What did you expect, though? Aside from the inconsequential bonus tracks, the score was represented on both albums as-recorded. Why would the tracks be drastically different?
What did you expect, though? Aside from the inconsequential bonus tracks, the score was represented on both albums as-recorded. Why would the tracks be drastically different?
I was just wondering if the new cues were from the recording sessions, why not release the whole thing and include the original OST on a second disc. Perhaps there was nothing particularly different between the two. I know one track on the OST is longer (and better) than what was heard in the film.
I was just wondering if the new cues were from the recording sessions, why not release the whole thing and include the original OST on a second disc. Perhaps there was nothing particularly different between the two. I know one track on the OST is longer (and better) than what was heard in the film.
EH?!
Everything was from the same recording sessions, surely (there was nothing re-recorded specifically for the album as far as I know). All they did was add a few extra cues. It's common practice. Why are you so confused about it? Did I miss something?
Is it possible that Horner notated most if not all of the themes and some / most / all of the score, then the orchestrators took on the task of getting a score to fit the film? Is that not a bit like some of what Charlie Chaplin did, where I understand he would 'whistle' something and a composer or orchestrator would turn that into score? Chaplin still got credit for composition I believe.
Also, if Horner's score for the remake of 'The Magnificent Seven' is used, it certainly won't be used verbatim. There would need to be modifications, some likely to be significant, to fit the final film. But we would turn around and say he couldn't be credited for his work on the score?
Perhaps the orchestrators should get a more noticeable credit on films for their contributions, regardless of the composer.
For my mind, I think 'The Pagemaster' sounds much more like a Horner score than 'A Far Off Place'.
The second and arguably the best track on the original soundtrack was featured on a 90s Don Davis promo CD. Can anyone address rumours that he also wrote most of the final battle stuff on Michael Kamen's Robin Hood....
Once The Matrix scores came around, you could go through Davis' orchestrating work and seemingly pick out bits that he had to have written. There's stuff in Ransom, like "The Quarry" cue, that's right in his wheelhouse.
Mastering is not a huge departure from the original issue. This release was more about getting it back in print again and adding the unreleased bits while we were at it. Great art and notes now as well.
Mike M.
Mike... Were you able to do anything about the early cutoff of the last fading note at the very end of the older CD? Always annoyed me... and I see the timing of the same track on the new release is a few seconds longer.
The second and arguably the best track on the original soundtrack was featured on a 90s Don Davis promo CD. Can anyone address rumours that he also wrote most of the final battle stuff on Michael Kamen's Robin Hood....
I've always liked "A Stormy Ride to the Library" but it's never sounded much like Horner (especially the opening).
"Swallowed Alive" is just spine tingling epic. The second half "The Wonder In Books" is gorgeous, though it has a CEOTK vibe. Maybe it was tracked from that.
Absolutely loving this score! My favorite track is "Swallowed Alive! / The Wonder of Books." Horner at his finest! Having never heard this score, it's definitely giving me chills
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Once The Matrix scores came around, you could go through Davis' orchestrating work and seemingly pick out bits that he had to have written. There's stuff in Ransom, like "The Quarry" cue, that's right in his wheelhouse.
Orchestrators don't ADD extra Music to the existing Music - LEARN !!!!
Marcato - maybe it is you who needs to learn (!!!!....silly). The point is not about orchestrators adding something to the already composed music but actually composing said composed music. Read better.
Shaun is absolutely right that Davis' fingerprints are everywhere in 90s Horner. Kamen's Robin Hood is another one of these that no one seems to want to deny - he must have done at least 30 minutes of some of the best music for that one (including Robin's first fight Marion, some of the village attack, Sheriff and Robin duel, escape to Sherwood). This last one is the big mystery as all the other prominent cues were not included on the OST but Escape does not sound like anything Kamen has ever done. But it doesn't particularly sound like Davis either.
