Just one word, but enough.
(Beastie Boys Sabotage)
.....So while you sit back and wonder why
I got this f*cking thorn in my side
Oh my God, it's a mirage
I'm tellin' y'all, it's a sabotage....
Star Trek IV: TVH expanded score is out!
- Thread starter ScottDS
- Start date
Just one word, but enough.
(Beastie Boys Sabotage)
.....So while you sit back and wonder why
I got this f*cking thorn in my side
Oh my God, it's a mirage
I'm tellin' y'all, it's a sabotage....
doubleohfive
Fleet Admiral
Listen all y'all!
Just guesses on my part.
Intrada has a great relationship with UMG who owns the rights to IV and VI, while LLL has a great relationship with Sony who owns TMP and V (which was released as a limited edition last year).And while the restored albums are out on different labels, the same people are working on all of them: producer Lukas Kendall, mixer/editor Mike Matessino, and writer Jeff Bond, among others.
I used to think this as well but for their CD release, GNP simply licensed II and III from their respective owners - Atlantic and EMI/Capitol - and those are the labels Film Score Monthly had to deal with when they released the complete versions of II and III in 2009 and 2010.
Fantastic news! I've already ordered it. I do like this score very much. It's more of a nostalgic feeling than anything because I know what people say on here is true about Rosenman's work.
I've always wanted to hear the alternate opening theme Rosenman did of the original series theme. I remember reading of its existence 20+ years ago. Now I have - And it indeed SUCKS! Glad Nimoy and Bennett went with the other theme.
I've always wanted to hear the alternate opening theme Rosenman did of the original series theme. I remember reading of its existence 20+ years ago. Now I have - And it indeed SUCKS! Glad Nimoy and Bennett went with the other theme.
Simple. Avid fans (of particular movies and/or composers) at different labels pursue the rights to the soundtracks they predict will be profitable for their employer. Each movie gets negotiated separately.
Nice to see another complete score come out, but this is my least favorite of all the TOS film scores.
I eagerly await a complete score realese for both TMP and TUC.
I eagerly await a complete score realese for both TMP and TUC.
"...and THE REST! Are here on Gilligan's Isle!"
I am looking forward to them too.
I also hope for better sounding releases of FC and GEN. Crescendo's CD's just sound sub-par.
doubleohfive
Fleet Admiral
I don't know what you're talking about. The original release for First Contact has held up very well, I think... and if there is a new release to be made, certainly I'll pick that up as well... but I don't remember ever having any problems with the original disc beyond my ancient computer being too small for the 'advanced media content' included on it.
Generations, however, always, ALWAYS sounded too low in volume to me, and even today I have to crank the volume on that disc in order to hear it properly.
Generations, however, always, ALWAYS sounded too low in volume to me, and even today I have to crank the volume on that disc in order to hear it properly.
If they end up releasing an expanded score for Star Trek VI, (which I really hope they do) I pray they include Cliff Eidelman's score that was used in the second trailer for that film. It had a fantastic version of the fanfare when the title logo comes on.
Do you perchance mean orchestral?
I seem to recall that Dennis McCarthy wasn't happy with the way that score was mixed, although it's my least favorite of the film scores, so I'm not sure that I'd buy an expanded version of it.
Just pre-ordered this one, though. IV isn't the strongest score of the series, but it has some great cues.
I have never been pleased with Crescendo's mix. The lows have little definition and sound thumpy. The mids are muddled. Comparing FC to NEM on Varese, it's night and day. I love the FC soundtrack. I am looking forward to an even better mix when it's rereleased.
Agreed. Some of the tracks have a fairly steep dynamic range as well, causing sections of some cues to sound way too loud after compensating for the unusually low gain employed throughout most of the recording.
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