Salter and Skinner: Mystery and Horror. Marco Polo 8.225124.
Salter and Skinner: Mystery and Horror. Marco Polo Marco Polo: see Polo, Marco. 8.225124.
Marco Polo continue their merry way with the reconstruction and recording of old film scores. They seem to be about the only ones interested in preserving this near-ancient musical art form, so we wish them well. Both discs reviewed here contain compositions that were re-orchestrated by John Morgan John Morgan is a common name, especially in Wales, UK. Well-known people with this name include: Per profession
The second disc, though, containing music from Cat People (1942), Bedlam Bedlam: see Bethlem Royal Hospital.
from Hospital of St. Mary of Bethlehem, former English insane asylum. [Br. Folklore: Jobes, 193]
See : Confusion
(Hospital of St. (1946), The Seventh Victim (1943), The Body Snatcher (1945), and I Walked With a Zombie A computer that has been covertly taken over in order to perform some nefarious task. It is estimated that millions of PCs around the world have been compromised and, under the control of a third party, routinely transmit messages unbeknownst to the user. (1943), may be very much worth your interest. This was music composed by a much under-appreciated Roy Webb, who also did the scores for such notable flicks as The Hunchback hunchback, abnormal outward curvature of the spine in the thoracic region. It is also known as kyphosis and humpback, and in its severe form a noticeable hump is evident on the back. of Notre Dame (1939), Notorious (1946), Murder, My Sweet (1944), The Spiral Staircase (1946), and Bringing Up Baby Bringing Up Baby, starring Katharine Hepburn and Cary Grant, is a 1938 screwball comedy telling the story of a scientist winding up in various predicaments involving a woman with a unique sense of logic and a leopard named Baby. (1938). His music presented on this disc has genuine mystery, suspense, and tension about it, creating some wonderful background atmosphere for these memorable, low-key Val Lewton horror films. Cat People, in particular, is memorable background scoring, mysterious and eerie and not a little surreal.
The sound of both discs is the same as far as I could tell. They were recorded in May of 1999 in the Concert Hall of the Slovak Radio, Bratislava, under the direction of William T. Stromberg. The sonics are clean and well defined, well focused, with reasonably wide frequency and dynamic ranges, good left-to-right stereo spread, and acceptable depth. A natural hall resonance provides a touch of realism while slightly diminishing the recordings' overall transparency. It's quite an acceptable aural picture, nonetheless.