence on the album.
Mike
Many thanks for your detailed reply, Mike!
So I misunderstood from the booklet: I thought it meant that part of the track integrated an alternate, and thus repeated part of the cue, but the entire track is one cue, edited together from different takes.
That said, I did align up both the track on CD 1 and CD 2, and they appear to be exactly the same (so both use take 37 and take 36) - at least, they play 'phased' (or what's the term) for the entire duration of the track. (Unless the orchestral backing is different, and the guitar is the same performance?)
PS: I was also wondering where the few seconds of "Cracker Mob" were located in the album's "Aunt Sarah's Death". I didn't find them. There are a few seconds of music right before the album goes to the common portion of "Sarah Is Shot" that aren't in the instrumental counterpart on CD 1, if those are the seconds Mr Bond talks about, but that's not from "Cracker Mob" I think.
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As far as this release goes, I believe in Thor. The album was the thing.
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I've already wondered/complained about it in this thread somewhere, but on the first disc, not having "Arresting Aaron" as either its own cue or at least the BEGINNING of a suite of cues is reason alone to do yet another Frankenstein version of one of these sets, as you suggested above.
Is this something that's done on purpose, to "break up the monotony" of some of the cues that mainly score dialogue? Because the same sorta thing happened with The Edge, where the exciting "False Hope" track is sandwiched between two tracks of the samey walking music that makes up a large part of the expanded material. Either way, baffled by the cassette-tape production choices.
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Posted: |
Jan 9, 2014 - 6:18 AM
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By: |
Nils
(Member)
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I finally got around to listening to this CD, after having it sit on the shelf for quite some time. I guess that's because ROSEWOOD was never among my favorite Williams scores, and other CDs have taken preference lately.
However, my appreciation for the score has really grown after listening to La-La Lands release.
I think it was a good idea to skip the gospel songs on the "Instrumental score" presentation on disc 1. Not that I have anything against gospel songs, and the ones Williams wrote here sound remarkably authentic, but for me they tended to make the original album a disjointed listening experience. I assume the songs are quite important in the film (though I haven't seen it), but still, the score flows much better without them, making it sound more... well, more like a John Williams "instrumental score". 
Also, with the extended playing time, all the themes get more space to "breathe", in all their variations. The themes didn't really stick in my mind earlier, but now they do!
I don't always like C&C presentations, but this is a good one (not sure if it's actually complete, though?). Great sound too, and Jeffs excellent liner notes are icing on the cake.
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I haven't seen this score mentioned here positively in years, though it's made several "Williams scores I like least" lists.
One of my favorite Williams scores. In my opinion, those who like it least are missing out on a true gem.
Whenever I listen to this score, I'm humming its two main themes for days and days! The secondary theme, most notably played on recorder, is as good as the main theme. I wish it got more treatment in the film, but that's simply for selfish reasons - I love it.
I almost passed on this as I've never seen the film (though I do mean to), but I'm so glad I didn't. And then it's taken me two full years to finally give it more than just a passing listen. I could listen to it for days and days, and the gorgeous spiritual songs work perfectly within the score listen.
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