 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
i always prefer the original recordings.
|
|
|
|
|
|
I can't make a blanket call one way or the other. It depends too much on the performance for me.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
It depends, but frequently I find it interesting to listen to a score I already know well anew when a new recording becomes available. If I listen to a particular orchestral score often, it is great to have several options. It is not always a matter of "better" or "lesser" but of "different". Usually, those scores that do get re-recorded are the ones that are worth listening to in several recordings, too.
For example, I do have the Tadlow recording of Conan the Barbarian as well as the Intada 3-CD release. At this point in time, I listen to the Tadlow while the Intrada is still sitting sealed in the shelf*. Why? Because I am more familiar with the original tracks (had them for years), and so I prefer the newer, fresher recording Nic Raine conducted. But the time will come when I feel like exploring the original tracks again, and then I will be able to explore them in full on the sonically updated Intrada. I enjoy having options.
* I usuallly have a few CDs sitting sealed on my shelf, simply because I don't have the time to listen to everything right away, but I love the idea of sitting there in the evening, deciding what to listen to, and on occasion opening up a sealed CD, reading the booklet and listening to a score I haven't heard.
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 20, 2014 - 8:46 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
I basically agree with some things that Onya himself said at the end of that lengthy thread which Thor linked to, but I'm a tiny bit more nuanced. In general I'll always prefer the ORIGINAL tracks, provided they are in a good enough condition. But I have heard some re-recordings which equal or surpass the originals for me - the Broughton-conducted Rózsas, for example. In fact there are plenty. But IN GENERAL I'll have the original please. I'm talking orchestral scores here.
Where I'm less flexible is in jazz or rock-based scores, because the performance of the individual musicians is often fundamental, and impossible to recreate. I don't think I'd like to hear a re-recording of THE GAUNTLET for instance. Those Art Pepper and Jon Faddis solos are integral to Fielding's intentions.
That doesn't mean to say that if I heard a jazz group tackle THE GAUNTLET at a live concert I wouldn't be thrilled, but it would still be a "re-imagining", a different animal, and that's fine too, as long as you know what (not) to expect.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 20, 2014 - 10:28 AM
|
|
|
|
By: |
OnyaBirri
(Member)
|
For me, the 'original' has never really been that important, since the film is not my point-of-departure for enjoying soundtracks. It's only the music that counts, and I really couldn't care less about the fidelity to any original. I guess that explains why I veer more towards rerecordings than most others here.
But it's different with electronic scores for me. Not because of the film's original tracks, necessarily, but because the electronic sounds are more uniquely crafted (it's not just the technology being used, but also how it's tweaked and combined). For example, only Vangelis can do proper Vangelis. It doesn't help how good the rerecording artist is in approximating his sound.
Agree, and this is how I feel about most scores with jazz or pop elements. Too much can go wrong with regard to style, gear, and/or production values.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 20, 2014 - 10:42 AM
|
|
|
|
By: |
Thor
(Member)
|
I think we've discussed this before, but I think the Mannix remake is awful. The production, heavy-handed playing, and in some cases, instrumentation are at odds with the compositional style.
Yeah, we've discussed it a few times before. In fact, I see that the last few posts of the long thread linked to above was about that.
But we'll have to agree to disagree in our assessments. I just think it flows so well -- smooth transitions between instruments, crystal clear sound, perfected tempo changes etc. It's more 'lush' and less 'grit', which is something I love.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
