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I don't recall the old Intrada CD sounding bad. It was fine to my ears all those years ago.
The LLL edition does add some sonic punch to proceedings though.
Also, only 6 minutes were missing* from the original album and the actual film score. Not bad.
*sans alts and redoes.
Hmmm...Maybe it is just the rather poor sounding electronics that gives me the impression the sound quality is bad. OK. Well...I'll wait for the Intrada sound clips, Thanks.
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Posted: |
Jul 13, 2021 - 7:59 AM
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By: |
Graham Watt
(Member)
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Happy for those who are excited about this new release. I've got an earlier version (plus the original LP) and that's enough. I must admit though, the score did go up a LOT in my estimations since ever my brother was gonna chuck his copy into a charity shop. I told him to chuck it my way, and I've been enjoying it ever since.
I disliked it in 1987. The synth-wash reminded me of the EASTENDERS theme. But it has grown on me. It is though more than a trifle annoying to me when trying to identify the instruments behind the increasingly frenetic layers of sound. "Oh, that's the Eastenders synth. Oh, there's the drums out that Human League song. Oh, there's the Stylophone. Oh, there's the chainsaw out The Texas Chainisaw Massacre. Oh, is that the electronic insects machine? Oh, there's a Zip-Zap. And a Whiiz-Bang!"
Serious question (for once) - Was any of this really "innovative", or was Goldsmith just following the pop trends of the '80s, albeit putting his own stamp on it?
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Why's "The Funeral" track shorter on CD 1 compared to the Original Soundtrack Album on CD 2 or even the La-La Land Records expansion?
Five tracks on Jerry's 1987 album assembly took cues from different parts of the film and combined them together; the LLL edition retained most of these cue combinations even if it meant their program was not in strict chronological order because of it.
On the new Intrada, every cue is in its own track and everything is chronological, so the other cue Jerry combined with "The Funeral" cue to make "The Funeral" album track - "You Ready?" - is in its own track in the spot in the main program it belongs chronologically.
The same thing happened with the old album tracks "Cash", "The Set Up", "The Plan", and "They Don't Care"
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Serious question (for once) - Was any of this really "innovative", or was Goldsmith just following the pop trends of the '80s, albeit putting his own stamp on it?
Depends of course on how you define "innovative", but I'd say yes, very much innovative. Few composers -- film or otherwise -- had incorporated electronics as just a mere additional instrumental section of a classic orchestra. Of course, there were electronic and orchestral blends before, but rarely in the straightforward manner of how Goldsmith did it, especially in the 1980s. Most "classical" scores that incorporated electronics at that time were more atonal or experimental scores per se.
I remember back in 1987, EXTREME PREJUDICE felt like something I had never heard before, a "new" type of score. (And of course, I knew stuff like Gorky Park or 48 Hours etc.) Goldsmith had experimented with electronics, of course, and used them just as another type of instrument, but in EXTREME PREJUDICE, the mix was more like 50/50 or 60/40 (in favor of the electronics). It wasn't an "avant-garde" score, and it wasn't an electronic score (like RUNAWAY), but a western film score that relies heavily on electronics, which ironically made it all the more innovative.
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Spymaster : The powerhouse cue "The Plan" was re-scored for the movie, and the replacement cues were even heavier on the synths. If this change was at the request of Walter Hill then it's likely an orchestrally-driven score was never an option.
I think you've guessed correctly. According to the liner notes, Hill was wary of a heavily orchestral sound right from the start, in talking with Goldsmith. He was assured the work would favor electronics, and the later changes were also done to please him. Some may believe he did not have the best mind for, or taste in, film music, but he was at last in the camp of those directors who told Goldsmith what they wanted, rather than not doing so and rejecting his work after the sessions.
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Played this for the first time in donkey's. Well some of it. I turned it off after a few tracks. I put some ambient whale noises on, to calm myself down.
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Posted: |
Jul 13, 2021 - 9:22 AM
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By: |
Tom Servo
(Member)
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Five tracks on Jerry's 1987 album assembly took cues from two different parts of the film and combined them together; the LLL edition retained these cue combinations even if it meant their program was not in strict chronological order because of it.
Now on the new Intrada, every cue is in its own track and everything is chronological, so the other cue Jerry combined with "The Funeral" cue to make "The Funeral" album track - "The Morning After" - is in its own track in the spot in the main program it belongs chronologically.
The same thing happened with the old album tracks "Cash", "The Set Up", "The Plan", and "They Don't Care"
That makes sense. Thanks for clearing that up and more.
I'm still contemplating if I should double dip on this or not because the complete score is about 4 minutes longer the LLLR expansion.
Yes, this also helps me as well, knowing more about the differences. I didn't realize that was the case on the LLL edition and seeing as how I only saw the movie once, on VHS, in the 90's, I had no memory of proper cue placement. I just remember being disappointed that so much of Goldsmith's music went unused, as it was disappointed in watching BLUE MAX.
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Where is the Carolco logo music?
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Where is the Carolco logo music?
Someone correct me if I am wrong, but I believe it was recorded at the First Blood Part 2 sessions, not the Extreme Prejudice sessions, so it's on Intrada's 2016 re-issue of the First Blood Part 2 score, rather than this re-issue.
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You are correct Jay.
Yavar
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Posted: |
Jul 13, 2021 - 11:29 AM
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By: |
Graham Watt
(Member)
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Serious question (for once) - Was any of this really "innovative", or was Goldsmith just following the pop trends of the '80s, albeit putting his own stamp on it?
I'm thinking Jerry was adopting more electronics for the same reasons as so many musicians in the '80s. It wasn't to follow a trend, it was that the new digital synthesizers had presets that could be modified or augmented. Many people didn't (and still don't) have patience when it comes to starting with a waveform and slowly shaping it. The '80s ended that for those who didn't like that process.
But is it really a serious question to ask whether he was following pop trends in a score? I must've missed his surfing music in the '60s and techno in the '90s.
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Cheers Nicholas, it is kind of more complex than I made out. Having said that, as to whether it's a serious question to ask whether he was following pop trends... I think it would be impossible to AVOID following pop trends, at least some of the time. It may not have been as obvious as doing surfing music or techno, but Goldsmith didn't invent the Simmons drums, which became a staple of '80s pop before JG used them, nor did he invent the FLINT sound in a vacuum. And although not techno, I imagine that the electric guitar in... whatever that Keanu Reeves thing was... wouldn't have been employed by JG in that score had it not already become (pop)ular among the masses.
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Listening to the original release right now, the sound was already good on Intrada's original release and the album was well assembled. No need to upgrade for me, but very cool to see this score back in action. I like the music a lot. Incidentally, this might have been the last vinyl release I bought back in the day before switching to CDs. I think I got the Intrada CD years ago through trading (probably here). It's among my most often played Goldsmith albums, I love the soundscape.
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