 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 12, 2012 - 4:20 PM
|
|
|
|
By: |
OnyaBirri
(Member)
|
This album really deserves its own thread, free from its drag queen companion release. 
Rosemary's Baby is easily one of my top 10 all-time favorite film scores. I love those delirious scores from, say, the mid-60s to mid-70s that feature such jarring stylistic juxtapositions - pop, jazz, dissonance, etc. This one has it all.
In addition to the film, which is still probably the scariest film ever in many ways, I've long been familiar with the music through the Dot LP and previous European releases of the (incomplete) film tracks. How nice to have everything together here in one place. And how nice to finally get the tracks of the film's final 15-or-so minutes. I wish the source cues were integrated into the album rather than tacked onto the end (with the exception of the yee-haw track), but I can burn my own version. I also wish more of that bossa track survived, but maybe that was as much as was recorded, as needed for the film.
I have not compared the sonics of the film tracks on this to those on the European releases, but plan to do so. Parts of this sound a little heavy on the no-noise, but I could be wrong.
Whenever anyone asks me why I like film music, this is always one of the first scores that pops into my mind.
Thanks for putting it out!
Edit: Great liner notes, and thanks for giving props to "Astigmatic."
|
|
|
|
|
|
|
Well, the problem when you do this is that the nice posts in the other thread aren't seen. It's a great release, a brilliant score, and people really need to BUY IT.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
My mother-in-law's name is Rosemary, which means I'm married to...
OMG I never put that together! AH-HAHAHAHAHA!!!!!!!!!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This isn't music related, but as long as we're on the subject of Rosemary's offspring, has anyone read Levin's sequel Son of Rosemary? It's been a few years since I read it, but I remember thinking if I didn't know Levin had written it I wouldn't have guessed he did. The whole thing seemed like a put-on, with some heavy-handed and obvious satire that could have come from a Mad magazine parody (a televangelist named Rob Patterson and a conservative leader named Lush Rambaugh -- groan!). It almost seemed like Levin got contractually obligated to do a sequel and decided he didn't really want to so he just threw it together and treated it tongue-in-cheek. Maybe he just wrote the entire book so he could use that "Roast Mules" anagram.
I was one of the first he told he was doing the sequel. The publishers came to him and he decided to do it because he was always uneasy with the brilliant ending he wrote to the original book. I think he felt he needed to atone for letting the devil live and probably flourish. I don't know if he meant it as satire, and it was generally not liked - he sent me a copy the minute he got them and I read it in one sitting and I have to say, I enjoyed it just because I really like his writing. I was on to the ending instantly, the minute he had one of the characters watching The Woman in the Window - I just thought, why would he mention such a movie arbitrarily. He got amusingly annoyed with me because I actually knew that film (he felt most wouldn't know it or wouldn't think about it), and then he really amusingly got annoyed with me when I guessed roast mules within an hour. And I was not helped by the Internet or cheating - I just was going crazy trying to figure it out and couldn't and then I just closed my eyes and let the letters form themselves and it just came to me and I called him immediately. He laughed and then hung up on me. It was really funny. Two minutes later he called back and said, "If you're such a smart Jew who is Alisa Rosenbaum?" Then he hung up again. I called him back and said, "Too easy - Ayn Rand." Then we just laughed and laughed. He was really happy to hear I enjoyed it, and I think it hurt him a little that the reception to the book wasn't good.
|
|
|
|
|
|
|
|
|
|
Posted: |
May 15, 2012 - 6:37 AM
|
|
|
|
By: |
Last Child
(Member)
|
I'm not trying to dis the new release as I was eagerly looking forward to it, but I do have some tempering impressions.
Since the mono OST follows the stereo album, the drop in sound quality causes an initial sense of disappointment. That's a subjective impression which others might not share. I ripped the cd so the OST plays first.
The album section (quality-wise) sounds very similar to an earlier stereo album cd (Tsunami).
An earlier OST release (Polonia label), while incomplete, disordered, and some cues might be shorter, I think sounds better. I'm still stoked to have the complete release, album, extra tracks, and liner notes, but I wont toss out the Polonia cd (has "Fearless Vampire Killers" anyway).
|
|
|
|
|
|
|
|
|
|
Kudos to Criterion. Can't wait to see the Komeda doc.
I absolutely loved LaLaLand's recent release of the score. Top-notch.
|
|
|
|
|
|
|
|
|
|
Long overdue, in my opinion. But totally stoked.
|
|
|
|
|
|
I'm not trying to dis the new release as I was eagerly looking forward to it, but I do have some tempering impressions.
Since the mono OST follows the stereo album, the drop in sound quality causes an initial sense of disappointment. That's a subjective impression which others might not share. I ripped the cd so the OST plays first.
The album section (quality-wise) sounds very similar to an earlier stereo album cd (Tsunami).
An earlier OST release (Polonia label), while incomplete, disordered, and some cues might be shorter, I think sounds better. I'm still stoked to have the complete release, album, extra tracks, and liner notes, but I wont toss out the Polonia cd (has "Fearless Vampire Killers" anyway).
Love this release but I also would very much welcome a remastered "Fearless Vampire Killers" which I love even more than "Rosemary`s Baby".
|
|
|
|
|
|
|
|
|
|
My mother-in-law's name is Rosemary, which means I'm married to...
Post + avatar = 
|
|
|
|
|
|
|
|
|
|
OB: Re: "I wish the source cues were integrated into the album rather than tacked onto the end (with the exception of the yee-haw track), but I can burn my own version."
Funny, but I'm just the opposite. I've made the point that I hated the way the jarring "Gravity" was positioned in the middle of the original soundtrack for "Cocoon," completely disrupting the mood created by James Horner, and I was pleased to see that Intrada put it and another source cue at the end of the new expanded soundtrack. I think you mean that you like the cues in the same order they fall in the film, and I've noticed that others have also made a big deal out of having the cues in precise chronological order as they were heard in their film. I, personally, like to make my own special compilations, and this goes back to when I used to put new pop albums onto reel-to-reel tape and later cassette (and now DVD as well as iPod playlists), and friends agreed that I often did a significantly better job of it than did the producers of the albums. Apparently, from what you wrote (I can burn my own version"), you like to change the order yourself (or perhaps just restore it to chronological sequence.
And to Josh Mitchell (with whom I've had other dealings tonight!), I'll bet you also like Jerry Goldsmith's soundtrack to "The Boys of Brazil," based on another Ira Levin novel. How about Jarre's "Night of the Generals"? Or Horner's "Gorky Park"? In the case of "The Boys of Brazil," I see that Amazon has it for $69.99, elsewhere for $38.95 and, used, $29.99 plus shipping.
|
|
|
|
|
|
|
All of the "source" cues were written by Komeda: the music on the record that the couple play before Satan arrives, the party music, etc. and should have been placed within the context of the score proper, IMHO.
I have boots of this score and those cues are in their proper place. Treating the source cues as bonus tracks was a big mistake to me.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
