It IS out there. There’s even cover art for it:
kapow design: James Horner : The Perfect Storm [Recording Sessions] (2000) (http://kapowdesign.blogspot.ca/2013/03/james-horner-perfect-storm-recording.html)
However I do have to point out one thing: Those who do have it will be able to tell you that it’s not exactly the most presentable thing around.
Yes, I know from experience. Yes, it is glorious. No, I cannot share.
I only say this because I get dozens of pms a day asking me what i have that I cannot share. I really dunno whay that would do any good. I am being reassured that knowing somehow DOES help. I am skeptical too.
I have the original share of this, and the custom adaptation both in flac. I also have recording sessions for Apollo 13, containing score not even on the fyc in flac. I am bound to never eve share, but since knowing helps, I thought I would just throw that in their for extra healing.
Yes, I am in a crappy mood. Yes, I DO get dozens of pms a day about this crap….
Wait, what are we talking about here?
Distant Thoughts
Aquarius Farewell (misspelled "Aquaris")
There’s some custom cover art floating around for it.
The thing is, we can easily assume that ANY score can be out there, it’s just a question of who gets it first, who shares it, and so on. Knowing about cue names isn’t much. There’s a new release of sheet music: The complete score for Edward Scissorhands for full orchestra. Anyone can buy it for $75.
Doesn’t mean an album is forthcoming, though.
I only say this because I get dozens of pms a day asking me what i have that I cannot share. I really dunno whay that would do any good. I am being reassured that knowing somehow DOES help. I am skeptical too.
I have the original share of this, and the custom adaptation both in flac. I also have recording sessions for Apollo 13, containing score not even on the fyc in flac. I am bound to never eve share, but since knowing helps, I thought I would just throw that in their for extra healing.
Yes, I am in a crappy mood. Yes, I DO get dozens of pms a day about this crap….
Well that’s not being a total dick or anything. Just keep what you have to yourself and ignore any obnoxious PMs asking you what you have. Don’t mean to seem out of line, but it peeves me to see people flaunt around titles of unreleased music that tail off with a "no sorry, can’t share. Would if I could though!"
It does no one any good accept attract attention to yourself (unwanted attention, on my part… if that’s your thing then by all means–)
Tone it down a bit, I’m sure your inbox will thank you in the long run.
Keep that in mind.
I made the thing but I deferred to my source and yours for that answer. When an answer is given if at all (or if I say to hell with it since much more desired stuff like Inception is out and no one cares about this score remotely as much) then I’ll make the post.
———- Post added at 09:29 AM ———- Previous post was at 09:28 AM ———-
Me = Confused. Didn’t know there were two versions 😉
Two versions thanks to me. The original isn’t worth the trouble of listening to because it’s plagued with problems.
In all honesty, without bias, do you really think the original version is worth listening to with my version fixing all of its problems?
And I tout it as often as I can.
And I tout it as often as I can.
Oh okay.
I’ll respect the source’s wish and delay until next weekend.
I do have the original version as well, for reference purposes.
There were issues throughout the whole thing which required massive editing to fix and make much more presentable:
Flubbed notes in the brass section, awkward tempo changes, missing instruments, etc but for some reason those were limited only to the cues that had corresponding versions on the original album.
The fully unreleased cues were actually perfect. No performance issues at all.
That’s why I basically made full use of the original album – every single track from that is in that custom, but with the added bits and pieces that were unreleased / extended from the session versions. That was done to make the overall performance as perfect as it could be while making every cue truly complete. The only cues that had corresponding album versions I didn’t touch were "Coming Home From The Sea" and "There’s No Goodbye, Only Love" because both just fully replaced the session versions and there were no additions to be made to them.
Even though it’s considered the complete score, and for the most part it is, there’s actually a very small piece missing from it:
The cue "Let’s Go, Boys" has a section in there about 4:57 to 5:53 into that cue which was cut out of the film, but a slightly different, slower version of that section played later on which remains missing. Meh. It’s complete enough. It’s such a minor difference in the performance.
Hearing subtle differences between the album cues and their session counterparts was interesting, like "The Fog’s Just Lifting…" The session version is basically the same (with a longer sustained open when it fades in, added to the album version for the custom), but the second half (where the main theme is performed on solo flute) becomes slower and the acoustic guitar is a bit louder in the mix. It wasn’t enough of a difference to make it an alternate add-on like "Let’s Go, Boys" was since that at least had added electric guitars and a brass addition to the ending.
The original file track list looked like this, and ran for 1 hour, 53 minutes:
1 Coming Home – Similar to the album track ‘Coming Home From The Sea’ but this session version has a lot of flubbed notes in the brass along with the percussion being mangled.
2 Murph And Son – The quiet cue (VERY reminiscent of ‘Bicentennial Man’) scoring the scene where Murph is driving his son home and they talk about fishing and the boy’s mother.
3 The Fog’s Just Lifting – this is almost the same as the album track. Minor emphasis on instruments like guitar.
4 Let’s Go Boys – there’s some added guitar to this version which isn’t in the album track.
5 Sable Island – the cue scoring Billy and Bobby’s talk about having a good day out at sea, in addition to scoring the incoming storm on Sable Island and the weatherman’s research.
6 Goin’ Fishin’ – The early morning cue of the Andrea Gail’s first catch. Love the wild guitars.
7 Shark/Hurricane Grace – the horror cue of the sudden appearance of a shark who tries to eat Bobby’s leg, and the subsequent flyover of that weather plane into the storm’s eye.
8 Murph Overboard – Murph Overboard. Lots of awesome cello / viola work. Dammit this score is awesome.
9 To The Flemish Cap – this is an alternate take of the album version. The brass / guitar / percussion fanfare is heavily truncated.
10 The Perfect Storm – scoring the waves knocking the cargo ship’s crates overboard, Billy’s informing the crew on the storm in front of them (wait it out and let the fish rot, or drive through it and set the catch?) and the weatherman’s claim that it will be a "perfect storm".
11 Coast Guard Rescue (Part 1) – the reason this expanded score was my holy grail. This is the awesome music for the Coast Guard chopper’s attempted rescue of the Mistral.
12 Storms Collide – scoring remaining sequence of the chopper’s rescue attempt and the weatherman’s shock that this storm really is combining into a nightmare scenario. The second half of the album track "The Decision To Turn Around" is really from this cue.
13 Small Victories – similar to the album version with a few extended unreleased moments, but has some performance issues in the brass.
14 Low Fuel – this is the cue which foreshadowed "Enemy At The Gates". The theme for that film makes its appearance here in full, nearly verbatim. This is for when the chopper pilots have decided to abort trying to refuel because the storm has made it impossible.
15 Mayday – this scores the eventual chopper ditching into the sea. Fantastic cue.
16 The Decision to turn Around – similar to the album track (first half), except it has more brass performance issues.
17 Coast Guard Rescue (Part 2) – Similar to the album track with some performance differences. Slightly longer passages of music here, missing cymbal there, that kind of thing.
18 Rogue Wave – like the album track, but this one ends after the horrendous crescendo.
19 The Andrea Goes Down – the latter half of the album version of "Rogue Wave", right before:
20 The Fog’s Just Lifting (Reprise) – this is the ending of that album version of "Rogue Wave".
21 There’s No love, Only Goodbye – Clearly an early performance of the same cue on the album (with the name reversed). This one has a few issues with the performance.
This is the tracklist of my Custom Complete Score, many cues re-titled.
It runs 2 hours, 24 minutes.
1. Coming Home From The Sea *
2. Father and Son
3. "The Fog’s Just Lifting…" ++
4. "Let’s Go, Boys" ++
5. Sable Island
6. "Fish On!"
7. Striking Out / Shark! / Hurricane Grace
8. Murph Overboard!
9. To The Flemish Cap ++ (same run time, but I added in an electric guitar overlay from the session version to make it match what you hear in the film.)
10. The Perfect Storm
11. Air National Guard To The Rescue (again, this cue was why this score was my "Holy Grail")
12. Saving Mistral / Storms Collide ++
13. Small Victories ++
14. Failure To Refuel
15. Ditching The Chopper
16. The Decision To Turn Around ++
17. Coast Guard Rescue ++
18. Rogue Wave *
19. The Loss Of The Andrea Gail *
20. "…Is There Anything Better In The World?" * – tracks 18 to 20 were from the album, split into three to match the session versions.
21. "There’s No Goodbye, Only Love" *
22. Yours Forever * and End Titles
23. Coming Home (alternate) ++
24. "Let’s Go, Boys" (alternate, added guitar)
25. To The Flemish Cap (alternate)
26. Storms Collide (alternate, no electronics)
27. Coast Guard Rescue (alternate ending)
28. Longliners
* From the original soundtrack album
++ edit of both the original soundtrack cues and these additional cues to make them expanded
There’s probably even more details I could go into but you get the idea.
If you reversed the two I would agree with you.
Sorry I like you Amanda, but you are now dead to me… :p
THE STORM HAS HIT.
Yea, well apparently I am dead to a lot of people. You get used to it. 🙁
That’s why you and I will never really see eye to eye on this stuff. You still care. I couldn’t possibly care any less. I rather like ignore lists and telling people who deserve it to fuck off because I don’t have the time or patience for online drama bullshit. I just like making projects when I can and if people like them, great. If not, piss off. No loss to me. I’m here, say what I need to say, share IF I can, and then I fuck off.
But to each their own.
I’m just kidding, of course. :p Seriously, don’t let petty people get you down!
That’s why you and I will never really see eye to eye on this stuff. You still care. I couldn’t possibly care any less. I rather like ignore lists and telling people who deserve it to fuck off because I don’t have the time or patience for online drama bullshit. I just like making projects when I can and if people like them, great. If not, piss off. No loss to me. I’m here, say what I need to say, share IF I can, and then I fuck off.
But to each their own.
Couldn’t agree more, you need to have a thick skin for a place like this. You will never make EVERYONE happy, so don’t bother trying.
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