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Posted: |
Dec 21, 2005 - 1:16 AM
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By: |
joec
(Member)
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I recently listened to Cloud Nine's 1995 cd release of THE CURSE OF THE CAT PEOPLE, THE FILM MUSIC OF ROY WEBB, Orginal soundtrack recordings 1942-1949 and enjoyed it a great deal.
According to the booklet, the music selections were mastered from acetate recordings contained in the composers' personal collection.
All of the films included were originally released by RKO which now fall under the Turner umbrella. Some of these films, Cat People, Bedlam, Out of The Past, Mighty Joe Young, Ghost Ship and Crossfire have been recently issued on DVD.
Is it possible that complete original recordings for these scores currently exist? I was under the impression that most of the RKO music output was lost. If so, I would welcome a comprehensive collection of Webb's work. Webb is definitly under represented. Perhaps from FSM?
I have no problem with well mastered CDs derived from actetate sources. I think FSM's acetate derived ON DANEGEROUS GROUND is excellent. The sound on the CN Webb release is also quite good.
I am actually surprised Cloud Nine was able to release this material without the involvement of Turner.
Any comments?
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Posted: |
Dec 21, 2005 - 12:55 PM
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By: |
musickco
(Member)
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The Cloud Nine CD utilised every acetate still extant in the Roy Webb collection. As far as could be ascertained at the time no other masters existed.
And yes, both Mighty Joe Young and Journey Into Fear were lifted from film sources (but we have a new recording of Mighty Joe Young to look forward to!).
Turner licenced their catalog to Rhino who passed on the rights outside of the USA and Canada to EMI, and Cloud Nine had a rolling release agreement with EMI at that time.
As a long-time consultant to EMI I was engaged by them to see what could be done with the acquired Turner catalogue. It seems EMI had gained the Turner catalogue without realising what it actually comprised. I was given a "list" of all the titles EMI thought they could release music tracks from - and this list was in two volumes totally nearly two feet in height! A lot of titles!
But, of course, this listing was merely of every MGM and RKO movie ever produced. I think EMI thought that music was available from all these titles. Needless to say that few scores remained in existance from this mass of films. However I was aware of most of the score still extant in the Turner vaults and I was able to draw up a short-list for EMI of a hundred or so commercially viable titles - and also suggested compendiums.
These suggested titles included musicals never before released commercially, many rare Kaper and Rozsa scores etc, plus compenduiums of Rozsa, Previn, Kaper etc.
In the event EMI released just one of the titles I recommended, and couldn't be bothered to go to the Turner vaults to unearth any new material. They did release a number of titles in Britain already researched and mastered by Rhino, but cut down the two CD set of Ben-Hur to just one disc (I had the unenviable task of compiling and mastering a 75 minute version!).
Needless to say that EMI were not interested in doing a Roy Webb compilation!
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Roy Webb scored the rather little known triller Experiment Perilous (starring Hedy Lamarr, George Brent and Paul Lukas, directed by Jacques Tourneur), it has a very strong score that stays with you long after the film. I always wished that this music would be completely rerecorded some day.
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They did release a number of titles in Britain already researched and mastered by Rhino, but cut down the two CD set of Ben-Hur to just one disc (I had the unenviable task of compiling and mastering a 75 minute version!).
My impression of the single-CD BEN-HUR was that EMI and/or Rhino did not permit you to shorten or edit within any individual track (e.g. the very long Burning Desert sequence) or to cross-fade tracks the way the composer had intended (e.g. "Star of Bethlehem" into "Adoration of the Magi"; "Prelude" into "Marcia Romana"). Without such editing, you had an impossible task.
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Like this album very much. Webb continues to be much underrated.
Personal favorite score is I REMEMBER MAMA, with its lovely main theme.
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I only wish Cloud Nine had "film-lifted" the main title from MURDER, MY SWEET. It's arch-type film noir scoring and essential Webb.
I, too, have always loved the SINBAD music, and it's on my John and Bill wish-list... (It would make a great companion to Skinner's ARABIAN NIGHTS and Salter's THE PRINCE WHO WAS A THIEF.)
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Posted: |
Dec 22, 2005 - 8:42 PM
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By: |
manderley
(Member)
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.....I, too, have always loved the SINBAD music, and it's on my John and Bill wish-list... (It would make a great companion to Skinner's ARABIAN NIGHTS and Salter's THE PRINCE WHO WAS A THIEF.).....
I always wondered if I was alone. Thanks, Preston!
So, how about a Stromberg-Morgan cd, MUSIC FOR AN ARABIAN NIGHT.
.....and a Stromberg-Morgan cd, A NIGHT IN THE TROPICS.....
(which might include THE HURRICANE, MR. ROBINSON CRUSOE, TRADE WINDS, MISS SADIE THOMPSON, BIRD OF PARADISE 1 & 2, LYDIA BAILEY, GREEN HELL, WHITE SAVAGE, THE TUTTLES OF TAHITI, etc.)
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Hmmmm....I've always confused Roy Webb and Roy Budd (who also has a thread right beneath this one!). Yeah, I know they had different sounds and that Webb was much older than Budd, but still. And both scored SINBAD movies(?). Anyone else have the same problem?
I've got a good friend who confuses these two composers so consistently that whenever I'm talking about Webb and he says he doesn't care for his work, I now automatically remind him that he's thinking of Budd. It's a bit irritating, so I guess you could call us Peevish and Buddhead.
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I'm halfway through A WOMAN REBELS and am liking Roy Webb's music.
I think I've never found his music notable until recently because I've mainly seen the less-jolly films he's scored.
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So glad you're discovering this great composer! Now get thee to Sinbad the Sailor. Best Webb score, best Sinbad score, and best Sinbad film! In my humble opinion of course...
Yavar
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