Just a bump with another sigh that a release hasn't happened yet. It is a very beautiful score -- I'd be happy even with an lp to CD transfer at this point.
This score is spectacular! Second time I’ve heard an older score, been very impressed by how good and modern it sounded, only to learn it was from Jerry Fielding (the other time was watching the Star Trek episode “Spectre Of The Gun”).
Has this ever been released or will it ever be? I can only find info about an old LP.
Some of us have the Screen Archives edition, which is 38 tracks and possibly complete, as there are some alternate cues. Very inventive score. I do recall being very satisfied with the Lp--haven't played the CD in a while to note if the expansion is warranted.
Some of us have the Screen Archives edition, which is 38 tracks and possibly complete, as there are some alternate cues. Very inventive score. I do recall being very satisfied with the Lp--haven't played the CD in a while to note if the expansion is warranted.
Darn, that version doesn't seem to be available at all. The music is very impressive.
Best ones so far are "The Kid Dies":
And then "Same As Worms" at 3:19 into this suite:
I really wish there was a way to get this or it could be re-released. Seems like Jerry Fielding is a bit under-represented in CD form.
The LP is a perfect 38 minute edited programme that plays like a dream (and I recently received a great sounding CDR of it thanks to a good egg FSMer). The expanded 58 (?) minute CD promo is great too, but doesn't play as well to me (probably due to so many years spent with the LP first). I imagine it will come out eventually and hopefully as a 2CD set covering the score plus alternates and the LP edition. It's probably my number one favourite Fielding score and like John Barry's KING KONG, due to it being my first 'date' with the composer
Remains a mystery to me why Clint Eastwood / Malpaso won't give permission for a new release of this fabulous score. As with some other Lennie Niehaus scores for Eastwood. Would like to know the reasaon why 'cause I can't think of any.
I think Lukas has stated previously that it isn't Eastwood or Malpaso who are holding up this release (I used to assume the same thing). And Fielding scores used to be a rare thing on CD, JTP, but there was a boom years period when a great many of his scores finally got issued on disc. Intrada really closed out a load of them (GRAY LADY DOWN, BEYOND THE POSEIDON ADVENTURE, THE BLACK BIRD, NIGHTCOMERS, STRAW DOGS, CHATO'S LAND, THE MECHANIC, SCORPIO, FUNERAL HOME). I'm not saying there's nowt left to issue, but most of the good stuff is, or was, available.
Horner uses it as a source music springboard for his marching into battle sequence, before going with his own main theme. Fielding pretty much uses it as his main theme (Front and End Titles) for JOSEY WALES.
Horner uses it as a source music springboard for his marching into battle sequence, before going with his own main theme. Fielding pretty much uses it as his main theme (Front and End Titles) for JOSEY WALES.
In the Regiment Leaving Boston Parade sequence Horner uses another source Civil War March (Hoist up the Flag) at the start which once again meld's, this time, with his own Col. Shaw/Regiment Theme building to an emotionally passionate closing. Just beautiful. Yes, a different approach to what Fielding did.
Interesting how JOSEY WALES was a Best Score Nomination at the Oscars. The music that it was most likely nominated for, the Main and End Titles was not original to Fielding. But that's the Oscars and that's in a whole other thread.
Horner's GLORY was not nominated for BEST SCORE of 1989. The Maestro's Col. Shaw Theme expanded from a Theme from Prokofiev's IVAN THE TERRIBLE perhaps was frowned upon as was his use of the Civil War Marches thus canceling him out. When did they suddenly get so smart? He was however nominated that year for his FIELD OF DREAMS Score.
Horner uses it as a source music springboard for his marching into battle sequence, before going with his own main theme. Fielding pretty much uses it as his main theme (Front and End Titles) for JOSEY WALES.
I listened to a podcast about the film that disappointingly described the film's music as not being very good, and they also used a bad example by asking the question "do you remember the main theme? can you hum it?" and I don't think every film needs to have a THEME.
I didn't specifically notice the march at the beginning and end of the film but I did notice the sprinkling throughout of "Dixie", "Battle Hymn of the Republic" and various other civil war ditties.
But I think the emotional content that the film is really about is well-represented by the score which has wonderful music in the examples I gave. "Same As Worms" has these wonderful skittering runs on woodwinds and strings that bounce back and forth between different instruments giving it a wonderful sense of panic and drama that you'd hear in one of Horner's modern scores. The cello lines in particular are excellent.
Similar material where the cello shines is in that cue "The Kid Dies" and uses a similar technique - playing a rhythmic idea and fluidly handing it off to successively lower instruments to drop the register of the piece. That's such a skillful technique that really would be coming from the mind of someone who truly understands orchestration.
Perhaps the movie doesn't have a constantly driving musical interest but those moments where it shines REALLY do shine.
The album version would do for me, I just love that main title, the way the music builds up. But I read on this site that I shouldn't hold my breath for a release. I wonder what the problem is...Clint Eastwood?
The album version would do for me, I just love that main title, the way the music builds up. But I read on this site that I shouldn't hold my breath for a release. I wonder what the problem is...Clint Eastwood?
Eastwood struck a deal with Lalo Schifrin to have the Dirty Harry scores released on Lalo's Aleph label so I suspect Clint isn't the problem.
The album version would do for me, I just love that main title, the way the music builds up. But I read on this site that I shouldn't hold my breath for a release. I wonder what the problem is...Clint Eastwood?
Eastwood struck a deal with Lalo Schifrin to have the Dirty Harry scores released on Lalo's Aleph label so I suspect Clint isn't the problem.
I recall there are also issues with 'Firefox', again I don't believe Mr Eastwood is the issue. As both are Warner titles, the problem must lie with them.
