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You frequently end up going to the "petulant queen" place when you run out of "ideas." Methinks the consistent use of "queen" says more about the speaker than the spoken to.
I never run out of ideas, Hainsey. Any new flashes of inspiration recently?
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I don't have that sad feeling. It's true S & G is a turkey, albeit an entertaining one, but it's Rozsa and it's an historical/biblical score and that means "from the man who brought you Ben-Hur, Quo Vadis, El Cid, King of Kings! Step this way folks!". Certainly this is a vastly more commercial idea than some of those advanced above, for films and composers I've never even heard of. Pre-sold in some ways, I would think.
And still, it being a man who brought you something, something and something, it still didn´t help to sell about 500 copies of recent 2CD release.
There is NO reason to record scores available dozen times already but it would be beneficial for all if a score that has been presented in very edited form and the masters are long gone could be re-recorded in their full presentation it didn´t get before. QB VII comes to mind as the most interesting candidate. As far as I remember, there is a boot featuring SFX, dialogues etc ripped from the series itself with about 2 hours of music. The masters are gone, there is only an LP and its CD reissue (OOP), which covers only about 1/4 of the actual complete score. And... it´s not only a Goldsmith which usually sells quite well, but also one of his very best scores...
I may be wrong and confusing it with some other title, anyone actually remembers how much music should be included within the whole series?
Then there could be also some unreleased and unused scores from Elmer Bernstein: especially A RIVER RUNS THROUGH IT could be fantastic, although probably not a very big seller. it would be great to get let´s say a 30-minute selection from the score coupled with something else from Elmer Bernstein´s archive. What about his CECIL B. DE MILLE documentary? 
These are all good scores and worthy of release, but the fact remains that people can't bankrupt themselves. In a betting world the perennials bring in the dosh, which helps more in the long term. A good business sense is to alternate rarer releases with the sure-fire hits like 'Lawrence'.
Much of this depends surely on three things:
(a) Whether Tadlow can continue to lose money on recordings AS OFFSET against their lucrative new OST recordings for new film sessions etc., and their classical albums... AND SHOULD THEY!!!???
(b) Whether, for example someone like FSM does re-issue the original tracks of the likes of B-H.
(c) Whether Tadlow have an eye to the non-limited release market, because they matter far more than the 'collector' in the long run. And there is NO digital DDD album, complete or otherwise from Rozsa's most famous score for, say, radio broadcasters etc. to turn to on a 'this is the most recent one in sound we broadcast' basis.
This idea that there's no point in duplication is just not good business sense. 'Dragon's Den' would say, 'I'm out' on most of these ideas. The great works fund the less well known, and the idea people should bankrupt themselves (Tadlow won't, I know!) for the collector alone is unrealistic. There is room for a few multiple-releases simultaneously, just as in the classical market.
The reality is that money needs to be made, and if the collector is all there is, then duplication isn't a great idea, BUT if it's for a bigger run, then that's awhole different set of considerations. (Even with collectors, the die-hards will buy two.)
I'd love 'Thief of Baghdad' as much as 'Ben-Hur' but (apologies if I'm wrong) that score was in a period when Rozsa was still under the influence of British 1930s film somposers, and his intervals and style reflect that in a 19th Century way. So would James Fitz have the LOVE of it, especially with the huge chorus and outlay etc.? He tends towards the slightly later era when dissonance etc. had been fully been assimilated into film-music, but had not yet swamped or disintegrated it. It's the LOVE that matters here, and the penny-counting.
Anyway, this is all far in the future; roll on 'Exodus', 'Lawrence' and 'Taras Bulba'.
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Posted: |
Jun 18, 2009 - 5:21 PM
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By: |
Richard May
(Member)
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So far, I have been nothing but delighted by Tadlow's re-recording as James knows from the thankful emails I have sent him after receiving each CD through the post.
Mind you he has chosen to record three of my Grail scores that got my into film score collecting; namely El Cid, True Grit and Navarone. Sherlock Holmes was a later discovery for me when the dearly departed Dave Wishart sent me a complementary copy of Silva's Schurmann/Rozsa CD including his violin concerto.
Lawrence of Arabia and Taras Bulba are almost in the El Cid and True Grit league for me, being scores I was aware of before I even knew about film music.
So the suggestion of The Alamo seems a very sensible one to me. The Magnificent Seven too, if you can bottle the power of the original soundtrack. Thief of Bagdad coupled with The Jungle Book would make an exotic 2CD collection too. Another one from a similar era with poor sonics on the CD, an original soundtrack lost to time and a massively known title is 633 Squadron. This must have one of the most well known themes ever and never recorded beyond the obvious theme. Surely it would sell, sell, sell in the UK, but in the global market, others more expert would need to say.
Another with poor sonics but a superb score and surely a built in market is Conan the Barbarian. Or you could do a 2CD set and record the sequel too.
Final though: a re-recording of Horner's Battle Beyond the Stars. Yes, I have the original soundtrack complete with numerous fluffed notes. But even with Horner's name, I wonder whether this has a big enough market.
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Sherlock Holmes was a later discovery for me when the dearly departed Dave Wishart sent me a complementary copy of Silva's Schurmann/Rozsa CD including his violin concerto.
That'd be the Cello Concerto.
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I read through some of this thread, and I have a question. Is the new Exodus release limited to only 500 copies? or did I misunderstand the context? How limited is it?
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The longer version of the Main Title was first released on the EMI label,
EXODUS (1960) - composed by Ernest Gold - conducted by Mitchell Powell - MONO - EMI Records CDP 79 4286 2, which also contained the music from CAST A GIANT SHADOW (1966) - composed and conducted by Elmer Bernstein.
I have that C.D. too, except that "Hatikvah" (Track 14) was conducted by Heinz Sandauer (yes, the same man who conducted the 1957 rerecording of "Destination Moon").
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