FSM # 42: The soundtrack genie gives you ONE chance!
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Let’s do this silly scenario:
You rub a magic lamp and a genie appears. He tells you that you are allowed to pick one previously unreleased score from the entire history of cinema to be released in a deluxe edition for the very first time (whichever way you define deluxe edition…for me, it does not necessarily mean complete and chronological).
However, he puts forth certain demands:
You are allowed to pick ONE and ONLY ONE score. Not two. Not three. But ONE. Also, the score can never have been released in any format whatsoever. Not CD. Not LP. Not even bootleg (as far as you’re aware). No theme on a compilation somewhere. NOT A SINGLE NOTE can ever have been released anywhere (outside the actual movie). And yes, that disqualifies expanded releases.
If you do not abide by these demands, you are swept off the face of the earth. Gone forever.
Now, which score would you choose?
I was apparently very strict with my demands there in 2003. Because while Williams’ STORIA DI UNA DONNA would be my no. 1 pick, I’m not sure it would qualify, since the theme song was released on an LP single, and it DOES have a bootleg (containing poor-sounding audio rips).
I would take out bootlegs, especially those bad ones. But STORIA DI UNA DONNA is really disqualfied due to the song. Unless that is a single version not appearing in the movie itself maybe 😉 So I guess SECRET WAYS would qualify? Weirdly I have to think hard what else could qualify although there should be so so many…
Do rejected scores qualify, too?
Then I might ask for Howard Shore’s KING KONG or Alexandre Desplat’s ROGUE ONE.Do rejected scores qualify, too?
Then I might ask for Howard Shore’s KING KONG or Alexandre Desplat’s ROGUE ONE.You picked TWO! According to the rules, you are now deleted into oblivion.
I am undecided which one. Ok. If I am just allowed to pick one, I take KK. Even though traces of it were reused by Shore on his album “A Palace Upon the Ruins”.
So, probably I am deleted anyway.
You managed just in time!
I wasn’t aware he reused KING KONG for A PALACE UPON THE RUINS. I have the latter work, and quite like it.
I wasn’t aware he reused KING KONG for A PALCE UPON THE RUINS. I have the latter work, and quite like it.
Didn’t know that as well and always wondered if anything ended up somewhere. Haven’t heard that score.
Didn’t know that as well and always wondered if anything ended up somewhere. Haven’t heard that score.
It’s not a score. More a collection of concert works. Main part is a song cycle.
It’s not a score. More a collection of concert works. Main part is a song cycle.
Ah, okay. But that “has” a score 😉
My number one WANT is also Story Of A Woman by John Williams, but apart from the 45′ single, BSX included the theme on one of those piano renditions CDs for John Williams. So that rules that one out.
So, it would have to be Aspen Extreme by Michael Convertino. Incredible score.
Or Volunteers by James Horner 😉Er… dear genie… “If you do not abide by these demands, you are swept off the face of the earth. Gone forever.”
Not sure I’ll take the risk, as I’ve never done the research to know about what tracks or parts have appeared on any compilation. Certainly not bootlegs, as there are innumerable.
But my one pick would be and has been for a while:
Maurice Jarre: 5 Card Stud.I’m not aware of any release ever anywhere of this score or tracks… even though it features a Maurice Jarre composed Dean Martin song. But if that’s ever been released anywhere, I’m certainly not aware of it.
Of course I would embrace STORY OF A WOMAN, too. But if you asked me if I prefered the original recording being published or some kind of nostalgic suite of it written by Williams for the concert hall, maybe even with Anna-Sophie or Yo-Yo on their solo instrument I probably prefered the latter option. I simply believe, I would rather listen to a concert suite more often. The original score I would probably listen to once to get notice. And from then on it might just collect dust on my shelf.
Of course I’d be happy to have it. But I doubt it became an evergreen.Yes, the original rules were way too strict. Both you and Kev would have been deleted into oblivion by the genie, by choosing two titles. And it makes no sense to include bootlegs. But I remember I chose those strict rules because I wanted to avoid people submitting long “holy grail” lists whenever topics like these popped up. Well, still do, in fact.
A symphonic suite of STORY OF A WOMAN would be nice, but the score is nice enough in itself, and performed admirably, to sustain its own album. Williams doesn’t agree, but – to be a little brutal about it – maybe some doors open up once he’s dead. But yes, it had that LP single.
If I can choose something else, it would be Williams’ “Symphony No. 1”.
If I can choose something else, it would be Williams’ “Symphony No. 1”.
Was that ever recorded or even performed actually?
It was performed. First in the UK (Liverpool, was it?) in the 60s or 70s, and then in Houston, Texas in the 80s (Previn conducting). But never recorded. At one point in time, one could hire the score sheets, for those who can read notes, but I don’t think it’s available there anymore.
By the way, similarly to STORY OF A WOMAN, another big wish for me would be a box of Williams’ work on ALCOA PREMIERE THEATRE. But a re-recorded version of the theme was released, so according to those rules by a strict 2003 Thor, it wouldn’t qualify.
So I guess that leaves the symphony.
Did he withdraw the symphony actually? Weird that otherwise no one ever recorded it.
There was a recording of the ALOCA theme?
Yes, he took Herrmann’s criticism to heart, and never revised it or recorded it. Took it personally, I guess.
ALCOA was recorded on this album (merely called “Premier”).
Nobody knows, exactly. The specifics aren’t even in Greiving’s book, as far as I remember. But it was Herrmann who urged him to write it, and after the premiere, he had some critical remarks that Williams took hard.
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