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Ordered La-La Land's outstanding 2CD repress of their 2010 remaster on this one. The heart of this score for me are the great atonal/romantic powerhouse cues in the Widow's Web sequence. I noticed greater delineation of elements (synthesizer, voices, strings) on these cues, which I always wanted more of from the unsatisfactory previous releases. One question, though. Maybe Ford Thaxton'll be forthcoming. The booklet credits repeat what's been the credit on every Krull soundtrack release so far: "Digitally Mixed and Mastered by John Richards at C.T.S. Studios". Does this mean the production team on La-La Land's release had to go with Richards' mix? Or did you guys just have to repeat that credit for contractual reasons, and actually get a go at mixing the multitracks yourselves?
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Ordered La-La Land's outstanding 2CD repress of their 2013 remaster on this one. The heart of this score for me are the great atonal/romantic powerhouse cues in the Widow's Web sequence. I noticed greater delineation of elements (synthesizer, voices, strings) on these cues, which I always wanted more of from the unsatisfactory previous releases. One question, though. Maybe Ford Thaxton'll be forthcoming. The booklet credits repeat what's been the credit on every Krull soundtrack release so far: "Digitally Mixed and Mastered by John Richards at C.T.S. Studios". Does this mean the production team on La-La Land's release had to go with Richards' mix? Or did you guys just have to repeat that credit for contractual reasons, and actually get a go at mixing the multitracks yourselves? NO, this credit goes back to the original release. It's his original 2 track mixes that everyone has used since day one. Ford A. Thaxton
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Kudos, then to Messrs. Horner (RIP), Richards, and Thaxton. Hurrah!
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I got that John Richards credit wrong by merging it with the James Nelson of Digital Outland credit. The John Richards credit should read "Analog Mixing and Mastering by John Richards at C.T.S. Studios, London", and a swell job of mixing and mastering he did, too. Krull is thirty-two years old now, and is still putting other scores to shame for their lack of invention and melody. No such shortcoming with the Krull score.
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I can hear it. But it's as close as the B section of Wrath of Khan is to The Good, the Bad, and the Ugly. It's there if you're listening.
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Lmao I totally hear it now. MV
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It's just the first four notes of the song that are essentially the same as Horner's theme, three of them comprising a major triad chord (C, E, G in C Major). In the Horner, it goes D E E C G. In the song, it's just D E C G, the first "Remember me". After that, each goes its own way. They feel similar just because there are only so many ways to build a diatonic melody, and one that goes down rather than up is a bit more unusual and noticeable. But who knows if there was a little conscious or unconscious influence? And by the way, I know Prokofiev pretty well, and I recognize his influence (and occasionally his actual music) in a number of Horner's works. But I don't notice his DNA in this love theme....it's baseline Horner sentimental melody, which I always thought he did very well indeed. One of my favorites of his, actually.
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But I don't notice his DNA in this love theme....it's baseline Horner sentimental melody, which I always thought he'd did very well indeed. One of my favorites of his, actually. Love Theme from Krull or Jenny from The Rocketeer? GO!
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Love Theme from Krull or Jenny from The Rocketeer? GO! Both/and please, there is no or! PS - The best thing about this thread is that it got me to listen to the Intrada Rocketeer release, which I haven't spent much time with. Muy bien! (Of course, another listen to Krull is on deck as time permits.)
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I really like the 20 minute suite on Label X!
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