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Posted: |
Nov 14, 2020 - 4:18 PM
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By: |
EricHG30
(Member)
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As much as I love The Land Before Time I think An American Tail is the bigger expansion of the two. Practically the entire middle of the score is missing from the OST. This is truly a release that merited an expansion. There's a wealth of rich thematic material here.
Funny how the American Tail additional cues number around a dozen or more, and add up to 30 or so minutes, yet The Land Before Time has only two unreleased cues, which add up to about half that. The lack of songs in Time really allowed Horner to create long, flowing pieces, whereas Tail, with its songs and more fragmented storyline, has cues that are considerably shorter.
Yes, while I see both scores working very much together--complementing and contrasting each other, that's one big difference and why Land Before Time reminds me more of a full orchestral piece or a Prokofiev ballet or something (in fact in a way it feels more like those suites composers so often make out of shorter movie cues).
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Posted: |
Nov 15, 2020 - 7:40 AM
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By: |
Solium
(Member)
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As much as I love The Land Before Time I think An American Tail is the bigger expansion of the two. Practically the entire middle of the score is missing from the OST. This is truly a release that merited an expansion. There's a wealth of rich thematic material here.
Funny how the American Tail additional cues number around a dozen or more, and add up to 30 or so minutes, yet The Land Before Time has only two unreleased cues, which add up to about half that. The lack of songs in Time really allowed Horner to create long, flowing pieces, whereas Tail, with its songs and more fragmented storyline, has cues that are considerably shorter.
Yes, while I see both scores working very much together--complementing and contrasting each other, that's one big difference and why Land Before Time reminds me more of a full orchestral piece or a Prokofiev ballet or something (in fact in a way it feels more like those suites composers so often make out of shorter movie cues).
Thank gawd the film didn't have songs like the made for home video sequels!
It should be noted TLBT was original conceived as a feature length version of the Dinosaur sequence in Fantasia without any dialog. Thus the score would play a pivotal role in the film. Of course they chickened out (as always) on the no dialog part.
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Thank gawd the film didn't have songs like the made for home video sequels!
It should be noted TLBT was original conceived as a feature length version of the Dinosaur sequence in Fantasia without any dialog. Thus the score would play a pivotal role in the film. Of course they chickened out (as always) on the no dialog part.
Yes, I love musicals but not every animated film has to be a musical (I haven't brought myself to see it but I think NIMH 2 is, as well). (Not to mention that the songs in those direct to video things tend to be so awful that I have no idea how any self respecting songwriter can allow them to credit their names.)
I remember reading that about Time in the book on Bluth's films years back. The biggest let down I felt wasn't so much the voices as finally giving in and giving it a narrator (there seem to be many examples where studios don't give kids enough credit and feel that added narration is necessary...)
The songs in the DTV sequels are certainly bad, but the songs on the butchered versions of Richard Williams’ The Thief and the Cobbler are even worse, in my opinion (whoever thought those songs were even remotely good ought to have had his head examined). Those versions are also guilty of the two charges brought up here with voices being added to characters that were originally mute (the Miramax is especially guilty of this with those annoying Jonathan Winters voiceovers) as well as incessant narration (Williams’ original version and the subsequent Recobbled Cuts only have narration in the prologue done by Felix Aylmer).
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Three years later, and still no expanded/remastered Fievel Goes West.
It’ll be somewhere out there.
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Just giving this one a spin for the first time despite having it for several months.
This is one of those rare occasions where the expansion doesn't do much for me. The expansion seems to add a lot of mickey mousing and not the focused, emotional scoring Horner usually gives. The highlight of the new material is "Building the Mouse of Minsk." The clacking percussion against the Steppes of Central Asia theme is just *chef's kiss*
I hate bringing this up, but am I alone in feeling like some of the material that was added is so anonymous I question if it was even by Horner? Greg McRitchie is the only credited orchestrator, but, the first part of Train Trestle or Warren T. Rat....just isn't giving me Horner.
Also, surprised this hasn't been posted in here (and maybe it has and I missed it) but this German bit on Horner shows him in his studio writing this score: https://www.youtube.com/watch?v=gNImck_vKh8
I can check composition for the cues in question for you
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I have cheked
all cues that i have access to is written by horner
All cues have - very atypical - the orchestrator's names listed at the end with an date
So the cues have Horners name on the front page and are signed of with orc. G. Mcr
all cues were orchestrated in Mai and June 86 - some of them finished on the same date so McRitchie has worked fast
several cues have no title and only a slate number
1m1 was one of the last cues that were finished in orchestration - McRitchie signed that of 22/6 - 86 (only one or few other cues were signed off the following day(s))
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This is all very fascinating. I wish we could do this for everything lol
It seems to be a trademark for Greg McRitchie
the same patterns appears on some cues for AMERICAN TAIL 2 with some of them signed of by him in october 90 at the end of the score
it's hard to to read 90 becaurse they are written like 9U - with the zero resembling the letter U
So for all cues orchestrated by McRitchie it should be possible to see when he signed them off
And just looking at a cue from ALIENS it shows that he went from orchestration ALIENS signing a cue off in april 86 to orchestrating AMERICAN TAIL afterwards for Horner
and it's very possible he could have done Orchestration in-between for another movie - I bet he was working fast
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(It is a worthy score though--more than the film itself.) 
