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LIVING IN THE AGE OF AIRPLANES
THE BOY IN THE STRIPED PAJAMAS
MICKEY, DONALD, GOOFY - THE THREE MUSKETEERS
COSMOS: A SPACETIME ODYSSEY - VOLUME 4
WHO FRAMED ROGER RABBIT (3CD)
DAMNATION ALLEY
ROBIN HOOD: PRINCE OF THIEVES (2CD)
SHOGUN (3CD)
TERRORVISION
LADY IN WHITE / FRANKIE GOES TO TUSCANY
MACKENNA'S GOLD / IN COLD BLOOD
CAPTAINS COURAGEOUS - THE FRANZ WAXMAN COLLECTION (4CD)
ROBOT JOX
COSMOS: A SPACETIME ODYSSEY - VOLUME 3
BODY DOUBLE (REISSUE)
COSMOS: A SPACETIME ODYSSEY - VOLUME 2
HONEY, I BLEW UP THE KID (EXPANDED)
GOOD MORNING, VIETNAM / OPERATION DUMBO DROP
ONE LITTLE INDIAN (REISSUE)
CAINE MUTINY, THE
COSMOS: A SPACETIME ODYSSEY - VOLUME 1
TROY (2CD)
RACE WITH THE DEVIL / MAKING LOVE
FROM BEYOND
BABY'S DAY OUT
PALM SPRINGS WEEKEND
HUSTLER, THE
STARGATE SG-1
RED PONY / THE HEIRESS
DUCKTALES: THE MOVIE - TREASURE OF THE LOST LAMP
SKY HIGH
POLTERGEIST II: THE OTHER SIDE (3CD)
SILENT RUNNING
RETURN TO THE BLUE LAGOON
DAY OF THE LOCUST, THE (EXPANDED)
ALL I WANT FOR CHRISTMAS
THE BLUE LAGOON (EXPANDED)
HAUNTED MANSION, THE (2CD)
DICK TRACY (2CD)
CHEYENNE AUTUMN (2CD)
ARENA
DRESSED TO KILL (REMASTERED)
DELTA FORCE 2 (2CD)
MONKEY KING 2, THE
ROCKETEER, THE (2CD)
TRANCERS I - II - III (2CD)
FIVE GRAVES TO CAIRO / SO PROUDLY WE HAIL!
HOMEWARD BOUND II: LOST IN SAN FRANCISCO

BORDERLINE

BORDERLINE
Download Artwork
    Gil Melle
    Label: Intrada Special Collection Volume ISC 194
    Film Date: 1980
    Album Date: 2012
    Time: 1:00:31
    Tracks: 19
    Vibrant action score by Gil Melle! SOLD OUT!

    Price: - (Sold Out)

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    • More Info
    • Track List
    • Doug's Tech Talk
    • Musicians List
    • Reviews
    • World premiere release of vibrant, powerful Gil Melle score for Jerrold Freedman topical action thriller set amidst U.S. Border Patrol activity with Mexican migrant workers, starring Charles Bronson, Bruno Kirby and very young Ed Harris. Melle creates unusually punchy, vivid score primarily for brass, strings, keyboards, soloists using L.A. session players plus his own "Jazz Electronauts" ensemble. Results are striking, experimental. Then producers requested additional music for large symphony, alterations to numerous cues. Melle re-scored sequences with London Symphony Orchestra, melded both scores into one major work. Results combine dynamic symphonic music with flashes of experimental composition, jazz plus array of solo colors. Wow! Intrada presents full score from 1/4" 15 ips two-track stereo mixes made at both L.A. & London recording sessions, courtesy ITC Entertainment & Granada Ventures, beautifully vaulted at composer's estate. While much of score is mixed with traditional elements in mind (violins on left, cellos on right, so forth), Melle also creates experimental mixes of several cues, sending all strings in one direction, brass in another and panning percussion, electronics, soloists all across audio spectrum. Vivid listening experience! Gil Melle conducts. Intrada Special Collection release available while quantities last. SOLD OUT!
    • Play all clips 

      01. The First Two Thoughts (2:29)
      02. Borderline Titles (1:40)
      03. Seismic Sensor (6:19)
      04. Tracking (4:24)
      05. This Is The Place (4:27)
      06. News To Deliver (1:46)
      07. Tijuana Bar (2:14)
      08. Tijuana Trouble (3:17)
      09. Fight For Survival (7:07)
      10. The Big Haul Begins (4:42) 

      11. The Watchdog (1:31)
      12. Prepare To Siege (3:19)
      13. Busting Karl (5:29)
      14. Find The Illegals (3:15)
      15. Spotting Hotchkiss (0:18)
      16. So Many (1:04)
      17. Final Chase (2:13)
      18. Matching Shoes (0:38)
      19. Borderline Credits (5:45) 

    • Tech Talk From The CD Producer…

      Gil Mellé wrote highly experimental music for his film projects, melding orchestral writing with jazz, blending electronics with percussion, utilizing both pleasant and dissonant harmonies— you name it. Yet, even with his history of experimentation, Mellé found Borderline to be an unusual challenge. He composed over an hour of music but considerably less than that was actually used in the finished picture. And, in an unusual turn of events, much of his score was actually recorded twice.

      His initial approach was brazen, with an array of unusual ideas that were symphonic as well as jazz-based. It was rich with intense harmonies, full of percussion activity, brimmed with significant electronic keyboard effects and featured a plethora of brass. As it turned out, the producers weren’t fully satisfied with this austere approach and went back to rescore several sequences, bringing in new and more accessible thematic ideas (heard during "Borderline Titles") as well as incorporating a slightly more traditional harmonic language.

      The final film draws from sizeable portions of both scoring approaches. Many cues are heavily truncated in the film and several appear in places different from where they were intended to go. Interestingly, the final film does not use the initial main theme that Mellé wrote for the opening, and his re-scored theme became the "Borderline Titles." Yet for the closing "Borderline Credits" the music reverts back to Mellé’s original idea, the accessible theme becoming a late "Final Chase" sequence instead of a finish to the score.

      Happily, the complete session elements for both scores were preserved by the composer. Through the kind assistance of Denise Mellé, we had access to his 1/4˝ 15 ips two-track stereo masters and were able to prepare this full presentation of his music for Borderline.

      The stereo mixing of Melle’s score is nearly as experimental as the composition itself. While in many cases Melle and his engineer mixed in tradition (with violins on the left and celli on the right), in several instances they spread the instrumental colors with a focus on whole groups instead, often relegating all strings to the left, all brass to the right and panning the array of electronics, keyboards and percussion throughout the audio spectrum to maximize various instrumental solos and effects. The results create unusual balancing of each channel but also allow enormous vibrancy in stereo effects and separation. The mix experimentation is striking and works well in all instances—with the exception of the "Borderline Titles" and "Final Chase" cues. In these two sequences, one wishes for separation of the high and low strings in the virtuoso ostinato driving the music but — alas — with finished two-track stereo mixes in hand, further creative choices at this point were not possible.

      Finally, a few words about the sequencing and assembly of this CD are necessary. Since Mellé re-scored much of the film, the masters often included identical slates for totally different cues. Take numbers were sometimes repeated. In particular, many of the session slates were only partially spoken on the masters and in numerous cases the cues were identified only by unique and often cryptic codes. We open our CD with the unused music Mellé intended to play at the beginning (Track 1, "The First Three Thoughts") and then sequence his re-scored opening as track 2 ("Borderline Titles"). For the duration of the CD we have followed the picture order where we could but included the unused cues in positions based on musicality since, without complete verbal slates, literal film sequencing wasn’t possible. For example, one particular cue (Track 10, "The Big Haul Begins") includes a sub-titled segment ("The Tanker") that is verbally slated right next to the cue "Night Moves" but actually ended up underneath a later scene in the film. There were also numerous unused cues written for reel 10 of the film, involving nighttime preparations for a police attack against illegal immigrant smugglers. We have included all these cues but again have assembled them for musicality as opposed to attempting any guesses as to exact picture placement. Finally, the film concludes with the "Borderline Credits" but dials into the cue (admittedly with great skill) two minutes into the piece. We are including the entire composition as originally recorded by Mellé.

      Join us now as we present Gil Mellé’s exciting, vibrant and experimental music for Borderline!

      —Douglass Fake

    • Composed and Conducted by Gil Melle.

      The Los Angeles Orchestra was recorded on April 29, 30, and May 1 and 5, 1980, at Group IV, Hollywood, California.

      This soundtrack was produced in cooperation with the
      American Federation of Musicians of the United States and Canada.


      LEADER
      Gil Melle

      ORCH. MGR.
      Martin J. Berman

      VIOLIN
      Paul C. Shure
      Bonnie Douglas
      Karen Jones
      Robert Sushel
      Joseph Stepansky
      Alfred Lustgarten
      George Kast
      Stanly Plummer
      Joseph Goodman
      David Montagu
      Sheldon Sanov
      Harry Bluestone
      Anatol Kaminsky
      David Frisina
      Dixie Blackstone

      CELLO
      Raphael Kramer
      Kathleen Lustgarten
      Mary C. Lane
      Marie C. Fera
      Selene Hurford
      Douglas L. Davis
      Harry Shlutz


      BASS
      Peter A. Mercurio
      Arni Egilsson
      Charles Berghofer
      Roger Wade Short

      WOODWIND
      Don Menza
      Jules Jacob
      Gene Cipriano
      Robert Tricarico
      Ernest J. Watts

      HORN
      Vincent N. DeRosa
      Richard Perissi
      Arthur N. Maebe

      TRUMPET
      John Audino
      Oscar Brashear
      Charles B. Findley
      Jay J. Daversa

      TROMBONE
      Richard T. Nash
      Lloyd E. Ulyate
      George M. Roberts
      William B. Fowler


      TUBA
      John Thomas Johnson

      KEYBOARD
      Michael A. Lang
      David Bryan Benoit

      HARP
      Verlye Mills

      DRUMS, PERC.
      Larry Bunker
      Joe Porcaro
      Michael Thompson

      MUSIC PREP: ORCHESTRATOR
      Gil Melle

      COPYIST
      Kenneth E. Gruberman
      Kenneth Ray Bonebrake
      Russell Bartmus
      Stuart Balcomb
      Sarah Schomaker

      LIBRARIAN
      Kenneth E. Gruberman

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