 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 27, 2014 - 11:28 AM
|
|
|
|
By: |
PFK
(Member)
|
.....Hugo Friedhofer's scores for NO MAN OF HER OWN
THUNDER IN THE EAST
ACE IN THE HOLE
This is what I'd like to witness, too!
A Hugo Friedhofer @ Paramount disc......
Plus the Friedhofer score for the otherwise unmentioned Alan Ladd, Dorothy Lamour, Robert Preston 1947 film, WILD HARVEST, directed by Tay Garnett. I've heard that the score is quite good (I suppose considering that it's just one year away from THE BEST YEARS OF OUR LIVES) though I've never seen the film.
It might also be interesting to hear Hugo's underscore for the Bing Crosby-Jane Wyman-Ethel Barrymore film, JUST FOR YOU. (The songs, of course, would likely be tied up because of the Crosby-Decca contract, but the score itself might be releasable.)
Has anyone (yet) ever officially released the complete soundtrack underscore alone for any Golden Age musical??? Seems like a new avenue for Soundtrack CD score releases.
Well, you know the answer to that question - we just did.
Of course you did. As did most of George Feltenstein's MGM Rhino discs, etc.
Obviously I didn't ask the question correctly, though I thought saying "alone" would suffice.
And I certainly didn't want to reference CENTENNIAL SUMMER which, from the sound clips, appears to be breathtaking.
What I'm suggesting is that where the soundtrack songs are A PROBLEM (Sinatra, Crosby, etc)
because the artists are tied to contracts with other companies, would it be possible to release, for example, the underscore (MINUS the vocal sections with their orchestral beds) for JUST FOR YOU, HERE COMES THE GROOM, ANYTHING GOES (1956), WITH A SONG IN MY HEART, THE STUDENT PRINCE, etc. etc......? Good TCF examples reflecting this problem (and possible solution) would be SAY ONE FOR ME, APRIL LOVE, CALL ME MADAM, etc.
In other words, the score runs through the main title to the first song---the song vocal and orchestral background for the song is dropped---the score cues continue to the next song---the next song vocal and orchestral background are dropped---and the score cues continue in this way to the end of the film. Thus the whole CD release for the given musical is orchestral only---but the actual vocal songs and their individual underscore is missing.
This would be a sad reflection on each score as a musical entity, but at least it would get the score---in excellent quality---out there and those of us who might want to hear the score alone could do so but those of us who are enterprising could also reassemble a pretty good musical CD for ourselves without dialog overlays and picking up the vocalized songs from a video.
As time goes on this seems the only way we're going to get even a piece of the vast majority of the musicals we'd like.
The CENTENNIAL SUMMER thread saddens me greatly because it's obvious that a number of people---even some who I'm really surprised about---are buying the CD only for Alfred Newman's scoring---not the vocalized songs. (It's also somewhat weird because quite a lot of the underscore is based ON the Kern songs---a procedure Newman often followed in doing his orchestral underscore sequences for musicals---extrapolating the song melodies and interpolating them into his own scoring. He was a master at this. One example which is really exceptional in this is his work on THAT LADY IN ERMINE, a so-so film but one which is enveloped by Newman's gorgeous underscore.)
Oh, well. A voice crying in the wilderness, I know....... 
But....thanks for CENTENNIAL SUMMER!.....and now we return to COMPOSERS AT PARAMOUNT.
"The Centennial Summer thread saddens me greatly ........."
I know what you're saying Manderley. The Newman score is mainly why I'm buying it. I do indeed appreciate the great songs from many years ago. But my heart is in the great golden age scores from 1930 to maybe late 1960s.
You know, I have a friend, Richard, I've known since 1971. Richard LOVES light and lovely songs, Broadway shows, Hollywood musicals etc. But, he's cool on serious film scores. He's a life long fan of John Barry, but mostly Barry's beautiful themes. Richard like "light" orchestral scores only, no Waxman, Rozsa, Steiner, Friedhofer and especially no Herrmann. Richard has a totally opposite approach than I do. To each his own.
Also, most of us have to watch our spending. So, we have to zero in on what we really want the very most.
I do go to Youtube and watch and listen to songs, especially Katherine Jenkins!
I think golden age fans especially have a narrow range of interest in both films and their scores.
I know I do. It doesn't take much to lose me.
Well, that's my thoughts!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Thanks ToneRow -- I indeed would buy any Roy Webb scores released (as long as they are substantially original instead of interpolating popular songs)!
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 28, 2014 - 12:32 PM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
Another composer that comes to mind is Paul Sawtell. He composed many Tim Holt B westerns at RKO in the '40's. In the '50's he moved over to Paramount and composed the score to many westerns. The films were basically second features , but a step up from the 60 minute oaters.
THE GREAT MISSOURI RAID
SILVER CITY
WARPATH
FLAMING FEATHER
DENVER & RIO GRANDE
THE SAVAGE
PONY EXPRESS
ARROWHEAD
I really can't comment on their merit. I haven't seen them in ages and they aren't in my collection. Just thought I would mention his name as he seems to have been kept quite busy in his career.
Here are the major Paramount westerns in the 1950 – 1959 period:
The Eagle and the Hawk (1950) - Rudy Schrager
The Furies (1950) – Franz Waxman
The Great Missouri Raid (1950) – Paul Sawtell
Copper Canyon (1950) - Daniele Amfitheatrof
The Redhead and the Cowboy (1951) – David Buttolph
Branded (1951) – Roy Webb
Silver City (1951) – Paul Sawtell
The Last Outpost (1951) - Lucien Cailliet
Red Mountain (1951) – Franz Waxman
Passage West (1951) - Mahlon Merrick
Warpath (1951) – Paul Sawtell
The Blazing Forest (1952) - Lucien Cailliet
The Flaming Feather (1952) – Paul Sawtell
Denver & Rio Grande (1952) – Paul Sawtell
The Savage (1952) – Paul Sawtell
Arrowhead (1953) – Paul Sawtell
Shane (1953) – Victor Young {Released by La-La Land, August 2012}
Pony Express (1953) – Paul Sawtell
The Far Horizons (1955) – Hans Salter {Released by Kritzerland, July 2013}
Run for Cover (1955) – Howard Jackson
Three Violent People (1956) – Walter Scharf
The Lonely Man (1957) – Van Cleave {Released by Kritzerland, February 2013}
Gunfight at the O.K. Corral (1957) – Dimitri Tiomkin (16 min. re-recording included in FSM’s Elmer Bernstein Filmmusic Collection) {Released by La-La Land, December 2013}
The Tin Star (1957) – Elmer Bernstein {Released by Kritzerland, March 2011}
Last Train from Gun Hill (1959) – Dimitri Tiomkin {Released by Counterpoint, June 2011}
The Jayhawkers! (1959) – Jerome Moross (17 min. re-recording on Silva Screen CD) {Released by Intrada, September 2012}
The Hangman (1959) – Harry Sukman
Thunder In the Sun (1959) – [no composer credited, Cyril Mockridge is music director]
|
|
|
|
|
|
|
.....Hugo Friedhofer's scores for NO MAN OF HER OWN
THUNDER IN THE EAST
ACE IN THE HOLE
This is what I'd like to witness, too!
A Hugo Friedhofer @ Paramount disc......
Plus the Friedhofer score for the otherwise unmentioned Alan Ladd, Dorothy Lamour, Robert Preston 1947 film, WILD HARVEST, directed by Tay Garnett. I've heard that the score is quite good (I suppose considering that it's just one year away from THE BEST YEARS OF OUR LIVES) though I've never seen the film.
Finally, Friedhofer's Ace In The Hole materializes ... on Intrada's 2 CDs of film noir
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
