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Posted: |
Oct 8, 2020 - 1:08 PM
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By: |
bmsatter
(Member)
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Hey all, My name is Brian and I've spent the last year of my life writing a comprehensive book entitled "The Music of Friday the 13th" set for publication in 2021. It's going to include all twelve films, documentaries, video games, and even a little bit about the television series. I also wrote the liner notes for all of LLL's F13th releases including PART VII and the box set. I wanted to comment on the discussion regarding the new release of PART VII.
As I state in my book (which I’m currently working on the chapter dealing with PART VII now) it’s simply NOT possible to document every cut and overlay made in this score. It’s a HUGE mish-mash of sounds from a variety of sources, more so than in PARTS III or IV. There are cues piled on top of other cues. Nobody at the time of its creation was keeping good enough records so somebody thirty-two years in the future could make sure every blip of noise is intact and represented on a soundtrack album. This film was hacked to pieces by the MPAA making the destruction of music even more evident. Lots of stuff on the album are longer than in the film because the film version was butchered so badly. Even the official studio cue sheet has been wrong several times about what pieces were used.
All of the "ki-ki-ki... ma-ma-ma" instances are overlays (except for the ones on Manfredini's original tracks--even then there are more than were there before). Neither Mollin nor Manfredini had anything to do with the placement of any of them. You can imagine the director, film editor, sound mixer, and producers sitting in the final mix session saying, "Hey, throw another one in here! Yeah, and two more over here!" That's exactly what happened. Cooks just throwing ingredients into the soup. Thirty-two years later somebody is asking, "Where can I get that recipe?" So in essence they are creating a "one-off" version of the soundtrack that differs greatly from whatever original tracks were mixed by the prospective composers and provided to the labels for the soundtrack. Mollin provided a LOT of overlays too and like an all-you-can-eat buffet, film folks were throwing stuff into that soup left and right.
There are quite a few discrepancies from the album to the score, some I can't even find an explanation for. It’s fun detective work but please, people, be happy this score is out at all. Nothing even remotely close to this has ever existed until this week. Wanting the album to reflect the film score with 100% accuracy is like asking a chef to recreate that soup from a patron who has already eaten it and vomited it up into a bucket. It’s just not possible.
If any of this interests you, I'm documenting everything in MUCH more greater detail than you think you'd ever want to know in my book. It's been fun writing. I hope some fans out there have fun reading it.
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Who was it that decided the official way to describe that stinger is "ki ki ki ma ma ma" instead of "chi chi chi ha ha ha"?
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Who was it that decided the official way to describe that stinger is "ki ki ki ma ma ma" instead of "chi chi chi ha ha ha"?
Manfredini, from what I recall. Says the inspiration was derived from "kill ma". It always seemed like a retro-active explanation to me.
Sounds 100% like "Chi chi chi ha ha ha" to me, at least in the 1st few scores.
edit - Mutant beat me to it
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Although Manfredini has spent a good deal of time telling the story of how and why he created the "Ki- Ma-" motif, I do go into quite a bit more detail about its creation and more importantly why everybody hears it as "chi- ha-" but the sound was definitely created by Manfredini saying "Ki" and "Ma"into a microphone.
Gotchya - thanks
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Hey all, My name is Brian and I've spent the last year of my life writing a comprehensive book entitled "The Music of Friday the 13th" set for publication in 2021. It's going to include all twelve films, documentaries, video games, and even a little bit about the television series. I also wrote the liner notes for all of LLL's F13th releases including PART VII and the box set. I wanted to comment on the discussion regarding the new release of PART VII.
As I state in my book (which I’m currently working on the chapter dealing with PART VII now) it’s simply NOT possible to document every cut and overlay made in this score. It’s a HUGE mish-mash of sounds from a variety of sources, more so than in PARTS III or IV. There are cues piled on top of other cues. Nobody at the time of its creation was keeping good enough records so somebody thirty-two years in the future could make sure every blip of noise is intact and represented on a soundtrack album. This film was hacked to pieces by the MPAA making the destruction of music even more evident. Lots of stuff on the album are longer than in the film because the film version was butchered so badly. Even the official studio cue sheet has been wrong several times about what pieces were used.
All of the "ki-ki-ki... ma-ma-ma" instances are overlays (except for the ones on Manfredini's original tracks--even then there are more than were there before). Neither Mollin nor Manfredini had anything to do with the placement of any of them. You can imagine the director, film editor, sound mixer, and producers sitting in the final mix session saying, "Hey, throw another one in here! Yeah, and two more over here!" That's exactly what happened. Cooks just throwing ingredients into the soup. Thirty-two years later somebody is asking, "Where can I get that recipe?" So in essence they are creating a "one-off" version of the soundtrack that differs greatly from whatever original tracks were mixed by the prospective composers and provided to the labels for the soundtrack. Mollin provided a LOT of overlays too and like an all-you-can-eat buffet, film folks were throwing stuff into that soup left and right.
There are quite a few discrepancies from the album to the score, some I can't even find an explanation for. It’s fun detective work but please, people, be happy this score is out at all. Nothing even remotely close to this has ever existed until this week. Wanting the album to reflect the film score with 100% accuracy is like asking a chef to recreate that soup from a patron who has already eaten it and vomited it up into a bucket. It’s just not possible.
If any of this interests you, I'm documenting everything in MUCH more greater detail than you think you'd ever want to know in my book. It's been fun writing. I hope some fans out there have fun reading it.
Oh but it is possible to recreate the film version besides one cue. When the box set came out me and another member on this forum went to great lengths to listen to and identify all the previous music from the first six friday the 13th's it wasn't possible to include all the Mollin tracks at the time since we didn't have a complete mollin release so the DVD surround audio is what we used for that. But we spent months of listening comparing tracks to the film audio trying to piece together all the overlays onto other tracks. So it is possible to do and all we had to compare to was the film audio.
https://www.filmscoremonthly.com/board/posts.cfm?pageID=1&forumID=1&threadID=86224&archive=0
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bmsatter - thanks so much for your detailed info. It's much appreciated and I very much look forward to your book! Please keep us up to date on details as they unfold.
I'm very grateful for this release, and your post has added some needed perspective. I didn't realize how difficult it would be to compile the complete original film version of the score. I simply presumed that an extraction of the exact film score versions had been done before (especially on pts. 3 and 4 where so much music was tracked in) that it could be done again using the same method for pt. 7, relying not on original recording masters but peeling it from the soundtrack of the film or whatever they did.
Regardless, even though it's identical to the Waxworks release, it's lovely to have this score on CD finally. I'm just a huge fan of The New Blood in general and a huge fan of the score as heard in film, that I've always wanted the film cues to be represented on CD. I just wish they had taken greater care in the recording and editing process, but no use crying over spilt milk 33 years later!
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Hey all, My name is Brian and I've spent the last year of my life writing a comprehensive book entitled "The Music of Friday the 13th" set for publication in 2021. It's going to include all twelve films, documentaries, video games, and even a little bit about the television series. I also wrote the liner notes for all of LLL's F13th releases including PART VII and the box set. I wanted to comment on the discussion regarding the new release of PART VII.
As I state in my book (which I’m currently working on the chapter dealing with PART VII now) it’s simply NOT possible to document every cut and overlay made in this score. It’s a HUGE mish-mash of sounds from a variety of sources, more so than in PARTS III or IV. There are cues piled on top of other cues. Nobody at the time of its creation was keeping good enough records so somebody thirty-two years in the future could make sure every blip of noise is intact and represented on a soundtrack album. This film was hacked to pieces by the MPAA making the destruction of music even more evident. Lots of stuff on the album are longer than in the film because the film version was butchered so badly. Even the official studio cue sheet has been wrong several times about what pieces were used.
All of the "ki-ki-ki... ma-ma-ma" instances are overlays (except for the ones on Manfredini's original tracks--even then there are more than were there before). Neither Mollin nor Manfredini had anything to do with the placement of any of them. You can imagine the director, film editor, sound mixer, and producers sitting in the final mix session saying, "Hey, throw another one in here! Yeah, and two more over here!" That's exactly what happened. Cooks just throwing ingredients into the soup. Thirty-two years later somebody is asking, "Where can I get that recipe?" So in essence they are creating a "one-off" version of the soundtrack that differs greatly from whatever original tracks were mixed by the prospective composers and provided to the labels for the soundtrack. Mollin provided a LOT of overlays too and like an all-you-can-eat buffet, film folks were throwing stuff into that soup left and right.
There are quite a few discrepancies from the album to the score, some I can't even find an explanation for. It’s fun detective work but please, people, be happy this score is out at all. Nothing even remotely close to this has ever existed until this week. Wanting the album to reflect the film score with 100% accuracy is like asking a chef to recreate that soup from a patron who has already eaten it and vomited it up into a bucket. It’s just not possible.
If any of this interests you, I'm documenting everything in MUCH more greater detail than you think you'd ever want to know in my book. It's been fun writing. I hope some fans out there have fun reading it.
Is this going to be a self-published book or print on demand?
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Posted: |
Oct 9, 2020 - 6:29 AM
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By: |
bmsatter
(Member)
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bmsatter - thanks so much for your detailed info. It's much appreciated and I very much look forward to your book! Please keep us up to date on details as they unfold.
I'm very grateful for this release, and your post has added some needed perspective. I didn't realize how difficult it would be to compile the complete original film version of the score. I simply presumed that an extraction of the exact film score versions had been done before (especially on pts. 3 and 4 where so much music was tracked in) that it could be done again using the same method for pt. 7, relying not on original recording masters but peeling it from the soundtrack of the film or whatever they did.
Regardless, even though it's identical to the Waxworks release, it's lovely to have this score on CD finally. I'm just a huge fan of The New Blood in general and a huge fan of the score as heard in film, that I've always wanted the film cues to be represented on CD. I just wish they had taken greater care in the recording and editing process, but no use crying over spilt milk 33 years later!
I can't disagree with that. I'm a conservationist/archivist/completist myself and always want my soundtrack albums to reflect the actual score, but in this case, given all the factors stacked against it, it's nice to get what we got. In all honesty, I'm actually thinking the CD/LP is probably even "better" than the film score. Cues were edited down in the film and kinda sloppily. It's nice to hear the "whole" piece of music on the CD.
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