This is just a question I have: is the FSM edition of Goldsmith's POLTERGEIST offering all there is for this incredible score or is there still some material that could emerge?
And would a new remastering be something people would eagerly wait for? LALALAND? INTRADA? anyone?
The FSM edition has much improved sound over the Rhino (even if sourced from the same tapes, but newly mastered by Mike Mattesino and Bruce Botnik) and includes the complete score (as the Rhino already did) plus alternates and the reconstruction of the album (which used different takes and edits on some tracks).
It seems it can not get much more complete than that.
But if POLTERGEIST II was released 5 times on CD maybe POLTERGEIST could be released again for a 3rd time with one program sourced from the digital masters and another remixed from multitracks.
Also the FSM is kinda cleaned up. All the studio noise and dirt seems to be cleaned up whereas the Rhino edition does not. A while back Nicolai mentioned to me that he preferred the sound of the Rhino as it maintains the high end Soundstage ambience and dynamic range.
What a truly excellent Score by Maestro Goldsmith. I remember enjoying it so much on my Original LP Soundtrack Album! And what a great and wonderfully entertaining movie!
The FSM CD is a reference disc set. Masterful presentation. The Mike Matessino album essay is worth the purchase price alone. Plus you get the stunning new improved Prize tracks with bonuses.
Mr. Matessino has mentioned in a thread of the past that, post-FSM edition, he mixed/mastered a Watertower Records edition of Poltergeist that mirrored the Rhino edition, with better sound.
A while back Nicolai mentioned to me that he preferred the sound of the Rhino as it maintains the high end Soundstage ambience and dynamic range.
Not sure if you mean me, as I don't think I ever said that so. I think the Rhino and FSM sound different, yet I don't have a clear favorite. If I could keep only one, it'd be the FSM though.
The bit starting at 1:30 is one of the most beautiful melodies I've ever heard
This score took a really long time to grow on me. It's a lot of fun but it's not exactly EASY LISTENING. What's really interesting to me is listening to how Goldsmith and Spielberg worked together, particularly in the way strong emotions are woven throughout the score. Spielberg seems to direct his composers using emotion and it makes for some really beautiful and REALLY creepy music.
A while back Nicolai mentioned to me that he preferred the sound of the Rhino as it maintains the high end Soundstage ambience and dynamic range.
Not sure if you mean me, as I don't think I ever said that so. I think the Rhino and FSM sound different, yet I don't have a clear favorite. If I could keep only one, it'd be the FSM though.
Ah sorry, I may have confused you with some one else. But glad to know you prefer the FSM just as I do.
Mr. Matessino has mentioned in a thread of the past that, post-FSM edition, he mixed/mastered a Watertower Records edition of Poltergeist that mirrored the Rhino edition, with better sound.
Water Tower used the Rhino master for their digital release. I didn't do anything for it.
There's no more to include from the score that I'm aware of, unless you count the three harp notes that lead into the film version of the end title (somewhat clumsily as you can hear the ring-out of the note preceding the downbeat they cut into). It turns out that those three harp notes were recorded at the E.T. sessions.
Why is the orchestra credit on Watertower's release of POLTERGEIST the "MGM Studio Orchestra"?
As far as I know, the actual performance was done by the Los Angeles Philharmonic Orchestra, even though for some contractual reasons they were hired/paid individually as session players, hence no "L.A. Philharmonic" credit.
Why is the orchestra credit on Watertower's release of POLTERGEIST the "MGM Studio Orchestra"?
As far as I know, the actual performance was done by the Los Angeles Philharmonic Orchestra, even though for some contractual reasons they were hired/paid individually as session players, hence no "L.A. Philharmonic" credit.
You're correct on who the orchestra was. You can even check on the FSM CD page the entire personnel list. As far as I can guess, the reasoning for the MGM Studio Orchestra credit could be the same as when the New York Philharmonic were called the Columbia Symphony Orchestra in some cases. Either that, or they just needed a placeholder name.
One (slightly unrelated) thing I noticed was that, on the LLL Godfather soundtrack release, the orchestra is noted as the Hollywood Studio Symphony, with no personnel list. I don't doubt that it's the case, it's just hard to really gauge these things without comprehensive history and notes. As Mattesino noted when I asked him about the Godfather release, there really wasn't any documentation about who the orchestra actually were, or where precisely they recorded. All he and his team were able to gather was that each cue was slated by an American. But anyway, that's enough rambling for me. Hope that helps answer your question a bit!
