In Addition it also contains an additional 9 minute Jazz suite by Jerry Goldsmith that only appeared on the the Japanese SLC release.

The Set also features the 25 mintue "Outer Space Suite" by Bernard Herrmann that was tracked into countless episodes of the THE TWILIGNT ZONE.

And lastly it features Herrmann's original radio score for "The Hitchhiker" which was also used in the TZ production of this same story.

The Box set runs about 4 and Half hours and you can pick it up (depending on where you order it) for between 29 and 35 Dollars

Regards

(I guess they where four words)

Lazlo, the re-recording of Stars was so awful that I'm not going to respond to that fella's critique and am in no hurry to go over and read it anyway. What kills it for me is that it's nowhere nears the performance of the original and the mix seems way off, in addition to the criticism already cited. "Walking Distance", on the other hand, never sounded so beautiful and that's in its entirety! One of the reasons I generally avoid re-recordings is that my ear is highly sensitive and overt aberrations from the originals just drive me wild. I can almost pick out every individual instance where notes were slurred in the re-recordings as compared to the originals and where phrases were played slower when compared to the originals, although in both instances it doesn't end up to be that big a deal.

quote:

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Originally posted by Ford A. Thaxton:
To answer your question, the SILVA SCREEN 4-CD set contains EVERYTHING that appeared on the original 5 Varese Sarabande LP's.

In Addition it also contains an additional 9 minute Jazz suite by Jerry Goldsmith that only appeared on the the Japanese SLC release.

The Set also features the 25 mintue "Outer Space Suite" by Bernard Herrmann that was tracked into countless episodes of the THE TWILIGNT ZONE.

And lastly it features Herrmann's original radio score for "The Hitchhiker" which was also used in the TZ production of this same story.

The Box set runs about 4 and Half hours and you can pick it up (depending on where you order it) for between 29 and 35 Dollars

Regards

Ford A. Thaxton

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BTW, in case anyone wants the Silva 4 CD release. I have found out that the Columbia House CD club has it available, it is currently on sale for $15 or so.

Also, I plan on getting that myself, how is it?

Regards,
Sean Robert Abbey

The 4CD TZ box with Herrmann, Goldsmith, etc. is really tremendous stuff. Something that should IMHO be in everyone's collection.

I wish I could find a pattern to all this, but it isn't easy. I was a little disappointed with Herrmann's re-records of Psycho. But, I liked his re-record of 3 Worlds better than the original tracks which run faster. His suite from Jane Eyre--it is so slow compared with the original tracks that it almost becomes a different piece of music entirely. It shouldn't be called Jane Eyre because it is so off the mark that it doesn't represent music from that film at all. And yet, I like his suite, but I like the original tracks too.

I guess that's the thing to consider with re-records, not whether they match the original tracks but how well they work as music to listen to. Unfortunately, most re-records seem lifeless to me. And, like you, when I hear slurs or mis-notes or abberations from the originals, I notice them. However, when done well, re-records can be amazing. Kunzel's versions of El Cid, War of the Worlds, and Gunfight at the OK Corral really show what modern sound can do for older scores. Laurie Johnson's re-record of First Men in the Moon is 40 times more exciting than his original tracks.

In the case of the Twilight Zone re-record, I think the modern sound recording technology along with a laconic playing style just makes the scores sound airbrushed and spiritless.

Listening to the 50s recordings on the Silva box (according to Ford Thaxton these are re-records too made during the 50s), it's immediately noticeable that the performances are wonderful despite 50s analog recording technology. That's why I seem to prefer original tracks in general, today's orchestras and conductors just can't match the performances of the older Hollywood orchestras even if today's sound recording techniques are years advanced.

Perhaps this reflects a trend throughout the entire music industry in regards to classical recordings with orchestras---the standards have become more slack---but I haven't heard enough recordings to say that is the case. However, it certainly is the case with most (not all) of the re-records Silva does with Bateman and the Prague orchestra. These sheep-herding scum should be hung. There are others on the hit list too.

Because of people's memories and because there are original versions to consider, I believe that people who are going to re-record film music have a greater duty than to regular classical music to be as spirited and accurate as possible, not sacrificing one to the other but getting them both down together.

Film scores should be recorded with the original tracks on hand played to the orchestra and conductor before the takes so they know what to emulate and aim for. The tracks should be played to film clips just as real soundtracks are recorded to get a match for tempos and timings. The mix should conform to the original mix, the same instruments should be up front--if the original cue had the xylophones dominate, the re-record should not have them sounding like they were recorded across the street (as they do on Silva's re-record of "The Human torpedo" cue on their Bond CD). Producers should shell out the bucks to work with good conductors and orchestras and to have the recording time to work and push the takes to quality. In the end, the re-recorded takes should be of such spirit, accuracy, and performance that they could be dubbed in and replace the original takes on the film's soundtrack. Nothing else should be tolerated or else heads should roll.

So, once again, I have played the fascist curmudgeon on this subject and will finish with a Bah Humbug and bid you adieu.

NP: Around the World in 80 Days (Mini-series version by Billy Goldenberg)

P.S.
Sorry if a conductor feels offended
by this, but that's my thinking.
I understand the pressure of budjets
and time that new conductors have,
but to me the music comes first.

I understand your ambivalent feelings. Sometimes it seems like some weird psychological thing. My weirdness stems from a certain comfort just knowing he was the conductor, and at times that makes me much more forgiving than I might be towards another conductor, which fits somewhere in Marcelo's thoughts.

"In the case of the Twilight Zone re-record, I think the modern sound recording technology along with a laconic playing style just makes the scores sound airbrushed and spiritless."

As much as I'm enjoying the re-recording of Walking Distance, when I imagine the scene in my head and hear the music in my mind the original score sounds like the music came from cinematic heaven, as does the original soundtrack album; the re-recording sounds like it came out of a studio. Hope this makes sense; seems to relate to your "airbrushed" characterization. Funny how the opposite often holds true for stage-to-screen musicals. I love the stage-echo aesthetic as compared to the sound of the sterile studio mix. 1776 is a good example.

"Listening to the 50s recordings on the Silva box (according to Ford Thaxton these are re-records too made during the 50s), it's immediately noticeable that the performances are wonderful despite 50s analog recording technology. That's why I seem to prefer original tracks in general, today's orchestras and conductors just can't match the performances of the older Hollywood orchestras even if today's sound recording techniques are years advanced."

I have to tip my hat to the Swashbuckler for insisting that PERFORMANCE trumps over sound quality, a sentiment I concur with but never could find the words to express. So I steal his.

"Because of people's memories and because there are original versions to consider, I believe that people who are going to re-record film music have a greater duty than to regular classical music to be as spirited and accurate as possible, not sacrificing one to the other but getting them both down together."

Well, I erased the part about the mix and "up-front" instrumentation, but you've expressed what killed me about "The Stars." The underlying organ was way too loud and the marvelous echo of the vibraphone to the xylophone was buried! The same thing happened in "The Film" track from Where Is Everybody?; the accenting bass thrust(cello?) wasn't accenting--in glaring contrast to the original soundtrack.

"So, once again, I have played the fascist curmudgeon on this subject and will finish with a Bah Humbug and bid you adieu."

I double that Bah Humbug and raise you with an 'anyone else want a piece o' me?'.

Howard L--Thanks for giving my words consideration and offering up a reply. If I only could "have a go at 'em."

C. JERRY KUTNER SAYS: "From *Citizen Kane* to *Psycho*, Herrmann was most inspired by themes of loneliness, isolation, and alienation. Throw in a little otherworldliness, and you have quintessential Bernard Herrmann...Herrmann is the first and greatest of the minimalists. The aesthetic of that group---which includes people like Philip Glass, John Adams, Michael Nyman, and Steve Reich---is based on small ensembles and the hypnotic repetition of simple musical structures with minor variations. Which, for *The Twilight Zone*, was Herrmann's typical modus operandi."

Lazlo--Brace yourself! Not only do I like Reich, but I have the Music for 18 too! There have been re-records of decent quality that obviously haven't matched clips but treated the scores like any other piece of music. I just propose the studio scoring session technique as another way to insure things stay on the mark.

NP: Theme, Variations, and Finale Op. 13 (Miklos Rozsa)

Amen, Marcelo. You have neatly summarized in just a few words a point Mr. Kendall made in his rebuttal to an FSM letter in which he took the writer to task for trying to "exonerate" modern film composers from so much crappy output. Anyway, I'm coming to appreciate Herrmann's work on Walking Distance even more with this stereo re-recording. I mean this is an unbelievably great score when you consider it was for "nothing" but a half-hour TV show. It's the perfect example of a composer/conductor's whole-souled pride as an artist who is uncompromising in his belief that the music comes first.

I may have asked you this before, but what is your favorite out of all the TZ scores? As you know I feel Fred Steiner's "Hundred Yards" is the greatest TV score ever, but I hesitate to call it my 'favorite'. It's impossible for me EMOTIONALLY to rank either it or Walking Distance above the other.

THE INVADERS
But my first contact with this score was
through The Fugitive.
In fact I'd buyed the TZ Video
(My first one)because of this.
Of course I loved the TZ original release
but in my personal feelings it will always
be a part of The Fugitive.

WALKING DISTANCE

THE LONER

THE PASSERBY
A sad and beautiful score

AND WHEN THE SKY WAS OPENED
not my prefered Ronsenman score but one
of my prefered from him on TZ.
(My prefered one is COMBAT)

Also I love the Jazz music of Goldsmith.
It's a delight when You hear it in
Franklin! Franklin!

I could go on and on and on:
To Be Continued....