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You guys are just knocking it out of the park with these releases. To be honest there's quite a few scores you've released that I never heard of, but sampled from your site then bought them and fell in love with them. Broken Arrow and Forever Young spring to mind right away.
So hint hint for anyone looking for good scores to explore. Broken Arrow is one of the best action scores of all time and Forever Young is an amazing love and romance score. I know you guys didn't list Broken Arrow on here, but that Limited Edition should have sold out forever ago. Definitely deserves to have more buyers along with Forever Young.
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Generally speaking, Wishart's CD is different in content from the Columbia LP, but where there are occasional cues which appear in some similar form on Wishart's CD AND on the Columbia LP, they are different in sound, orchestration, or arrangement from each other.
We need to treat the designation "original soundtrack" with considerable elasticity. It's quite possible that Tiomkin made the selection process for the LP at the time that he was doing the recording sessions for the film. Certain takes and mixes may have been targeted for the LP, and others for the film.
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If certain takes had been slated for the album during recording, why would Tiomkin have any "dilemma" as to what to choose?
That "dilemma" may have occurred to Tiomkin during the film recording sessions, and he may have dealt with it then and prepared specially recorded cues for the LP during those sessions, including the LP's second cue, "The Fall of Love." After the recording sessions were over, his task was probably no more than selecting and sequencing for a 40-minute program.
Most interesting is LP cue 13, "Addio," which is the original cue that Tiomkin wrote for the Act II scene in which Livius and Lucilla bid farewell, but was replaced by the Italian vocal cue used in the Entr'acte. Frank K. DeWald's notes for the new re-recording (Disc 2, Track 5) state that the orchestrations were not found at USC, but here is that very cue preserved on the LP. Surely if Tiomkin wanted the Entr'acte song commercially included for Academy Award consideration, why would he not have included the vocal version on LP? Instead he chose to preserve his original instrumental version.
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Posted: |
Oct 29, 2011 - 12:56 AM
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By: |
Bob DiMucci
(Member)
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Most interesting is LP cue 13, "Addio," which is the original cue that Tiomkin wrote for the Act II scene in which Livius and Lucilla bid farewell, but was replaced by the Italian vocal cue used in the Entr'acte. Frank K. Dewald's notes for the new re-recording (Disc 2, Track 5) state that the orchestrations were not found at USC, but here is that very cue preserved on the LP. Surely if Tiomkin wanted the Entr'acte song commercially included for Academy Award consideration, why would he not have included the vocal version on LP? Instead he chose to preserve his original instrumental version.
I'm not sure what you're getting at here. Was it Tiomkin or the film's producers/director that decided that the vocal version should be used in the film? Regardless of whose decison it was, since the instrumental version WASN'T in the film, perhaps THAT'S why Tiomkin chose to include it on the LP, so that it wouldn't be lost in the archives forever.
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I'm not sure what you're getting at here. Was it Tiomkin or the film's producers/director that decided that the vocal version should be used in the film?
No, my point is that in previous films Tiomkin was always criticized to promoting a film's song for Oscar recognition (Andy Williams' song "So Little Time" in 55 DAYS AT PEKING seems to have been an afterthought, its credit appearing only on the end title card, and the vocal heard only in roadshow release, but there it is on the LP album), but for FOTRE, Tiomkin chose NOT to promote the vocal.
IRegardless of whose decison it was, since the instrumental version WASN'T in the film, perhaps THAT'S why Tiomkin chose to include it on the LP, so that it wouldn't be lost in the archives forever.
I hardly think that Tiomkin was interested merely in preserving a single cue in a 40-minute LP program that omitted two-thirds of the score. I'm guessing that perhaps he truly preferred the instrumental version to the vocal for the LP. According to Frank DeWald's liner notes, it was the film's producers that chose to replace the instrumental with the vocal in that particular scene.
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This is Prime Grade A Tiomkin!
This and FOTRE were among the best Tiomkin had to offer.
And they're only a year apart!
Among other Tiomkin scores I'd like to see expanded, or even released in general are a complete SEARCH FOR PARADISE, and GREAT CATHERINE (1968), which has a marvelous, Russian-flavored score, all about Britisher Peter O'Toole having a grand time in the court of Jeanne Moreau as Cathering the Great, with, of all people, Zero Mostel as Prime Minister Potemkin. Not historically accurate, and supposedly derived from a play by George Bernard Shaw, if you please.
Ah, Tiomkin! They don't make 'em like Tiomkin any more....!!!!
Well, I also put Land of the Pharoahs on a par with FotRE. I have the FSM release and even that sound from original tapes suggests that that score rerecorded would be a brain melting experience.
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