feedthecats
08-06-2015, 09:07 PM
If you�re reading this, chances are you already have the La La Land CD of this score. So how does the isolated track on the Twilight Time Blu-Ray compare?
First, the iso score is in mono - but it�s good sounding mono. The stereo CD obviously sounds better, but the iso score does have its merits - the mono mix is subtly different. And anyway, if you love this score, as I do, you�re going to want to have both versions.
Second, there�s more music on the iso score. Not exactly tons of missing music - about 12 minutes, including three source cues.
Like a lot of isolated scores, there are some minor volume dips, but they were easily fixed. Less easy were the sudden dialled-out sections that occur on a small number of tracks. I decided to �patch� these silences with the corresponding music from the CD, but this was problematic. The CD is in stereo, so the sections had to be mono-ized to match the iso versions. Also, the CD tracks are at a slightly different speed, so that needed adjusting as well. Finally some subtle EQ-ing had to be performed on the patches before they could be seamlessly blended in. Quite a lot of work, but I�m a huge fan of this score so it was worth the effort.
Here�s the track list - with comments on the differences where they occur:
01. Main Title (1:51) *
The film version begins with a cool drum roll, not heard on the CD. The CD version is a much longer piece, perhaps intended to accompany a longer title sequence, or continue on throughout Brannigan�s first �Knock knock� gag as he rousts the counterfeiter. In any case, the more concise film version is included here.
02. Knock, Knock (Main Title - Part Two) (2:34)
The film version uses only the last minute of this cue. The CD version presents the unedited cue as it was originally intended - underscoring Brannigan being told by a couple of uniformed cops that they�ve come to take him to the airport. I decided to just use the full CD version here - mono-ized and EQ�d to match the rest of the score.
03. To London (1:11) *
The main theme accompanies Brannigan�s plane lifting off, and then - after a quote of �Rule Britannia� for a transition to London - we�re treated to some laid-back grooves for the villain (John Vernon) taking a stroll in Hyde Park with his slick lawyer (Mel Ferrer).
04. Gorman Intro (0:55) *
Hitman Gorman arrives at Heathrow Airport at the same time as Brannigan and watches the cop being driven away by a female Scotland Yard officer (Judy Geeson). Frontiere�s music for Gorman is a clattering, percussive little motif that keeps reminding us that danger is never far behind Brannigan. This is actually two tracks I�ve edited together - in the film there is clearly a section of music between these two cues that originally accompanied Wayne and Geeson�s first dialog scene, but sadly this is completely dialled out.
05. The Kidnap (1:29)
06. The Hitman & The Hooker (0:47) *
More percussive hit man music. Once again I�ve joined two short tracks - in the film they bookend a long piece of funky source music that�s playing on a radio as Gorman dallies with a hooker (Lesley-Anne Down). This music has been mixed extremely low, and is also very tinny (just as it would be if it was coming from a 1975 transistor radio) but I�ve done what I can to make it listenable without being too painful on the ears. I have included it as a bonus track at the end.
07. Well, He's An American (0:36) *
Some comical music accompanies Scotland Yard Commander Swann (Richard Attenborough) reacting with amusement to Brannigan�s brusque no-nonsense style.
08. Gorman Stalks Brannigan (1:13) *
Three short cues joined together: Gorman tails Brannigan through a tunnel (his E-Type Jag�s engine growling loudly, a sound that will become pivotal later in the film) and then waits outside Brannigan�s flat. Brannigan has a whisky nightcap and hears the Jag driving away; he reacts slightly, realising that�s the second time in one day he�s heard that distinctive sound. (Note to hitman: get a less noticeable car, you twit!)
09. Ransom - Part 1 (3:19)
10. Ransom - Part 2 (1:43)
In the film, a section of this track is overlaid with music from an onscreen protest march. I replaced that section with the corresponding bit from the CD. The full film version with marching band overlay is included as a bonus track at the end.
11. Ransom - Part 3 (1:43)
12. Ransom - Part 4 (4:07)
13. Shotgun (2:50)
14. Twenty Five Grand (1:54)
In the film, this track segues directly into a soothingly old fashioned piece of source music as Brannigan has a cosy restaurant meal with sidekick Judy Geeson. I�ve separated it and included it as a bonus track at the end.
15. I'm A Cop (1:38)
A short section of dramatic music in the middle of this cue - where Brannigan gets rough with an uncooperative bookie - is dialled out in the film. I used the CD to put that section back in.
16. All Right Buster (1:45)
17. Stampede Along The Thames (2:03)
18. Raindrops Keep Falling On My Bird (4:52)
A highlight of the score (and film) as Gorman closes in on what he thinks is Brannigan getting into his car in the rain - but it�s actually Brannigan�s female sidekick Judy Geeson. Frontiere goes for the throat with a thrillingly dominant cue that creates a terrific level of suspense and dread - because it would be quite feasible for Geeson�s character to be killed at this point in the film. Eventually Brannigan recognises the sound of the hitman�s E-type Jag and desperately lunges for his gun in one of the film�s highly effective slow motion moments. In the film, the music crescendos on a dramatic note just before the gunshots. The CD version doesn�t stop there, it continues with an unused section that underscores Brannigan shooting at Gorman. I decided not to paste in the unused section as the film version is actually very effective - though I did finesse that climactic note with some reverb.
19. Bugging Around (3:42)
The CD version is 30 seconds longer. The film version reaches a nice crescendo as Mel Ferrer arrives outside the ransom drop. The CD version carries on, underscoring Ferrer as he tensely ascends the outer stairs and enters the building, finally facing the two kidnappers. Since the film version�s ending is perfectly satisfying, I�ve left it alone. The longer version can be heard on the CD anyway, and (like �Raindrops Keep Falling On My Bird�) it�s nice to have both versions to compare.
20. We've Been Had (0:42) *
A short cue underscores the bad guys watching in dismay as a surveillance bug drops out of the ransom money and spins around on the floor, climaxing with Brannigan�s noisy arrival and a repeat of his �Knock, knock� gag from the start of the film.
21. Here Comes The Jag (3:05)
22. End Titles (1:16)
The CD version of the End Titles is much longer. The film version is more concise, and ends a bit differently, but it�s dialled in abruptly. I avoided that awkward start by using a short section from the CD and crossfading to the film version.
BONUS TRACKS:
23. Dinner Source (2:21) *
24. Ransom - Part 2 (with Protest March overlay) (2:00) *
25. Hooker Source (2:10) *
26. Pub Brawl Piano (1:53) *
* not on original CD.
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