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I have the War Lord CD and enjoyi it but not enough to pay for a 2 CD rerecording.
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How do you know THE ALAMO sold "poorly"?
It is one of my favorite re-recordings, along with QUO VADIS.
Yes, it's excellent, and that comes from someone who doesn't usually love Tiomkin. It was James who said it was a slower seller sometime back. I suppose I can find the quote if it's really important to you.
Yavar
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Luc is a smart guy when it comes to business. He understands the market and invests his money wisely.
I see someone sending out market research sniffers here ....
It won't be 'The War Lord' because it's 95 minutes. Plus, the music that Salter used for the battle scenes, fine composer though he was, would totally overwhelm the Moross score, without the distractions and SFX, and it'd take some very delicate editing and programming on the disc to avoid this.
As wonderful as The War Lord might be, its not the kind of title many people go "WOW, I have to buy that NOW!" over.
Well, that's not been my experience. There are few title sequences that I've noticed people, not afficionados, but just general listeners, will prick up and say, 'Oh, what is that? It's absolutely beautiful...' but The War Lord is one of them. I know no-one who dislikes or is even lukewarm about the main theme and its immediacy. Hell, the Shadows even released a successful electric guitar version. Gold's 'Exodus' main theme has the same immediate effect on many, many people.
Look at The Jayhawkers by Intrada -- I highly doubt that sold more than 1500 copies...and it's a classic WESTERN (i.e. Has a broader appeal)!
I adore Moross' western scores, but that's a strange perspective, no offence. D'you know that in Europe, WL is very highly regarded among critics? That's probably because it's European history: the film is, against probability given it was entirely shot in California, highly authentic. (Every little UK schoolboy knows 1066 and Hastings ...) In Europe this would have the same appeal as a western, were the film better known. And it IS an intelligent screenplay (or was before it was buggered up in the editing), with quite deep psychological insight and underpinnings.
And of course, Moross' composition is sublime. Surely you have the Varese album?
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The Thief of Bagdad is available in both Elmer Bernstein's and Rózsa's own re-recordings (suite/selection, whatever). That's not seriously in need of another re-recording.
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