Love the cover, though I can't look at it without hearing "I . . . have had . . . enough of . . . YOU!," which isn't from a Goldsmith film, but rather a Horner one.
When I saw the new Newman I couldn't resist, so I added the no-brainer impulse purchase to my order, just as you intended.
I saw your PayPal e-mail address again, and this time it got me thinking . . . any Rota in Kritzerland's future?
No, Mr. Bond's notes were paid for by La La Land. And yes, they were excellent as his notes always are.
By the way, who paid for James Nelson mastering? I mean, when a label gets the license to reissue a score do they have to remaster it again or pay some kind of rights to the previous label in order to use their work or they can simply make an exact copy of the previous CD without asking anybody?
It's that the reason why LLL Star Trek V cost $30 while the intrada reissue costs $5 less?
By the way, who paid for James Nelson mastering? I mean, when a label gets the license to reissue a score do they have to remaster it again or pay some kind of rights to the previous label in order to use their work or they can simply make an exact copy of the previous CD without asking anybody?
It's that the reason why LLL Star Trek V cost $30 while the intrada reissue costs $5 less?
Interesting. I'm guessing the original label license the score and either provide the whole cost or part of the cost in remastering with the studio. The remastered version which the label sells then goes back to the studio to hold and provide as the base for any further releases. Unless a different source is used of course.
By the way, who paid for James Nelson mastering? I mean, when a label gets the license to reissue a score do they have to remaster it again or pay some kind of rights to the previous label in order to use their work or they can simply make an exact copy of the previous CD without asking anybody?
It's that the reason why LLL Star Trek V cost $30 while the intrada reissue costs $5 less?
Interesting. I'm guessing the original label license the score and either provide the whole cost or part of the cost in remastering with the studio. The remastered version which the label sells then goes back to the studio to hold and provide as the base for any further releases. Unless a different source is used of course.
But that's me guessing.
Everything is ultimately owned by the studio. In this case, the CD was mastered by my regular mastering engineer - we did change the program up, so yes, it had to be done again, although both he and I were happy with the sound and left it as is.
I am very glad this is available again and I sincerley appreciate the extra effort expended in tracking down the the extras.
I was hoping track 5, 'One the Move/ Runaway' would be broken into separate tracks. It plays without the 'On the Move' section in the movie and the last fading chords of the 'Move' track blending into 'Runaway' seem to diminish the effect of the halting, chugging orchestral forces Goldsimth was employing to characterize the lumbering wheels and pistons slowly but inexorably gaining speed and momentum.
Was the 'On the Move' track supposed to go there or was that just an arbitrary, editorial decision made by the previous producers? Maybe Jeff Bond can tell us.
The previous LP and CD incarnation had a clean intro to that cue, as does the score in the movie. Maybe I'm just used to hearing it that way but that part was always a highlight for me.
I am very glad this is available again and I sincerley appreciate the extra effort expended in tracking down the the extras.
I was hoping track 5, 'One the Move/ Runaway' would be broken into separate tracks. It plays without the 'On the Move' section in the movie and the last fading chords of the 'Move' track blending into 'Runaway' seem to diminish the effect of the halting, chugging orchestral forces Goldsimth was employing to characterize the lumbering wheels and pistons slowly but inexorably gaining speed and momentum.
Was the 'On the Move' track supposed to go there or was that just an arbitrary, editorial decision made by the previous producers? Maybe Jeff Bond can tell us.
The previous LP and CD incarnation had a clean intro to that cue, as does the score in the movie. Maybe I'm just used to hearing it that way but that part was always a highlight for me.
But very,very pleased this is available again !
It was the way the previous master was assembled and we just thought it wasn't worth the trouble to pull it apart, and with the nitpicking coming early on in this thread, someone would have screamed about it. The piece that precedes the cue isn't in the film at all - it was just added as an extra. Interestingly, the similar short cue from earlier in the film IS repeated once close to its original appearance.
I was hoping track 5, 'One the Move/ Runaway' would be broken into separate tracks. It plays without the 'On the Move' section in the movie and the last fading chords of the 'Move' track blending into 'Runaway' seem to diminish the effect of the halting, chugging orchestral forces Goldsimth was employing to characterize the lumbering wheels and pistons slowly but inexorably gaining speed and momentum.
Haineshisway's response makes it clear it wasn't of his making. Unfortunately though, there are some CD producers out there who think joining a a few cues together makes them gifted arrangers. One of them, who should hardly need naming, clearly believes his segues and other tamperings make him a reconstruction talent of Christopher Palmer proportions.
...It was the way the previous master was assembled and we just thought it wasn't worth the trouble to pull it apart, and with the nitpicking coming early on in this thread, someone would have screamed about it...
This one sounds just like a childish excuse for something you should have done, but you didn't.
Haineshisway's response makes it clear it wasn't of his making. Unfortunately though, there are some CD producers out there who think joining a a few cues together makes them gifted arrangers. One of them, who should hardly need naming, clearly believes his segues and other tamperings make him a reconstruction talent of Christopher Palmer proportions.
Ha, nice.
I do agree, though, that the "Runaway" cue is important enough to stand alone.
I am very glad this is available again and I sincerley appreciate the extra effort expended in tracking down the the extras.
I was hoping track 5, 'One the Move/ Runaway' would be broken into separate tracks. It plays without the 'On the Move' section in the movie and the last fading chords of the 'Move' track blending into 'Runaway' seem to diminish the effect of the halting, chugging orchestral forces Goldsimth was employing to characterize the lumbering wheels and pistons slowly but inexorably gaining speed and momentum.
Was the 'On the Move' track supposed to go there or was that just an arbitrary, editorial decision made by the previous producers? Maybe Jeff Bond can tell us.
The previous LP and CD incarnation had a clean intro to that cue, as does the score in the movie. Maybe I'm just used to hearing it that way but that part was always a highlight for me.
But very,very pleased this is available again !
It was the way the previous master was assembled and we just thought it wasn't worth the trouble to pull it apart, and with the nitpicking coming early on in this thread, someone would have screamed about it. The piece that precedes the cue isn't in the film at all - it was just added as an extra. Interestingly, the similar short cue from earlier in the film IS repeated once close to its original appearance.
I'm confused. Is this track exactly as it appears on the LLL or is it different?
At least I'm complaining for something *missing*. For sure I will never complain for music added as bonus. 
