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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: HOUR OF THE GUN / THE RED PONY SUITE!    FIRST   PRIOR   1 2 3    NEXT   LAST   Last Post   Posted:   Dec 17, 2012 - 4:35 PM     By:   Sirusjr   (Member) I'll join the chorus praising this one. A dynamic performance, crisply recorded, and a marvelous score. The "Red Pony" suite is excellent, too -- bad luck for James Fitzpatrick that Varese happened to release the full score before he could get this one out, but the suite features all my highlights in compact form, and it also beautifully played. Get this CD! I think the release of The Red Pony from Varese will help this set. People who weren't familiar with the score to get excited about seeing a re-recorded suite on here may be more interested in buying this set to hear it now that they know how beautiful the score is.    Posted:   Dec 18, 2012 - 1:52 PM     By:   oyarsa   (Member) Currently watching this film on a local TV. Just decided I need this score.    Posted:   Dec 21, 2012 - 2:43 PM     By:   .   (Member) I see the two Navy Colts on the cover are really just one photo of one gun, with the image flipped for the second one. Means one of the guns has its loading mechanics on the wrong side, a bit confusing when trying to reload during a shootout! But if the Clantons were actually using the long-obsolete civil war Navy Colts (with very slow, cap-and-ball reloading) at the time of the OK Corral, it's no surprise Wyatt's famous Buntline Special revolver blasted them away :-)    Posted:   Dec 21, 2012 - 4:20 PM     By:   Josh "Swashbuckler" Gizelt   (Member) I received this along with Franz Waxman’s Career (excellent!) and a few others and I’m listening to it right now. I’m really, really enjoying it. The new performance of “The Painted Desert” is particularly exquisite, and I really can’t object to another version of the gorgeous The Red Pony, which after the Varèse edition is, to my mind, a highlight of his career (which is saying something), and it is beautifully rendered here. This Tadlow/Prometheus Goldsmith series came out of the gate guns a-blazing like the lawmen on the cover of this album. I’m eager to hear what they're going to do next, but in the meantime, this is one to savor.    Posted:   Dec 22, 2012 - 6:42 PM     By:   RM Eastman   (Member) I would really be interested to know how this wonderful CD is selling? Especially in comparison to the other Tadlow releases. I hope it is a winner because if It is, we can look forward to more Tadlow Goldsmith releases.    Posted:   Dec 29, 2012 - 8:35 AM     By:   TomD   (Member) What is making the very low, almost subliminal tone heard occasionally, but particularly at the beginning of the main title. Electronics, guitar feedback, bass drum? It is more subtle in the UA soundtrack, but their albums were usually weak on bass notes.    Posted:   Dec 29, 2012 - 10:18 AM     By:   Josh "Swashbuckler" Gizelt   (Member) I've been listening to this album all week along with a lot of Star Trek, and I finally caught up to the film itself last night (Hour of the Gun, that is, not The Red Pony). I have to say that I found it too stylistically straightforward, but the relationship between Garner and Robards to have been well played and interestingly ironic. While I felt that it could have stood to either be more probing or more energetic, it definitely kept me engaged. The score is definitely a main asset of the film, reflecting a bit more of what may have been going on beneath the surface for Earp than the film does. In some ways, it sort of supplements Holliday's wry observations on Earp. I love the intensity of the original score, but I have to say I'm really glad that they included the album version of the main theme. It's totally not like what the rest of the score sounds like, but it has always been a favorite, and it works quite well at the end of the program, after the score has already opened out. I really like the new performance. A lot.    Posted:   Dec 30, 2012 - 9:13 AM     By:   Mark Ford   (Member) My mini-review... I've received a lot of CDs this month, sort of catching up on some back purchases along with the newer ones, and this has been by far the one I've played the most. This has always been my favorite Goldsmith Western score so that may account for it somewhat. I for one appreciate re-recordings that offer up different interpretations of film music just like in the classical world. For me there is a place for both OST and re-recordings and this release proves, to me anyway, how great it is to have both. The performance isn't as electric or dramatically urgent as the original. Instead it takes a more studied view and opens up the canvas with the freedoms of expression gained by being unrestricted by music-to-film timing constraints. Because of this and the improved sonics, I've been able to hear previously unheard nuances that have really enhanced the listening experience for me and increased my appreciation of the composition even more. There is an expanded sense of pace that opens up the composition for me to delve further into it. The additional cues are something of a revelation and really show how important thematic development can be in creating a dramatic whole in film music. This is sometimes lost in truncated presentations of scores by composers like Goldsmith who write with an overall plan of development. I guess my only minor quibble with this recording is with a couple of the trumpet solos that lack the bold, even brash playing style that has come to represent rugged American individuality in general and Westerns in particular. The solos are finely nuanced with more of a classical sensibility that doesn't quite fit the mood of the score for me, but that is really a MINOR quibble indeed since I find everything else to be rich and rewarding in this first rate recording from Tadlow.    Posted:   Dec 30, 2012 - 11:06 AM     By:   Mark Ford   (Member) What is making the very low, almost subliminal tone heard occasionally, but particularly at the beginning of the main title. Electronics, guitar feedback, bass drum? It is more subtle in the UA soundtrack, but their albums were usually weak on bass notes. I listened carefully with my ear practically on the speaker and I can't be at all sure, but it sounds like it could be a continuous soft mallet roll on a gong.    Posted:   Dec 31, 2012 - 5:54 AM     By:   JamesFitz   (Member) What is making the very low, almost subliminal tone heard occasionally, but particularly at the beginning of the main title. Electronics, guitar feedback, bass drum? It is more subtle in the UA soundtrack, but their albums were usually weak on bass notes. I listened carefully with my ear practically on the speaker and I can't be at all sure, but it sounds like it could be a continuous soft mallet roll on a gong. Tuned Cowbell hit with soft mallet    Posted:   Dec 31, 2012 - 9:36 AM     By:   Mark Ford   (Member) What is making the very low, almost subliminal tone heard occasionally, but particularly at the beginning of the main title. Electronics, guitar feedback, bass drum? It is more subtle in the UA soundtrack, but their albums were usually weak on bass notes. I listened carefully with my ear practically on the speaker and I can't be at all sure, but it sounds like it could be a continuous soft mallet roll on a gong. Tuned Cowbell hit with soft mallet Missed it by "that much". Leave it to Goldsmith in the 60s to use instruments in such inventive ways. Thanks James!    Posted:   Dec 31, 2012 - 3:24 PM     By:   Martin B.   (Member) Have listened to this many, many times now. It is a wonderful, wonderful recording. The only fault I can find is that instead of having two covers for Hour of the Gun, could we have had a cover for the Red Pony Suite? I'm having to use the cover for Hour of the Gun for it in iTunes and it annoys my OCD But apart from that I love every second of the music on this release.    Posted:   Jan 6, 2013 - 5:07 PM     By:   James MacMillan   (Member) This HOUR OF THE GUN is very good indeed. As a listening experience, it is much darker than the lovely old UA album, but as re-recordings go, this is as good as it gets. Difficult to fault, and thanks are due to all those involved in getting it done... Bravo!    Posted:   Jan 6, 2013 - 8:44 PM     By:   Dr. Nigel Channing   (Member) Fantastic cd!    Posted:   Mar 9, 2013 - 2:01 PM     By:   Jehannum   (Member) What is making the very low, almost subliminal tone heard occasionally, but particularly at the beginning of the main title. Electronics, guitar feedback, bass drum? It is more subtle in the UA soundtrack, but their albums were usually weak on bass notes. Bass drum probably; it's quite prominent and resonant. This release sounds phenomenal. The richness of the bass adds so much power. Thanks to all involved in making this CD for reminding me what a great score this is. First listen today. A+    Posted:   Mar 9, 2013 - 4:11 PM     By:   counterpoint   (Member) The music is wonderful and the performance by the Prague orchestra is wonderful as well. Just a perfect release.    Posted:   Mar 9, 2013 - 5:22 PM     By:   davel   (Member) I'll add my 'thumbs up' as well. One of my favourite Goldsmith made better.    Posted:   Mar 9, 2013 - 6:39 PM     By:   RM Eastman   (Member) I wonder if this superb recording sold enough copies to merit a continuation of the Goldsmith series, if so what is the next recording?? Mr. Fitz?    Posted:   May 28, 2013 - 11:28 AM     By:   Yavar Moradi   (Member) Well I guess we know the answer to that question I'm actually bringing up this thread to ask James a question -- did you conduct The Red Pony suite yourself? I could've sworn I read that you did but strangely in all of your promotional materials you don't mention it. Yavar    Posted:   May 28, 2013 - 11:54 AM     By:   Simon Morris   (Member) Well I guess we know the answer to that question I'm actually bringing up this thread to ask James a question -- did you conduct The Red Pony suite yourself? I could've sworn I read that you did but strangely in all of your promotional materials you don't mention it. Yavar The booklet (p14) states: The Red Pony conducted by James Fitzpatrick.     General Discussion: HOUR OF THE GUN / THE RED PONY SUITE!    << < 1 2 3  > >>  Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

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