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It wasn't long after Varese offered its 2-CD Superman rerecording, that Rhino came out with a ground-breaking 2-disc film version that, at the time, set a new standard for the comprehensive, labor-of-love presentation. The board overflowed with praise for the Rhino.
I snapped up both, but the rerecording was toast. That was in 2000.
That same year, Varese offered a rerecording of Jaws, only to get smoked by Decca's complete-soundtrack expansion. I was happy for us fans, but I felt bad for Varese.
Now comes the Moonraker expansion: hi-res from the 2-inch reels and it's all there. Not to be topped. And we all know there was nearly a rerecording shortly before it.
So, what is your take: are you glad the producers dodged a bullet, or did you want both the original and a glorious rerecording on your shelf? Would you still play the rerecording after getting the LLL Moonraker?
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A rerecording is worth it to go from mono to stereo if it's the whole film score. I would love to hear a rerecording of Star Wars: A New Hope. I'm used to the way it sounds, but would love to hear it in a more natural sound quality instead of purposefully trying to sound like a recording from the fifties (even if it's in stereo). Okay, that's not mono to stereo, but you get the idea.
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I would still be all in for a new recording. Varese and Tadlow produced fantastic albums that rival the originals. When the work is great enough, bring on the new recordings. I have every iteration of North by Northwest and if a new recording comes along I would buy it.
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I would still be all in for a new recording. Varese and Tadlow produced fantastic albums that rival the originals. When the work is great enough, bring on the new recordings. I have every iteration of North by Northwest and if a new recording comes along I would buy it.
100%! I fully agree with this. Orchestral music is a living thing. New recordings often make me realize different things, I'll notice details I haven't before and it is a different listening experience. In classical music, it's perfectly "normal" or even a given that collectors have several recordings of their favorite works, so I cherish it when I have that that option with film scores.
I have all the JAWS releases, but the McNeely recording with the Royal Scottish National Orchestra may be the one I listen to most, it just sounds spectacular compared to the others (which I also enjoy greatly). Great classical music ideally is not restricted to just one recording, and that goes for some great film scores too. One of the things I really enjoy is listening to different recordings of the same work.
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I incline to agree, but what I first and foremost like are the original recordings. Adding re-recordings yes, if I like the music.
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There's no need to wonder, speculate, or start new rumours about why the Kickstarter didn't happen. James Fitzpatrick explained it at the time. He got a legal notice to not proceed. At the time, he said he didn't think there was a legitimate legal basis for blocking the recording, but of course he had to weigh up whether it was worth taking Eon, or whomever gave the notice, on.
But, yes, in a way, we dodged a bullet.
A re-recording in 2015 could only have been a by-ear takedown from the film, which meant the music would have been presented as it was hacked up for the film, not as it was composed, and could only present what is audible in the film, which is only about 10 minutes over the 30-minute soundtrack album.
Although we don't yet have the LLL CD in our hands, the combination of the track list and the samples tell us a lot.
They tell us that the film version of Freefall is just one part of the composed/recorded cue cut out and looped twice, with a whole section of the composed/recorded track omitted.
Similar with Globes Destroyed: Neil confirmed that it's two cues. They looped the first cue twice and completely discarded the other.
They tell us that most of the orchestra is dialed out in the film edit of I Bid You Farewell. You can't do a by-ear takedown of what you can't hear, obviously.
Neil has revealed that the film score program on the LLL set includes six completely unused cues. One is clearly Launch Program Commence, which we get a bit of in the samples.
Having studied the track titles, Last Leg looks like a possible unused cue, although we'll need to get the CD to confirm.
I'm always open to new recordings of film music as long as they're good. Many are. Some haven't been. One set that wasn't so good was Silva Screen's Bond Back In Action, but I'm sure better could be done today.
Given that the original orchestrations of Goldfinger exist, that might be an interesting one for a rerecording project, but I doubt it could replace the original in my affections.
Cheers
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That Decca release of JAWS sounded like absolute ass.
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Posted: |
Dec 4, 2024 - 3:33 AM
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By: |
BasilDowl
(Member)
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There's no need to wonder, speculate, or start new rumours about why the Kickstarter didn't happen. James Fitzpatrick explained it at the time. He got a legal notice to not proceed. At the time, he said he didn't think there was a legitimate legal basis for blocking the recording, but of course he had to weigh up whether it was worth taking Eon, or whomever gave the notice, on.
But, yes, in a way, we dodged a bullet.
A re-recording in 2015 could only have been a by-ear takedown from the film, which meant the music would have been presented as it was hacked up for the film, not as it was composed, and could only present what is audible in the film, which is only about 10 minutes over the 30-minute soundtrack album.
Although we don't yet have the LLL CD in our hands, the combination of the track list and the samples tell us a lot.
They tell us that the film version of Freefall is just one part of the composed/recorded cue cut out and looped twice, with a whole section of the composed/recorded track omitted.
Similar with Globes Destroyed: Neil confirmed that it's two cues. They looped the first cue twice and completely discarded the other.
They tell us that most of the orchestra is dialed out in the film edit of I Bid You Farewell. You can't do a by-ear takedown of what you can't hear, obviously.
Neil has revealed that the film score program on the LLL set includes six completely unused cues. One is clearly Launch Program Commence, which we get a bit of in the samples.
Having studied the track titles, Last Leg looks like a possible unused cue, although we'll need to get the CD to confirm.
I'm always open to new recordings of film music as long as they're good. Many are. Some haven't been. One set that wasn't so good was Silva Screen's Bond Back In Action, but I'm sure better could be done today.
Given that the original orchestrations of Goldfinger exist, that might be an interesting one for a rerecording project, but I doubt it could replace the original in my affections.
Cheers
Do you think it's possible that the film version of Corrine Put Down (which clearly features a piano playing the percussive counter-melody) is in fact the version we got on the CD, but such a drastically poor mix that you can't hear it? To my ears, the tempo and pitch are off on the CD, and that same part sounds like a flute, so I can't wait to hear if the actual film version appears on the new release.
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I thought one of the reasons it was dropped was that one of the perks was a (paper? PDF?) copy of the full score.
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Do you think it's possible that the film version of Corrine Put Down (which clearly features a piano playing the percussive counter-melody) is in fact the version we got on the CD, but such a drastically poor mix that you can't hear it?
Mike Matessino answered this very question in a thread on Facebook.
As I always suspected, and Mike confirmed, it is the same take, but a different mix.
The film mix pushes the piano up. The album mix pushes the piano down and so the flutes come through more.
Both are represented in their appropriate places in the 2CD set.
That's my understanding.
Cheers
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I thought one of the reasons it was dropped was that one of the perks was a (paper? PDF?) copy of the full score.
That may or may not have been the basis of the legal objection, but just so we're sure we're not setting off new myths and rumours, can you remember specficially where James gave that as the reason?
If you can, it will help us be sure we're dealing with the facts.
Cheers
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I thought one of the reasons it was dropped was that one of the perks was a (paper? PDF?) copy of the full score.
That may or may not have been the basis of the legal objection, but just so we're sure we're not setting off new myths and rumours, can you remember specficially where James gave that as the reason?
If you can, it will help us be sure we're dealing with the facts.
Cheers
In his Kickstarter Moonraker introduction (still on the website) James Fitzpatrick said “Nic Raine: The in-house conductor of Tadlow Music took on the recording and reconstruction of such momentous scores as Miklós Rózsa's El Cid and The Private Life of Sherlock Holmes, Basil Poledouris' Conan the Barbarian and Conan the Destroyer, not to mention his previous CD releases related to Bond music. Nic actually worked with John as the orchestrator of A View to a Kill and The Living Daylights, so his intimate knowledge of Barry's working methods and preferences makes him the best candidate to undergo the arduous task of reconstructing Moonraker.”
One of the perks was intended to be a copy of that reconstructed score.
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Thanks Doug, but for clarity the question is:
Is offering that perk the reason why the recording was shut down?
I actually doubt it, because my recollection is that James cancelled the Kickstarter to fund the project himself (through Tadlow) and then he got the order to not proceed.
If my recollection is correct, then that perk would have been off the table before the project was shut down.
However, we have so many problems with confabulations and rumours becoming urban myths that I'm hoping we can confirm everything we think we remember with a verifiable fact trail.
In other words, I'm giving my reasons for doubting that the perk is why it was shut down, but don't take what I'm saying as true, let's trace the verifiable facts.
If anyone can help do that, thank you. It's probably just a time and research thing: finding old messages and sequencing them.
Cheers
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Me: original hands down even if it's a bit ropey.
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