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I gather it's not really considered a certainty that Kraushaar fronted a score by Glickman for this film? I'll have to read those four threads Howard just supplied above. Only yesterday, on another thread (about scores worth re-recording for CD release), I posted what I've long thought was an established fact to that effect, but if I need to be corrected, so be it. I was basing my statement on my memories of a major historical retrospective on INVADERS FROM MARS which ran first in one magazine and then, years later, in revised form in a different periodical. The author interviewed Kraushaar for the first version, but then was very decisive in his retraction of it in the second version, claiming Kraushaar had been taking credit for the work of the other composer whom he'd never mentioned.
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I gather it's not really considered a certainty that Kraushaar fronted a score by Glickman for this film? I'll have to read those four threads Howard just supplied above. Only yesterday, on another thread (about scores worth re-recording for CD release), I posted what I've long thought was an established fact to that effect, but if I need to be corrected, so be it. I was basing my statement on my memories of a major historical retrospective on INVADERS FROM MARS which ran first in one magazine and then, years later, in revised form in a different periodical. The author interviewed Kraushaar for the first version, but then was very decisive in his retraction of it in the second version, claiming Kraushaar had been taking credit for the work of the other composer whom he'd never mentioned.
I certainly have no inside information - the son of Glickman says his dad ghosted the score. Who knows what's true or not true - the only way to know is if there are cue sheets that tell the story but no one has offered up a shred of real proof. But that wasn't my point. My point was that if Mr. K hired Mr. G to ghost the score, then Mr. G went into it knowing that Mr. K would get the credit.
It isn't the first time a score would have been ghosted or partially ghosted. I think everyone here is smart enough to know that without any of us having to name names, but some very big composers have had ghostwritten cues in films, and I'm NOT talking about another arranger coming in and using the original composer's themes, I'm talking about a ghost writer writing his OWN original themes while the credited composer takes the credit.
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You have done a most excellent job, Charles. Very enjoyable.
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This is both a film and a score , if you saw it as a child of 7 or 8 as I did in a rerelease back in '55, that forever haunted your memories thereafter. Whoever wrote it, A few less elegant moments aside, maximum points are awarded for that use of the atonal chorus and organ.
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God, I love that sound of that unearthly chorus! I thank you for this and the damn stuff still gives me chills!
This is a gift to be sure, but I can't help it- I'm still wishing for a reconstruction and re-record...
But man, I love what you did here!!! 
And yet you were just told here that it would never work to the fans' satisfaction. They'd rather have the truly awful quality M&E track than a new recording. Too bad - I was seriously considering it. I have the suspicion that it would sell about as well as Invasion of the Body Snatchers - THAT one was everyone's holiest grail - but from what I'm told, that holiest of grails did not do that well. Funny how that works, ain't it.?
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Rest assured, Bruce, I got your main point about ghosting, and as usual, your point was right on point. It was the one word, "IF," instead of "WHEN," in your concluding sentence that led me to think there must be doubts out there about Glickman's writing this particular score.
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Really? INVASION OF THE BODY SNATCHERS was everybody's holiest grail? I'm glad to have my new CD of it, but for me personally it was never even a grail, let alone a holy one, and FWIW (which maybe isn't much), I don't recall ever seeing it discussed much if at all on this Board.
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Really? INVASION OF THE BODY SNATCHERS was everybody's holiest grail? I'm glad to have my new CD of it, but for me personally it was never even a grail, let alone a holy one, and FWIW (which maybe isn't much), I don't recall ever seeing it discussed much if at all on this Board.
There are at least eight threads about it. Certainly it was never MY holy grail but it was much desired - until it actually was released. Funny how that works.
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I told you guys my memory wasn't necessarily worth much. That'll go to show how not particularly desired by me this score was -- eight threads, and I hardly noticed any of them. And yes, Bruce, funny how that goes, not every single time, but often. Still, I'd like to think that all the folks posting in a nearby thread who say they'd love to have a CD of THE NIGHT OF THE HUNTER would pony up and buy a copy if such a miracle could ever occur.
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Howard L: I'm not related to Big Daddy Lipscomb, but I'm known as Little Daddy Lipscomb.
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For a lark, I just went quickly through all the threads about the 1956 Invasion of the Body Snatchers. Bruce is right, there are quite a few - some mostly on the film, others about the music, and of course some going back and forth. Most of them had fewer than 20 posts, some of them fewer than 10, and I saw a lot of the same people posting (but also different folks as well).
Not really arguing anything, but I do think sometimes interest is magnified through persistence more than widespread consensus on a forum like this.
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