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 Posted:   Dec 13, 2013 - 6:04 PM   
 By:   captain_avis   (Member)

I bet UK Royal Mail will get it to me faster than Screen Archives' terrible UPS Innovations nonsense.


That's no exaggeration. I received Witchfinder General from Amazon UK in five days from receiving shipping notice. My domestic deliveries from SAE are actually slower. And the shipping of Witchfinder all the way from the UK was cheaper than SAE's local shipping for this new Goldsmith title.


Yup, I echo this sentiment too. Shipping to Canada via Tadlow costs maybe $.50 more and will likely arrive in half the time. Great release, incidentally. I was never able to connect with this score on the Intrada release. I last gave it a whirl a decade ago when my tastes were less refined and I also remember really disliking the shrill sound quality on that release. Hoping this new release will change my opinion.

CHris.

 
 Posted:   Dec 13, 2013 - 6:18 PM   
 By:   Ag^Janus   (Member)

New Score & Orchestration Reconstructed by Aaron Purvis

I wonder what was involved?

 
 
 Posted:   Dec 13, 2013 - 8:25 PM   
 By:   zooba   (Member)

The only question I have about this release is whether it includes the commercial "bumpers"--basically that opening fanfare just done with timpani if I remember correctly. I remember watching the original miniseries and of course given the abundance of commercials, I got to hear that element of the score repeated many times. I hope it's included somewhere in the rerecording.

Recorded from an old source the commerical "bumper" music in it's 11 second glory appears starting at 0:23

https://www.youtube.com/watch?v=05HpVvzYTyg

 
 Posted:   Dec 13, 2013 - 11:12 PM   
 By:   Ray Worley   (Member)

edited.

I posted a small rant on SAE's shipping method which didn't really belong here to distract from QB VII. A fantastic release which I instantly ordered.

I have been advised SAE has listened to the complaints and is going back to their old method. No need to keep my comments here and I see it has already blown up another thread which I stayed out of.

 
 
 Posted:   Dec 14, 2013 - 5:29 AM   
 By:   jonathan_little   (Member)

I assume it was to save money, but if that is the case, why are they still charging the same rates?

It's saving SAE money for sure, but they decided not to pass the savings along to their customers.

What bugs me is that the "shipping rates" page acts like it is still USPS shipping. In reality, their base shipping method is now one of UPS' cheapest and slowest services. USPS might handle the package on the last day for final delivery, but the slow, slow trek from Virgina is mostly thanks to UPS.

 
 Posted:   Dec 14, 2013 - 10:12 AM   
 By:   Basil Wrathbone   (Member)

I assume it was to save money, but if that is the case, why are they still charging the same rates?

It's saving SAE money for sure, but they decided not to pass the savings along to their customers.

What bugs me is that the "shipping rates" page acts like it is still USPS shipping. In reality, their base shipping method is now one of UPS' cheapest and slowest services. USPS might handle the package on the last day for final delivery, but the slow, slow trek from Virgina is mostly thanks to UPS.






Apart from being slower, my last couple of packages have even dispensed with the bubble wrap they used to provide, resulting in cracked cases. Times must be hard.
I've ordered QBVII direct from Tadlow.

 
 Posted:   Jan 1, 2014 - 11:10 PM   
 By:   Ron Hardcastle   (Member)

My copy should arrive by Friday!

 
 Posted:   Jan 2, 2014 - 2:49 PM   
 By:   Ron Hardcastle   (Member)

I realize that I rile some here when I post the same comment on more than one discussion, but I'm going to do it again with my first thoughts on the Prometheus/Tadlow "QB-VII," because I feel that even though I just posted it on the primary thread, this one seems to be the original, and I think it made the official announcement of the project in the first place. So here's what I wrote at FSM after playing it for about 3 hours:

So where to start? Well, when CD 1 ended I shouted "Glorious!," and that's pretty much how I felt about the whole recording. It's over 94 minutes of music, and I played it for nearly 3 hours with my very large speakers, and words like lyrical, poignant, thrilling, captivating, and exhilarating all came to mind. The 33 cues average just under 3 minutes, with only 4 exceeding 4 minutes. And while I have a decided preference for longer cues and even suites, never once did I feel that it was fragmented, as I have with some soundtracks that seem to be constantly re-starting, which, of course, can be very frustrating. No, there's a unity here, and I found it hard to pull myself away from it. Indeed, even now as I type this in my dining room/office, the music continues to serenade me from the next room. I've bought and enjoyed Tadlow's "True Grit" and "Lawrence of Arabia" and "Exodus," and while I love all 3 scores, I find this one far more satisfying and know that I'll be playing it a lot. Incidentally, we learn from the very informative notes that as happened with many Goldsmith scores originally recorded in Europe, little of the score remained for this one, so, well, let's hear it from producer James Fitzpatrick's notes:

"As often happened with Goldsmith scores recorded outside the USA (the original TV score was recorded in Rome), virtually all of the original sketches and scores had been lost over the course of time. No material survived at the Goldsmith archive at JoAnne Kane Music Service either, except for a lengthy concert suite -- reconstructed a few years ago -- which I had previously recorded in Prague for Silva Screen Records. This became the basis for a full reconstruction undertaken by the very talented young composer-orchestrator Aaron Purvis, who had been recommended to me by my composer friend Christopher Tin. Aaron, like many of the group of orchestrators I work with, was superb in the painstaking and arduous process of reconstructing the score 'by ear' during the summer of 2012, listening to the current DVD edition of the miniseries … with the added distraction of having much of the music covered by dialogue and sound effects!"

Despite all those challenges, Tadlow and Prometheus Records have done a remarkable job in rescuing this magical and magnificent score for us and I look forward to hearing it again and again!

As you can see, I loved it, although I wish members could stop starting new discussions when there are already several going on the very same thing. In this case, there are 5 or 6, which can be very frustrating. And no, I'm NOT going to post this on any of the others! Just the 2.

 
 Posted:   Jan 28, 2014 - 9:07 AM   
 By:   Michael_McMahan   (Member)

I spent a couple of hours listening to the Intrada release while I slapped up some drywall in my garage this weekend to refresh my memory before I listened to the rerecording, which arrived yesterday. I've only listened to disc one, but what I heard was spectacular. Those brass chords at the beginning of "Visit To The Sheik" are thunderous! Everything seems balanced and "organic". This music's alive! Just the right amount of reverb for my ears. Amazing to think this restoration was done by ear and transcribed. Many thanks to everyone at Tadlow/Prometheus for their efforts.

 
 Posted:   Jun 7, 2014 - 7:08 AM   
 By:   Krakatoa   (Member)

I spent a couple of hours listening to the Intrada release while I slapped up some drywall in my garage this weekend to refresh my memory before I listened to the rerecording, which arrived yesterday. I've only listened to disc one, but what I heard was spectacular. Those brass chords at the beginning of "Visit To The Sheik" are thunderous! Everything seems balanced and "organic". This music's alive! Just the right amount of reverb for my ears. Amazing to think this restoration was done by ear and transcribed. Many thanks to everyone at Tadlow/Prometheus for their efforts.

Yes, what a beautiful production and performance!

Hopefully this CD project will continue to get the accolades it deserves.

This Tadlow Jerry Goldsmith series is simply amazing with "Hour of the Gun", "The Salamander"
and now This!

 
 Posted:   Jan 14, 2015 - 1:42 AM   
 By:   Bayer   (Member)

Finally listening to this (new) release. What a fantastic experience!

Thanks James, Nic et al. smile

 
 
 Posted:   Jan 14, 2015 - 2:20 AM   
 By:   JamesFitz   (Member)

Finally listening to this (new) release. What a fantastic experience!

Thanks James, Nic et al. smile


Glad you like it .... it was a labour of love from everyone involved..

 
 
 Posted:   Jan 14, 2015 - 3:38 AM   
 By:   JB Berg   (Member)

Glad you like it .... it was a labour of love from everyone involved..

Yes, and this is evident in every single second of listening.
I think this is the best rerecording of a Goldsmith's score ever made.

 
 Posted:   Jan 14, 2015 - 11:04 AM   
 By:   Yavar Moradi   (Member)

Glad you finally got it, Kuhni. It's probably my favorite Goldsmith release of the past 5 years (which is saying a lot considering) and I think I might call it Goldsmith's magnum opus, despite how prolific and excellent he was.

It has a little bit of everything, doesn't it? But it is also very cohesive...

As for best re-recording...I might agree with that too! It would be overtaking Goldsmith's own Rio Conchos for Intrada, IMO. Not that Hour of the Gun and The Salamander weren't awesome as well.

Yavar

 
 
 Posted:   Jan 14, 2015 - 12:27 PM   
 By:   BrendonKelly   (Member)

Fabulous release! My wife bought this for me for Christmas just gone (along with Mister Moses) and it is stunning.

 
 
 Posted:   Jan 14, 2015 - 12:32 PM   
 By:   filmusicnow   (Member)

I've just put the first disc on with the opening titles and accompanying narration. I'm not sure what you mean there, Jeff?

But you got me thinking about that opening brass cascade. It always reminded me of something - I couldn't quite put my finger on it. I think JG was attempting to capture the distinctive sound of english parish church bells ringing. What that has to do with the scales of justice I don't really know. Maybe the clue is in the narration - the bit where mention is made of the confrontation being constrained to take part in medieval court buildings.



The opening narration is by none other than Mark Lenard, Sarek, Spock's father on "Star Trek".

 
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