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Here it is! My report on the Prague sessions of November!
" I started a Bucket List.
At the very top: I want to learn how to fly.
Next, I want to hug a mountain gorilla.
Also, I’d love to hand him a Rubix Cube and see how fast he can solve it.
I never could myself, solve it.
And then, there’s attending the recording sessions of a favorite movie score. Thanks to James Fitzpatrick of Tadlow records, this has just been ticked off the list. ..."
Keep on reading on
https://chroniquestresbanales.blogspot.com/
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WOO-HOOOO!
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Thanks for the nice write-up and photos!
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I have warm memories of my time with the Tadlow team back in 2007 when The Private Life of Sherlock Holmes was recorded. These are special experiences to behold and I hope everyone who attended comes away with memories that will last a lifetime.
Chris
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You're both (and all) welcome.
I can't wait for the next kickstater campaign.
Some Herrmann, Korngold, more Rozsa or... an obscure Goldsmith?
This reminds, James F. mentioned in passing in Prague that he didn't enjoy recording "The Salamander" which is one my favorite Goldsmith.
He thought it was quite mediocre.
Strange, no?
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Thank goodness Luc footed the bill on The Salamander -- I'm with you...I consider it a (minor) masterpiece. Superb album; extremely enjoyable listen. The only track I'm tempted to edit out is the more SFX-y synths sounding one.
The action motif and action music in general are unsurprisingly thrilling, and I just adore that love theme in every appearance.
Yavar
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This is my second favorite Rozsa score after Ben Hur (the latter being my favorite film score, period). I have gotten a huge amount of inspiration from it, and of course I'll buy ANYTHING with the words Rozsa and Tadlow attached to it.
In fact my Rozsa looks like this:
1) Ben Hur
2) King of Kings
3) Sodom and Gomorrah
4) Knights of the Round Table
5) Red House
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You're both (and all) welcome.
I can't wait for the next kickstater campaign.
Some Herrmann, Korngold, more Rozsa or... an obscure Goldsmith?
This reminds, James F. mentioned in passing in Prague that he didn't enjoy recording "The Salamander" which is one my favorite Goldsmith.
He thought it was quite mediocre.
Strange, no?
I think this was more in reference to the movie (which we all thought was absolutely awful), rather than the score (which is the polar opposite!).
“The Salamander” sessions were very exciting, and a lot of fun; especially when we got to recording the suites from “Cassandra Crossing” and “Ransom”!
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Those suites are quite good (though I kinda wished some of the unreleased music from Ransom could've been included, of course) but while I like both Ransom and The Cassandra Crossing, I don't think either of them is actually as powerful music as The Salamander is. Even if both of them got perfect new complete recordings (and Ransom really does need it in particular, having probably the worst and most incompetently produced Goldsmith OST of all time) I am fairly certain I wouldn't play them as often as I play The Salamander, which is just a shockingly good listen.
Yavar
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Those suites are quite good (though I kinda wished some of the unreleased music from Ransom could've been included, of course)
Yavar
Sometimes, there’s simply no time. “Salamander” (as you know) was transcribed direct from the DVD; I think my sanity would have been at risk had I had to do the same thing in order to get unrealeased stuff into the suites from CC and Ransom (plus there was only a 7-day turnaround on these two pieces, as they were a very late addition to the programme).
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This is my second favorite Rozsa score after Ben Hur (the latter being my favorite film score, period). I have gotten a huge amount of inspiration from it, and of course I'll buy ANYTHING with the words Rozsa and Tadlow attached to it.
In fact my Rozsa looks like this:
1) Ben Hur
2) King of Kings
3) Sodom and Gomorrah
4) Knights of the Round Table
5) Red House
Don't you have El CID? A great score....
I quite agree. I personally place El Cid right up there with Ben Hur.
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Sometimes, there’s simply no time. “Salamander” (as you know) was transcribed direct from the DVD; I think my sanity would have been at risk had I had to do the same thing in order to get unrealeased stuff into the suites from CC and Ransom (plus there was only a 7-day turnaround on these two pieces, as they were a very late addition to the programme).
Oh, that makes perfect sense Leigh. And those suites were certainly a nice bonus still!
I'm pretty sure CC was released complete by Prometheus (albeit in mono)...it's only Ransom that would really benefit from unreleased cues being sought out, I think. So frustrating that the original album repeated three cues rather than include some other music that's in the film!
Yavar
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You're both (and all) welcome.
I can't wait for the next kickstater campaign.
Some Herrmann, Korngold, more Rozsa or... an obscure Goldsmith?
This reminds, James F. mentioned in passing in Prague that he didn't enjoy recording "The Salamander" which is one my favorite Goldsmith.
He thought it was quite mediocre.
Strange, no?
I think this was more in reference to the movie (which we all thought was absolutely awful), rather than the score (which is the polar opposite!).
“The Salamander” sessions were very exciting, and a lot of fun; especially when we got to recording the suites from “Cassandra Crossing” and “Ransom”!
Good to read that.
To me, there is nothing inferior in the music of Salamander. The end credits is positively stunning.
The uites were a very welcome bonus.
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