Label Threads The Official Intrada Thread

[JTN 2,262]

On 9/3/2024 at 9:54 PM, Faleel said:

Forgot about Inchon...

Everybody did, since Intrada already released it in 2020. 

[Jurassic Shark 12,253]

That's so long ago. It needs a re-release. 

[Smaug The Iron 519]

https://www.facebook.com/share/p/KEFcHzMraNq5LuFG/

Quote

Coming to CD and digitally 4/16.

 

[JNHFan2000 2,997]

Finally!

Let's hear what all the fuss is about

[Edmilson 7,657]

Yes! 

[Jay 37,555]

Roger says

 

Intrada sound samples will be back up soon. Always planned to have them but they’ve been delayed.

 

https://filmscoremonthly.com/board/posts.cfm?threadID=156698&forumID=1&archive=0

[Holko 9,624]

What?

 

Good I guess, but what?

[Jay 37,555]

Intrada's next release is Night Passage by Dimitri Tiomkin

 

Coming May 14th.

 

 

https://www.facebook.com/groups/95015405220/posts/10168978403075221

[Chewy 2,419]

Still waiting for the JW release!

[Edmilson 7,657]

Which will hopefully be The Patriot 

[Dr. Rick 1,158]

yeah it's been 5 months since the last JW release, getting anxious!

[filmmusic 1,911]

23 minutes ago, Edmilson said:

Which will hopefully be The Patriot

Prefer Nixon myself.

 

[Yavar Moradi 2,653]

That's a super cool cover from Intrada! And I hope it portends even more 50s premieres from Universal Studios (I think this may be the first).

 

Yavar

[GerateWohl 4,498]

Anybody else can't get into Tiomkin's music? I like Dial M For Murder. But apart from that never heard anything catching my attention. Most boring of the Charles Gerhardt albums.

 

[Holko 9,624]

52 minutes ago, Yavar Moradi said:

That's a super cool cover from Intrada!

I'm trying hard but not noticing anything bad! Even the font isn't their usual overused unfitting one!

[Jurassic Shark 12,253]

27 minutes ago, GerateWohl said:

Anybody else can't get into Tiomkin's music? I like Dial M For Murder. But apart from that never heard anything catching my attention. Most boring of the Charles Gerhardt albums.

 

 

I mostly agree, but there's exceptions such as The Guns of Navarone, The Three Musketeers, and Red River. 

[Faleel 5,459]

21 minutes ago, Holko said:

I'm trying hard but not noticing anything bad! Even the font isn't their usual overused unfitting one!

Maybe someone stepped in on this one?

[Tydirium 1,168]

44 minutes ago, GerateWohl said:

Anybody else can't get into Tiomkin's music? I like Dial M For Murder. But apart from that never heard anything catching my attention. Most boring of the Charles Gerhardt albums.

 

 

He has his moments, and I’m sure if I spend more time with his music I’ll make some discoveries… but I must agree with you about the Gerhardt thing. When I first listened through that series, the Tiomkin album was the only one that didn’t really leave a big impression on me.

[Yavar Moradi 2,653]

1 hour ago, GerateWohl said:

Anybody else can't get into Tiomkin's music?

 

Heh. Me. That's why I focused my positive energy on other subjects.  But I'll still listen to the sound clips. I admit I do enjoy his Gunfight at the O.K. Corral. My other favorites are probably 36 Hours, The Alamo, and The Fall of the Roman Empire (thanks to Tadlow/Prometheus for winning me over to that one, even though I still don't think he's even remotely in Rozsa's league). The Old Man and the Sea is pretty good too.

 

High Noon has *one* really good cue in it (the one building up to the titular hour), but the rest of the score I think actively distracts in the movie. Here's a great podcast explaining why it really doesn't work:

https://www.settlingthescorepodcast.com/17-high-noon/

 

Dial M for Murder is just okay, for me. I was a Kickstarter backer for the Intrada rerecording just because I wanted more such recordings to happen, but I honestly never play the disc. I'll easily take it over the horrible Shadow of a Doubt, though, which largely ruins that movie for me by being so overdone and awkwardly clunky. In general I think Tiomkin gives the Golden Age a bad reputation, due to how overbearing and unsubtle his music tends to be. (Steiner is usually in that boat for me too, but he could write a really good theme.)

 

Yavar

[JTN 2,262]

1 hour ago, Faleel said:

Maybe someone stepped in on this one?

My three guesses are:

1. Jim Titus

2. Dan Goldwasser

3. Holko (but he denies it)

[Steffromuk 449]

19 minutes ago, JTN said:

My three guesses are:

1. Jim Titus

2. Dan Goldwasser

3. Holko (but he denies it)

I was the lucky number 4 on this one 😉

[filmmusic 1,911]

deleted

[Holko 9,624]

5 hours ago, JTN said:

3. Holko (but he denies it)

Lol then you haven't seen the things I throw together

[JTN 2,262]

3 hours ago, Holko said:

Lol then you haven't seen the things I throw together

See? I knew you would deny it.

[Romão 2,276]

12 hours ago, Yavar Moradi said:

 

Heh. Me. That's why I focused my positive energy on other subjects.  But I'll still listen to the sound clips. I admit I do enjoy his Gunfight at the O.K. Corral. My other favorites are probably 36 Hours, The Alamo, and The Fall of the Roman Empire (thanks to Tadlow/Prometheus for winning me over to that one, even though I still don't think he's even remotely in Rozsa's league). The Old Man and the Sea is pretty good too.

 

High Noon has *one* really good cue in it (the one building up to the titular hour), but the rest of the score I think actively distracts in the movie. Here's a great podcast explaining why it really doesn't work:

https://www.settlingthescorepodcast.com/17-high-noon/

 

Dial M for Murder is just okay, for me. I was a Kickstarter backer for the Intrada rerecording just because I wanted more such recordings to happen, but I honestly never play the disc. I'll easily take it over the horrible Shadow of a Doubt, though, which largely ruins that movie for me by being so overdone and awkwardly clunky. In general I think Tiomkin gives the Golden Age a bad reputation, due to how overbearing and unsubtle his music tends to be. (Steiner is usually in that boat for me too, but he could write a really good theme.)

 

Yavar

 

 

I mostly agree with everything you wrote, though I would confess a certain weakness  for two of the really long tracks from Land of the Pharaohs, regardless of how undoubtedly overdone they are:

 

 

Plus Song of the Builders, of which I can only find an excerpt on Youtube:

 

 

[Jurassic Shark 12,253]

13 hours ago, Yavar Moradi said:

Dial M for Murder is just okay, for me. I was a Kickstarter backer for the Intrada rerecording just because I wanted more such recordings to happen, but I honestly never play the disc. I'll easily take it over the horrible Shadow of a Doubt, though, which largely ruins that movie for me by being so overdone and awkwardly clunky. In general I think Tiomkin gives the Golden Age a bad reputation, due to how overbearing and unsubtle his music tends to be. (Steiner is usually in that boat for me too, but he could write a really good theme.)

 

Perhaps you're just not that into the musical aesthetics of the golden age period. 

[Richard Penna 3,783]

I'd agree actually - I find many golden age scores far too overbearing in context for my tastes - a huge orchestral overture or crescendo when not an awful lot is happening on screen.

 

I found that with a few clips of The Godfather and with many dialogue clips from the 50s/60s - the music feels like it's doing too much in the scene.

 

Partly taste, partly changing musical fashions.

[JTN 2,262]

Golden age scores are much closer to Classical Music than silver age and modern day filmmusic. Many of the GA film composers started out as classical composers, so their compositions can be enjoyed as classical music as well as filmmusic. 

[Richard Penna 3,783]

13 hours ago, Yavar Moradi said:

High Noon has *one* really good cue in it (the one building up to the titular hour), but the rest of the score I think actively distracts in the movie. Here's a great podcast explaining why it really doesn't work:

https://www.settlingthescorepodcast.com/17-high-noon/

 

I saw the movie years ago and don't remember anything particularly distrating, but I picked up the album that someone put out and long term it's largely failed to maintain my interest outside of the great main theme.

[Yavar Moradi 2,653]

9 hours ago, Romão said:

I mostly agree with everything you wrote, though I would confess a certain weakness  for two of the really long tracks from Land of the Pharaohs, regardless of how undoubtedly overdone they are:

Okay, I admit I also enjoy Land of the Pharaohs as sort of a guilty pleasure.  

 

9 hours ago, Jurassic Shark said:

Perhaps you're just not that into the musical aesthetics of the golden age period. 

Nope! I adore the Golden Age and have explored it a great deal. I own almost every FSM Golden Age Classics album. I consistently love the work of Miklos Rozsa, Alfred Newman, Roy Webb, Franz Waxman, Hugo Friedhofer, Bernard Herrmann, George Duning, David Raksin, Ernest Gold, Sol Kaplan, Bronislau Kaper, and many others.

 

I just don’t care for a lot of Tiomkin or Steiner. Dislike most Stothart (but Dragon Seed is excellent… I wonder who wrote it for him, lol!) and I’m kinda mixed on Victor Young.

 

Yavar

[Faleel 5,459]

2 hours ago, Yavar Moradi said:

 

 Dislike most Stothart (but Dragon Seed is excellent… I wonder who wrote it for him, lol!).

 

Yavar

"His" Oz is iconic though.

 

You also missed Elmer

[Stark 343]

3 hours ago, Yavar Moradi said:

Okay, I admit I also enjoy Land of the Pharaohs as sort of a guilty pleasure.  

 

Nope! I adore the Golden Age and have explored it a great deal. I own almost every FSM Goldem Age Classics album. I consistently love the work of Miklos Rozsa, Alfred Newman, Roy Webb, Franz Waxman, Hugo Friedhofer, Bernard Herrmann, George Duning, David Raksin, Ernest Gold, Sol Kaplan, Bronislau Kaper, and many others.

 

I just don’t care for a lot of Tiomkin or Steiner. Dislike most Stothart (but Dragon Seed is excellent… I wonder who wrote it for him, lol!) and I’m kinda mixed on Victor Young.

 

Yavar

I feel similarly, I like the majority of these golden age composers (especially Rozsa and Kaper), but there’s a few who don’t click, like Tiomkin and (forgive me) Herrmann.

[Tallguy 3,547]

41 minutes ago, Stark said:

and (forgive me) Herrmann.

 

Mmmmmmaybe... Dude, not even North by Northwest?

[JTN 2,262]

Or PSYCHO.

[Yavar Moradi 2,653]

3 hours ago, Faleel said:

"His" Oz is iconic though.

I like some of the songs like “Over the Rainbow” written by others, but I hate his score. That Wicked Witch motif in particular is sooo obnoxious it haunts my nightmares. And as a classical music fan, I can somehow handle 95% of James Horner’s classical lifts and still enjoy his scoring, but when Stothart helps himself to the classics I just hate it every time.

 

3 hours ago, Faleel said:

You also missed Elmer

I debated whether to include him as a Golden Age composer. A few of his scores like The Buccaneer and The Ten Commandments are clearly Golden Age and he did start his film music career in 1951, but the bulk of his output was Silver Age, into the Bronze/Modern Age (his final original score was for a 2004 documentary film!) I see him more as a contemporary of Jerry Goldsmith and John Williams than I do the other Golden Agers I listed. Jerry Goldsmith’s first feature film score Black Patch was 1957 and Williams did Daddy-O in 1958… so do both of them count as Golden Agers too? Jerry’s 1958 score Face of a Fugitive has some elements which sound very Golden Age, and maybe the gorgeous central theme in Black Patch would qualify as Golden Age in sound too, even though much of that score is more spare/gritty and Silver Age-sounding…

… I do feel bad for leaving off Andre Previn though. He’s another favorite.

 

2 hours ago, Stark said:

I feel similarly, I like the majority of these golden age composers (especially Rozsa and Kaper), but there’s a few who don’t click, like Tiomkin and (forgive me) Herrmann.

 

Hey, Herrmann’s not for everyone. Do you not even like his more melodic/romantic work like The Ghost and Mrs. Muir?

 

Yavar

[JTN 2,262]

Or THE DAY THE EARTH STOOD STILL. That score is really hummable. 

[Tallguy 3,547]

31 minutes ago, Yavar Moradi said:

Do you not even like his more melodic/romantic work like The Ghost and Mrs. Muir?

 

As a casual Hermann fan (the scores I like I like A LOT) I was always told this was his masterpiece and I bought it. I just couldn't get into it. Maybe I'll go back sometime.

[ThePenitentMan1 809]

1 hour ago, JTN said:

Or THE DAY THE EARTH STOOD STILL. That score is really hummable. 

 

I remember watching the film for the first time thinking "Hey, Lost In Space used this music!"

[JTN 2,262]

And ED WOOD.

[Tom Guernsey 2,331]

I have to admit that I find Tiomkin hard going as well. It’s often so busy and relentless, even from an era when scores were pretty busy his stuff is especially relentless. He's certainly not a composer I often think to dig out and listen to. Having said that, I really like his Old Man and the Sea score although the fact that it’s a bit more understated probably helps. Bruce Broughton wrote an equally terrific score for a much later version. 

[JTN 2,262]

24 minutes ago, Tom Guernsey said:

Bruce Broughton wrote an equally terrific score for a much later version. 

Thanks, will check it out.

[Stark 343]

16 hours ago, Yavar Moradi said:

I like some of the songs like “Over the Rainbow” written by others, but I hate his score. That Wicked Witch motif in particular is sooo obnoxious it haunts my nightmares. And as a classical music fan, I can somehow handle 95% of James Horner’s classical lifts and still enjoy his scoring, but when Stothart helps himself to the classics I just hate it every time.

 

I debated whether to include him as a Golden Age composer. A few of his scores like The Buccaneer and The Ten Commandments are clearly Golden Age and he did start his film music career in 1951, but the bulk of his output was Silver Age, into the Bronze/Modern Age (his final original score was for a 2004 documentary film!) I see him more as a contemporary of Jerry Goldsmith and John Williams than I do the other Golden Agers I listed. Jerry Goldsmith’s first feature film score Black Patch was 1957 and Williams did Daddy-O in 1958… so do both of them count as Golden Agers too? Jerry’s 1958 score Face of a Fugitive has some elements which sound very Golden Age, and maybe the gorgeous central theme in Black Patch would qualify as Golden Age in sound too, even though much of that score is more spare/gritty and Silver Age-sounding…

… I do feel bad for leaving off Andre Previn though. He’s another favorite.

 

 

Hey, Herrmann’s not for everyone. Do you not even like his more melodic/romantic work like The Ghost and Mrs. Muir?

 

Yavar

I do like a few Herrmann and this is one of them.

[Jay 37,555]

 

[Yavar Moradi 2,653]

Joe Sikoryak is knocking it out of the park with these cool new series of Soundtrack Album Trailers for Intrada.

 

8 hours ago, Stark said:

I do like a few Herrmann and this is one of them.

 

What are the others you like? Was I right that you tend towards his more melodic side, or are there other reasons you connect with Ghost and Mrs. Muir? This is one of his most beautiful melodies of all, IMO:

 

Of course on that score he was working off of a sound world established by his esteemed colleague Alfred Newman before him. But I think Herrmann did some incredible work to finish that great score.

 

Yavar

 

[Stark 343]

1 minute ago, Yavar Moradi said:

Joe Sikoryak is knocking it out of the park with these cool new series of Soundtrack Album Trailers for Intrada.

 

 

What are the others you like? Was I right that you tend towards his more melodic side, or are there other reasons you connect with Ghost and Mrs. Muir? This is one of his most beautiful melodies of all, IMO:

 

Of course on that score he was working off of a sound world established by his esteemed colleague Alfred Newman before him. But I think Herrmann did some incredible work to finish that great score.

 

Yavar

 

You’re completely right, and Egyptian is another score of his that I like (to an extant). I believe Marnie was another.

[Yavar Moradi 2,653]

I'm still a bit cold on Marnie I must admit, but that may have to do with my strong dislike of the film itself. Maybe I'll warm up to it some day.

 

My favorite Herrmann is Mysterious Island, which might have a bit too much crash-bang for your tastes... it does have some really lovely cues as well, though. I imagine you might really like "Walking Distance" from The Twilight Zone, and Fahrenheit 451, apart from the abrasive Fire Engine motif?

 

Yavar

[Stark 343]

I’ll need to listen to his Twilight Zone, I’ve only listened to the Goldsmith score and some of the 90’s version.

[Yavar Moradi 2,653]

Here's the theme he wrote for the series (Joel McNeely re-recording):

 

Here's my favorite score he wrote for the series, "Walking Distance" (William Stromberg re-recording):

 

He wrote a lot of other good scores for the series too. There's been a lot of good music written for multiple incarnations of The Twilight Zone, over the years.

 

Yavar

[Jay 37,555]

Roger says

 

Intrada Announces:
NIGHT PASSAGE
Composed and Conducted by DIMITRI TIOMKIN
INTRADA ISC 507

Intrada announces the premiere release of the 1958 Universal Pictures western Night Passage. Composer Dimitri Tiomkin was famous for his westerns, including such classics as High Noon, Gunfight at the OK Corral, Red River and Rio Bravo. Until now, very little of his score to Night Passage has been released. Here, Tiomkin displays his legendary talent for scoring the genre, including exciting action passages, broad sweeping themes and two songs written with lyricist Ned Washington: “Follow The River” is a soulful ballad, sweeping and wide, and “You Can’t Get Far Without A Railroad” is a folksy, comic song that a vaudevillian might have called a “novelty number.” Stewart, with his rustic, untrained baritone, performs both in the film (as can be heard in the Extras on this disc).
The CD was produced by Chris Malone using the original mono session masters stored in pristine condition at Universal. The score runs 52 minutes with an additional 24 minutes of extras.

In the film, James Stewart plays Grant McLaine, a onetime “trouble shooter” for railroad boss Ben Kimball (Jay C. Flippen). McLaine is now a vagabond who earns his supper playing the accordion and singing. Amid encounters with two old flames, Charlie (Dianne Foster) and Verna (Elaine Stewart), who is now Kimball’s wife, he learns that the railroad payroll has twice been stolen by an outlaw gang led by Whitey Harbin (Dan Duryea) and that among the gang is The Utica Kid (Audie Murphy), whose personal history with McLaine is what led to the latter’s fall from grace. Kimball offers McLaine a shot at redemption if he will safeguard the payroll as it travels by train to the end of the line.

INTRADA ISC 507
Retail Price: $22.99
Bar Code: 7 20258 55070 5
Starts shipping 5/14/2024
For track listing and sound samples, please visit the Night Passage Soundtrack Page at https://store.intrada.com/s.nl/it.A/id.12996/.f

 

https://www.facebook.com/groups/95015405220/posts/10168986309080221

 

Doug says

Dimitri Tiomkin
Label: Intrada Special Collection Volume ISC 507
Film Date: 1957
Album Date: 2024
Time: 75:55
Tracks: 28
Price: $22.99

 

Intrada announces the premiere release of the 1957 Universal Pictures western Night Passage. Composer Dimitri Tiomkin was famous for his westerns, including such classics as High Noon, Gunfight at the OK Corral, Red River and Rio Bravo. Until now, very little of his score to Night Passage has been released. Here, Tiomkin displays his legendary talent for scoring the genre, including exciting action passages, broad sweeping themes and two songs written with lyricist Ned Washington: “Follow The River” is a soulful ballad, sweeping and wide, and “You Can’t Get Far Without A Railroad” is a folksy, comic song that a vaudevillian might have called a “novelty number.” Stewart, with his rustic, untrained baritone, performs both in the film (as can be heard in the Extras on this disc).

 

The CD was produced by Chris Malone using the original mono session masters stored in pristine condition at Universal. The score runs 52 minutes wiht an additional 24 minutes of extras.

 

In the film, James Stewart plays Grant McLaine, a onetime “trouble shooter” for railroad boss Ben Kimball (Jay C. Flippen). McLaine is now a vagabond who earns his supper playing the accordion and singing. Amid encounters with two old flames, Charlie (Dianne Foster) and Verna (Elaine Stewart), who is now Kimball’s wife, he learns that the railroad payroll has twice been stolen by an outlaw gang led by Whitey Harbin (Dan Duryea) and that among the gang is The Utica Kid (Audie Murphy), whose personal history with McLaine is what led to the latter’s fall from grace. Kimball offers McLaine a shot at redemption if he will safeguard the payroll as it travels by train to the end of the line.

 

01. Main Title (Follow The River) (2:34)
02. Short Cut / Bully, Bully (2:13)
03. Four Bits A Night (1:22)
04. You Belong To The Railroad (3:04)
05. The Bargain (2:26)
06. Risky Ride (1:41)
07. Follow The River (3:12)
08. Train A-Winding/What’ll It Be? (1:33)
09. Tanked (3:33)
10. In The Box/Do It Yourself Kid (2:09)
11. Coming To (2:16)
12. Railroaded/Charlie My Girl (2:57)
13. Looking For Trouble (3:35)
14. Fast Gun/For Joey’s Sake/Marry Me Now (7:42)
15. Pursued/Mill Town (3:42)
16. Flying Bullets/Sure As Shootin’ Part 1 (3:13)
17. Sure As Shootin’ Part 2/Count Your Bullets (4:00)
18. End Title (Follow The River) (0:56)
Total Score Time: 52:26
    

THE EXTRAS
19. Follow The River (Vocal) (2:29)
20. You Can’t Get Far Without A Railroad (Vocal) (3:53)
21. Take 203 – Follow The River (0:37)
22. Take 154 (3:55)
23. Sweet Betsy From Pike/Follow The River (1:43)
24. Follow The River (Film Version) (Vocal James Stewart) (4:08)
25. Follow The River – Scene With Joey (Vocal James Stewart) (1:50)
26. You Can’t Get Far Without A Railroad I (Vocal James Stewart) (3:11)
27. You Can’t Get Far Without A Railroad II (Vocal James Stewart) (0:35)
28. You Can’t Get Far Without A Railroad III (Vocal James Stewart) (0:49)
Total Extras Time: 23:29
Total CD Time: 75:55

 

https://store.intrada.com/s.nl/it.A/id.12996/.f

 

 

 

 

[JTN 2,262]

Cool covers.