At last! Early-ish Alan Silvestri score for Kevin Reynolds drama with Kevin Costner, Judd Nelson gets world premiere release on CD! Moving film is part road trip tale, part coming of age drama, part story about friendship, loss. Silvestri writes to powerful action, sensitive drama with score that mixes equal parts dynamic orchestral writing, gently moving, intimate ideas. Beautiful solo colors for guitar, piano also make appearance. Fun to hear ideas here that became signatures in subsequent masterpiece BACK TO THE FUTURE (happily also available on Intrada.) Entire score presented in vivid stereo from newly mixed 2" 24-track session masters courtesy Warner Bros. & WaterTower Music. Alan Silvestri conducts. Intrada Special Collection available while quantities and interest remains!
11. Wedding (3:51) 12. Dance (2:22) 13. Goodbye Friend (2:17) Total Album Time: 33:47
The Extras 14. Spanish Guitar (Duet) (2:01) 15. Wild Percussion (0:26) 16. Desert Walk [Alternate] (5:01) Total Extras Time: 7:33)
Tech Talk From The Producer…
For Fandango, Alan Silvestri fashioned not
only one of his earliest large-scale film scores, but also what remains to this day one of
his most dynamic. Like his subsequent score for Back to the Future, the score for Fandango
is filled with bristling action, albeit here in a somewhat more serious vein than
the famous follow-up. Fandango also contains moments of transparent tenderness and
For this world premiere release, Warner Bros. was able to provide all of the actual 2˝
24-track scoring session master rolls plus virtually all of the studio and engineering session
paperwork, allowing for a brand new mix of the entire score in vivid stereo. Every cue
Silvestri recorded is included on this CD. One sequence, the opening “Road Trip,” existed
only as a final two-track stereo mix, provided by the composer himself. Interestingly, only
a few seconds of this cue appear in the finished film. Also present on the master rolls were
a beautiful duet for twin acoustic guitars and an alternate version of the dramatic and moving
“Desert Trek” cue (featuring an entirely different opening section).
One anomaly occurring on several master rolls was a low-level 60-cycle hum, evident
across several channels. While not particularly intrusive (and inaudible in the film
with dialog and sound effects), we have minimized it for these new stereo mixes. To have
removed it entirely, however, would have negatively affected certain colors Silvestri recorded
in the lower registers.
This is truly top-drawer film music, created by one of the medium’s truly top-drawer
composers. You, dear listeners, now get to enjoy the fruits of that genius!
Recorded on June 11, 12, 15, 18, 19, and 20, 1984 at The Burbank Stage, Burbank, California.
Mari Botnick (Tsumura)
David A. Duke
John Tommy Johnson