JERRY FIELDING

This is an interesting and challenging score, but I've already had the Bay Cities release on a CD-R for years, so I'm not too sorry for losing out on this. Only problem is that all my CD'R's have started to skip.

I had to edit the above review because I'm confused about wordpress but I'm trying to learn.

THE KILLER ELITE
Composed and Conducted by JERRY FIELDING
INTRADA Special Collection Volume 85

The 1975 United Artists film The Killer Elite was the final collaboration between director Sam Peckinpah and composer Jerry Fielding, delving into the lives of two assassins at a super-elite, CIA-like agency. "Trust no one" is evident as one moral of this story -- as agent George Hansen (Robert Duvall) shoots his partner Mike Locken (James Caan), deliberately maiming him in order to “retire” him from the “life.” Left crippled, Locken struggles back to health and some level of fitness, while persuaded to return to active duty when Hansen resurfaces, now playing for the other side. Locken’s only motivation to put himself through the painful rehabilitation is his need to confront Hansen about the whys and wherefores of his heinous action.

Like Locken, the music for the most part is constricted, clinging to the shadows. Since the character is a partial invalid, Jerry Fielding's music "stays close, encircling him like a chain around his neck. The tolling pulse is Locken’s throb of anger, his inability to move as he once could, and the anguish that accompanies him everywhere, rising and falling like a gorge in Locken’s throat," comments Nick Redman in his liner notes.

Intrada initially released selections of The Killer Elite on its Bring Me the Head of Alfredo Garcia album. This new release of the complete score expands on Intrada’s initial release, so that now it can be enjoyed in all its varied colors: light, dark, solemn, and airy, including the omitted jazz cues that play an integral part of the on screen action. One highlight on this new disc, never heard before, is the original take of the main title. The bass line in the opening basses, piano, and tuba is greatly reinforced by the low brass and played fortissimo, and the finale of the piece features a tympani crescendo in the closing bars for a dramatic punch. All this probably made the music too forceful, so Fielding greatly reduced the low brass to a solitary tuba and the crescendo was removed for the alternate version heard in the film.

Redman describes the additional music: Among the other cues added to this CD are: “Locken Shot”; “In The Limo”; all the fun and engaging source music for “Mac’s Garage,” which eagle-eared listeners will recognize from other Fielding scores; “Hot Waltz On Thin Ice In Two Movements Without Pause,” surely one of Jerry’s wackiest cue titles; the short, but ominous “Listen Carefully”; and “Collis Gets His.” With the gorgeous “Sailing To Suisan Bay” (aka “Sailing, Sailing”), Fielding is able to open up—to allow the music to momentarily break free—but then he is forced to shut down again until the final liberation, when Locken heads toward the open sea, outward bound into the head wind of man uncertain future.

Remixed and remastered from the original stereo elements at MGM, this release is limited to 1500 copies.

INTRADA Special Collection - Volume 85
Retail Price: 19.99
AVAILABLE NOW
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.5977/.f

-Erik-

I think it's unnecessary. Seriously, get over this LIMITED EDITION bitterness that you have and just review the music.

-Erik-

^ ONE BIG GIGANTIC

Tom - producing classical music albums and producing film music albums are two TOTALLY different monsters. We've had this discussion before. Unless there is some magical way that you can figure out how to produce a film music album by not paying ridiculous UNION FEES (something that classical music usually doesn't have to worry about ) which in turn would allow you to produce an unlimited supply of albums then I will listen. Also, if you can magically make film music as popular a classical music, then I will listen. So until then STOP comparing classical music to film music.

-Erik-

Just think that a simple line at the end of the review stating the following "and unfortunately this album was limited to xxxx amount of copies and is now out of print" would do the trick. Or at least leave the editorial until the end of the review. I find the opening paragraph of Tom's review to be messy and incoherent.

-Erik-

Stylistically it might indeed more coherent to put it at the end.
On the other hand, Tom clearly has a bee in his bonnet about the whole thing as readers of his blog will know, so it's not that odd on his own blog to start off with that particular aspect.

But of course you're right it might more or less alienate the casual reader.

Well, that's one thing...but I doubt any business would admit to artificially keeping amounts low to jack up prices. With Southall and Tom I think that particular matter is eminently debatable.

But some background info would indeed be most interesting. Like I said, most reviews focus on the music.
It'd be interesting to hear things froma production and business perspective (WITH the necessary critical analyses!)

I have tried Erik. I couldn't get through to Townson, Lukas wouldn't give me the time of day, Fake skirted the issue, and MV told me the truth but off the record. As a journalist I must abide by that. Rats

MV?

LaLa Land Martijn, sorry

Granted, I don't read many REVIEWS, but if you're looking at the online film music fora, it's the COMPLETELY OPPOSITE of what you describe. Most people seem to be more interested in everything AROUND the music - limited editions, what jewel case it comes in, copyrights, artwork, postal office delivery times, restoration details etc. - and VERY RARELY offer interesting, in-depth views on the AESTHETICS of the music itself. I think this is unfortunate. We need to get back to the music. It has become a collector's market, and I have very little - if ANYTHING - in common with collector mentality in relation to soundtracks.

The reviews you'll find at Movie Wave, Movie Music UK, SoundtrackNet, Soundtrack Express, Music from the Movies, even FSM Online (as opposed to the message board) are nearly all always about the music.

Yeah...but again, I don't read many reviews, and since it is the fora that define "current events", so to speak - that defines our paradigm; the themes we discuss and that in turn define "film score fandom" at any given time, THOSE are the places I wish MUSIC had a higher place. If the reviews are all about music all the time, I say "swell, carry on!".