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An old family friend of mine loaned me the Rhino KoK, so I finally got to hear the whole release...
I'm floored. Only Ben Hur compares to this one imo. One of the best listening experiences of my life. I don't even really rate the old Sony compared to this.
I'm even more psyched for the Tadlow, REALLY PSYCHED!
How can anyone listen to the Prelude and NOT go into air-conducting ecstasies? And that's the tip of the iceberg.
C'mon everyone we're IN THIS! 
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An old family friend of mine loaned me the Rhino KoK, so I finally got to hear the whole release...
I'm floored. Only Ben Hur compares to this one imo.
On album I actually prefer the Tadlow Sodom & Gomorrah. Two amazing love themes for the price of one. I think James prioritized the five Rozsa epics just right, in order of recording priority: El Cid, Quo Vadis, Sodom & Gomorrah, Ben-Hur, and now King of Kings. I'm glad the set will be completed; an important legacy to leave!
But I still greedily want all those great (mostly early) Rozsa scores which are otherwise lost. Maybe Intrada will get around to doing more. Their Red House recording was terrific, a noticeable improvement over their Spellbound, IMO.
Yavar
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An old family friend of mine loaned me the Rhino KoK, so I finally got to hear the whole release...
I'm floored. Only Ben Hur compares to this one imo.
On album I actually prefer the Tadlow Sodom & Gomorrah. Two amazing love themes for the price of one. I think James prioritized the five Rozsa epics just right, in order of recording priority: El Cid, Quo Vadis, Sodom & Gomorrah, Ben-Hur, and now King of Kings. I'm glad the set will be completed; an important legacy to leave!
But I still greedily want all those great (mostly early) Rozsa scores which are otherwise lost. Maybe Intrada will get around to doing more. Their Red House recording was terrific, a noticeable improvement over their Spellbound, IMO.
Yavar
Spellbound is a bit problematic for me to begin with, the theme gets used a lot to my ears. That said, it's obviously a masterful piece on its own, and the Intrada was fine imo. Unless I'm missing something. I thought Red House was actually a better score (gasp!) and that two disc has had plenty of play time here.
The Tadlow Sodom and Gomorrah is phenomenal, plus the outrageously great El Cid comes with that super cool Double Indemnity suite (ohhh someday PLEASE a full one of this and Double Life ARRGH why am I begging for this it should already exist, darn it!).
For recordings I have to put the Rhino KoK up there with both the Tadlow and Complete Ben Hur (second listen today), but you just mentioned such terrific rerecordings my head is spinning some. Those Tadlow releases are prominently displayed in my collection, masterful CDs done the right way imo.
The Complete Ben Hur has definitely given my world a heckuva shake. I imagine my incoming gift of the Tadlow Alamo will do the same.
Geez did I use the name Tadlow enough here? lol
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Spellbound is a bit problematic for me to begin with, the theme gets used a lot to my ears. That said, it's obviously a masterful piece on its own, and the Intrada was fine imo. Unless I'm missing something.
There are some sluggish tempos and I'm not wild about the recording itself. But as it is one of my least favorite Rozsa scores (that sappy theme is bad enough without being repeated as often as it is) I'm not too broken up about it and happy to have a recording of the complete score anyway, since it is otherwise lost.
I thought Red House was actually a better score (gasp!) and that two disc has had plenty of play time here.
Oh, by far. An excellent choice on their part, and the companion disc of Rozsa suites and such recorded at the same sessions is also excellent (The Man in Half Moon Street).
The Tadlow Sodom and Gomorrah is phenomenal, plus the outrageously great El Cid comes with that super cool Double Indemnity suite (ohhh someday PLEASE a full one of this and Double Life ARRGH why am I begging for this it should already exist, darn it!).
I totally agree...but you do know that Intrada did release the complete surviving original recordings of Double Indemnity (a substantial portion of the score, almost 40 min, even though some key parts are sadly lost) on this great noir set, right? Sadly also sold out this past year, but you can hear sound clips and order it secondhand from somewhere I imagine:
http://store.intrada.com/s.nl/it.A/id.9968/.f
The Complete Ben Hur has definitely given my world a heckuva shake. I imagine my incoming gift of the Tadlow Alamo will do the same.
Well I don't find any Tiomkin earth-shattering but The Alamo might just be my favorite of his, and the Tadlow recording is of course fantastic.
Yavar
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Well I don't find any Tiomkin earth-shattering but The Alamo might just be my favorite of his, and the Tadlow recording is of course fantastic.
Yavar
Fall of the Roman Empire (and you could probably guess which one I have lol!) is definitely a big deal for me. I love how Tiomkin would often go mega-layered on the orchestration, it was one of the things that made him unique. Sometimes the listener has to listen with an open mind and be ready for the denseness of his approach.
I do semi-agree with what was said before about his not having anywhere near as many heartbreaking (Peyton Place comes to mind first) themes as the others from that era. He was a fine composer though imo.
I'm still a Herrmann, Rosza man primarily and largely (though Mr. Newman is making quite the showing, and of course I have my Goldsmith roll waiting for me next year...pant pant!).
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double post, sorry
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