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Many thanks to Nick Redman, Marileee Bradford and John Burlingame for their fine work on the new Mondo release. It's fantastic having this score on vinyl.
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Not only does North's Space Docking cue not date the film, it is classic film music - as Mr. Hearn says, it's just different than what you've heard for forty years. It gives the sequence a whole new feel, and not an uninteresting one. And it is, of course, impossible to tell how it would have worked now, forty years on - I said much earlier in this thread, Mr. Kubrick's choices made the film iconic and while one can quibble, they obviously worked. And many of Mr. North's early cues for The Dawn of Man sequence, would not have worked - silence and sfx worked much better.
We can get an idea though:
http://www.youtube.com/watch?v=256NgMW4tQw
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Wow. You just replied to a 7 1/2 year old post. Impressive.
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Posted: |
Sep 25, 2014 - 7:02 PM
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By: |
OnyaBirri
(Member)
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I listened again to my Alex North 2001 playlist, and if it is a sub-par Kubrick 1960s soundtrack, it is an excellent 1950s outer space album.
Replacing the "Africa" track at the end with a repeat of the main theme, the album clocks in at 34 minutes, 17 minutes per side.
Side 1 is more percussive, scary, and foreboding.
Side 2 begins with the Les Baxter strings-and-woodwinds track, and pretty much stays in that light mode. It then ends again with the main theme.
Forgetting all about 2001 and thinking of this as a 1950s outer space album, it holds its own next to Frank Comstock's "Project Comstock" Russ Garcia's "Fantastica," Art Mineo's "Man in Space with Sounds," and Les Baxter's "Space Escapade," although I don't think it rises to the heights of any of those.
Still, a very nice 1950s outer space album.
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I recently met someone who recalls someone at MGM claiming that Kubrick has the original recordings of North's sessions for 2001.
Is this corroborated by the liner notes?
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Posted: |
Feb 24, 2016 - 8:53 PM
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By: |
Wedge
(Member)
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Memories of our own "Wedge" discussing North's cues with Mr. Goldsmith around the turn of the century. What say you, Mr. Takis? Are you in the area?
Since this thread has been resurrected, I might as well give Mr. L his long-overdue response. 
Yes, I did bring up North's 2001 when I met Jerry Goldsmith backstage after a 1999 concert in Detroit. (This was the morning concert the day before the FSM contingent showed up, when there were only a few people waiting to meet him.) Once I had gotten through my spiel about how much I loved his music, what it meant to me, etc., I thanked him for his efforts recording the music of Alex North, and for 2001 in particular. He seemed very pleased to hear that, and said something to the effect of, "I always enjoy conducting Alex's work." I was accompanied that morning by a friend and fellow Goldsmith nut, and we mentioned that we had attempted to play the new recording alongside the film. The maestro concurred that it wouldn't sync properly, since it hadn't been recorded to picture.
At this point, my friend -- we were teenagers, and the fanboy jitters were running strong -- went on to say that the album HAD played quite well when superimposed over scenes from SUPERMAN: THE ANIMATED SERIES. To which a bemused Goldsmith responded, "Oh, well, isn't that interesting." Funnily enough, I would learn many years later that the producers of the SUPERMAN series had originally (before changing their minds) asked Shirley Walker to provide music in the vein of North's 2001 -- which, of course, they would have known from the Goldsmith-conducted album.
So anyway ... as much as I'd love to say I had an in-depth conversation with Jerry Goldsmith about Alex North's 2001, I'm afraid that it only amounted to a few appreciative words. Still, it was wonderful to be able to share that moment with the maestro!
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Personal taste.
"Dragonslayer" isn't for everybody.
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I'm getting this asap.
I really love North's work especially Virginia Wolff, Fisherman, Agony, Spartacus, Bad Seed..et al
Can someone tell me why I have such a hard time with Dragonslayer and Cheyenne Autumn?
It literally took me over a year to get into Dragonslayer.
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Anna North had the tape that was the source for the cd I believe. It contained a mono dub, not the session masters. And yes, the liner notes confirm this.
I'm not asking after the provenance of the North tape (I can see where my original post was not clear in this).
I'm asking after the location of the original session tapes, which my acquaintance says went to Kubrick and never left. Is THIS corroborated by the liner notes of the Intrada cd?
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I read many years ago here by somebody that the original sessions were recorded over to save money, a practice at the time. If something went to the Kubik estate, it must have been a copy.
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I read many years ago here by somebody that the original sessions were recorded over to save money, a practice at the time. If something went to the Kubik estate, it must have been a copy.
Interesting. This person I met said he knew Harry Lojewski (who was at MGM), and HL claimed that MGM could never get to the tapes because Kubrick had them.
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