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I coulda sworn I typed in the intended Subject Heading, but either I shoulda had more coffee first or else -- not for the first time -- my personal poltergeists were messing with me. Sorry about the confusion, and thanks for your helpful post!
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Posted: |
Sep 15, 2016 - 9:54 PM
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By: |
RoryR
(Member)
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I have the score of GHOST OF FRANKENSTEIN!!!! In fact I have two CDs of the score, one a re-recording conducted by William Stromberg, and the other is a CD-R that someone gave me of the original soundtrack, mono of course, and not good fidelity, but an original recording.
Still, I'd much rather have the score to FMTWM, even though it's made up mostly of other things, including stuff I have on CD, the Marco Polo Stromberg re-recordings of SON OF FRANKENSTEIN, THE INVISIBLE MAN RETURNS, and THE WOLF MAN.
I also have the Silva Screen Kenneth Alwyn re-recording of BRIDE OF FRANKENSTEIN and the suite of music from THE INVISIBLE RAY.
I wish there was more Universal Horror film scores on CD, especially those by Hans J. Salter. I even wish someone would do the music from THE INVISIBLE MAN and WEREWOLF OF LONDON, though not major scores, you sure heard enough of them if you watched the "Flash Gordon" serial.
And the real prize would be Frank Skinner's score to ABBOTT & COSTELLO MEET FRANKENSTEIN.
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Rory, old bean, what are you doing here? I only intended this as a link so people could go to your thread next door, I wasn't aiming to have two simultaneous threads going. Now I'll have to go put a link to THIS thread on your first thread!
Back in a minute...
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Okay, I'm back. (Howard may be along in a moment, too, posting a link to HIS new thread!)
Rory, what do I have to say to convince you that Hans's score is mostly original, not mostly patchwork? Many parts heard on John & Bill's Marco Polo's are there because other movies later used them after FMTWM. In fact, bless him, John sometimes used the original, fuller versions from FMTWM instead of the truncated versions in HOUSE OF FRANKENSTEIN -- such as the wagon journey and the ice cavern.
I'm certainly with you on all those other scores you'd like to have recorded, to say nothing of the original parts of THE MUMMY'S HAND, MAN MADE MONSTER and SON OF DRACULA. ABBOTT AND COSTELLO was always a goal for John and Bill, sadly still not realized, but you can see and hear on Youtube a wonderful little suite from it conducted by Bill at a Halloween concert with the Golden State Pops Orchestra:
https://www.youtube.com/watch?v=WdIoDSVE-eA
The brief but extraordinary main title from the 1932 FRANKENSTEIN has been recorded on CD; when I can find my copy, I'll identify it for you. (NOT the version recorded in the recent overseas concert of Universal film music.)
I'm glad you've got the whole GHOST soundtrack. I've long had it on audiocassette, but I'd love to have it on a digital disc some day.
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Posted: |
Sep 16, 2016 - 8:37 AM
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By: |
RoryR
(Member)
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Rory, old bean, what are you doing here? I only intended this as a link so people could go to your thread next door, I wasn't aiming to have two simultaneous threads going. Now I'll have to go put a link to THIS thread on your first thread.
I thought this thread was set-up to talk the music.
Anyway, you don't have to say much to convince me that Salter's score to FWTWM is mostly original. I'm sure you know more about it than I do. Anyway, I very much wish I had a complete recording of it for no other reason than that I vastly prefer FMTWM to GOF.
Also, please tell me where the main title music from '31s FRANKENSTEIN is on CD, I'd really like to get that, short as it is. What's the story on that main title cue? I'm sure I've read who composed it, but I can't recall and I'm not even sure if it was actually written for the movie.
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LOL !
(Lovely Old Lycanthrope)
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SNAFU
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Posted: |
Sep 17, 2016 - 5:40 PM
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By: |
Howard L
(Member)
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There there, manderley. Perhaps a nice hot cup of tana leaf tea will bring you back. From Eternity. To the Future. In the USSR(?).
Either way, drink. GOOD! After all, it is your only weakness. 
As a youngster I was deeply affected by Maestro Waxman's TBOF score. Indelibly embedded lifelong moments: (1) the early and positively lovely pastoral music alongside the Monster roaming the countryside; (2) Elizabeth at the other end of the "mechanical device"; (3) the entire climactic sequence.
(1) is such a contrast to the scoreless, dark and sinister entity of the original film; it is beauty of the exquisite kind.
(2) lasts about what, all of four seconds but it packs a wallop; I felt her anguish and desperation; I felt for her.
(3) is a glorious symphony that captures the cacophony of lightning, electrical devices at full throttle, mad genius, the Monster and sparks flying everywhere; and then it grows softer...softer...a heart is beating...SLAM--them eyes!...and then...triumphant WEDDING CHIMES...that give way to the tender, original and future theme that is the Bride...and Bali Hai.
Franz had pretty much stepped off the boat just in time for this one. And all the rest. Gracias a Dios. N'est-ce pas?
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] showed up on Chiller Theatre. Me and and my brothers got every one of the monster models. Can still see those little Testors bottles as I type. And them monster magazines were the best. Never got tired of pictures of Evelyn Ankers screaming. 
