Intrada Soundtrack Forum

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No matter where you go, there you are....Wait a minute! That's how it always works out.

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"There is a principle which is a bar against all information, which is proof against all arguments and which can not fail to keep a man in everlasting ignorance...that principle is contempt prior to investigation.
Herbert Spencer

Thanks for asking, Doug.

Here is what I think: It depends.

Usually, I prefer the chronological order of the music as it appeared in the movie or as the composer intended it to be used in it (an important distinction for me), including the source music. However, I’m no purist and have strong reservations if the music is better served with some modifications (rearrangements, regrouping of individual cues, suite form etc.). I'll give you some examples of fine releases and misfires too:

John Barry: HAMMETT (produced by F. A. Thaxton for Prometheus) seperated the source music (written by Barry) from the actual score bits. IMO, to the disadvantage of the listening experience. The album is quite boring to listen to, I prefer the change like you hear it on Barry’s THE CHASE. Barry's score from HAMMETT is just not that exciting that you could easily listen through it without getting bored. So, the source music could change that for the better, it’s not distracting, it rather makes for a more varied listening experience. - I'm well aware of those people who strongly disagree on this specific approach of mine. - Mr. Thaxton produced many recordings with this separatist's approach, not necesserely to the benefit of the whole listening experience (however, HIGH ROAD TO CHINA, expanded CD, is an subject open to be debated, IMO. It works fine as it is, and it’s good to have the source material as well.).

Another example, and this time a really good one is TWILIGHT'S LAST GLEAMING where they have changed the track order for better listening experience (by coincidence, produced by Mr. Thaxton, again).

Two terrible albums released in the past, random selections:

- LICENCE TO KILL (plenty of songs and little score) - if ever they make an attempt to release the music in complete form, I could still live without those songs as they have been used in the film as source music (remember Tim Feehan or Ivory?).

- REMO WILLIAMS: THE ADVENTURE BEGINS (Perseverance) - It's been the most unpleasant purchase/music that I've made/listened to in ages. I really see no musical merit in releasing this in its complete form.

So, on the bottom line, in a perfect world, I tell you what I really like to have and how I like to have them.

1) Music as complete as it gets in chronological order (as intended by the composer), including the source music, especially if it's been written by the score composer.

2) If the chronogical order makes for an overlong and/or boring listening experience (ie. THE TOWERING INFERNO by FSM), please, make changes on the album program, regroup the tracks (ie. MONTY WALSH or THE APPOINTMENT, both by FSM) but still release the complete material (if it makes sense; see THE APPOINTMENT).

3) Source music ist OK with me as to be found on the Rhino album from NORTH BY NORTHWEST. - It would be hard to judge for any purist how to produce Morricone’s ONCE UPON A TIME IN AMERICA if ever a really complete album should see the light of day. Because of it's arrangements of "Yesterday" which is prominently heard within the movie, but completely absent from the two album versions. On the other hand, on the album is "Amapola", a non-Morricone track, which the composer also incorporated into his score as well as being used as pure source music. I’m surprised that Nick Redman, producer of the 'Special Edition' didn't release the complete material with "Yesterday" in it. I think it should have been added as it's an integral part of the whole score.

3) No hidden tracks, please. Some albums present music that really hardly fits anywhere else at the end of the last track after a pause of 10 or 30 seconds. And, you’re lucky if you find any hints in the liner notes about that music (ie. THE OMEGA MAN, THE GREAT ESCAPE (Varese Club), THE IPCRESS FILE, TOTAL RECALL etc.).

A supreme release is INCHON (Intrada Special Collection, to choose one of your latest highlights) where one gets two versions (the album cut and the complete score - that’s why I also adore JUSTINE or FURY by the Varese CD Club).

Oh, before I forget it, please use the liner notes to explain these things to the buyer. Communication is essential (FSM (ie. LK) is one of the best when it comes to communication within the liner notes or elsewhere). Don’t leave such things to the pointless speculations (as they always show up on soundtrack forums sooner or later).

Thanks for considering my thoughts.

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"If music doesn`t sing, or dance, or have an interesting harmonic concept, then it shouldn`t be there at all. A film score should burn with its own fire, not merely glow in the dark like a pretty charcoal." – John Barry, 1972