If I loved the Quartet Ghost Story release, would I benefit from a blind buy on either of these titles? Even if they have no similarities to Ghost Story?
If I loved the Quartet Ghost Story release, would I benefit from a blind buy on either of these titles? Even if they have no similarities to Ghost Story?
You be the judge; but Ghost Story it is not. Le Train:
The track Grande surface from Le Chat is not Tijuana haute from La Valise. It is similar but it is a different version of Samba multicolore from L’Ami de Vincent.
The track Grande surface from Le Chat is not Tijuana haute from La Valise. It is similar but it is a different version of Samba multicolore from L’Ami de Vincent.
You're absolutely right Emmanuelcap, I mistook both tunes because of the very similar opening notes and rhythm. It therefore means there's hardly anything new in L'AMI DE VINCENT (I've seen the movie last year).
Regarding the CAM / Sugar matter, sorry for mentioning it here since there's no dedicated topic to this new CD: I purchased Bacalov's LA STREGA IN AMORE and like it very much, not only the appealing main theme featuring Nora Orlandi's solo voice but also the fugue-like style of Due donne un enigma (enhancing a superb piano sound) or the touch of eoxticism present in several cues like Aura but it's a pity that they Decca didn't seize this opportunity to add another Bacalov score to it since LA STREGA has a very short duration (27'26 only). They otherwise came up with a nice digipack presentation.
If I loved the Quartet Ghost Story release, would I benefit from a blind buy on either of these titles? Even if they have no similarities to Ghost Story?
You can listen to the samples and maybe get a better idea.
LIZA has therefore probably to be coupled with LA DERNIÈRE FEMME - and this could indeed be a CD which may be released in that way in the future either by Quartet or by Music Box as both scores are also owned by Sugar.
How about Saimel Records? They had great CAM selections in the past (Savina, Rustichelli, Lavagnino, etc).
Unfortunately, no licensing from Sugar is possible anymore for Saimel. So don´t expect any older CAM scores from Saimel in the near future.
I don´t know for sure how Quartet still does it, but it could be that they can still release all those titles which have long been reserved there. This could be the reason why we suddenly see so many Sarde scores on CD (almost all licensed from Sugar) during the last weeks and months
I always like a bit of Sarde and enjoy very much the CD's of his scores that I own. Ever since I saw (and heard) that 1981 double whammy (GHOST STORY & QUEST FOR FIRE) I knew he would be a composer I would follow and admire. Absolute belters would follow, from catching up with TESS (1979) and Oh My!! FORT SAGANNE* to things like MANHATTAN PROJECT & MUSIC BOX & LORD OF THE FLIES. Thrilling stuff. So, I grabbed this little two-fer from Quartet last week for the price of a pint (in LONDON!!!). I'd forgotten that the main theme refrain was re-used by him for a theme in GHOST STORY. Only this earlier version is just on solo piano, sad and nostalgic like, while in GHOST STORY it's played much fuller and has an eerie, ghost voice added to it. It works beautifully both ways. And there's more to the score than that anyway. Then, after the disparate nature of LE CHAT comes the more tense, strident and urgent score to LE TRAIN. A nice contrast to what has come before it. They're both almost over before they've begun. No excess from this Sarde fella. Who needs 70 minutes when you can say it in 25. So, you just hit replay and go again. I'd need to check, but I reckon I've more than doubled my Philippe Sarde collection these past few years.
