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I will hold off on this one and keep the old release. I do believe they are scrapping the bottom for titles that are not Disney.
I do not believe the re-mastering and few extra minutes is worth another $20.00.
I agree.
Good score, but not worth $20 for a few more minutes....
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I finally bought the original issue of this recording just a year ago... Maybe sometime around 2023 I will buy this version.
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Posted: |
Jul 9, 2013 - 7:35 PM
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By: |
.
(Member)
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What is interesting to me is that Intrada, and possibly other labels that have worked directly with Goldsmith on some of these releases, now can put out their preferred version of the album, which may not have necessarily been Goldsmith's preferred version. We all like to thunder on about the original artist's vision, but in a LOT of cases Goldsmith's taste, and his preferences about what music should and should not be released, ran exactly counter to what a lot of collectors would prefer.
I think the situation is different for a custom re-recording (as opposed to selecting tracks from an original soundtrack). With a re-recording like Rio Conchos, Goldsmith conducted it and presented the content his way and signed off on it that way, and I think that's how it should stay.
if Goldsmith's choices about his own "concert" performance of his own music aren't going to be adhered to, the label might as well have used a different conductor in the first place and done it 100% their way.
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Posted: |
Jul 9, 2013 - 10:42 PM
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By: |
Morricone
(Member)
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What is interesting to me is that Intrada, and possibly other labels that have worked directly with Goldsmith on some of these releases, now can put out their preferred version of the album, which may not have necessarily been Goldsmith's preferred version. We all like to thunder on about the original artist's vision, but in a LOT of cases Goldsmith's taste, and his preferences about what music should and should not be released, ran exactly counter to what a lot of collectors would prefer.
I think the situation is different for a custom re-recording (as opposed to selecting tracks from an original soundtrack). With a re-recording like Rio Conchos, Goldsmith conducted it and presented the content his way and signed off on it that way, and I think that's how it should stay.
if Goldsmith's choices about his own "concert" performance of his own music aren't going to be adhered to, the label might as well have used a different conductor in the first place and done it 100% their way.
For me I have seen the best composers evolve and change. It is truly what I treasure about them above all else. For an eternity Ennio Morricone insisted the two cuts available from his first western DUELLO NEL TEXAS was enough. It did not reflect his personal voice as well as his subsequent westerns. Last year he changed his mind and allowed all to be released. It shows how Morriocne's voice evolved, changing from the more traditional approach. With the decline of the CD who knows what Jerry would have said if Doug had asked him this year for the two extra cues.
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For me, the most interesting thing about this release is that Jerry didn't want the End Cast included because the program ended better with the score finale. And I think he was absolutely right.
Rio Conchos is one of the first Goldsmith scores that to me really sounds like Goldsmith and no one else. To my ears, the End Cast is not of a piece with the rest of the score, and sounds like early Goldsmith, which often sounds more like his immediate predecessors (esp. Elmer Bernstein) than himself. It's just big and bold and triumphant and kind of anonymous. Almost a contradiction to the big but quite downbeat ending of the film.
Bottom line, as so many of Goldsmith's scores have come out in complete form, I find I trust his musical judgment for what belongs on a disc over what us fans want.
You can hear the End Cast as a clip on the OOP FSM soundtrack release:
www.screenarchives.com/title_detail.cfm/ID/1149/RIO-CONCHOS/.
Absolutely worth purchasing if you don't have it already, and even if you do and want the extras - and especially for the one-of-a-kind Artist Who Did Not Want to Paint. It's worth the couple of sawbucks.
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I'm definitely on board -- I've been waiting for it for over half a decade -- Doug Fake said they were working on it YEARS ago when their similar Excalibur-branded reissue of Islands in the Stream came out. Glad it finally materialized. I'm a little excited for the half-minute End Cast but I'm MORE excited for the early take of Wall of Fire, one of my favorite tracks!
I'm also loving the new artwork and look forward to more in-depth liner notes than my previous issue.
This is NOT scraping the bottom. This is quite simply the GREATEST Goldsmith re-recording ever. The recent two by Tadlow/Prometheus are close, but still not quite as awesome as this gorgeously-recorded performance with no less than the LONDON SYMPHONY ORCHESTRA. If the comparitively disappointing Intrada Islands in the Stream re-record can get a remastered reissue, then this incredible album MORE than deserves it.
What does amuse me a bit is all the people saying the missed out on the old version -- it was still available when I checked just a couple months ago! It's been available for YEARS and was in fact the last remaining in-print title in their "RVF" line (it wasn't "MAF" like the other in-print unlimited editions). Still, it turned out the best for them that they waited as they now have this pretty new edition (for $5 more...oh well).
Almost forgot about The Artist Who Did Not Want to Paint -- an INCREDIBLE performance of perhaps the single greatest piece of music Goldsmith ever wrote. Worth the $20 alone if you don't have the previous album.
Yavar
P.S. Sean Nethery -- Goldsmith's western score to Lonely Are the Brave predated this by a few years and to me sounds absolutely 100% Goldsmith.
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Yavar, I'd agree that Lonely are the Brave is getting closer to Jerry's signature sound than most earlier scores, but parts of it (especially early on in the film) still sound to me more like he's feeling his way to his sound.
But this is just an elaborate way of saying that the Goldsmith I prefer starts around the time of Rio Conchos, so I don't count the scores that don't hit me that way.
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Posted: |
Jul 10, 2013 - 6:01 PM
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By: |
Bill Finn
(Member)
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Anyone who does not already have the 10 minute piece called "The Artist Who Did Not Want To Paint" should pick this one up. Even though the original score is available on the Varese CD of "THE AGONY AND THE ECSTASY".
Apparently, Alex North was off onto his next film, when the produces of A&E decided that they wanted a prologue. Goldsmith was chosen to score this (based on North's recommendation, or maybe something else, I don't know). But it is a seamless piece that sets the stage for what is to come.
I've been fortunate to have heard Goldsmith conduct this piece at a live concert - the Cincinatti Symphony, about 1990. Unfortunately, the French Horn pleyers were not quite ready for it, and cracked a number of notes.
And later, after the concert, when my wife and I were in the receiving line to greet Jerry, the lady who was right in front of us in the line, was one of the orchestra's horn players. I overheard he offering her profuse apologies to Goldsmith for her performance. Goldsmith seemed to take the entire matter in stride.
I never saw the man riled (unless someone wanted him to autograph a b**t).
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I agree Joan -- it's a pretty awesome western score, and Jerry composed so many of those too. Still for me it doesn't compare with the incredible short score it's paired with. Artist is simply sublime and I've always thought it would make a really GREAT concert work. I'm so jealous to find out that it WAS performed in concert and I wasn't there (I was five at the time)!
Yavar
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I've been fortunate to have heard Goldsmith conduct this piece at a live concert - the Cincinatti Symphony, about 1990. Unfortunately, the French Horn pleyers were not quite ready for it, and cracked a number of notes.
I recall meeting Goldsmith after an all-Goldsmith Toronto Symphony concert a few years later, and mentioned that I would have loved to have heard this sublime piece in concert, and he replied that it would have been difficult to do, requiring eight horn players.
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Must mention once more how brilliant "The Artist Who Did Not Want To Paint" is. I agree with those who think it's probably the best - in the most "sustained" - piece Goldsmith ever wrote. It really is enthralling, and spine-tingling too when he begins to wrap it up gloriously in the final movement. Add me to the list of those who saw Mr Goldsmith conduct this in concert - in my case it was at the Barbican in 1989, and was certainly the best thing in a disappointingly bloated concert.
AND thumbs up for RIO CONCHOS as a score. In an ideal world I'd have the FSM release too (I imagine it's slightly grittier, and has louder whipcracks), but this does the job just fine. Goldsmith was a bit hit or miss with his own re-recordings, plus those of Alex North, but this is definitely "hit".
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The OST of the Prologue sounds like it was recorded with a tiny orchestra featuring a tambourine soloist standing directly left of the conductor's podium. Tambourine aficionados like RM should definitely stick with the OST version.
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