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FOR IMMEDIATE RELEASE:
WALT DISNEY RECORDS INTRODUCES HIGHLY ANTICIPATED EXPANDED REISSUE OF TRON.
Wendy Carlos's groundbreaking score is the latest release in the "Disney
Original Soundtrack" series.
BURBANK, CA-Building on its popular "Disney Original Soundtrack" series,
Walt Disney Records is rolling out a new addition the re-release of Tron.
Offered at bargain Soundsaver prices, this series of timeless and
unforgettable favorites includes such classics as Aladdin, Mary Poppins, The
Jungle Book, Toy Story, Cinderella and Pocahontas. The newest member of the
collection hit retail outlets nationwide on January 29, 2002.
This release marks the first time the Tron soundtrack has been made
available since its original release in LP format on CBS Records nearly two
decades ago. Walt Disney Records worked with the film's original composer,
Wendy Carlos, to restore and remaster the original soundtrack for this
special release, which features Carlos' music as performed by the London
Philharmonic Orchestra. The soundtrack also includes several bonus
recordings that were cut from the original film, as well as two songs
written and performed by the classic rock band Journey.
Celebrating the film's 20th anniversary, Tron is being re-released in
conjunction with a Special Edition 20th Anniversary DVD and VHS release of
the futuristic movie. Tron, which still maintains a significant cult
following, was the first film to use computer imagery to create a
three-dimensional world.
The Tron soundtrack is available wherever music is sold and varies in price
at retail. Also available on January 29, 2002, as part of the "Disney
Original Soundtrack" series is the soundtrack of James and the Giant Peach.
All Walt Disney Records and Buena Vista Records audio products can also be
ordered by visiting www.Disney.com/DisneyRecords or www.amazon.com.
# # #
For More Information:
Beth Krakower
CineMedia Promotions
cinemediapromo@yahoo.com
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I loved this score as a child when the film was released in theaters.
And I always return to it, enjoying it year after year even more.
One my all-time champs.
So... bump!
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No other score sounds like this. Truly unique.
I sometimes think about how harmonically audacious this score is, and it makes sense that it wasn't as influential as perhaps it deserved to be.
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I think a lot of people dismiss this score as a lot of video game beeps and boops. (I know my teenage contemporaries did when it debuted.) It really is a terrific score. Tron Scherzo continues to be a fave. It’s another score that I like more now than I did back in the day. I’ve grown in to the less action oriented parts.
That end title kills me every time. Nothing else sounds like it. It’s like a satisfied sigh at the end of a good meal. (That’s the metaphor I’m sticking with. Good meal.)
I’m a little surprised this hasn’t been talked about here more over the years.
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Dick move! Thought this was a new release. There are additional cues from this on Carlos' Rediscovering Lost Scores, in case everyone has forgotten.
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Dick move! Thought this was a new release. There are additional cues from this on Carlos' Rediscovering Lost Scores, in case everyone has forgotten.
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Dick move! Thought this was a new release. There are additional cues from this on Carlos' Rediscovering Lost Scores, in case everyone has forgotten.
There are? Thanks! Good that the dick moved!
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Dick move! Thought this was a new release. There are additional cues from this on Carlos' Rediscovering Lost Scores, in case everyone has forgotten.
I hadn't forgotten, I didn't know about it. What's missing from the CD?
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Posted: |
Nov 24, 2014 - 10:16 AM
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By: |
jackfu
(Member)
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I don’t wish to come off like I’m “waxing an elephant”, but I’ve always wondered if the score (which I love dearly) was overpowered by the then state-of-the-art visuals and thus may have gone relatively unnoticed. I’m sure many disagree, but I think the electronic cues blend well with the orchestral, even though Carlos didn’t like the orchestral part. Perhaps the score just didn’t fit the typical concept of film music at that time. In some ways, it seems high-brow electronic; not meant as an insult.
While you likely didn’t leave the theater whistling the “Theme from TRON”, it and some others, “The Light Sailer”, etc., certainly do have a hook. This score is a great listen apart from the film, where other electronic scores maybe don’t fare as well.
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While you likely didn’t leave the theater whistling the “Theme from TRON”
I certainly did!
I thought that Carlos lobbied to be able to score the orchestral parts herself?
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Here's an interview where she talks about the scoring (apparently she took over from Brian Eno):
http://www.runmovies.eu/?p=9171
That's terrific. (So, yes, she wanted the orchestra as well.)
We’ve Got Company is such a terrific example of the synths and the orchestra working together. I tend to overlook it in favor of Ring Game and Escape or Sea of Simulation but it’s a real powerhouse.
Amazing to think that we got this and Blade Runner about a week or two apart.
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Any other press releases from 12 years ago you want to bump?
Just do a search for my name - I'm sure there are a whole bunch there that I would be happy to have you bump ;-D
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The Lost Scores discs are well worth getting, and the expanded material from Tron is pretty interesting. It includes the unused music from the light cycle scene, which was featured on the Archive Collection CAV laserdisc that came out in the 90s (the scene with the cue mixed in was on the digital tracks, while the cue isolated was on the analog).
“Anthem” is a great theme by any estimation.
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Wasn't she unhappy with the way the orchestral music was implemented?
If I remember correctly, I think she wanted to record the synths parts first and then record the orchestra, instead of the other way around. Or vice-versa. So her issues weren't with the resultant sound, more with the process by which the two elements were recorded.
I wish I could remember where I read that.
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Wasn't she unhappy with the way the orchestral music was implemented?
If I remember correctly, I think she wanted to record the synths parts first and then record the orchestra, instead of the other way around. Or vice-versa. So her issues weren't with the resultant sound, more with the process by which the two elements were recorded.
I wish I could remember where I read that.
I read it in the article linked above. 
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