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No, it doesn’t
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Is that the Patton/Tora Tora disc with the low volume problem? I simply cannot hear the music on Patton it's so muddled. I assume the 2-CD Intrada doesn't have that problem?
You must be referring to Varese's re-recording which Goldsmith conducted in Glasgow. The original film recording which Intrada greatly remastered is absolutely worth getting and those are the original session tapes from 1970, not 1997 when Goldsmith re-recorded it.
Get the Intrada set!
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Posted: |
May 23, 2020 - 2:45 AM
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By: |
Grecchus
(Member)
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Of all things, Jerry just loved tinny concert hall sound recordings. Dry mic'ing individual instruments allows segregation so that something can be turned up here or turned down there - all logical and sensible. IMO, the Capricorn One re-recording, conducted by Jerry himself, incorporated a bigger sound than the actual OST. This needed to be recorded in just the same way as the OST, but the washout 'hall' effect actually used was absolutely prevalent in that particular recording - totally insane. Now, I would have argued with him and argued with him over that one. I just can't understand why someone who invented the effing echoplex for fine control of individual sound could pin a major recording on a one-box-fits-all methodology to a major orchestra?
The Geffen Battlestar Galactica remains the worst offence against the orginal recording I've ever come across. The reverberations leave the entire score saturated with intermixed tinnyness to the point you can't hear bugger all. How that crime against Stu's great score was perpetrated I'll never know - it's just one massive sound distortion. In fact, when I first mentioned it years ago, I said it was as if a ghetto blaster set to maximum 'tin' was blaring out from inside a railway tunnel. The truth is that I went backwards and forwards about five times thinking that it was, then it wasn't, the actual original score because it sounded so alien. I had to listen very hard to determine it actually was the orginal score. I was familiar with it through the OST LP. I'm someone who can immediately 'latch' onto something due to familiarity, but the Geffen BG blew that concept out of the water. Enjoy!
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The Varèse Sarabande recording of PATTON sounds spectacular as far as I can tell, but possibly not everyone agrees and if you put the CD into your car audio or the like, yes, you won't hear anything at times.
Of PATTON, I've got the original soundtrack LP, the Intrada CD releases of the soundtrack re-recording as well as the film recording and the Varèse re-recording, and I enjoy them all (for various reasons), but as far as pure sound goes... the Varèse recording is spectacularly wide on the dynamic range, it sound HUGE, whereas the OST and the filmtracks don't sound nearly as grand, but have more punch and immediacy instead. So either one sounds great. Personally, I am very happy to own both. I just listened to the Varèse re-recording and I am so happy they did that... I even own the original PATTON LP, and in direct comparison, as good as that recording was, it just sounds &/%$§!
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In the same vein I never liked Goldsmith's reading of Alex North's Viva Zapata! recorded again in Glasgow. I personally thought it was dreadful.
I wouldn't call it dreadful. That honor goes to "Midway" IMHO. That to me is the worst of the Varese Classics Re-Recordings.
The Back to The Future suite from The Back to the Future Trilogy disc was a valiant attempt by the tempos were way off much like Superman The Movie, I've cut them some slack on that one because they had to restore it using the original scoring sheets which were mostly lost.
The best ones for me were "To Kill A Mockingbird", "Vertigo", "Sunset Boulevard", "The Last of the Mohicans", "Body Heat", "Marnie", The Trouble With Harry", "Somewhere In Time", "Rebecca", "Peyton Place" and "Psycho". The rest were pretty good for the most part with the exception of Midway.
I'll give the label credit for trying to preserve and reintroducing scores like these to fans like myself that never heard them before and eventually did lead for me personally to get the original recordings. I don't regret owning any of them to be honest but the quality the performances also has to match and unfortunately that was the case with many of these.
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The Varese re-recording does have a bit of a distant, concert hall ambience to it.
I could never get into it.
The Intrada is the one to own, cos not only does it sound the best, but it has the original LP version too, which was what we all grew up with.
The major thing the completely derails Goldsmith's attempt to re-record his score is the Echoplex effect that is sorely missing from it. Otherwise, they had the right idea but this was more suited to be re-recorded in London to be honest.
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The Varese re-recording does have a bit of a distant, concert hall ambience to it.
I could never get into it.
The Intrada is the one to own, cos not only does it sound the best, but it has the original LP version too, which was what we all grew up with.
I listened to the Intrada while decorating in the lounge yesterday. Regardless of recordings, it is a bit of a score where the quiet is quiet and the loud is loud.
Love the film but it always reminds me of the year Jerry was at Filmharmonic (mid70s?) and they had his theme played over footage of Patton in his halftrack.
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Posted: |
May 26, 2020 - 6:30 AM
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By: |
johnbijl
(Member)
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The best ones for me were "To Kill A Mockingbird", "Vertigo", "Sunset Boulevard", "The Last of the Mohicans", "Body Heat", "Marnie", The Trouble With Harry", "Somewhere In Time", "Rebecca", "Peyton Place" and "Psycho".
The best one of the RSNO recordings is, without a doubt, Battlestar Galactica, conducted by Stu himself. That album kicks ass magnificently.
Little more on topic, I like the low volume of the trumpet at the opening and the slightly more nuanced new recording of RSNO's Patton. This new recording loses the benefit of an echoplex and the trumpet effects are done accousticly. To me, it provides a warmer more organic start to the score, although the it lacks the effect of being a more in your face echo-effect.
Same for the rest of the score. Goldsmith's new recording is more organic in flow, holistic if you will,. Although that might not be the point of the original score, it works for this (composer's own) interpretation.
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I've been listening to the Varese Patton/Tora Tora Tora album on my laptop with a decent pair of headphones and think it sounds wonderful. Listen to those strings, brass and percussion on the Tora Tora Tora Main Title ......stunning.
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I remember thinking the horn triplets in that Varese recording sounded like they were recorded in a different room from the orchestra...and that the sound transmitted must have been through a tin can attached with string to another tin can.
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