Giving James Horner the spotlight this coming week. Early 1981 Wes Craven horror film. Deadly Blessing makes a premiere release. It’s a complex and intricate score for such an early effort. It’s yours to order for release this Tuesday. I’m happy to add this is just one of several Horner scores I’m currently working on so his fans have some stuff to look forward to. And I’m also mixing and editing one of my own all-time favorite Jerry Goldsmith scores for an upcoming premiere release. This one should please his fans. And there are exciting scores from Danny Elfman and Hans Zimmer and James Newton Howard and John Powell on my plate, too. Yep. It’s a really big plate!
... And I’m also mixing and editing one of my own all-time favorite Jerry Goldsmith scores for an upcoming premiere release. This one should please his fans.
Was this already identified ? I think all theatrical scores by Goldsmith have been released.
Giving James Horner the spotlight this coming week. Early 1981 Wes Craven horror film. Deadly Blessing makes a premiere release. It’s a complex and intricate score for such an early effort. It’s yours to order for release this Tuesday. I’m happy to add this is just one of several Horner scores I’m currently working on so his fans have some stuff to look forward to. And I’m also mixing and editing one of my own all-time favorite Jerry Goldsmith scores for an upcoming premiere release. This one should please his fans. And there are exciting scores from Danny Elfman and Hans Zimmer and James Newton Howard and John Powell on my plate, too. Yep. It’s a really big plate!
Was this already identified ? I think all theatrical scores by Goldsmith have been released.
Doug said it was one of his all time favorite Goldsmith scores. I’m pretty sure he didn’t ever specify “theatrical”. I don’t know what Doug thinks of it, but one of Jon Burlingame’s all time favorite Goldsmith scores is for the TV movie Pursuit, Jerry’s first time collaborating with his longtime friend Michael Crichton (as director). That has never been released outside of a two minute rerecorded cue on a Silva compilation. The TV movie Crawlspace has (in my opinion) an even better score and that’s never been released at all. And there are a couple other totally unreleased scores for TV features (Indict and Convict and Do Not Fold, Spindle, or Mutilate). It’s even possible that Doug might be referring to something from Goldsmith’s episodic TV scoring, such as the hourlong Gunsmoke episode he wrote a *fantastic* substantial score for in 1966: “The Whispering Tree”.
Besides that, as has been pointed out there are several Goldsmith theatrical feature scores which have never had the original film recording released. We know Hour of the Gun is one of Doug’s absolute favorite Goldsmith scores… as excellent as it was, the original album under Goldsmith’s baton was a truncated re-recording with reduced orchestra compared with the film. Nic Raine’s new complete recording on Tadlow Records did use the original larger film orchestrations for the first time on album, as well as adding 20-25 minutes more music. As with Under Fire, Twilight Time released an isolated score track for the film on their Blu-Ray which was unfortunately from a music and effects source… maybe a music only source for the full original film recording has been uncovered? After all we were told for years that Shamus was impossible…until it happened. Having the complete original film recording under Goldsmith’s baton would be a big deal for me, as I’m sure it would be for Doug.
Other possibilities along these lines: The Salamander, The Last Run, MacArthur, Lilies of the Field (I think… pretty sure people have said the album was a re-recording, and the Twilight Time Blu-ray iso track also is music & effects just like the ones I mentioned above.) And I’ve never gotten clear confirmation about whether the original QBVII album was a re-recording or taken from the original film recording. Hell, maybe Intrada even newly discovered the original film recordings of Black Patch or The Man, though I don’t think that would be a priority for them after just having produced fantastic new RSNO recordings conducted by William Stromberg…
In any case, there are still quite a few possibilities.
Was this already identified ? I think all theatrical scores by Goldsmith have been released.
Doug said it was one of his all time favorite Goldsmith scores. I’m pretty sure he didn’t ever specify “theatrical”. I don’t know what Doug thinks of it, but one of Jon Burlingame’s all time favorite Goldsmith scores is for the TV movie Pursuit, Jerry’s first time collaborating with his longtime friend Michael Crichton (as director). That has never been released outside of a two minute rerecorded cue on a Silva compilation. The TV movie Crawlspace has (in my opinion) an even better score and that’s never been released at all. And there are a couple other totally unreleased scores for TV features (Indict and Convict and Do Not Fold, Spindle, or Mutilate). It’s even possible that Doug might be referring to something from Goldsmith’s episodic TV scoring, such as the hourlong Gunsmoke episode he wrote a *fantastic* substantial score for in 1966: “The Whispering Tree”.
Besides that, as has been pointed out there are several Goldsmith theatrical feature scores which have never had the original film recording released. We know Hour of the Gun is one of Doug’s absolute favorite Goldsmith scores… as excellent as it was, the original album under Goldsmith’s baton was a truncated re-recording with reduced orchestra compared with the film. Nic Raine’s new complete recording on Tadlow Records did use the original larger film orchestrations for the first time on album, as well as adding 20-25 minutes more music. As with Under Fire, Twilight Time released an isolated score track for the film on their Blu-Ray which was unfortunately from a music and effects source… maybe a music only source for the full original film recording has been uncovered? After all we were told for years that Shamus was impossible…until it happened. Having the complete original film recording under Goldsmith’s baton would be a big deal for me, as I’m sure it would be for Doug.
Other possibilities along these lines: The Salamander, The Last Run, MacArthur, Lilies of the Field (I think… pretty sure people have said the album was a re-recording, and the Twilight Time Blu-ray iso track also is music & effects just like the ones I mentioned above.) And I’ve never gotten clear confirmation about whether the original QBVII album was a re-recording or taken from the original film recording. Hell, maybe Intrada even newly discovered the original film recordings of Black Patch or The Man, though I don’t think that would be a priority for them after just having produced fantastic new RSNO recordings conducted by William Stromberg…
In any case, there are still quite a few possibilities.
Yavar
Just because it's been brought up (and Jerry is my absolute fave - a well known fact) I eagerly await with a fool's hope, the day that Supergirl gets a proper remaster, with all the alternate tracks included, perhaps some unreleased cues if they exist... There's some really terrific music there. I'd watched my personal 35mm print of the UK cut and the sound mix is much different from any previous releases. I mean the sound really POPS. Feels like a concert. I can dream, can't I? ;-)
Just because it's been brought up (and Jerry is my absolute fave - a well known fact) I eagerly await with a fool's hope, the day that Supergirl gets a proper remaster, with all the alternate tracks included, perhaps some unreleased cues if they exist... There's some really terrific music there. I'd watched my personal 35mm print of the UK cut and the sound mix is much different from any previous releases. I mean the sound really POPS. Feels like a concert. I can dream, can't I? ;-)
I think Supergirl would classify more as an expansion than a premiere since it had a previous release from Silva years ago.
Not that I have much more to contribute besides the fact that Intrada will have money in their pockets I don't have to be spending come the release of this wonderful, exciting CD.
This will be my first time hearing a note of this score as I've never listened to the unmentionable or extant clips. The trailer is definitely tantalizing.
But its always interesting to me how you can draw a direct line from just about any Horner score pre Star Trek, draw it through Star Trek, and have it end in a straight shot at Aliens.
Like Aliens is the culmination of everything Horner knew at that point. Thereafter, An American Tail seemed to represent a massive stylistic shift cemented by Willow that Horner never really looked back from.
World premiere CD release of exciting early James Horner horror soundtrack! Wes Craven directs in 1981, Maren Jensen, Susan Buckner, (young) Sharon Stone, Jeff East, Lisa Hartman, Lois Nettleton, Ernest Borgnine star. Early James Horner score written for large string section plus woodwinds, percussion, piano and chorus. Craven’s tale is about a former Hittite (a fictitious religious sect similar to the Amish) who left the faith to marry an outsider. Shunned, the man is mysteriously murdered and his young widow and her out-of-town girlfriends try to maintain the farm amidst a bizarre world of ancient practices, strange beliefs and a possible supernatural curse. Composer Horner writes to this satanic world with suspenseful strings, now turning violent, now turning creepy, always unsettling. When the action explodes, chorus joins in the rhythmic excitement. Unusually, the film uses almost all of Horner’s music where it was originally intended. Intrada is presenting this score, courtesy of Universal, from the only surviving complete set of 1/4” stereo elements in largely good condition. These precious ten rolls of stereo tape were originally dubbed at the slow tape speed of 7 1/2 i.p.s. and had seen better days, but they were complete, including all takes, pickups and choral overlays. The result is a satisfying listen to one of Horner’s most important previously unreleased scores. Tim Greiving supplies informative notes, Kay Marshall offers dramatic packaging. Dan Wallin records and mixes, James Horner composes, conducts. Intrada Special Collection CD available while quantities and interest remain.
Track List:
01. Main Title (From Deadly Blessing) (2:23) 02. Incubus Painted On Wall (1:08) 03. Martha And Jim (1:57) 04. Unwelcome Visitor (2:03) 05. Jim’s Death With Tractor (3:19) 06. Brief Funeral (1:12) 07. Kids In The Barn/Pluck It Out (2:29) 08. Gluntz’s Demise (5:06) 09. This Century Is More Peaceful (1:12) 10. Lana In The Barn (4:37) 11. Gluntz Hangs Around (1:14) 12. Snake In The Bath (Original) (4:45) 13. John Gets A Licking (1:06) 14. Lana’s Dream (1:05) 15. Wind Blows In Martha’s Room (0:47) 16. Trouble In The Convertible (1:59) 17. Sour Milk (0:40) 18. Surprise In The Grave (4:12) 19. Martha And Faith Wrestle (2:02) 20. Faith Leaps Out (4:10) 21. The Incubus Rises And End Credits (From Deadly Blessing) (4:16) Total Score Time: 52:28
The Extras 22. Snake Stinger (0:11) 23. Snake In The Bath (Revised) (4:22) 24. End Credits (From Deadly Blessing) – Alternate (1:44) 25. Deadly Blessing – Trailer (John Beal) (2:17) Total Extras Time: 8:42 Total CD Time: 61:19
