Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt
swashbuckler332

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The Unintended

Note: This is an edit of the original entry that I made, with additional notes for revisions made 5/26/07.



The Adventures of
Indiana Jones
81:15

Music Composed and Conducted by
John Williams


1. The Raiders March (a) 2:10
2.
Journey to Pankot (b) 3:02
3.
Flight from Peru (a) 1:12
4.
Scherzo for Motorcycle and Orchestra (c) 3:49
5.
Nocturnal Activities (b) 5:11
6.
The Basket Game (a) 4:28
7.
Escape from Venice (c) 4:15
8.
The Map Room: Dawn (a) 3:45
9.
Brother of the Cruciform Sword (c) 1:41
10.
The Temple of Doom (b) 3:56
11.
The Discovery of the Ark (a) 2:02
12.
Bug Tunnel and Death Trap (b) 3:07
13.
Belly of the Steel Beast (c) 5:20
14.
The German Sub (a) 2:39
15.
The Penitent Man Will Pass (c) 2:53
16.
Desert Chase (a) 8:06
17.
Slave Children’s Crusade (b) 2:53
18.
The Miracle of the Ark (a) 4:36
19.
Enlightenment (c) 1:45
20.
The Bridge and Finale (b) 9:43
21.
The Raiders March (a) 4:33

Orchestrators: Herbert W. Spencer & Alexander Courage
Music Editor: Kenneth Wannberg

(a) - Raiders of the Lost Ark (1981)
Performed by the London Symphony Orchestra
Engineered by Eric Tomlinson
Recorded at Anvil Recording Studios, Denham and at EMI Abbey Road Studio, London
Produced by John Williams

(b) - Indiana Jones and the Temple of Doom (1984)
Engineered by Lyle Burbridge
Recorded at MGM Music Scoring Studio, Culver City, California
Produced by John Williams and Bruce Botnick

(c) - Indiana Jones and the Last Crusade (1989)
Engineered by Dan Wallin
Recorded at Lorimar Studios, Culver City, California
Produced by John Williams



NOTES


There are moments in life that turn all plans inside out. I had several projects that I was working on at this moment that had nothing to do with this, so it was a bit odd to have this one kind of jump up almost fully formed. On the other hand, I'd been listening a lot to my Star Wars Trilogy album, feeling that while there are some technical aspects that I might do differently were I assembling this disc today, I am very satisfied with how it came out. I suppose that it is not too far a stretch to come to another movie trilogy scored by John Williams starring Harrison Ford, and since I believe in striking while the iron is hot, when I got home today I started work on this album.

I had made a quick and dirty Indiana Jones mix a couple of years ago for a friend who asked me for one, but I have no idea what happened to any of the masters for it, and that was also before I got some of the extra tracks from Indiana Jones and the Temple of Doom. This is a much more rounded presentation of the music than what I had put together before, and it is certainly more technically polished.

I recently took apart the original disc because, despite the fact that it was for the most part just fine as it was, there was a moment at the very beginning and another at the very end that irked me; the first was how I (accidentally) had pushed "The Raiders March" a bit too far into "Journey to Pankot;" I loosened that up but tightened "Escape from Peru," allowing for the inclusion of some additional music in "Journey to Pankot" (now fully justifying the retitling from the album track title "Short Round's Theme"). The other was that I had allowed a jarring chord change at the juncture between "The Bridge" and "The Raiders March Reprise." I completely redid that final succession, and the new track, "The Bridge and Finale" is a bit longer and includes Short Round's theme played in counterpoint to the Raiders March before "The Raiders March Reprise" takes over already in progress.

I opened with the familiar edit of "The Raiders March" that graced the original LP of Raiders of the Lost Ark, one of the most recognizable pieces of film music since John Barry penned the James Bond theme*, and closed with the full-length version. I tightened up "The Miracle of the Ark," which also includes the adjacent cue, "Ark Trek" preceeding it. "Enlightenment" is an excerpt from the pre-credits finale of Indiana Jones and the Last Crusade. "The Discovery of the Ark" was a cue from the 2 LP set of Raiders (called "The Well of the Souls Part II") that was not included on the concurrent DCC CD release of the expanded score. "The Temple of Doom" contains and "The Bridge and Finale" consists of sequences from Indiana Jones and the Temple of Doom that have not been released. Strangely enough, two casualties of this mix are "The Mine Car Chase," a very memorable sequence from Indiana Jones and the Temple of Doom, and "No Ticket" from Indiana Jones and the Last Crusade (I found I couldn't live without "The Basket Game" after all). I like these cues very much, but when I put this album together, I found that they didn't fit.

The album ended up actually being over a bit shorter than the original mix, but it's got everything that I wanted on it now. The truth was that while I was originally putting together the mix, "The Basket Game" sort of got pushed aside, but further reflection over the premix verified that I absolutely needed to include that track. In many ways it encapsulates what makes film score collecting a fun hobby and there is a certain symmetry to it given that the penultimate track, "The Bridge" from Indiana Jones and the Temple of Doom, directly references the iconic 'Cairo Swordsman' part of this cue (although the presence of this scene is admittedly hilarious, one wonders in light of it why they bothered setting this film before Raiders). The addition of the one track caused me to switch the order of another, and I replaced "The Canyon of the Crescent Moon" with "Brother of the Cruciform Sword" from Indiana Jones and the Last Crusade because I felt that it was more interesting. I am ecstatic to be able to include "The Bridge," as Temple of Doom is the only film in the trilogy to have a really slam-bang action finale; the others had more mystical climaxes (as evidenced by the included track "The Miracle of the Ark"). It also leads directly into the Raiders march to close out the album, which was the edit which sounded weird because it's going from (very decent sounding) mono to stereo, and a nasty chord shift; the new segue isn't perfect, but it is much better than it was before.

I take back what I said before about this album not being overly bombastic. It is pretty bombastic, but I've balanced out the action music with the supernatural material that Williams composed for the series. I had a great time working on this one.


* Oh yeah, Monty Norman wrote the James Bond theme. cough bullshit cough
Tags: film music, john williams, my mixes
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