[havershaw]

Very interested in hearing that comparison!

I guess I sort of remember 80s drum machine stuff as sounding kinda crisp and maybe a little bright and neither of these WW versions sounds that way. But maybe it never did. I had the VS as a kid, but it’s one of the many cool records of my youth that somehow disappeared.

[Mateo Sanboval]

Looks like we have a new candidate for Comparison Corner!

Ding. Ding.

[Revolver_OcelScott]

Repressed Friday the 13th Part I being teased on Waxwork Twitter. Yellow/Orange-ish Red Swirl

[static14]

Cruising update

[deafmetal]

^That was an excellent read. Thank you, Mr. Friedkin.

[inksb]

Thanks for posting that.

[Mateo Sanboval]

Okay. I'll say it. Fuck this release. This is the ultimate bait and switch. Outside of a smattering of Germs tunes, these LPs contain zero original music and for all of the original "score" they banged on about, I could pull a couple of ECM LPs off my shelf and cover the rest of the sounds. Waxwork went well out of their way to invoke the Nitzsche name and refer to the "score" and his influence therin. This is a complete and utter rip.

[skeletonbutt]

thank you for posting that. i'm slightly obsessed with '80s friedkin and can't wait to get this. i understand your frustration mateo. they certainly made this sound like something special but seems like it's more of a compilation of songs than anything new and should have been marketed as such, even if this is the first time they've been collected together. WR needs to get someone new to handle their social and pr stuff. after this and boasting about the "actor approved!" beetlejuice they seem to be leaning on hyperbole to sell records rather than letting the quality of the package sell itself.

[static14]

This isn’t the first time they’ve used the word “complete” when they absolutely shouldn’t have.

[monsterworship]

Got my copy today, the hype sticker reads: The complete soundtrack and Film score.

I dont see any reference to jack Nitsche outside of the liner notes.

[ScoJo]

I'm also less than thrilled how this release is panning out, and WWs use of the phrases 'complete' and 'score'.
Anyone watching the film, or doing any basic research on Nitzsche's involvement AS A COMPOSER (beyond his writing/producing of THE SOUNDTRACK songs) will be mystified as to why the sleeve notes leave out his contribution to the film's underscore. He clearly wrote and added motifs and textures over the existing ECM source tracks, as well as writing music that accompanies the opening, and reappears throughout. I'm guessing it was just too tricky trying to unpick just where his contributions to the score lay, and find tapes of that stuff (it may well be that he was there in the mixing sessions and adding stuff there and then- its all rattling sounds, drones, percussion and wine glasses so quite small scale).
Personally I would be feeling okay if they'd managed to have just ONE of those cues (or a short suite?) representing JN's scoring on this release. As it stands, and as fullsome as the LP set no doubt is, the use of the phrase 'complete' has, once again from Waxwork (ie Manhunter) quite a hollow ring.
Im sure that punk heads however (inc Kevin) will be thrilled to have the Germs sessions on vinyl, so this will definitely please some more than others. For those of us who are Nitzsche obsessives/completists, this release can only create sense of disatisfaction unfortunately.

[Mateo Sanboval]

Got my copy today, the hype sticker reads: The complete soundtrack and Film score.

I dont see any reference to jack Nitsche outside of the liner notes.

I hear you on the hype sticker, MW, but every bit of promotional material invoked Nitzsche's presence including WWR's own product sale page:

Spanning three LP’s, Waxwork worked closely with director William Friedkin, Sony, and Universal Pictures to locate and unearth the original masters that include the original Jack Nitzsche score sessions, the Germs recording sessions, and all music recorded for the film featuring The Cripples, Barre Phillips, Mutiny, and many more. This is the long awaited and definitive CRUISING soundtrack release requested by fans of the film, punk rock, and the counter culture for decades.

They go out fo their way to point out the exhaustive work they did to rescue Nitzsche's work from obscurity and they have the gall to mention him first. The most maddening part about this is of course that they didn't have to do this. They could have sold the record on its own merits but instead they, again, promised something that wasn't there. And shame on me for thinking they would follow through. The several documented instances of people asking them about Nitzsche's contributions inevitably resulted in dead air. In brief, we should have known.

[NathanLurker]

Yeah it,s disappointing from a communication/PR standpoint. I don't own any previous release from Cruising so this WW edition, which I've yet to receive, is the most complete I can get yet right ? So I'm still excited to get it. Is it possible that by ''original masters that include the original Jack Nitzsche score sessions'' they mean the recordings he did of the featured artists material ? The press release leaves everything unclear. it's a bit of a shame. As much as I love them, they do have a few communication issues.

[monsterworship]

Got my copy today, the hype sticker reads: The complete soundtrack and Film score.

I dont see any reference to jack Nitsche outside of the liner notes.

I hear you on the hype sticker, MW, but every bit of promotional material invoked Nitzsche's presence including WWR's own product sale page:

Spanning three LP’s, Waxwork worked closely with director William Friedkin, Sony, and Universal Pictures to locate and unearth the original masters that include the original Jack Nitzsche score sessions, the Germs recording sessions, and all music recorded for the film featuring The Cripples, Barre Phillips, Mutiny, and many more. This is the long awaited and definitive CRUISING soundtrack release requested by fans of the film, punk rock, and the counter culture for decades.

They go out fo their way to point out the exhaustive work they did to rescue Nitzsche's work from obscurity and they have the gall to mention him first. The most maddening part about this is of course that they didn't have to do this. They could have sold the record on its own merits but instead they, again, promised something that wasn't there. And shame on me for thinking they would follow through. The several documented instances of people asking them about Nitzsche's contributions inevitably resulted in dead air. In brief, we should have known.

Yeah i meant in a negative way to say it is complete and not include anything by jack nitzsche is baffling.

I also only bought it for the germs stuff, so it was pricey for that aspect.

[reddye6]

I ended up buying Cruising for the Germs cuts, but I really, really liked the Barre Phillips tracks. I hadn't heard of him before and took a look at his output on Discogs. There is a lot there. Can anyone recommend releases of his to start with if I liked his material from the soundtrack?

[Mateo Sanboval]

I'm certainly not overly familiar with Phillips' entire catalogue, Reddye, but I can say that I am a pretty big fan of both Mountainscapes and Three Day Moon. Call Me When You Get There is also very pleasing to me, but is a bit more rooted in the Modern Classical sound than the free jazz of the other two. Which reminds me, some of Phillips' music is very discordant, like Brotzmann or Zorn, but he also has long stretches of beautiful atmospherics as well. I find both equally rewarding but sometimes mood dependent. I'd love to hear if others hear have thoughts on the matter. Either way, enjoy!

[reddye6]

I'm certainly not overly familiar with Phillips' entire catalogue, Reddye, but I can say that I am a pretty big fan of both Mountainscapes and Three Day Moon. Call Me When You Get There is also very pleasing to me, but is a bit more rooted in the Modern Classical sound than the free jazz of the other two. Which reminds me, some of Phillips' music is very discordant, like Brotzmann or Zorn, but he also has long stretches of beautiful atmospherics as well. I find both equally rewarding but sometimes mood dependent. I'd love to hear if others hear have thoughts on the matter. Either way, enjoy!

Thank you! I'll be starting with Mountainscapes (as a CD) and Three Day Moon (as an LP). Orders are placed.

[skeletonbutt]

thanks for the tip, i also really dug the barre phillips songs and was happy to discover who they were actually by so i could listen to more.

[Mateo Sanboval]

My pleasure, Friends. I hope I don't lead you astray. Thankfully, ECM reversed course on their embargo on digital licensing a couple of years back so a great deal of their catalog, at least anything that was ever pressed to CD, is available to stream through the usual sources. Barre Phillips shouldn't be an exception.

[nitzschemorricone]

Longtime reader here, but new member. Having been a big fan of CRUISING and its soundtrack for over 20 years, I long ago tracked down the available ECM source cues (Barre Phillips and Ralph Towner) to go along with my Lorimar LP.

Even so, and with the hefty price tag, I'm thrilled to finally have the original music that Phillips and Egberto Gismonti actually recorded for the film. I knew Gismonti was involved obviously because he has (the rather unhelpful) name-only credit in the final credit roll and because his guitar playing sound is so distinctive and inimitable. What I did not know was that the writing on his contributions is credited solely to him, rather than written by or co-written by Jack Nitzsche.

I long admired the music that sounded like Barre Phillips, having no idea that it actually was Phillips, brought back to the studio and recorded by Nitzsche for the film. It's really pretty seamless the way that Nitzsche integrated the 1978 tracks (from Batik and Three Day Moon) and the music recorded during the 1979 film scoring sessions.

From what I can tell, as others have mentioned here, I think that Nitzsche's contributions for the whole soundtrack (both songs and underscore) come down to compiling, recruiting, producing, spotting, and adding additional sound textures, rather than writing new pieces in the traditional sense. I need to listen more closely to the LP cuts (just got it last night) and the film to see if there are, in fact, missing "Jack cues" (music in the film that's not on the 3xLP set).

As for the songs, I'm thrilled to finally have Rough Trade's "Long Distance Runner," prominently heard in one of the daytime park scenes, but, frustratingly, not traceable until now, due to the opaque style of music crediting on the film. As for other songs in the film, but only now released outside of the film, Rough Trade's "Don't Let it Get to Your Head" appears in one of the nighttime exteriors when Pacino is walking the sidewalk outside the clubs. The Cripples' "Hepcat" appears in the "Precinct Night" scene, but it is layered underneath sound effects so it's difficult to identify.

Oh, and for those who care, the Waxwork release is also missing the source cue "Herbal Scent" by Tom Browne. This track is easily accessible via the GRP LP Browne Sugar. The song plays during one of the pool hall meetings between Al Pacino and Paul Sorvino, as I recall.

[ScoJo]

I'm thrilled to finally have the original music that Phillips and Egberto Gismonti actually recorded for the film. I knew Gismonti was involved obviously because he has (the rather unhelpful) name-only credit in the final credit roll and because his guitar playing sound is so distinctive and inimitable. What I did not know was that the writing on his contributions is credited solely to him, rather than written by or co-written by Jack Nitzsche.
I long admired the music that sounded like Barre Phillips, having no idea that it actually was Phillips, brought back to the studio and recorded by Nitzsche for the film. It's really pretty seamless the way that Nitzsche integrated the 1978 tracks (from Batik and Three Day Moon) and the music recorded during the 1979 film scoring sessions.

Hallelujah. Clearer and more specific info explaining the film's scoring here from newbie @nitzschemorricone than has been forthcoming from either WW or Friedkin with this release! Praise be sir. Looking forward to recieving my package so I can continue the unravelling/enjoy those score tracks by BP and EG ;)

[nitzschemorricone]

One more: Mutiny’s “The Ballad of Captain Hymbad” (Side D) appears in the scene when Ted and John go to the diner / coffee shop on Bleecker Street for lunch after they first meet.

Oh, and “Herbal Scent” is actually in the second diner / coffee shop scene with Ted and John.

[static14]

Welcome @Nitzschemorricone! Thanks for the info a thousand fold

[nitzschemorricone]

Happy to help. From what I can hear, all of the instrumental music in the film is now present and accounted for on the new Waxwork release. The only difference and possible confusion is that Friedkin, Nitzsche, editor Bud Smith, and the rest of the sound and music editors on the film, cut up the musical pieces to fit scenes, often supplemented this music with sound f/x (chains, leather, footsteps, screams, and electronic stingers), and then sometimes layered songs and music on top of each other. It can be disorienting and make one think that he or she is missing something, when really things have just been re-arranged. What they did, though, really works effectively within the film, to achieve an often subjective soundscape, getting inside the head of Pacino’s character, in particular, in the scenes where he’s really struggling with his dual existence in Karen Allen’s bed and the s & m night clubs.

[ScoJo]

Really useful comments, thanks @NM. Great to hear that you think all of the instrumental tracks are represented - can't wait to listen to the release.

I would add only that Jack Nitzsche has obviously also contributed his then-signature wine glasses into the mix! :) For me, that sound in itself, cropping up on various cues throughout the film, was enough to muddy the water in terms of 'whose scoring are we hearing here?', but your additional clarifications on the mixing process match up with my own best guess at how things went down based on the director's recollections both previously and within this LP's sleeve notes.. If JN and Friedkin were freely cutting and layering at the sound mix stage, with JN adding additional sounds, then unpicking individual cues from the movie and cross-referencing them directly with the instrumental tracks on this release was never going to be straight forward.

Now, can someone please release Nitzsche's Hardcore score? :D