I need to hear more Tiomkin, but I love his High and the Mighty music. And Uncharted 3 sounds cool - I need to listen to Firefly so I know what Edmondson sounds like. I usually enjoy that type of VG music. Way to go, MV!
My goodness, it is really good to see that this score is getting the La La treatment, not to mention the fact we are getting this and FOTRE in the same month.
I can remember very clearly how King of Kings was the only Samuel Bronston epic to have its complete score on CD. Now we have almost all the Bronston epics on CD in complete form. If we can get expanded versions of Circus World and John Paul Jones (expanded or re-recorded for both), we'll have all the Bronston epics in complete form.
Now we have almost all the Bronston epics on CD in complete form. If we can get expanded versions of Circus World and John Paul Jones (expanded or re-recorded for both), we'll have all the Bronston epics in complete form.
Minus the epic short VALLEY OF THE FALLEN...which is a stain on his filmography.
Very interesting music, very subdued title sequence, powerful Overture, the Russian feel of Tiomkin works within the international feel of the film and the Countess's part of course, a real blend of quasi-Victorian stuff like the ball waltzes, and the the mock-Chinese violent stuff for the Boxers etc..
Just a pity it wasn't a better film, but it had its moments, like the one where the LLL production people walk out into a square of yelling fans demanding their CDs and David Niven says, 'Don't show fear ... just walk slowly', and then Charlton Heston says, 'It's because it's limited edition' and ....
All this Tiomkin talk has me looking at doing a Tiomkin order with SAE. FOTRE is part of the order, which other disc...High Noon, The Champion, D.O.A., Cyrano, etc only room for 1 additional disc in the order with Fall. I hate tight budgets. I already have Tadlow's Guns of Navaroone and all of FSM's Tiomkin releases as well as The Alamo.
..... If we can get expanded versions of Circus World and John Paul Jones (expanded or re-recorded for both), we'll have all the Bronston epics in complete form.....
......Except for THE ADVENTURES OF MARTIN EDEN, CITY WITHOUT MEN, and JACK LONDON---from 1942-1943, of course!
.....and has anyone ever seen SAVAGE PAMPAS (1966), THE MYSTERIOUS HOUSE OF DR. COPPELIUS (1966), BRIGHAM (1977), or FORT SAGANNE (1984), on which Bronston was an uncredited producer?
I'd also like to have a complete/expanded CD version for FORT SAGANNE, whose music is by Philippe Sarde. What there is on the existent CD is beautiful.
I'd like to ask a question. Which score was written first- "Peking" or "Fall" and which film was released first. I seem to remember seeing "Fall" before "Peking" . Does anyone know? Thanks!
Wow! Great news. I had thought 55 Days At Peking was going to be a straight reissue of the Columbia LP. So where has this extra material come from? It's always been assumed that none of the original tracks for the Bronston films (recorded in London?) had survived.
I'd like to ask a question. Which score was written first- "Peking" or "Fall" and which film was released first. I seem to remember seeing "Fall" before "Peking" . Does anyone know? Thanks!
Peking was released summer of '63, Fall spring of '64. I'll leave it to the scholars to figure out which was written first.
.....Wow! Great news. I had thought 55 Days At Peking was going to be a straight reissue of the Columbia LP. So where has this extra material come from? It's always been assumed that none of the original tracks for the Bronston films (recorded in London?) had survived.....
Though the original music masters on fullcoat magnetic 35mm film HAD been destroyed or trashed years ago, I heard through the filmmusic grapevine that a dub-off stereo tape copy of everything had been sent to Columbia Records to make up the original soundtrack album in the early 60s. Apparently, after making up their album, they vaulted everything and it's been sitting there for nearly 50 years, unsearched for. Hopefully, we'll have the complete and correct story iterated in the liner notes for this release.
After this discovery, there will probably be searches made in this and other record company vaults for other tape masters which might have been deposited in the same way at the time of the makeup of the original albums, but I doubt if this kind of thing will happen very often where the entire mass of material still exists.
Still, with the opening up of Sony/Columbia/BMG, you never know what unexpected treasures might be found.
.....Wow! Great news. I had thought 55 Days At Peking was going to be a straight reissue of the Columbia LP. So where has this extra material come from? It's always been assumed that none of the original tracks for the Bronston films (recorded in London?) had survived.....
Though the original music masters on fullcoat magnetic 35mm film HAD been destroyed or trashed years ago, I heard through the filmmusic grapevine that a dub-off stereo tape copy of everything had been sent to Columbia Records to make up the original soundtrack album in the early 60s. Apparently, after making up their album, they vaulted everything and it's been sitting there for nearly 50 years, unsearched for. Hopefully, we'll have the complete and correct story iterated in the liner notes for this release.
After this discovery, there will probably be searches made in this and other record company vaults for other tape masters which might have been deposited in the same way at the time of the makeup of the original albums, but I doubt if this kind of thing will happen very often where the entire mass of material still exists.
Still, with the opening up of Sony/Columbia/BMG, you never know what unexpected treasures might be found.
You are correct, sir. Unlike FALL, the entire score was over in the Sony vaults just waiting to be rediscovered. We were very fortunate to find this. If I recall, Lukas was looking into this some time ago, but for some reason it never happened.
With the FALL elements, all they had was the original master Tiomkin and Co. did way back in the day. It sounds incredible and only makes me wish they had the entire thing like they did for Peking. As stated previously, we did add some extra Bonus material that was found on the Cloud 9 release, but it doesn't amount to much.
However, we have that awesome new re-recording so no need for tears.
.....Wow! Great news. I had thought 55 Days At Peking was going to be a straight reissue of the Columbia LP. So where has this extra material come from? It's always been assumed that none of the original tracks for the Bronston films (recorded in London?) had survived.....
Though the original music masters on fullcoat magnetic 35mm film HAD been destroyed or trashed years ago, I heard through the filmmusic grapevine that a dub-off stereo tape copy of everything had been sent to Columbia Records to make up the original soundtrack album in the early 60s. Apparently, after making up their album, they vaulted everything and it's been sitting there for nearly 50 years, unsearched for. Hopefully, we'll have the complete and correct story iterated in the liner notes for this release.
After this discovery, there will probably be searches made in this and other record company vaults for other tape masters which might have been deposited in the same way at the time of the makeup of the original albums, but I doubt if this kind of thing will happen very often where the entire mass of material still exists.
Still, with the opening up of Sony/Columbia/BMG, you never know what unexpected treasures might be found.
And, of course, this was exactly how Summer and Smoke's three-track masters were found, the difference being that Sony/BMG no longer had the rights and so we didn't have to make the deal with them.
I already have Tadlow's Guns of Navaroone and all of FSM's Tiomkin releases as well as The Alamo. 
