I sometimes, intentionally hold off on purchasing a certain album from a beloved composer's repertoire until after I grab the bulk of his or her work. It can give a wonderfully refreshing (and often affirming) first spin.
Anyhoo, I've obviously held off on "Lost Weekend" (saving one of the best for not-too-far-from last).
I have this inexpensive option to possibly break through with:
I would love to hear other members' thoughts on both the score and releases.
Please accept my deeply felt gratitude for the huge amount of help FSM'ers have given me over the past months and hope everyone is having a happy 2018!
I'd go for the Intrada release. It's probably a bit more expensive, but not that much if you look hard on the internet.
I also have the film noir compilation on the Koch label (with Double Indemnity and The Killers), those are re-recordings and not bad either.
Ooo, the latter is really stoking me up
I have the Background to Violence CD with Killers and others. LOVE that music.
Aw heck, it's Rózsa! Not much to dislike there...for epics he's unmatched imo, the noir stuff was truly Landmark as well. Then there are scores like Red House, which I feel really showed some of the most genre-defining aspects of his writing. I mean, that score is arguably harder to classify, but the writing is often concert-level (I guess I don't have to mention the often gorgeous and delightfully orchestrated cues). Red House isn't his most memorable scores for themes; however, it's such a great example of how he would manage manifold, different themes (unlike many film composers, who are happy with three at most....not that there's anything wrong with that) as a signature of his style. I can think of few other film composers who introduce so much useable and non-repetitive melodic content as effectively as the maestro.
Shucks, I just HAD to start a Rózsa thread! Watch, I'll put everybody to sleep gushing
The Tsunami is 'grey area' as they say in terms of US legitimacy, (actually they say 'gray'!) taken from Tony Thomas' acetate collection, incomplete and in bad sound.
The Koch is maligned by many who think it has low hi-end and slower tempo, but it's a good digital re-recording, and a half-hour.
Charles Gerhardt's NPO suite from the RCA series is wonderful, but omits the famous alcohol addiction theme completely.
Elmer Bernstein's short suite on Colosseum/Varese is good but slow, and some will dislike the concert hall ambience.
John Williams' love theme performance is good.
The Rozsa-conducted Polydor short suite is excellent, with the RPO, but of course very short, with a recomposed finale as here seen:
P.S. Oh dear, that poster has cut just at one of the best bits. 'sorry about that ...
I think that while the Sedares Koch recording with Double Indemnity and The Killers is no replacement for the original soundtrack recording(s), it is nevertheless a worthy CD in its own right. It may not be perfect, but it was quite a gift before the OSTs were available, and I still return to it.
My two cents, anyway.
Hopefully someday we will see the Polydor trilogy come out on CD. That's a great collection.
I think that while the Sedares Koch recording with Double Indemnity and The Killers is no replacement for the original soundtrack recording(s), it is nevertheless a worthy CD in its own right.
I spin this one more than the OSTs, for whatever that is worth. I don't think it lacks high end, but then again, I tend to roll back the highs anyway. As for tempos, I don't expect an album to sound exactly like it does in the film, so if the tempos are off, it does not bother me So the Koch is my go-to for these two scores. That said, I am very happy to have the OSTs also.
I think that while the Sedares Koch recording with Double Indemnity and The Killers is no replacement for the original soundtrack recording(s), it is nevertheless a worthy CD in its own right.
I spin this one more than the OSTs, for whatever that is worth. I don't think it lacks high end, but then again, I tend to roll back the highs anyway. As for tempos, I don't expect an album to sound exactly like it does in the film, so if the tempos are off, it does not bother me So the Koch is my go-to for these two scores. That said, I am very happy to have the OSTs also.
I'm wondering if I should just grab a copy of the original recording and wait until hopefully another reissue comes out. It's looking that way for Patton too, btw.
I spin this one more than the OSTs, for whatever that is worth. I don't think it lacks high end, but then again, I tend to roll back the highs anyway. As for tempos, I don't expect an album to sound exactly like it does in the film, so if the tempos are off, it does not bother me So the Koch is my go-to for these two scores. That said, I am very happy to have the OSTs also.
Since getting the Intrada cd, I've rarely played the Koch disc (expect for the Killers suite). The Intrada cd also has some additional (alternative) cues. The Walk is on of the quintessential film tracks, so it's always good to have the original. I'm also addicted to the love theme, so it's always great to hear different versions like
I'm wondering if I should just grab a copy of the original recording and wait until hopefully another reissue comes out. It's looking that way for Patton too, btw.
Sometimes I can't keep track of releases- which one's are in print or OOP, and which one's I forgot to order (like Quiqley Down Under). I just did a Patton search at screenarchives and this came up.
