I hear it, - but given that you sometime can hear the woodwind's pads becaurse of the recording set-up, it could be the case here
it could also be a harp that had a string plucked - the sheet calls for harp at that spot, but I cannot see if it's directly at that spot where "the glitch" occur since it just has repeat signs
So while this may not be a glitch but just a mic than catches the sound very well, some of you might be concerned of you hearings
Man, this is playing for me better than I had hoped. Didn't think I would be much keen on the little additions, but I love the way they bring in snippets of the devil's glee club sooner into the body of the score.
This was my very first Goldsmith score album, and I even wrote part of an adolescent (in every sense) horror novel while listening to it in 1976. I got to know that album so well that it has never been as strong a listen to me in subsequent decades. But this version somehow restores that for me - must just be time.
This is part of the performance from the scoring stage, this is not a mistake and should not have been taken out which it wasn't. Thank you for your continued support of Varese and the quality products they produce.
Varese does a great job -- if not for Varese, we wouldn't have the soundtrack market as bountiful as it currently has been. Varese literally PIONEERED soundtrack releases and paved the way for Intrada, La-La Land and all of the others! If they want to re-issue The Omen, I am all for it!! It means that there ois still an interest and a market for this stuff, which means that other stuff can be financed.
DMD, do you think we might get THE FINAL CONFLICT: 35th Anniversary Edition?
Hey Rick do you work for Varese ? we know they do an ok job no one doubts that people can get a little hacked sometimes its expectation I know I bought this Omen deluxe edition its not complete Rick, but its the Omen/Goldsmith I can accept that I've collected Sarabande discs for a long-time. I do prefer there older discs though the black & silver's yes good-label.
Hey Rick do you work for Varese ? we know they do an ok job no one doubts that people can get a little hacked sometimes its expectation I know I bought this Omen deluxe edition its not complete Rick, but its the Omen/Goldsmith I can accept that I've collected Sarabande discs for a long-time. I do prefer there older discs though the black & silver's yes good-label.
No, I do not work for Varese, just enjoy supporting a great label.
I second the idea for The Final Conflict getting an upgrade.
The DE is fantastic though, but more of a great score is always welcome and appreciated.
The Omen additions are really great cues, and I'm certainly loving the score.
Final Conflict would be lovely, I do like those extra unreleased cues, especially the park walk sequence leading up to the suicide. I'm happy with Damian, but would welcome a sound upgrade.
The Omen (40th) CD has been in my car since it arrived and I've listened to it almost every day (my niece loves it) and it just never gets tiresome. "Mother's Death" and "Fatal Fall" are excellent, but maybe the eeriest moment occurs in "Have no Fear" with those high pitched strings that come in as Baylock and Damian exchange that knowing look right before they cut back to the hallway shot of her closing the bedroom door. That is such an effective moment done with such a short cue. They just don't spot movies like this anymore.
GoblinScore quote: Townson also notes the film versions of The Altar & the Dog are lost, which will please Rutherford greatly....
I know this is an almost two year old thread, but this comment caught my eye. Did Townson mention this in an interview somewhere? Because I can't find it in the 40th CD liner notes. And what he does write about "The Dog" is a little misleading:
"The story resumes at Damien's fifth birthday party. The first of the previously unreleased, but also unused, cues was composed for the harrowing scene of Damien's Nanny hanging herself in front of the children, proclaiming 'It's all for you', before her body crashes through an upstairs window. This is followed by The Dog, a short and also unused bit of music for the mysterious rottweiler in the yard."
The problem is that Townson doesn't mention that before the Nanny hangs herself, there is the scene where she spots the rottweiler and their eyes lock. This is where the infamous synth cue is first heard in the film; an urgent, thumping, bass synth. It has never been included on any music release, nor was it heard on the isolated music tracks of the late 1995 Laserdisc and subsequent Blu-ray.
What IS heard on the laserdisc and Blu-ray isolated tracks is what ultimately arrived on the 40th Anniversary CD – the unused "The Dog" cue to which Townson refers in his liner notes. But his notes are conspicuous by very the absence of any mention of the synth cue.
When news of the 40th CD broke, and I saw that "The Dog" was listed, like many of you, I was excited to finally get a remastered isolated version of that thumping synth. When it turned out to be the same cue as presented on the isolated tracks of the Laserdisc and Blu-ray, I was crushed. Yes, it took me awhile to arrive at this FSM thread but when I read GoblinScore's post, I was excited all over again. I thought maybe I'd had missed Townson's mention of the synth cue, after all.
But no. I just read them again. Townson says nothing about it being "lost." So that's why I figured GoblinScore must have read it or heard it from a Townson interview elsewhere.
Incidentally, this same synth music was used in rare TV commercial promoting Damien–Omen II:
GoblinScore quote: Townson also notes the film versions of The Altar & the Dog are lost, which will please Rutherford greatly....
I know this is an almost two year old thread, but this comment caught my eye. Did Townson mention this in an interview somewhere? Because I can't find it in the 40th CD liner notes. And what he does write about "The Dog" is a little misleading:
"The story resumes at Damien's fifth birthday party. The first of the previously unreleased, but also unused, cues was composed for the harrowing scene of Damien's Nanny hanging herself in front of the children, proclaiming 'It's all for you', before her body crashes through an upstairs window. This is followed by The Dog, a short and also unused bit of music for the mysterious rottweiler in the yard."
The problem is that Townson doesn't mention that before the Nanny hangs herself, there is the scene where she spots the rottweiler and their eyes lock. This is where the infamous synth cue is first heard in the film; an urgent, thumping, bass synth. It has never been included on any music release, nor was it heard on the isolated music tracks of the late 1995 Laserdisc and subsequent Blu-ray.
What IS heard on the laserdisc and Blu-ray isolated tracks is what ultimately arrived on the 40th Anniversary CD – the unused "The Dog" cue to which Townson refers in his liner notes. But his notes are conspicuous by very the absence of any mention of the synth cue.
When news of the 40th CD broke, and I saw that "The Dog" was listed, like many of you, I was excited to finally get a remastered isolated version of that thumping synth. When it turned out to be the same cue as presented on the isolated tracks of the Laserdisc and Blu-ray, I was crushed. Yes, it took me awhile to arrive at this FSM thread but when I read GoblinScore's post, I was excited all over again. I thought maybe I'd had missed Townson's mention of the synth cue, after all.
But no. I just read them again. Townson says nothing about it being "lost." So that's why I figured GoblinScore must have read it or heard it from a Townson interview elsewhere.
Incidentally, this same synth music was used in rare TV commercial promoting Damien–Omen II:
Howdy Bisson - I'm never one to just toss info out there, learned that lesson (Ford! Had to school him over a decade ago!). You guys and this dog music, gee whiz!
My source is the 40th anniversary cd, page 13 (counting the cover). End of the second paragraph reads: "Unfortunately the option to include both versions of the cue (The Altar), on this new cd did not exist. Sadly, and ironically, the master recording of the version which is heard in the film is (at least for the time being) lost, as is the film version of 'The Dog'.
Comprende? ;-)
Incidentally, get you 666 copy Ltd. Vinyl of THE OMEN announced today at Varese....of the old 35min. program. Ahem....
Cheers Bisson, tongue firmly in cheek in my reply, I hope you know!
Is there any reason to pick this up instead of the Deluxe (the latter got robbed from me and I need a new copy)?
Yes this includes the most complete version of the score, with 6 tracks that were not included in the deluxe (Fatal Fall/Is All For You; The Dog; Have No Fear; She’ll Die; Father Spiletto and Mother’s Death). I like them all, specially the eerie Father Spiletto.
Some complain about the still missing “dog synths” for the babysitter’s demise, but it is not clear if that music was actually composed by Goldsmith (his original music for the scene is included), and for the choral whispers when the dog walks in the house when Mr. Thorn returns to the house at the end - but this edition is the best and most complete there is.
As for The Altar it always seemed to me that the movie simply uses tracked music (from Don’t Let Him from 1:52 to the end) but not new music.
Is there any reason to pick this up instead of the Deluxe (the latter got robbed from me and I need a new copy)?
Yes this includes the most complete version of the score, with 6 tracks that were not included in the deluxe (Fatal Fall/Is All For You; The Dog; Have No Fear; She’ll Die; Father Spiletto and Mother’s Death). I like them all, specially the eerie Father Spiletto.
Some complain about the still missing “dog sinths” for the babysitter’s demise, but it is not clear if that music was actually composed by Goldsmith (his original music for the scene is included), and for the choral whispers when the dog walks in the house when Mr. Thorn returns to the house at the end - but this edition is the best and most complete there is.
To be clear, I think this is the COMPLETE Jerry Goldsmith recordings for this score, EXCEPT that a few seconds is lost from the end of the original 'The Altar' in the join with the opening title.
Any other music was created editorially from other sources. I think someone actually posted where the synthesized dog music comes from. I seem to remember it was something linked to football, bizarrely enough.
It would have been nice to include them as a bonus, perhaps, along with the separated 'The Altar' and 'Opening Title', but, really, apart from those few seconds lost in that join between 'The Altar' and 'Opening Title', I think this is everything Goldsmith composed and recorded for the film.
