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I'm thinking about getting this, but the audio samples seem pretty dang vintage (it may be because I haven't listened to older scores in a while, but I was a little taken aback).
For anyone who can answer: How does this release compare sonically to others of the same vintage?
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Fair point LC. So let's try this - how does it compare to Intrada's 20,000 Leagues Under the Sea? I've just been listening to the samples for each, and Johnny T has a much boxier sound than 20k Leagues - though it doesn't take too long to get used to it.
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The featureless and lengthy stretches of bland drumming spoils much of the music for me.
Wait, we're not talking about a Hans Zimmer score here! Or are we?!
(I really am kidding, I quite enjoy Zimmer.)
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Fair point LC. So let's try this - how does it compare to Intrada's 20,000 Leagues Under the Sea? I've just been listening to the samples for each, and Johnny T has a much boxier sound than 20k Leagues - though it doesn't take too long to get used to it.
Obviously, the biggest difference in quality between these two releases is their channel format; 1954's 20,000 Leagues was recorded with two mics on either side of the orchestra, allowing for a richer stereo presentation. Tremain, on the other hand, was a strictly mono deal. Given the fact that the picture was originally intended as a television production, it's also possible that the lower budget may have contributed to the somewhat lackluster recording quality and setup -- that, or the session elements are just in bad shape compared to the stereo Smith score.
Either way, compared to 20,000 Leagues, you're getting a lower quality presentation of music from a less exciting film written by a less capable composer. If you don't like either of those last two things, you probably won't care for this release.
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I’m guessing it’s because the film was originally planned for TV. Do the re-recorded album cues sound any better?
Yavar
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I’m guessing it’s because the film was originally planned for TV. Do the re-recorded album cues sound any better?
Yavar
Yes.
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Thanks for the replies all around, very helpful. I'm still so nostalgic for the 50's sound and the Disney feel that I'm torn, though I fear it just wouldn't get enough listens to justify purchasing.
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Let’s be honest...this is a score that would never get re-recorded. I’m glad Intrada felt like rescuing it from the vaults, personally (and the better sounding album recording). And hopefully next time it’ll be an originally-theatrical thing with much better sound like 20,000 Leagues had. I’m here for Clifton Parker’s Treasure Island and Robin Hood and those are even older scores. 
Yavar
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I’m here for Clifton Parker’s Treasure Island and Robin Hood and those are even older scores.
Yavar
Yeah, me too - I listen to the Chandos Treasure Island suite semi-regularly, and really enjoy Robin Hood in the film itself.
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A man after my own heart! That live action Disney Robin Hood is actually my favorite film adaptation of the legend. I like how Robin is portrayed it in, with his father at the beginning of the film. The chemistry with a feisty Maid Marian is also great, and all of the supporting characters are memorably portrayed. Peter Finch took a me little getting used to as the sheriff (certainly better than the bumbling sheriff in the classic Flynn version), but I'm a big fan of the actor and I came around (it's just hard to compete with Wrathbone's Guy of Gisbourne as a villain I think).
Of course I don't rate Clifton Parker on the level of Erich Wolfgang Korngold, but his contribution was still very fine and memorable and I would love to add it to my Robin Hood score collection, from Korngold to Kamen...
Yavar
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