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The track 'Wind Blows through Martha's Room" has the final bit of Melissa Awakens, when John the Hittite goes out to investigate a noise and there is a red herring build up of music - it's the second part of the track. Hope that helps!
Thank you, I'm glad that short bit of red herring music is on the CD as well. It doesn't quite answer the question about the last 46 seconds from "Melissa's Awakening" as we know it from the film and the unmentionable though.
According to Chris' breakdown, only the first 55 seconds are part of "Gluntz's Demise", but maybe he really thought the short pause in between marked another cue. You yourself wrote that the cue was included in full, which would make the breakdown of "Gluntz's Demise" look like this:
(a) "Gluntz's Demise" (0:00-2:13): William Gluntz looks in Martha's window and is stabbed
(b) Melissa's Awakening (2:14-3:54): Melissa wakes from the dream, gets the knife, and goes outside & Vicky hears a noise and John gets out of the car to investigate.
(c) "Lana Talks About Her Dream" (3:55-4:06) made longer in the film by adding an excerpt from "Kids in the Barn"
(d) "Jogging" (4:07-the end)
This would make the most sense to me. Thanks to everybody for all the info!
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According to Chris' breakdown, only the first 55 seconds are part of "Gluntz's Demise", but maybe he really thought the short pause in between marked another cue. You yourself wrote that the cue was included in full, which would make the breakdown of "Gluntz's Demise" look like this:
(a) "Gluntz's Demise" (0:00-2:13): William Gluntz looks in Martha's window and is stabbed
(b) Melissa's Awakening (2:14-3:54): Melissa wakes from the dream, gets the knife, and goes outside & Vicky hears a noise and John gets out of the car to investigate.
(c) "Lana Talks About Her Dream" (3:55-4:06) made longer in the film by adding an excerpt from "Kids in the Barn"
(d) "Jogging" (4:07-the end)
This would make the most sense to me. Thanks to everybody for all the info!
Yes, I agree that this has been fun! I went back to the film and you are absolutely right, SilentWitness: I thought the pause was the beginning of another cue. But in the film, "Melissa's Awakening" pauses and then continues when Vicky and John stop making out and she says, "I think I saw something out there." It ends with a couple strikes on the Blaster Beam as John gets out of the car to have a look around (just as you noted above). So your revised breakdown and individual cue timings for "Gluntz's Demise" are right on the money. Thank you and TruPretender for the info and clarification!
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Fantastic, thank you guys!
Now I just have to wait for the CD. Ah, the suspense.
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I've played this a few times since it came last week. And I'm enjoying it. I must be mellowing out as I find it less Goldsmith heavy than I remember. Not a bad thing , I suppose.
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Absolutely floored by this release. I full expected a 'lesser' kind of formative-years piece. Totally surprised by how pretty (majestic even) some of it is - and the scary bits are anything but dilettant-ish. Thank-you Intrada for this gem. (I've been missing Horner so much!)
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Same here, I dedicated some time to listening to it last night. The orchestral palette is so varied and inventive - such a pleasure to dive into. A perfect example of why early Horner is one of my absolute favorites
Love that blaster beam too!
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The snake in the bathtub scene made me a wanker.
I have it on good authority that it was much earlier!
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Posted: |
Jul 27, 2023 - 3:04 AM
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By: |
Hurdy Gurdy
(Member)
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You can't beat 80s James Horner.
After getting into film scores through John Williams, via JAWS and STAR WARS and then discovering all the other greats out there (Goldsmith, Bernstein, Barry, Jarre etc), James Horner was the one who I felt a strange kinship with, cos his arrival happened as I was getting into it myself and still catching up with the old(er) guard.
So it felt 'live', if you will. No back catalogue to be chasing with him.
Nothing beats those early memories of buying LPs for BATTLE BEYOND THE STARS and HUMANOIDS FROM THE DEEP and seeing his earliest efforts in the cinema, most times with a Recording Walkman in hand, to grab scores like WOLFEN, THE HAND, 48HRS and this score straight off the screen.
And then 1983...with LPs for KRULL, BRAINSTORM and GORKY PARK...WOW!!!
Such a bright, new, unique voice (with a cheeky gift for inspiration and reuse).
But no one could deny the sound of Horner's own musical style.
And this CD...
I've had the old Pony (Boy...Tail...I forget) since it came out, offering about 30 minutes of the score, alongside WOLFEN.
It has kept me very happy all those years.
But now we've got this spanky new version, with 30 minutes of additional score and/or alternates.
And a lovely booklet/notes with striking cover art.
I'd have to re-check, but I think the sound might be slightly better on the boot? The sound quality differs between tracks on this one.
But this version is gonna get played to death (I can't hear the Main Title without the narration 'In the rolling hills...' in my head).
I always had a soft spot for the film too. Great low-budget horror. Handsome looking film. Lovely girls too. And Horner's music making things seem 10 times better.
Thanks Intrada...and here's to many more classic Horner scores getting CD revivals.
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Hey, Hurdy - you forgot Wrath of Khan.
As Dracula might say - sacrilege!
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I finally received this wonderful CD. So glad that this has been released. Brings back a lot of memories from when I started out collecting film music.
That "Melissa's Awakening" ended up in the middle of "Gluntz's Demise" seems like a sequencing error. The cue sheet in the booklet lists it where it belongs chronologically. In its stead we hear the (unnamed?) red herring cue following it. But never mind, at least it's there.
I still wonder about that short cue in the film when we see the dead snake gliding into the water, right after "Snake in the Bath". I can't for the life of me figure out where it might be taken from. For all I know it's the only unreleased bit of music from the film. Not that those 10 seconds are essential in any way. Just very curious if I missed something.
Again a big thank you to Intrada for releasing this early horror score!
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I'm really loving this expanded edition of DEADLY BLESSING, but I'm gonna be keeping the old Pony Tail promo release too, for its unique sequencing, consistent sound source and the fact the lovely (short) Vicky Jogging cue is its own separate track.
Best of both worlds.
Same here.
I will say that it's sad the tapes were not in better condition. The cue I was most looking forward to "Martha And Faith Wrestle" sounds very muffled and unfortunately it really takes me out of the experience. There are a few other cues like this one, that sound muffled like they were from a bootleg. The stereo mix is proof that this is not the case.
Still, I wonder how they were unable to provide a sharper, crisper sound to some of these cues.
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I'm sorry to say my experience of this one is different.
I don't know the movie, and I wasn't intrigued by the Goldsmith influence, but I enjoyed the samples of the more pastorale opening music. And it's Horner, so why not?
And it just feels like a bunch of different kinds of music - nothing holding it together for me besides the choral bits, which are too derivative to be fully enjoyable. It's actually how I've felt about Wolfen - and I really wanted that score when I saw the movie on release. Neither of these strike me as particularly interesting horror scores.
I was really hoping for something more like Richard Band's House on Sorority Row, which I've always really enjoyed (though, again, without ever seeing the film). And this pales in comparison for me.
I never in a million years thought I would compare a Richard Band score as preferable to Horner, but there you go.
Not arguing for my position, and don't want to take from others' enjoyment of this - and I'm glad I have it.
But boy am I looking forward to the new Gorky Park edition - now there's an early Horner I know and love!
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