 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I recommend a new recording of THE CONQUEROR by Victor Young. The movie .... an unintentional mistake in casting John Wayne and the dialogue written for his part. The score by Victor Young,however is very good and worthy of a new recording by one of our specialty labels.
I will second that - good example of bad movie, great score.
Which is a shame - the score deserves a lot more recognition and is at least the equal of the other scores Victor Young did for John Wayne movies.
CC
|
|
|
|
|
|
|
|
|
|
I would love to have 'Blackbeard the Pirate'. The film is historical tripe but the score is brilliant.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I dream about new complete recording of SAMSON AND DELILAH...
|
|
|
|
|
|
Hello Again Folks
Yes I will also second the proposal for Samson and Delilah.
Might stop me pulling my hair out in frustration at the lack of original tapes.
CC
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Victor Young was great, and certainly prolific at Paramount. There’s much to like about Victor Young.
More generally, I think it’s reasonable to say that Golden Age scores are often a difficult proposition for our favourite record labels.
As much as we would like it to be otherwise, the audience is diminishing for these fine works through natural attrition, and because modern ears are used to modern scoring techniques (less violins!) with pristine stereo sound. Secondly, the effort required to secure necessary paperwork and licences, prepare and transfer elements, and restore these beautiful scores can be gargantuan.
From a business perspective, in balancing the books, those factors lead us down the path of low sales figures coupled with potentially high costs.
However, without question, the past needs to be saved from the future! We need to preserve our collective cultural legacy as much as possible.
If that process can somehow be done with the further support from collectors—for which the model for how this would work is the very question I suppose—then that’s even better.
Chris
|
|
|
|
|
|
|
A private source also has the actual tracks for the Uninvited and Love Letters.
That's fine,Joe Caps. I have heard this all before,but when will some label look into this and do something about it ?
A few years ago Joe Caps posted that the private source which has the actual tracks of THE UNINVITED and LOVE LETTERS is the Film Music Society - so they are quite obviously not at Paramount. But I suppose that the Society isn´t interested in any CD release of them. We know that they also have for example David Raksin´s SEPARATE TABLES and also nothing has happened with that score during the last years and will probably also not happen during the next ones.
I also wonder if tapes of those often mentioned Decca EPs of THE CONQUEROR and Vol. 2 of SAMSON AND DELILAH still exist at all or if they have been destroyed in the Universal fire in 2007?
Joe Caps wrote that he had seen them at MCA at the end of the 90s, but that is such a long time ago and many things could have happened since then:
"How about a complete Uninvited and Love Letters - the complete original tracks are in the hands of the film society.
Yoiung also recorded for Decca a Sam son and Delilah Volume 2 and eight selections from the Conqueror. Samson 2 was never released but the tapes for both scores were still vaulted at mce as late as the late nineties."
https://www.filmscoremonthly.com/board/posts.cfm?threadID=114198&forumID=1&archive=0
|
|
|
|
|
|
|
If that process can somehow be done with the further support from collectors—for which the model for how this would work is the very question I suppose—then that’s even better.
Th only viable way for those unreleased US Golden Age scores at the moment seems to be a box set in the vein of the one with NEVADA SMITH and EL DORADO that LLL did almost two years ago. But for such a set you need at least one or two really popular titles as a good selling point - otherwise it probably won´t work. And it certainly takes a lot of time and gets very expensive to produce such a set.
|
|
|
|
|
|
|
|
|
|
|
