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02-27-2014, 08:04 PM
Wendy Carlos
The Shining (Deluxe Edition)
1980/2005 (East Side Digital)
35 tracks, TRT: 1:17:22, 320 MP3
https://mega.co.nz/#!l59XSARS!I2R_fFeh3loNolPItgYbHNwEBQdZO9HOIJnttAc 1pbM
Track Listing:
Notes: This release is a compilation compiled from the bootleg 2CD Overlook Production edition, the 2-volume Re-Discovering Lost Scores albums put together by Mrs. Carlos herself and a clean rip of the original soundtrack album. Whether the main program (tracks 2-29) is chronological or not, I can say that some parts are chronological but can't say with 100% certainty that the rest is considering that most of it was rejected but it's an improvement over just compiling the two RLS albums together and retaining their original sequencing. This set's sequencing was inspired by the Overlook Productions edition as it seemed to make the most logical sense.
The album kicks off with a new rendition of the 'Dies Irae' theme that Carlos intended and partially used in the film for the trippy opening title sequence. What an album opener it is. As for the score as a whole, apart from all the weird cues sprinkled about, therein lies a thematic base to the score even if it's not heard in every single cue. I feel that Kubrick was wise in his decision to excise the bulk of Carlos' score from the film as I don't think the film would've been quite what it is today nor would her score have fit. That's not to negate Carlos' work as useless however. In fact, I admire Carlos' compositions solely on the fact that they were completed prior to the film being completed and were based heavily off of Stephen King's novel. For those who didn't enjoy the classical shock offered in the film and (unofficial) soundtrack album can be granted new license to appreciate Carlos' contributions as her approach is vastly different including being more sound design-driven while also being thematic and cohesive therefore, in my humble opinion, making the entire experience a bit more effective and scary. Considering the stigma associated with this type of score, it may come off a tad cheesy in places while coming off really strong in others. It's a balancing act and Carlos proves herself again even if at the time she didn't get the recognition she deserved for it.
As a little sidenote, Wendy Carlos was formerly a man: Walter Carlos. If you're lucky to have a vinyl store within reasonable distance from you, you may come across a copy of Walter's Switched-On Bach records. I stumbled upon it for 4 bucks at a half price book/record store and after doing a quick Google search, I had to have the record. Now I simply can't get enough of his/her work. I never appreciated synthesizers nearly as much as I do now. I do still think they are an instrument of the devil and they are very good at proving that theory right. Listen to other works by Wendy/Walter (particularly Tales of Heaven and Hell) for examples. How else can you explain Hans Zimmer being at the top of the food chain with his synth-driven scores, as well, yet Wendy whom is fantastically melodic and innovative in her works get treated like an underdog? It's all an act of the devil. THE DEVIL, I SAY! I hate that people's taste in music changes so rapidly but with 4 billion people in this country, it's very easy for things to get played and overplayed to the point where changes in taste are necessary but I just don't currently understand the stale state of film scoring. Current filmmakers favor sound design over melodic scores which is a fair thing to experiment with I guess but my heart yearns for another symphonic score that both meets and breaks the conventions of film and sound again; with a killer theme to boot. I don't necessarily mind if it's synthetic as some very creative things can result from synthesis (i.e. Wendy Carlos & Harry Manfredini's output) but I personally prefer the natural sound of a live orchestra as it eliminates that cheesy sound that a synthesizer has. A composer's own originality helps immensely. I can't help shuddering at any new score that comes out from one of my favorite composers only to think "hey, that sounds like Zimmer, etc" and hear as it is escalates into total mimicry with the composer's usual flair that Zimmer can never touch, leaving me with a few truly original and memorable cues with the rest being inspired filler. Patrick Doyle's Thor being the primest example I can think of. John Ottman's Jack the Giant Killer being another example that uses the Zimmer style however Ottman broke away from that style and made it into something his own. Ottman gave us some truly harrowing cues and an overall excellent (not to mention ferocious) sound. It's more pick and choose these days than I can ever recall it being. Every so often you'll find a gem. Finding a gem now is like finding hay in a needle stack.
Anyway, this set contains strictly the work composed by Wendy Carlos and DOES NOT feature the Penderecki, Ligeti and Bartok pieces along with the various source cues that are present in the Overlook edition. Not a note of this is unreleased and can easily be found with a very quick Google search. I opted to include the album versions of the "Opening Titles" and "Rocky Mountains" along with a new reprise of the 'Dies Irae' theme again to close the album out. Like with the album version of the "Opening Titles" cue (which fans of the score will know has never sounded particularly "good" in terms of sound quality on album but sounds really good if not murky at times here), "Rocky Mountains" sounded pretty good too to warrant its inclusion.
Anyway, this has been a project long in the making and I hope you all enjoy it!
UPDATE as of 3/3/2014: I procured the Overlook edition thankfully due to the below tip from DavidRaphael. Notes above have been modified to reflect the changes made.
The Shining (Deluxe Edition)
1980/2005 (East Side Digital)
35 tracks, TRT: 1:17:22, 320 MP3
https://mega.co.nz/#!l59XSARS!I2R_fFeh3loNolPItgYbHNwEBQdZO9HOIJnttAc 1pbM
Track Listing:
Notes: This release is a compilation compiled from the bootleg 2CD Overlook Production edition, the 2-volume Re-Discovering Lost Scores albums put together by Mrs. Carlos herself and a clean rip of the original soundtrack album. Whether the main program (tracks 2-29) is chronological or not, I can say that some parts are chronological but can't say with 100% certainty that the rest is considering that most of it was rejected but it's an improvement over just compiling the two RLS albums together and retaining their original sequencing. This set's sequencing was inspired by the Overlook Productions edition as it seemed to make the most logical sense.
The album kicks off with a new rendition of the 'Dies Irae' theme that Carlos intended and partially used in the film for the trippy opening title sequence. What an album opener it is. As for the score as a whole, apart from all the weird cues sprinkled about, therein lies a thematic base to the score even if it's not heard in every single cue. I feel that Kubrick was wise in his decision to excise the bulk of Carlos' score from the film as I don't think the film would've been quite what it is today nor would her score have fit. That's not to negate Carlos' work as useless however. In fact, I admire Carlos' compositions solely on the fact that they were completed prior to the film being completed and were based heavily off of Stephen King's novel. For those who didn't enjoy the classical shock offered in the film and (unofficial) soundtrack album can be granted new license to appreciate Carlos' contributions as her approach is vastly different including being more sound design-driven while also being thematic and cohesive therefore, in my humble opinion, making the entire experience a bit more effective and scary. Considering the stigma associated with this type of score, it may come off a tad cheesy in places while coming off really strong in others. It's a balancing act and Carlos proves herself again even if at the time she didn't get the recognition she deserved for it.
As a little sidenote, Wendy Carlos was formerly a man: Walter Carlos. If you're lucky to have a vinyl store within reasonable distance from you, you may come across a copy of Walter's Switched-On Bach records. I stumbled upon it for 4 bucks at a half price book/record store and after doing a quick Google search, I had to have the record. Now I simply can't get enough of his/her work. I never appreciated synthesizers nearly as much as I do now. I do still think they are an instrument of the devil and they are very good at proving that theory right. Listen to other works by Wendy/Walter (particularly Tales of Heaven and Hell) for examples. How else can you explain Hans Zimmer being at the top of the food chain with his synth-driven scores, as well, yet Wendy whom is fantastically melodic and innovative in her works get treated like an underdog? It's all an act of the devil. THE DEVIL, I SAY! I hate that people's taste in music changes so rapidly but with 4 billion people in this country, it's very easy for things to get played and overplayed to the point where changes in taste are necessary but I just don't currently understand the stale state of film scoring. Current filmmakers favor sound design over melodic scores which is a fair thing to experiment with I guess but my heart yearns for another symphonic score that both meets and breaks the conventions of film and sound again; with a killer theme to boot. I don't necessarily mind if it's synthetic as some very creative things can result from synthesis (i.e. Wendy Carlos & Harry Manfredini's output) but I personally prefer the natural sound of a live orchestra as it eliminates that cheesy sound that a synthesizer has. A composer's own originality helps immensely. I can't help shuddering at any new score that comes out from one of my favorite composers only to think "hey, that sounds like Zimmer, etc" and hear as it is escalates into total mimicry with the composer's usual flair that Zimmer can never touch, leaving me with a few truly original and memorable cues with the rest being inspired filler. Patrick Doyle's Thor being the primest example I can think of. John Ottman's Jack the Giant Killer being another example that uses the Zimmer style however Ottman broke away from that style and made it into something his own. Ottman gave us some truly harrowing cues and an overall excellent (not to mention ferocious) sound. It's more pick and choose these days than I can ever recall it being. Every so often you'll find a gem. Finding a gem now is like finding hay in a needle stack.
Anyway, this set contains strictly the work composed by Wendy Carlos and DOES NOT feature the Penderecki, Ligeti and Bartok pieces along with the various source cues that are present in the Overlook edition. Not a note of this is unreleased and can easily be found with a very quick Google search. I opted to include the album versions of the "Opening Titles" and "Rocky Mountains" along with a new reprise of the 'Dies Irae' theme again to close the album out. Like with the album version of the "Opening Titles" cue (which fans of the score will know has never sounded particularly "good" in terms of sound quality on album but sounds really good if not murky at times here), "Rocky Mountains" sounded pretty good too to warrant its inclusion.
Anyway, this has been a project long in the making and I hope you all enjoy it!
UPDATE as of 3/3/2014: I procured the Overlook edition thankfully due to the below tip from DavidRaphael. Notes above have been modified to reflect the changes made.