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This one definitely takes the listener on a long but compelling journey.
On the old album, the "Dry Your Tears, Afrika" vocal was treated like an overture, so as that melody came back during the course of the album, it harkened back to what we knew. In the new (film) order, that melody is what Williams is building towards, not the other way around, and it makes a terrific climax. Both ways of listening are valid, but very different.
I'm loving this, and it sounds terrific. Great work! I really appreciate it!
Yes, in that case, like many of Goldsmith's film scores, it becomes more like a classically constructed composition now in its expanded form. The musical architecture has shifted considerably and is more compelling as "pure music" in its expanded form. I like the original album, but the composition as such gets elevated on the new album. Definitely a worthy expansion.
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Right there with you on this, TerraEpon! But don’t let Thor hear (read) you! 
Yavar
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Well, as we all know, opening a closing with the same (usually End Title) track became a familiar Williams trait on his albums (WITCHES OF EASTWICK, THE PATRIOT, STEPMOM, SAVING PRIVATE RYAN etc) with the second cue on the CD actually being the first score track proper.
And in pretty much every instance, I deleted the first cue from my playlist when transferring them, in order to build up to said EPIC FINALE and to avoid repetition.
I agee. That's because these "tie-in" soundtrack albums are/were (often) more presented as musical souvenirs from the film, with the "hits" put first as the opening track because that's what people expect, whereas (some of the) extended editions let the music unfold more like a classical composition with a musical structure and architecture.
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This one definitely takes the listener on a long but compelling journey.
On the old album, the "Dry Your Tears, Afrika" vocal was treated like an overture, so as that melody came back during the course of the album, it harkened back to what we knew. In the new (film) order, that melody is what Williams is building towards, not the other way around, and it makes a terrific climax. Both ways of listening are valid, but very different.
I'm loving this, and it sounds terrific. Great work! I really appreciate it!
Yes, in that case, like many of Goldsmith's film scores, it becomes more like a classically constructed composition now in its expanded form. The musical architecture has shifted considerably and is more compelling as "pure music" in its expanded form. I like the original album, but the composition as such gets elevated on the new album. Definitely a worthy expansion.
Nailed it. Was listening to Goldsmith's expanded Logan's Run the other day and had this exact same thought - how much more complex and substantial the score is revealed to be when experienced sequentially, and with all the musical development put back in that was sometimes dialed out of the film.
I have to admit to being a little overwhelmed emotionally as the beautiful structure of the thing was revealed - cues like "Ice Sculpture" and "The Monument" take on extra intellectual and emotional depth when heard in musical context. I know it's a "Thor"ny issue, but seriously, man, sometimes the guy is missing out.
Looking forward to a similar experience with Amistad.
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Well, as we all know, opening and closing with the same (usually End Title) track became a familiar Williams trait on his albums (WITCHES OF EASTWICK, THE PATRIOT, STEPMOM, SAVING PRIVATE RYAN etc) with the second cue on the CD actually being the first score track proper.
And in pretty much every instance, I deleted the first cue from my playlist when transferring them, in order to build up to said EPIC FINALE and to avoid repetition.
Yup. Super annoying to me but at least easily fixable. I also did it with Edelman’s DragonHeart album.
Yavar
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Well, as we all know, opening and closing with the same (usually End Title) track became a familiar Williams trait on his albums (WITCHES OF EASTWICK, THE PATRIOT, STEPMOM, SAVING PRIVATE RYAN etc) with the second cue on the CD actually being the first score track proper.
The repeat track on Eastwick was actually the second and last track. First track was Township of E.
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This one definitely takes the listener on a long but compelling journey.
On the old album, the "Dry Your Tears, Afrika" vocal was treated like an overture, so as that melody came back during the course of the album, it harkened back to what we knew. In the new (film) order, that melody is what Williams is building towards, not the other way around, and it makes a terrific climax. Both ways of listening are valid, but very different.
I'm loving this, and it sounds terrific. Great work! I really appreciate it!
Yes, in that case, like many of Goldsmith's film scores, it becomes more like a classically constructed composition now in its expanded form. The musical architecture has shifted considerably and is more compelling as "pure music" in its expanded form. I like the original album, but the composition as such gets elevated on the new album. Definitely a worthy expansion.
Nailed it. Was listening to Goldsmith's expanded Logan's Run the other day and had this exact same thought - how much more complex and substantial the score is revealed to be when experienced sequentially, and with all the musical development put back in that was sometimes dialed out of the film.
I have to admit to being a little overwhelmed emotionally as the beautiful structure of the thing was revealed - cues like "Ice Sculpture" and "The Monument" take on extra intellectual and emotional depth when heard in musical context. I know it's a "Thor"ny issue, but seriously, man, sometimes the guy is missing out.
Looking forward to a similar experience with Amistad.
LOGAN’S RUN is one of my all time favorite film scores, and I always held out for a "true" release of that soundtrack. When FSM finally released it, it was manna from heaven. One of FSM's finest hours.
The score has a full (classical/dramatic) musical architecture, Goldsmith didn’t just write a piece here and there, it's a fully developed and composed through "classical" score, it's a bit Copland meets Stravinsky meets Stockhausen, but uniquely Goldsmith.
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Yes, in that case, like many of Goldsmith's film scores, it becomes more like a classically constructed composition now in its expanded form. The musical architecture has shifted considerably and is more compelling as "pure music" in its expanded form. I like the original album, but the composition as such gets elevated on the new album. Definitely a worthy expansion.
I find that's the case of a lot of scores -- there's a sort of....how to put it....logical ebb and flow to the music that is often missing from a re-sequenced album. And it builds up to the....for lack of a better word 'epic' finale of Dry Your Tears, Afrika at the end rather than starting off with it, I think it works a lot better (well that, and I'm not a fan of having the same track twice on the same CD as many well know).
Yes, I am surprised how much the score benefits from this expansion. I already enjoyed the original album for what it was, but now it's elevated to another level. The score has a rich symphonic development which just gets short-changed on the original album.
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Yes, I am surprised how much the score benefits from this expansion. I already enjoyed the original album for what it was, but now it's elevated to another level. The score has a rich symphonic development which just gets short-changed on the original album.
The last time I felt a similar satisfaction was on the A.I. expansion.
Yeah, though in case of A.I. I expected no less, the original album wasn't all that great (when compared to how it could have been done). A lot of highly interesting music was left out in favor of two(!) pop song versions of "Monica's Theme"; I think A.I. is one of John Williams greatest scores, but you don't get the from the original soundtrack album. The La La Land Album was a revelation, but I expected no less. The music as it was in the movie was terrific, and the LLL album reflects that.
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Posted: |
May 25, 2023 - 12:48 PM
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By: |
Hurdy Gurdy
(Member)
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It's mad innit.
A 50 minute original album that seemed to drag and feel samey for long, long stretches, plus sound that was a bit muted and dull.
But more than double that length, rearrange the development arc to its intended written structure and upgrade the sound to a much more spacious, fuller level and suddenly the whole thing sparkles.
And yes, hearing just a muted hint of the African anthem for the first time, minus chorus in track 10, keeps the build and reveal of its eventual full rendition so much more powerful.
It's still a heavy score, weighted down by darkness and injustice, but this new incarnation is the ONLY WAY I will ever hear this music from now on.
It feels less dour and dark than the old CD and much more of a rewarding journey.
And there's more variation to the tracks and music that shakes things up a bit.
Like the SABRINA expanded edition, it renders the first go-around obsolete and creates a whole new dynamic to the music score.
If you build them, I will come.
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