 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Wow, I had forgotten about this weird little moment
(IIRC, it was audible while watching the film as well)
Is it intentional, a synthesized “dark chorus” effect to play up
Powers Boothe’s villainy? Or was it the “Bloomin’ Onion”?
Top score, fun film either way.
|
|
|
|
|
|
|
|
|
|
I finally received my copy today and I'm very happy with it. In the film some tracks got shuffled around and deleted, so this is basically what's in the film:
1. Arrivals
2. The Morning After (instead of the opening "Home Late" portion from "Cash")
3. Cash (2:20 – end) / The Bomb (joined in the film as on the original album)
4. Next Time
5. The Set-Up
6. Dust (0:00 – 1:33)
7. A Nice Fellow (La-La Land version) = You Ready? (1:04 – end)
8. The Plan (revised)
9. Out of Business
10. The Bank (revised) (0:48 – end) (the opening 48 seconds are the same as "Out of Business")
11. The Bank (revised) – Continued
12. Identities
13. To Mexico
14. No Friendlies
15. Positions
16. A Good Chance
17. They Don't Care
18. Fighting
19. A Deal
Intrada crossfades both "You Ready?" and "You Ready? (Revised)" into a single track. Frankly, for the final confrontation at the end of the film only the original "You Ready?" makes any sense (a clean version can the heard in the original album track "The Funeral"). Though it went unused, it seems that the revised version was appropriated for a scene in the middle of the film when Cash visits Sarita at night. The revised version drops the opening trumpet triplets and goes back to the supense/heist motif at the end when the scene cuts back to Hackett's men in the sewer. That motif wouldn't make any sense at the end of the film. A clean opening of that track can only be found on the La-La Land edition where it's called "A Nice Fellow" and placed where it appears in the film. The actual "A Nice Fellow" premiered by Intrada doesn't appear in the film at all. It was probably intended for a subsequent scene where that line is spoken.
It's strange that Intrada's liner notes claim that La-La Land's "A Nice Fellow" was incorrectly labeled as previously unreleased and was instead the opening portion of the album version of "The Funeral" when in fact it wasn't. That particular version ("You Ready? (Revised)") was at that point indeed previously unreleased. Only the original "You Ready?" opens "The Funeral".
I wonder why "Out of Business" is denoted as previously unreleased though. It is the same music that opens La-La Land's "The Bank (Pts. 1, 2 & 3)" (same as Intrada's "The Bank (Revised)").
Anyway, now we finally have the complete score in great sound quality. Just hold on to your La-La Land edition if you want to listen to "You Ready? (Revised)" on its own.
|
|
|
|
|
|
|
|
 |
Posted: |
Aug 8, 2021 - 5:51 PM
|
|
|
|
By: |
Jeff M
(Member)
|
For those who are on the fence about triple dip on this:
I have both Intrada's original album and the expanded LLL of Extreme Prejudice. I'm a big fan of this score, loved the original release, loved the expanded cues on LLL, but was not a fan of the mix on the LLL cd.
I listened to the Goldsmith Odyssey episode and Doug Fake did express how he wasn't keen on LLL's hot mastering on E.P. Though Doug didn't explicitly state that Intrada's approach was to do what they had done mix-wise on the original, it was enough for me to take a chance on the new release.
In short, I'm glad I did, and for anyone on the fence who loves the original mix, you will be extremely happy to replace the LLL disc with Intrada's new set.
In "Arrivals" for example on Intrada's release, the synth drone/warble/pulse plays underneath the cue and blends to create an almost subliminal texture. This and the other synth colors in the score have always conjured images of dessert heat wave / haze in my mind (admittedly, I still haven't seen the film). On LLL's mix though, this synth effect sits on top of everything and sounds more like a throbbing headache effect. Don't get me wrong, I love synth Jerry 100% percent... and perhaps this is how it is in the film, but I think Intrada's efforts here really showcase Jerry's ability to blend instrumentation.
Semi-side note: Most of the Odyssey episode on E.P. focuses on the thematic architectural genius of this score (and it's there for sure), but to me this is one of Jerry's most atmospherically rich scores. The intro of "Cash", just within a few seconds, and with only a sparse amount of notes, creates a mood and atmosphere (again, conjuring the desert to me) that has more storytelling richness than most other composers create in entire cues. Jerry's ability to do so much emotionally in such shorthand is simply remarkable. It reminds me of when Verhoeven was saying how he went to Jerry for the brain, and Basil, for the heart, but Jerry said something to the effect that all he does is respond emotionally (forgive me I'm butchering those exact quotes). Anyway, this is a score that really has a unique soundscape... and yes, like Doug said, it's sort of like First Blood meets Under Fire, and yes obviously the score uses pads of the time (Hoosiers/Innerspace/Leviathan etc) which you love or hate, but the overall atmosphere I find especially unique.
Anyway, I'm grateful that Doug and team went back for another round on this one and to showcase all this front and center. It was great to hear the Odyssey episode and how meaningful this score was for them. Hats off to all involved!
|
|
|
|
|
|
|
|
|
|
|
...Most of the Odyssey episode on E.P. focuses on the thematic architectural genius of this score (and it's there for sure), but to me this is one of Jerry's most atmospherically rich scores.
Yeah, that's what hit me about it, Jeff. It's got a mood. Actually, better than that, because a lot of albums have a mood, this is Gritty, or this is Happy or whatever. Even maintaining a consistent mood is pretty attainable, but this draws you into it, too. It's creating a place, almost. It's interesting to get three of those in a row, with Along Came a Spider and The Pubic Eye working similarly for me.
I say 'in a row' because three in the first half of the year I think qualifies, even though there were six other Goldsmith releases in that zone, some falling between my three atmospheric picks.
|
|
|
|
|
|
In "Arrivals" for example on Intrada's release, the synth drone/warble/pulse plays underneath the cue and blends to create an almost subliminal texture. This and the other synth colors in the score have always conjured images of dessert heat wave / haze in my mind (admittedly, I still haven't seen the film).
The synth textures and the entire score certainly conjure up that desert heat wave/haze. Interestingly, the cue "Arrivals" starts directly at the beginning of the film, before the opening credits, in a scene at the El Paso airport in Texas, when the lingering synths underscore six guys arrive, one after the other from various places, that regather (they obviously know each other well) among the busy airport people. Every character gets a short brass fanfare punch, which underscores inserted information that the person has a military background and is "presumed dead" or "missing in action", so the audience knows these six folks that blend into the arriving passengers are all officially dead. The insert of Michael Ironside's character's official demise then directly segues into the opening credit sequence.
|
|
|
|
|
|
|
The synth textures and the entire score certainly conjure up that desert heat wave/haze.
Nice analysis, and pretty fitting for the use of synths. I had a similar feeling about Brad Fiedel's desert music in TERMINATOR 2.
Listening to this score I'm hearing a lot of GREMLINS with the rhythm and the synths during the more action-oriented parts. I need to watch more of the film to get a better connection to how the music works in the film. But I will say I saw a clip of an ending shootout and I was thoroughly impressed that Goldsmith didn't really score it at all. It's a confident decision for a composer to make to let a scene play without music. I appreciated that.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
