Bloody hell, this film is a struggle to sit through. Don't think I'll make it to the end (again). One thing I did notice (or maybe forgot) is how much difference there is between the film tracks and the LP/CD tracks. Like DAMIEN OMEN II & JAWS, the LP re-recordings are a different beast to their film counterparts. If this ever gets a re-release or expansion, I guess putting out both versions would be the way to go. I also enjoy this music more than the PATTON score overall, despite the march being inferior to PATTON'S, I think the sad/longing theme is brilliant and that graty/raspy piano stuff is ace.
Good points made about NOT comparing MACARTHUR with PATTON, but I can't help it. I know that PATTON is by far the better film, but as a listening experience MACARTHUR draws me much more than PATTON does. I like the march better (I always found the "bridge" in the PATTON theme a bit banal and clumsy - a problem I have with a few of Goldsmith's "B-parts" in his main themes) and there's a lot of great, tense rumbling-around-inside-the-piano stuff which I find hypnotically interesting.
Not that I'm comparing them or anything.
I still completely agree with what this guy said seven years ago.
It's a wonder one of the labels (Intrada, LLL, Varese) haven't given this the deluxe treatment. I wonder what the delay is with this title? As I said, the score IN THE FILM is quite different to what we hear on the old LP (and CD). Even tracks that are on the LP either start out differently, or feature different edits and tempos and orchestration. It's very much like his MASADA LP programme vs what was heard in the show. The LP is much more smoother and fuller and tidied-up, when compared to the more raw film score tracks.
Bloody hell, this film is a struggle to sit through. Don't think I'll make it to the end (again). One thing I did notice (or maybe forgot) is how much difference there is between the film tracks and the LP/CD tracks. Like DAMIEN OMEN II & JAWS, the LP re-recordings are a different beast to their film counterparts. If this ever gets a re-release or expansion, I guess putting out both versions would be the way to go. I also enjoy this music more than the PATTON score overall, despite the march being inferior to PATTON'S, I think the sad/longing theme is brilliant and that graty/raspy piano stuff is ace.
I appreciate you finally chiming in with a definitive answer about whether the album was a new recording. It sounds pretty conclusive that that is the case, unless it's something like the Under Fire situation where it was partially done for album at the film sessions.
It's a wonder one of the labels (Intrada, LLL, Varese) haven't given this the deluxe treatment. I wonder what the delay is with this title? As I said, the score IN THE FILM is quite different to what we hear on the old LP (and CD). Even tracks that are on the LP either start out differently, or feature different edits and tempos and orchestration. It's very much like his MASADA LP programme vs what was heard in the show. The LP is much more smoother and fuller and tidied-up, when compared to the more raw film score tracks.
Interesting. I certainly hope a label is working on it. I will point out that Universal Pictures releases were a slow trickle before last year. MacArthur would also have to involve Universal Music, a different entity, for the album rights. That said, just last year in 2018 Intrada gave us both The Mummy and The Lonely Guy from Goldsmith (plus a string of Horner titles) which were Universal Music for the album and Universal Pictures for all the unreleased music, so maybe MacArthur is coming up on their 2019 docket...
Interesting. I certainly hope a label is working on it. I will point out that Universal Pictures releases were a slow trickle before last year. MacArthur would also have to involve Universal Music, a different entity, for the album rights. That said, just last year in 2018 Intrada gave us both The Mummy and The Lonely Guy from Goldsmith (plus a string of Horner titles) which were Universal Music for the album and Universal Pictures for all the unreleased music, so maybe MacArthur is coming up on their 2019 docket...
Yavar
I've checked out what's on youtube and while I don't see as monumental as Patton, I hear a great, Prime Jerry score there.
Don't know if I'd rank it in the top 50% of Jerry's output based on the album personally...but then I happen to consider about 85% of Goldsmith's output "prime Jerry" so I guess it still qualifies.
Don't know if I'd rank it in the top 50% of Jerry's output based on the album personally...but then I happen to consider about 85% of Goldsmith's output "prime Jerry" so I guess it still qualifies.
Yavar
To me JG's 60s and 70s work is prime time as a rule. But no, as I mentioned I don't consider it "Patton", but that's a lot to ask of any score, huh.
"I Shall Return" is a lovely composition that stands with Goldsmith's best. "The Treaty" and "New Era" are also very nice.
The theme is fun, but I feel like it could just as easily come from a parody film, like Bernstein's Stripes. Very colorful piece, but it doesn't have the epic swagger of Patton.
It's a wonder one of the labels (Intrada, LLL, Varese) haven't given this the deluxe treatment. I wonder what the delay is with this title? As I said, the score IN THE FILM is quite different to what we hear on the old LP (and CD). Even tracks that are on the LP either start out differently, or feature different edits and tempos and orchestration. It's very much like his MASADA LP programme vs what was heard in the show. The LP is much more smoother and fuller and tidied-up, when compared to the more raw film score tracks.
I recorded this and sat through the film again Kev. Yes MacArthur was always Patton's more boring cousin. It has the feel of a tv movie. I thought it was slow first time around but having sat through it again it was ok but i shall not return. Peck does well with the material but George C had better clay to mould. Most noticeable difference on the music was the main title - the low hammered piano was entirely different sound to the LP.
