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There are two cues - "A New Day" where Vicky goes jogging in the morning, and "Melissa Awakens" from the unmentionable that don't seem to be present on the disc.
I'm wondering if they are part of the cue "Gluntz Demise" which is much longer than it should be?
Both are great cues and if the disc is complete then they'd be in place? Does anybody else know what I'm saying?
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There are two cues - "A New Day" where Vicky goes jogging in the morning, and "Melissa Awakens" from the unmentionable that don't seem to be present on the disc.
I'm wondering if they are part of the cue "Gluntz Demise" which is much longer than it should be?
Both are great cues and if the disc is complete then they'd be in place? Does anybody else know what I'm saying?
I know what you mean. If the album presentation is chronological, then "A New Day" could very well be part of "Gluntz's Demise". "Melissa's Awakening" on the other hand should be between "Wind Blows in Martha's Room" and "Trouble in the Convertible". Of course the track on the unmentionable was comprised of three shorter cues with only the middle one being the actual "Melissa's Awakening" (ca. 1:41 long). Judging by the track lengths on the Intrada CD the first and third part of that suite seem to be present elsewhere. Very curious if the middle is now part of another cue or actually missing. Or maybe the track lengths are just incorrect. I guess we'll know soon enough. Anyway, so happy to finally be able to hear all the rest of the music away from the screams and SFX of the film!
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Oh could this mean The Hand might see proper release in the near future?
If it does I'll put two together.
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I'm so stoked about this release. Early 80's Horner is always particularly exciting to me. So grateful Intrada pursued this.
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Just got my CD and can’t wait to spin it.
To answer this question (from the incredible liner notes):
Gluntz’s Demise is made up of Gluntz’s Demise, Lana Talks About Her Dream, and Jogging. So the Jogging cue is in fact a part of Gluntz’s Demise. Melissa’s Awakening is a part of Wind Blows In Martha’s Room on this release.
Thank you for the great info! Can't wait to hear this album!
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To answer this question (from the incredible liner notes):
Gluntz’s Demise is made up of Gluntz’s Demise, Lana Talks About Her Dream, and Jogging. So the Jogging cue is in fact a part of Gluntz’s Demise. Melissa’s Awakening is a part of Wind Blows In Martha’s Room on this release.
Fantastic, thank you very much for the info! So "Wind Blows in Martha's Room" is definitely longer than the 47 seconds mentioned in the tracklist.
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Posted: |
Jun 30, 2023 - 8:28 AM
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By: |
c8
(Member)
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Oh man. This is good stuff.
The score really is divided into three parts.
1) Pastoral schlock. I love the theme in this score (surprised it never turned up anywhere else) and it works gangbusters when Horner turns it into a growling suspense motif (see #2). However, I never really clicked with Horner's schlocky, jaunty, overly happy orchestrations from the early 80s (really prevalent in his TV work). But usually they don't occupy much time on any given score and this is no exception. I know I am in the minority here and this is why people love this score.
2) Exceptional psychological suspense. THIS is the music a gifted composer is made of because there's no trickery to hide behind. Horner really acquits himself here so early in his career. The suspense music is growling and complex; atonal and really gets to the heart of the horror. Its also indicative of a composer rapidly finding his voice. You'd hear this kind of writing as soon as Star Trek II (see Khan's Pets/The Eels of Ceti Alpha V) and really as late as Flightplan (I heard a lot of the slower, more psychological elements of Flightplan in here quite prevalently). You also hear a composer trying ideas he'd abandon early on and come back to later in his career (ex: the opening of Faith Leaps Out shows up verbatim in Titanic as the ship as sinking) or ideas he'd expand on dramatically soon after (again, see Faith Leaps out, which contains the string lines from Kirk's Explosive Reply in STII).
3) The Omen. Yeah you can't avoid the comparisons, but this is obviously a case of temp track bleed and a composer who didn't have the cache to say no. You hear Horner trying his own ideas out in the confines of that temp track. You'd hear Horner grab his own vocal ideas and walk straight to Brainstorm and Krull with them. And frankly, as someone (like, maybe the only one) who doesn't love The Omen's score, I think Horner did it all better than Goldsmith. The Omen bits are not nearly as common or pervasive as the internet discussion would lead you to believe, either, so its not too distracting to me.
A few other notes:
*I think Sara Horner deserves and needs a waterfall of credit. I read here that James was opposed to a release of Deadly Blessing. Sara is quoted heavily in the liner notes and gets a special, separate thank you credit. I suspect she is really doing her best to protect James' legacy amongst his many fans and expose them to his lesser known works. Fans such as myself are deeply, deeply appreciative.
*The use of the blaster beam in this score is sublime.
*Don't dismiss the note in the tech talk about the elements having seen better days. I'm sure this sounds eons better than the unmentionable but the audio quality is all over the place. I think very poorly of Wallin as a recordist already but there's times where the score is terribly muffled or sounds as if it was being recorded from a cassette player. The elements definitely had degraded. It didn't bother me but those buying this should be aware there's definitely going to be audio issues and that its no one's fault. But back to my first bullet point, I am so glad this score was digitized before the tapes were too far gone to release it.
I would definitely advise a purchase of this wonderful, engaging score for anyone who loves [early] Horner.
To answer this question (from the incredible liner notes):
Gluntz’s Demise is made up of Gluntz’s Demise, Lana Talks About Her Dream, and Jogging. So the Jogging cue is in fact a part of Gluntz’s Demise. Melissa’s Awakening is a part of Wind Blows In Martha’s Room on this release.
Fantastic, thank you very much for the info! So "Wind Blows in Martha's Room" is definitely longer than the 47 seconds mentioned in the tracklist.
No its timed correctly. The cue "Melissa's Awakening" from the cue sheets may be something different than you're thinking of from the movie/unmentionable. I just looked at the cue sheet list included in the liner notes and missed the fact you mentioned a cue length. This release does look to be complete but those more familiar with the unmentionable than I will know better.
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To answer this question (from the incredible liner notes):
Gluntz’s Demise is made up of Gluntz’s Demise, Lana Talks About Her Dream, and Jogging. So the Jogging cue is in fact a part of Gluntz’s Demise. Melissa’s Awakening is a part of Wind Blows In Martha’s Room on this release.
Fantastic, thank you very much for the info! So "Wind Blows in Martha's Room" is definitely longer than the 47 seconds mentioned in the tracklist.
That's what I'm thinking! If "Melissa Awakens" is part of "Wind Blows Through Martha's Room" then it's definitely much longer than the :47 seconds as listed.
I ordered my copy and am waiting with baited breath!
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Oh man. This is good stuff.
The score really is divided into three parts.
1) Pastoral schlock. I love the theme in this score (surprised it never turned up anywhere else) and it works gangbusters when Horner turns it into a growling suspense motif (see #2). However, I never really clicked with Horner's schlocky, jaunty, overly happy orchestrations from the early 80s (really prevalent in his TV work). But usually they don't occupy much time on any given score and this is no exception. I know I am in the minority here and this is why people love this score.
2) Exceptional psychological suspense. THIS is the music a gifted composer is made of because there's no trickery to hide behind. Horner really acquits himself here so early in his career. The suspense music is growling and complex; atonal and really gets to the heart of the horror. Its also indicative of a composer rapidly finding his voice. You'd hear this kind of writing as soon as Star Trek II (see Khan's Pets/The Eels of Ceti Alpha V) and really as late as Flightplan (I heard a lot of the slower, more psychological elements of Flightplan in here quite prevalently). You also hear a composer trying ideas he'd abandon early on and come back to later in his career (ex: the opening of Faith Leaps Out shows up verbatim in Titanic as the ship as sinking) or ideas he'd expand on dramatically soon after (again, see Faith Leaps out, which contains the string lines from Kirk's Explosive Reply in STII).
3) The Omen. Yeah you can't avoid the comparisons, but this is obviously a case of temp track bleed and a composer who didn't have the cache to say no. You hear Horner trying his own ideas out in the confines of that temp track. You'd hear Horner grab his own vocal ideas and walk straight to Brainstorm and Krull with them. And frankly, as someone (like, maybe the only one) who doesn't love The Omen's score, I think Horner did it all better than Goldsmith. The Omen bits are not nearly as common or pervasive as the internet discussion would lead you to believe, either, so its not too distracting to me.
A few other notes:
*I think Sara Horner deserves and needs a waterfall of credit. I read here that James was opposed to a release of Deadly Blessing. Sara is quoted heavily in the liner notes and gets a special, separate thank you credit. I suspect she is really doing her best to protect James' legacy amongst his many fans and expose them to his lesser known works. Fans such as myself are deeply, deeply appreciative.
*The use of the blaster beam in this score is sublime.
*Don't dismiss the note in the tech talk about the elements having seen better days. I'm sure this sounds eons better than the unmentionable but the audio quality is all over the place. I think very poorly of Wallin as a recordist already but there's times where the score is terribly muffled or sounds as if it was being recorded from a cassette player. The elements definitely had degraded. It didn't bother me but those buying this should be aware there's definitely going to be audio issues and that its no one's fault. But back to my first bullet point, I am so glad this score was digitized before the tapes were too far gone to release it.
I would definitely advise a purchase of this wonderful, engaging score for anyone who loves [early] Horner.
To answer this question (from the incredible liner notes):
Gluntz’s Demise is made up of Gluntz’s Demise, Lana Talks About Her Dream, and Jogging. So the Jogging cue is in fact a part of Gluntz’s Demise. Melissa’s Awakening is a part of Wind Blows In Martha’s Room on this release.
Fantastic, thank you very much for the info! So "Wind Blows in Martha's Room" is definitely longer than the 47 seconds mentioned in the tracklist.
No its timed correctly. The cue "Melissa's Awakening" from the cue sheets may be something different than you're thinking of from the movie/unmentionable. I just looked at the cue sheet list included in the liner notes and missed the fact you mentioned a cue length. This release does look to be complete but those more familiar with the unmentionable than I will know better.
Marvelous write up! And thank you.
I too am a hardcore fan for this early Horner effort, and agree with most of what you've posted. The one thing I will say, my opinion on the Omen vs. Deadly Blessing is that Goldsmith and Horner did the same thing - applied a dark chorale. I'm Goldsmith all the way, but it's not like he CREATED it. He used it for the Omen which was then uncommon and it won him the Oscar. Horner did the same thing here, but from a totally different pallet. I think people just like to have something to bitch about in that regard.
May I inquire one more thing though - the cue when Melissa awakens, grabs the knife from the kitchen and runs out to find John (who is with Vicky) - is listed on the unmentionable as "Melissa Awakens". Where might this cue (much longer than would fit on the :47 cue) be found on this release?
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