At last! World premiere release of Jerry Goldsmith's complete soundtrack, widely regarded as an all-time great. Intrada gains access to all original stereo mixes made at Shepperton Studios in London plus multi-track mixes made at 20th Century Fox, presents previously unreleased cues, correct takes & assemblies plus best stereo imaging to date. Previous releases were incomplete plus either processed sound to address hiss (reducing stereo image) or assembled with incorrect mixes (resulting in jarring edits). Intrada CD improves both, also presents first release of "The Balloon" (where Stachel takes initial assignment to shoot down observation balloon) plus introduces final "Exit Music" intended for roadshow presentations. Also hear "Love Theme" as composer intended for first time since 1966 Mainstream LP, with orchestral intro, coda plus composer's preferred assembly of "First Blood/First Victory" as he composed it. Graphics by Joe Sikoryak, detailed notes by Julie Kirgo complete package. Jerry Goldsmith conducts. Intrada Special Collection release limited to 2500 copies!
01. Main Title (2:22) 02. The New Arrival (1:23) 03. A Toast To Bruno (1:40) 04. The Balloon (0:53) 05. First Blood/First Victory (3:02) 06. The Captive/The Victim (4:17) 07. The Cobra (1:38) 08. The Attack (6:31) 09. Love Theme From 'The Blue Max' (1:50) 10. A Small Favor (0:57) 11. A Lonely Hero (1:15) 12. The Rivals (0:25) 13. Finale To Part 1 (1:03) 14. Prelude To Part 2 (1:39) 15. The Bridge (3:13) 16. Stachel's Confession (1:33) 17. Retreat (7:34) 18. Stachel To Berlin/Food Riot (2:25) 19. Nothing Needed (0:40) 20. Kaeti Has A Plan (3:29)
Bonus Source Music Adapted by Jerry Goldsmith and Arthur Morton, Conducted by Jerry Goldsmith
24. Pour Le Merite March (Traditional) (2:13) 25. Student Song Medley (Traditional) (2:07) 26. Presentiar March (Traditional) (1:25) 27. Artist's Life (J. Strauss) (0:54) 28. Gloria March (G. Piefke) (0:26) 29. Watch On The Rhine (K. Wilhelm) (1:40) 30. Deutschland Uber Alles (J. Haydn) (0:48)
Bonus Source Music Time: 10:05
Tech Talk From The CD Producer…
Jerry Goldsmith’s sweeping musical support for The Blue Max is widely recognized as one of the all-time great scores of the cinema. It’s lofty status has warranted a long series of album releases beginning with the original 1966 Mainstream label LP in 1966 through two later LP reissues on the Citadel label, continuing into the CD era with versions on both Varese Sarabande and Sony Legacy. Each presented different material from different source elements, with varying results in sound quality and editing of the numerous actual cues. On some releases, audio processing addressed the tape hiss but severely limited the dynamic range. On still others, choices of takes or positioning of edits resulted in uneven listening experiences. And none of them actually featured the complete score.
Enter Intrada, with the definitive release of this score, presented for the first time from both the original session mixes made at Shepperton Studios in London and the multi-track mixes made back at 20th Century Fox. With all of these masters in hand, we were able to assemble the complete score for the very first time, selecting the appropriate takes for each track assembly and offering the best possible stereo image from master elements now approaching nearly five decades of age.
Making its world premiere album appearance is "The Balloon," a brief but important
musical sequence introducing the main theme in the score proper. It’s heard in the film when Bruno Stachel takes off on his first combat assignment to shoot down an observation balloon. Goldsmith also wrote and recorded special "exit" music for the initial roadshow presentations of the film and it debuts on our CD as well. The cue starts with a dramatic fortissimo low brass pedal and continues with a reprise of the second half of the End Title, this time played in a more deliberate tempo.
Also making a CD debut here is the complete "Love Theme" as originally designed and recorded by the composer for the initial 1966 soundtrack album. This unique version of the melody, written by Goldsmith with a special melodic extension and played on piano, was specially recorded in a small room with close mikes. (All of the other piano sequences in the score are miked with the instrument playing in the same larger studio with the rest of the orchestra.) In addition, Goldsmith designed the solo piano to grow out of and later melt into a separate orchestral intro and coda. That complete assembly finally appears here just as it did back in 1966, now presented from the multi-track masters.
Two other assemblies involving four different cues warrant mention. In conversation with the composer some years ago, I had asked about the very first Mainstream LP presentations of two tracks on side one that were particularly effective. None of the many subsequent editions of the score re-created those assemblies. Goldsmith remarked that the four respective cues for each of the two tracks in question were actually composed with the intent on having them feeling structured as if they were two cues instead of four and it was sad that the reissues didn’t present them that way. We have elected to honor his original intent and present "First Blood/First Victory" and "The Captive/The Victim" as two tracks instead of four separate pieces, just as they appeared on that first LP. We are proud that The Blue Max can now receive its full due, forty-four years after taking flight.