Evidently, this fellow got the original tapes somehow and made a CD of it. Several extra cues were on there not on the earlier two boot LPs.

Kidding... I'm kidding, Justin.

Some of MY personal all time favorites I have never seen. Like:

- Jakes Speed - Mark Snow
- The Omega Man - Ron Grainer

Speliing? waht si htis thing you caal seplilng?

[Message edited by justin boggan on 07-25-2004]

I didn't say they are bad, I jsut haven't seen them and really, truly don't have any interest in doing so.

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Originally posted by John C Winfrey:
After that boot of it was confiscated at Austin several years ago and the fellow there went to jail, many did of you did not get to hear the outstanding sound quality of those original tapes. I do not own one myself, but the extra cues and sound on that were outstanding. That one fight cue on the train was very very good.

Evidently, this fellow got the original tapes somehow and made a CD of it. Several extra cues were on there not on the earlier two boot LPs.

John.

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1.) Jerry Goldsmith's great score, which houses some hidden gems amongst the meh.

2.) Fights on trains.

Shaun

Thanks Sh!tun, you're a real pal!

It doesn't matter if the movie didn't exist that the score wouldn't exist, then we woudn't have this problem and any other composer could have been choosen.

I know you must see very narrowly, but try harder to see.

Aren't we all wanting to come away with new appreciations for train fights? Or is it just Shaun?

A film could have just songs like a title I can't recall the name of.

Producers and directors and studios should be lucky any even scores their crappy movies these days.

Mike, he may get hired to write a score for a film, but he can use the same score on every movie he ever does. The film is not important.
We jsut have strongly varying opinions, is all.

Peers don't get respect like some kind of instant conception, it is earned. Whether through knowing the person, or knowing them through their actions.

How about you show me some damn respect? Don't want to huh? See!

Justin, it is not my intention to incite a flame war. Initially, my intention was to just get you to watch Breakheart Pass, because a score you consider to be mostly "meh" might actually turn out to be mostly "yah" when heard within the context of its film, which is where it was intended to be heard first and foremost. Hell, most Goldsmith scores blossom when seen/heard in this light (see again The Reincarnation Of Peter Proud, just for another example from 1975).

Then you had to go and say something like "The film is not important." I agree that a score can be appreciated outside of its original medium (which is film), BUT---see the film once. And then, each and every listen will bring to mind images such as that fight on the train and the fact that David Huddleston has NEVER AGED EVER!

One day, you'll look back on this post, and you'll either say, "Man, what a horse's ass I was about this whole Breakheart Pass issue! I really did like that movie" or "Merma, pass the mush."

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 [i][/i] 

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Anyway, I may see Breatheart Pass if it ever comes on. not becasue you say I should see it, but rather tht old movies are better than new movies.

And to show again my civility, shaun, whnen you are writing your reply, on the left you will see:

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*UBB Code is ON

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A very interesting problem.

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Originally posted by John C Winfrey:
JEC, the two boot Lps Poo and the GSF copy off that were subpar and very subpar in sound. And were both boots. The later one, many years later is from a different source. The sound on it is topnotch. The fellow selling those new CDs did go to jail and they were confiscated. But it would be very interesting to see what he got and where it came from. It included several other cues on that.
If these came from a source that Goldsmith said were inferior, that fits the two boots. This newer one has great sound.

A very interesting problem.

John.

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By the way. Walter Bowser formed a legal label a few years later, "Web Records". Some outputs were LaLoggia's "Fear No Evil" or Justin's "Forbidden World".

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Originally posted by John C Winfrey:
One thing is for sure, a different source was used in that one with much better sound.

John.

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Yes. The Pony-CD is much more "transparent" than the old Poo-LP. Sadly, both are mono.

I'm definitely with Justin on this one. Undoubtedly, you can have a relation to a film score without having to consider the pictures it was written for. Why on earth would anybody bother to put them on CDs if this was not the case???

On the other hand, the impression of a film score separated from the pictures can be radically different if you have seen the film. Mind you, some of Jerry Goldsmith's scores are so much better than the films they were written for. The ingenious music for The Swarm is a much stronger experience without the pictures, for instance. And naturally, a lot of scores work better in the film, than they do taken out of that context.

Still, I feel that it's perfectly all right to judge a film score CD on the basis of the stand-alone listening experience. It would be wrong to judge the score and its function in the film based on what you hear on the CD, but IMO the score *album* can be - and even should be - judged on its own merits. Transforming a film score into a good listening experience on CD, separated from the film, is an art in itself and only the best composers succeed. Jerry Goldsmith was a master in that respect.

mikael @ music from the movies

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Originally posted by BMikeJ:
Justin, how can you be so cosmically STUPID? A composer gets hired to write a score for A FILM. How can you possibly say that it is not important to consider the FILM when you are talking about the MUSIC?

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I'm definitely with Justin on this one. Undoubtedly, you can have a relation to a film score without having to consider the pictures it was written for. Why on earth would anybody bother to put them on CDs if this was not the case???

On the other hand, the impression of a film score separated from the pictures can be radically different if you have seen the film. Mind you, some of Jerry Goldsmith's scores are so much better than the films they were written for. The ingenious music for The Swarm is a much stronger experience without the pictures, for instance. And on the other hand, a lot of scores work better in their original context, ie the film.

Still, I feel that it's perfectly all right to judge a film score CD on the basis of the stand-alone listening experience. It would be wrong to judge the score and its function in the film, but IMO the score *CD* can be - and even should be - judged on its own merits.

mikael @ music from the movies

John.<HR size=1></BLOCKQUOTE>

Yes. The Pony-CD is much more "transparent" than the old Poo-LP. Sadly, both are mono.

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Ford Thaxton posted this at FSM on 3/7/2002:

FYI, Jerry Goldsmith has asked that MGM NOT release this score due to poor nature of the masters that exist.

He hated the bootleg and MGM will honor his wishes.

END OF DISCUSSION (There is no room for discussion with Goldmsith or MGM on this topic).

Chris Neel posted this the next day:

Well, as a representative of the copyright holder, I will abide by Mr. Goldsmith's wishes. At this time, the only elements that are available are poor quality 4th generation 7 1/2 ips. mono 1/4" reels. Mr. Goldsmith is very fond of this score, and if a better sounding source is found for this title, I am sure he would approve a release. So, if anyone knows where some 15 ips stereo 1/4' reels from this score could be, let me know.

So the boot must have been taken from this mono source somehow.