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Re: "Damn, blast, I just lost a big reply I had written to you, sic!!! I haven't got time to rewrite it again tonight, sorry. However you make lots of good points Peter and I'd like to discuss the possible USA/Ireland family connections a bit more sometime!"
That has happened to me sooooooooooooooo many times here! Trying to learn from that, usually when I spend a lot of time trying to get something just right, I'll save it so I can paste it if I have to start all over again. But sometimes I forget, as I did tonight while writing about songs written for specific movies but then dropped. So it's nice (sorry about that!) to know that I'm not alone in this. I don't recall this happening in any other site I've participated like this, so it's verrrrrrrrry frustrating.
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This is one of Elmer's greatest and I can't wait to get my little mitts on it - long time coming and if Chris Malone is on the case we know that it's going to sound great, mono notwithstanding. This score will work a helluva lot better in mono (obviously the film was mono) than Spartacus in mono, which, despite the brilliance of the music, I simply cannot listen to - that music was always in stereo from day one, so it's just too weird hearing something of that breadth not the way it was meant to. But for films like True Grit, mono shouldn't be a problem at all because that's how it played in the film.
In the Varese Spartacus set at least there are around of 72 mins of the score in stereo, aren't there?
For me 72 mins is a lot of music!
Cheers!
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Re: "But for films like True Grit, mono shouldn't be a problem at all because that's how it played in the film."
I don't agree. We almost always want our music to sound as clear and dynamic as possible, and except for those who demand to hear it PRECISELY as it sounded in the theatre, I think that most of us would prefer favorite soundtracks to be BETTER than the original. This is straying, but I have some recordings of soprano Lily Pons (aka Mrs. Andre Kostelanetz) from the 1940s, and one memorable collection on CD has been manipulated by the engineers to sound as if it were recorded 20 years later and I love it. But I bought another that was true to the original sound and, frankly, it was unlistenable, and I ended up taking it back to the store. The same for film soundtracks. I don't think we want to hear 1939 fidelity for Max Steiner's "Gone With The Wind" or "The Wizard of Oz" from that same year. Right?
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I'm surprised that La-La-Land Records doesn't seem to be taking pre-orders for "True Grit," and I've gone to their site 3 times and searched for "True Grit" and come up empty all 3 times. Thought they would have a full page spread of it -- certainly something like the beautiful photo shown at another posting on this site.
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But couldn't they at least have a big display of it, like what the guy who wrote the liner notes for it posted at another discussion here? They should be beating the drums to bring attention to it! But maybe they don't need the attention so they don't bother. Interesting.
Here was that original posting I'm referring to:
FILL YOUR HANDS…with two new awesome releases from La-La Land Records next Tuesday, Sept 24, 2013 at 12 pm pst!
TRUE GRIT
MUSIC BY ELMER BERNSTEIN
LLLCD 1260
LIMITED EDITION OF 3000 UNITS
RETAIL PRICE: $19.98
EXECUTIVE ALBUM PRODUCERS: LUKAS KENDALL AND NEIL S. BULK
MASTERED BY DOUG SCHWARTZ
LINER NOTES BY JEFF BOND
ART DIRECTION BY JIM TITUS
La-La Land Records, Paramount Pictures and Capitol Records/UME are proud to present Elmer Bernstein’s rousing score to the classic Academy Award winning John Wayne Western TRUE GRIT. After waiting decades for a proper release fans can finally rejoice in this definitive presentation of one of the genre’s greatest films! The previous LP/CD, while an interesting experiment, never quite delivered the “goods” for any film score enthusiast. For many, it left them wanting more. Well, now you have it! Mastered from the original ¼ inch mono masters, Producers Lukas Kendall and Neil S. Bulk have put together what Western fans and film score fans alike have been clamoring for over the years! With help by audio wizard Chris Malone and mastering engineer Doug Schwartz fans can finally hear Mr. Bernstein’s score in all its brilliance on cd! In addition to the film score, we have included several songs licensed and recorded for the film including various versions of the Main Title song performed by Glen Campbell, as well as a demo of the song THE EYES OF THE YOUNG performed by Elmer Bernstein himself (co-written by Don Black)! Also included on this set are 3 versions of GO HOME GIRL one version performed by John Hartford and two other versions performed by Glen Campbell. Antique looking booklet design by Jim Titus adds to the authenticity of Jeff Bond’s rustic, informative notes.
Now we go from The Duke to the HAMMER!
I, THE JURY
MUSIC BY BILL CONTI
LLLCD 1275
LIMITED EDITION OF 2000 UNITS
RETAIL PRICE: $19.98
PRODUCED BY NICK REDMAN AND FORD A. THAXTON
SCORE RESTORATION BY MIKE MATESSINO
MASTERED BY DANIEL HERSCH AT D2 MASTERING
LINER NOTES BY JULIE KIRGO
ART DIRECTION BY JIM TITUS
La-La Land Records and 20th Century Fox get down and dirty with the World Premiere release of Bill Conti’s score to I, The Jury, based on the best selling novel featuring that iconic private eye Mike Hammer. This thrilling, jazz infused score is quite possibly the coolest soundtrack we have released this year! Like the film itself, the score is loud, sexy and in your face. It takes no prisoners and makes no excuses. Eye catching art direction by Jim Titus make you feel like you are flipping through the seedy pages of a Mickey Spillane novel as you read through the in depth liner notes by film score historian Julie Kirgo, taking you deep inside the pulpy mind of Bill Conti. Quotes from famed pianist Mike Lang round out this stellar package.
Both of these titles go on sale next Tuesday, Sept 24 at 12 pm pst at www.lalalandrecords.com as well as other fine online specialty stores.
https://www.facebook.com/lalalandrecords/posts/10151953470478755
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Posted: |
Sep 18, 2013 - 10:43 AM
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By: |
bagby
(Member)
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This is one of Elmer's greatest and I can't wait to get my little mitts on it - long time coming and if Chris Malone is on the case we know that it's going to sound great, mono notwithstanding. This score will work a helluva lot better in mono (obviously the film was mono) than Spartacus in mono, which, despite the brilliance of the music, I simply cannot listen to - that music was always in stereo from day one, so it's just too weird hearing something of that breadth not the way it was meant to. But for films like True Grit, mono shouldn't be a problem at all because that's how it played in the film.
I was friends with an older gent in my younger days, a fellow who had been an audio engineer. He told me recording in mono happened sometimes because it can make an orchestra sound bigger than it actually was, if it's played back on a stereo system. The sense of space in a stereo recording can leave something of a sound hole in the mix if not done properly. Plus even by that point in 1969 nearly all theatres still had optical tracks for sound and stereo optical prints were sometimes troublesome to exhibit, according to my dad, who was a projectionist at one point in his life.
I suspect there were some practical reasons in production to record in mono and release in mono, ultimately. Why record it in stereo if you weren't going to distribute in stereo?
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Posted: |
Sep 18, 2013 - 10:45 AM
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By: |
bagby
(Member)
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But couldn't they at least have a big display of it, like what the guy who wrote the liner notes for it posted at another discussion here? They should be beating the drums to bring attention to it! But maybe they don't need the attention so they don't bother. Interesting.
Here was that original posting I'm referring to:
FILL YOUR HANDS…with two new awesome releases from La-La Land Records next Tuesday, Sept 24, 2013 at 12 pm pst!
TRUE GRIT
MUSIC BY ELMER BERNSTEIN
LLLCD 1260
LIMITED EDITION OF 3000 UNITS
RETAIL PRICE: $19.98
EXECUTIVE ALBUM PRODUCERS: LUKAS KENDALL AND NEIL S. BULK
MASTERED BY DOUG SCHWARTZ
LINER NOTES BY JEFF BOND
ART DIRECTION BY JIM TITUS
La-La Land Records, Paramount Pictures and Capitol Records/UME are proud to present Elmer Bernstein’s rousing score to the classic Academy Award winning John Wayne Western TRUE GRIT. After waiting decades for a proper release fans can finally rejoice in this definitive presentation of one of the genre’s greatest films! The previous LP/CD, while an interesting experiment, never quite delivered the “goods” for any film score enthusiast. For many, it left them wanting more. Well, now you have it! Mastered from the original ¼ inch mono masters, Producers Lukas Kendall and Neil S. Bulk have put together what Western fans and film score fans alike have been clamoring for over the years! With help by audio wizard Chris Malone and mastering engineer Doug Schwartz fans can finally hear Mr. Bernstein’s score in all its brilliance on cd! In addition to the film score, we have included several songs licensed and recorded for the film including various versions of the Main Title song performed by Glen Campbell, as well as a demo of the song THE EYES OF THE YOUNG performed by Elmer Bernstein himself (co-written by Don Black)! Also included on this set are 3 versions of GO HOME GIRL one version performed by John Hartford and two other versions performed by Glen Campbell. Antique looking booklet design by Jim Titus adds to the authenticity of Jeff Bond’s rustic, informative notes.
Now we go from The Duke to the HAMMER!
I, THE JURY
MUSIC BY BILL CONTI
LLLCD 1275
LIMITED EDITION OF 2000 UNITS
RETAIL PRICE: $19.98
PRODUCED BY NICK REDMAN AND FORD A. THAXTON
SCORE RESTORATION BY MIKE MATESSINO
MASTERED BY DANIEL HERSCH AT D2 MASTERING
LINER NOTES BY JULIE KIRGO
ART DIRECTION BY JIM TITUS
La-La Land Records and 20th Century Fox get down and dirty with the World Premiere release of Bill Conti’s score to I, The Jury, based on the best selling novel featuring that iconic private eye Mike Hammer. This thrilling, jazz infused score is quite possibly the coolest soundtrack we have released this year! Like the film itself, the score is loud, sexy and in your face. It takes no prisoners and makes no excuses. Eye catching art direction by Jim Titus make you feel like you are flipping through the seedy pages of a Mickey Spillane novel as you read through the in depth liner notes by film score historian Julie Kirgo, taking you deep inside the pulpy mind of Bill Conti. Quotes from famed pianist Mike Lang round out this stellar package.
Both of these titles go on sale next Tuesday, Sept 24 at 12 pm pst at www.lalalandrecords.com as well as other fine online specialty stores.
https://www.facebook.com/lalalandrecords/posts/10151953470478755
Between Facebook and here, don't you think they're hitting just about everyone who's really interested in one of 3,000 copies? We all seem to know about it.
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Re: Why record it in stereo if you weren't going to distribute in stereo?
Which was shortsighted! But hindsight is always 20/20, isn't it?
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Re: Between Facebook and here, don't you think they're hitting just about everyone who's really interested in one of 3,000 copies? We all seem to know about it.
The point I was making was that you can't even FIND it at their site! That was what struck me as odd ... at first I thought I must have gotten the record label wrong. They should have an upcoming release section and at least include the title. But maybe they don't want to be bothered by inquiries about it BEFORE the release, which, to some degree, I guess I can understand.
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Re: Why record it in stereo if you weren't going to distribute in stereo?
Which was shortsighted! But hindsight is always 20/20, isn't it?
Knowing how Paramount did things back then, it was most likely recorded onto three channels so the mixers had control of certain things when doing the mix of the film. Those three channels would yield a kind of stereo sound and many releases dating all the way back to the 50s have been released like that, including several from La La Land, Intrada and us. But that doesn't mean that those elements have survived and/or are useable, so labels use what is available and in good shape, especially when the choice is use what's available and good-sounding or release nothing.
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Re: But that doesn't mean that those elements have survived and/or are useable....
That makes me think of the initial CD release of pianist Vladimir Horowitz's 3 concerts at Carnegie Hall. In one of them, a short piece had obviously been taken from an LP with all the accompanying snaps crackles and pops, so the original tape for that piece must have either been missing or had a huge and uncorrectable defect on it. You use the best source you have at the time. Thank you.
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I just love that score -- both rousing and beautifully intimate : an highlight in Bernstein's career. I've enjoyed Tadlow rerecording for many years now and this forthcoming release sounds like a perfect fulfillment.
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For whatever reason there are very few if any recordings of Paramount scores available from roughly 1965-1974. White Dawn and True Grit have been sourced from the mono tapes given to Mancini and Bernstein, respectively, to take home. That's the truth!
Lukas
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For whatever reason there are very few if any recordings of Paramount scores available from roughly 1965-1974. White Dawn and True Grit have been sourced from the mono tapes given to Mancini and Bernstein, respectively, to take home. That's the truth!
Lukas
We are very fortunate to have original tracks CDs of these scores available. Many thanks to all concerned.
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Don't forget this one coming tomorrow!!
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