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No, there's no mention of the source. But I don't think it's the original master tapes, since the music is in mono. I'm sure it will be discussed on a Odyssey Soundtrack Spotlight podcast.
I doubt it. When we did one on Face of a Fugitive, Clark pointedly asked about it and Doug and Roger both were very cagey. Magicians don't reveal their tricks, that sort of thing...clearly they wanted to keep their source a secret so that they can continue to mine it for Intrada.
https://goldsmithodyssey.buzzsprout.com/159614/8192306-odyssey-soundtrack-spotlight-face-of-a-fugitive-1959
On Face of a Fugitive, which was from the Columbia studio same as Shamus, we do know that they used "print takes" (i.e. the final takes used for the film is all that survived; they didn't have recording sessions or anything). I'm guessing it's a similar situation on Shamus, and if that film was originally released in mono that would explain it. I could ask for clarification on that when we record the Spotlight, but I don't think Roger or Doug will offer any further details on how this previously-thought-lost score showed up.
Yavar
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On Face of a Fugitive, which was from the Columbia studio same as Shamus, we do know that they used "print takes" (i.e. the final takes used for the film is all that survived; they didn't have recording sessions or anything). I'm guessing it's a similar situation on Shamus, and if that film was originally released in mono that would explain it.
Neither FACE OF A FUGITIVE nor SHAMUS would have had stereo release in theatres.
It might cut down on a lot of redundant questions to remind people that except for Cinerama, 70mm, or roadshow presentations, films were essentially in mono from before 1953 until after 1961 (when 20th-Fox stopped insisting that all CinemaScope releases be in stereo), until Dolby Stereo emerged in 1976. (Rare exceptions within that interim were titles issued in 35mm with magnetic soundtracks, such as WOODSTOCK.)
As for FUGITIVE and SHAMUS, remember that both are Columbia films; and for quite a few years we were told repeatedly by the specialty labels that Columbia was a studio much less likely to have kept track of their complete scores. Nobody should complain about these two CDs being mono because we should be happy that either survived at all, clean and without sound effects.
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Do you somehow have an idea what Intrada's expenses were, on this, and know for a fact that they set out to rip people off? ... If you bother to think about it, it's amazing that the standard specialty label CD price hasn't changed from $20 much in the past quarter century!...
Just because an album is 26 minutes instead of 46 minutes doesn't mean that Intrada's costs were significantly less. Good grief. For all we know Intrada had to pay a lot of money to dig these tapes up, wherever they were.
Yavar
I concur with the facts (and the emotion) of Yavar's response here. It would be great if money were no option, but reality dictates differently. Without the herculean efforts of Intrada, Varese, FSM, LaLaLand, etc., a vast swath of the greatest music of the twentieth century would be lost. LOST, Period. What we pay on our end as consumers is a small price to pay for such impressive and necessary preservation.
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I haven't heard so much triangle since the last time I watched THE BIONIC WOMAN. Awesome!
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I haven't heard so much triangle since the last time I watched THE BIONIC WOMAN. Awesome!
You may not believe this, but there's even more triangle to come if you have THE PUBLIC EYE on order! A cool link two decades apart between these two Goldsmith premieres Intrada put out back to back...
Yavar
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I seriously can’t stop listening to this one. I had no idea what to expect but it’s becoming one of my favorite 70s Goldsmith “funky” scores. I listen to that main title every morning on my walks now.
Shamus! Complete!
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I seriously can’t stop listening to this one. I had no idea what to expect but it’s becoming one of my favorite 70s Goldsmith “funky” scores. I listen to that main title every morning on my walks now.
Yeah the whole 26 minutes is just so damn addictive. You want to hit repeat just as soon as you get to the end...
Yavar
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I seriously can’t stop listening to this one. I had no idea what to expect but it’s becoming one of my favorite 70s Goldsmith “funky” scores. I listen to that main title every morning on my walks now.
Yeah the whole 26 minutes is just so damn addictive. You want to hit repeat just as soon as you get to the end...
Yavar
Great film score by JG and one of his best and I agree re: hit repeat.
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Finally got around to spinning this. I love the 25-minute length! Takes me back to the Project 3 days with POA and Bandolero.
Never saw the movie, so I had no knowledge of the score going in. Very nice album, sort of an offspring of the Flint scores and Warning Shot.
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I know I'm very much in the minority here, but I suffered a bit of an allergic reaction to this score upon playing it.
Despite what some may think around here, I am a huge Jerry Goldsmith fan and have been since the beginning of the 80's.
But I don't love everything by him and will never pretend to.
I find a lot of his post 90's stuff can be hit and miss and lacks the creativity and ingenuity of his earlier decades works and I have never taken to certain scores, like SPYS and THE LIST OF ADRIAN MESSENGER, to name but two.
I've never really cared for CHINATOWN either, despite its acclaim, although I can hear its quality and value to the film.
And some of my favourite scores by him are unloved by many others, from SEBASTIAN & THE BALLAD OF CABLE HOGUE & ACE ELI & RODGER OF THE SKIES to TWLIGHT'S LAST GLEAMING & HOOSIERS & THE LONELY GUY.
But THIS score!!!
Like THE DON IS DEAD, it was a 70's score that I didn't take to when I first recorded it off the telly in the 80's.
But when I bought THE DON IS DEAD CD (after some gentle nudging from Yavar) I found it to be a revelation, oozing that great 70's JG style and sound.
So I figured...maybe lightning could strike twice.
But things started off badly.
That incessant triangle, during the first 2 minutes or so, actually hurt my teeth!
Then I realised I really didn't like the Main Theme...AT ALL!
There were a few tracks that offered up some strange, low-key moody vibes and a bit of action, akin to his other similar styled 70's efforts, but nowhere near as good or as memorable as things like THE LAST RUN or ESCAPE FROM THE POTA.
There was nothing at all to hang my hat on to.
I figured maybe it was the mood I was in, so I left it for a day.
But I felt exactly the same way after play number 2.
Then, while I was wondering what to do with the CD, a day or two later, I gave it one last go on my CD Walkman, in total isloation...AND SWITCHED IT OFF BEFORE THE END!
Fortunately, I offered it up for a swap at the TP and managed to get a Phillipe Sarde Music Box Records Double Bill in exchange for it (which I absolutely love), so my story has a Happy Ending.
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I know I'm very much in the minority here…
…because it really is a nifty little score.
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"I don't love everything by him and will never pretend to"
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"I don't love everything by him and will never pretend to"
Nor should you be expected to. Goldsmith is great, not Holy.
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"I don't love everything by him and will never pretend to"
Now, now, don't get your knickers in a bunch over a little joke.
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