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Fantastic release.
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It's a wonderful recording, but the additional songs are a bit jarring and interrupt the flow of the score, especially the score as we have come to know it over the previous eighty years. It's not difficult to understand why they were cut before the film's release.
What seems to work best is to make a 2-CD-R copy of the score, re-ordered to place the cut songs as a supplement after the score-proper is concluded.
I'm afraid that I do find fault with the singer who does Abu's expanded I Want to Be a Sailor: he's much too facile, too polished, a fugitive from a Disney Broadway extravaganza. Sabu, on the original soundtrack, was simple, direct and blessedly free of affect, reflecting the sweet man-child who became a good friend of Rozsa's for that very reason (Rozsa recounts that friendship in his memoirs).
This seems to be a recurring problem with songs from re-recorded classic scores: the producer decides to put the score in what he/she feels is the piece's best possible light, thereby making more of it than the creators of the original soundtrack did, and taking it farther from the song's original intent. Another example is the treatment of Maria's Song from the Morgan/Stromberg re-recording of "The Sea Hawk." A young woman's simple, untrained lovelorn lament becomes what's practically an operatic aria (it doesn't help that the singer's Russian, with the accent to prove it, in addition to having a slight lisp. A lovely recording in every other way, but best to leave sleeping, or singing, dogs lie.
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Posted: |
Jan 12, 2020 - 2:33 AM
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By: |
Expat@22
(Member)
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It's a wonderful recording, but the additional songs are a bit jarring and interrupt the flow of the score, especially the score as we have come to know it over the previous eighty years. It's not difficult to understand why they were cut before the film's release.
What seems to work best is to make a 2-CD-R copy of the score, re-ordered to place the cut songs as a supplement after the score-proper is concluded.
I'm afraid that I do find fault with the singer who does Abu's expanded I Want to Be a Sailor: he's much too facile, too polished, a fugitive from a Disney Broadway extravaganza. Sabu, on the original soundtrack, was simple, direct and blessedly free of affect, reflecting the sweet man-child who became a good friend of Rozsa's for that very reason (Rozsa recounts that friendship in his memoirs).
This seems to be a recurring problem with songs from re-recorded classic scores: the producer decides to put the score in what he/she feels is the piece's best possible light, thereby making more of it than the creators of the original soundtrack did, and taking it farther from the song's original intent. Another example is the treatment of Maria's Song from the Morgan/Stromberg re-recording of "The Sea Hawk." A young woman's simple, untrained lovelorn lament becomes what's practically an operatic aria (it doesn't help that the singer's Russian, with the accent to prove it, in addition to having a slight lisp. A lovely recording in every other way, but best to leave sleeping, or singing, dogs lie.
A reasonable perspective that I can't disagree with. My taste is for any rendition of a score, and this release is no exception.
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Posted: |
Jan 12, 2020 - 3:04 AM
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By: |
chriscoyle
(Member)
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It's a wonderful recording, but the additional songs are a bit jarring and interrupt the flow of the score, especially the score as we have come to know it over the previous eighty years. It's not difficult to understand why they were cut before the film's release.
What seems to work best is to make a 2-CD-R copy of the score, re-ordered to place the cut songs as a supplement after the score-proper is concluded.
I'm afraid that I do find fault with the singer who does Abu's expanded I Want to Be a Sailor: he's much too facile, too polished, a fugitive from a Disney Broadway extravaganza. Sabu, on the original soundtrack, was simple, direct and blessedly free of affect, reflecting the sweet man-child who became a good friend of Rozsa's for that very reason (Rozsa recounts that friendship in his memoirs).
This seems to be a recurring problem with songs from re-recorded classic scores: the producer decides to put the score in what he/she feels is the piece's best possible light, thereby making more of it than the creators of the original soundtrack did, and taking it farther from the song's original intent. Another example is the treatment of Maria's Song from the Morgan/Stromberg re-recording of "The Sea Hawk." A young woman's simple, untrained lovelorn lament becomes what's practically an operatic aria (it doesn't help that the singer's Russian, with the accent to prove it, in addition to having a slight lisp. A lovely recording in every other way, but best to leave sleeping, or singing, dogs lie.
Could you please list the order of the tracks of the playlist you created?
Thanks
Chris
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It is, indeed, a gorgeous score and one of the finest fantasy films ever produced. Thank you, incidentally, for the reference to my work on Rozsa.
Steve
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Now we ( well me, I admit ) need rerecordings of:
THE JUNGLE BOOK
PRINCE VALIANT
THE CRIMSON PIRATE
THE LONG SHIPS
DSCHINGIS KAHN
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The last.a misprint ,of course!?
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