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Anyone else notice in the last 8 seconds or so of “Dust” - is that Jerry humming along with the orchestra? Kinda like when he got carried away on one of those Rudy cues?
My apologies. I was thinking of another cue, "CASH" to be be more precise. (at 3:25).
This "anomaly" was mentioned in a review of the score in Soundtrack Magazine (IIRC) back in the day, and if I'm not mistaken, the review also mentioned the neat throwback to Capricorn One in the score.
Does anyone have access to copies of Soundtrack, and if so could they please confirm if possible.
Review by Roger Feigelson – Originally published in Soundtrack Magazine Vol. 6/No. 22/1987:
https://cnmsarchive.wordpress.com/portfolio/extreme-prejudice/
Thank you. Very much appreciated.
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“ The tone changes to a slight Latin flavor that suddenly erupts into powerful trombone chords and for two seconds — the only time in the entire score – a male chorus is heard chanting in the background.”
Why would he use a male chorus for like two seconds out of the entire score? Weird
He did something similar in Star Trek Insurrection--pretty sure it was a synthetic choir but it only appears for maybe a bar or two. I think it was a moment of enforcing the "existential" threat in the plot but I've never seen Extreme Prejudice so I can't comment on that usage in that film.
Choirs, with their religious connotations, are usually added to create an elevated feeling of gravity or seriousness to a film.
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Edit: the podcast makes no reference to humming, from Goldsmith or otherwise.
The podcast was recorded well over a week before it was released (actually it was recorded on announcement day I think…I wasn’t there obviously). These things take time to edit well. Maybe if these comments about Jerry humming had come up earlier, it might have been brought up in conversation.
Yavar
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I just listened to your podcast for this Yavar and I am 100% happy I made the decision to buy this on a whim. It's a very intriguing score!
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Received the Intrada release yesterday and it sounds and looks awesome, accompanied by fantastic notes.
However, one mystery remains unsolved. As I mentioned in an earlier post, there seems to be a very short vocal passage, a few seconds at most.
I noticed the passage when listening to the score back in the day and then, some time later, I read Roger Reigelson's review in Soundtrack magazine where he wrote this:
The tone changes to a slight Latin flavor that suddenly erupts into powerful trombone chords and for two seconds — the only time in the entire score – a male chorus is heard chanting in the background.
I was hoping that either Yavar's podcast or the new set of notes would address this question, but unfortunately, the question remains unanswered.
Could anybody, perhaps Roger, elucidate this near 35 year mystery?
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I just listened to your podcast for this Yavar and I am 100% happy I made the decision to buy this on a whim. It's a very intriguing score!
I wasn’t on this podcast episode. All I did was offer up some editing feedback to perfect it. This was Jens, David, Doug, and John’s podcast and they deserve all the credit for the conversation. I am very very glad you enjoyed it though! 
Yavar
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I just listened to your podcast for this Yavar and I am 100% happy I made the decision to buy this on a whim. It's a very intriguing score!
I wasn’t on this podcast episode. All I did was offer up some editing feedback to perfect it. This was Jens, David, Doug, and John’s podcast and they deserve all the credit for the conversation. I am very very glad you enjoyed it though!
Yavar
Oh well that explains why I thought "your" (probably Jens?) voice was different. I was also surprised because in the podcast I thought "you" (Jens?) were expressing appreciation for the score when here on the message boards the REAL YOU said it wasn't your favorite but that it was growing on you.
It all makes sense now...
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Jens did the intro for this one, yes. Our names start with the same consonant sound, but I think our voices are pretty different so I’m surprised you thought he was me!
I also had little to do with the Along Came a Spider Spotlight which was David and Clark joined by Bruce Botnick, or the upcoming Cabo Blanco Spotlight which is them joined by Chris Malone (I just established communication between participants and and offered editing feedback). It’s a crazy work time for me (summer performance season) and I’m working 6-7 days a week, sometimes 14 hours a day. Had to set podcasting aside until it’s over, alas…even though I’d love to do a Spotlight on Shamus.
Yavar
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Well I’m not that familiar with your voice but I did hear a slightly different voice than I remembered which didn’t make a lot of sense to me because I didn’t remember that being what you sounded like, but I didn’t recall the host announcing themselves (or I was unfamiliar with the name) so I just thought to myself “that was weird” and then became distracted by the commentary and the music. Plus I was listening to it while working so it didn’t have my 100% attention.
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Posted: |
Jul 30, 2021 - 4:33 AM
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By: |
William R.
(Member)
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Received the Intrada release yesterday and it sounds and looks awesome, accompanied by fantastic notes.
However, one mystery remains unsolved. As I mentioned in an earlier post, there seems to be a very short vocal passage, a few seconds at most.
I noticed the passage when listening to the score back in the day and then, some time later, I read Roger Reigelson's review in Soundtrack magazine where he wrote this:
The tone changes to a slight Latin flavor that suddenly erupts into powerful trombone chords and for two seconds — the only time in the entire score – a male chorus is heard chanting in the background.
I was hoping that either Yavar's podcast or the new set of notes would address this question, but unfortunately, the question remains unanswered.
Could anybody, perhaps Roger, elucidate this near 35 year mystery?
This is at the end of the "Cash" cue, correct? It is a bizarre moment. The only explanation I can think of is that it was Goldsmith himself being caught in a "hot mic" moment (which also happened on RUDY and THE RUSSIA HOUSE).
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Posted: |
Jul 30, 2021 - 8:01 AM
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By: |
connorb93
(Member)
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Received the Intrada release yesterday and it sounds and looks awesome, accompanied by fantastic notes.
However, one mystery remains unsolved. As I mentioned in an earlier post, there seems to be a very short vocal passage, a few seconds at most.
I noticed the passage when listening to the score back in the day and then, some time later, I read Roger Reigelson's review in Soundtrack magazine where he wrote this:
The tone changes to a slight Latin flavor that suddenly erupts into powerful trombone chords and for two seconds — the only time in the entire score – a male chorus is heard chanting in the background.
I was hoping that either Yavar's podcast or the new set of notes would address this question, but unfortunately, the question remains unanswered.
Could anybody, perhaps Roger, elucidate this near 35 year mystery?
This is at the end of the "Cash" cue, correct? It is a bizarre moment. The only explanation I can think of is that it was Goldsmith himself being caught in a "hot mic" moment (which also happened on RUDY and THE RUSSIA HOUSE).
Curious where this happens in THE RUSSIA HOUSE...I never caught anything
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This is at the end of the "Cash" cue, correct? It is a bizarre moment. The only explanation I can think of is that it was Goldsmith himself being caught in a "hot mic" moment (which also happened on RUDY and THE RUSSIA HOUSE).
Makes sense and makes way more sense than hiring a choir for more for less two seconds. I just we could get a confirmation form the horse's mouth. I did ask the question twice in this thread, but so far my Goldsmith Signal(TM) hasn't caught the attention of Yavar or someone in the know.
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I saw what you wrote and kinda addressed it. I don’t know. I haven’t even heard the new Extreme Prejudice yet (outside of the samples that made it into the podcast) and barely listened to the old album(s) so I’m not familiar with this part. It wasn’t addressed in the podcast (which I wasn’t a part of) because I suspect Jens and David also were unaware or didn’t think it was something that needed to be asked about. Once again, it was recorded on announcement day long before anyone brought up the subject in this thread here.
Yavar
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I saw what you wrote and kinda addressed it. I don’t know. I haven’t even heard the new Extreme Prejudice yet (outside of the samples that made it into the podcast) and barely listened to the old album(s) so I’m not familiar with this part. It wasn’t addressed in the podcast (which I wasn’t a part of) because I suspect Jens and David also were unaware or didn’t think it was something that needed to be asked about. Once again, it was recorded on announcement day long before anyone brought up the subject in this thread here.
Yavar
Kinda is the key word here. I'm not looking to assign blame, but I am curious about something that many of us noticed at the time of the original release and that Roger wrote about back in the day.
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