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 Posted:   May 26, 2013 - 5:14 AM   
 By:   spook   (Member)

... and with noise reduction...



Thanks for your efforts mate

 
 Posted:   May 26, 2013 - 5:56 AM   
 By:   Mr. Jack   (Member)

Nancy Allen nip slip... eek

 
 
 Posted:   May 26, 2013 - 11:57 AM   
 By:   Kev McGann   (Member)

She sure looked FINE in her PRIME!!

 
 Posted:   May 26, 2013 - 7:48 PM   
 By:   Mr. Jack   (Member)

She sure looked FINE in her PRIME!!

De Palma was one lucky man. big grin

 
 Posted:   Jun 4, 2013 - 7:44 AM   
 By:   WillGoldNewtonBarryGrusin   (Member)

Got my copy today - sheer brilliance.

Definitely one of the best thriller scores in film history.

 
 
 Posted:   Jun 6, 2013 - 6:57 AM   
 By:   Vermithrax Pejorative   (Member)

Thumbs UP from me on this one too!
It's weird hearing the music 'out of order' after being so used to the old track set, but the music itself is truly stunning and gorgeous! Such a classy score.
Some of the extras are a bit superficial and don't really add to the listening experience - I especially don't like hearing the final Nightmare music excerpted so early in that short cue near the start - but other tracks, like Chased By Hoods, the Peter camera music and the title track are a joy to hear here.
The sound and notes are a big improvement on the old Varese and while it is slightly disappointing they couldn't bag that missing cue noted above, this still deserves a round of applause to Intrada for their sterling efforts!
This Pino fan is very happy! smile

 
 Posted:   Jul 2, 2013 - 1:11 PM   
 By:   Ryan Clark   (Member)

I was finally able to get a copy of this, and I LOVE it! I just have one question... does anyone know why Intrada decided to reprise the nightmare music from the ending as the third track called "Bad Night"? I don't recall this music being used that early in the film, though it was used during the asylum sequence at the end. I don't mind hearing that particular piece of music again, because it's fantastic, but it's jarring to hear that so early in the score and it doesn't match up with the film.

 
 Posted:   Jul 2, 2013 - 1:14 PM   
 By:   Jason LeBlanc   (Member)

I was finally able to get a copy of this, and I LOVE it! I just have one question... does anyone know why Intrada decided to reprise the nightmare music from the ending as the third track called "Bad Night"? I don't recall this music being used that early in the film, though it was used during the asylum sequence at the end. I don't mind hearing that particular piece of music again, because it's fantastic, but it's jarring to hear that so early in the score and it doesn't match up with the film.


Good question. I'd ask on Intrada's board:

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=5580

 
 Posted:   Jul 2, 2013 - 1:33 PM   
 By:   Shaun Rutherford   (Member)

I was finally able to get a copy of this, and I LOVE it! I just have one question... does anyone know why Intrada decided to reprise the nightmare music from the ending as the third track called "Bad Night"? I don't recall this music being used that early in the film, though it was used during the asylum sequence at the end. I don't mind hearing that particular piece of music again, because it's fantastic, but it's jarring to hear that so early in the score and it doesn't match up with the film.

Too many releases, not enough quality control?

 
 
 Posted:   Jul 2, 2013 - 5:46 PM   
 By:   haineshisway   (Member)

I wanted to love it, but no cigar. Since Intrada has been known to critique other labels' releases (including ours) turnabout is fair play. This is all my opinion, of course, but I must tell you I've heard similar comments from several of my soundtrack buddies so I'm not alone in this - Mr. Donaggio has a very specific sound - it can be heard in every score release of his and that sound, whatever one may think of it, is not DRY. Listen to The Berlin Affair or the Ordeal by Innocence score we did, listen to Carrie, listen to Blow Out and especially listen to the Varese Dressed to Kill, which is still the go-to version of this score unfortunately, at least for me. Mr. Donaggio likes a wet sound - whether that's in the room naturally or whether he has it added himself (and let me tell you that's exactly what he did on Berlin Affair and Ordeal By Innocence - the reverb is on the session tape just the way you hear it on our CD) - it's his "sound" and hearing Dressed to Kill completely dry robs the score of just about everything that makes it uniquely Donaggio in my opinion. It makes the music and orchestra sound small and it robs the music of its lushness. I'm happy others are enjoying it and I'm certainly happy there's more music, but this is my opinion and I felt perfectly fine in offering it given that Intrada has offered criticism of any number of releases by others.

 
 Posted:   Jul 2, 2013 - 6:36 PM   
 By:   ZapBrannigan   (Member)

listen to Carrie

That's a good CD: superb score, perfect presentation. I won't pass on an opportunity to endorse it.

http://www.kritzerland.com/carrie.htm

 
 
 Posted:   Jul 2, 2013 - 9:41 PM   
 By:   propinquity   (Member)

deleted

 
 
 Posted:   Jul 2, 2013 - 10:19 PM   
 By:   haineshisway   (Member)

The wettest soundtrack I've heard is Varese's release of Williams' Dracula, the second have of which sounds like it's under water.

Nothing about the Donaggio sound is "too" wet - it's just the sound he loves and it's very consistent. It's really simple - listen to the Varese then the new one - if you don't hear it I cannot help you. smile

 
 Posted:   Jul 3, 2013 - 1:17 AM   
 By:   spook   (Member)

I wanted to love it, but no cigar. Since Intrada has been known to critique other labels' releases (including ours) turnabout is fair play. This is all my opinion, of course, but I must tell you I've heard similar comments from several of my soundtrack buddies so I'm not alone in this - Mr. Donaggio has a very specific sound - it can be heard in every score release of his and that sound, whatever one may think of it, is not DRY. Listen to The Berlin Affair or the Ordeal by Innocence score we did, listen to Carrie, listen to Blow Out and especially listen to the Varese Dressed to Kill, which is still the go-to version of this score unfortunately, at least for me. Mr. Donaggio likes a wet sound - whether that's in the room naturally or whether he has it added himself (and let me tell you that's exactly what he did on Berlin Affair and Ordeal By Innocence - the reverb is on the session tape just the way you hear it on our CD) - it's his "sound" and hearing Dressed to Kill completely dry robs the score of just about everything that makes it uniquely Donaggio in my opinion. It makes the music and orchestra sound small and it robs the music of its lushness. I'm happy others are enjoying it and I'm certainly happy there's more music, but this is my opinion and I felt perfectly fine in offering it given that Intrada has offered criticism of any number of releases by others.

I agree with you. I read all the love for the new release and am happy to have the extra tracks but, as a score i absolutely love, its the Varese version that i'll still mostly go to. The new sound just seems thin and lifeless to me with the wonderful MUSEUM track just not having the same building sweeping mood that left me stunned so many times. The big REVELATION track at the end also seems to lose its magic when the slashing strings come in. To each his own i guess but its the Varese all the way for me.

 
 Posted:   Jul 3, 2013 - 5:04 PM   
 By:   Ryan Clark   (Member)

I wanted to love it, but no cigar. Since Intrada has been known to critique other labels' releases (including ours) turnabout is fair play. This is all my opinion, of course, but I must tell you I've heard similar comments from several of my soundtrack buddies so I'm not alone in this - Mr. Donaggio has a very specific sound - it can be heard in every score release of his and that sound, whatever one may think of it, is not DRY. Listen to The Berlin Affair or the Ordeal by Innocence score we did, listen to Carrie, listen to Blow Out and especially listen to the Varese Dressed to Kill, which is still the go-to version of this score unfortunately, at least for me. Mr. Donaggio likes a wet sound - whether that's in the room naturally or whether he has it added himself (and let me tell you that's exactly what he did on Berlin Affair and Ordeal By Innocence - the reverb is on the session tape just the way you hear it on our CD) - it's his "sound" and hearing Dressed to Kill completely dry robs the score of just about everything that makes it uniquely Donaggio in my opinion. It makes the music and orchestra sound small and it robs the music of its lushness. I'm happy others are enjoying it and I'm certainly happy there's more music, but this is my opinion and I felt perfectly fine in offering it given that Intrada has offered criticism of any number of releases by others.

You know, as much as I love this CD, I have to say I agree with you. It's the main reason why I've kept the MP3s of the Varese CD on my computer along with the Intrada, rather than deleting them. The Intrada sounds VERY different, and while a part of me likes being able to hear the exact number of instruments Pino used in the studio, it really doesn't sound at all like the score as heard in the film.

 
 
 Posted:   Jul 4, 2013 - 7:03 AM   
 By:   Vermithrax Pejorative   (Member)

It's a split decision for me.
I agree the Museum and Finale sequences sound somewhat flatter - less full? - than the Varese CD, but the extra cues and the fact I am hearing instruments FOR THE FIRST TIME in this score more than makes up for the thinner sound on offer.
Of course, I have BOTH CD's so it's a win/win for me. Both will receive air time from me.

 
 
 Posted:   Jul 4, 2013 - 8:55 AM   
 By:   Vermithrax Pejorative   (Member)

I must add the Varese CD was never going to be retired anyway because their original LP/CD order of play - not in film order - is the one I have grown used to down the years.

 
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