I will probably buy this because of my addiction to Goldsmith, but I would really like some material that has not been released a thousand times before.
I will probably buy this because of my addiction to Goldsmith, but I would really like some material that has not been released a thousand times before.
Hey I own every planet if the apes 1968 release on cd. I get it
I will probably buy this because of my addiction to Goldsmith, but I would really like some material that has not been released a thousand times before.
Then you'll be happy with the 4 tracks never released before!
Just joking, but I think that it is Ok to rerelease something (specially if there's room for improvement, which is the case nere), to those who don't want it just don't buy it.
There's still lots of previously unreleased scores comming out regularly.
[startquoteI will probably buy this because of my addiction to Goldsmith, but I would really like some material that has not been released a thousand times before.
I'm pleased when there are worthwhile improvements, but I do fear I'm buying more and more of my collection all over again recently. A pity the previous releases weren't good enough in the first place. Then I'd be more likely to hang on to them and pass over a re-release. But it's amazing what a lot of rubbish presentations I've bought in the not-so-distant past that desperately NEED re-mastering and a further purchase (like this one). But I suppose the 2018 re-release of another 1000 Poltergeist II CDs (or more likely some kind of hi-res download) will be even better and tempt us all again...
I want to say it's sometimes not about doing it right or wrong - everyone, I think, does what they think is best. But all producers are different, have different aural tastes, and want to make the best thing they can. Whether we succeed or not is another story, but I think eventually people who like the best sound they can get, learn which producers have that aesthetic. I think that will vary from person to person. I am so picky and specific about what I like that when I get a really good recording all I want to do is make that as clean and beautiful and musical as I can and thankfully my partner in crime knows what I like and he has great ears and we rarely have to go beyond his first pass at things because invariably it's what I want to hear - occasionally I may ask for a little this or that, but that doesn't happen very often these days.
That's why some say they're happy with the Varese or they're happy with the Intrada or even the first short release. Minimally for Goldsmith fans, this is now finally complete and has some fun bonus stuff. I can't begin to try and second guess other people's decisions as to what's included and not included on their CDs - their CDs are theirs to do with as they please. Being a Goldsmith fan myself, there was no question I was going to revisit this when I found no one else had gone after it.
I have to say if I have a favorite composer or score and a new version of something I already have comes out I always buy it. Sometimes it's better and I'm thrilled. Sometimes it's not but that's just my taste and I don't feel I've been forced to buy anything and I keep what I like and get rid of what I don't like.
I'm not real versed in the technical side of music. Can someone explain what is meant by a "Wet orchestra"?
"Wet" and "Dry" are a Recording Engineer and Producer's term for Reverb.
"Wet" means LOTS of Reverb
"Dry" means NO Reverb.
No insults intended here, but "close miking" and other mic placement techniques are often confused with "Wet" and "Dry" Reverb settings.
Hope that helps.
Then put me down for "Wet". According to this definition, old LP recordings of scores like "Murderer's Row" and the Leroy Holmes UA LP's of "Prisoner of Zenda", "Citizen Kane","A Star is Born", and "King Kong" must be "soaking wet", as well as the original "Jaws" on the MCA label. I LOVE reverb.
Bruce, I'm glad that you're still willing to participate in this forum, given a lot of the negative comments thrown in your direction. And I've always LOVED any of the releases I've purchased from your label; I'm sure this will be no different.
Admittedly, I am getting more and more excited to hear this as the release day draws near. And I have a strong feeling that this one is going to sell out fast. Wasn't Carrie a quick sellout? I think Poltergeist II will be similar.
Bruce, I'm glad that you're still willing to participate in this forum, given a lot of the negative comments thrown in your direction. And I've always LOVED any of the releases I've purchased from your label; I'm sure this will be no different.
Admittedly, I am getting more and more excited to hear this as the release day draws near. And I have a strong feeling that this one is going to sell out fast. Wasn't Carrie a quick sellout? I think Poltergeist II will be similar.
I thought Carrie was going to be a very quick sell out but it took over a week. I suspect this will be similar but who knows for sure. The negative comments always come from the exact same people or "new" board members who I suspect are "old" board members under yet another name. It's been going on for a long time, is predictable, and a bore, but we know it's going to invariably happen so it's kind of amusing to watch how fast.
I'll say one thing for this thread...I've played my Intrada expanded CD more this past week than I ever did! It's still a hit-or-miss score for me, but I do love the Late Call theme. The shaman theme also grew on me a bit more too. The sound is actually very good - to my ears - on the Intrada and will do for me.
I had posted this list of the complete cue titles to my knowledge at the time. For the sake of discussion I will post it here again with some additional embellishment (and some corrections on my part). Keep in mind that the new Kritzerland edition may have different cue titles from these. Enjoy!
The Power - A magnificent showpiece. This cue introduces most of the score's major ideas within about 8 minutes. The arpeggio for Taylor, the expansive power motif, the housing motif from the original, an embryonic development of Kane's bass tone, and Carol Ann's theme.
Things - This cue was titled as "The Gift" on the Intrada limited edition. It's the first quote of Grandma Jess's theme, as well as the ominous bass tone for Reverend Kane when we see drawings of him.
The Mall - This was called "Where Are You?" on the Intrada expanded edition. Even more of the threatening bass theme for Kane and the first quotes of the actual Christian hymn "God is in Holy Temple." Also Carol Ann's theme and some major suspense going on.
Scary Vision - previously unreleased. Basically a quick stinger motif heard in "Rebirth" from the first Poltergeist followed by a pensive keyboard melody.
Late Call - This cue contains the "phone ring effect" on each release EXCEPT the Intrada limited edition. (Also of note: this track consists of two separate cues heard in the film: Late Call and Diane's Memories of her mom). This could almost be a concert piece, as it's a standalone reading of Grandma Jess's theme.
Scary Nightmare - previously unreleased. From what I remember this is an orchestra variation of the hymn chant, very violent but brief cue that uses a lot of percussion.
They're Back - Apparently the Krizterland release will contain a different title for this cue. It's the first time we hear Henry Kane's hymn tune played in the form of a choral chant. Truly bizarre. The second half showcases a rhythmic figure denoting panic.
Friendly Voice - previously unreleased. A very nice take on the Grandma Jess theme.
Butterflies - This is one of those "short cues" that Goldsmith allowed for the first expanded edition. It's a nice reading of Taylor's theme with some "Kane-like" bass hits at the end.
The Visitor - This cue was included on the Varese Deluxe edition and could only be found there at the time. There is a diabolical church organ and really creepy choral effects in this cue! Also a lengthy workout of the bass tone.
Wild Braces - This cue was called "Dental Problems" on the Intrada limited edition. Apparently, this cue eliminated the choral chanting in the finished picture. Also of note is how colorful this music is. The electronics and the whispering are particularly slimy sounding here. Not to mention a jagged version of Carol Ann's theme.
Leave Us Alone - This cue was called "The Plan" on the Intrada limited edition. The Varese Deluxe edition added the brief suspense music as Diane greets Tangina at the front door. This small tag was missing from the Intrada limited.
The Smoke - A highlight. Taylor's theme, and the power motif returns for the first time, as Taylor prepares dad for battle. Also features sepulchral moaning from the chorus.
The Bottle - previously unreleased. This has creepy vocals and a lonely touch of Carol Ann's Theme ... basically more of the same can be found in The Worm. If I remember right, "The Bottle" and "the Worm" segue together.
The Worm - This track is actually two cues combined into one long set piece. On the Intrada limited edition, this was called "The Worm/Vomit Creature." Major drama comes into focus in this cue. An oddly emotional version of Kane's hymn tune as well.
Back to Cuesta Verde - Much of this was eliminated from the final picture. It has more of the same percussive effects heard in Scary Dream. (Careful listening will reveal a quote of the "Rebirth" arpeggio from the first film, played on harp.) The music calms down with a classic take of the housing motif.
Reaching Out - Another piece that was severely truncated in the finished picture. Goldsmith focuses on the family material and dare I say it even hints at new ideas unheard elsewhere.
Carol Ann's Theme - A straightforward rendition of her theme with electronic ornamentation.
So all in all, the complete score is about 65 mins long for the score proper.
I'm not real versed in the technical side of music. Can someone explain what is meant by a "Wet orchestra"?
"Wet" and "Dry" are a Recording Engineer and Producer's term for Reverb.
"Wet" means LOTS of Reverb
"Dry" means NO Reverb.
No insults intended here, but "close miking" and other mic placement techniques are often confused with "Wet" and "Dry" Reverb settings.
Hope that helps.
The room that this score was recorded in has beautiful acoustics and natural ambience (reverb).
This is GREAT News! Nothing better than capturing the "natural" reverb of a great room instead of pumping in gobs of "artificial" reverb (unless there's no other option, that is!).
Really interesting discussion and I can understand how those that do these kinds of things for a living would have very strong feelings regarding how a score should be heard. I do believe as in any art form there should be some "standards" when it comes to mastering. At the same time it often comes down to personal preferences. We are human with different sensitivities after all.
Often for myself, what sounds right is what I am accustomed too. If I fell in love with a score as it was heard in the film or on an LP and a remaster deviates to much from that, I'll probably won't like it. Even if the remaster is more accurate to the original recording, or the phrase that drives me bats, "it's what the composer originally intended", which means nothing, zilch to me.
Poltergeist II The Other Side complete score is what i wished for when i first bought the lp. although it was back than a great Jerry Goldsmith experience, Intrada made it already complete almost with the decision of Jerry and Doug. for years and now i love this edition. the deluxe varese sound was for me in no comparing with the Intrada sound. i wrote that a year ago on the the Intrada forum. so my conclusion is,at least for me is,own the Intrada version and buy the Kritzerland edition. When can i ordered it and not mis it?
