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This is a sensational score, many times I've thought it Williams' best.
I might get this. It's just that I have and really love my Varese (plus I just ordered both the Ben Hur Complete FSM and Final Conflict Deluxe, so I'm kinda broke now lol!).
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This is a sensational score, many times I've thought it Williams' best.
I might get this. It's just that I have and really love my Varese (plus I just ordered both the Ben Hur Complete FSM and Final Conflict Deluxe, so I'm kinda broke now lol!).
Broke? WA, how do you even assimilate the sheer quantity of music you have come into since wrapping yourself up in film score music? By the way, how do you rate Herrmann's Day The Earth Stood Still, while on this theme of visitors from outta space?
My typical day look like this: get up at 4 am, eat and start composing and editing my music. This goes until 10 when I have lunch, put a couple hours of score study in, then listen to music with headphones on in my "dark room" until 1 pm, when I start back writing and editing music again.
From there I'm writing unti I eat at 5, then I'll usually take a walk with my s.o. and then listen to music in my dark room for hours (and/or sometimes watch a movie).
I'm lucky to have made enough off of my own music to be able to make music a 24-7 thing. I have all kinds of time to listen to music, I never even have to make time for it.
And yes considering the awful general state of the music business today I am extra fortunate, my story is one that I imagine quite a few out of work musicians and composers would practically kill for.
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Didn't mean to pry, WA. That's a very disciplined way of going about things. I can only appreciate someone else's music. I don't have the spark to create my own. Shame.
You weren't prying at all. And I hope you have a wonderful holiday season (forgive me if I'm being politically incorrect, please).
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Posted: |
Nov 25, 2017 - 1:11 PM
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By: |
SchiffyM
(Member)
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And sure, the interpolation is there, though it's more apparent when the melody is referenced more explicitly in the Special Edition.
Wait a sec, Schiff! The melody is not only referenced more explicitly in the Special Edition. It is unmistakeable. There's no place in the original album I could point my finger and say . . . thar she bows! It just plain doesn't exist in that first time round. Not even in the place you'd expect to find it, the closing titles, etc, etc, etc.
Sure it is, Grecchus! It's in "Arrival of the Visitors," just as that LP says. (Well, it says "Vistors.")
On that cue, go to 2:52. That's the first reference. The melodic line doesn't quite finish, it's like "When you wish u… Makes no difference… who you are."
Then again at 3:48, and this time, the melodic line is completed.
At 4:31, the final interpolation of the song melody in that cue begins.
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And sure, the interpolation is there, though it's more apparent when the melody is referenced more explicitly in the Special Edition.
Wait a sec, Schiff! The melody is not only referenced more explicitly in the Special Edition. It is unmistakeable. There's no place in the original album I could point my finger and say . . . thar she bows! It just plain doesn't exist in that first time round. Not even in the place you'd expect to find it, the closing titles, etc, etc, etc.
If I may be so bold, they seem to have made damn sure it couldn't be mistaken for any of the original music the maestro wrote the first time round.
It's there all right - hidden in plain sight, at the end of "The Appearance of the Visitors". The high strings and chorale are playing phrases from WYWUAS (try singing along, "No request is too extreme..."), then Williams improvises a kind of rhapsodic flight, similar to" The Fortress of Solitude" from Superman before bringing back "When you wish upon a star" in 3/4 time at the end.
Got it now?
SG
Edit: Aaand, Schiffy beat me to it!
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I'm pretty sure the Boston Pops recorded the inside the mothership music--but like you, I'll find out for sure when I read the liner notes...
Pops did record it and we managed to track down the original master
MV
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This is one of the most satisfying releases I've gotten to work on. The best way to make sense out of the assembly is to not study it on paper. Just listen to the music when you get it, let it work on you like the UFO blasting Roy with light. Analyze and play around with it later.
There is actually a third typo on the LP, so here is a teaching moment: It's "Devils Tower" with NO apostrophe. It's a tower for ALL devils.
The end credits with the instrumental arrangement of "When You Wish Upon a Star" was planned from the beginning. It was the first thing recorded on Day 2 of the sessions. After the movie was done, Spielberg decided to use the actual song recording from Pinocchio instead and the movie was dubbed with that in October and was previewed that way. The reaction was not good and rather than revert to the instrumental version, Spielberg opted to have tracked music run over the second half of the credits. The original intent was restored for the 1980 S/E and remains exclusive to that version.
The 2LP album that Williams prepared ALSO included the actual Pinocchio song on it. So when it was dropped from the movie the album track was hurriedly fixed by simply taking the edited film mix and laying it off, which is why it always sounded inferior.
At the same time it was also decided to cut the whole thing down to a single LP release. It's possible someone at Arista heard it and decided it didn't have the same sales potential as Star Wars. Some of what was done for the album stayed, other things were lost, and tracks like "Climbing Devils Tower" were hurriedly cobbled together. Originally the whole thing was fairly chronological and we've kept to that.
Williams was also asked to arrange the disco theme, which he didn't really want to do and that's why on this project he asked that we not include it. Again someone must have seen what was happening with disco (the Meco Star Wars theme hit the charts and there was a lot of buzz about Saturday Night Fever). It was recorded in the 2nd week of November, so the album was already done. And that's why it was a separate 33 rpm single. Interestingly, the 8-track release actually STARTED with the disco theme!
It should be noted that nothing was recorded specifically for the album. Anything that was not in the movie was either an alternate, or partially for a deleted scene, or dialed out of the mix. Nor are there any alternate takes because Ken Wannberg used the original first generation multi-track tapes to edit the performances together.
"Inside" was indeed recorded with the Boston Pops in June 1980, with Spielberg and Michael Kahn present for it on their way to France to start Raiders. It was done that way because of Williams' Pops schedule and the opportunity was taken to integrate the new material into an updated version of the concert suite for Williams' first album with the orchestra, "Pops In Space." That album was done at the same time but the performance of that section is not at all the same as what was done for the film.
Mike M.
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