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I think Will Penny (and no doubt some other scores in this set) falls under the decade or so (starting at some point in the 60s) where Paramount dumped their original scoring tapes. This is why Seconds had to be taken from music stems and Chinatown complete from Jerry's own private tape. If I had to guess, Will Penny might be from stems, which means that no music written/recorded for the film but not used in the finished film would be included.
John Takis might know more...
Yavar
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Further to John’s comments (hi John!), the “Electro-Vox sources” sometimes mentioned in relation to Paramount scores refers to Electro-Vox Recording Studios, a sound facility that Paramount utilised (near their lot) in the early 1990s to help protect Music Library assets.
Much of the “Electro-Vox” material ends up being transfers of music that was originally vaulted (almost exclusively) in mono to quarter inch analog tape and, sometimes, magnetic film. When working on these sorts of projects, we often refer to “Electro-Vox” internally just as shorthand for where a transfer originated when collating material.
In the case of Will Penny, a couple of cues were available this way—full and unedited—and we were able to incorporate them into the Westerns Set.
However, the lion’s share of Will Penny came from the up-and-down music track from the dialogue/music/effects (D/M/E) splits. Not only does this have volume changes baked in (that we can work to redress), it has all the edits and changes made to suit the film itself. Consequently, some cues do end early as they do when watching the film.
Chris
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Posted: |
Jan 30, 2020 - 11:37 PM
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By: |
Larry847
(Member)
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Further to John’s comments (hi John!), the “Electro-Vox sources” sometimes mentioned in relation to Paramount scores refers to Electro-Vox Recording Studios, a sound facility that Paramount utilised (near their lot) in the early 1990s to help protect Music Library assets.
Much of the “Electro-Vox” material ends up being transfers of music that was originally vaulted (almost exclusively) in mono to quarter inch analog tape and, sometimes, magnetic film. When working on these sorts of projects, we often refer to “Electro-Vox” internally just as shorthand for where a transfer originated when collating material.
In the case of Will Penny, a couple of cues were available this way—full and unedited—and we were able to incorporate them into the Westerns Set.
However, the lion’s share of Will Penny came from the up-and-down music track from the dialogue/music/effects (D/M/E) splits. Not only does this have volume changes baked in (that we can work to redress), it has all the edits and changes made to suit the film itself. Consequently, some cues do end early as they do when watching the film.
Chris
Thanks for the further clarification. That explains the extended main title cue.
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Posted: |
Jan 31, 2020 - 3:07 PM
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By: |
PFK
(Member)
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Further to John’s comments (hi John!), the “Electro-Vox sources” sometimes mentioned in relation to Paramount scores refers to Electro-Vox Recording Studios, a sound facility that Paramount utilised (near their lot) in the early 1990s to help protect Music Library assets.
Much of the “Electro-Vox” material ends up being transfers of music that was originally vaulted (almost exclusively) in mono to quarter inch analog tape and, sometimes, magnetic film. When working on these sorts of projects, we often refer to “Electro-Vox” internally just as shorthand for where a transfer originated when collating material.
In the case of Will Penny, a couple of cues were available this way—full and unedited—and we were able to incorporate them into the Westerns Set.
However, the lion’s share of Will Penny came from the up-and-down music track from the dialogue/music/effects (D/M/E) splits. Not only does this have volume changes baked in (that we can work to redress), it has all the edits and changes made to suit the film itself. Consequently, some cues do end early as they do when watching the film.
Chris
Wow! A lot of work went into this magnificent box set! Thanks! 
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So far, it seems, no FSMers offered any of their rankings on all of the 11 titles in this collection.
Starting with my own, here's hope others' lists will appear.
1. Victor Young's "Streets of Laredo" (my favorite, much to my surprise)
2. Amfitheatrof's "Copper Canyon". When the D.A. is on the speakers, Zardoz listens.
3. Nelson's "El Dorado" Riddle
4. Alfred "Nevada" ... or else Newman "Smith"
5. Waxman's "Furies" (what did Fritz Lang think of this, I wonder)
6. Harry "Hangman" Sukman
7. "3 Violent People" by Walter Scharf
8. "Will Penny" by Raksin (not Raskin)
9. Johnny D.'s "Kid Rodelo"
10. "Walk Like a Dunlap" by Carmen Dragon ... Err, wrong La-La Land ... uh, Pete's Dragon? ... nah ... It's Paul' s (& Mel's) "Dragon".
11. "Branded" by some guy named Webb (Benny Herrmann said so)
Produce your wanted posters by sundown ... or get outta town.
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3. Nelson's "El Dorado" Riddle
There is a LOT of "Batman" in this score. The were composed at around the same period, but it's really kinda distracting. I mean, I love it, but it's so tied to that series, it pulls me out. Pretty much like his Man from Uncle score. Strangely, his "Escape from Venice" music from Voyage to the Bottom of the Sea doesn't adhere as closely, probably because it was written before he took on the Caped Crusader.
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3. Nelson's "El Dorado" Riddle
There is a LOT of "Batman" in this score.
True, there is some "TV music" crossover into a few of these mid-'60s Westerns.
A cue or two from Kid Rodelo remind me of Edwin Astley's brass band 'fistfight' or 'danger' music from his ITV series work for
"The Saint", "Danger Man", etc.
Overall, though, I love the 1950 scores on Disc 4 the most out of this set.
Disc 1 is 2nd place with me, with the middle two CDs being weaker by containing moderately good or mediocre material.
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I trust that listening to The Furies whilst driving doesn't induce road rage in joan hue!
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