Disclosure Day (John Williams)
- This topic has 166 replies, 15 voices, and was last updated 23 hours, 20 minutes ago by
.
-
Posts
-
Only NOW, 15 days later, I got a notice from customs to pay my customs fee. I thought I had slipped through the radar, but I didn’t.
Yeah, that’s strange. In my experience, you get the customs notice/invoice a few days before the package arrives.
My CD only arrived yesterday from Waxwork. It was in transit for quite a while
Same here. I ordered mine on June 5th, and got a shipping notice on July 15th. So it’s taking its time. But I should have it any day now.
(And now we must be careful so that this thread doesn’t turn into one of those “Ordered!” “Received!” threads on FSM that Thor can’t stand 😉 ).
(And now we must be careful so that this thread doesn’t turn into one of those “Ordered!” “Received!” threads on FSM that Thor can’t stand 😉 ).
Recently I found that regarding this kind of posts jwfan reached the next level, Usually people post wĥen they got their shipment notice or when the CD was delivered. But in the meantime people even post “No shipment notice yet”.
The longer I listen to that album I find that this score deserved a better movie. I think, I said it before. The movie didn’t really manage to get me involved emotionally, didn’t make me care for any of the characters or even at least for their mission. But the score is a score for a movie where I did care.
Yes Gerate, totally agree 👍
I might rearrange the CD into some kind of film order, going forward, to hear how it plays in comparison.
That has worked quite well in the past for me.
War Of The Worlds was a revelation, when I did that with the original album. Until I got the Intrada Expanded Edition, which was beyond revelatory (incredible missing music and much improved sound).War Of The Worlds was a revelation, when I did that with the original album. Until I got the Intrada Expanded Edition, which was beyond revelatory (incredible missing music and much improved sound).
That is something I haven’t thought much about – how the album as it’s originally presented can really impact how you feel and think about a score in general. This makes me think that there are perhaps many scores that I haven’t really gotten into, that were perhaps a presentation or track selection issue, rather than an actual score quality one.
Well Cailin, I know many people feel that a lot of Jerry Goldsmith albums have benefited hugely from being placed in film order (and been expanded), as it follows the whole structure and architecture of the score (within the film) by the composer.
It doesn’t work all the time, as most everything is a case by case basis, but there’s been many a time it’s greatly improved my listening experience.how the album as it’s originally presented can really impact how you feel and think about a score in general.
My favourite example is the OST of THE LAST JEDI. I don’t like that at all. But I adore the FYC album of the same score. Because the FYC album is focussed on new material while the scope of the OST is the repetition of old well known themes.
Well Cailin, I know many people feel that a lot of Jerry Goldsmith albums have benefited hugely from being placed in film order (and been expanded), as it follows the whole structure and architecture of the score (within the film) by the composer.
That’s probably because it has been especially true about Jerry Goldsmith. Goldsmith’s scores tend to be short (compared to the scores at their time), and they were obviously composed with a clear musical structure and architecture in mind, not just a bunch of cues where you can easily change the order. More than most other film composers I know, Goldsmith based classical music architecture on filmic narrative, he was very much inspired by it, so that his scores particularly and more than any other film composer I know of benefited from being released C&C. There are many film composers whose film scores can easily be abbreviated, re-arranged, or reduced to a particular (fitting for whatever purpose) length, but Goldsmith’s scores tend to suffer more than most from such a practice, because they are intricately constructed, and, like a complex structure or dome, if you remove one seemingly unimportant element or move it to another place, you may endanger the entire structure. Goldsmith practically never wrote “throw away” cues or filler material.
The simple reason for Goldsmith’s short 30-minutes albums in the 80s was production cost. The orchestras in the US were hired by 30 minutes. Then 60 minutes and so on.
I think we know the reason for the famous Varese 30 min albums over here generally 😉 But indeed I think many (older) Goldsmiths benefit from being more complete as they often flow much better. I have more Goldsmiths expansions than Williams actually since Williams’ albums were rarely just 30 min ones.
But I was longing for an L.A. Confidential expansion ever since and was never happy with the OST. But when finally the expansion came out, I found, I didn’t really miss anything with the OST. So, I passed on the expansion. It somehow came out too late for me. Similar experience I had with Basic Instinct.
Yeah, I never hread the L.A. CONFIDENTAL expansion but I was content with the normal album. This is one of the good newer Goldsmiths.
I had a similar experience with THE WIND AND THE LION. A great favorite score of mine and while the expansion is nice it does not really add anything significant new for me. But for exampleTOTAL RECALL which was already at least a 40 min album IMHO flows much better expanded.I’ve never heard a Goldsmith expansion that flowed better than its OST counterpart. But you all knew I would say that.
I’ve never heard a Goldsmith expansion that flowed better than its OST counterpart.But you all knew I would say that.
Indeed, it’s “I’ve never heard a [insert composer name at will] expansion that flowed better than its OST counterpart” 😉
I re-arranged the tracks of DISCLOSURE DAY, using the guide at JW-FAN for help, into a more film-like order.
Once I’ve seen a film (good or bad), my mind creates a mood and journey in which I like the music to follow on CD.
I knew from the film, that the early part is front loaded with dark tension and suspenseful chase music, as we are thrust into the Negotiations that are going on.
I’m enjoying the listening experience so much more that way.
One can take liberties wherein you drop tracks such as Listen, Reprise and Empathy (the latter not being in the actual film), to accentuate any mood you have created.
This is a solid John Williams effort. One I could never have expected in his 94th year and my 61st.
Blessed!Messing with Williams’ own album curation is kinda sacrilege to me. Plus, he always nails it, so I feel no need to.
- You must be logged in to reply to this topic.