On Wed, 13 Jan 2010 15:36:52 +0100, Raine Hilson <rai...@btopenworld.com> wrote: > Hi Blade Runner Group -
Hi there Raine!
> I was Vangelis's Sound Engineer in > the early 80's and worked on > Blade Runner -
Sounds incredible!
> I have just found you
Where have you been all these years??? ;-D
> If anyone has any questions regarding > the music or sound effects - > I'm happy to answer any questions
Still trying to collect myself, LOL! :)
...maybe someone can jump in and ask the first one...
> Cheers > Raine Hilson (nee Shine)
Have a better one, Martin
-- ---------------------------------------------------------- "I don't know. I'm making this up as I go!" (Ford as Dr. Jones Jr. in 'Raiders of the Lost Ark') ----------------------------------------------------------
Standing in the dark, rainy shadows of a city alleyway, I spied the Replicant Martin 'Martinland' Schemitsch covertly transmitting a message to renegade friends in alt.fan.blade-runner. Tracking...
>> I was Vangelis's Sound Engineer in >> the early 80's and worked on >> Blade Runner -
>Sounds incredible!
Excellent!
>> I have just found you
>Where have you been all these years??? ;-D
>> If anyone has any questions regarding >> the music or sound effects - >> I'm happy to answer any questions
>Still trying to collect myself, LOL! :)
>...maybe someone can jump in and ask the first one...
I am sure there will be many questions - some of them even quite intelligent, especially about the music. If I may, I'll launch in with the most general of questions.
As Vangelis's Sound Engineer, I assume that you had some affinity for his music. What did you think of the BR music as compared with what he had been working on just prior to that? As I recall Cosmos and Chariots of Fire were major pieces before BR.
The role of Sound Engineer is that of someone who is very musical themselves, but usually engineering other peoples' music. Do you make your own music and what style is that?
And of course, are you naturally a fan of the film itself, back then and/or now? Was it a pleasure to be matching music to the film or was the pleasure purely in the music?
Pleased to 'meet' you. Thank you for coming by. Netrunner
> I have just found you - > I was Vangelis's Sound Engineer in the early 80's and worked on > Blade Runner -
> If anyone has any questions regarding the music or sound effects - > I'm happy to answer any questions
> Cheers > Raine Hilson (nee Shine)
Hi! I always wondered about the name "Raine Shine" on the album .........
A few questions I wouldn't mind being answered are as follows :
(1) Were you at all surprised that the music took so long to be released officially?
(2) What's the story about the use of "Memories of Green" (from V's "See You Later" album) being used for the soundtrack? I know Ridley Scott liked it, but what did Vangelis say about it?
(3) Were you familiar with, and/or like the electronic music of the day? Frederick Rousseau worked with other electronic musicians, like Jarre for instance, which must have helped with the project.
(4) I've always thought that the track "One More Kiss, Dear" is the proverbial 'fly in the ointment' on the album. What's your opinion?
(5) What do you think of the extra material on the 25th anniversary re-issue?
(1) Were you at all surprised that the music took so long to be released
> officially?
Not at all - Vangelis was extremely reluctant to release the music at all - the clips were all mainly 30 seconds long to about 2 1/2 minutes long and he would have had to do alot of work to get these into shape for album-type tracks -
I worked with him until 1984 so I can't answer you as to why he finally changed his mind as the tracks were released after my time.
(2) What's the story about the use of "Memories of Green" (from V's "See
> You Later" album) being used for the soundtrack? I know Ridley Scott liked > it, but what did Vangelis say about it?
The "See You Later" album was not critically acclaimed - it was only really popular with staunch Vangelis fans and when he was thinking about music for that scene - he asked me to go get the "Memories of Green" multi-track out and it seemed to fit so totally amazingly that he decided to go ahead and use it.
(3) Were you familiar with, and/or like the electronic music of the day?
> Frederick Rousseau worked with other electronic musicians, like Jarre for > instance, which must have helped with the project.
Personally - I knew Jean Michel Jarre's music as I had used it in my previous job and I totally loved Vangelis's previous works like Spiral and "I See You Now" with Jon Anderson - but it didn't really have any bearing at all on the Blade Runner Film.
(4) I've always thought that the track "One More Kiss, Dear" is the
> proverbial 'fly in the ointment' on the album. What's your opinion?
This track was written and sorted out by Peter Skellern - recorded in Wembley without my input at all - it was just mean't to be sort of on the radio playing while Deckard ate his noodles - it was equalised with all the bass and all the treble taken out to make it sound like an old-type radio and it was there really to try and create an old-fashioned type mood in a futuristic time.
My personal opinion - it was ok - didn't really like it or hate it alot one way or another.
(5) What do you think of the extra material on the 25th anniversary
> re-issue?
Again it's just my personal opinion - but when I hear the original music from the original film - it totally takes me back to 1981 when we recorded it - remember this was all done pre-computers and pre-digital so I would have to line up the video on a VCR and count in 10 seconds before the track started - so I have alot of feelings and memories about recording the music and FX -
The new tracks are fine and dandy but don't emote the feelings that I have for the actual original recordings.
> Raine Hilson just found us on 13/01/2010 14:36: >> Hi Blade Runner Group -
>> I have just found you - >> I was Vangelis's Sound Engineer in the early 80's and worked on >> Blade Runner -
>> If anyone has any questions regarding the music or sound effects - >> I'm happy to answer any questions
>> Cheers >> Raine Hilson (nee Shine)
> Hi! I always wondered about the name "Raine Shine" on the album .........
> A few questions I wouldn't mind being answered are as follows :
> (1) Were you at all surprised that the music took so long to be released > officially?
> (2) What's the story about the use of "Memories of Green" (from V's "See > You Later" album) being used for the soundtrack? I know Ridley Scott liked > it, but what did Vangelis say about it?
> (3) Were you familiar with, and/or like the electronic music of the day? > Frederick Rousseau worked with other electronic musicians, like Jarre for > instance, which must have helped with the project.
> (4) I've always thought that the track "One More Kiss, Dear" is the > proverbial 'fly in the ointment' on the album. What's your opinion?
> (5) What do you think of the extra material on the 25th anniversary > re-issue?
> ....... and nice to hear from you.
"Stoned in Arrakeen" <stoned@arrakeen> wrote in message news:4b4e38de$1@news.x-privat.org... > Raine Hilson just found us on 13/01/2010 14:36: >> Hi Blade Runner Group -
>> I have just found you - >> I was Vangelis's Sound Engineer in the early 80's and worked on >> Blade Runner -
>> If anyone has any questions regarding the music or sound effects - >> I'm happy to answer any questions
>> Cheers >> Raine Hilson (nee Shine)
> Hi! I always wondered about the name "Raine Shine" on the album .........
> A few questions I wouldn't mind being answered are as follows :
> (1) Were you at all surprised that the music took so long to be released > officially?
> (2) What's the story about the use of "Memories of Green" (from V's "See > You Later" album) being used for the soundtrack? I know Ridley Scott liked > it, but what did Vangelis say about it?
> (3) Were you familiar with, and/or like the electronic music of the day? > Frederick Rousseau worked with other electronic musicians, like Jarre for > instance, which must have helped with the project.
> (4) I've always thought that the track "One More Kiss, Dear" is the > proverbial 'fly in the ointment' on the album. What's your opinion?
> (5) What do you think of the extra material on the 25th anniversary > re-issue?
As Vangelis's Sound Engineer, I assume that you had some affinity for
> his music. What did you think of the BR music as compared with what he > had been working on just prior to that? As I recall Cosmos and > Chariots of Fire were major pieces before BR.
The very first time I visited Nemo Studios - I heard "I hear you now" with Jon Anderson which I totally loved - amazing track - Previous to that I had loved the Spiral Album and also China -
I worked on the Chariots album which was fine and also "See you Later" which I liked more - "Friends of Mr Cairo" some of which was amazing - some of which was ok - and we also worked on a film called "Missing" which was very sad and quite an experience to work on -
So when Blade Runner came along - I loved the direction Vangelis was heading in and enjoyed the music hugely - I prefer his 'spacey' type of tracks as opposed to his more 'orchestral' ones.
> The role of Sound Engineer is that of someone who is very musical > themselves, but usually engineering other peoples' music. Do you make > your own music and what style is that?
No - I was a child prodigy and played Piano from the age of 2 but I totally and absolutely hated performing and playing in front of anyone so when it came to choosing a career - I knew it had to be in Music but I didn't want to play - so the choice of Sound Engineer - a back-room- suited me 100% - I have perfect pitch and extremely musical and could relate to musicians very easily but I just didn't want to play so apart from the odd bits of keyboards here and there - I just totally fell into recording and mixing music naturally.
> And of course, are you naturally a fan of the film itself, back then > and/or now? Was it a pleasure to be matching music to the film or was > the pleasure purely in the music?
The very first clip I ever saw was at Pinewood - on the HUGEST screen ever - the scene of Pris in her knee-high boots standing in the pouring rain and I was sold - Totally loved the film and totally felt privileged to have recorded and mixed the music and lots of the sound fx.
The film itself - I hate the overdubs version with Harrison Ford's awful wooden statements and originally they tried to make it a PG rating and reduced alot of the sound fx and took out some swearing - but the final Directors Cut was as it should have been and I love that film.
> Standing in the dark, rainy shadows of a city alleyway, I spied the > Replicant Martin 'Martinland' Schemitsch covertly transmitting a > message to renegade friends in alt.fan.blade-runner. Tracking...
>>> I was Vangelis's Sound Engineer in >>> the early 80's and worked on >>> Blade Runner -
>>Sounds incredible!
> Excellent!
>>> I have just found you
>>Where have you been all these years??? ;-D
>>> If anyone has any questions regarding >>> the music or sound effects - >>> I'm happy to answer any questions
>>Still trying to collect myself, LOL! :)
>>...maybe someone can jump in and ask the first one...
> I am sure there will be many questions - some of them even quite > intelligent, especially about the music. If I may, I'll launch in with > the most general of questions.
> As Vangelis's Sound Engineer, I assume that you had some affinity for > his music. What did you think of the BR music as compared with what he > had been working on just prior to that? As I recall Cosmos and > Chariots of Fire were major pieces before BR.
> The role of Sound Engineer is that of someone who is very musical > themselves, but usually engineering other peoples' music. Do you make > your own music and what style is that?
> And of course, are you naturally a fan of the film itself, back then > and/or now? Was it a pleasure to be matching music to the film or was > the pleasure purely in the music?
> Pleased to 'meet' you. Thank you for coming by. > Netrunner
"Netrunner" <e-mail...@from.BRmovie.com> wrote in message news:l6bsk5dendg93of5jsfj85egvfcetdgjmc@4ax.com... > Standing in the dark, rainy shadows of a city alleyway, I spied the > Replicant Martin 'Martinland' Schemitsch covertly transmitting a > message to renegade friends in alt.fan.blade-runner. Tracking...
>>> I was Vangelis's Sound Engineer in >>> the early 80's and worked on >>> Blade Runner -
>>Sounds incredible!
> Excellent!
>>> I have just found you
>>Where have you been all these years??? ;-D
>>> If anyone has any questions regarding >>> the music or sound effects - >>> I'm happy to answer any questions
>>Still trying to collect myself, LOL! :)
>>...maybe someone can jump in and ask the first one...
> I am sure there will be many questions - some of them even quite > intelligent, especially about the music. If I may, I'll launch in with > the most general of questions.
> As Vangelis's Sound Engineer, I assume that you had some affinity for > his music. What did you think of the BR music as compared with what he > had been working on just prior to that? As I recall Cosmos and > Chariots of Fire were major pieces before BR.
> The role of Sound Engineer is that of someone who is very musical > themselves, but usually engineering other peoples' music. Do you make > your own music and what style is that?
> And of course, are you naturally a fan of the film itself, back then > and/or now? Was it a pleasure to be matching music to the film or was > the pleasure purely in the music?
> Pleased to 'meet' you. Thank you for coming by. > Netrunner
>> (1) Were you at all surprised that the music took so long to be >> released officially?
> Not at all - Vangelis was extremely reluctant to release the music at all - > the clips were all mainly 30 seconds long to about 2 1/2 minutes long and > he would have had to do alot of work to get these into shape for album > -type tracks -
Sure. Still, there was always the orchestral version by the 'New American Orchestra' to keep us all going (http://tinyurl.com/ya2omtu). Those guys sure were mean, rockin' muthas, as I believe Americans say. They kicked "ass", and all that. Check out the "Review by pipecock" on that site, by the way. He's got a lot of soul.
>> (2) What's the story about the use of "Memories of Green" (from V's "See >> You Later" album) being used for the soundtrack? I know Ridley Scott >> liked it, but what did Vangelis say about it?
> The "See You Later" album was not critically acclaimed - it was only really > popular with staunch Vangelis fans and when he was thinking about music > for that scene - he asked me to go get the "Memories of Green" multi-track > out and it seemed to fit so totally amazingly that he decided to go ahead > and use it.
Ah - that's a new bit of info ........ him asking you to get it, I mean. As for the 'See You Later' album, I've always liked it - but then I'm one of those staunch fans. Having said that, though, I find his 'Mythodea' album to be completely unlistenable.
>> (3) Were you familiar with, and/or like the electronic music of the day? >> Frederick Rousseau worked with other electronic musicians, like Jarre >> for instance, which must have helped with the project.
> Personally - I knew Jean Michel Jarre's music as I had used it in my > previous job and I totally loved Vangelis's previous works like Spiral and > "I See You Now" with Jon Anderson - but it didn't really have any bearing > at all on the Blade Runner Film.
That's "I Hear You Now"! Vangelis almost joined Jon Anderson's band, you know. But he didn't. Good to know you like Jarre. Though I lost interest in him with his later albums, his first two are classics. They, like V's "Spiral" are good examples of 'Berlin School' electronica (http://tinyurl.com/cclpsp). There's quite a resurgence of that going on, these days.
>> (4) I've always thought that the track "One More Kiss, Dear" is the >> proverbial 'fly in the ointment' on the album. What's your opinion?
> My personal opinion - it was ok - didn't really like it or hate it alot > one way or another.
It's not so much the song in itself, but the way it clashes with the rest of the music. There's so much of V's stuff *not* on the album which could have replaced it, I think.
>> (5) What do you think of the extra material on the 25th anniversary >> re-issue?
> The new tracks are fine and dandy but don't emote the feelings that I > have for the actual original recordings.
That's understandable. I'm still forming my opinions on it.
I went to see Vangelis in Athens in 2001 when he performed Mythodea with a mass of people on stage - it was brilliant in the open-air under the greek sky and it was a magical night - so it makes the album more paleatable as it provokes memories !
I hear you Now - yes that's what I mean't - I remember it was the first thing I heard on the speakers in Nemo and it blew me away !
Deckard - human or android - the whole point of the film was to leave it as a question mark - not proved one way or another - so I've never worried about the argument as there is no definitive answer
> Raine Hilson replied on 13/01/2010 22:17: >> ok - nice one - Here goes...
> Thanks for the answers!
>>> (1) Were you at all surprised that the music took so long to be >>> released officially?
>> Not at all - Vangelis was extremely reluctant to release the music at >> all - >> the clips were all mainly 30 seconds long to about 2 1/2 minutes long and >> he would have had to do alot of work to get these into shape for album >> -type tracks -
> Sure. Still, there was always the orchestral version by the 'New American > Orchestra' to keep us all going (http://tinyurl.com/ya2omtu). Those guys > sure were mean, rockin' muthas, as I believe Americans say. They kicked > "ass", and all that. Check out the "Review by pipecock" on that site, by > the way. He's got a lot of soul.
>>> (2) What's the story about the use of "Memories of Green" (from V's "See >>> You Later" album) being used for the soundtrack? I know Ridley Scott >>> liked it, but what did Vangelis say about it?
>> The "See You Later" album was not critically acclaimed - it was only >> really >> popular with staunch Vangelis fans and when he was thinking about music >> for that scene - he asked me to go get the "Memories of Green" >> multi-track >> out and it seemed to fit so totally amazingly that he decided to go ahead >> and use it.
> Ah - that's a new bit of info ........ him asking you to get it, I mean. > As for the 'See You Later' album, I've always liked it - but then I'm one > of those staunch fans. Having said that, though, I find his 'Mythodea' > album to be completely unlistenable.
>>> (3) Were you familiar with, and/or like the electronic music of the day? >>> Frederick Rousseau worked with other electronic musicians, like Jarre >>> for instance, which must have helped with the project.
>> Personally - I knew Jean Michel Jarre's music as I had used it in my >> previous job and I totally loved Vangelis's previous works like Spiral >> and >> "I See You Now" with Jon Anderson - but it didn't really have any bearing >> at all on the Blade Runner Film.
> That's "I Hear You Now"! Vangelis almost joined Jon Anderson's band, you > know. But he didn't. Good to know you like Jarre. Though I lost interest > in him with his later albums, his first two are classics. They, like V's > "Spiral" are good examples of 'Berlin School' electronica > (http://tinyurl.com/cclpsp). There's quite a resurgence of that going on, > these days.
>>> (4) I've always thought that the track "One More Kiss, Dear" is the >>> proverbial 'fly in the ointment' on the album. What's your opinion?
>> My personal opinion - it was ok - didn't really like it or hate it alot >> one way or another.
> It's not so much the song in itself, but the way it clashes with the rest > of the music. There's so much of V's stuff *not* on the album which could > have replaced it, I think.
>>> (5) What do you think of the extra material on the 25th anniversary >>> re-issue?
>> The new tracks are fine and dandy but don't emote the feelings that I >> have for the actual original recordings.
> That's understandable. I'm still forming my opinions on it.
Cross-posting the entire thread on alt.music.yes too. Raine Hilson (nee Shine) was Vangelis's sound engineer in the early '80s and worked on Blade Runner. She mentions Jon Anderson. The original poster mentions "Vangels almost joined Jon's band" ;) http://groups.google.ca/group/alt.music.vangelis/browse_thread/thread...
> I have just found you - > I was Vangelis's Sound Engineer in the early 80's and worked on > Blade Runner -
> If anyone has any questions regarding the music or sound effects - > I'm happy to answer any questions
> Cheers > Raine Hilson (nee Shine)
Howdy!!
This thread reminds me: does someone have a comprehensive list of the dance, trance and techno remixes of BR music ('End Titles') and the artists who've done them? I was thinking of compiling one, but if the work has already been done......
Don't think I got a response from anyone on the Yahoo soundtrack group about this.
Sorry can't help you there - I worked on 2 Jon & Vangelis Albums - one was recorded at Nemo and the other in Paris - they were on good terms all the time - whatever happened with them after I left Vangelis in 1984 - I'm afraid I have no idea.
Cheers Raine
"Lukas Mariman" <lukas.mari...@REMOVEgmail.com> wrote in message
> Hello Raine - and welcome to this ng - I was wondering if you have any > insights on what happened between Vangelis and Jon Anderson some years > ago.
> They used to be good friends and released some fabulous albums.
> Then there was this "Page of Life" business which reportedly p*ssed > Vangelis off, and he supposedly broke off his friendship with Jon...
> __________ Informatie van ESET NOD32 Antivirus, versie van database > viruskenmerken 4776 (20100115) __________
> Het bericht is gecontroleerd door ESET NOD32 Antivirus.
Great to hear from you. Speaking as an unofficial Blade Runner historian since I love the score so much (it's one of my all-time favorites), I have a very specific question for you: during Deckard's unicorn dream, we hear a music cue that also appeared in the movie Antarctica. Was this cue originally recorded for Blade Runner and recycled in Antarctica, or was it recorded for Antarctica and reused for the BR Director's Cut?
Hi Raine First let me thank you for your great work throughout these years because, speaking about the sound, I liked the albums that you produced back in the days with Vangelis more than any other engineered by Allen or Sutcliffe, not forgetting about Raphael Preston too: you found the right spot to let the instruments sound in full glory without the need to spice up anything and, by the way, I miss that sweet sound within Vangelis' productions, I tell it for real...By the way, I took also a read at you diary on the sessions with S.Hogarth: really enjoyable read I had! I'd like to know some things about Blade runner but not that alone, you know ;) , please forgive me for the amount of questions:
1. How was teaming with Raphael at the times of See You Later and Chariots of Fire? He talked about that late 70s days as enjoyable times to work at Nemo, what are your memories and what was the atmosphere then?
2. When working for See you Later, Nemo hosted some different stars at the times: how was to work with crazy people like Chrisma? By the way do you remember them hanging around at Nemo? Do you have any memories about the sessions?
3. What about the tracks that Vangelis took away the original album, like "Fertilization" or "Neighbours Above"? Were there any problems about them?
4. What was your working day like at Nemo? And what happened when A&Rs came at the studio?
5. Blade Runner: do you remember those fantastic bell samples in the "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or was it a sample in the Emulator's library? Also, my thought is that the long track came out of a single improvisation, isn't it? Was Vangelis any upset from the continuous reworkings and financial problems to break at last his agreement with Polydor?
6. How was to work with Dick Morrissey and Demis? Do you remember about those sessions?
7. Antarctica: do you remember if were there any good recordings that were took off ? How did the main theme lasted? My guess? At least some 4 or 5 minutes more...hihi
I´ve heard a lot about the instant spontaneous way of Vangelis playing music. Do you remember how much time he spent playing for Blade Runner ?
And, one or two more questions:
How much do you miss working for Vangelis ?
Do you remember the sessions for the album "The Friends of Mr Cairo" ?
If so, the song "State of Independence" lasted much more than the released edit, I suppose that that song was done like if there was a party in the studio. That must be good times. Can you tell us more about that ?
I worked on both films but can't quite place which music cue you mean....
I would guess that it was recorded originally for Blade Runner and used again for Antarctica but would need to hear it just to remember - I'm sorry I can't be of more help but I don't have a copy of the Directors Cut at home and can't remember which cue it is but I do have a slight recollection that we may have used something in Antarctica that came from the Blade Runner music.
Hope that helps Cheers Raine
" lvaro Franco" <agfranc...@gmail.com> wrote in message
Great to hear from you. Speaking as an unofficial Blade Runner historian since I love the score so much (it's one of my all-time favorites), I have a very specific question for you: during Deckard's unicorn dream, we hear a music cue that also appeared in the movie Antarctica. Was this cue originally recorded for Blade Runner and recycled in Antarctica, or was it recorded for Antarctica and reused for the BR Director's Cut?
> 1. How was teaming with Raphael at the times of See You Later and Chariots > of Fire? He talked about that late 70s days as enjoyable times to work at > Nemo, what are your memories and what was the atmosphere then?
Well - I actually started working for Vangelis on 1st December 1980 but for about 6-8 months before that, I started hanging out at the studio and watching the tracks being recorded. Raphael was the Sound Engineer and I was originally hired to be his assistant but on the very day I started, he told me he wanted to leave and Vangelis said I could either stay as his Sound Engineer and get me an assistant, or I could stay as Assistant and he would hire another Engineer - I told him to give me one month to prove myself and see if we could work well together and I ended up working there for 3 1/2 years and I never got an Assistant !!
It was great hanging out there and it was always a great atmosphere - I became very good friends with Andrew Hoy from Polydor and a few others and used to love finishing my other job and going over there for a few hours here and there.
> 2. When working for See you Later, Nemo hosted some different stars at the > times: how was to work with crazy people like Chrisma? By the way do you > remember them hanging around at Nemo? Do you have any memories about the > sessions?
Again - I didn't really work on See you Later but I was there for some of the recordings - I don't remember Chrisma and if I'm honest - I think I was just too overwhelmed with the atmosphere of the place to really remember too much details about those days.
> 3. What about the tracks that Vangelis took away the original album, like > "Fertilization" or "Neighbours Above"? Were there any problems about them?
In those days - Albums were always approx. 45 minutes long - 22-23 minutes each side and Vangelis had to choose which tracks made it to the final album and which tracks didn't - I remember Fertilization very well and I seem to recall that it was an extremely long track - I don't remember Neighbours Above at all.
> 4. What was your working day like at Nemo? And what happened when A&Rs > came at the studio?
Lol - I used to ring Vangelis up at about noon to see what time he wanted me to go in and it turned around so that he would call me to let me know - I then started sleeping until the phone call came and one day he rang up and said...
"Raine - I am not your boss!" I was half asleep and answered ... "Eh what??" He replied... "I'm your f***ing alarm clock - be at the studio for 2pm !!"
He did make me laugh !
So I would get to the studio any time between about 2pm and 6pm and we would work until approx. midnight or alot later if he was under pressure to deliver some tracks.
People would come and go and John Martin would look after them and make sure they were suitably fed and watered and shmoozed - I would just work with the boss and keep focussed on the recordings rather than play about with the visitors and guests.
> 5. Blade Runner: do you remember those fantastic bell samples in the > "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or was > it a sample in the Emulator's library?
They were mainly in the Emulator Library - the Emulator had only just come out and was one of the very first digital samplers and Vangelis took alot of sounds from there - listen to the part when Batty is coming up in the lift before the duel - can you spot the cat miaow??
Also, my thought is that the long
> track came out of a single improvisation, isn't it?
Which long track??
Was Vangelis any upset
> from the continuous reworkings and financial problems to break at last his > agreement with Polydor?
I have no idea and can't answer that one.
> 6. How was to work with Dick Morrissey and Demis? Do you remember about > those sessions?
Awww - Dick Morrissey - bless him RIP - One night myself and John Martin went to a pub in Barnes where Dick was doing a gig with his mate Jim Mullen - Morrissey Mullen - it was totally fantastic !! So we whooped and clapped and then grabbed Dick and took him to the studio to record the Love Theme between Rachel & Deckard - magical night - ! He was also fab on many other Vangelis tracks...
Demis was so funny - but he also had a fantastic powerful voice and I used to have place the microphone about 2-3 feet away from him so it wouldn't distort ! Did you spot Demis singing in the Egyptian Market???
7. Antarctica: do you remember if were there any good recordings that were
> took off ? How did the main theme lasted?
I have a couple of copies of an album called "Themes" and there are a couple of Antarctica tracks on there - I always look back with a bit of sadness as it was the last music I worked on with Vangelis - !
The main theme - again remember back in those days it was all analogue - nothing digital - and Vangelis would often put a sequencer and/or drum machines on for an entire multi-track lasting 30 minutes - he would then go back and play over some or all of it and then pick bits that he wanted to use for specific reasons - so as far as I can remember - I think the main Antarctica theme went on for quite a while and we just used the 4 or 5 minutes it lasted for the actual film.
Many many many thanks for any answer you will give me
> Max, Italy
You're welcome Max - You are obviously a HUGE fan and I'm glad to give you information!
Cheers Raine
"Max Fazio" <faxio...@virgilio.it> wrote in message
> Hi Raine > First let me thank you for your great work throughout these years because, > speaking about the sound, I liked the albums that you produced back in the > days with Vangelis more than any other engineered by Allen or Sutcliffe, > not forgetting about Raphael Preston too: you found the right spot to let > the instruments sound in full glory without the need to spice up anything > and, by the way, I miss that sweet sound within Vangelis' productions, I > tell it for real...By the way, I took also a read at you diary on the > sessions with S.Hogarth: really enjoyable read I had! > I'd like to know some things about Blade runner but not that alone, you > know ;) , please forgive me for the amount of questions:
> 1. How was teaming with Raphael at the times of See You Later and Chariots > of Fire? He talked about that late 70s days as enjoyable times to work at > Nemo, what are your memories and what was the atmosphere then?
> 2. When working for See you Later, Nemo hosted some different stars at the > times: how was to work with crazy people like Chrisma? By the way do you > remember them hanging around at Nemo? Do you have any memories about the > sessions?
> 3. What about the tracks that Vangelis took away the original album, like > "Fertilization" or "Neighbours Above"? Were there any problems about them?
> 4. What was your working day like at Nemo? And what happened when A&Rs > came at the studio?
> 5. Blade Runner: do you remember those fantastic bell samples in the > "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or was > it a sample in the Emulator's library? Also, my thought is that the long > track came out of a single improvisation, isn't it? Was Vangelis any upset > from the continuous reworkings and financial problems to break at last his > agreement with Polydor?
> 6. How was to work with Dick Morrissey and Demis? Do you remember about > those sessions?
> 7. Antarctica: do you remember if were there any good recordings that were > took off ? How did the main theme lasted? My guess? At least some 4 or 5 > minutes more...hihi
> Many many many thanks for any answer you will give me > Max, Italy > "Raine Hilson" <rai...@btopenworld.com> ha scritto nel messaggio > news:n9adnfrLgu8aR9DWnZ2dnUVZ8tCdnZ2d@eclipse.net.uk... >> Hi Blade Runner Group -
>> I have just found you - >> I was Vangelis's Sound Engineer in the early 80's and worked on >> Blade Runner -
>> If anyone has any questions regarding the music or sound effects - >> I'm happy to answer any questions
I ve heard a lot about the instant spontaneous way of Vangelis playing music. Do you remember how much time he spent playing for Blade Runner ?
I think in the end it took about 3 months to record and mix the music from beginning to end - but that is just approx - I can't be more specific.
How much do you miss working for Vangelis ?
That's a hard question to answer - It was my decision to leave Vangelis in 1984 as I felt that I wanted to work with different musicians and I do look back sometimes and wonder 'what if' - it was lovely to see him in 2001 when a group of us went over to Athens to see him perform Mythodea and I sat on his lap and pulled his beard and said "Hello Boss" and it was as if 16 years hadn't passed at all !!
Do you remember the sessions for the album "The Friends of Mr Cairo" ? If so, the song "State of Independence" lasted much more than the released edit, I suppose that that song was done like if there was a party in the studio. That must be good times. Can you tell us more about that ?
I remember the sessions very very well ! "State of Independence" was originally recorded by Raphael Preston - I only worked on it once he'd gone and I did loads of overdubs and all the Jon Anderson Vocals so I don't really remember how it came about but it was amazing to work with Jon in the studio as he sang right in front of me ! = At one point, I took the headphones off and just listened to Jon without any amplification - he was an amazing singer !
I recorded Dick Morrissey's Saxophone and alot of Carol Kenyons vocals - it was a fantastic track and the recording has a magic to it !
I do like Donna Summers/Quincy Jones version too but the original was definitely magic
I ve heard a lot about the instant spontaneous way of Vangelis playing music. Do you remember how much time he spent playing for Blade Runner ?
And, one or two more questions:
How much do you miss working for Vangelis ?
Do you remember the sessions for the album "The Friends of Mr Cairo" ?
If so, the song "State of Independence" lasted much more than the released edit, I suppose that that song was done like if there was a party in the studio. That must be good times. Can you tell us more about that ?
Thanx a WHOLE lot, Raine, your insight spread some light around what I can think of as a extremely creative environment....to be true I noticed that you assisted to See You Later and Chariots of Fire, but......can't help it, I'd really like to learn your skills on mixing analogue instruments, let alone Vangelis...and by the way, some 10 years ago I tried to track you back for a small interview but crashed before record companies' silence...
About the executives, my salutes to Andrew "Obviously" Hoy! And love to Dick Morrissey, got to jam in Heaven!
> "Raine - I am not your boss!" > I was half asleep and answered ... "Eh what??" > He replied... "I'm your f***ing alarm clock - be at the studio for 2pm !!"
LOLLLL!!
can you
> spot the cat miaow??
Samples? I thought about a meeow from the CS80 (that synth is keen to do those sounds) but the cat...cruel!!! Nice even that kind of "mic feedback" sound, in the scene of Deckard hanging from a corner of the Bradbury building ***********************please, read below*************************
By the way , the "long track" is, you know the jam on the last "Deckard vs. Batty" fight which, as an original, it seemed to last some 12 minutes and which I consider the ZENITH among all musics made by him...and which , alas, has been slaughtered in the last record...
Two very last questions which I wish they won't bore you: I talked with the guy who restored the Blade Runner movie (God bless you, Charlie!) and he told me that all the music sent for the film is worth around 8 hours! I join the friend who asked wheter the music for the unicorn scene belonged to Blade Runner or Antarctica sessions (how I'd loved to hear that track on a record..). Very last question: do you remember if Vangelis ever recorded his concerts (Sophia Antipolis for example)?
>> 1. How was teaming with Raphael at the times of See You Later and >> Chariots >> of Fire? He talked about that late 70s days as enjoyable times to work at >> Nemo, what are your memories and what was the atmosphere then?
> Well - I actually started working for Vangelis on 1st December 1980 but > for > about 6-8 months before that, I started hanging out at the studio and > watching > the tracks being recorded. Raphael was the Sound Engineer and I was > originally > hired to be his assistant but on the very day I started, he told me he > wanted to > leave and Vangelis said I could either stay as his Sound Engineer and get > me an > assistant, or I could stay as Assistant and he would hire another > Engineer - > I told him to give me one month to prove myself and see if we could work > well > together and I ended up working there for 3 1/2 years and I never got an > Assistant !!
> It was great hanging out there and it was always a great atmosphere - I > became very > good friends with Andrew Hoy from Polydor and a few others and used to > love finishing > my other job and going over there for a few hours here and there.
>> 2. When working for See you Later, Nemo hosted some different stars at >> the times: how was to work with crazy people like Chrisma? By the way do >> you remember them hanging around at Nemo? Do you have any memories about >> the sessions?
> Again - I didn't really work on See you Later but I was there for some of > the > recordings - I don't remember Chrisma and if I'm honest - I think I was > just too > overwhelmed with the atmosphere of the place to really remember too much > details about those days.
>> 3. What about the tracks that Vangelis took away the original album, like >> "Fertilization" or "Neighbours Above"? Were there any problems about >> them?
> In those days - Albums were always approx. 45 minutes long - 22-23 minutes > each side and Vangelis had to choose which tracks made it to the final > album > and which tracks didn't - I remember Fertilization very well and I seem to > recall > that it was an extremely long track - I don't remember Neighbours Above at > all.
>> 4. What was your working day like at Nemo? And what happened when A&Rs >> came at the studio?
> Lol - I used to ring Vangelis up at about noon to see what time he wanted > me to go > in and it turned around so that he would call me to let me know - I then > started sleeping > until the phone call came and one day he rang up and said...
> "Raine - I am not your boss!" > I was half asleep and answered ... "Eh what??" > He replied... "I'm your f***ing alarm clock - be at the studio for 2pm !!"
> He did make me laugh !
> So I would get to the studio any time between about 2pm and 6pm and we > would work > until approx. midnight or alot later if he was under pressure to deliver > some tracks.
> People would come and go and John Martin would look after them and make > sure they > were suitably fed and watered and shmoozed - I would just work with the > boss and keep > focussed on the recordings rather than play about with the visitors and > guests.
>> 5. Blade Runner: do you remember those fantastic bell samples in the >> "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or >> was it a sample in the Emulator's library?
> They were mainly in the Emulator Library - the Emulator had only just come > out and was > one of the very first digital samplers and Vangelis took alot of sounds > from there - listen > to the part when Batty is coming up in the lift before the duel - can you > spot the cat miaow??
> Also, my thought is that the long >> track came out of a single improvisation, isn't it?
> Which long track??
> Was Vangelis any upset >> from the continuous reworkings and financial problems to break at last >> his agreement with Polydor?
> I have no idea and can't answer that one.
>> 6. How was to work with Dick Morrissey and Demis? Do you remember about >> those sessions?
> Awww - Dick Morrissey - bless him RIP - One night myself and John Martin > went to a pub > in Barnes where Dick was doing a gig with his mate Jim Mullen - Morrissey > Mullen - it was > totally fantastic !! So we whooped and clapped and then grabbed Dick and > took him to the > studio to record the Love Theme between Rachel & Deckard - magical night - > ! > He was also fab on many other Vangelis tracks...
> Demis was so funny - but he also had a fantastic powerful voice and I used > to have place the > microphone about 2-3 feet away from him so it wouldn't distort ! > Did you spot Demis singing in the Egyptian Market???
> 7. Antarctica: do you remember if were there any good recordings that were >> took off ? How did the main theme lasted?
> I have a couple of copies of an album called "Themes" and there are a > couple of Antarctica > tracks on there - I always look back with a bit of sadness as it was the > last music I worked > on with Vangelis - !
> The main theme - again remember back in those days it was all analogue - > nothing digital - > and Vangelis would often put a sequencer and/or drum machines on for an > entire multi-track > lasting 30 minutes - he would then go back and play over some or all of it > and then pick bits > that he wanted to use for specific reasons - so as far as I can remember - > I think the main > Antarctica theme went on for quite a while and we just used the 4 or 5 > minutes it lasted for > the actual film.
> Many many many thanks for any answer you will give me >> Max, Italy
> You're welcome Max - You are obviously a HUGE fan and I'm glad to give you > information!
> Cheers > Raine
> "Max Fazio" <faxio...@virgilio.it> wrote in message > news:4b56379c$0$820$4fafbaef@reader5.news.tin.it... >> Hi Raine >> First let me thank you for your great work throughout these years >> because, speaking about the sound, I liked the albums that you produced >> back in the days with Vangelis more than any other engineered by Allen or >> Sutcliffe, not forgetting about Raphael Preston too: you found the right >> spot to let the instruments sound in full glory without the need to spice >> up anything and, by the way, I miss that sweet sound within Vangelis' >> productions, I tell it for real...By the way, I took also a read at you >> diary on the sessions with S.Hogarth: really enjoyable read I had! >> I'd like to know some things about Blade runner but not that alone, you >> know ;) , please forgive me for the amount of questions:
>> 1. How was teaming with Raphael at the times of See You Later and >> Chariots of Fire? He talked about that late 70s days as enjoyable times >> to work at Nemo, what are your memories and what was the atmosphere then?
>> 2. When working for See you Later, Nemo hosted some different stars at >> the times: how was to work with crazy people like Chrisma? By the way do >> you remember them hanging around at Nemo? Do you have any memories about >> the sessions?
>> 3. What about the tracks that Vangelis took away the original album, like >> "Fertilization" or "Neighbours Above"? Were there any problems about >> them?
>> 4. What was your working day like at Nemo? And what happened when A&Rs >> came at the studio?
>> 5. Blade Runner: do you remember those fantastic bell samples in the >> "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or >> was it a sample in the Emulator's library? Also, my thought is that the >> long track came out of a single improvisation, isn't it? Was Vangelis any >> upset from the continuous reworkings and financial problems to break at >> last his agreement with Polydor?
>> 6. How was to work with Dick Morrissey and Demis? Do you remember about >> those sessions?
>> 7. Antarctica: do you remember if were there any good recordings that >> were took off ? How did the main theme lasted? My
On Sat, 23 Jan 2010 01:12:07 +0100, "Max Fazio" <faxio...@virgilio.it> wrote:
>Very last question: do you remember if Vangelis ever recorded his concerts >(Sophia Antipolis for example)?
I'd be interested in knowing whether he records his concerts myself. If he does, I doubt he'd ever willingly release them to the public, though. As for the Sophia Antipolis event (17th August 1980) there should be a bootleg of it doing the rounds on your favourite P2P network. Quality-wise, it sounds like it could come from the soundboard, though it's obviously been "treated" to get rid of hiss, etc. If it's an audience recording, it's bloody good.
Really? I always known a bootleg of the Paris concert which is of a good quality but never heard about a good SA recording: I've a copy of SA dating a tenth of years ago but it sounds awful... :( M "Stoned in Arrakeen" <sto...@arrakeen.com> ha scritto nel messaggio news:srdll5h2fofr29js14lfs6ir1bnjnggjsa@4ax.com...
> On Sat, 23 Jan 2010 01:12:07 +0100, "Max Fazio" <faxio...@virgilio.it> > wrote:
>>Very last question: do you remember if Vangelis ever recorded his concerts >>(Sophia Antipolis for example)?
> I'd be interested in knowing whether he records his concerts myself. > If he does, I doubt he'd ever willingly release them to the public, > though. As for the Sophia Antipolis event (17th August 1980) there > should be a bootleg of it doing the rounds on your favourite P2P > network. Quality-wise, it sounds like it could come from the > soundboard, though it's obviously been "treated" to get rid of hiss, > etc. If it's an audience recording, it's bloody good.
I can make a mp3 sample of the unicorn dream cue I'm referring to, if that can help you remember.
Just a few more questions about BR:
-Is the film version of the 'Main Titles' cue supposed to segue into the 'Leon's Interrogation' cue, or are they meant to be separate? -How much source music did Vangelis compose for the movie? -Were there a lot of alternate cues recorded? -Would you be able to remember where the unused cues correspond?
Also, I'm assuming you worked with Vangelis on the score for "Missing". If I'm correct, could you shed some light as to why there was never an official score album for that movie?
MANY thanks for taking the time to answer our questions.
Thanks, Álvaro
On Jan 22, 9:43 am, "Raine Hilson" <rai...@btopenworld.com> wrote:
> I worked on both films but can't quite place which music cue you mean....
> I would guess that it was recorded originally for Blade Runner and used > again > for Antarctica but would need to hear it just to remember - I'm sorry I > can't be > of more help but I don't have a copy of the Directors Cut at home and can't > remember > which cue it is but I do have a slight recollection that we may have used > something in > Antarctica that came from the Blade Runner music.
-Is the film version of the 'Main Titles' cue supposed to segue into the 'Leon's Interrogation' cue, or are they meant to be separate?
The film version always segue-wayed (!?) into Leon's interrogation - they were never separate.
-How much source music did Vangelis compose for the movie? -Were there a lot of alternate cues recorded?
Most of the film music was original and there were also alot of different cuts of scenes and alot of the time - Vangelis would start from scratch so for instance - if a scene was 1m 20secs and he wrote some music for it and then they edited it down to 1m 02secs - then he would often start from scratch again - so yes - there was lots and lots of source music !
-Would you be able to remember where the unused cues correspond?
Sorrry - no idea where they are or what happened to them
Also, I'm assuming you worked with Vangelis on the score for "Missing". If I'm correct, could you shed some light as to why there was never an official score album for that movie?
Yes I worked on Missing - such an amazingly sad film - again - film music is written for scenes and scenes often don't last long enough for the music to make an album track - so alot of sequences could be only 45 seconds long or 1m 20secs long and it just doesn't make for a coherent album.
MANY thanks for taking the time to answer our questions.
Thanks, lvaro
You're welcome ! Cheers Raine
" lvaro Franco" <agfranc...@gmail.com> wrote in message
I can make a mp3 sample of the unicorn dream cue I'm referring to, if that can help you remember.
Just a few more questions about BR:
-Is the film version of the 'Main Titles' cue supposed to segue into the 'Leon's Interrogation' cue, or are they meant to be separate? -How much source music did Vangelis compose for the movie? -Were there a lot of alternate cues recorded? -Would you be able to remember where the unused cues correspond?
Also, I'm assuming you worked with Vangelis on the score for "Missing". If I'm correct, could you shed some light as to why there was never an official score album for that movie?
MANY thanks for taking the time to answer our questions.
Thanks, lvaro
On Jan 22, 9:43 am, "Raine Hilson" <rai...@btopenworld.com> wrote:
> I worked on both films but can't quite place which music cue you mean....
> I would guess that it was recorded originally for Blade Runner and used > again > for Antarctica but would need to hear it just to remember - I'm sorry I > can't be > of more help but I don't have a copy of the Directors Cut at home and > can't > remember > which cue it is but I do have a slight recollection that we may have used > something in > Antarctica that came from the Blade Runner music.
