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 Posted:   Dec 23, 2013 - 1:06 AM   
 By:   Ford A. Thaxton   (Member)

Yes! I would really go for that. The Vikings is always one of the first that I think of when thinking of new rerecordings. The best thing Mario Nascambine ever did. Lot of great music there, almost unlistenable because of the horrible original tracks.




Silva did an extended suite, but it left out any reference to all the fine mystical stuff (like the turning back the tide scene), so it's rather useless.


"Useless" Mr. Wright?

Hardly, it was so much vastly better performed and recorded then the soundtrack recording it showed how good the score would produced correctly.

It is one of the reasons I think a new recording should happen.

Ford A. Thaxton

 
 Posted:   Dec 23, 2013 - 1:57 AM   
 By:   Grimsdyke   (Member)

Since Tadlow/Prometheus seem to focus on Jerry Goldsmith I would also like to see SATAN BUG.

But I would be also happy if they would do THE HAUNTING and/or SOLDIER BLUE.

 
 Posted:   Dec 23, 2013 - 2:02 AM   
 By:   Justin Boggan   (Member)

How about two suggestions which have never been recorded (well, I'm assuming on the second one)?

Before Delerue passed away, he had already started writing for his next score, "Sneakers".

We already know he was a fast writer/orchestrator, especially thanks to this fun story told by Richard Kraft:
http://www.underscores.fr/index.php/2012/04/hommage-a-georges-delerue-temoignages-richard-kraft/ (final paragraph)

I'd love to hear what ever he wrote, recorded.



For at least three years we know John Barry was working on a new orchestral work called "The Seasons". I never saw anything that suggested he had recorded anything.

Old FSM thread on it:
http://filmscoremonthly.com/board/posts.cfm?threadID=52160&forumID=1&archive=0

 
 
 Posted:   Dec 23, 2013 - 2:03 AM   
 By:   Ford A. Thaxton   (Member)

Since Tadlow/Prometheus seem to focus on Jerry Goldsmith I would also like to see SATAN BUG.

But I would be also happy if they would do THE HAUNTING and/or SOLDIER BLUE.


The problem is with those scores is very simple.

Would they sell enough units to recoup the re-recording costs?

I highly doubt it.

You have to sell XXX number of units just to PAY for the re-recording….

Now if you were do do something like BLACK PATCH and FACE OF THE FUGITIVE that would appeal the Goldsmith Junkies and might well stand a chance at selling enough to recoup your cost.

But it's still a gamble and all it takes is one BIG BOMB to sink the boat.

Ford A. Thaxton

 
 
 Posted:   Dec 23, 2013 - 2:08 AM   
 By:   Ford A. Thaxton   (Member)

How about two suggestions which have never been recorded (well, I'm assuming on the second one)?

Before Delerue passed away, he had already started writing for his next score, "Sneakers".

We already know he was a fast writer/orchestrator, especially thanks to this fun story told by Richard Kraft:
http://www.underscores.fr/index.php/2012/04/hommage-a-georges-delerue-temoignages-richard-kraft/ (final paragraph)

I'd love to hear what ever he wrote, recorded.



For at least three years we know John Barry was working on a new orchestral work called "The Seasons". I never saw anything that suggested he had recorded anything.

Old FSM thread on it:
http://filmscoremonthly.com/board/posts.cfm?threadID=52160&forumID=1&archive=0


Who owns the music?

The Studio or the composer's estate?

If it's the Delerue estate, I would suspect they'd be open to it, but what if the studio paid him and kept the rights?

Would they allow you to record it?

Would the Barry Estate allow someone to do that work that might well not have been completed?

Nice Idea, but the legal issues alone are quite daunting….


Ford A. Thaxton

 
 Posted:   Dec 23, 2013 - 2:09 AM   
 By:   Francis   (Member)

Alien 3 by Elliot Goldenthal, not only because the masters are reportedly missing, but also because I'd love to get a recording of the version of "Adagio" with choir as it was performed in Krakow.

 
 
 Posted:   Dec 23, 2013 - 2:12 AM   
 By:   Ford A. Thaxton   (Member)

Alien 3 by Elliot Goldenthal, not only because the masters are reportedly missing, but also because I'd love to get a recording of the version of "Adagio" with choir as it was performed in Krakow.

How much is exactly missing?

That's the one thing everyone seems to forget, is what wasn't on the soundtrack album so important?

I hate to say it, but not every cue iis an amazing piece, so are best left for the film alone.

I've got to admit hearing that "Adagio" with choir would be outstanding.


Ford A. Thaxton

 
 Posted:   Dec 23, 2013 - 2:31 AM   
 By:   Francis   (Member)

Alien 3 by Elliot Goldenthal, not only because the masters are reportedly missing, but also because I'd love to get a recording of the version of "Adagio" with choir as it was performed in Krakow.

How much is exactly missing?

That's the one thing everyone seems to forget, is what wasn't on the soundtrack album so important?

I hate to say it, but not every cue iis an amazing piece, so are best left for the film alone.


"Trap the Alien" (12M2), "You're going to die too" (6M2), "What are we going to do" (7M1 8M0), "It's Started Pt 2 (11M2, 12M0)", "Gotcha (12M5)", ... and that's only the ones that are IMO as good as anything on the album, there are about a dozen cues if not more that are mostly atmospheric or variations of themes.


I've got to admit hearing that "Adagio" with choir would be outstanding.

Yes, I hope it will make its way to a concert release or re-recording someday.

 
 
 Posted:   Dec 23, 2013 - 2:37 AM   
 By:   RM Eastman   (Member)

Whatever happened to Tribute? What I understand they re-recorded mostly Golden Age scores that failed to recoup their costs. I may add that I loved them all.

I wonder how Intrada's "Spellbound" and re-recording of Rozsa's "The Red House" sold?

 
 Posted:   Dec 23, 2013 - 2:53 AM   
 By:   Justin Boggan   (Member)

Over the years I have seen Intrada state releases that took seven years to complete. Eight years to complete. I think even one that took ten.

Things can and do change. Where once something wasn't possible, it later is.

Never say never. You of all people should know that, Ford.

Never give in. Never, never, never, never.

 
 
 Posted:   Dec 23, 2013 - 10:51 AM   
 By:   Ed Lachmann   (Member)

Some great suggestions here. Any one of these I'd RUSH to buy and gift a few to friends:
SODOM AND GOMORRAH (most of all)
HELEN OF TROY
LAND OF THE PHARAOHS
THE SILVER CHALICE
Anything by Nascimbene
Anyone else wish that Twilight Time would "go Nascimbene" and give us "The Vikings", "Solomon and Sheba" or "Alexander the Great". Guess they can't get "Barabbas", which is a shame.

 
 Posted:   Dec 23, 2013 - 10:59 AM   
 By:   The Projectionist   (Member)

Doctor Zhivago by Maurice Jarre.
Land of the Phaoroahs by Dimitri Tiomkin
The Dark Crystal by Trevor Jones
What Dreams May Come by Ennio Morricone

 
 
 Posted:   Dec 23, 2013 - 11:04 AM   
 By:   paul rossen   (Member)

Some great suggestions here. Any one of these I'd RUSH to buy and gift a few to friends:
SODOM AND GOMORRAH (most of all)
HELEN OF TROY
LAND OF THE PHARAOHS
THE SILVER CHALICE
Anything by Nascimbene
Anyone else wish that Twilight Time would "go Nascimbene" and give us "The Vikings", "Solomon and Sheba" or "Alexander the Great". Guess they can't get "Barabbas", which is a shame.


Why can't Twilight Time get Barabbas? Have they stated that? It is a Sony/Columbia film in which they do have a relationship...

Of the above list I'd go for any new recording for a Rozsa score first and foremost, thus Sodom and Gomorrah!

 
 
 Posted:   Dec 23, 2013 - 11:40 AM   
 By:   Ed Lachmann   (Member)

Thank's Paul, I do so hope if they can get "Barabbas" they will give it a BD release someday soon, that would really be exciting!

 
 Posted:   Dec 23, 2013 - 12:21 PM   
 By:   WILLIAMDMCCRUM   (Member)

Having commented on the Game Of Thrones score in another thread got me pondering how wonderful it would be to see several classic console game scores orchestrated & performed by a full grand ensemble.





Warlok ..... Tadlow spend a certain amount of their working days recording modern and new session music for current film, that's almost their main day-job. And with that, they sometimes record game scores. Classic film-scoring is James' PASSION, but it doesn't pay the bills, unless maybe lowering the profit margin for tax? I'm guessing there.

We all know James' taste in music (which is considerable) and the whole point of these classic recordings is to get AWAY from the day-job to the ideal. So do you think it's likely?


I prefer these labels to approach this thing as a labour of love, and to release what they LOVE releasing, and what's more, what's 'worthy'. Which is why I never respond to the 'What should they record next?' threads unless it's they who do the asking.


There are some choices above that I'd find hard to rationalise.

'Barabbas' is a great picture in all senses, but the score is ... well .... firstly, it uses no real original thematic material. The main theme is a 'Kyrie Eleison' from the mediaeval mass. A very FAMOUS Kyrie at that. The other motifs aren't noteworthy, indeed the 'Rome' motif is banal. I say that as someone who LIKES Nascimbene. Also the score leans heavily on tricks like slowing down percussion etc.. Tricks not really as revolutionary as the old album notes suggest (!), and especially not in light of today's electronics. Can you see James or Nick or the Prague orchestra getting goosebumps for this one? I can't. Not one to show off the versatility of the orchestra.

'The Vikings' is another matter, and a very famous commercial film.

Tadlow have shown in the past that they can attack CHALLENGING scores. Everyone always says Tiomkin is a hard act to pull off, but they did it several times. Goldsmith, because of the very specific soundscapes of the recordings both in OST and albums, is a fearful undertaking, but they've had the guts, and pulled it off now several times too. Newman is another composer whose music has a reputation of being 'his' and hard to duplicate, so I'd be interested if they took up that challenge, just to see how it turned out, and there's a big backlog there.

But some of these challenges are unrealistic in the present economic climate, with the current limited market, even if Prometheus open their pockets.

So be realistic, fellas. And for the sake of the artform's heritage, be STRATEGIC. Think on great successful profile films, and great composers for this CLASSIC recordings endeavour. Tadlow now have a reputation, the spotlight is on them (as with Tribute) when anyone, broadcasters, conductors etc. want to find out about these composers, they turn to these recordings. So think strategic.

People said, 'What? Another 'Lawrence of Arabia'?' But it was high-profile, and the best release to date of that music. I only wish they'd done it when MJ was still alive: there'd still have been a chance to try 'El Cid' later. Those big efforts, even if the selfish collector doesn't want them, are the great EXPONENTS and evangelists of scores people thought they already knew, like 'Alamo'. Tadlow are building a legacy here.

 
 
 Posted:   Dec 23, 2013 - 12:27 PM   
 By:   Great Escape   (Member)

I'm trying to understand the logic behind re-recording Golden Voyage of Sinbad. The existing release has the entire score in decent sound, does it not?

 
 
 Posted:   Dec 23, 2013 - 12:31 PM   
 By:   Ford A. Thaxton   (Member)

I'm trying to understand the logic behind re-recording Golden Voyage of Sinbad. The existing release has the entire score in decent sound, does it not?

I produced that 2 CD SET that PROMETHEUS released.

While the score is outstanding, the recording and performance are downright AWFUL.

It was done on the cheap in Rome because the Producer didn't want to pay the money to record in London.

It sounds like it was performed by a high school marching band in spots.

The Best example is to compare the soundtrack recording is the SIVLA SCREEN recording of the concert suite.

It's like NGIHT AND DAY…

Another example would be the re-recording of CONAN THE DESTROYER, the soundtrack recording is just badly performed and recorded (That what Basil thought) and the new recording is just such a VAST IMPROVEMENT OVER in every single area.

The soundtrack recording for this film was also done in Rome, I think at the same studio as well.

GOLDEN VOAYGE OF SINBAD would greatly benefit from a new recording.

Ford A. Thaxton

 
 Posted:   Dec 23, 2013 - 1:05 PM   
 By:   WILLIAMDMCCRUM   (Member)

I'm trying to understand the logic behind re-recording Golden Voyage of Sinbad. The existing release has the entire score in decent sound, does it not?


Well, as you can see above, a lot of people don't like that recording. The film is however, not an 'epic' and requires a more intimate, slightly occult-edged score, so even if it were perfectly played, it's not MEANT to be a big 'Ben-Hur' score.

The problem with a new recording would be that there are many little tracks using oriental instruments, the tracks that never made it onto the first release on LP and a single CD, that would need separate chamber sessions. It'd come out more of a mishmash than people think I expect.

With 'Sodom and Gomorrah', there's the double cross to bear that (a) it's a honker film that Rozsa was embarrassed by, and (b) there are quite a few Yemenite Hebrew source pieces of unison chorus which aren't STRICTLY speaking Rozsa (he'd be the first to mention that ... none of them except 'Childrens' Game' made it to the RCA album, presumably because he had a slight input into the orchestration with that piece). So how do you present that? It'd be criminal to say 'composed by Miklos Rozsa' so you'd need an asterisk in the cue-list. It's sometimes liturgical stuff by the way. When the Inbal Dance troupe were asked for Yemenite tunes for 'Greatest Story Ever Told', by Newman and Darby, they flatly refused. And that was a much better film.

The best option is for a decent producer to re-sample the tapes from the Legend/Titanus release (Digitmovies sampled far too high, and it sounds harch ...). J. Capariccio here says he heard an MFX track when working on the film, that had of course things like the first act end title complete. It's out there somewhere. An MFX track for 'The Queen's Court', the first dance number never released, would sound fine for instance.

 
 
 Posted:   Dec 23, 2013 - 1:49 PM   
 By:   TerraEpon   (Member)

there are quite a few Yemenite Hebrew source pieces of unison chorus which aren't STRICTLY speaking Rozsa (he'd be the first to mention that ... none of them except 'Childrens' Game' made it to the RCA album, presumably because he had a slight input into the orchestration with that piece). So how do you present that? It'd be criminal to say 'composed by Miklos Rozsa' so you'd need an asterisk in the cue-list. It's sometimes liturgical stuff by the way.

I fail to see how this is an issue at all. Hundreds of CDs have special credits where the main composer hasn't composed a track or two - it's as simple as a credit right under the track, if if Rozsa arranged them (did he?) maybe like "Tradaitional arr. Rozsa" or whatever. How bizzare anyone would even think that such a thing should prevent the recording of the score.

 
 
 Posted:   Dec 23, 2013 - 1:57 PM   
 By:   Ed Lachmann   (Member)

Totally agree, William. I'm more a fan of the film "Barabbas" than the score, but would just love to own a blu-ray of it. I'm sticking with my giant wish for "Sodom and Gomorrah", however, which would have to be a challenge for the Tadlow folks with all the dances, marches and exquisite love themes. After that brilliant "Quo Vadis" it's something I'd expect they'd hit right out of the ballpark again. Plus, they could skip "Children's Game" and the like and I would not mind in the least.

 
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