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You know what's funny about this "half a cue" that was missing, a glorious minute and twenty-second piece, BTW - no one save for Bond said boo about its not being on the previous release, not a one of the Goldsmith completists, and now we're being actually castigated by one "person" for including it. It's more than a little off-putting and Jeff can probably tell you why - this was supposed to announce almost a month ago. We were just going to clone the previous release and we knew we'd sell the 1000 and that would be that.
But as soon as Jeff told me about this, and I heard the cue in the film, I was determined to have it. We pulled every tape they had - first they could only find two tiny five-inch reels (that's where we found the alternate mix of the end title, which has a more prominent piano part in the bridge - that was used in the film, BTW) - I thought we were out of luck, but then they found the rest - five reels of 15ips tapes mis-filed under Breakfast Pass  I had those transferred at not a small expense, just in the hopes that the cue was there - it wasn't. I then had the DME pulled and had THAT transferred at great expense and I was going to put it on no matter what, but the quality of the transfer was quite good - just a bit more tape hiss was the worst of it. No sound effects, no dialogue. That all took three weeks to do and we figured Jerry fans would be thrilled and quite obviously some are.
But to have to endure this Spymaster sniggering is disgusting. After all, it's not as if the music-only track from a DME hasn't been used on many, many FSM releases, Intrada releases, and, wait for it, La La Land releases. There, I've said it and I'm glad and I know that those who make the purchase will love the score (one of my favorite Jerry's) and, I'm sure, having it complete.
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I'm trying to understand all this. The cue in question is a repeat of another cue, but edited differently?
Can the "edited" cue be left out by programming if the listener so chooses, with the music in that track remaining available (unedited) elsewhere in the CD?
If so, what's the problem?
I've ordered it despite having the LLL version.
To be really clear - there is one completely new to CD cue that wasn't on the previous release - that is all new and not edited at all - just its first release anywhere.
The cue you speak of is edited from two cues (and wonderfully so) both of which appear in their entirety on the CD. So, exactly - what IS the problem?
Sorry, this person has done this before and I have no doubt he'll do it again.
And no one should be scared off by the mono - it's GREAT mono, was mono in the film, and James Nelson's work (he did the previous CD) is great as always.
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I am glad to see this reissued, now more complete than ever.
I'll double dip this one, of course.
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There is NO PROBLEM, haineshisway!
You guys did good! YOR IS HAPPY!
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Posted: |
Apr 15, 2013 - 12:33 PM
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By: |
Mister L
(Member)
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I'm trying to understand all this. The cue in question is a repeat of another cue, but edited differently?
Can the "edited" cue be left out by programming if the listener so chooses, with the music in that track remaining available (unedited) elsewhere in the CD?
If so, what's the problem?
I've ordered it despite having the LLL version.
To be really clear - there is one completely new to CD cue that wasn't on the previous release - that is all new and not edited at all - just its first release anywhere.
The cue you speak of is edited from two cues (and wonderfully so) both of which appear in their entirety on the CD. So, exactly - what IS the problem?
Sorry, this person has done this before and I have no doubt he'll do it again.
And no one should be scared off by the mono - it's GREAT mono, was mono in the film, and James Nelson's work (he did the previous CD) is great as always.
Funny thing, i didn´t remember it being mono, in fact, it sounds almost stereo to my ears when i now listen to LLL version!
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Posted: |
Apr 15, 2013 - 12:53 PM
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By: |
Spymaster
(Member)
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But to have to endure this Spymaster sniggering is disgusting. After all, it's not as if the music-only track from a DME hasn't been used on many, many FSM releases, Intrada releases, and, wait for it, La La Land releases. There, I've said it and I'm glad and I know that those who make the purchase will love the score (one of my favorite Jerry's) and, I'm sure, having it complete.
This is rich considering the criticism you just levelled at Tadlow's re-recording of The Salamander which, I'll wager, took similar (if not more!) effort and expense to create!
And the moaning at LLL you used to do about clashing release dates.
And... etc etc!
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But to have to endure this Spymaster sniggering is disgusting. After all, it's not as if the music-only track from a DME hasn't been used on many, many FSM releases, Intrada releases, and, wait for it, La La Land releases. There, I've said it and I'm glad and I know that those who make the purchase will love the score (one of my favorite Jerry's) and, I'm sure, having it complete.
This is rich considering the criticism you just levelled at Tadlow's re-recording of The Salamander which, I'll wager, took similar (if not more!) effort and expense to create!
And the moaning you used to do about clashing release dates.
And... etc etc!
I supported the original poster and his right to an opinion based on LISTENING to a track. When you purchase our new Breakheart Pass and LISTEN to it, then you have a right to criticize should you feel the need, which you would. I had and have high praise for Tadlow and my posts reflect that in every one of their threads. My criticism, if you want to call it that, was of the blend of the piano for a short duration during one track, which is all I've heard. It's not even a criticism - it's a fact. You'll note I also said I have really liked their other releases and am very much looking forward to this one, which, BTW, I bought. But it's more fun to selectively quote, isn't it? Your agenda here is clear to all and I'm just going to tell you one last time: Stop.
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But it's more fun to selectively quote, isn't it? Your agenda here is clear to all and I'm just going to tell you one last time: Stop.
You really are a very defensive person, aren't you?
Hands up if my "agenda" is clear? Anyone?
Okay I'll stop.
To almost quote a line from Becket: Won't someone rid me of this meddlesome pest?
You'd be astonished at the number of hands that were just raised.
Go away. Now.
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Posted: |
Apr 15, 2013 - 1:14 PM
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By: |
jonnyquest
(Member)
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Bruce,
I try to avoid jumping in when the gripes and squabbles kick in, but once in awhile I want to use my voice to help support what you and all the labels do.
For god's sake, if someone doesn't like what's being offered, why even post? I know it's the culture of the web, but I'll just never get it. It must be a generational thing.
I'm not exactly "old", but I'm definitely of the generation who just never dreamed we'd see such releases. One of those people who dug and dug in LP bins way back when, "just in case" a miracle would happen and I'd find some soundtrack I knew didn't exist but never gave up hope for.
And back then, without the internet, all you could do was dig in bins. Then came the newsletters, mags and the rise of the film music specialty labels. And I still can't believe it, all this treasure and so little time to enjoy it! And week after week we're regaled with stuff that's a dream come true for many of us. But then, instantaneously, comes the endless bitching. Read my post about the release of the film version of Midway for my most (hopefully) eloquent rant on the subject.
Anyhow, I really think honest criticism can be fun, and in the style of a "club", it can be really great to get with all the other film music geeks and hear what people enjoy or don't. And thankfully, a lot of people here do share their point of view in a lively, fun to read way. But for the people who nit pick beyond all reason, I'm not trying to silence anyone. I'm just suggesting that members realize that this little golden era we're in is far from a permanent condition and our friends at the specialty labels put their livelihoods and fortunes on the line to bring this stuff to us. You can just tell how much hard work and passion goes into this, can't you? So why tear it down? And most of all, if you don't want it, just don't order it. Or if you order it but disklike a track or two (like, perhaps, the occasionally So-Odious-They're-Good source tracks) just skip them and cherish the rest!
In regard to the editorial track on Breakheart... Remember the film version of Capricorn One and the dynamite reconstruction of the LP version of "Break Out"? Or Williams' "Black Sunday", where we got to hear both the composer's version of the finale/end titles as well as the editorially created version - which we knew and loved from the movie. As I recall, most fans applauded these decisions and no one thought of them as an attempt to move more CDs or tease people into double-dipping. It's nice enough to have any music from these films, let alone a choice.
Personally I'm happy enough with my current Breakheart Pass to let another fan have one of the new copies. For myself, it reminds me to enjoy what I already have and save a few bucks for the next release that Bruce puts out there that I just gotta have. (Including the stage releases, which are equally stunning).
Thanks Bruce and my heroes at the other labels, too. I wish I could take you all out to dinner to thank you. And if you saw something on the menu you didn't want to order, you'd be welcome to scream at me about it, as payback for all the crap you take.
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