Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt
swashbuckler332

  • Location:
  • Mood:
  • Music:

On Dangerous Ground

I went to lunch with Russ and Leah yesterday. It was pointed out to me that I was apparently obsessed with putting music on the iPod. I couldn't really deny it; I've been dumping music on this thing ever since I bought it... this basically amounts to going through much of my music collection. Now, I have a very large collection, and so there are large chunks of it that I haven't been through in a while, leading to a lot of pleasant rediscoveries, such as the Morgan/Stromberg Adolph Deutsch album, Mozart's Sinfonia Concertante K.364, David Arnold's score for the 2000 Shaft, Miles Davis' Miles Smiles... the list goes on... and I still have 90 some odd gigs left free.


One of the things the larger hard drive size has allowed me to do for the first time is preserve multiple versions of the same score. In the past, I've tended to rely either on my favored version or some combination of a score and its album. Now, however, I don't have to choose between them when loading them onto the iPod, but have the choice available to me anywhere. There are some albums which are vastly different recordings from what appear in the films. One is not necessarily better than the other, and though I might have a listening preference, I am not bound to it simply because of available space, and both have their virtues.

Comparison between the two versions of Jerry Goldsmith's Capricorn One are not only interesting from the point of view of how he re-interpreted the score for album, but how the different orchestrations on the latter were emblematic of the overall, more lushly orchestrated sound of the next stage of Goldsmith's career. Similarly, the original Lord of the Rings albums often contain different takes and alternative versions to what appear on the Complete Recordings (including the "Prologue," which is now revealed to be made up of thematic material that is focused on in Return of the King one of my favorite pieces of music in the trilogy, the opening of "The Great River" from The Fellowship of the Ring which appeared in the theatrical but not extended cut of the first film).

This also extends to a few John Williams albums vs. scores as well, the most prominent of these, of course, being E.T.. But I've also always enjoyed the original Jaws album as well as The Fury before their respective original score tracks were released. I haven't done this in the cases where scores have been expanded as much. While I enjoy having both versions of The Wind and the Lion on disc, I found once the novelty of the album remaster had subsided that I basically just listen to the complete score version. Similarly, including the original Alien LP would just be redundant. And I still prefer the cooler original LP recording of Lalo Schifrin's Bullitt to the slicker Aleph recording, for example.

Oh... and I should mention since it came up that anybody who questions why I was so stringent with respect to what characters are displayed on the car stereo, one of my favorite composers is Doctor Miklós Rózsa, and I'm not interested in his name coming up as "R_ZSA, MIKL_S" every time a score of his comes up, which is what a lot of models I previewed did.

I've really been enjoying the new McNeely recording of North by Northwest. I see that Bernard Herrmann has made Acid Logic's list of Interesting Motherfuckers.


WORK SAFE
Tags: alfred hitchcock, bernard herrmann, cinema, film music, howard shore, irobby, jerry goldsmith, john williams, lord of the rings, miklós rózsa, miles davis, movie moments
Subscribe
  • Post a new comment

    Error

    Comments allowed for friends only

    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

    Your IP address will be recorded 

  • 24 comments