Welcome to the forum david! Please don't let this be your last comment... and please don't let all this sometimes pseudo intellectual chatting get to you. There is no reason to feel embarrassed. As far as titles go, I never pay attention to them anyway. I just listen to the wonderful film music! I believe that hammon is somehow involved with intrada, if I'm not mistaken. Perhaps this might give some explanation to the uneasiness triggered for whatever reason. Chill out!!

sushislash, December 11, 2005; 1:39 AM

Again speaking for myself...I'm still confused. You state how great Intrada is, and yet you still want to say that the bootleg titles are better. Intrada clearly stated:

"As to the cue titles - they are not "wrongly titled" and we stand by our listings. We have used the titles as printed on the actual Fox cue sheets."

Again, I doubt that the bootleg had access to the cue sheets. Sure you can watch a movie and say, a cue titled "entering the palace" matched and it makes sense. But when the composer calls it "fred & ginger dance" the composer wins (in my opinion).

When as much work goes into a release as Intrada puts into one, (especially a classic like D&B) to use the term unnecessarily lazy and wrongly titled cues I can see why that might hit a nerve. To compare a bootleg to a class release like Intrada and not infer that the bootleg might be wrong vs claiming that Intrada got it wrong...why wouldn't they take it that way.

If you had said, I have the Intrada release and the cue titles are different than I would have expected them to be, would have been friendlier. You publicly accused Intrada of being lazy and not doing something right why wouldn't they be upset?

Just my two cents on the whole thing....

hammon, December 10, 2005; 8:57 AM

Speaking for fellow member david who has clammed up. Where are you? Intrada is a fantastic record label! They have taken the preservation of film music to higher standards and most definetely have enriched our film music listening experience immensely! NEEEXT topic please!

sushislash, December 11, 2005; 1:51 AM

I'm sniggering, sushislash. I didn't clam up entirely, I just opened yet another thread coz I didn't know it was proper to reply to my own question. Here's what I wrote. My first paragraph is not dissimilar to yours... only far more verbose. The rest is... well, my final (???) riposte in this little fencing match, with a final acknowledgement of your good sense:

I unreservedly apologise to anyone from Intrada or any Intrada fan whom I offended and upset with my ill-considered and intemperate words "unusually lazy" (not "unnecessarily lazy"). It was not my intention to imply that Intrada were ever actually lazy in their efforts. It was I who was lazy in my terminology. And, for the record, I think the Soundstage CD is utterly inferior to Intrada's in every way.

Nevertheless there is still a conundrum here when one compares the cue titles to the ACTUAL FILM. Alfred Newman wrote a cue that Fox cue sheets show was entitled "Walk to Tabernacle". However, this music was perfectly synchronized to the scene of David's anointing and Goliath's first challenge and was used in the movie to underscore those very scenes. Now my interest is purely idle, and it isn't of any real importance, but what did Newman call the cue that was used in the film for David's actual walk to the Tabernacle? I mean, it's a bit odd, no? Wouldn't common sense suggest that someone somewhere got the titles mixed up? Perhaps Alfred Newman was in a rush or had one scotch too many (no no, I'm not suggesting he was an alcoholic) and wrote the wrong titles at the top of the page. Maybe a Fox employee misfiled something or got mixed up and his/her eye skipped a line or something. I dunno.

Don't get me wrong here: this won't prevent me from enjoying the CD or loving the music. Though I may be anally retentive enough to actually notice the discrepancy between the cue titles and their use in the movie, I am not such an obsessive that it will make the slightest difference to my enjoyment of either music or movie. And despite Intrada's dismissal of me as "undeserving" I will continue to buy their CDs of restored classic film scores (unless they actually refuse to sell to me!) as they are always of superb quality.

I have written to Intrada direct, and if they send a civil reply that addresses the substantive issue I will post it here, just in case anyone else on this planet has the remotest interest in this bit of trivia. Otherwise, I figure chilling out really is the best policy.

Cheers.

david, December 11, 2005; 3:23 AM

...Hello David, put this behind you. Nothing can be done now. It has been done and it is not really that important anymore. Why it happened? Who knows. Quite observant though on your part... Do you have a specific genre of film music that you like?

sushislash, December 11, 2005; 12:00 PM

Thanks, sushislash. I am very fond of Alfred Newman's music and I'm also greedy. When I watched the film my bottom lip started to quiver when I realised that I was hearing music that was quite new to me and not on the CD.

I'm a fan of the classic "Golden Age" scores - the usual suspects, really: Herrmann, Korngold, Alfred Newman, Rozsa, Waxman. I'm a sucker for epics and films set in the ancient world and I've realised that a lot of my favourite scores have a slightly modal, medieval, or eastern feel about them - though not exclusively so.

Some of the scores I listen to most... at the moment: Franz Waxman: Peyton Place, Nun's Story, Prince Valiant, Spirit of St Louis; Erich W Korngold: Robin Hood, Kings Row, Sea Hawk, Elizabeth & Essex; David Raksin: Forever Amber; Miklos Rozsa: Ivanhoe, Young Bess, Quo Vadis, Ben-Hur etc; Moross: War Lord; Bernstein: 10 Commandments, To Kill a Mocking Bird, Age of Innocence; North: Agony & the Ecstacy; Alfred Newman: Song of Bernadette, Anne Frank, Anastasia, The Robe, Greatest Story Ever Told, and of course his & Herrmann's the Egyptian; Herrmann: Ghost & Mrs Muir, Psycho and others; Rota: Romeo & Juliet; Friedhofer: Best Years of Our Lives; Thomas Newman: Little Women; Victor Young: Samson & Delilah, Scaramouche; Steiner: King Kong;

And you?






david, December 11, 2005; 2:18 PM

Hi! Yes, I sometimes also do feel the need to have and to own every single film scoring note ever written for a specific favorite film score pertaining to a movie. What can one do? We just have to rely on the releases that are commercially available (even the so called bootlegs) or start making our own film score cd's from DVD's for our personal listening pleasure by including every piece of music on the cd-r. Don't forget that sometimes a lot of a composer's scoring written for a specific movie or even any other type of visual entertainment like a documentary, etc. (let us not forget those) is also not inluded in the final outcome. Out of sheer curiosity and personal listening enrichment I also enjoy listening to different interpetations of the same score from various angles. For example Jerry Goldsmith conducting Alex North's "A Street Car Named Desire". My taste in film scores depends really in the mood I'm in. I'm very open and don't like to limit myself. I can't. I get bored! The "Golden Age" classics though can be quite beautiful. For some reason, I tend to sway towards the more avant garde film scores. Jerry Goldsmith is a favorite composer of mine and his scoring techniques are quite diverse. He keeps your ears perked all the time. I also like John Carpenter. Horror film scoring is a trully favorite genre I enjoy listening to. Italian giallo film scores are great! Goblin, Frizzi, Donnagio, Morricone, etc. are just fine. Just give me oddities weird and the like. Modal, medieval, scoring with an eastern feel I also like. Perhaps you might enjoy if you have not listened to, "Ararat" by Mychael Danna or even more so "Touch Of Spice" a score that was released in 2003 by a female Greek composer named Evanthia Reboutsika. It has an nice eastern feel to it. My friend, film scoring in my opinion can be such a diverse musical expression. It is not limited to one particular sound. Its possibilities are endless! A whole musical universe in itself. It can embody various styles of music from past to present and even itroduce new sounds and still be regarded as music to a film. Take care, and remember that music is good for the soul!...

sushislash, December 14, 2005; 3:50 PM

For what it is worth I think that Intrada was out of line in their response. Right or wrong and I can't comment you are the customer and you are entitled to be treated with respect. I was in business for many many years before I had a stroke and this was not what I would have done.

tlkiefner, December 11, 2005; 7:06 PM

Lucky for David no ax was lying around!

sushislash, December 11, 2005; 8:00 PM