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So many fantastic scores from the seventies will finally see the light of day...great...
among those definitely CHARLEY VARRICK !!! Being one of Universals successful movies from that era.
I've heard a RUMOR, UNCOFIRMED that the masters for this score are incomplete and are missing the score for the final 2 reels of tilm which is why it hasn't appeared as of this date.
Ford A. Thaxton
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Can't speak for 100 Rifles yet, but since Rio Conchos is the Kritzerland master I can say YES, one of the most major improvements that any score has ever received. Like as major of an improvement as the Kritzerland David & Bathsheba was over the Intrada...or the Varese/LLL The Egyptian were over the FSM. I think in all three cases better sources were found/salvaged than were possible at the time of the earlier releases.
Yavar
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Much mention has been made of TV scores, and John Willams scores, and John Willams TV scores. Amidst this plethora, I may have missed it, but I don't think anyone's yet mentioned my own personal holy grail in that department: The ALCOA PREMIERE scores which first introduced me to and made me fall in love the wonderful gifts of Johnny Williams.
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Posted: |
Aug 15, 2018 - 7:07 AM
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By: |
grabaham
(Member)
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New member, and of course as new members often do, starting with a controversial opinion: I'd really like to see Universal get to a remix and remaster of Jesus Christ Superstar's film soundtrack as part of this collection, the sooner the better, since the 50th anniversary is fast approaching.
I don't think any post-analogue release has gotten this quite right. For those who lack context, the soundtrack, at least in CD or digital formats (the jury is out as to whether or not the vinyl or cassette releases sound different; the former was purportedly sourced directly from the film reels, and this choice's effect on the sound is currently undetermined), flat-out sucks in terms of sound quality. Peruse the reviews at Amazon, and you'll see statements from consumers like the following: "The reason I rated this CD so low is that the audio quality is so poor. It really does sound awful. I heard some reviewers claim that it sounds like they are singing down a barrell (sic) and I can say they are not wrong." Another critic opines: "This is the poorest recording of this production I have ever heard. I can't believe I spent this much money on it. I would have been musically better off ordering the DVD instead of the MP3. The sound quality is horrible. It sounds muffled and tinny, like it was recorded in a box. It's pretty bad when the sound quality of the original vinyl, scratches and all is preferable to the sound of a digital recording."
Taking in the recording itself, there are unnecessary gaps between tracks (particularly noticeable in the dramatic transitions between "What's The Buzz" and "Strange Thing, Mystifying," and the "Trial" and "Superstar"), and at times alternate takes on specific moments ("Not one - not one of you!" at the end of "Strange Thing, Mystifying" comes to mind) are used which some deem weaker than the final product. Aside from these alternate aesthetic choices (stuff like this, of course, crops up fairly frequently on movie musical soundtracks from the era), even the more charitable fans of the film have said the film album sounds like it was recorded with tin cans and some twine. The mix is wildly inconsistent, and audio issues often result in the music overpowering the vocals.
(Compounding the issue is that subsequent releases of the film on DVD and Blu-Ray have sound troubles of their own, oddly enough the opposite problem to that of the soundtrack; those paying close attention, while noting that the film sounds much clearer than its soundtrack album, will also spot that the vocals are cranked much higher in the mix compared to the orchestra.)
I'm admittedly no connoisseur of the Golden or even Silver Age, and my interest in film scores is limited at best, but I would like to see this one done proper justice.
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