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The question that comes to mind is:
is it THE original recording or a rerecording?
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Posted: |
Oct 15, 2005 - 2:45 PM
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By: |
MMM
(Member)
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"The question that comes to mind is: is it THE original recording or a rerecording?"
Personally, I don't think that question should even come to mind until you listen to one of our RE-recordings. Because in the history of film music there have been MANY superb re-recordings that are even better than the originals because you can HEAR all the intricacies of what the composer and orchestrator wanted, which you often CAN'T hear in old tapes.
In addition, we and other labels often have more time in which to record and prepare the music for your listening pleasure, unlike the film production companies, which had to crank out many of these scores so fast that they couldn't get rid of all the wrong notes -- they just "hid" them in the mixing of the film's soundtrack.
Yes, there are some bad re-recordings out there, just like there are bad original tracks releases, but to judge a given CD on the basis of a bad job somebody else might have done with a different release is just ludicrous. Judge each release on the basis of THAT release and that release alone. Or you can possibly make a judgment of some type based on the recent track record of that particular label. But DON'T compare one label's work with that of another label's, be it for re-recordings or releases of original tracks.
And if you don't believe me, check out the following:
http://www.mmmrecordings.com/Rave_Reviews_/rave_reviews_.html
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Mr. Schecter, NOBODY does it better! Even if your re-recordings were half as good, your releases would be worth getting for the incredible liner notes. For anyone harboring doubts, together, the recordings AND the notes are an incredible gift to those who love this music
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Posted: |
Oct 15, 2005 - 8:51 PM
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By: |
MMM
(Member)
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TRIFFIDS is a "flawed" film due mainly to budget restrictions as well as the style of the excellent novel being very uncinematic, as it was NOT a disaster story, but rather a well-reasoned look into the various sociological ways that humanity might have to start over from scratch in the event of a worldwide disaster.
While the film as a whole might not be greater than the sum of the individual scenes, if you don't pickily attack the seams caused by the budget restrictions, there are a lot of memorable scenes in the picture, due in large part to the writing and the acting.
As for the music you hear in the picture, a LOT of the music in our 20-minute suite was not used in the picture. It's a very enjoyable score -- much better than what you hear in the film. Ron enjoyed hearing it, as it was not the most rewarding experience he ever had scoring a film, and I think he was able to listen to it "freshly," with time having smoothed over a lot of memories that might have helped block the experience from his mind.
Ron's only complaint with our recording was that he felt it was a little "too dry," as in not echoey enough. Without telling him that it was always our intention to present the music as "film music" rather than to create some kind of concert experience, we took his statement as a compliment that we had succeeded in our attempts.
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Posted: |
Oct 16, 2005 - 3:48 AM
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By: |
MMM
(Member)
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Alas, Johnny Douglas died of cancer in April, 2003. Even many years before that he was ill, as I was never able to talk directly with him, instead conversing with his very pleasant daughter.
Double alas, if anybody tried to reconstruct the score from merely listening to it, it would not be a very accurate rendition of what he actually wrote, but would merely be an approximation of what the person heard when he listened to the film. And if you think you can hear everything that was written into a score when you merely listen to old soundtracks, you are sadly mistaken.
Triple alas, as the film was not made in the U. S., so I doubt Paramount would have any recordings on it. Those probably would have remained in England, if they ever survived the film in the first place. Paramount's publishing arm would have been interested in the ownership of the music from a performance standpoint, but not from a "let's obtain the master elements and protect them" standpoint.
At least we have the movie with which to enjoy Douglas' fine score. And it's a pretty decent movie, too.
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