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| This is a comments thread about FSM CD: Poltergeist |
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I'm with Joffa.
Cheers!
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Glad you're enjoying it, Bluebell. For the record, "The Jewelry" and "Let's Get Her" is what it says on Goldsmith's manuscript and on all the scoring documentation and cue sheet. The corresponding titles on the Rhino release were made up at the time (by me, as it turns out). The improvement in sound quality is mainly attributable to advancement of technology and to spending an unusual amount of time working with a recording that is, for whatever reason, inherently high maintenance.
Mike
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Why isnt there a Grammy category for all the wonderful restorative work Mike and others have done?
You know that makes me think...
As many of you know my love if film music. There isn't any award for this, but how do you think any of these awards ever started? Someone could easily come up to the plate and start this type. Spend some money on a VERY nice award, then have labels or folks or whoever nominate such and such CD's and/or designers etc. and then pick a winner. It makes me wonder if maybe I could do this.
Maybe I'm just being silly, but I'm always thinking. I do think an award or something would be most grand for some of these gorgeous releases.
And by the way, I think Poltergeist was a WONDERFUL ending to 2010. The CD is just wonderful. I'm listened to it a few times and the notes were great, it said Jerry had a few months to actually work on it so that's great. Great job FSM.
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Why isnt there a Grammy category for all the wonderful restorative work Mike and others have done?
dont you think 799 categories is enough?
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Most of us were annoyed about the Rhino release because the LP sounded much, much better. The FSM release sounds more like it. Call it a matter of taste if you will, but I A/B'ed the Rhino and the FSM when I first got it, and one sounds veiled and indistinct (Rhino) and the other sounded clear and powerful (FSM).
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More home run-ness, and why I will always ignore downloads
and buy real albums.....
the notes are terrific, probably the only way we'll get any behind
the scenes anything on this film (how did you find out about the
'Broken Glass' deleted scene?). Will we ever find out why that
horrible jump cut from the Freeling's bathroom, to the couple outside
Ben's house exists?
The biggest coup for me was reading the freakin LA Philharmonic
played this score - I KNEW it sounded special for a reason!!!!
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Now with both the "C&C" score and the "album" arrangement released with the same sound quality how does you rank one presentation compared to the other?
For me this score is much improved in its complete form, every single track is great and add to the listening experience. I was never a fan of the album sequencing on this one.
Well, they're different, for different purposes. I happen to like both very much, with a slight preference for the complete version. The album suites are very well-done, however, and give a very different spin to the score.
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