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Since the original thread got..."busted", shall we say, let's return to an appreciation of this fine thriller.
Anyone who bothers to spin this on home video will discover a prescient tale that presages some of the paranoia of our current time. It's not among DePalma's greatest achievements, yet some sequences are spectacular and the overall tone of the picture is fun and sardonic.
The score helps balance the line the narrative treads between camp and homicidal intent. And it provides a nice core of humanity for the relationship between Jack and Sally.
John Lithgow's Burke could serve as a stand-in for all the stunted personalities that surround us who imagine themselves as "highly placed political operatives". This was based, no doubt, on the kind of frustrated folk like Lee Harvey Oswald or James O'Keefe who think of themselves as "citizen avengers", for whom subterfuge or murder is a legitimate means of twisting the political winds in their favor.
To the doubters: Check it out! You'll love the owl perched above the bridge!
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I actually love, much like the "Calisthenics" cue from Carrie, the source music for the slasher movie. Not sure about how they sequenced it here, but whatever. Still cheesy and great.
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I actually love, much like the "Calisthenics" cue from Carrie, the source music for the slasher movie.
I have "Calesthenics" as my ringtone at the moment and it annoys THE CRAP out of my girlfriend.
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I actually do consider this one of De Palma's greatest achievements, along with CARLITO'S WAY. This is also my favorite Pino-De Palma collaboration. The "Jack Rescues Sally" cue had such an impact on me in the theater. And then the love theme and the downbeat ending… The only flaw with the film is Nancy Allen's performance, which I think brings the film down to a nine instead of a ten.
Agree. The "cheap" sound of the orchestra in "Jack Rescues Sally" should bother me, but strangely it doesn't.
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As I said on the other thread, I missed the previous release of the score so will definitely be picking up the Intrada release. Nice one. Thanks Intrada.
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Can anyone confirm that the sound quality of this reissue is improved over the previous CD release from Prometheus? I've been putting off buying this since I already own the old CD, but a genuine bump in sound quality might be enough to get me to take the plunge.
Well they both use the exact same source so the sound is comparable.
Either way it's a wonderful score and I'm sure you'll enjoy it have a happy new year.
Ford A. Thaxton
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Can anyone confirm that the sound quality of this reissue is improved over the previous CD release from Prometheus? I've been putting off buying this since I already own the old CD, but a genuine bump in sound quality might be enough to get me to take the plunge.
Hi Ryan,
I have both CDs and have listened to them both thoroughly so feel like I can comment objectively. Blowout is one of my favourite films and scores which is the main reason I bought the Intrada release. Overall if you are looking for a clearer/improved sonic presentation on the Intrada version, I probably wouldn't recommend it based on that alone. I noticed the Intrada version to have more "hiss" than the Prometheus but it's not dramatic (The tech talk on the Intrada website states - "We also kept noise reduction and other sonic alterations to the music down to a minimum" which would explain the hiss). I have flicked between Intrada and Prometheus releases comparing tracks and overall they both sound good to me.
There is something that I noticed and someone might be able to help me. Track 4 (Jack On The Move) on Prometheus and track 5 (Jack Leaves Cutting Room) on Intrada start out the same but the Prometheus track is longer with more music. I've been unable to find the extra music on the Intrada release. Someone on this forum might be able to shed some light on this.
Anyway, hope this helps and I'd be happy to answer any other questions you have.
Herein you touch on a philosophical difference when it comes to mastering. Whenever you do any noise reduction processing, you inherently are also impacting the music. Intrada's preference is to remove only enough hiss and artifacts as possible without noticeably effecting the high end of the music itself. However, I know one producer who detests hiss and will remove it entirely. So there is a trade-off, between having a quiet, clean recording and a slightly noisier one but with a crisper high end. That is the case between the two Blow Out releases. There is no right or wrong way, but those who don't care are in the best position because they can enjoy either. The extra fun fact -- as you get older your ability to hear high end deteriorates over time, so someone who is say 65 might not be able to hear a difference between recordings anyway!
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Posted: |
Jan 2, 2015 - 9:38 PM
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By: |
jkannry
(Member)
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Can anyone confirm that the sound quality of this reissue is improved over the previous CD release from Prometheus? I've been putting off buying this since I already own the old CD, but a genuine bump in sound quality might be enough to get me to take the plunge.
Hi Ryan,
I have both CDs and have listened to them both thoroughly so feel like I can comment objectively. Blowout is one of my favourite films and scores which is the main reason I bought the Intrada release. Overall if you are looking for a clearer/improved sonic presentation on the Intrada version, I probably wouldn't recommend it based on that alone. I noticed the Intrada version to have more "hiss" than the Prometheus but it's not dramatic (The tech talk on the Intrada website states - "We also kept noise reduction and other sonic alterations to the music down to a minimum" which would explain the hiss). I have flicked between Intrada and Prometheus releases comparing tracks and overall they both sound good to me.
There is something that I noticed and someone might be able to help me. Track 4 (Jack On The Move) on Prometheus and track 5 (Jack Leaves Cutting Room) on Intrada start out the same but the Prometheus track is longer with more music. I've been unable to find the extra music on the Intrada release. Someone on this forum might be able to shed some light on this.
Anyway, hope this helps and I'd be happy to answer any other questions you have.
Herein you touch on a philosophical difference when it comes to mastering. Whenever you do any noise reduction processing, you inherently are also impacting the music. Intrada's preference is to remove only enough hiss and artifacts as possible without noticeably effecting the high end of the music itself. However, I know one producer who detests hiss and will remove it entirely. So there is a trade-off, betweenc having a quiet, clean recording and a slightly noisier one but with a crisper high end. That is the case between the two Blow Out releases. There is no right or wrong way, but those who don't care are in the best position because they can enjoy either. The extra fun fact -- as you get older you're ability to hear high end deteriorates over time, so someone who is say 65 might not be able to hear a difference between recordings anyway!
That's an excellent way to explain it and makes sense. I remember age of classical on air and for a while was convinced hiss and noise wete just a part of all classical recordings.
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Posted: |
Jan 3, 2015 - 2:34 AM
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By: |
JoshOz
(Member)
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Can anyone confirm that the sound quality of this reissue is improved over the previous CD release from Prometheus? I've been putting off buying this since I already own the old CD, but a genuine bump in sound quality might be enough to get me to take the plunge.
Hi Ryan,
I have both CDs and have listened to them both thoroughly so feel like I can comment objectively. Blowout is one of my favourite films and scores which is the main reason I bought the Intrada release. Overall if you are looking for a clearer/improved sonic presentation on the Intrada version, I probably wouldn't recommend it based on that alone. I noticed the Intrada version to have more "hiss" than the Prometheus but it's not dramatic (The tech talk on the Intrada website states - "We also kept noise reduction and other sonic alterations to the music down to a minimum" which would explain the hiss). I have flicked between Intrada and Prometheus releases comparing tracks and overall they both sound good to me.
There is something that I noticed and someone might be able to help me. Track 4 (Jack On The Move) on Prometheus and track 5 (Jack Leaves Cutting Room) on Intrada start out the same but the Prometheus track is longer with more music. I've been unable to find the extra music on the Intrada release. Someone on this forum might be able to shed some light on this.
Anyway, hope this helps and I'd be happy to answer any other questions you have.
Herein you touch on a philosophical difference when it comes to mastering. Whenever you do any noise reduction processing, you inherently are also impacting the music. Intrada's preference is to remove only enough hiss and artifacts as possible without noticeably effecting the high end of the music itself. However, I know one producer who detests hiss and will remove it entirely. So there is a trade-off, between having a quiet, clean recording and a slightly noisier one but with a crisper high end. That is the case between the two Blow Out releases. There is no right or wrong way, but those who don't care are in the best position because they can enjoy either. The extra fun fact -- as you get older your ability to hear high end deteriorates over time, so someone who is say 65 might not be able to hear a difference between recordings anyway!
Roger,
Thanks for presenting your perspective on this. What you said is pretty much exactly how I feel about the two recordings. The Intrada release is excellent, but not exclusively for the mastering. The whole package is what made me buy it. Like I said in my original repsonse to the question, the hiss doesn't detract from the listening experience. I probably should have also mentioned that I don't always hear the hiss. If you listen at high volumes or with headphones (and still have young ears) you'll notice it more on some tracks than others.
Roger, do you know anything regarding my question about the difference in the tracks I mentioned in my original post? Please forgive me in advance if it's something I missed in the liner notes and is really obvious but it's just one of those things that I'd like to know about.
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