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The most notable exceptions are source music, in particular bagpipes—and I’m confident that there are more soundtrack fans on this forum than bagpipe fans.
Never underestimate the strong correlation between members of this forum and windbags.
But, all in all, this does sound like the release to get.
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I'm just gonna point out a couple of things here, then you can all go about your days and evenings:
Chris Malone is fantastic.
James Nelson is also fantastic and any anomalies in terms of dropouts and splices were addressed by him brilliantly in the Kritzerland release. Not sure what source was used for this in terms of the stereo score tracks - would be interesting to know.
I'll get this of course, if only to compare.
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For my money, "Casino Royale" is Bacharach's masterpiece (and should have been nominated for an Oscar for Best Score, not just "The Look Of Love" for Best Song!)
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My only disappointment is that the booklet (as with LA DOLCE VITA) has absolutely no technical information about the remastering/restoration of the tapes - a tiny complaint in the scheme of things, admittedly.
Always happy to try and answer specific questions on either release within the realms of what the licensors would reasonably agree to being discussed.
Some of what you might be after for Casino Royale was documented here but you may have already seen that!
http://www.quartetrecords.com/news/casino-royale/
Chris
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Can you tell us anything about the Redway single? What was the source? Had it ever appeared commercially before now and if not, why?
Also, is there a similar article about LA DOLCE VITA?
The Redway single was sourced from vinyl as no extant tape copy could be located. We were able to include it because it served to promote the film and was therefore licenced to the filmmakers.
For La Dolce Vita, we had access to the original first-generation mono tapes. There was an initial moment of deception as several vinyl and CD releases over the years have been marketed as “stereo”. We pulled the album masters for several of these and decided not to use them as they utilised electric or electro-acoustic rechannelling to produce some form of stereo image. Personally, I like mono recordings to be presented as straight up mono. (If we are interspersing mono cues amongst stereo sequences, I will usually add some ambience for a better blend.) Also, we were able to go back to the first-generation sources anyway.
The La Dolce Vita tapes were, for the most part, decent sounding with very little deterioration. Therefore fixes mainly concentrated on filling dropouts, addressing electrical anomalies, and redressing equalisation.
Chris
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I am enjoying the new CD. The sound of the original album this time is exceptional. I borrowed my Uncle's soundtrack in 1967; after having it for two years, he graciously let me keep it. I remember even back then being astounded at how good it sounded. I still have it.
Using the new CD, can anyone post the track order, in film running order, combining the original album cues with the bonus tracks?
Thanks!
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Posted: |
Jan 9, 2018 - 11:22 AM
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By: |
Bob DiMucci
(Member)
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Using the new CD, can anyone post the track order, in film running order, combining the original album cues with the bonus tracks?
Thanks!
See: http://www.quartetrecords.com/news/casino-royale/
"For those wanting to closely approximate the film order, please program: 01 (or 14), 15 (or 11), 16, 17, 18, 6 (up to 1:34), 19, 20, 9, 3, 21, 7, 02 (or 22), 23, 24 (or 06 from 1:34), 25, 10 (from 1:04), 26, 5, 27, 28, 08, 12, 29, 30, 04, 31, 10 (to 1:04), 32, 33 (or 13 to 2:47), 34 (or continue with the remainder of 13)."
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Thanks for the inside info, Chris. At least one customer here would love to have this kind of technical background in the booklets, if anyone's listening. Both albums sound great and I look forward to your work on the other Sixties Fellinis. Bravo to you and Quartet!
Thank you for supporting these releases!
I think incorporating such notes into an album sleeve is always limited by space constraints, what can reasonably be said, and how it might best be stated bearing in mind that many audiences are not wanting technical jargon.
That said, I'm all for it and find it interesting to read!
Chris
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I finally bought this, making it my fourth CD of this album after the Varese, the Kritzerland and the original Quartet.
I hate to have to say this, but the sound is spectacular, it really is worth buying this yet again if you love this iconic album as much as I do. 
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Posted: |
Dec 29, 2020 - 2:23 AM
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By: |
RichC
(Member)
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A bit late to the party with this release, but can I just send a warm-hearted "thank you" to all involved in Quartet's 50th Anniversary release of this score?
Kritzerland's release was fantastic in terms of presenting the album version in the best way feasible, with as many drop-outs and instances of tape damage removed as possible. We even got a couple of (brief) additional cues - at the time, it was much appreciated.
Then came Quartet's initial release, with its expanded cue list taken directly from the film stems, and an alternative (if slightly wow-y) album master source.
Combined with the Kritzerland CD, it seemed we now had the best, and most comprehensive collation of music from the film we were ever going to get.
And then came the 50th Anniversary set, and... wow.
What a full-bodied, bold recording this is. It positively blasts you from your seat. And the restoration!
Gone are the moments of distortion, heard even on the original 60s LP version, where the music was transferred a little "hot" (witness the early moments of "Moneypenny Goes For Broke" - now entirely free of "crunching", for the very first time anywhere in the world).
Gone is the phasing of the film stem tracks, heard on the original Quartet release. The music now stays rooted firmly in both speakers. In fact, this is possibly the best remastering of a film stem source I've ever heard. The sound is so rich, it's hard to believe this isn't a good couple of generations closer to the original master tapes than it is.
True, it isn't quite complete, but the majority of the music that has been dropped was either already represented in the album recording, or so mangled by film edits that all sense of musicality was lost (or, in the case of Little French Boy, heard during the milk float chase, both).
Superb all round!
One question, though - does any documentation survive indicating which album tracks were recorded specifically for the LP, and which are the same takes as heard in the film?
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