|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
dp
|
|
|
|
|
|
|
Posted: |
Mar 26, 2014 - 2:56 PM
|
|
|
By: |
Illustrator
(Member)
|
i was hearing noises that he was mellowing about Fafdm. Flat Ennio no's a few years ago. imagine the moment where olivier refuses to swallow another diamond, stares defiantly at hoffmann and says, emphatically No!! well, a No something like that. in recent years though, less hostile and more shrugs and Maybes. which made people in the cd production circle think it would happen...soon. But so far no progress. keen fans could maybe realise that 1 day - and im sad to bring this up but it is a reality - when andrea is put in charge of decisions for his fathers musical legacy - you may all get all the music you want then. Bill, Has any reason been given for this ambivalence at best, hostility at worst, to this score? Given that so much of his western music has been released presumably he is not in any way embarrassed by his earlier work. I would understand more if he put a blanket ban on all these releases; if it was that as an artist he doesn't want to be reminded of earlier work and only perceives his later work as he developed as being significant. It seems that For A Few... is the single score he feels this way toward. Apparently around the time of the DVD release of the trilogy maybe 10 years ago (?) it was issued complete as some sort of promo, unreleased cues in mono, and was unique among the scores for this treatment. At about the same time GDM released their 'expansion' which was presumably approved. Seems like mixed signals. Any rumours as to why he feels what he feels?
|
|
|
|
|
|
everything you say mate is logical and good sense. And yes, historically artists have a rep for turning against earlier work etc. . i dont have a straight answer and im sorry about that, and second guessing Ennio could drive anyone to the funny farm. . You have to bear in mind that over the years all sorts of things have filtered through about this score, that score, this theme. And when you hear stuff, you never know if it is repeated fan speculation that becomes believed or a genuine Ennio reason. There was the famous one on the release of the LP to Face to Face that was missing the sought-after organ track and its exclusion was supposed to be because a certain person didnt like the way an instrument had been played. Given his water-tight rep for staying in the studio until every detail is perfect, you hear stuff like that and it doesnt add up. it gets you nowhere speculating if our man in Rome has a problem with it and what it might be, but looking at the fact its full release seems to be stalled, there clearly is something that has made him reluctant about the idea of its release. Unlike us, as you know, he isnt a fan of short tracks and that probably extends to extended c n c releases, so perhaps he feels that score has had all the release it needs? On the other side of the coin, he has expressed bafflement about some of the things fans like and want. So who knows. Could be anything. As you say when you start analysing about say, an artists reason about turning against their earlier work, doesnt hold water in Ennios case because he still plays GBU rather proudly in every concert. And didnt seem to have a problem with the full release of Fistful. So as usual, nothing makes sense about our maestro to the rest of the worlds collectors. it could be anything from dislike of his western work and wrapped up somewhere in that, given the others have had full releases one might conclude he feels its the weakest of his Leone western work, dunno, could be he is just being awkward coz the worlds CD produces have pestered him about it, who knows. Only ennio.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
What I'd like to know is, "Where did MGM get the effects free music from, if the original tapes are missing?" There's the"Leaving El Paso", "Jailbreak", The Church Duel" The complete "Showdown" plus the "Vice of Killing" theme used when Indio escapes from town with the safe, plus several others. All these are "clean" and are used in the documentary on disc two of the FAFDM dvd set. The whole expanded album is excellent, but it's definitely not one we should be talking about here, unless we want to get this thread locked.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I agree that it's not Morricone, but it's a helluva lot better than the crap Leroy Holmes released. In fact some of it is quite well done, well it'll keep me happy until (if ever) the original gets a release.
|
|
|
|
|
Does it have the Colonel meets The Hunchback cue? The ONE cue missing from the MGM in-house original tracks cd dammit! brm ps EM might be holding back because he feels that the audio quality is not up-to-snuff. The FOD mono tracks are in better shape than the FAFDM
|
|
|
|
|
The complete score runs for 61 minutes and the re-recording has all the music used in the film including "T flute (I Think that's what they are) motives used when Monco holsters his gun after shooting Baby Red Cavanagh. You may be correct that that reason we don't see a complete release of the original tracks is down to their quality. or lack of, although, the ones used in the MGM DVD sounded pretty good to me.
|
|
|
|
|
Is this deleted now? I ordered mine from Amazon.co.uk but when it didn't show up after three weeks I queried it and was told the title isn't available from the seller or other supplier.
|
|
|
|
|
Is this deleted now? I ordered mine from Amazon.co.uk but when it didn't show up after three weeks I queried it and was told the title isn't available from the seller or other supplier. As far as I know it's only being released today, I ordered mine at the same time you did, mine didn't arrive either so I claimed a refund. I've since ordered it from another seller and been told that it's been dispatched and should arrive this week. One of the Chi Mai members purchased a copy on Friday so I gather it's now available. I like it, as a cover it's not bad, and it certainly captures the "flavour" of Morricone's "Dollar" music, it's not perfect, but it's the best attempt yet at recording the score.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|