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Please NO! Enough of those rehashed..slow'd tempos dull re re re hased recordings. Stick to the originals...Please no more. Please no more.
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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
Very well, then. I stand corrected. Thanks, Ford.
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Please NO! Enough of those rehashed..slow'd tempos dull re re re hased recordings. Stick to the originals...Please no more. Please no more.
I take it you haven't heard any of the re-recordings done by Tadlow and Tribute.
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Please NO! Enough of those rehashed..slow'd tempos dull re re re hased recordings. Stick to the originals...Please no more. Please no more.
This is my number one pet-peeves with re-recordings, where they slow the tempo just slightly and play it like like they just don't care, if that's the case, I'll take poor sound on the originals any day.
However, I have found that the Tadlow recordings don't suffer from these problems. In my opinion, Tadlow just might actually be sending modern recording equipment back in time and capturing the original performance in all its glory! Which would be perhaps the best use of time travel I can think of.  If that's not the case, then somebody get on that; I'm looking at you, MV.
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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 "Traditional arr. Rozsa" or whatever. How bizzare anyone would even think that such a thing should prevent the recording of the score.
Oh, it's not an issue in terms of getting it re-recorded. I doubt very much if Tadlow, or any other label who habitually releases these things could give a hoot about this. And neither will you.
But there's a bigger world?
This is LITURGICAL music, plundered. In those traditions, it's not acceptable to do just ANYTHING with it. You can put a requiem mass or a Lutheran hymn in a film about a pimp, and no-one's going to complain, because Christian religious music doesn't really have that kind of restriction: you can do what you like with it, it's only music. But not in the Yememite Jewish tradition. In fact it's the UNCHANGING nature of those liturgies that caused the likes of Rozsa to think it more 'authentic' than western Jewish music of the sort Goldsmith aped in 'Masada'.
In other films where MR used this stuff, it was built into the leitmotif matrix, themes used as part of the primary score. The Yemenite theme in 'Ben-Hur' used for the mother is one, not liturgical I think, and which has been used before. Google an Israeli composer called Paul Kirman who used this tune long ago in a suite for violin and orchestra. It's been recorded a few times, notably by one Zina Schiff, a NY violinist, and is on CD.
But in S & G this music is used straight up, with lyrics, religious music in a religious context. And irrespective of what Tadlow or anyone else might do (at the end of the day, they only play excellent renditions of whatever's on the sheets in front of them), it's IN THE CONTEXT OF THAT TRADITION, a slight cheapening of the music, especially for so bad a film. Now, you and I might not be Jewish, and many Jewish liberal folk wouldn't give a hoot, but ....
Well, I'll say no more about it. But if my strategy was to record classic film music in a way that serious concert reviewers as well as 'entertainment' reviewers would take as 100%, I'd steer clear of this score, even though it's one of his best, because that's one toilet-blocker of a film.
But this is a limited market of course. With limited concerns.
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Merry Xmas to you too Paul.
Just for you.
It's a crap film with a great score.
And the liturgical music in it is abused. That's how that tradition would see it. Is that okay?
And it harms Rozsa's reputation. Not because it's a bad score, but because it's a crap exploitative misconceived film he preferred to ignore thereafter. And there are good enough sources for a good release if they're found. This film, and 'The Green Berets' (not 'The Power' or 'The VIPs') finished him for nearly a decade in film music.
James will record whatever he wants to record.
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Complete, fully orchestral performance of Goldsmith "Lionheart"
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Complete, fully orchestral performance of Goldsmith "Lionheart"
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Some people think there's some logic to what gets re-recorded and it's driven purely by what fans want.
I think the only logic behind what gets re-recorded is this: somebody puts the money up.
QBVII, Conan, Salamander ... all happened because someone who wanted those titles put the money up for them.
If we're lucky, somebody puts the money up for a title we want, but it doesn't happen because we plead.
To get what we want, we either need money, a sponsor, or for it to be a title that someone like James Fitzpatrick likes or sees commercial value in.
Cheers
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