Volume 8, Number 8 Original Music for Movies &

Rock On! pg. 10 Love thEBoob TUBE Cool new music for , Boomtown, , Carnivàle, Penn & Teller’s B.S. FSM picks 100+ great great TTV themes plus Indiana Jones JO ’’ FOR FORTUNE an and GLORY on DVD WORKING WORKING WITH A CD Reviews A ALL THE L LATEST

$4.95 U.S. • $5.95 Canada

CONTENTS SEPTEMBER 2003

DEPARTMENTS COVER STORY

2 Editorial 20 We Love the Boob Tube The Man From F.S.M. Video store geeks shouldn’t have all the fun; that’s why we decided to gather the staff picks for our by-no- 4 News means-complete list of favorite TV themes. Music Swappers, the By the FSM staff Emmys and more. 5 24 Still Kicking Round-up Think there’s no more good music being written for tele- What’s on the way. vision? Think again. We talk to five who are 5 Now Playing taking on tough deadlines and tight budgets, and still The Man in the hat. Movies and CDs in coming up with interesting scores. 12 release. By Jeff Bond 7 Upcoming Film Assignments 24 Alias Who’s writing what 25 Penn & Teller’s Bullshit! for whom. 8 The Shopping List 27 Malcolm in the Middle Recent releases worth a second look. 28 Carnivale & Monk 8 Pukas 29 Boomtown The Appleseed Saga, Part 1. FEATURES 9 Mail Bag The Last Bond 12 Fortune and Glory Letter Ever. The man in the hat is back—the Indiana Jones trilogy has been issued on DVD! To commemorate this event, we’re 24 The girl in the blue dress. 11 Downbeat presenting an exhaustive analysis of the score to Indiana School of Rock. Jones and the Temple of Doom, complete with musical exam- ples and a discography. 29 Score By John Takis The latest CD reviews, including S.W.A.T., The 46 On Leathern Wings and Shiny Discs League of Extraordinary Writer/director Matthew Robbins talks about the scoring Gentlemen and Terminator process of his films Dragonslayer (released this 3: Rise of the Machines. month on DVD) and *. By Dennis Schmidt

36 FSM Marketplace

46 The dragon in the cave.

ON THE COVER: TV TUNES!

Film Score Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 SEPTEMBER 2003 EDITORIAL

The Man From F.S.M. VOLUME 8 Your humble editor chimes with his favorite TV tunes. NUMBER 8

EDITORIAL STAFF his month you can read about the movies are mass-blasted to the entire world Editor & Publisher favorite TV themes of everyone on for a single weekend, while TV shows have to LUKAS KENDALL T the staff—except me. I have a few be good in order to stand out of the “vast Executive Editor psychological defects and one of them is the wasteland” of 500 channels. JONATHAN Z. KAPLAN inability to do anything halfway. Ask me to Armed with TiVo, I watch a fair number of Managing Editor make a list of my favorite TV themes and you current series: , Six Feet Under, The TIM CURRAN might ask well ask me to list my favorite rel- Wire—essentially, everything HBO—plus The Design Director atives, or the favorite things I have ever eaten Shield, (at least, I used to) and JOE SIKORYAK in my life—it’s that big a production. Law and Order: Criminal Intent. You could say I Supervising Content Consultant The reality is, I love have an interest in criminal justice, and it was AL KAPLAN TV themes. I have on pretty solidly reinvented for the tube some Editor-at-Large JEFF BOND numerous occasions time ago by and Law & Order in Copyeditor popped in all seven of particular. (Laws, not fisticuffs, now beat the STEVE GILMARTIN those TeeVee Toons bad guys.) Professional Listmaker albums (bad sound The only debit is that virtually none of SCOTT BETTENCOURT quality and all) and these modern-day shows have music! They Contributing Writers scanned them with have themes, but there’s an inverse relation- STEPHEN ARMSTRONG glee, stopping only ship between the quality of the show and the LUKE GOLJAN when they got to inane use of underscore—to the point where The ANDREW GRANADE themes of the Shield, The Wire and The Sopranos have no origi- STEVEN GREAVES ’90s. Some of my nal music at all. And their themes reflect a MARK GRIFFIN favorite obscure themes: John Parker’s twin world where rock and roll and not symphon- STEVEN A. KENNEDY NICK JOY opuses of Trapper John, M.D. and CHiPs ic music—or even —is the dominant idiom. DARREN MACDONALD (although the second-season But that’s a whole ’nother editorial. DENNIS SCHMIDT arrangement of the latter is better); Pat JOHN TAKIS Williams’ jazz violin theme for The Days and On a related note, allow me to direct your IAN D. THOMAS Nights of Molly Dodd (for which I would stay up attention to this month’s Silver Age CD CARY WONG late just for the theme); and a whole bunch of release, The Man From U.N.C.L.E.—Volume 2. It’s cartoon stuff. There was a time in the our first CD “sequel” and we’re pleased to BUSINESS STAFF when I had an action-adventure show to bring it to you. It’s true that Volume 1 was our Editorial & Subscriptions watch on every night of the week: The A-Team, best-selling release of 2002, but mainly, pro- 8503 Washington Blvd , The Dukes of Hazzard—ah, such driv- ducer Jon Burlingame ran out of room on the Culver City, CA 90232 el—and Saturday morning was meant for TV first album. So we now bring you two more PH. 310-253-9595 and TV alone. discs of the jazziest, most creative series scor- FAX 310-253-9588 Twenty years later, I haven’t stopped ing of all time—by a handful of names very E-MAIL [email protected] watching TV. In fact, I watch it more nowa- familiar to TV tune aficianados. If only some- Sales & Marketing Manager days than I go to see movies. (I see so many one could hire that roster for the current sea- BOB HEBERT movies producing our CD series that it spoils son of shows... 8503 Washington Blvd my appetite.) But TV has grown up, too. In Culver City, CA 90232 the last 30 years, TV and movies have PH. 323-962-6077 switched roles: It used to be that movies had FAX 310-253-9588 Sales Associate to be good because they were released slow- DYLAN MAULUCCI ly and relied upon word of mouth to build Supervising Mail Order Handler awareness. TV, on the other hand, was con- Lukas Kendall, Editor-in-Chief MAILMAN AL trolled by three networks, and nothing had to Our Website be good because the audience was held PS: If you’re looking for TV themes that you can’t find Is updated five times weekly! hostage. (A friend of mine explained why anywhere else, check out SoundAmerica.com. The site’s Point your browser at: made-for-TV movies are no good: They don’t a bit finnicky, but the audio files are okay and you won’t WWW.FILMSCOREMONTHLY.COM have to be. By the time anyone figures out it be disappointed by the selection, that’s for sure. © 2003 Vineyard Haven LLC. stinks, they’ve got the rating.) Nowadays, http://soundamerica.com/sounds/themes/Television/

SEPTEMBER 2003 2 FILM SCORE MONTHLY

NOW PLAYING RECORD LABEL ROUND-UP THE SHOPPING LIST NEWS UPCOMING FILM ASSIGNMENTS for an Oscar against his own the cult classic Ray Harryhausen Poseidon Adventure, but he lost to dinosaur western featuring Charlie Chaplin and company for Jerome Moross’ spectacular Limelight). score. They’ll also release two ■ PARAMOUNT WILL RELEASE more stop-motion another Williams-scored , flicks, The Beast From 20,000 the Thomas Harris adaptation Fathoms (David Buttolph) and The Black Sunday, which features what Black Scorpion (Paul Sawtell, Bert is perhaps Williams’ most Shefter). Goldsmithian score. The studio ■ ON HIS WEBSITE, LEONARD will also release Captain Kronos, Maltin has reviewed FSM’s CD one of the finest productions The Adventures of Huckleberry Finn from Britain’s Hammer Films, (Jerome Moross) as well as some Vampire Hunter (Laurie Johnson) other labels’ CDs (including and Frankenstein and the Monster Screen Archives’ two-disc set of The Emmys Take Place! From Hell (James Bernard). Captain From Castile). ■ see www.leonardmaltin.com he Academy of Television Music Composition for a Series— WARN E R HOME VIDEO —Scott Bettencourt TArts & Sciences’ decision to Dramatic Underscore will release The Valley of Gwangi, hire multiple hosts for the general- 24 (10 p.m.–11 p.m.) ly boring 55th Annual Primetime did produce a few Main Title Theme Music Harlene Stein’s in Da (Court) House entertaining bits. Unfortunately, Monk comedian Wanda Sykes’ awkward arlene Stein, widow of film Conscience” contains “an interpo- “man on the street” celebrity Hcomposer Ron Stein, is lation” of Stein’s work, the com- interviews and wanton promotion Music Direction suing rapper Eminem and pro- poser is not credited; moreover, of her own series didn’t make the 75th Annual ducer Dr. Dre over the allegedly Harlene Stein maintains that her cut. Neither did most of the rest of unauthorized sampling of a husband’s estate has never been the show. Nonetheless, look who music supervisor/ musical piece composed by her paid for the use. won for music: husband. The piece in question, When asked about the validi- Music and Lyrics “Pigs Go Home,” from Stein’s ty of the lawsuit against him, Music Composition for a The Concert for score for 1970’s Getting Straight Eminem replied, “Fuck that! Do Miniseries, Movie or a Special— World Children’s Day (starring Elliott Gould and that shit! Shoot that bitch! Can Dramatic Underscore (song: “Aren’t They All Our Candice Bergen), is used in you afford to blow this shit? Are Eloise at the Plaza— Children”)—, music; Eminem’s song “Guilty you that rich? Why you give a LINDA THOMPSON, lyrics. Conscience,” from his 1999 debut fuck if she dies? Are you that album The Slim Shady LP. And bitch?” while liner notes to the album Wait...those are lyrics to the Quick Takes on the piano in his home (!). The (which has sold nearly 5 million song. Sorry. FSM movie looks great, too. copies) mention that “Guilty ■ FROM THE DESK OF THE —Andy Dursin Laserphile: Warner Bros.’ ■ OVER THE NEXT FEW An FSM Commentary Adventures of Robin Hood DVD has months, a group of DVDs will be an isolated score track by Erich released for films featuring terrif- Music Swappers: Rightfully Sued or Simply Screwed? Wolfgang Korngold in mono (not ic scores that are unavailable on bad sounding under the circum- LP or CD—though, unfortunately, few weeks ago, the Recording Industry Association of stances), plus the entire contents none of the DVDs will feature AAmerica announced it had served subpoenas to 162 indi- of a 78 rpm with Basil Rathbone isolated score tracks: viduals, backing up its previous announcement that it would narrating a 30-minute perform- MGM Video’s release of Robert start cracking down hard on illegal online music swapping. In ance and Korngold conducting Altman’s 1972 hallucinatory psy- the first week alone, the RIAA recovered $2,000 from a teenager his score. There are also 17 min- chological thriller Images, featur- in ...or at least from her parents. utes of audio-only recordings of ing John Williams’ most experi- To say that this is a complex issue is an understatement. The Korngold tinkering mental score (it was nominated (continued on page 6) Photos ©2003 Academy of Arts Christopher. and Sciences; courtesy Roy of Televisions Photos ©2003 Academy

SEPTEMBER 2003 4 FILM SCORE MONTHLY Columbia Silver Age Classic is a sequel to Record Label Round-Up Available now is a special last year’s big favorite: The Man Audio/DVD package Barbra From U.N.C.L.E., Volume 2 (1964-68), N EWLY ANNOUNCED PROJECTS Streisand: The Movie Album. Disc 1 is presenting another 2CD set of AND INCOMING ALBUMS an audio CD that includes Smile, music to spy by, including addi- Moon River, I’m in the Mood for Love, tional material by Jerry Wild Is the Wind, But Beautiful, The Goldsmith, Gerald Fired, Lalo Second Time Around and more. Disc Schifrin and more. The album is a 2 is a DVD that features video mix of mono and stereo cues 1M1 vinyl. Due Nov. 3 is Maerchenland, performances of Wild Is the Wind (from the feature film releases) Forthcoming is a special-edition a compilation of the highlights and I’m in the Mood for Love, along and includes two versions of the release of Bliss (Peter Best), fol- from the classic Eastern with a song commentary by Babs main theme never used and lowed by Bruce Smeaton’s Bloc/German fairy-tale movies. herself. www.sonymusicstore.com never released—until now. orchestral scoring and songs for www.allscore.de Next month: Men wearing Gold John Gardner’s Grendel Grendel Decca and Silver badges. Grendel and The Naked Country. Brigham Young University Due Nov. 11 is Master and [email protected] • www.1m1.com.au Forthcoming is A Summer Place Commander: The Far Side of the World GDM/Hexachord (Max Steiner, featuring the com- (Christopher Gordon, Iva Davies Due imminently are two CDs fea- Aleph plete score from magnetic tracks) and Richard Tognetti). turing new, digitally remastered Due this month is The Hellstrom and Battle Cry (Steiner, 1955, also versions of Piero Picioni’s scores Chronicle. Forthcoming is Dirty from magnetic tracks). Disques Cinémusique for Polvere di Stelle and Fumo di Harry. www.aleph.com ph. 540-635-2575; Forthcoming is Fantastica (Lewis Londra!, and the premiere release www.screenarchives.com Furey). www.disquescinemusique.com in Hexachord’s Wizards of Sound All Score Media Series, spotlighting the music of Available now is Vier Freunde & Vier Cinesoundz FSM Alessandro Alessandroni. Pfoten, a score by hip-hop artist The Ennio Morricone Remixes Vol. 2 This month, our Golden Age email: [email protected]. Phillipe Kayser written for a chil- (2CD set featuring Herbert, Classic is Bronislau Kaper’s The www.hexacord.com; www.gdm.com dren’s movie. Due Oct. 27 is Vol. 3 Hosono and Nortec Collective) is Brothers Karamazov (1957), featuring of the compilation/trilogy Molto due Jan. 2004. www.cinesoundz.com the entire dramatic score, plus Koch Mondo Morricone, which will be tel: +49-89-767-00-299; fax: -399; pre- source cues, in mono, as they Due mid-Oct. is a reissue of The released in collector’s editions on orders by mail: [email protected] were originally recorded. Our Magnificent Seven/The Hallelujah Trail

NOW PLAYING: Films and scores in current release

Bubba Ho Tep La-La Land Cabin Fever , ANGELO BADALAMENTI La-La Land Casa de Los Babys MASON DARING Hybrid* Cold Creek Manor MIKE FIGGIS Demonlover EMI (import) Dickie Roberts: Former Child Star CHRISTOPHE , WADDY WACHTEL Hollywood** Dummy PAUL WALLFISCH Jellybean** Duplex DAVID NEWMAN n/a The Fighting Temptations JIMMY JAM, TERRY LEWIS, JAMES “BIG JIM” WRIGHT Music World** In This World DARIO MARIANELLI n/a Once Upon a Time in Mexico Milan Lost in Translation KEVIN SHIELDS Emperor Norton* Luther RICHARD HARVEY n/a Matchstick Men Varèse Sarabande My Life Without Me ALFONSO VILALLONGA n/a Mystic River Warner Bros.* The Order DAVID TORN n/q Party Monster JIMMY HARRY TVT** The Rundown HARRY GREGSON-WILLIAMS Varèse Sarabande School of Rock CRAIG WEDREN Atlantic Secondhand Lions PATRICK DOYLE New Line Taking Sides VARIOUS Deutsche Grammophon Underworld PAUL HASLINGER Lakeshore** Under the Tuscan Sun Hollywood *mix of songs and score ** song compilation with less than 10% underscore

FILM SCORE MONTHLY 5 SEPTEMBER 2003 RECORD LABEL ROUND-UP

(; cond. James Primetime (Kalmar/Ruby), with bonus tracks Dolce Vita, Roma, Casanova, Sedares; Phoenix Symphony). Available now is The Music of John from Yolanda and the Thief Amarcord, Juliet of the Spirits and Williams: 40 Years of Film Music (4CD (Warren/Freed), and DuBarry Was a more; and Game of Death/Night La-La Land set; City of Prague Philharmonic; Lady (Cole Porter, various), with Games (John Barry). Due this month are The cond. by Paul Bateman, Nic Raine bonus tracks from Meet the People Chainsaw Massacre (Steve & Mario Klemens). (various). Thrive Jablonsky) and Point of Origin (John www.rhino.com, www.rhinohandmade.com Due Oct. 28 is Shattered Glass Ottman). Prometheus (). Due imminently is Bernard Saimel Marco Polo Herrmann: The CBS Years, Vol. 1: The New from Saimel: Fiorenzo Carpi Varèse Sarabande Due early 2004 is Max Steiner’s Westerns, featuring the Western Film Music (includes music from Available now is Poltergeist II: The The Adventures of Mark Twain, which Suite (nine tracks), the Indian Suite Abissinia, Senza Famiglia..., La Other Side: The Deluxe Edition. It’s will also be released in 5.1 sound (four tracks), the Western Saga Vacanza, Splendori e Miseri of Madame largely the same as the limited- on DVD Audio. www.hnh.com (nine tracks); a suite from the Royale and more); Un Tranquilo edition expanded Intrada Have Gun, Will Travel episode Posto di Campagna (Ennio release (though some cues have Maverick entitled “Three Bells to Perdido”; Morricone; first time on CD); and been retitled—for example, Due Nov. 4 is The Matrix Revolutions and a previously unreleased L’Alibi (Morricone; expanded edi- “Dental Problems” has become (, various). suite (9:28) from the tion features 14 new tracks). “Wild Braces”), with an addi- episode “The Tall Trapper.” tional 6:40-cue entitled “The Percepto Coming in mid-Nov. is the sec- Screen Archives Entertainment Visitor.” Due Nov. 4: Runaway Jury Still coming this fall are two Vic ond volume of the Herrmann Due in Oct. is The Blue Bird (Christopher Young); Nov. 11: Elf Mizzy titles, The and Mr. series, entitled American Gothic, (Alfred Newman). Due immi- (), Alias (Michael Chicken and The Reluctant Astronaut. which will feature the Landmark nently is The Black Swan Giacchino), Sylvia (Gabriel Yared), www.percepto.com theme, Walt Whitman Suite , Ethan (Newman). www.screenarchives.com Taken (Laura Kaprman), Looney Allen Suite, Desert Suite, Collector’s Tunes: Back in Action (Jerry Perseverance Club Suite, Moat Farm Murders Suite Silva Screen Goldsmith); Nov. 18: Gothika (John Imminent is The Abominable Dr. and Brave New World Suite. Due imminently: Rota: Essential Ottman). www.varesesarabande.com Phibes (Basil Kirchin). For legal Film Music Collection, a 2CD set reasons, the CD will not include Rhino/Rhino Handmade/Turner featuring suites and themes Please note: music from Kirchin’s score to The Due in Nov. from Rhino is Gypsy from The Godfather, The Godfather Please bear with us if the Shuttered Room as had been previ- (Styne/Sondheim; extended ver- Part II, Romeo & Juliet, La Strada, aforementioned albums are not ously announced. sion contains Rosalind Russell Taming of the Shrew, The Glass released as announced. FSM outtake tracks), Three Little Words Mountain, Death on the Nile, La

albums were good, customers musicians, for producers and for technology—like Apple has, for Music Swappers didn’t mind paying a premium. fans of capitalism as a whole. If example, with its iTunes store, (continued from page 4) Today, you’re lucky to find even a people keep downloading free where consumers can purchase few decent songs on an entire music instead of buying it, years individual singles or entire reality is that most major record album. In addition, most con- from now there won’t be a music albums at reasonable prices. labels suck. Their greed and lack sumers know that the cost to industry. Though a recent survey The complexities of this issue of vision are what first put them produce CDs has come way by InsightExpress reports that a notwithstanding, I think this is in the position to lose millions— down in the last several years; yet majority of peer-to-peer swap- much ado about nothing. What maybe billions—in revenues. the savings are never passed on. pers say their downloading leads will happen is what always hap- They lack creativity; they lack the Instead, prices go up. So given the to more purchases, that’s a little pens. The smart, entrepreneurial, courage to stand behind musi- opportunity to turn the tables on hard to take. creative minds of the music cians and nurture talent, know- the record industry, many music So someone needs to put mon- world will come up with a busi- ing that the long-term payoff— fans have gladly obliged. etary value back into commercial ness plan that essentially does financially, historically, culturally I believe it was God who once music. The labels think they can away with the record labels as and creatively—will far outweigh said, “Thou shalt not steal.” If sue their way back into the wal- we currently know them—as short-term financial gain. They that’s true, then consumers who lets of consumers, and force them money-grubbing middlemen. are, in a word, soulless idiots. are swapping files online are through fear to pay for music. Then, like Microsoft and hun- So to make up for their lack of wrong, and that’s a fact. As evil as That has already resulted in a dreds of other rich, creatively willingness to do the right thing, the labels are, their greed doesn’t publicity nightmare that will take bankrupt corporations before the labels turn around and screw justify stealing. But it goes years—and, ironically, tons of them, the record labels will buy their customers by charging them beyond stealing; this is a genera- money—to rectify. They let digital out those smaller businesses. The $18–$20 for a CD—which makes tional situation where young downloads go on for too long labels will then be back in the the customers feel, well, screwed. music listeners have found that without finding a business model game. And that will be that. Now, back in the day, when music is free. And that’s scary, for that would take advantage of the —Tim Curran FSM

SEPTEMBER 2003 6 FILM SCORE MONTHLY Upcoming Assignments

FIND OUT WHO’S SCORING WHAT FOR WHOM Home on the Range. Mona Lisa Smiles (w/ Julia Charles Moore Dr. Horror’s Erotic Roberts). TheCampusHouse.com. House of Idiots. John Powell Stealing Sinatra, Mad A-B Taking Lives, John Morgan/William Stromberg Max: Fury Road (w/ Mel Gibson, Eric Allaman Flash Flood, Latter Undertow. Starship Troopers 2. dir. George Miller), Paycheck. Days. Elliot Goldenthal Double Down (dir. Mark Mothersbaugh Envy (dir. Craig Armstrong Love Actually. Neil Jordan, w/ Nick Nolte). Barry Levinson, w/ Ben Stiller R The Stepford Wives Looney Toons: and Black), Good Boy (ani- Trevor Rabin The Great Raid. (dir. Frank Oz, w/ Nicole Kidman). Back in Action, The Game of mated, voiced by Matthew Graeme Revell Riddick: Angelo Badalamenti Resistance. Their Lives (dir. David Anspaugh). Broderick, , Kevin Pitch Black 2. Lesley Barber Being Julia. Christopher Gordon (w/ Iva Davies Nealon). Young Black Stallion, John Barry The Incredibles (Pixar). and Richard Tognetti) Master John Murphy Intermission, The Ladder 49. Christophe Beck Cheaper by the and Commander: The Far Side of Perfect Score. Dozen, Saved. the World (dir. Peter Weir). David Newman Cat in the Hat. S-T Marco Beltrami Hellboy, Cursed. Meet the Fockers. Marc Shaiman Cat in the Hat The Alamo (w/ H Julian Nott Wallace and Gromit: (songs). Dennis Quaid). Joe Harnell V (new miniseries). The Great Vegetable Plot Theodore Shapiro Starsky & Hutch No Other Country, (Dreamworks). (w/ Ben Stiller, Owen Wilson). C Sounder. Michael Nyman The Actors. LOTR: Return of the George S. Clinton Mortal Kombat Soul Caliber, House King; King Kong (dir. Peter 3: The Domination, Mission of Sand and Fog (w/ Jennifer O-P Jackson). Without Permission. Connelly), Beyond Borders (w/ John Ottman My Brother’s Keeper. Ryan Shore (w/ Cassandra Wilson) Elia Cmiral Son of Satan. Angelina Jolie), Passion (dir. Mel The Legend of Lift. Bill Conti Coast to Coast. Gibson), Radio (w/ Cuba Butch & Sundance (NBC, pilot). Alan Silvestri Van Helsing (dir. Gooding, Jr,), The Missing (dir. The Human Stain, Stephen Sommers). D-E Ron Howard). William Susman Manhattan: A Jeff Danna Spinning Boris, Wrinkle Peter Pan, Moving Picture Postcard. in Time. Hidalgo (dir. ). The Hot Sheet Brian Tyler The Big Empty (starring Mychael Danna Vanity Fair, The Terry Michael Huud 1.0. Jon Favreau), Timeline, Godsend Snow Walker (dir. Charles Martin Steve Bartek Johnson Family (w/ Robert De Niro). Vacation, Carolina. Smith). I-J-K Normand Corbeil The Shaun Davey Ella Enchanted. The Cooler, The V-W Statement, A Different Loyalty. Don Davis Matrix 3: Revolutions. Blackout Murders (dir. Philip James Venable Jersey Girl (dir. John Debney Elf, Welcome to Kevin Smith), Scary Movie 3. John Debney Raising Helen, Kaufman). Mooseport. John Williams : Episode Chicken Little (Disney). Adrian Johnston If Only. Vincent Gillioz Hamal23. III, Harry Potter and the Prisoner John DeBorde Happily Even After. Jan A.P. Kaczmarek Neverland (w/ Hilmar Örn Hilmarsson In the Thomas DeRenzo State of Denial, Johnny Depp, Dustin Hoffman). Cut (dir. Jane Campion; w/ of Azkaban. The Eye Is a Thief. Against the Ropes naked Meg Ryan). Patrick Doyle Calendar Girls (w/ (w/ Meg Ryan). David Kitay Bad Santa. Y-Z Helen Mirren), The Galindez Harald Kloser The Day After Debbie Lurie My Name Is Gabriel Yared Two Brothers (dir. J. Mystery. Tomorrow (w/ Dennis Quaid; Modesty. Annaud), Cold Mountain (dir. John Ottman Gothika. Randy Edelman Connie and Carla. prod. Roland Emmerich). Anthony Minghella), Troy (dir. Rachel Portman Because of Big Fish, Wolfgang Petersen). Winn Dixie. Spider-Man 2. L Christopher Young Scenes of the John Powell Robots, Happy Crime (w/ Jeff Bridges), Devil and Chris Lennertz Tortilla Heaven (w/ Feet, Mister 3000. Daniel Webster, Madison F-G George Lopez). Trevor Rabin Torque. (themes only), Runaway Jury. Robert Folk Kung Pow 2: Tongue of Deborah Lurie Whirlygirl. Marc Shaiman Team . Fury, In the Shadow of the Michael G. Shapiro Home Hans Zimmer King Arthur (prod. Cobra. M-N Room. Jerry Bruckheimer), The Last Richard Gibbs Zachary Beaver Mark Mancina Brother Bear, The Semih Tareen Continuing Samurai (dir. Ed Zwick; w/ Tom Comes to Town, My Baby’s Haunted Mansion (both Disney). Education. Cruise). Mama. Clint Mansell 11:14. James Venable Ugly Americans. Alan Williams Secret Santa. Vincent Gillioz Evansville, Dario Marianelli Cheeky. Get Listed! Aaron Zigman The Notebook. Scarecrow Slayer, Sonata, John Massari Seal. Composers, send your info to [email protected] FSM

FILM SCORE MONTHLY 7 SEPTEMBER 2003

RANTS, RAVES & RESPONSES COMAILNTENTS BAG TO READERS

The Last Bond Letter Ever considerations as to EMI’s decisions, William Alwyn is listed as Planet of the Apes, The French and scores in general do not sell nearly recently read the excellent unavailable on CD. Well, that’s Connection, Logan’s Run and THX as well as other types of music. I“From Lukas With Love” arti- true for the complete score, but 1138. Your catalog consists of cles (FSM Vol. 8, Nos. 4 and 5). I n my previously published let- there is a CD recording of a 7:25 some of the very best scores in have been a fan of the Bond Iter (FSM Vol. 4, No. 5), I called suite/overture reconstructed by film music history, and, surpris- scores since I bought a Geoff Love On Her Majesty’s Secret Service the Philip Lane! This is on a Chandos ingly, every title I wished for is album called Geoff Love Plays James greatest score ever. Well, now it’s release entitled The Film Music of getting released. Though I’m not Bond when I was nine years old. I the greatest CD ever! The remas- William Alwyn Vol. 2 (CHAN 9959), financially fortunate enough to have grown to love film sound- tered Bond scores are impossible where it’s played by the BBC be able to buy them all at once, I tracks and especially those by to find in Dublin music stores, so Philharmonic Orchestra con- will keep ordering these treasures, John Barry. I bought all 16 of the I had to order a copy on ama- ducted by Rumon Gamba; and a bit by bit, while they’re still avail- remastered albums, and it is hard zon.com. what rousing performance it is! able. So, thanks a fat lot to every- to believe that after all these years I was in 007 heaven as I When are you going to review one involved. It is a great pleas- the ’60s soundtracks have been savored every note of the (almost) this disc? It’s been out since ure to be part of the FSM family. expanded—thank you very much complete score. I should have November ’01! J. Ole Papra for your work. known Lukas Kendall and Jeff Andrew Knowles [email protected] After reading the articles, Bond would be involved in this! [email protected] Singood though, it amazed me that EMI However, I do have a few quib- n response to Jeff Bond’s titu- was reluctant to spend any more bles: Joe replies: We are Ilar question, “What if they money. In centuries to come peo- 1. When Bond escapes from the never, ever going to review it! It’s too gave a Sinbad movie and nobody late! But, we agree, it’s a nice suite, ple will still talk about James cablehouse, the cue has been came?” I can only say this: It and thanks to you, it now has the expo- — Bond and John (surely Sir by slightly edited a shame. sure you want it to have! never happened! then) Barry, and yet EMI spends 2. The CD starts with the origi- As I write this, Dreamworks’ £50 million securing Robbie nal album (with some new cues) Sinbad has already grossed $26 Williams for a further five albums and then a big chunk of all of the million—that’s one-third of what or paying off . EMI new music. Why couldn’t the it cost to make! While those fig- should handle Bond as though it score be presented in chronologi- ures may be disappointing, Sinbad was gold and give everything cal order? has yet to be marketed outside of released under the name top pri- 3. The liner notes could have the U.S., not to mention on home ority. been even more extensive in video. The best is yet to come! Bond is a license to print analyzing the score. Chris Kinsinger money and it amazes me that Having said that, I am thrilled [email protected] companies can fall out the way with this re-release. Now all we that they have. To think that no Barry fans need is the complete Take it up with Harry Gregson-Williams. film was released for nearly six Black Hole on CD! He was the one that seemed disap- pointed—not us. years (although it Ed Reilly was a good thing).... If MCA had Dublin, Ireland omeone please inform Harry remastered Licence to Kill it would SGregson-Williams that his have been purchased by a great L.K. responds: Hello agent 0-0-Ed. We The Plague Spreads Sinbad score was definitely not a many people, and yet they deny snipped out repetitive bars of Bond in his has got to be the shortest waste of his time. The score is one captivity at Piz Gloria so that the cue you the rights to remaster the letter you’ve ever received of his best. It is fabulous themati- would fit on the CD (which runs some T — album. 79 minutes). The CD had the original but I Love “Pukas”! cally, rhythmically and orchestra- EMI lost a golden opportunity album tracks first per the way MGM Dirk Wickenden tionally, and manipulates the to release the complete Bond wanted to do the reissue series. And [email protected] themes wonderfully to create a scores once and for all. The tech- considering the time frame that we sense of the epic, excitement, nology is there. Why don’t they had to work within, those liner notes The shortest...and saddest. emotion, etc. Keep it up Harry just invest a bit more financially? are masterpieces. and the rest at Media Ventures! Kevin Henry A Fat Lot David Diachenko Sheffield, England Yaaar! You @&%#ing Liars! uring the last 10 years, I [email protected] n Joe Soundtrack’s “11 Pirates Dwould have never believed L.K. responds: I agree it’s a shame, Iof the Compact Disc” (FSM Vol. that I would one day own scores Don’t worry, we can assure you that but I am sure there are many business 8, No. 6, p. 27), The Crimson Pirate by such as The Omega Man, Beneath the (continued on page 48)

FILM SCORE MONTHLY 9 SEPTEMBER 2003 DOWNBEAT

Drinking From the Goblet of Rock Craig Wedren gets a big break on the season’s surprise hit movie. By Jeff Bond

SOT FOR TEACHER: Jack Black plays a -playing loser who becomes an unlikely winner in School of Rock.

you’re sort of twice removed from it because it’s part of bigger thing, which is what’s raig Wedren has been busy for the past five years working on beautiful about making music for film.” While School of Rock is Wedren’s first studio low-budget, independent movies like Lisa Cholodenko’s High Art film, he says the working process has been closer to what he’s experienced working on and Laurel Canyon, the comic Wet Hot American Summer, and C independents. “With School of Rock it was a studio situation in that I didn’t have this Rodger Dodger. However, we strongly suspect his latest film, the Jack day-to-day rapport with Richard, who I think traditionally doesn’t tend to use score Black School of Rock, will scare up a few more bucks at the box at all. But for a Scott Rudin Paramount film, relatively speaking, it could not have been office than those other movies. Directed by According to Wedren, all composers groovier. They shot it in New York in Richard Linklater (Slacker, Dazed and Confused), should have their own rock band. “I guess I Queens and Staten Island; it was a bunch of School of Rock stars Black as a frustrated spend half my time making records and half kids and Jack Black, and you know the rocker who takes over a friend’s substitute doing films, which is a perfect balance dynamics are going to be more playful than teaching job and tutors his grade schoolers because I find when I spend too much time your average Scott Rudin film. And there’s in the fine art of head-banging. Wedren has in that solitary, sedentary film-composing Richard Linklater, who works out of Austin, his own personal connections to that story— situation it’s all a bit hermetic and private, Texas, and is a really mellow director.” he has his own band, called Shudder to even though I’m collaborating with the Think. “That’s how I got into music in the director and putting music to performances. Authentic Sound first place,” the composer says. “I was 11 or It’s a very group situation in many ways, The film also called for music that sounded 12 years old and listened to on but what you don’t get is that group per- like it could have been produced by the the radio and realized that those were just formance situation with a band, which is characters in the film itself. “Richard wanted people and I could do the same thing. I was incredibly cathartic; you get an instant rap- emphatically for it to just sound like rock, always a massive film buff and as I got older port and an instant response to the music be garage-y and to kick ass,” Wedren many of my lifelong friends started becom- you’re making which has always been explains. “So I did everything at home, the ing filmmakers. So there was a very natural important to me. There’s always a mem- same way I do most of my scores at this bridge between the band situation and the brane to me between composing music for point. I went to a studio to record some soundtrack situation that I do as well as the film and getting a real response out of the drums, we did a bunch of demos with real band stuff now.” audience—even after the movie’s released drums because I’d been using programmed

SEPTEMBER 2003 10 FILM SCORE MONTHLY drums in the rough sketches for Velvet Goldmine, they were Wedren actually came on board School of the score, and Richard, the looking for songs and it’s Rock to provide a song for one sequence, but music supervisor Randy Poster always different when they saw himself becoming the film’s primary and I felt we would really want just want a song because composer. “Randy needed a song for this big to hear it played live or have it you’re not customizing it to a battle of the bands sequence at the end, so I have that live feel when we specific scene or to the wrote a song for that,” Wedren says. “That played it for him. So we went to drama of the film. With Lisa went well, so I was invited to do the score record some demos with a live Cholodenko on Laurel Canyon, for it. Jim O’Rourke, who is a kind of leg- drummer and ended up just I spent a lot of time doing a endary avant-garde guitar player who also using those. So it was not lot of rough demos of stuff plays with Sonic Youth, was working with stressful in that way. One thing that captured the sound and the kids throughout the shoot to make sure that was different for me, and I the feel of Laurel Canyon. I did they knew the songs and had the chops; it don’t know that this has to do it in New York and Lisa was was like rock and roll boot camp. I was not with the budget as much as it shooting in L.A.; when she involved with that until he started having has to do with the director, is I was done she came to New show obligations with Sonic Youth, so I was had very little face time with York for a week and we hung brought in a few days on the shoot to work Richard Linklater. I was mostly out; she sat on my couch and with the kids to make sure they had the working with Randy Poster, listened and talked and we songs down. Richard Linklater’s mandate who I’d worked with before on touched up what needed was that everything be rock and everything Velvet Goldmine. So that was a touching up. It was collabo- be real and that the kids were playing it all. new dynamic that I hadn’t rative but it wasn’t like Lisa Since they finished the shoot they’ve started experienced before, but I think saying change this note or doing promo stuff, so I’ve been working that has more to do with change this thing; having her with the kids a lot lately to make sure Richard. I think by the time I present helped me focus they’ve got it together to play the Leno was working he had moved on what were rough ideas into show or Entertainment Tonight or whatever and was putting the finishing very specific final cues.” they have to do.” FSM touches on the movie.”

License a Thrill On low-budget productions Wedren is used to providing all the music heard in the film, including source cues that might be instru- mental or songs. But his recent, higher pro- file projects like Laurel Canyon and School of Rock had the budgets to afford to license familiar (and expensive) popular songs. “In School of Rock there’s a scene where they use ‘Back in Black,’ and there’s a scene where they use ‘Touch Me’ by , or the ‘Immigrant Song’ by Led Zeppelin—those have an enormous amount of value because of people’s pre-existing relationship to them,” Wedren says. “It was very important to Richard to use those songs; it was very important to Lisa to use a variety of differ- ent artists and pre-existing rock and pop songs in Laurel Canyon because it was such a music-oriented movie. So in both of those instances I was very surprised because I prepared myself for these big long hauls of composing music because that’s what I’m used to, and in the end I probably didn’t need to log as many hours as I did, but that’s the way I work.” Whether he’s producing songs or score, Wedren says the amount of contact he has with the filmmakers can vary from project to project. “Somebody like Todd Haynes on

FILM SCORE MONTHLY 11 SEPTEMBER 2003 F&ortune THE MUSIC OF IGloryNDIANA JONES AND THE TEMPLE OF DOOM By John Takis Music transcription by Christopher Takis • Music notation by Brian Satterwhite

The man with the hat is back! For years, the Indiana Jones two Indiana Jones films? It’s certainly no fault of the music; had John Williams composed nothing but his famous “Raiders March,” he trilogy has been one of the most frequently requested titles would have secured his place in the concert hall for decades to come. It’s “the only music in the world effective enough to knock the hat off on DVD. Now it’s finally happened—a fourth film is offi- of Indiana Jones’ head,” writes director in Temple’s OST liner notes. Liner notes that very few fans are able to peruse cially in the works. And we’re coming up on the 20th thanks to the perplexing inaction of the -that-be. It leads one to wonder whether the master session tapes have been anniversary of Indiana Jones and the Temple of Doom...it’s an damaged or destroyed (if so, might I suggest quality re-recordings?) or whether this is just another case of mind-numbing Paramount auspicious time for the Joneses. In light of all this, film illogic. Surely a hot property like Indiana Jones couldn’t be tied up by musician fees...could it? Regardless, the fact remains that countless music fans can’t help feeling a bit short-changed. Although fans don’t have the Temple of Doom soundtrack on their shelves. Even if they do, it’s an emaciated listen, a slam-bang skeleton of an album the City of Prague Philharmonic’s recent Indiana Jones Trilogy that fails to accurately showcase what is (to quote Spielberg’s liner notes once again) one of Williams’ “best scores ever.” That was true in re-recording is commendable, why has Paramount 1984 and it’s still true today. It’s why, in spite of its brevity, the score as heard on the album is still a gem; there’s not a mediocre track in allowed all of the original Indiana Jones soundtracks to go the bunch. Such a concentrated burst of musical excellence may lead some listeners to believe they’ve got a decent representation of the out-of-print in the U.S., with the aforementioned Temple of score, or at least the best parts. The way the score-in-the-film fre- quently gets buried beneath mountains of sound effects may support Doom so very out-of-print that fans must track down this illusion. The fact that the film is much maligned, and therefore T may not get a lot of repeat viewing, may also serve to obscure expensive imports? Why do we have a Deluxe Edition of Williams’ accomplishment. Hopefully, this article will help film score lovers to better realize exactly what they’re missing. Home Alone 2 (not that I’m complaining, mind you) and But before we dive into the score, let’s take a look at the context.

about five or six versions of E.T. (none of them complete NO “TEMPLE OF ROSES” When, following the blockbuster success of Raiders of the Lost Ark, yet), but no expanded versions of the scores for the second George Lucas and Steven Spielberg began collaboration on what was

SEPTEMBER 2003 12 FILM SCORE MONTHLY then called Indiana Jones and the Temple of Death, their ambitions ranged beyond creating a tra- ditional sequel. Rather than re-hash the for- mula that had made Raiders so effective (a chief criticism of Indiana Jones and the Last Crusade), they struck out in a completely new direction. While both films are direct homages to the Saturday afternoon matinee serials of the filmmakers’ youth, the second film follows a darker tradition, one which labels that of the “Impregnable Fortress Impregnated,” the film established with the legendary Akira Kurosawa’s Hidden Fortress (1958) and continued in such films as the original Star Wars and the franchise. Thus, many of Temple’s conventions were all too familiar to Bond fans: a nightclub, dinner with the enemy, secret passageways behind the walls, etc. And while Ebert couldn’t have been more pleased (“not so much a sequel as an equal!” though technically it’s a prequel), the film received generally mixed reactions. Some fans, expecting a clone of Raiders, walked away dis- appointed. Not everyone was able to appreci- ate the gleeful juxtaposition of the comic and grotesque. Also, the “anti-Indy” leading lady Willie Scott (Kate Capshaw—Spielberg’s future wife), a if ever there was one, is a far cry from the smoldering, self-reliant Marion (Karen Allen) of Raiders. Concerned parents took up arms over the extreme gore and violence; the film ended up being rated PG, with Spielberg having to fight to prevent an R rating—this was before the instigation of PG-13, which Temple is generally credited with inspiring. Spielberg was initially defensive, pointing out that “the film is not called Temple of Roses.” In later years, he would go on to express regrets, saying “Indy II will not go down...as one of my prouder moments.” (Look for an all-new “special edition” of the film, where, instead of tearing out his victims’ beat- ing hearts, Mola Ram delivers vicious titty- twisters!) So, despite some admiring reviews and tremendous success at the box office— advance pledges of $40 million on the part of eager cinemas ensured a profit, and the film went on to gross over $100 million in the U.S. alone—the film suffered from a general bad press, and is still maligned to this day.

THE MAN WITH THE BATON Williams’ music, while nominated for an Academy Award (losing to ’s A Passage to ), did not escape criticism. Daily Variety complained: “What with John Williams’ incessant score and the library full of sound effects, there isn’t a quiet moment in the entire picture.” Others would share those sentiments.

FILM SCORE MONTHLY 13 SEPTEMBER 2003 It’s true that music fills the picture virtually wall-to-wall, and because this is, after all, an action/, it is often quite loud. Nonetheless, the score is far from con- fined. Given Spielberg’s sweeping vistas and epic scope, the music reflects a boundless diversity, ranging from grandeur to romanticism; from playful comic impulse to sheer terror. The score is based around five major themes (all of Figure 1: SHORT ROUND’S THEME which, at one point, will be used as a march). First, we have the adventuresome march introduced in Raiders. Inarguably one of the most famous pieces of music ever written, the theme is instantly identifiable with action, adventure, and “the man with the hat.” Second, we have a playful, Asian-styled theme for Short Round (Fig. 1)—pos- sibly the most endearing child sidekick in a long line of Spielberg child sidekicks. This theme goes beyond the character, however, to embody the lighter, more playful side of the film. Thirdly, there is the requisite love theme (Fig. 2)—a sweeping, achingly beautiful melody that also serves as a kind of musical connective tissue throughout the film. Williams also gives us a Wagnerian theme for the sinister palace and its grotesque chief priest, Mola Ram (Fig. 3). The four-note refrain of this theme often serves as an indication of his presence. Finally, Williams composed a strikingly powerful march for the temple and the enslaved children occupying it (Fig. 4). This theme takes a key place at the musical heart of the score, perhaps even more so than the Raiders march. In addition, Williams composed several original set pieces for some of the more pivotal scenes, calling up musical ideas that weave their way into the framework of the score, then vanish. Some of his best work, in fact, can be found in the “non-thematic” passages, especially those involving the underground temple and the altar of Kali. For the soundtrack album, Williams strove to create a balance between the music’s formal thematic presentation and its inspired spontaneity. The end result is a spectacu- lar album, but much too short, with more than an hour of dynamite music unrepresented. Issued on LP, cassette and compact disc (remember, this was 1984, when CD score releases were still getting off the ground), the soundtrack rapidly went out-of-print, to the point where it is now nearly impossible to find an American-edition CD for an affordable price. As a consequence, fewer and fewer film music fans would have access to the music as the years Figure 2: LOVE THEME went on. I have recollections of copies being offered by private dealers for as much as $150 in issues of Film Score Monthly. Fortunately, the Internet has made import edi- tions of the score much easier to obtain. What follows is a cue-by-cue breakdown of the score as heard in the film. Most of the cues are designed to flow one into the next. Several that appear on the OST differ slightly (not-so-slightly in the case of the “Finale” and “End Credits”) from the versions that appear in the film.

ANYTHING GOES (2:49) Track 1 on the album The picture opens in a Shanghai nightclub (Club Obi- Wan, ha ha), and—after the requisite ominous opening— the first thing viewers are treated to is an all-out musical number: a fantastic arrangement of Cole Porter’s

SEPTEMBER 2003 14 FILM SCORE MONTHLY “Anything Goes,” performed by vocalist Willie OVER THE HIMALAYAS (3:23) Unreleased as he approaches his mentor that night. Indy Scott (Capshaw) in , backed up by a Here we have the requisite travel montage, explains that the ancient parchment contains company of sequin-clad tap dancers. The tap- featuring the Indy theme and the first the legend of the long-lost Shankara stones. ping is audible on the Japanese CD, but is appearance of the love theme. Lao’s pilots Enslaved children aside, this lure of fortune reportedly missing from the American release drain the plane’s fuel and tip-toe past the and glory is reason enough to investigate. The (I haven’t had the chance to confirm this). sleeping passengers, parachuting away and temple theme swells into a full-blown march leaving the plane to crash and burn. Williams’ arrangement of Short Round’s theme as the SHANGHAI, 1935 (0:14) Unreleased music closely follows every harrowing twist small party sets out on elephants for Pankot A big-band rendition of “Anything Goes” and turn of the plane as Indy attempts to Palace. The love theme and temple theme are accompanies the camera as it pans to the regain control. also heard. notorious Japanese gangster Lao Che. SLALOM ON MT. HUMOL (2:22) Track 6 THE LEGEND OF SHANKARA/ DEAL FOR THE DIAMOND/TOO Indy’s fanfare sounds as Indy and Co. TREK TO PANKOT PALACE (4:13) MUCH TO DRINK (6:20) Unreleased plunge from the doomed plane in an inflat- Unreleased Dr. Indiana Jones () has able raft. A new motif underscores their rocky That night, Indy recounts the legend of arrived, dressed to the nines, to make a deal slide down the mountainside (Fig. 5). It’s a Shankara to Willie. Williams uses the oppor- with Lao. He will trade the funeral urn of the close cousin to the “Escape From Venice” cue tunity to introduce a five-note motif for the Emperor Nurhachi for a fabulously rare dia- from Indiana Jones and the Last Crusade (and a stones (Fig. 6), following it up with a gentle mond. Willie, fresh from her performance, half-dozen similar Williams action motifs rendition of Willie’s theme. We segue to the comes up to sit with Lao and flirt with this from various films). A variation on the love following morning, and as the palace comes strange man who calls himself an archaeolo- theme also appears. The music quiets as the into view, we hear the first statement of Mola gist. Lao attempts to double-cross Indy, who raft hits the river, settling into soft, mysterious Ram’s theme. takes Willie hostage in an attempt to out- Indian music as the trio encounters a lone The music fades to eerie strings, moaning bluff the crime boss. Tense underscore plays Shaman along the bank. chorus and tribal drums as Indy comes across as they barter. As Indy unwittingly drinks a freshly bloodied altar to the dark goddess from a poisoned cup, the music intensifies, THE STARVI NG VILLAGE Kali. The complete martial version of Mola making us keenly aware that he has very lit- (1:28) Unreleased Ram’s theme begins in the brass, softly at first, tle time to acquire the antidote from a tri- More eerie strings and native instrumenta- but crescendoing into a frenzy as “giant vam- umphant Lao. tion characterize the music as the Shaman pire bats” fill the sky. The march fades as Indy Indy’s backup man shows up (he won’t last leads Indy to his suffering village. Beset with arrives at the palace, greeted by Prime long) and the antidote—along with the dia- sorrow and starvation, the villagers fawn over Minister Chattar Lal. mond—is lost in the ensuing scuffle. The the newcomers. Williams uses a high-pitched advent of active gunplay sends the patrons of choral moan to emphasize their plight. THE MAHARAJAH (0:49) Unreleased the club into a panic. In moments, the room Indy is invited to dinner and introduced to is chaos. Willie, searching for the diamond, A PLEA FOR HELP (2:13) Unreleased the British Captain Blumbertt, who is in the finds the antidote. Indy, searching for the The foreigners are given a meager meal as area with his men on a routine inspection. A antidote, finds Willie. The band plays on (as the Shaman explains that Indy was sent by pompous oriental fanfare accompanies the they always do in these types of scenes—see the god Shiva to free the village from evil. arrival of the Indian child-king, fading to a Spielberg’s 1941), and a chaotic rendition of Williams continues in the same vein as the vamping beat, which will underscore most of “Anything Goes” accompanies the action as previous cue, incorporating Indian instru- the banquet. (This source music has not been Indy fights his way to a window, through ments/modes into the music. The chorus factored into the cue length here.) which he flings himself and Willie. returns faintly, and the temple theme appears for the first time upon the invocation of THE FEAST (0:55) Unreleased FAST STREETS OF SHANGHAI Shiva’s name. Indy discusses rumors of an evil presence (3:39) Track 2 in the area, mentioning the ancient cult of Indy and Willie plummet through “THEY STOLE THE CHILDREN” Thuggee, a Hindu sect devoted to Kali and canopies to land in a getaway car driven by (2:54) Unreleased long thought extinct. Slithering strings pop Short Round (Jonathan Ke Quan, later of A more complete rendition of the temple up as the grotesque dishes are served. Goonies fame—speaking of great scores that theme plays softly as Indy translates the need expanded releases!). The boy’s theme is Shaman’s tale of how the village children were NOCTURNAL ACTIVITIES (5:53) Track 3 introduced as the trio navigates the streets stolen and taken to Pankot Palace. The music The love theme plays after dinner as Indy of Shanghai, pursued by Lao’s men. crescendoes, then refrains as the scene cuts to attempts a romance with Willie. But our head- Williams provides a thrilling chase cue, dusk. One of the children has escaped his strong lacks tact and misses his chance. In which includes the first use of the famous imprisonment, and staggers up to Indy, plac- one of the score’s most delightful innovations, Indiana Jones march as Indy, Short Round ing a tattered rag in his hand. Mystical drums the ensuing argument over who really wants and their reluctant companion hop aboard begin to beat as Indy examines the parchment. whom is accompanied by pizzicato strings. a departing freight plane. But the heroic Indy storms off in a huff. Willie tells him he’ll fanfare is undercut by portending brass— FORTUNE AND GLORY/SHORT be back in five minutes. Ponderous move- lettering on the side reveals that the plane is ROUND’S THEME (3:14) Unreleased/Track 4 ments in the low strings help convey the awk- owned by Lao. Short Round’s theme is heard on the bells ward, comical passage of time.

FILM SCORE MONTHLY 15 SEPTEMBER 2003 Suddenly, Indy is set upon by a hidden appears on the original soundtrack album as which he stabs. When Indy screams, the dark assassin. As the film cuts between the scuffle “The Temple of Doom.” This is one of the most blood is forced down his throat. and Willie’s impatience, the music humor- terrifying, intense musical passages ever to We cut to a shot of Indy laid out on a stone ously cuts between slashing intensity (an grace a soundtrack. Williams uses the ancient, slab, surrounded by candles. The poison is homage to Herrmann’s Psycho) and the pizzi- dead language of Sanskrit, which he would working its dark magic, and the airy, disso- cato bustle. Indy overpowers his assailant and later utilize in “Duel of the Fates,” another nant music helps carry him into temporary races to Willie’s room. His flustered attempt to darkly intense choral number composed for madness. The strings slide chillingly as Indy locate an assassin in her bedchambers is met George Lucas’ The Phantom Menace. stops thrashing, a manic grin on his face. He with confusion by an amorous Willie. The NOTE: “Sanskrit Sacrifice,” as Williams orig- has been completely possessed. music becomes mysterious (evocative of the inally called it, was written and recorded in Mola Ram’s theme plays over a brief exte- atmosphere in Jabba’s palace from Return of 1983. Spielberg, filming in London, urgently rior shot of the palace at night. The music the Jedi, which Williams had just scored) as needed the music. A London scholar wrote segues into another statement of the slave Indy discovers a secret passage. the text and Williams consulted with Joe children’s theme as we see Short Round put Galeoto of the Berklee College of Music. to work with the rest of the children. BEHIND THE WALLS (3:23) Unreleased Thirty members of the Tanglewood chorus Indy and Short Round explore the passage performed the finished cue, along with 10 THE TEMPLE OF DOOM/ amidst mysterioso scoring. Short Round gets members of the Boston Pops playing such THE CEREMONY (9:51) Unreleased/Track 7 a violent shock as he stumbles into a pair of unusual percussion as the log drum, prem- Willie is brought out to be sacrificed, and corpses, and his theme is heard as he walks pensua, bolia, dondos and jyle. the horrific chant returns. Mola Ram refrains gingerly into a darkened corridor. The from tearing out her heart, turning the cere- grotesque music from the feast returns as it is STEALING THE STONES (2:32) Unreleased mony over to Indy. Now the full orchestra revealed that the tunnel floor is crawling with A quick statement of the love theme pre- joins in, cutting to Short Round’s theme; the thousands of insects. More tense underscore cedes a sequence of heart-pounding sus- boy has managed to break his chains, and follows the duo into a small room where the pense, as Indy makes his cautious way rushes to the rescue of his comrades. He door slams shut behind them. Short Round toward the altar of Kali, where the sacred beseeches Indy to return to his former self, accidentally triggers a lever. The ceiling Shankara stones have been placed. A full but Indy is too far gone to hear. Short Round sprouts spikes and begins to descend. choral rendition of their motif is heard as seizes a torch for defense. The touch of the Indy pockets the priceless relics. But all is not proves to be the key that can unlock the spell. BUG TUNNEL AND DEATH TRAP right: The temple theme plays sinisterly as Indy wakes just in time—Willie, suspended (3:28) Track 8 Indy hears the crack of a whip and small in a massive cage, is plummeting toward the Williams introduces an unstoppable six- voices screaming. fiery pit. Indy takes charge of the situation, note motif (Fig. 7) in the brass for the collaps- battling Thuggee guards and a hysterical ing room. The music cuts between this CHILDREN IN CHAINS (2:42) Track 5 Chattar Lal. Indy manages to save Willie from increasingly frantic motif and Willie’s horrific A startling musical whip-crack accompa- immolation, but Mola Ram escapes through a journey through the bug-infested passage. nies Willie and Short Round’s capture by trap door. Indy seizes the Shankara stones; he The motif grows faster by degrees, inexorably Thuggee goons. Despite his best efforts, Indy has what he came for. But he has one loose spelling doom for our heroes. At last, Willie is captured as well. An impassioned series of end to tie up, and the music dramatically finds the right switch to restore the room to variations on the temple theme plays as the builds to... its former dimensions, and a relieved passage horrific plight of the enslaved children is swells up. revealed. Clinking, tapping percussion evokes SLAVE CHILDREN’S CRUSADE Then, in a moment of true musical hilarity, the sound of hammer and chisel as the (3:22) Track 9 Willie re-triggers the room and the six-note chained army digs through a network of This piece is the dramatic centerpiece of the motif leaps back into existence, faster than grimy mines, searching for the two missing score. It is a thrilling, triumphant presentation ever! The Indy fanfare plays as the trio Shankara stones. Indy is thrown in a cage of the temple/children’s theme, as Indy escapes in the nick of time. with Short Round and other captives. unleashes his impressive fighting ability on the brutal slave-drivers. As the music clicks MOLA RAM/THE ALTAR OF KALI A TRUE BELIEVER (5:45) Unreleased and clacks and builds, the chains are unfet- (6:31) Unreleased/Track 7 A quiet rendition of Indy’s theme leads into tered, and a massive tide of freed children The small company arrives at a high ledge one of the score’s darker passages. Indy is pours from beneath the palace. Williams in time to witness a deadly ceremony of brought before Mola Ram. The orchestra would develop this passage into a concert human sacrifice, conducted by the grotesque rumbles as the evil priest outlines his plans work entitled “Parade of the Slave Children,” priest Mola Ram (brilliantly portrayed by vet- for world domination. A low drum beat a variation of the version heard later in the eran Indian character actor Amrish Puri). begins, as Indy’s captors try to force him to end credits. Here Williams first introduces his terrifying drink mind-altering blood. Short Round, composition for the worship of Kali. The fero- struggling to come to the aid of his friend and UNDERGROUND HEROICS cious rhythms and demonic chorus build by master, is brought forward, and the pair are (4:40) Unreleased degrees to a truly terrifying intensity. whipped. A tragic chorus accentuates the tor- Indy very nearly meets his match in the Williams would combine and condense this turous beating. When it is over, the young form of a preternaturally large thug. The duo cue, along with music from later in the film, maharajah, under the black Thuggee spell, slugs it out on the moving belt of a water- to create a single, unified hymn, which reveals a voodoo doll in Indy’s likeness, operated rock conveyor that is headed for a

SEPTEMBER 2003 16 FILM SCORE MONTHLY giant crusher. Indy’s fighting abilities are negated by the arrival of the maharajah and his fully operational voodoo doll. Short Round’s theme comes to the fore as he scram- bles to the rescue, pounding the boy in perfect tandem with Indy pounding the slaver (the Indy theme vamps humorously), who meets a grisly demise at the bone- crushing end of the conveyor. Short Round uses another torch to free the maharajah from the Thuggee curse, and the grateful ruler tells the trio to take the left mine car tun- nel if they hope to escape. Thuggee troops armed with rifles appear, and Indy swings, dodges and punches his way to the nearest mine car, amid several heroic state- ments of his theme, where he meets Willie and Short Figure 3: MOLA RAM &THE PALACE Round. They start the car moving and begin their har- rowing escape, but down the wrong track...

THE MINE CAR CHASE (3:38) Track 10 The scene that follows is one of the most inventive ever to grace an adventure movie. The concept of a chase sequence on a rail track provided Spielberg a special chal- lenge, since one of the cars must always be behind the other. Spielberg livened up the action with multiple tracks, speeds, heights, and midair leaps, creating a vigorous cin- Figure 4: CHILDRENINTHETEMPLE ematic tour de force. (A similar, less impressive sequence involving motorcycles would find its way into the third Indy film.) Williams’ music is equal to the occasion, whip- ping along at breakneck speed. The main motif is a fre- netic movement in the strings, recalling passages of Raymond Scott’s “Powerhouse”—which Carl Stalling pop- ularized in the ’50s with his library of cartoon scores for Warner Bros. “Powerhouse” is now a cartoon staple and has even found its way into major motion pictures such as James Horner’s Honey, I Shrunk The Kids, and Williams puts the idea to good use here, interspersing healthy bursts of action as Indy swoops, swerves and struggles to remain one step ahead of the gun-wielding Thuggee bands. Williams also includes some interesting Prokofiev- style rhythms in the strings. Mola Ram’s theme can be heard several times (the only appearance of his theme to make it onto the original soundtrack album) as the irate priest orders his followers to cut the supports on an enor- mous basin of water, effectively flooding the tunnels in which Indy has sought refuge.

WATER!/CLIFF CONFRONTATION (4:39) Unreleased Indy has managed to (literally) throw off his pursuers, and brings the cart containing Short Round and Willie to Figure 5: SLALOM ON MT. HUMOL a painful halt by applying his feet as brakes. His breathless request for relief for his burning soles is answered by a massive wall of water, cascading through the narrow tun- nels. A fanfaric six-note motif heralds the flood, and the fleeing trio is forced outside onto a sheer cliff face. They Figure 6: THE STONES narrowly avoid plunging to the crocodiles below as the surging tide causes great sections of the cliff to crumble and fall away. The explosive torrent separates Indy from Short Round and Willie, who manage to climb their way Figure 7: DEATH TRAP to the top of the cliff. Tenuous strings underscore Short Round’s confident venture onto a rickety rope bridge, which leads across the chasm to freedom. But the planks are rotted through, and the orchestra captures the alarm as

FILM SCORE MONTHLY 17 SEPTEMBER 2003 Short Round almost plunges to his death. But and reverses direction as a horde of armed an expectant orchestral murmur as the group more adversaries are not far behind, and the cultists rises into view (perhaps a nod to Han watches and waits for Indy to appear. He does pair heads out across the bridge. Solo’s storm-trooper run-in in Star Wars). so, the last of the Shankara stones clutched in Indy clambers to solid ground, and finds Indy reaches the rope bridge just as Willie his hand. The film cuts to the trio’s return to himself confronted with a pair of intimidating and Short Round reach the other side only to the village, and the music segues into a formal swordsmen. In a humorous inside-joke, come face to face with a devilishly grinning presentation of Indy’s theme. As the “B” sec- Williams quotes “The Basket Chase” material Mola Ram. He has outflanked the would-be tion of the march begins, the crowd of freed from Raiders as Indy goes for his gun. But the escapees. Now the trio is trapped in the center children follows on their heels, rushing to joy- holster is empty, and Indy must use less con- of the rope bridge, with Mola Ram and his ous reunions with their families. The cheering venient techniques to fight for his life. henchmen on either side. Indy draws out the crowd surrounds our heroes. Brandishing a machete, he runs after the bag containing the Shankara stones in a last- A warm refrain of the children’s theme is unlucky Thuggee, and a triumphant refrain of ditch attempt to negotiate, but Mola Ram calls woven in as Indy presents the Shaman with Indy’s theme sounds. The music fades away his bluff: The stones will survive the fall; Indy the last Shankara stone. This is followed by a won’t. Suspenseful rhythms in the percussion tender statement of the love theme as Willie compound and build as the tension mounts. comments on his generosity; he could have INDIANA JONES AND THE Faced with no other choice, Indy shouts a kept the stone, gotten his fortune and glory. COMPLETE DISCOGRAPHY warning to his comrades and raises his “It’d just end up collecting dust in some machete high… museum,” Indy reasons (a wry reference to the Raiders of the Lost Ark (Polydor ending of the first film). Their short verbal POPCD 2013; 1988)—The original, and “YOU’VE BETRAYED SHIVA!”/ interplay leads to a romantic kiss, and the still a great listen. THE TROOPS ARRIVE (4:02) Unreleased main theme sweeps us into the end credits. Raiders of the Lost Ark (DCC Frantic, dramatic brass wells up from the The credits begin with a presentation of the Compact Classics DZS 090)— orchestra as Indy cuts the bridge in the mid- Raiders march, which has Short Round’s theme Expanded, it’s an even greater listen, dle. Willie and Short Round are able to hang intermixed. The music cuts to an arrangement with excellent liner notes from some on as the remnants of the bridge crash against of material from “Slave Children’s Crusade” guy named Lukas Kendall. the cliff face, but most of the Thuggee are dis- and “Short Round’s Theme.” This is followed lodged by the impact. Mola Ram plummets, by a formal presentation of the love theme. Raiders of the Lost Ark (DCC LP)— Even more expanded than the CD, with only to grab hold of Indy. The demonic chant The credits wrap up with a final reprise of the six extra minutes added to “The Well of from the sacrificial scenes resurfaces over a Raiders march. The album version of this the Souls” cue. pulsing beat as he attempts to rip the heart sequence includes the same themes, but from our hero’s bared chest. But Indy over- placed in a different order and arrangement. Indiana Jones and the powers the priest, and Ram decides to switch Temple of Doom tactics. He scrambles for the top of the ladder, COLLECTING DUST (PID 50806; 1984)—Great, but much hoping to send Indy to his doom from a safer “I believe [an expanded score release for the too short. Your best bet is to look for an import on .com or some other position, throwing his own men to their Indiana Jones films] will happen eventually. I web-dealer. deaths in his zeal to reach ground. But Willie think it all comes down to Lucasfilm waiting and Short Round manage to knock him back for a definitive decision about a new film. I Indiana Jones and the down to Indy’s level. plan on fighting tooth and nail to do it...the Last Crusade (Warner Bros. Records Ram makes a final effort to seize the pouch more successful these [expanded John 25883; 1989)—A fine album that fills containing the stones. Indy knows he has won, Williams score] releases become, the more the CD and still manages to be snarling “You’ve betrayed Shiva!” in Hindi. A possibilities will open up.” That was Michael obscenely incomplete. powerful rendition of the slave children’s Matessino, producer of the Star Wars Trilogy: The Young Indiana Jones theme appears with a full chorus. Indy’s invo- Special Edition soundtracks and the complete Chronicles, Vol. 1 (Varèse Sarabande cation causes the Shankara stones to burn Superman, participating in a 1999 online chat. VSD 5381; 1992); Vol. 2 (VSD 5391; inside the pouch, and Mola Ram snatches one It’s four years later, a definitive decision has 1992; Vol. 3 (VSD 5401; 1993); Vol. 4 as it falls through the material. The sacred been made about a new film, and we still (VSD 5421; 1994)—All are made up of stone sears his flesh and he loses his grip on have no word of an expanded release for Indy-inspired music by Laurence the bridge, plummeting to a grisly death on Temple of Doom, in spite of the demand. While Rosenthal and Joel McNeely. the rocks. His body is torn to pieces by croco- most fans share Matessino’s assessment that The Spielberg/Williams diles. Williams uses vacillating, descending it’s only a matter of time—a reasonable expec- Collaboration (Sony Classical 45997; movements in the orchestra to tangibly con- tation, given the extreme popularity and 1991)—Contains some excellent con- vey the sensation of falling. Indy is still beset financial success of the franchise, as well as cert suites from the trilogy. by enemy arrows, but a heraldic fanfare John Williams’ inherent marketability—it’s announces the arrival of Colonel Blumbertt disheartening to see Paramount fail to capital- The Indiana Jones Trilogy (Silva Screen SSD and his troops, on hand to save the day. ize on the DVD release (which, keeping with 1147; 2003)—If you like Nic Raine and the City of Prague Philharmonic, you’ll probably love this lush Paramount policy, lack isolated score tracks, re-recording of trilogy highlights. Different—but FINALE AND END CREDITS including only a cursory “Music and Sound- isn’t that the point? (8:51) Unreleased/Track 11 Effects” making-of segment). —J.T. The film version of this cue differs signifi- This lack of representation is unfortunate to cantly from the album version. It begins with (continued on page 48)

SEPTEMBER 2003 18 FILM SCORE MONTHLY FSMCD Vol. 6, No. 16 • Released by Special Arrangement with Turner Classic Movies Music TheThe BrothersBrothers KaramazovKaramazov by Bronislau Kaper

FYODOR MIKHAILOVICH DOSTOEVSKY’S The Brothers Karamazov has long been con- sidered one of the world’s greatest works of litera- ture. In 1958, M-G-M and director Richard Brooks mounted an impressive film version of the story of hedonistic Fyodor Karamazov (Lee J. Cobb) and his four sons: dashing but corrupt military officer Dmitri (Yul Brynner); atheistic journalist Ivan (Richard Basehart); pious monk Alexey (William Shatner); and epileptic bastard son Smerdyakov (Albert Salmi). Maria Schell co-starred as the pivotal “,” Grushenka, while Claire Bloom played Katya, a beautiful socialite. ONE OF THE NOVEL’S MOST ENTHUSI- astic fans was its composer, Bronislau Kaper, who had been captivated by the novel as a child and had regretted his inability to score a 1931 production while in Berlin. By 1958 Kaper was one of M-G-M’s top composers in Hollywood, and fulfilled his ambi- tion by providing the Brooks film with a rich and var- ied dramatic score, drawing upon gypsy melodies but also Prokofiev as a symphonic model for 19th century Russia. The dense nature of the story man- dated sophisticated music, but also dynamic cues that could act as a kind of shorthand for the compli- cated character relationships. KAPER RESPONDED WITH A FATEFUL waltz for the love story between Dmitri and Grushenka and a melancholy tune for Illusha, a sick- Album Produced by Lukas Kendall ly young boy. Other cues utilize colors to convey

BONUS TRACKS moods: bells for the religious and philosophical 1. Main Title 2:05 18. Two 3:02 issues essential to Dostoevsky’s work; frenzied 2. Alexey/Katya 3:52 19. Bear Dance 3:25 orchestral writing for the violent passion tearing the 3. Snow/Do You? 1:42 20. Accordion Parts 1, 2 & 3 3:41 4. Ilusha/Oh Father 2:32 21. Tavern Cymbalom 1:19 family apart; and eerie, dissonant strings for the mur- 5. Skating Rink Sequence/ 22. Enohodietz 4:05 derous character of Smerdyakov. A highlight is the To Mokroye 3:49 23. Russian Hymn 1:38 arresting main title, where tolling bells, then a violent 6. Sapling/Ready/Fortune Teller 2:00 24. Gyspy Waltz 1:51 7. Night Watch 2:02 25. Gypsy Music (Bouran) 0:15 orchestral frenzy presage a wild gypsy love song. 8. Whispers 2:27 26. Russian Funeral 6:21 9. Where Is She?/But Why?/ 27. Nocturne (Chopin) 0:47 THIS PREMIERE CD OF THE BROTHERS It’s Late/The Stable 4:23 28. Yul Sings 1:25 Karamazov features the complete underscore 10. A Dream/You’re Here 2:58 Total Time: 28:12 followed by bonus tracks of source music—various 11. Of Course/The Cellar/We Go/ Total Disc Time: 79:10 The Wall 5:23 folk tunes recorded by Kaper, as well as gypsy 12. Parricide/Are You Hurt?/ dances recorded on the film’s set. The CD is entirely Pawnshop 3:31 in monaural sound (save one source cue), as it was 13. Mokroye 2:56 14. No!/I Did Not/Let Him Deny 2:37 recorded. $19.99 plus shipping 15. Prison/Visit/Brandy 2:30 16. Zero/The Body/Guilty 2:48 17. The End 2:46 Total Time: 50:58 Don’t Miss This Month’s Silver Age Classic The Man From U.N.C.L.E. Vol. 2 See inside back cover for details. DEFENSE!”).

Please Kill Me and Other Favorites By Jeff Bond “Love Is All Around”—from The Show (Patrick Williams; 1970) QUANTIFYING TELEVISION The Time Tunnel Ah, Mare. Both versions of this song themes is an impossible task (Johnny Williams; 1966) still get me all misty about the gang because the choices are particu- Might still be Johnny’s greatest TV at WJM-TV. theme (except for maybe the NBC larly subjective. Odds are your “Home to Emily”—from The Bob favorite TV themes were drilled Nightly News theme) even though the series only lasted one season. Show (Patrick Williams; 1972) into your head between the ages Incredibly cozy, ebullient jazz theme WE of seven and 15, during your Voyage to the Bottom of the Sea for the incredibly cozy -based formative television-watching (Paul Sawtell; 1964) sitcom. years. Hopefully, like me, you Dive, dive! Fabulous, majestic theme Room 222 (Jerry Goldsmith; 1969) LOVE spent those formative years in for an abominable TV show. Goldsmith’s theme for this charming the late 1960s and early , (; 1966) when dynamite new themes Surprisingly cool African-flavored TV THE were being written and some of theme with nicely intuitive lyrics: the best old ones were still in “Daktari! Daktari! Daktari, Daktari, My All-Time Favorites syndication all day. However, if Daktari, Daktari, Daktari!” BOOB By Scott Bettencourt you’re a child of the 1980s I can’t Barnaby Jones (Jerry Goldsmith; 1973) really explain to you why the Part of the late-’70s parade of handi- The Avengers (Laurie Johnson; 1961) theme to Silver Spoons stinks on capped detectives: Barnaby’s handi- I Spy (; 1965) TUBE ice, because that’s a part of your cap was that he was old. Goldsmith’s —Season 3 (John childhood and you’re just going cool theme for flute and brass is one Williams; 1965) to go on loving it the same way I of his best. : Voyager (Jerry Goldsmith; love the theme to Nanny and the The Big Valley (George Duning; 1965) 1995) Professor no matter how blinding- A great Duning melody for the adven- The Wild Wild West (Richard ly awful it is. So with that plea tures of the Barkley clan in the Old Markowitz; 1965) for intergenerational understand- West. And remember, it’s MISS ing out of the way, let’s get right Barbara Stanwyck to you… Other Themes I Love to our lists of favorite and least Banacek (; 1972) Cimarron Strip (Maurice Jarre; 1967) A By-No- favorite TV themes. —Jeff Bond Ellery Queen (Elmer Bernstein; 1975) Jarre’s terrific western theme under- Kolchak: The Night Stalker (Gil Melle; Means- scores a fantastic traveling helicopter So Good They’re Great 1974) shot of Stuart Whitman riding Complete List The Undersea World of Jacques Land of the Giants—Season 2 (John Cousteau (; 1967) through an incredibly rugged Williams; 1969) of Fave TV Wonderfully noble and majestic (and countryside. The Prisoner (Ron Grainer; 1967) seemingly lost) theme for the ocean- Themes The Felony Squad (; 1966) Time Tunnel (John Williams; 1966) By the FSM Staff going documentary show of the ’60s A Quinn Martin Production! Actually it and ’70s. wasn’t, but it should have been—for Alexander the Great my money Pete Rugolo’s brassy (; 1963) urban theme is even catchier than Incredible theme for male chorus his title music to The Fugitive. and orchestra nearly convinces you Police Woman (Mort Stevens; 1974) that you’re about to watch an epic Look out, Pep! Stevens provided production of Alexander the Great another classic TV cop theme for this instead of William Shatner and Adam Angie Dickinson series in which you West in togas. could find the line “Pep, I need you to go undercover as a hooker” in almost Man From U.N.C.L.E. Scariest TV Theme of All Time (Jerry Goldsmith; 1964) any episode. (Gil Melle; 1970) This thrilling spy theme rules no mat- The Streets of San Francisco ter which ersatz version is playing. (Patrick Williams; 1972) TV Theme Songs That Bring Mannix (; 1967) Nothing said “’70s Cop Show” like Back My Childhood With a Less iconic than Lalo’s Mission: this wildly propulsive Patrick Proustian Rush Impossible theme, this is still the ulti- Williams tune. “Best Friend” from The Courtship of mate swinging ’60s detective music. Judd for the Defense Eddie’s Father (George Aliceson Tipton; 1969) Jonny Quest (Hoyt Curtin; 1964) (Alexander Courage; 1967) Possibly the most exciting adventure Great example of the “work the “Come On, Get Happy” from The theme yet heard on TV—and it was title into the music” approach Partridge Family (Danny Janssen written for a cartoon. (lyrics: “Judd! Judd for the Defense! and Wes Farrell; 1970) Judd for the Defense! Judd for the

SEPTEMBER 2003 20 FILM SCORE MONTHLY dramedy is complex, wistful...and Emergency (; 1972) Airwolf kind of way. available on CD for the low, low price The Paper Chase (; 1978) Kudos for the best use of an annoy- Airwolf (Sylvester Levay; 1984) of just $19.95 from Film Score Winsome theme from Fox and one of ing siren effect in a TV theme. Cheesy but unforgettable in that Monthly! See Marketplace, FSM CD the guys from the band Seals & Knight Rider kind of way. Vol. 4, No. 8. Crofts…remember them? Never mind. Knight Rider (Stu Phillips; 1982) Cheesy but unforgettable in that The Incredible Hulk (Joe Harnell; 1977) Baretta(“Keep Your Eye on the Sparrow”) Try listening to this and every time (; 1975) Hilariously enjoyable Sammy Davis, Jr. song over bizarre bird-call effects By Tim Curran made this one of the more memo- This One Goes to 11 mousing to the legendary animated rable themes of the ’70s—and that’s opening. Perfect. the name of that tune. COMING UP WITH THIS LIST Greatest American Hero (; was a lot of fun. But it made me 1981) “The Tonight Show Theme” (; The Ghost and Mrs. Muir feel old. It also made me feel “Believe it or not, I’m walking on air, I 1959/62) (Dave Grusin; 1968) sorry for most of today’s shows, never thought I could feel so free-ee- This theme was originally taken from Not exactly Bernard Herrmann, but which don’t even have themes. eee. Flying away on a wing and a 1959 Anka song entitled “It’s Really nevertheless an ultra-charming and Then it made me feel happy that prayer, who could it be? Believe it or Love.” He reworked it into the now- appropriately jaunty sitcom theme. I got to enjoy so many great TV not, it’s just me!” I could go on.... famous Tonight Show theme in 1962 Here Come the Brides themes when I was growing up. One of the catchiest theme songs when Carson took over the show. Still (Hugo Montenegro; 1968) Then I got tired of analyzing it ever was better than it’s quirky-but- the best late-night theme, though it’s In a manlier take on Little House on and took a nap. mediocre series, which starred hard to separate the tune from its the Prairie, handsome lumberjacks as a crime-fighting skin- balls-out, big-band arrangement. and women in petticoats tried to get LOVE ny guy in a cape. Barney Miller (Jack Elliott, Allyn along on this charming but largely for- Kolchak: The Night Stalker gotten show. The theme is full of Ferguson; 1975) (Gil Melle; 1974) The Facts of Life (Alan Thicke, Gloria wholesome energy, even when the An underappreciated classic, the So Melle’s theme is originally from Loring, Al Burton; 1979) vocal group that sang it demanded Barney Miller theme was a funky, the TV-movie The Questor Tapes; I Man, did this show suck. But as one more money in season two and the vintage, mid-’70s urban tune, and don’t care. This was a classic, one- of my guiltiest pleasures it beats the producers decided the instrumental one of few themes (if any) to feature season series starring Darren pants off Diff’rent Strokes, which accompaniment was good enough. the melody on electric bass. McGavin as Karl Kolchak, a seer- was also penned by the trio of Dynasty/Falcon Crest/The Colbys (Bill Conti; 1981/1981/1985) Never has more dignified music been written for a bigger bunch of money- grubbing creeps. If you needed a theme for self-destructive, overacting rich people, Bill Conti was your man.

The Untouchables (syndicated) (Joel Goldsmith; 1993) The younger Goldsmith’s rousing, heroic title theme was the only mem- sucker-suit-clad freelance reporter Thicke, Loring and Burton. That’s HATE orable element of this attempt to what I’m talkin’ ‘bout, Willis. take advantage of the success of encountered some genuinely Law & Order (Mike Post; 1990) big-screen Brian De Palma treatment scary stuff, especially for television. S.W.A.T. (Barry DeVorzon; 1975) With its droning rhythm and one of of the Eliot Ness story. The theme and its This energetic theme is burned into the most annoyingly abrasive clar- were perfectly, creepily matched. my brain, even though the most I inet parts in the history of music, So Bad They’re Good this theme blows, which is a bum- (, remember from the series was actor Nanny and the Professor Mark Shera, who in 1976 left the mer because the show’s good. It’s (Steve Zuckerman; 1970) Mike Post; 1974) series to co-star in Barnaby Jones as also on TV on at least one channel “Phoebe Figalilly is a silly name…” This blues/rock mix of electric guitar, the character Jedediah Romano every hour of every goddamned day. This short-lived comedy featured a brass section (with tuba), harmonica, Jones. Sweet name. Elliot Goldenthal Mike Post gets richer by making me breezily saccharine theme song in drums and was unorthodox nauseous. Yeah, life’s fair. the Partridge Family tradition. to say the least. But it worked; I even did justice to the theme in the recent remember buying the 45 when that and awful S.W.A.T. theatrical release. “Eyes of the Ranger” from Walker, Astro Boy (Tatsuo Takai; 1963) came out as a single. 45s...I’m old. Texas Ranger (Tirk Wilder, vocals by Adorably chipper song for children’s (Howard Greenfield, Chuck Norris; 1993) choir. Newhart (; 1982) Jack Keller; 1964) I’m pretty sure this is the best TV In all fairness to Mr. Wilder, the prob- The Mighty Hercules (Winston Sharples, You couldn’t have asked for a better theme ever written, at least in its lem, as you might expect, is more Win Singleton; 1963) theme for ’s New genre. A catchy memorable melody, with the vocalist than the . Adorably suggestive (“Softness in his England Inn series than this classic a “B” section to the tune, Chuck, stick to kickin’ ass, and leave eyes! Iron in his thighs! That’s the Mancini melody. I’m still sad he’s the singin’ to the pros...like Lee mighty Hercules!”) song for what gone. great orchestration and arrange- Majors. FSM sounds like a young Johnny Mathis. ment, and some terrific mickey-

FILM SCORE MONTHLY 21 SEPTEMBER 2003 the big bad Hulk theme comes in, concoct one of the most grating Nitnitnitnitnit, please kill me. think “I can’t hear you! I can’t HEAR theme songs ever written. YOU!!” Josie and the Pussycats (Hoyt Curtin; Hawaiian Eye (Mack David, Jerry 1970) So Bad They’re Terrible Livingston; 1959) Only slightly redeemed by the word Petticoat Junction Even the vocalists must have longed “pussy” in the title. for death while performing this (Paul Henning; 1963) “Faith of the Heart” from Enterprise Oh, take me back to the hillbilly sit- insane theme song for the Bob Conrad adventure show. (; 2001) com craze of the ’60s! Then kill me. Now 30% more irrelevant! Did anyone Car 54, Where Are You? Three’s Company (Joe Raposo; 1977) really think adding a string arrange- (N. Hiken, J. Strauss; 1961) So shrill and grating it makes Hawaiian ment to this dog of a song would A theme song as annoying as the Eye sound like Delibes’ “Lachme” by make people think it was any cooler? mugging on this terrible sitcom. comparison. Inspector Gadget (Shuki Levi, Haim “Making Our Dreams Come True” from It’s About Time (; 1966) Saban; 1983) Laverne and Shirley (Norman It took the genius of Gerald Fried to “Nitnitnitnitnit, Inspector Gadget…” Gimbel, Charles Fox; 1976)

Betcha Can’t Listen to Just 10 By Joe Sikoryak Judd for the Defense PICKING A LIST OF TOP 10 TV Ben Casey (; 1961) (Alexander Courage; 1967) themes is like asking Bert Lahr to Beginning with the nobility of science The mantle of justice weighs heavi- eat just one Lay’s potato chip. and dappled with touches of melan- ly upon this show’s eponymous Nevertheless, here are the ones I choly, this theme propels us through hero, who strides purposefully to an culled from the 1960s. This was a the corridors of a major metropolitan appealing, western-flavored march. time when seasoned vets from hospital—stat! Time Tunnel (Johnny Williams; 1966) This just reminded me how much I radio, film and the stage retired The Outer Limits The best themes for Irwin Allen’s TV wanted to kill Laverne and Shirley. to the small screen in the twi- (; 1963) series include a full episode’s worth light of their careers—and Entertainment Tonight For a drama that tended toward inti- of fanfares, shocks and stings—but brought an unparalleled level of (Michael Mark; 1981) mate, gothic settings, this soaring this one is driven by an urgent, Only good when performed by Larry craft to the medium. As one of work provides scope and grandeur, unstoppable, tick-tock beat. “Bud” Melman. the boomers who routinely promising nothing less than man’s watched nigh onto seven hours The Twenty-First Century Land of the Lost (Jimmy Haskell, conquest of the ever-expanding uni- of TV a day, I can vouch for it! (Lyn Murray; 1967) Michael Lloyd; 1974) verse—or vice versa. A switched-on version of the tradi- The tale of Marshall, Bill and Holly Jonny Quest (Hoyt Curtin; 1964) tional newscaster’s teletype, this has never been better explained than (Bernard Herrmann; 1959) Doug Wildey’s elegant drawings for brief ditty anticipated both TV news in this inane theme song. Picture if you will, a less familiar this pulp adventure don’t move themes and the cheesy Casio revolu- Soap (George Aliceson Tipton; 1977) theme, which manages to conjure much, but the combo playing the tion of the 1980s. Funny show, horrendous title music.

Skippy, the Bush Kangaroo (Eric Jupp; 1966) Children sing about a kangaroo named after a popular brand of peanut butter in this inane syndi- cated show from . “Somewhere in the Night” from Naked City (Milton Raskin; 1958) I always wanted to watch this as a kid because I assumed no one on the palpable dread and unease, and a score (with eight—count ’em, eight— The Mod Squad (Earle Hagen; 1968) show wore any clothes. But the dramatic concluding chord that trombones) practically jumps off the The dictate may have been to write theme music is not very good. delivers a strange and fateful reso- screen. “a rock-and-roll theme for the kids,” Mork & Mindy (Peter Botkin; 1978) lution (and gooseflesh). but the resulting headlong rush of Daktari (Shelly Manne; 1966) The nadir of bad ’80s sitcom themes. musical excitement outstripped the Hazel (Sammy Cahn & Catchy “improv” scoring by a group “important” themes of the series “The Unknown Stuntman” from The Fall Jimmy Van Heusen; 1961) of Hollywood jazzers lends an itself. Guy (Gail Jensen, Glen Larson; 1981) Two hit from Hollywood appropriately jaunty, off-kilter feel Who knew Lee Majors could sing? conjure genuine Eisenhower-era opti to the whimsical story of a “cross- Guilty Pleasure (for in What’s that? He can’t? Oh. mism and sparkling fun for this live- eyed lion” and other jungle the shower): Cagney and Lacey (Bill Conti; 1981) action New Yorker cartoon. denizens. Fireball XL-5 (Barry Gray, 1963) Oh, those irrepressible female cops! This Bill Conti theme was a little too

SEPTEMBER 2003 22 FILM SCORE MONTHLY chipper and uplifting for its own good. Pete Carpenter and Mike Post that A disappointing betrayal of Joe “Final Frontier” from Mad About You just repeats itself on the off-chance it Harnell’s cool rip-off of North by (Paul Reiser, ; 1992) T.J. Hooker (Mark Snow; 1982) might develop into something good. Northwest from the original minis- Smug, annoying theme to the smug, Music as generic as the cop show eries. annoying Paul Reiser sitcom, and that inspired it. MacGyver (Randy Edelman; 1985) how dare they call this song “Final Calling this “MacGyver’s Theme” is a The New Twilight Zone (The Grateful Frontier”? FSM Hunter terrible disservice to the word “theme.” Dead; 2002) (Mike Post, Pete Carpenter; 1984) V: The Series (Dennis McCarthy; 1984) The Grateful Dead? We’ll stick with An abominable, half-baked idea from Marius Constant, thanks.

The Top 25 TV Themes By Jon and Al Kaplan

PLEASE NOTE THE WILD Land of the Giants diversity of the following choices, (John Williams; 1968) as they are based not on which The first season theme is the best. shows we watched while we (Mike Post; 1987) were growing up, but on which Short-lived John Ritter (no pun shows have good themes. You intended—we swear to God we wrote Mission: Impossible 1984 and the more recent can probably find most of said this the day before he died) show (Lalo Schifrin; 1966) “Summon the Heroes.” themes online somewhere, so featuring a small dog and a deli- The best spy theme ever written, you can download them with a Transformers ciously cheesy sax theme. We proba- even if it wasn’t originally intended to shareware program unless you (Anne Bryant, Ford Kinder; 1984) bly only heard it three or four times be the show’s main title theme. are afraid you will be prosecuted. We actually prefer the partially 16 years ago, yet we remember it to Several are also available on Baseball Tonight unused movie version, but the song this day. actual albums. (unknown; whenever it started) is great in any guise. ESPN has a handful of great themes, G.I. Joe (Johnny Douglas; 1983) Alexander The Great Scarecrow and Mrs. King with Baseball Tonight (used for vari- Should have been used in armed (Leonard Rosenman; 1963) (Arthur B. Rubenstein; 1983) ous baseball-related programs, forces recruitment commercials. This William Shatner pilot had a TV themes don’t get any better than including baseball games) and NHL Violently patriotic, terrific hooks, theme that sounds like a combina- this. Daring, kinetic and catchy. 2NIGHT heading the list. It’s honest openly gay. tion of the Star Trek IV main titles and manly sporting music that Amazing Stories (John Williams; 1985) and Lord of the Rings. But then Survivor (; 2000) instantly communicates that you’re Perhaps the most “filmic” TV theme again, so does just about everything Epic, Morricone-esque tear-inducer in the hand of reliable sportscasters ever penned. Stunning. Rosenman writes. that captures the majesty of the con- and commentators. Jonny Quest testants’ weekly struggle to survive Twin Peaks (Angelo Badalamenti; 1990) He-Man (Shuki Levy, Haim Saban and (Hoyt Curtin; 1964, 1986 and 1996) other annoying contestants and win Maddeningly soothing, almost its unknown; 1983) Both versions of the theme are phe- exciting outdoor games. own genre. Deceptively simple. nomenal—the raw, low brass-driven It swells with the glorious power of The Judge (Unknown; 1986) Okay, maybe just plain simple. But first draft, and the epic orchestral revi- Greyskull. The repeating “He-Man!” Startling show where fake old man still perfect. sion for the show’s later incarnation. chorus comprises the entirety of the judge presides over fake cases and song’s classic lyrics. Men From Shiloh Checkmate (John Williams; 1960) gives teens advice in his chambers. (Ennio Morricone; 1970) National Geographic Vintage, disturbing ’60s ostinato Heartwarming theme follows the titu- This fine entry is a tribute to TV (Elmer Bernstein; 1964) under a wild horn melody. lar character as he prepares to go to music expert Jon Burlingame, who work in the morning, kisses his wife “Look at those two apes! This must I, Claudius (either Clerkes of Oxenford, likes this theme a lot and is always and kids good-bye, shows up at court. be where they live!” Wilfred Josephs or David Wulstan; nice to us whenever we talk to him. The Smurfs (Unknown; 1981) 1976) TV Funhouse—“Steadman” Anne of Green Gables Laaaa laaa la la-la-laaaa, laaa la la- A sick and twisted theme that’s more (possibly Steven Gold; 2000) (Hagood Hardy; 1985) la-laaaaa. Have you heard the theory maniacal than Caligula himself. This is actually a show within a show. A sweet, earnest theme that sounds We like the main TV Funhouse that Gargamel is a representation of $25,000 Pyramid (Bob Cobert; 1973) like a mix of Mancini and Horner. It theme, but not enough to put it on an evil Jew? We watched all the car- The greatest game-show theme (tied was written for what may have been this list. But the theme for the toons and we never thought of that. with the $10,000 Pyramid, $20,000 a giant TV movie broken up into sev- Steadman cartoon featured on at Pyramid, etc.). A feel-good, proud to NBC Nightly News eral episodes. Maybe it was a few TV least one episode of TVF easily be stupid-sounding jaunt. (John Williams; 1981) movies. makes the cut. (Over James Bond Do you think we should be able to E.R. (James Newton Howard; 1994) Jem! (Anne Bryant, Ford Kinder; 1985) chords: “Steadman! Steadman! He’s count Olympic themes as TV We probably wouldn’t put this on We’re dead serious. Jem is truly out- not just Oprah’s boyfriend! If you themes? If so, we include all of JW’s here but we wanted 25. Still, we do rageous. Truly, truly, truly outrageous. cross him you’re a dead man! He’s Olympic themes as a subcategory of love singing “E.R.” over and over Steadman! Steadman!”) this entry. Especially the one from again with the two-note main theme.

FILM SCORE MONTHLY 23 SEPTEMBER 2003 work was with live orchestra,” the composer points out. “But still, I would say 90 percent of it they want big and Alias loud and fast and in your face, and after a while that gets tiring. But it was much more fun doing that for Alias because it was a whole change of venue—that was doing f you think nobody’s writing television scores the way it much more to picture and there was much more they did in the Golden Age of the 1960s (that’s when involved with the story. And in between that frenetic we think the Golden Age was, anyway), you may action there were moments you could play more emo- want to check out ABC’s cult hit Alias. If you started tional scenes. It was a better balance.” watching the show at its debut two years ago you Imay have been put off by the insistent techno beat that The Author’s Ear often accompanied college-age secret agent Sydney J.J. Abrams created the title music for the show, and Bristow (Jennifer Garner) through some remarkably elab- Giacchino says that Abrams has always championed a orate and kinetically edited action sequences. But a care- strong and filmic musical voice for Alias. “My big thing is ful listening to even these club-oriented cues revealed a I love working with orchestra and I’m totally biased wealth of detail and a highly dramatic sensibility that AliveAlive KICKING&& WhileKICKING it’s generally true that music for television has seen better While it’s generally true that music for television has seen better days,days, there’s there’s still still some some good good stuff stuff out out there. there. And And we we some. some

BY JEFF BOND was closely linked to the on-screen action. As the show’s dramatic threads have developed, the orchestral sensibil- towards that. I knew J.J. had a huge interest in orchestral ity of composer Michael Giacchino has asserted itself, and music as well, so we really both talked it out and thought the result has been some powerful action and dramatic the best mix for the show would be the combination of scoring that’s well-matched to one of the most impressive techno and orchestra. We wanted to address all the emo- visual approaches on television. tional layers of the show and not just the fact that she’s Giacchino is almost as well known as the composer of running and she’s kicking men’s asses all the time. It’s a number of high-profile video games like The Lost World: funny because in the first season the music and especially Jurassic Park and Medal of Honor as he is for his work on the action relied much more on the techno—it was Alias. In fact, the videogame jobs got him the gig on the maybe a 70-30 mix. As the season went on and into the ABC series. “As time went on I started doing more and second and third season, it’s totally flip-flopped and the more games, and I started thinking all I was ever going to orchestra has taken the driver’s seat and the techno is do was games,” Giacchino recalls. “I thought doing these used sparingly—sometimes there’s a cue that’s only games was just going to hurt me; the way I heard about techno, but not that often. It’s more of an orchestral show Alias was that [show creator and executive producer] J.J. with these rhythms backing up what’s going on with the Abrams just emailed me out of the blue and said, ‘I love orchestra. I think a lot of that is because as the show your work on the games, do you want to come and work develops so do the characters and story lines; everything for me on this show?’ It was one of those weird things like, gets deeper and darker and most of the scenes seemed for all those years I was cursing my lot and thinking this better handled using orchestral elements.” wasn’t going to lead me where I wanted to go, and you Alias is a heavily serialized show with plot threads that just never know. People play these things—Jeff played snake through entire seasons, a fact that allows Giacchino those games and he wound up making this show.” to work with and develop themes over the long haul. Giacchino says his videogame experience laid some “There are definitely themes that go through all three sea- valuable groundwork for his work on Alias. “Certainly the sons—themes for Sydney in different moments, her idea of that frenetic, in-your-face type of action that it anguished moments and her more-in-control moments; needs sometimes—I had been doing nothing but that in themes for the Rambaldi artifacts, an overarching theme an orchestral sense, because everything I did in my game for that; Sloan has a theme, her father has a theme,

SEPTEMBER 2003 24 FILM SCORE MONTHLY Vaughn has a theme—everybody has a theme. And, espe- endlessly, because some of these scenes are five and six cially when I’ve only got three days to do a show, it’s nice minutes long and sometimes a cue will last through a to have those themes.” Giacchino cranks out an average of whole act. So it’s about finding the motif I’m going to play 25 minutes of music in that 36 hours. “It’s gotten to the around with for the next five minutes.” All of that effort point where even if by some act of God I get a week, I still adds up to television scoring on Alias that’s an unusually wait until the last three days because I’m used to that effective blend of the old and the new. “I really want this schedule. We have our schedule but rarely do they stick to feel like an old score, and the approach also comes out to it in editing because they’re always trying to make it of necessity and the lack of time. And if you want to give better, and if it gets down to where we’re getting too close, the music a thematic sense it’s easier to do that with a I just have them send me a scene at a time. We’ve done short motif than by writing out this eight-bar theme. For that on many occasions—the Super Bowl episode “Phase me that just makes it fun because this kind of job is one One” was being shot, edited and scored all at once.” of those that can either kill you or make you stronger.” At the end of the second season of the show Jennifer And if you’re a fan of Giacchino’s Alias music, you’re in Garner’s character awakens to find herself apparently sev- luck: Varèse Sarabande will be releasing an extensive eral years in the future, with all the relationships, alliances score album for the series this fall.

and plot threads of the previous two years radically altered. Giacchino says everything about the show has Penn & Teller’s Bullshit! changed except for the music. “The basic palette of the GARY STOCKDALE show—strings, horns, , alto flute—is pretty much always there, and, depending on the episode, we might an we say the title of this show in our magazine? throw in trumpets, trombones, tuba, woodwinds; they Gary Stockdale is an amusing fellow; that comes in might grow and shrink depending on what they need. At handy in his work for Penn & Teller, and actually the beginning of the season, I said [to] J.J., ‘We’re going in in almost everything else he does—which is a lot. such a different direction with the show now, so should Stockdale has worked on everything from the leg- we do that musically?’ And he just said, ‘But I really like Cendary cult TV show Cop/Rock to notorious late night cable what you do!’ So one of the things I have been doing is bikini action films like , just holding back on her theme because she hasn’t really and Savage Beach. He even counts Team Knight Rider among found herself yet, and there are some themes that came his accomplishments, although I could hear him cringe out of the last episode that are carrying over into the new over the phone when I mentioned that title. Stockdale season as part of this whole lost time thing she’s trying to also got to work with Henry Mancini and Lalo Schifrin figure out. So those themes are reprising instead of some early in his career, relationships he found invaluable— of the themes I would have normally used for her.” and he’s currently in a band with actors Bill “Will Robinson” Mumy and Miguel Ferrer. Bennie Drops Some Knowledge Stockdale won an Emmy nomination for his work on With the show’s strong editing style, Giacchino’s Alias Penn & Teller’s Sin City Spectacular, and he’s developed a scores are often motivic in nature. “I remember reading rewarding working relationship with the “bad boys of an interview with Bernard Herrmann, and he mentioned magic.” He was introduced to the pair by performer that you could score a whole movie with repeat symbols, Steven Banks, and Stockdale vividly remembers riding and he was one of the few guys who could really do that down an elevator to a meeting at Comedy Central with and make that work,” the composer says. “A lot of time it’s Penn to talk about music for the Penn & Teller show Don’t really about finding a little motif that you can play with Try This at Home. “During the elevator ride Penn turned to

FILM SCORE MONTHLY 25 SEPTEMBER 2003 me and said, ‘Now you’re sure you can do at those things, but also making sure you sexy music under sex was always like ’50s TV this?’ and I said yes,” Stockdale recalls. “I did- know that they’re absolute bullshit.” music or something, so I would put the hap- n’t embarrass myself or him, so when they While this sounds like something out of 60 piest of music under the scenes where the did the TV special they asked me if I would Minutes, the composer says the magicians girls would go into the hot tub or whatever.” do not only a live band but all the pieces that rarely have to behave in a confrontational were written for that special, quite a few of manner with their marks on the show. “It’s Avoiding the Obvious which they still use on their show. One of amazing how television allows people to Stockdale says Bullshit is one of his most them was a sort of chamber piece with flute expose themselves without the confrontation. rewarding gigs yet. “Never have I seen a show and piano while Penn does a seduction scene For example, one episode was about the TV where the producing end is as strong as the involving fire eating and a lovely young people who talk to the dead. We looked at a talent end,” he says. “Penn & Teller have an woman. The lovely young woman has few of them and showed people what hap- amazing vision in whatever they do, and it changed over the years, but they’re always pens in the camera before you see the edited always has a point to it. I don’t do music for lovely and it’s always great to see lovely part—you see one hour of a three-hour tap- them pulling rabbits out of their hats; I do young women eating fire.” And how! ing and you don’t see when the guy says music to score some kind of concept that they have, and it’s usually pretty Gimme a Bee intelligent, funny and interesting. One of the composer’s first tasks in We have a great [director and exec- working for the magicians was to utive] producer Star Price and [pro- underscore something like a stage ducer] Mark Wolper, who’s done a version of Irwin Allen’s The Swarm. million things; they pretty much “We scored music to them producing had one meeting where they said more bees than anyone had ever what they wanted was something produced—they wanted to produce fun, interesting, a little off-kilter, more wild animals on stage than and I came up with a theme and anyone had ever done before, sent it to them and they liked it. including Siegfried and Roy, so they There wasn’t a lot of time for produced 5,000 bees,” Stockdale demo-ing, so I had to stay very explains. “Then after Don’t Try This at much in close touch with the edi- Home and their Broadway show, Penn tors and writers to make sure that & Teller Rot in Hell, we had a Channel mood-wise I was going along with 4 series for Britain called The the beam. We did one show about Unpleasant World of Penn & Teller and creationism that I used a dark one special called Phobophilia, which is love of what college he’s from—on tape it looks like kind of score because we wanted to fear, and we did a little vignette on all the the host divined that. We don’t get really show the problem with taking something major fears you can think of, from bugs to heavy-handed with it; we always try to keep belief-based that they try to turn into a sci- blood. Then we did Sin City Spectacular. This was a light idea and view of it. We had an episode ence. That’s the only score that is absolutely one of the first variety shows that had been about sex where we dealt with a lot of the stylistically complete from beginning to end; done in some time in the tradition of The Ed emails everyone is getting about how to the rest of them were very eclectic. I had a Sullivan Show, where you’d have someone eat- make your penis larger, so we had some peo- really open palette, and I wasn’t criticized or ing light bulbs next to an opera singer.” ple go through it and measure, and the type micro-managed at all.” For Bullshit Stockdale’s job is to write music of music you do for that is something like ’60s Nevertheless, the working schedule on for various American charlatans that Penn & porno music and lots of homages to Barry Bullshit is rigorous. “We did 13 episodes last Teller expose in the classic style of James White. I’m a big fan of ’60s porno—I have a season. At times they wanted two and three Randi, the magician who’s made a career of background in exploitation, so I love that.” shows delivered a week, and at times I had to debunking those claiming to have supernat- This response instantly triggered my fond say that was impossible,” Stockdale says. “It ural powers. “It’s a comedy reality show that’s early-’80s memories of watching Playmate was a half-hour show and I would say the something like Mondo Cane—it’s presenting Dona Spier lathering up in a shower or relax- least music done in any particular week was different things in the world that you either ing in a hot tub in Hawaii with any one of 15 minutes and the most was 22. But we didn’t know were there or we’re reminding her various nubile Playmate buddies in the weren’t trying to mickey-mouse things or you are there, and in this case we’re remind- classic films Savage Beach, Hard overscore things, so I didn’t have to meticu- ing you that they’re all full of shit,” Stockdale Ticket to Hawaii and Picasso Trigger. “I did three lously hit everything like animation; we were says. “Penn & Teller have always stood films for them, maybe their second through going for mood and feel, and the goal in the strongly for rationality and telling the truth fourth—they are late-night, trash-film clas- past for scoring has been to make it stylisti- and have always said we’re nothing but liars, sics,” Stockdale acknowledges. “Andy was cally very together and make sure there’s a and they’re very good friends of James Randi. smarter than anything in that he had presold theme that recapitulates at the end. For this I very much agree with that and so I would everything, so he knew exactly how much kind of a show, it’s better to just take the imagine some of that skepticism comes out in money he could spend on the film, and as far mind to a different place every time. So I did- the music. We’re really looking at mag- as I know he never spent one penny more. n’t really try to work the theme into the rest notherapy people, reflexology people, people My philosophy when I was scoring those of the show—it’s the equivalent of needle- who claim to talk to the dead and poking fun things is, I always thought the whole idea of drop if needle drop were composed very

SEPTEMBER 2003 26 FILM SCORE MONTHLY carefully. We use a combination of electronics and I would cut that to picture. So the last not going to tell them what to feel; and that’s and live musicians to give it an organic feel; three episodes of the first season and the sec- a very refined aesthetic.” there are techno elements I try to put into it. ond season were that configuration, and While Sydnor retains a few stylistic ele- I love using electronics and I especially love what became kind of clear is there are advan- ments from the original They Might Be Giants having electronics and acoustics in the same tages to doing a score that way, especially if approach, he points out that the overall slant place. They each serve a great purpose, and you want something unusual, but sometimes of the show’s musical scoring is almost too that’s really fun compared to having musi- there’s just stuff you’ve got to do to picture. eclectic to pin down. “One thing unusual cians in at 3:00 in the morning.” The music supervisor, Julie Hoolihan, would about the show is that there’s not a whole lot assign me stuff from time to time, and then it of thematic material—there’s no theme for ended up where I was actually doing quite a the dad or anything like that,” Sydnor says. bit of it. Then the third season the Giants “It’s all about the energy of the scene—it’s decided not to come back, and I became the almost a joyful ignorance of the uses of the- composer and music editor as well.” matic music in Linwood’s mind. He couldn’t Sydnor says that there are few better ways care less that something happened earlier so to learn the art of television scoring than now let’s build and develop this motif; it’s working as a music editor on a series. Malcolm about a different energy, so there’s not a real in the Middle is far more filmic than most thematic palette. [For] anything that was stage-bound, two-camera and thus quirky and unexpected and, hopefully, light requires a more intense musical focus. “It is a and humorous, the Giants did a kind of comedy, but one thing that is unique about sneaky vibe with muted guitar and there was There are few better ways to learn the art of television scoring than working as a music editor on a series.

the show is that it’s very clear who I answer some accordion. The main reason accordion to, which is Linwood Boomer. He is decisive, gets used now is that so much of popular and if he doesn’t like something he’s articu- music now is just the vibe and the rhythm late about why he doesn’t,” Sydnor says. “But section and if you put a melody on it, it starts at times it’s a tough aesthetic to understand— sounding like Hunter—it’s hard to find he’s looking for something, but it can be melodic instruments that don’t make things tough to define. sound like another stupid TV cue, and I’ve found that accordions, especially when you Off the Beaten Track play them as badly as I do, really serve a role “We go through every cue over and over on the show.” again; you would never guess from watching Sydnor says he makes an effort to keep live the show how much work goes into each one players in the show although the schedule Malcolm in of them. The tracking is kind of like compos- makes that difficult. “I love live players and ing except you’re not making the music— I’m sick of the way I play,” he says. “A lot of the Middle you’ve got this palette of prerecorded stuff times in the past there were so many review CHARLES SYDNOR and you’re putting it up there and sometimes sessions and so many changes up to the last you can move from one color to the other minute that logistically it just wasn’t possible alcolm in the Middle, Fox’s quirky one- more gracefully than others, but the thing a to put on a whole lot of live players. You go camera comedy series from pro- composer does for TV and film you’re doing through this whole production and then the ducer Linwood Boomer, boasts a as you track. Having a season of [music] cue is rejected, so if you’ve done a session, title tune from They Might Be helped me a lot. The main thing that I’m that’s really bad news. So a lot of stuff went Giants, and the iconoclastic rock always trying for and that Linwood is look- to the last minute. There’s always a bass Mgroup provided underscore for the first two ing for is for the music to lift the show. player on the show, always a guitar or two seasons of the show in the form of some Without music these shows can look kind of and occasionally a sax or drums. A lot of bouncy library cues and transitions that pro- dark, and it can be heavy and look kind of times when we get a drummer in we’ll have vided the oddball musical atmosphere that twisted and weird. The same scene with a him do all kinds of stuff that might be useful Boomer was looking for. Composer Charles bouncy little number under it turns into fun. down the road and that I can use as loop. You Sydnor, the show’s music editor, took over Julie Hoolihan and I are always trying to lift do a zillion little cues that involve different when the Giants departed. “I came in at the it. I learned from Linwood to be really sensi- setups and also the picture is changing as very end of the first season as music editor,” tive about telling people how they’re sup- you’re doing it. A couple days after you spot Sydnor says. “There was an odd number of posed to feel. He really doesn’t want that— you review it and figure out what doesn’t episodes and I came in on the last three. They you know: here’s some sad music so let’s feel work, then two or three days later you look Might Be Giants worked on the show and the sad. He wants to set up a framework where at where you are, and a couple days before way they did it was to create a library of stuff people are going to feel something, but he’s you dub you look at it one final time.”

FILM SCORE MONTHLY 27 SEPTEMBER 2003 seductiveness as he’s discovering his powers.” sense of intent so as each layer of the onion is Carnivale One of the key scenes in the rejiggered peeled off there’s a sense of satisfaction. We’re pilot is a sequence of Brother Justin seeing a always playing with how much we’re reveal- & Monk vision involving a neon sign, snowfall and a ing to them in each show. There is a sense in JEFF BEAL drenching rain of biblical blood, imagery Beal the show, especially with Ben because his scored with choir and electronic and orches- character is kind of befuddled at times, you ith The Sopranos and Six Feet Under on tral elements. “There was actually this repeti- have the sense that this was all going to hap- a long hiatus, HBO is looking for an tive organ motif playing in the background, pen, that he was expected. You want the audi- event program to fill the gap in this Philip Glass undulating thing that was ence to feel that there was someone behind their Sunday schedule, and the really dialed out,” the composer says. “I really the scenes pulling the strings. That’s part of Lynchian, atmospheric period fan- wanted to make his music liturgical and reli- the show but not the whole show; the jour- Wtasy Carnivale is the current prospect. This gious in the traditional sense because obvi- ney is as important as the destination, and expensive and long-in-development series ously part of the irony of the show is that the what I liked about the pilot is that it’s not just showcases a group of carnival freaks, workers more overtly religious character is more com- about plot, it’s about character.”

Operatic—or Not Carnivale’s rich tapestry of characters and visual style seemed like fertile ground for an elaborate musical score, although Beal found that the powers-that-be at HBO had something lower-key in mind. “The musical structure was beg- ging for a very traditional, operatic score in which we have character themes,” Beal says. “I think that was an easy choice to make because one of the things we want to do for the and hangers-on in the dust bowl of the 1930s plex morally, and, much like a , audience is to define these people and have as apocalyptic forces begin to show them- Ben is more of an outcast with all the misfits; a real emotional identity for these characters selves. Composer Jeff Beal was asked to sub- he’s the true embodiment of something so you can really keep it straight. The biggest mit demos for the show based on his work good. It was fun for me because I think reli- differentiation is the Brother Justin world on the film Pollock. “My ideas were gious hypocrisy is so much a reality of the versus the carnival world. But even there we like the violin, the dobro, the banjo, that kind religious experience, and we’re walking this have a little theme to represent Sampson of sound, a small chamber-like, quirky fine line of seeing the sincerity but also see- [Twin Peaks alumni Michael J. Anderson]. In Americana sound,” Beal says. “One of the ing how that can be twisted. As we learn episode two we have the beginnings of a most fun things was the whole character of more of Justin’s back story we’ll see where he Management theme for Management Brother Justin [Clancy Brown], the preacher comes from and that will become a strong because we go inside a trailer and at least who becomes the representation of the dark element of his underscore. For this episode I get a glimpse of this Management mystery. side in the story. They originally had him at had this amalgamation of the trumpet and This thing is scripted very much like a 12- the height of his powers as this radio person- the organ, the boys’ choir doing the “Kyrie hour movie. Ron Moore, one of the produc- ality, and one of the things they did when eleison” and other liturgical phrases, just an ers, refers to it as a video novel, and it feels they rethought the pilot was to bring his eclectic mix of different religious sounds.” very much like that—it’s very literary and it story line all the way back so you get to meet Since destiny and indeed a kind of predes- keeps on unfolding.” him before any of this stuff has happened. tination is a key to Carnivale’s story, Beal had So far Beal says the pacing of the show has For me that was the most interesting because to find out what story developments might allowed him to make a gradual presentation I knew from the pilot what the world of the lie ahead so that he could foreshadow some of the thematic material. “What’s nice about carnival and [character] Ben Hawkins music of them in his music in earlier episodes. the series, and it’s partly that it’s HBO and was going to be, but Brother Justin was more “When I went in to spot the first three there are no commercials, is the pacing is fun in terms of composing. You don’t want to episodes I had a ton of questions for the pro- more like movie pacing,” he explains. “When see him as black and white either morally or ducers and writers about where we were we do have a scene with somebody it tends otherwise—it’s more interesting if you sym- going with this,” he says. “That was very help- to be not an inconsequential quick scene. We pathize with this guy and see him get sucked ful because we don’t want to tip the audi- usually have a great two- or three-minute into his own delusions of grandeur. I tried to ence’s hand, but there is a fun way in which scene—in episode four the blind guy, Lodz score him in a way that you feel his ambition I think if you musically know where things [Patrick Bauchau], and Ben [series star Nick and the dark side, but you also feel the are going, you want the audience to feel that Stahl] have a lot of scenes together, so that’s

SEPTEMBER 2003 28 FILM SCORE MONTHLY when the music for Lodz really gets devel- Emmy,” Beal says. “After the first season was and liked my demo and let me hang out with oped. Obviously, in the pilot it’s really about done I got a call saying they wanted to him for a while. I was into large ensembles Justin and Ben and their two worlds, and also replace the theme with something by Randy when I was at the Berklee College of Music. the dream sequences where this whole World Newman. I was surprised because you never He [North] was phenomenally talented and War I thing is happening. That’s a whole know how these things are going over, but really one of our true masters. Episodically, other thing we had to create a sound for—I about three or four weeks after Monk started my next big job was orchestrating the first used these bizarre trombone swells—and we airing I started getting a lot of emails on my season for with Richard Gibbs.” talked about wanting to feel the time period. website from people who really liked the That job led to one that had equal cult It’s about 15 years earlier than the thirties, theme. There’re even petitions online now to appeal—Giffin scored the movie-within-a- and I used some traditional trumpet and get the theme reinstated.” So how do you movie in Pee Wee’s Big Adventure, with a drum stuff and digitally detuned them and make an Emmy acceptance speech about Hollywoodized P.W. Herman (James Brolin) did some very effective things to get the idea. your rejected TV theme? “The music would cavorting with Morgan Fairchild. I was going for surrealism and a 20th-century be nothing without this great character, so I Giffin also finds himself in an oddly simi- sound which is really a century old now and did thank the producers for making this great lar situation to Jeff Beal—like Beal’s efforts on has become period music in a fun sense.” show, the fans for the support they gave me, Part of the show’s challenge is capturing and one journalist, Jon Burlingame, who the mood of the Depression, although Beal wrote a whole article about the theme in says he didn’t take a literal approach to that Variety a few weeks before the voting.” issue. “This whole world of the carnival really Beal does say he’ll try to keep his Monk comes from Europe, and a lot of the back sto- theme alive in the series in some form. “It was 25- to 35-piece orchestras were once the norm, but now the majority of TV scores are done with MIDI instrumentation. ries lead back there,” he explains. “I did a used as the end title for one episode of the Fellini-esque theme that’s concerned with the second season, but they replaced that with an European history of some of these characters instrumental version of the Randy Newman that came over and became gypsies and theme. I think it makes perfect sense to keep soothsayers and that kind of thing. When you it alive in the show, and I’ll find ways to use make one of these for a modern audience it’s it even if it’s not the main title. There’s usually not as important to recreate the actual period a little postscript scene at the end where Monk, Giffin’s theme to Graham Yost’s dra- in terms of music as it is to get them to feel Monk and Sharona [] have this matic series Boomtown got nominated for an the period, like the isolation and loneliness of little fun moment and I used it there a few Emmy. But the network has decided to that dust bowl. The network [wants me] to weeks ago, so it’ll have a home somewhere.” replace it. “I did the theme and underscore for strip everything down, less is more, and make the first season and my theme was nomi- it more streamlined in terms of musical den- nated for an Emmy—in fact I was the only sity. Syd Page, who’s one of my favorite vio- person from Boomtown that got a nomina- linists, is playing all the violin stuff— he’s got Boomtown tion,” Giffin laughs. “They didn’t know that such a great sense of that kind of playing that PHILIP GIFFIN when they replaced me, and I hope it at least evokes that historical Americana. But also gave them pause. I feel like Boomtown is the there’s a scene at the end where tarot cards hilip Giffin got his start scoring televi- kind of Seabiscuit you can cripple and it can are being read to Ben and he’s having flash- sion the same way a lot of other com- still win the race.” Yost brought Giffin on the backs about his mom, and HBO wanted a lot posers have—by working for Mike show. “Graham Yost is a longtime friend, and more angst in that cue. So I wrote this violin Post. But it’s possible Giffin got his gig he came to me first. I came up with this line that keeps climbing and climbing kind of more easily than most of his contem- theme and played it for him over the like the Corigliano stuff in The Red Violin, tak- pPoraries. “I sent a demo to Mike Post and I got phone—actually, I was singing it. He loved it ing something almost from classical music a call from him a couple weeks later,” the even before I arranged it or orchestrated it, so and evoking emotions that way as opposed composer remembers. “I thought it was one I started building it from there.” to the typical bells and whistles.” of my buddies. But he gave me a shot, just the Another element of Boomtown that the net- way it’s supposed to work. I did a couple of work plans to alter is its actual core concept— Cleaning up with Monk A-Teams and he had some phenomenal writ- the idea of taking a single crime event and Beal’s other recent accomplishment was win- ers like , Jerry Grant…not that viewing it from various points of view, à la ning an Emmy award for his theme to the he [Post] wouldn’t completely humiliate you Rashomon, as the episode progresses. One of offbeat mystery series Monk, starring Tony in front of an orchestra, but I was really grate- Giffin’s jobs was to accentuate the differing Shalhoub. There’s just one problem…Beal’s ful to him for giving me a shot, and I felt like points of view in his music. “We had a spe- theme was replaced this year by a Randy I didn’t do that gig very well for him. I was cific routine if it was a flashback or a flash Newman song. “It’s the first time in history also able to hook up with Alex North when I forward. When there was a flashback to the that a theme that was replaced won an came out here, and he was really kind to me (continued on page 48)

FILM SCORE MONTHLY 29 SEPTEMBER 2003

REVIEWS OF CDS

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ SCORE WEAK ★

S.W.A.T. ★★★ phonic textures, adding an inter- heard his ideas several times, they scores for past “sequel” films ELLIOT GOLDENTHAL esting machismo quality. Yet what lose some of their luster. Even so, (Dracula, Blade); his music func- Varèse Sarabande 302 066 501 2 truly makes this cue, and the there is still more than enough tioned well as a “follow-up,” and 14 tracks - 47:05 entire score, successful is the use swagger in this score to make it also stood on its own. That’s not appreciate when a film that of shifting and asymmetric worth recommending. And if you the case here. Though filled with Ishould and could take itself meters. Rhythm, usually relegated were wondering, yes, “Three boundless energy, the music of extremely seriously allows intru- to a pedestrian role in film scores, Chords in Two Minutes” does Terminator 3 ultimately wears sions of wit and self-deprecation. adds tremendous spice to this contain an endless repetition of thin—this is Beltrami’s version of I also delight in nodding know- music, often keeping the listener three chords in succession, but at Christopher Young’s Hard Rain. ingly when a movie winks at its comfortably off-balance. In fact, 1:53, it is just slightly under two One track at a time is fine, but audience with a passing reference the only time this score doesn’t minutes. “Wink, wink.” four relentless action tracks few people will catch. Elliot work is when Goldenthal (or the —Andrew Granade jammed in a row are too much to Goldenthal’s clever score for other artists on the album) relax take. (Not surprisingly, the more S.W.A.T. was just such an experi- the rhythmic intensity. For exam- Terminator 3: Rise of the sentimental cues, especially the ence. ple, halfway through the CD Machines ★★★ ethereal track 17, are very effective S.W.A.T. is a late-summer action comes “S.W.A.T. 911,” performed MARCO BELTRAMI and keep the album bearable.) In film based on a television show by Danny Saber. It’s a fine cue on Varèse Sarabande 302 066 481 2 fairness, much of this problem from the 1970s (whose theme its own, but the shock of hearing 21 tracks - 51:30 can easily be blamed on the song is featured on this album in a straight four in the context of onathan Mostow’s enthusias- movie, which gleefully leaps from “S.W.A.T. Sticker”). That show’s what we’ve just listened to is like J tic liner notes praise Marco one action set piece to another. It underscore naturally played with hearing ’s four-beat version of Beltrami but with unintentional barely leaves time for the the popular music conventions of Lalo Schifrin’s “Mission backhanded compliments such Terminatrix to stand menacingly the day. In 2003 Goldenthal suc- Impossible Theme.” as, “he was early in his career on her own as her creepy cessfully re-imagines those con- The other songs included are and hungry to make his mark “breathing” theme plays (this idea ventions with postmodern fine, but in general the second on a high-profile film.” If you was recently used to better irony—a tongue-in-cheek attitude half of the album is not as strong don’t count Scream as “high pro- advantage for Mystique in John that colors the entire production, as the first. Goldenthal begins to file,” you at least have to count Ottman’s X-Men 2). from the retro nature of the repeat himself and after you’ve its two sequels, which got a ton Much has been made of the wacka-chicka guitars to the of publicity and re-defined the decision to relegate the Brad whimsy of cue titles like “My Big horror genre (whether you like Fiedel Terminator theme to the end Black Assault Weapon,” “AK-47 it or not!). This is an important credits of T3. In actuality, the Scherzo” and “Three Chords in point because Beltrami is simply theme appears only once in the Two Minutes.” treading water in Terminator 3. original film (not counting the One thing Goldenthal doesn’t He already stabbed his way into opening/end credits)—there’s a quite carry over from the show is the public’s subconscious—and piano version over the love scene a strong melodic hook. The bulk arguably made his mark—with and that’s it. So what’s the big of his score instead emphasizes a his impressive Dimension horror deal? In T3, Beltrami largely harmonic theme based on three scores, not to mention some avoids all the specific ideas from descending chords that occasion- beautiful writing for art-house the prior Terminator scores (though ally resolve, but usually in differ- films like Minus Man. Regardless there is a recurring percussive ent, unexpected ways (a subtle of how you look at his career motif similar to one of Fiedel’s) tactic that’s easy to overlook trajectory, Beltrami settles for and uses full orchestra instead of while viewing the film, and old territory despite the exciting muddy synths. Strangely, this another wink to those in the opportunities present in choice may have caused a sub- know). Terminator 3. conscious shift that kept many The album opens strongly with The score emphasizes forceful loyal Terminator fans from fully “Bullet Frenzy.” Vintage percussion elements that might embracing T3. Someone might Goldenthal, it’s full of densely have been cool if they were in claim that T3 “just didn’t have layered ostinatos, strident brass, Scream—but this isn’t Scream, and that Terminator feel,” and then be and the bleed-in of electric gui- the same methods are getting unable to articulate which specific tars underneath otherwise sym- tired. Beltrami has written great aspect of the technical and cre-

FILM SCORE MONTHLY 31 SEPTEMBER 2003 SCORE ative team was most responsible again we find battling for the shift in tone. I feel that the the bad guys in Mexico to the music—even more than the fact sound of some rockin’ Latin that there’s a new director—con- tunes. The CD features the tried- tributed most to the loss of tonal and-true mixture of original continuity in the series. score, source music and bits of Fans of Beltrami will enjoy this dialogue. Now, before you start to album as long as they aren’t cringe, I’ll let you in on some- expecting any radical departures. thing: This isn’t your typical And Terminator fans who buy it for movie/music tie-in kind of the full-orchestral version of soundtrack where you have Blink Fiedel’s theme may be able to Symphony Orchestra gives it material this time around. The 182 doing songs “inspired” by force themselves to like the their all, and the recording, done score is the musical equivalent of Spiderman 14—most of these songs Beltrami. —Luke Goljan in the large hall at Abbey Road a sleeping dragon: You get the are actually worth listening to! studios, sounds spectacular. It constant menacing ambient rasp- Brian Setzer starts out with the The League of Extraordinary really is exciting when you crank ing of the dormant beast, but stinging electric guitar track Gentlemen ★★★ up the hi-fi and let it roar. But, then when you least expect it— “Malaguena,” played with only TREVOR JONES will you want to listen to it again bang!—it wakes up with a drums as an accompaniment. He Varèse Sarabande 302 066 492 2 and again? Probably not. vengeance. Jumpy, menacing and blasts through just about every 15 tracks - 54:41 In addition to the orchestral unnerving, this makes no excuses Tex-Mex guitar cliché known to revor Jones is no stranger to score, there are two tracks that for being a pure horror score. The mankind in about four minutes Twriting action/adventure feature Ladysmith Black Hollywood Studio Orchestra is and leaves you ready to rock on. scores, and it shows in his most Mambazo. Both have wonderfully well served by a crisp recording More tracks follow by artists recent effort, The League of interwoven hushed vocals that accentuates the sound of the you may never have heard of, Extraordinary Gentlemen. From the accompanied by small percus- silence in between the jolts. It’s but they certainly know how to opening cue, “Dawn of a New sion. They certainly stand out also refreshing to hear the perform. Patricia Vonne sings Century,” we know that this is from the orchestral cues, but orchestra supported by synths longingly while backed by an going to be a big score. Big in the make for a pleasant and interest- and samples in such a creepy acoustic guitar-based rock band. sense of orchestra size, but not so ing change of pace. manner. Marcos Loya breaks out the salsa much in musical content. While it can’t be heartily rec- The best tracks are the action with “Yo Te Quiero,” which fea- The title theme has that famil- ommended, there really isn’t any- cues “Henry Returns to the tures more great guitar playing iar summer blockbuster sound— thing bad to say about this score. Cabin” and “Curtis and Owen and a nice flute solo. lots of heavy, syncopated strings Except that near-perfection can Battle,” but this reviewer felt frus- “Dias de ” by Del and huge, low brass blasts. While be a bit dull. —Ian D. Thomas trated that there isn’t more of this Castillo has a modern flamenco it doesn’t cover much new kind of material on the disc. The sound, with wailing vocals and ground, it has a comfortable feel. Dreamcatcher ★★★ military aspects of the score have lots more acoustic guitar. But the We know this type of music and JAMES NEWTON HOWARD been largely ignored, and the overall champion for catchiness is we like it. Varèse Sarabande VSD 6456 finale is woefully underrepre- Manu Chao’s “Me Gustas Tu.” It’s “The Game Is On” stands out as 13 tracks - 39:41 sented. incredibly simple, but will drill its the action cue that every movie or a movie that limped away This is horror music that does sing-song melody into your brain of this type must have—with Ffrom the box office without exactly what it sets out to do— in about 10 seconds. And it even more syncopation, lots of percus- leaving the slightest dent, don’t expect it to be featured on features the first slide whistle solo sion and quick-moving string Dreamcatcher does have a decent any chillout compilation any time I’ve ever heard! lines. While the music for the film score. But after the majesty and soon. Recommended with reser- Not every song works. Juno is well-written and orchestrated, richness of Signs and Treasure Island, vations. —Nick Joy Reactor’s “Pistolero” is an insipid it suffers from an overall bland- James Newton Howard’s first little tune that sounds like you’re ness. It’s strange that one can Stephen King soundtrack opens Once Upon a Time in Mexico back in 1986 at the dawn of appreciate the craft that went into up the debate again as to ★★★ cheap samplers. Of course, that the writing and at the same time whether film music has a duty to ROBERT RODRIGUEZ, VARIOUS may have been the idea, but are be bored by the perfect logic of it entertain outside the movie. For Milan M2-36038A the sampled cartoon bullet rico- all. Trevor Jones uses all the right while there are two standout 18 tracks - 51:42 chets really necessary? instruments at the right times. He action cues, much of this slow- obert Rodriguez does it all. Robert Rodriguez contributes knows how to deliver the neces- burning work is dominated by RHe writes, directs, produces, several tracks of original score, sary emotional cues to the audi- understated scoring punctuated shoots and edits his films. And in but I found most of them a bit ence for the thrilling adventure by crashes of percussion, whining case you haven’t heard, he’s now lackluster. “Eye Patch,” however, is unfolding on the screen. But iso- strings and crescendos. writing his own scores. interesting, with wailing flamenco lated from the movie, the music Perhaps we’re spoiled by Once Upon a Time in Mexico con- vocals backed by acoustic doesn’t make for much more Unbreakable and The Sixth Sense, but tinues the drama that began with guitars—it has an exciting and than ear candy. The London there’s a lack of strong thematic his indie classic, El Mariachi. And exotic flair.

SEPTEMBER 2003 32 FILM SCORE MONTHLY Overall, this album may not be cue on the album. This is not rep- the album’s only real hindrance is are charming, especially in a winner with film score purists, resentative of the entire score, that the better ideas are seldom “Father’s Day.” And the evil but for those of you looking for a however, as we are treated to developed. “Camptown Races” theme for good compilation for your next stylized rock in “Vicki on Her The rest of the album is made “Something to Tide You Over” is road trip through the dusty Bike,” quasi-minimalism in “Beck up of two Fado songs, well per- a winner. Southwest, you may be pleased the Cardcounter” and samba with formed by Portuguese vocalist “The Lonesome Death of Jordy with the album’s vibe. —I.D.T. Spanish guitar in “The Bakery.” Misia, along with a selection from Verrill” and “They’re Creeping Up The score also passes through the classic film Black Orpheus, on You” were essentially one- ★★★ 1 Freaky Friday /2 ’s American Beauty Jobim’s “A Felicidade.” The per- man shows (spotlighting Stephen ROLFE KENT, VARIOUS territory, with an expected formance by a group called Suba King and E.G. Marshall, respec- Hollywood 2061-62404-2 stopover at Zimmerville in “What updates the sound appropriately. tively). King’s segment is proba- 16 tracks - 48:51 Charlie Wants,” the final score —Steven A. Kennedy bly the weakest in the film olfe Kent’s sprightly score track (14 tracks, totaling 28:09, are (where a country hick is over- ★★★ 1 Rinstantly evokes the likes of underscore). Gregson-Williams’ Creepshow (1982) /2 whelmed by rapidly growing Danny Elfman and John Ottman, thematic ideas are beautiful, and JOHN HARRISON space grass that came from a with quirky rhythms and instru- La-La Land LLLCD 1007 meteorite that landed in his mentation—but somehow it 14 tracks - 66:46 yard). The music is more sound remains fresh. Covering a variety magine the hype: Stephen King effects-based than melodic, but it of flavors from bouncy to intense Iand George A. Romero, two is totally in keeping with the to heartwarming, the single Kent , collaborate for tone of the segment. (And much cue (“Fortune Cookie”) that made the first time on a film based on of this episode is tracked with it to this album is a good repre- cult fave E.C. Comics. Creepshow library music. Anything fully sentation of the underscore. Films was the result, and while it has orchestral in the film itself is like Freak Friday tend to rely heav- good scares, the film went more library music and not Harrison, ily on source music anyway, so for the comic/camp element than and there’s a lot.) “Creeping” is Kent’s job was basically to thread the horror. Anthology movies are more successful at maintaining a scenes together. That said, the always uneven affairs (remember paranoid atmosphere, with score is surprisingly good, much or Twilight Zone: The Marshall as a recluse obsessed better than one might have Movie?), and, in my opinion, only with cleanliness. Like “Jordy,” expected from a live-action two out of Creepshow’s five tales however, the atonal music and Disney flick like this one. It’s still work well. Still, I have always had various noises don’t make for a hard to justify recommending affection for it, due in no small great listening experience, how- that you run out and buy the CD, part to the surprising score by ever effective they are in the since it’s basically four minutes of John Harrison. film. score—unless you desperately Harrison was a very unlikely The best story both dramati- want to hear Joey Ramone sing choice to score this high-profile cally and musically is “The Crate.” “What a Wonderful World” or movie; he had never scored a Romero and King are at their Bowling for Soup cover “Baby major motion picture and was gruesome best here, and One More Time.” Kent has, how- already on the Creepshow crew as Harrison also gives us a great ever, done a great job with the the assistant director to Romero. musical hook: the piano. Like score, and, hopefully, we’ll see a But Romero liked Harrison’s ideas John Carpenter before him (and full release. —L.G. for the movie’s musical direction Christopher Young after), and gave him the job. Mostly Harrison realized that the sound Passionada ★★★ synthesizer-based, the score has a of a piano in a horror situation HARRY GREGSON-WILLIAMS catchy, Elfman-esque main-title can be plain scary. In the midst Varèse Sarabande 302 066 497 2 theme (pre-Elfman) that blends of the synthesizer-drenched cue, 17 tracks - 41:37 the gothic with the goofy. Each of Harrison adds a rapid, almost assionada, a romantic comedy, the film’s five chapters has its Baroque piano solo that’s both Pplayed at last year’s Seattle own musical flavor, but only one melodic and memorable. This is International Film Festival and of them is as infectious and probably why this segment is eventually got a very limited the- melodic as the main theme. given the longest amount of CD atrical release (late summer of “Father’s Day” and “Something space on the soundtrack. (The CD 2003). The Dan Ireland film relates to Tide You Over” are ensemble is mislabeled by the way: “The the story of three generations of pieces about murder and the Crate” is actually tracks 5 and 6, Portuguese women in a small subsequent revenge by the mur- “Creeping” is track 7 and the Massachusetts fishing community. dered parties. While each has its “Epilogue” and “End Credits” are The “Main Titles” presents a charm, the comic-book endings both on track 8.) bittersweet theme emphasizing are a bit of a letdown. As for the Originally available on CD solo guitar—hands-down the best music, the early ’80s synth sounds only in Japan, La-La Land

FILM SCORE MONTHLY 33 SEPTEMBER 2003 SCORE

Records has finally released a Featuring Gertrud Huber, a clas- stateside version, with many sically trained zitherist, this new bonus tracks (none, however, product includes all of the pic- from Creepshow), including unre- ture’s major themes, most of its leased Harrison music from the underscore and even the tolling Tales From the Darkside TV show, as bells of Big Ben, which open the well as some projects that never film. In addition, this enhanced saw the light of day. Harrison CD includes symphonic versions has since become a reputable of “The Harry Lime Theme” and composer, writer and director, “Cafe Mozart Waltz” (performed and his early projects hold up; by the City of Prague Orchestra) this CD is a must for horror about the down-home blues in he heard Anton Karas playing and a video of Huber playing movie and score fans. “Wakefield Blues.” And if you the . The odd, rhythmic her zither. And though a hand- —Cary Wong want some R&B to go with that, tones of this Greek folk instru- ful of dialogue clips do appear, try listening to “Out of Town.” ment beguiled Reed, and he they’ve been pulled, by and Brubaker (1980) ★★★★ It’s got a sexy groove, with a immediately invited the cafe large, from scenes that appear LALO SCHIFRIN hot, sultry sax soloing over a performer to score his movie— without Karas’ accompaniment; Intrada Special Collection Volume 10 small combo’s urban funk. Say, one of the bleakest portraits of and therefore your stereo’s pro- 33 tracks - 65:11 did someone say funk? Well, postwar Europe ever made. gram button can remove these f variety is the spice of life, that’s on another track called Karas, thank goodness, agreed snippets harmlessly, restoring I then Lalo Schifrin is one “Relations.” It features that early- to this strange offer. He brought the score’s structure, rather than spicy dude. He’s a whole lot ’70s organ combo sound with his zither into the studio, and, gutting it. With comprehensive more than the guy who wrote funky guitars and drums back- over the course of a couple of liner notes and a crystal clear the Mission: Impossible theme. ing a cool stereo Hammond B3. days, he improvised sounds and sound, this “authentic” repro- While most readers are proba- And, yes, there’s even more. melodies as he watched the duction ought to please Karas bly familiar with the wide vari- The more traditional symphonic film. In 1949, when David O. aficionados. Our long wait, in ety of styles he is capable of, a compositions take up about a Selznick released the picture, other words, is over. few of you might still need con- third of the album and feature this quickly written and per- —Stephen B. Armstrong vincing. And for those of you, interesting cues like “The Man formed music knocked over there’s Intrada’s new release of on the Bottles,” with its repeti- audiences on both sides of the Brubaker. tive strings and sinister brass. Atlantic; as a matter of fact, “The Varèse Sarabande A 25th While it’s true that the public And let’s not forget the big- Harry Lime Theme,” named for Anniversary Celebration, Vol. 2 ★★★★1 mostly avoided this Robert band number! Oh, you get the ’ character, rose to /2 Redford vehicle back in 1980, idea... the top of the popular-music VARIOUS (58 composers) the score is definitely worth While it’s not unusual to find charts. Varèse Sarabande – VCL 07031021 spinning today. “Theme from film scores that feature wide Because of the impromptu Disc One: 18 tracks - 75:48 Brubaker” has a familiar ’70s ranges of music, they’re usually recording process, however, a Disc Two: 19 tracks - 76:59 pop vibe to it, with guitars and compilations of various artists clean, original copy of the music Disc Three: 18 tracks - 75:32 harmonica trading places in the with some original score thrown has not been available for gen- Disc Four: 19 tracks - 77:37 spotlight against an easy, breezy in. Brubaker, on the other hand, eral consumption. For instance, few years back, singer Joni backing. And if you like your is all Schifrin. And even with all when Soundtrack Factory reis- A Mitchell released two ret- country music old-fashioned, the styles tossed together, the sued the score (as a bootleg) to rospective CDs: One was called you’re sure to be pleased with cues manage to work together mark the movie’s 50th anniver- Hits and the other Misses. The “So Far From Love,” a vocal and still sound like he wrote sary, the project’s producers did Misses album was by far the track that wouldn’t sound out of them. If you like variety in your not bother to separate the more interesting, since it com- place blasting out the window film scores, then buying this CD music from the other elements prised songs Mitchell liked but of an old, rusty pick-up. is a mission you should accept! captured on the film’s sound- that never caught on with the “Country Living” is a catchy —I.D.T. track, like dialogue and sound general public. This second vol- instrumental with energetic effects. These inclusions, no ume of Varèse Sarabande’s 25th players who all seem to be hav- (1949/2003) doubt, disappointed many peo- Anniversary Celebration could ★★★ 1 ing a blast trading licks. “Fiddles /2 ple—including me. also be dubbed “Misses,” and & Broomsticks” features a simi- ANTON KARAS Now, however, Silva Screen strange as it may seem, it, too, is lar combo bangin’ out the crazy Silva Screen SIL-CD 1151 has gone to great effort to re- better than the other volume— hillbilly jams of a real barn- 20 tracks - 48:03 record the score in a manner at least so far as serious score burner. Hold on a minute—isn’t egend has it that shortly that mimics Karas’ performance collectors are concerned. Lalo Schifrin from Argentina? L after completing the major as closely as possible, while Collecting and appreciating So, where the heck did he learn shooting for The Third Man, the freeing it from screenwriter movie scores is a highly special- this stuff? film’s director, , wan- Graham Greene’s ironic voice- ized hobby, and much of the But wait, there’s more. How dered into a cafe, where overs and conversations. time it’s the enjoyment of the

SEPTEMBER 2003 34 FILM SCORE MONTHLY esoteric that makes it all so fun. Ennio Morricone and Bruce the program. Cascades is a jazzy Producer Robert Townson had a Broughton. One odd choice, number that serves as a show- huge task on his hands with the however, is the first cut of the case overture for orchestra as first volume of four CDs—it had collection, Korngold’s Kings Row, well as for the solo pianists a wide release, targeting not which seems to have been cho- Mahesh Balasooriya and Daniel only film score fans but those sen to demonstrate how similar Szabo. The work owes a lot to casual listeners who might be the theme is to John Williams’ Gershwin, but it’s a worthy attracted to the low price and Star Wars. However, the short addition to the pops repertoire. huge amount of music. As cue ends abruptly with a sonic A Bird From Missouri is another Townson writes in his liner glitch. brilliant pops piece which places notes, this second volume has There seems to be more a big Americana film sound into no such pretense. This one is for rhyme and reason to the order- a mix that includes a saxophone music he loves, regardless of the ing on the second volume as jam section and a hoedown— popularity or recognizability of well. There’s a run of animal and somehow it manages to the movie or its score. movies on Disc One, a jazzy layer all three ideas together for And, boy, was he right about stretch at the end of Disc Two, the exciting finale. that. For one, this set features and an Asian motif taking over The “Suite” from Close the same number of Joel toward the end of Disc Four. Encounters is somewhat different Goldsmith cues as it does Jerry The best grouping, however, is from Williams’ own Boston Pops Goldsmith. And just look at the the action section at the begin- performances, focusing prima- back cover—these entries could ning of Disc Two. It begins with rily on the “Resolution” music be a who’s who of late late what’s probably the most rec- from the finale. The album’s show movie repertories. Yes, ognizable score of the collec- other film work is, naturally, there are a couple of hits. Umm, tion, Trevor Rabin’s Deep Blue Sea. world. The students are given Mancini’s “Hong Kong Alien 3 was a hit, wasn’t it? I This theme has been used in so full scholarships to study and Fireworks” from The Revenge of the think Cruel Intentions and Vertical many movie trailers, it may perform with some of the finest Pink Panther. It makes for an apt Limit made some money, right? soon surpass the champ, Randy living musicians during a four- closer to an awesome program. The Linguini Incident. Who was in Edelman’s Dragon. From there, week program. Toward the end The album also boasts several that one again? Sky Bandits? you get a fun theme from John of the season, the Institute holds showpieces for solo instrumen- Bloodline? Yikes. Powell’s Evolution, followed by a a free concert series that shows talists interspersed with the film But that has always been the wonderful cut from Jerry off the many artists who have and jazz numbers. Roger charm and reliability of Varèse Goldsmith’s out-of-print The spent the summer there. The Kellaway’s arrangement of Sarabande. I mean, who else ’Burbs. And how wonderful to organization relies on a variety Django Reinhardt’s “Nuages” would even think to release also have a selection from John of donations to fund its pro- starts off impressionistic before William Ross’ score to My Dog Williams’ contribution to the gramming, and individual turning into a wonderful Skip? And thank goodness they Amazing Stories TV series, “The donations can be pursued at the Grappelli-inspired violin num- did, because it’s one of the bet- Mission.” website address below. ber lead by Yue Deng. The other ter scores of the last few years. This is an amazing CD collec- The CD at hand is the group’s new jazz pieces could play well There are many similar gems in tion for film score fans, but it first live production and should on any smooth-jazz station. this second compilation. In fact, can only be purchased through help spread the word about this Pieced together from a variety a great deal of my all-time the Varèse Sarabande website organization. The album is of performances, but heavy on favorites are here, along with and is available only until the essentially a live concert per- the jazz side, this CD makes for several treasures I had yet to end of 2003. It costs slightly formance recording of a “stu- an excellent listen. Though not discover. more than the first volume (at dent” orchestra. Still, these are entirely a film music disc, the Some favorites include Basil $26.99), but it’s well worth it. high-quality musicians from album is recommended to jazz Poledouris’ dreamy piano score —C.W. around the world. The CD fans and to those wishing to for It’s My Party, Danny Elfman’s boasts an impressive selection of lend an enthusiastic hand of moody Dolores Claiborne, Ray The (2002) Henry Mancini works that shame most current support to a deserving organi- Cook’s beautiful Careful He Might Institute Orchestra ★★★★ classical recordings by name- zation. —S.A.K. The CD is available Hear You and (I swear Cliff PATRICK WILLIAMS, VARIOUS brand orchestras. The sound is at www.manciniinstitute.org. Eidelman is not paying me to be Concord 2194-2 impeccable and the general ★★★★1 this score’s cheerleader) the epic 13 tracks - 73:34 sound image is impressive, with A Star Is Born /2 Christopher Columbus: The Discovery, he Henry Mancini Institute, well-placed microphones adding HAROLD ARLEN, IRA GERSHWIN, which makes a rousing finish to T founded in 1997 by Jack a terrific level of detail. There RAY HEINDORF the collection. Also worth men- Elliott, holds a summer educa- are occasional mistakes, but Columbia/Legacy/Sony Music Soundtrax tioning are the composers over- tional program that serves as a they’re few and far between. 26 tracks - 78:11 looked in the first volume who potential professional starting Patrick Williams, the artistic ll right, I’ll admit it. I was make a showing here, including ground for instrumentalists and director of the Institute, slips a Athe kind of nine-year-old Elliot Goldenthal, John Ottman, composers from around the couple of his own works into (continued on page 43)

FILM SCORE MONTHLY 35 SEPTEMBER 2003 We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace

■ Vol. 6, No. 15 ■ Vol. 6, No. 14 NEW RELEASE NEW RELEASE ■ Vol. 6, No. 13 ■ Vol. 6, No. 17 ■ Vol. 6, No. 16 Wild Rovers The Cobweb/ Hawkins on Murder/ The Man From U.N.C.L.E. Vol. 2 The Brothers Karamazov JERRY GOLDSMITH Edge of the City Winter Kill/Babe Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH, et al BRONISLAU KAPER JERRY GOLDSMITH Studio: M-G-M Genre: Western Films released: 1956, 1957 TV Produced: 1963-67 Film released: 1957 Films broadcast: 1973, 1974, 1975 Silver Age Classics Studio: M-G-M Genres: Drama Studio: M-G-M • Genre: Secret Agent Studio: M-G-M Genre: Literary Adaptation Studio: M-G-M Genres: Crime, Biography CD released: Sept. 2003 GoldenAge Classics Silver Age Classics Golden Age Classics Silver Age Classics • CD released: July 2003 Stereo • 79:14 CD released: Sept. 2003 • Stereo • 51:54 CD released: Oct. 2003 CD released: Oct. 2003 Stereo • 77:24 Mono/Stereo • Disc One: 77:54 Mono • 79:10 A favorite score gets the deluxe, Two early scores by one of cinema’s Mono/Stereo Disc Two: 76:29 A rich and varied score for one of the Three TV movie scores, all in stereo: Because you demanded it: Another definitive treatment from FSM: This CD most distictive voices: The Cobweb is greatest works in literature—com- Hawkins (16:51) is a courtroom drama 2CD set of the classic TV series scores, includes the never-before-released film the first 12-tone score for movies; this posed by one of the novel’s greatest featuring Jimmy Stewart; Kill (17:58) is including music by Fried, Shores, recording (39:47); the expanded LP release features the complete score in fans. Kaper draws upon Prokofiev, a dramatic pilot for Andy Griffith; Babe Riddle and more. Two unused versions recording (35:59); plus bonus vocal stereo (36:41). Edge of the City is a gypsy melodies and his natural gift for (26:41) is the Emmy-winning story of of the theme and stereo suites from the tracks, all in stereo. $19.95 reprise of the thrilling mono suite dramatic writing to create a classic Olympic star Babe Didrikson Zaharias. feature films are included. $19.95 originally released on LP. $19.95 soundtrack. $19.95 Includes bonus tracks. $19.95

■ Vol. 6, No. 12 ■ Vol. 6, No. 11 ■ Vol. 6, No. 10 Toys in the Attic The Appointment Our Mother’s House/ GEORGE DUNING , The 25th Hour Film released: 1962 JOHN BARRY GEORGES DELERUE Studio: & DON WALKER, STU PHILLIPS Films released: 1967 • Studio: M-G- Genre: Southern Family Drama Film released: 1969 • Studio: M-G-M MGenre: Gothic/WWII Comedy • Silver Golden Age Classics • CD released: Genre: Drama • Silver Age Classics Age ClassicsCD released: June 2003 • July 2003 CD released: June 2003 • Stereo • Stereo • 58:49 Stereo • 70: 27 77:06 Our Mother’s House (31:18) is the story of orphans and their dead- One of Duning’s greatest scores One movie, three scores: This beat dad; The 25th Hour (27:31) (and one of his few on CD) is tale of obsessive love features follows one man’s tragi-comic sensitive, rich and melancholy as befits the tangled personal rela- music by a quartet of noted composers Legrand (18:59); Barry & journey during WWII. Both delicate, melodic scores are remas- tionships of the film. CD features album sequence from Citadel LP Walker (26:19); Phillips (31:48). Remixed from the original stereo tered in stereo. $19.95 followed by bonus tracks. $19.95 masters, it’s a one-of-a-kind trio. Special price: $16.95 ■ Vol. 6, No. 9 ■ Vol. 6, No. 8 ■ Vol. 6, No. 7 The Adventures of Soylent Green/ Knights of the Round Huckleberry Finn Demon Seed Table/The King’s Thief JEROME MOROSS FRED MYROW/ MIKLÓS RÓZSA Film released: 1960 • Studio: M-G-M Film released: 1973/77 Film released: 1953/1955 Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Studio: M-G-M • Genre: Costume Golden Age Classics Silver Age Classics Adventure/ CD released: June 2003 CD released: May 2003 Golden Age Classics Stereo and Mono • 59:58 Stereo • 79:49 CD released: May 2003 A giant of Americana scoring Two ’70s sci-fi scores on one Stereo • Disc One 70:31 • writes a bouncy, rich score for disc: Soylent Green (40:21) fea- Disc Two 78:21 Mark Twain’s classic tale. tures a mix of pop, classical and Knights (86:25) is the complete Originally planned as a musical, our CD includes snippets of songsin avant-garde sounds; Demon Seed (39:28) is a wild blend of the film recording of Rózsa’s thunderous, epic score; Thief (56:47) is a the score as well as rare demos.$19.95 electronic and symphonic. Stereo with mono alternates. $19.95 rousing swashbuckler in the Korngold mold. $24.95

■ Vol. 6, No. 6 ■ Vol. 6, No. 5 All Fall Down/The Outrage JOIN THE CLASSICS CHARTER CLUB Green Fire/ ALEX NORTH Get every Classics release FIRST—automatically! Plus, receive Bhowani Junction Film released: 1962/1964 discounts on multi-disc sets and member surprises! See order MIKLÓS RÓZSA Studio: M-G-M Film released: 1954/1956 form for details. Genre: Drama/Western Studio: M-G-M Silver Age Classics Genre: Adventure/Drama CD released: Apr. 2003 CHECK YOUR ORDER ONLINE Golden Age Classics Stereo • 52:54 CD released: Apr. 2003 Visit our web site at https://secure. filmscoremonthly.com/store Two complete scores by the Stereo/Mono • 79:20 great Alex North: All Fall Down to place an order on our secure server. You will receive an Green Fire is an adventure set in (38:24) is hushed, sweetly jazzy automatic confirmation. All of your info is kept confidential and Colombia with a gorgeous sym- score to family/coming-of-age drama. The Outrage (14:29) is spare encrypted for your protection. Save days phonic main theme; Bhowani Junction is a politically charged music to western remake of Rashomon. $19.95 romance sporting indigenous, “world-music” source cues. $19.95 and rest easy!

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com ■ Vol. 6, No. 4 ■ Vol. 6, No. 3 ■ Vol. 6, No. 2 ■ Vol. 6, No. 1 ■ Vol. 5, No. 20 ■ Vol. 5, No. 19 ■ Vol. 5, No. 18 THX 1138 Home From the Hill Ice Station Zebra Plymouth Adventure Never So Few/ Tribute to a Bad Man The Man From LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 HUGO FRIEDHOFER,/ Film released: 1956 JERRY GOLDSMITH, et al Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Genre: Genre: Drama Genre: Military/Espionage Genre: Historical released: 1959/1966 Genre: Western Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 George Lucas’ first film is a Vincente Minnelli’s excel- This ’60s Cold War nailbiter CD released: Jan. 2003 Rózsa’s rare western is Mono • Disc One: 77:05 startlingly original vision of lent Southern family drama is enhanced by Legrand’s Miklós Rózsa’s magnificent Stereo • 73:46 sweeping, full of melody, Mono/Stereo Disc Two: 76:08 a dystopian future. is highlighted by a master- offbeat, epic scoring for historical music for the Two Asian-flavored clas- and flecked with the America’s first hit spy TV Composer Schifrin adds a ful score by Bronislau orchestra. Remixed for 1620 voyage of the sics: Never So Few (42:18) brooding melancholy series features varied, fascinating score ranging Kaper, weaving together superior sound, and rese- Mayflower, from his most blends action and expected of a mature jazzy, high-energy music. from avant garde sound- romance, tension and vio- quenced into film order, this fertile period of epic scor- romance, while 7 Women “psychological western.” All of Goldsmith’s scores scapes to cheeky plays on lence. All of the music from dramatic score gets the ing. Includes the complete (31:27) is more introspec- This fan favorite has been plus scores by six others Latin jazz. The CD includes the film is present, plus deluxe treatment with over soundtrack as used in the tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, many unused passages and bonus tracks and alter- twice the music on the origi- film (47:00) plus a bevy of ing title theme for the stereo masters. $19.95 Stevens) are represented is entirely in stereo. $19.95 nates. $19.95 nal LP—in stereo. $19.95 alternates (32:35). $19.95 Mongol horde. $19.95 on this 2-CD set. $24.95

■ Vol. 5, No. 17 ■ Vol. 5, No. 16 ■ Vol. 5, No. 15 ■ Vol. 5, No. 14 ■ Vol. 5, No 13 ■ Vol. 5, No. 12 ■ Vol. 5, No 11 The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Above and Beyond MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA VICTOR YOUNG ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 This reworking of The Stereo • 52:53 The first major U.S. film to The last of the Golden- This combination of Painted Veil inspired Rózsa The Prize is an early Jerry A rare Rózsa’s sci-fi score address the con- Age by This tale of barnstorming wartime drama and to apply three of his signa- Goldsmith action-sus- (Two men and one flict features a stirring sym- Rafael Sabatini (Captain skydivers contrasts robust, domestic struggle is driv- ture sounds; film noir, exot- pense gem for a woman struggle in post- phonic score, befitting an Blood, et al) gets a heroic action-oriented cues and ing by a stirring, progres- ic and epic film scoring Hitchcock-styled thriller. apocalyptic NYC), embell- action movie directed by and charming score by sweeping Americana with sive score, with one of techniques combine to cre- CD features complete ishes end-of-the-world and starring John Wayne. the prolific Victor Young. softer, bittersweet Friedhofer’s greatest main ate a unique and unmistak- stereo score plus source loneliness and doom with All of Rózsa’s music is here This premiere release melodies. CD features titles. Complete, chrono- able score. Includes music and vintage re- romantic splendor. (plus “The Ballad of the includes all of the score, complete underscore plus logical score in best pos- source music suite. $19.95 recorded LP cuts. $19.95 Premiere release of com- Green Berets”) in excellent plus alternates, unused nightclub and marching sible monaural sound. plete stereo score. $19.95 stereo. $19.95 and source cues. $19.95 band source cues. $19.95 $19.95

■ Vol. 5, No. 10 ■ Vol. 5, No 9 ■ Vol. 5, No. 8 ■ Vol. 5, No 7 ■ Vol. 5, No. 6 ■ Vol. 5, No 5 ■ Vol. 5, No 4 I Spy The Prodigal Point Blank/ On the Beach/ The Traveling 36 Hours The Man Who EARLE HAGEN BRONISLAU KAPER The Outfit The Secret of Santa Executioner Loved Cat Dancing TV Produced: 1965-67 Film released: 1955 JOHNNY MANDEL/ Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Network: NBC • Genre: Secret Studio: M-G-M JERRY FIELDING ERNEST GOLD Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Agent Genre: Biblical Epic Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M WWII/Spy Film released: 1973 Silver Age Classics Golden Age Classics Studio: M-G-M • Genre: Film Studio: United Artists Genre: Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Noir Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Five episode scores for CD released: June 2002 CD released: June 2002 Stereo • 39:39 A taut, piano-dominated CD released: Mar. 2002 groundbreaking series star- Complete stereo score for Stereo • 77:54 Stereo • 70:59 The main theme charming- score with an accent on Stereo • 65:37 ring Robert Culp and Bill gargantuan biblical epic Two films based on D.E. Two scores from the films ly blends Americana, stealth—flamboyant, but A lost gem from Williams’ Cosby: “So Long, Patrick starring Lana Turner fea- Westlake’s crime novels: of director Stanley Kramer Dixieland and circus naturalistic as well. melodic, pre-blockbuster Henry,” “The Time of the tures male and female Point Blank (39:38) is a on one CD. Beach is a gor- sound, but the score Remixed and remastered career, plus Legrand’s Knife” “Turkish Delight,” choruses, solos, source landmark 12-tone score, geous symphonic score touches all the bases, from in stereo, this CD doubles unused, unheard take on “The Warlord” and “Mainly cues and thundering sym- ethereal and strange; The ingeniously interpolating bluegrass to avant-garde the playing time of the LP the same material. A rare on the Plains.” First three & phonic glory. Includes Outfit (38:16) features a “Waltzing Matilda”; Secret to full-scale action. This including bonus tracks of opportunity for collec- theme in stereo; all OST, not unused alternate cues. dark, pulsating score punc- is a lyrical slice of first-release ever is com- vocals, piano demos, and a tors—all in stereo! $19.95 LP recordings. $19.95 $19.95 tuated with unexpected “Italiana,” with one bonus plete, with every note in jazz trio improv of the main melody. $19.95 cue. $19.95 excellent stereo. $19.95 title. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com ■ Vol. 5, No. 3 ■ Vol. 5, No 2 ■ Vol. 5, No. 1 ■ VOLUME 4, No. 20 ■ Vol. 4, No. 19 ■ Vol. 4, No. 18 ■ Vol. 4, No. 17 Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators LEIGH HARLINE Please Come Home! Film released: 1965 Film released: 1976 Film released: 1956 FRANZ WAXMAN Film released: 1954 JOHNNY WILLIAMS Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1965 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: Comedy CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 Herrmann’s last studio project This classic story of a Premiere of Rózsa’s heartfelt, CD released: Jan. 2002 Stereo • 61:51 Stereo • 71:32 is sweepingly romantic, surg- dystopian future gets the stirring accompaniment to Stereo • 73:48 Spectacular score for Disney’s workhorse ing with passion and haunting royal treatment by the mas- the tragic tale of Vincent van Biblical epic emphasizes composer from the ‘30s This wacky comedy in its use of melody. The com- ter of speculative sound- Gogh. A favorite of the com- Farewell, My Lovely (33:06) is romance, action and religion, (Pinocchio) provides a dark, starring Shirley MacLaine plete score from the original tracks. Jagged action cues, poser, this CD has been symphonic jazz score for '70s interpolating themes from rich Americana score to this and Peter Ustinov is the earli- three-track recording with Coplandesque nostalgia, remixed from the three-track noir classic; Monkey Shines The Robe by Alfred Newman. adaptation of King Lear set est feature film soundtrack by liner notes by Christopher bracing electronics and masters with bonus alternate (40:41) is leitmotivic sus- Plus bonus tracks (11:06) and in the American West. $19.95 John Williams available on Husted, manager of the more in this restored, cues and more. One of the pense score for George remixed cue from The CD. Johnny does Arab go-go Herrmann estate. $19.95 remixed, resequenced greatest film scores! $19.95 Romero monkey thriller. Egyptian (5:04). $19.95 music! $19.95 release! $19.95 $19.95

■ Vol. 4, No. 16 ■ Vol. 4, No. 15 ■ Vol. 4, No. 14 ■ Vol. 4, No. 13 ■ Vol. 4, No. 12 ■ Vol. 4, No. 11 ■ Vol. 4, No. 10 The World of The View From The Illustrated Man The Bravados Morituri/ The Best of Everything Voyage to the Bottom Henry Orient Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea ELMER BERNSTEIN Blue Denim HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL Piano Concerto by ELMER BERNSTEIN/ Film released: 1969 Film released: 1958 DAVID SHIRE Sammy Cahn, & BERT SHEFTER Kenneth Lauber BERNARD HERRMANN Studio: Warner Bros. Studio: 20th Century Fox Films released: 1965/77 Perf. by Johnny Mathis Song by Russell Faith, Film released: 1964 Films released: 1955/1959 Genre: Sci-fi/Anthology Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Avalon Studio: United Artists Studio: 20th Century Fox Silver Age Classics Golden Age Classics Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 Genre: Comedy/Drama Genre: Drama CD released: Sept. 2001 CD released: Sept. 2001 Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox Silver Age Classics Golden Age Classics Stereo • 42:02 Stereo (some bonus tracks in CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen CD released: Nov. 2001 CD released: Nov. 2001 mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 • Silver Age Classics Stereo • 40:32 Stereo • 75:15 The Illustrated Man is one of Mono (Entebbe) • 57:50 Stereo • 71:14 CD released: July 2001 Bernstein’s “second-best” This pair of films by Philip Jerry Goldsmith’s most Two Hollywood legends col- Morituri (41:46) is in Newman’s last Fox score is Stereo • 55:55 score for children sports fab- Dunne feature romantic, inti- haunting sci-fi creations, laborate for a rich, hand- Goldsmith’s percussive ‘60s a romantic gem; think New Thundering B-movie hysteria ulous sound from the leg- mate scores by Elmer with airy beauty, solo female some western score with a style; Raid on Entebbe (15:29) York at twilight. Complete plus soothing, romantic endary Goldwyn scoring Bernstein (lovely Americana) vocalise, early electronics, memorable, driving main features suspense, pulsating score (48:21) in stereo, plus undersea passages for the stage. Whimsical, melodic and Bernard Herrmann strange effects and an theme and darkly brooding action, and Israeli song cli- some bonus tracks in mono. film that launched the hit TV and magical. $19.95 (“baby Vertigo”). $19.95 interior passages. $19.95 aggressive climax. $19.95 max. $19.95 $19.95 show. $19.95

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■ Vol. 4, No. 9 ■ Vol. 4, No. 8 ■ Vol. 4, No. 7 ■ Vol. 4, No. 6 ■ Vol. 4, No. 5 ■ Vol. 4, No. 4 ■ Vol. 4, No. 3 Between Heaven and Room 222/ A Man Called Peter The French The Egyptian Untamed The Towering Inferno Hell/ Soldier of Fortune Ace Eli and Rodger of ALFRED NEWMAN Connection/ ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1955 French Connection II BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Films released: 1971/75 Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Studio: 20th Century Fox Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sitcom (TV)/ Americana CD released: June 2001 Genre: Cop Thriller Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 (feature) Stereo • 58:14 Silver Age Classics CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics CD released: May 2001 Stereo • 72:06 Stereo • 75:31 CD released: June 2001 Biopic of Scottish minister Stereo & Mono (I)/ 19th century African colonial- A superlative Hugo Mono (Room 222)/Stereo & Peter Marshall receives rich, Stereo (II) • 75:01 At last: the classic ist adventure starring Susan Disaster masterpiece gets Friedhofer doubleheader: Mono (Ace Eli) • 71:37 reverent, melodic score by Newman/Herrmann collabo- Hayward receives thrilling premiere CD release, dou- Between Heaven and Hell Alfred Newman; CD features Cop thrillers get pulsating, ration for Fox’s historical adventure score by Franz bled in length from the LP. (complete: 40:18) is a moody Room 222 (12:15) comprises complete score including dynamic, avant-garde scores epic. Original stereo tracks Waxman in first-rate sound. Fantastic main title, climac- war thriller; Soldier of theme and two episode source music. $19.95 by jazz artist. First (37:52) were believed to be lost or Wonderful main title, love tic action cue; plenty of Fortune (surviving tracks: scores for popular sitcom; includes unused music; unusable, but this CD fea- theme. $19.95 moody suspense and 32:41) an exotic, melodic Ace Eli (59:21) an obscure sequel (37:09) a bit more tra- tures every surviving note. romantic pop. $19.95 jewel. $19.95 barnstorming movie. $19.95 ditional. $19.95 $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com ■ ■ ■ ■ Vol. 4, No. 2 ■ Vol. 4, No. 1 ■ VOLUME 3, No. 10 ■ Vol. 3, No. 9 Vol. 3, No. 8 Vol. 3, No. 7 Vol. 3, No. 6 How to Marry a Conquest of.../Battle for Beneath the The Stripper/ From the Terrace Batman The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN NELSON RIDDLE Hombre ALFRED NEWMAN & / BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Theme by HUGO MONTENEGRO/ CYRIL MOCKRIDGE LEONARD ROSENMAN/ Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Film released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/Mono Mono • 65:23 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 (Quarry) 73:35 Paul Newman/Joanne Stereo • 72:33 Marilyn Monroe comedy Stereo & Mono (Conquest)/ Fantastic undersea adven- Woodward soaper features Holy Bat-tracks! 1966 feature features period songs Stereo (Battle) • 74:44 ture score gets premiere Early Goldsmith feature tuneful, romantic score by produced at time of ‘60s TV Western doubleheader: The adapted as instrumental Final Apes films get vintage release of original stereo (42:01, plus 21:06 bonus Bernstein. Rich Americana show features Neal Hefti’s Undefeated (w/John Wayne, underscore. “Street Scene” scores by Scott (38:47, tracks, albeit with minor tracks)—is in romantic Alex music, sensitive romantic theme, Nelson Riddle’s Bat- 47:33) is accessible and (5:36) conducted by Alfred w/unused cues) and deterioration. Lots of harps, North style. Quarry (10:27) is themes, haunting melan- signatures, swingin’ symphonic. Hombre (w/Paul Newman opens the movie Rosenman (34:43), plus TV “underwater” color, seafar- a TV rarity—sounds like Flint choly. $19.95 underscoring and larger Newman, 21:30) is moodier, and CD. $19.95 theme (1:13). $19.95 ing melodies. $19.95 music. $19.95 action setpieces. $19.95 sensitive—a quiet gem. $19.95

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■ Vol. 3, No. 5 ■ Vol. 3, No. 4 ■ Vol. 3, No. 3 ■ Vol. 3, No. 2 ■ Vol. 3, No. 1 ■ VOLUME 2, No. 9 ■ Vol. 2, No. 8 A Guide for the Tora! Tora! Tora! Beneath the Planet The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Mono/Stereo (combo) • 75:28 CD released: July 2000 Stereo • 72:37 Stereo (Flim-Flam)/Mono Stereo • 73:10 Classic Goldsmith war score Charlton Heston sci-fi Strange “blaxploitation,” (Sooner) • 65:20 Early Goldsmith western enhances docu-drama take Second Apes pic gets atonal classic features one-of-a- foreign-produced western score is presented in com- Vintage score is “Johnny”’s on Pearl Harbor. Aggressive score by Leonard Rosenman kind symphonic/pop fusion gets wonderful symphonic A rural Americana double- plete form (55:43) in mono, most elaborate for a comedy, action music combined with with many avant-garde high- by the late Ron Grainer. score from Goldsmith; great header: Flim-Flam (34:37) with some cues repeated in with long setpieces, groovy avant-garde effects, lights. Includes complete Unforgettable themes, period main theme, action cues. stars George C. Scott as a stereo. Includes delightfully title theme, and orchestral Japanese instrumentation. original tracks (46:03) plus effects; great stereo sound Take a hard ride, indeed. Southern con man; Sooner bizarre vocal version of the underscoring foreshadowing $19.95 1970 LP re-recording with quality. $19.95 $19.95 (30:43) is smaller, sensitive main theme. $19.95 his dramatic works. $19.95 dialogue (26:34). $19.95 TV movie score. $19.95

■ Vol. 2, No. 7 ■ Vol. 2, No. 6 ■ Vol. 2, No. 5 ■ Vol. 2, No. 4 ■ Vol. 2, No. 3 ■ Vol. 2, No. 2 ■ Vol. 2, No. 1 All About Eve/ The Comancheros of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 CD released: Nov. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Mono (2 trks. in stereo) • 44:19 CD released: April 1999 Elmer Bernstein’s first of “Lost” Tyrone Power histor- Revisionist western gets vin- Fox’s colorful 1954 adapta- Stereo • 76:24 Burt Reynolds/Raquel Welch Eve is a cinema master- many scores for John ical adventure gets exciting, tage John Barry score 20 tion of the famous epic western gets explosive piece; the complete score is Wayne is a western gem, robust score by Alfred years before Dances With comic strip features stirring Patton (35:53) is complete score, heavy on Mexican col- appropriately theatrical, per- with rhythmic main title and Newman, newly mixed into Wolves. Song “The Good adventure score by Franz OST to WWII biopic classic. ors and guttural action. CD fectly drawn. Leave Her to high-tailing action music. stereo. Glorious main title, Times Are Comin’” per- Waxman in “leitmotiv” style, Phoenix (40:51) is a rare features score twice, in Heaven is more dramatic, Think in terms of “The stirring love theme. $19.95 formed by Mama Cass; a la Star Wars: hero, villain, album release for Frank De stereo and in mono with brooding film noir. $19.95 Magnificent Eight.” $19.95 many bonus tracks. $19.95 princess, mentor. $19.95 Vol, a rousing adventure/ slight variations. $19.95 survival score. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

■ VOLUME 1, No. 4 ■ Vol. 1, No. 3 ■ Vol. 1, No. 2 ■ Vol. 1, No. 1 ■ FSM-80125-2 ■ FSM-80124-2 ■ FSM-80123-2 The Return of Dracula/ Fantastic Voyage The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH Film released: 1998 Film released: 1968 Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Genre: Animagic Genre: Heist caper Studio: M-G-M GERALD FRIED Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Percepto/Retrograde Records Retrograde Records Genre: Thriller Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics CD released: 1997 CD released: 1997 Retrograde Records Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 Stereo 36:48 Stereo 40:23 CD released: 1996 Genre: Horror Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ The jazzy score by composer Barry scored this thriller in Stereo & Mono • 30:55 Silver Age Classics Sci-fi classic following Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 Maury Laws, with lyrics by his most creative period. Hear David Shire’s CD released: Jan. 1999 • Mono miniaturized sub crew inside The Paper Chase is eclectic Stagecoach is gentle Jules Bass, features the Features “Romance for unparalleled ’70s 12-tone Disc One: 61:06 Disc Two: 73:20 the human body gets imagi- score for drama about law Americana score for remake vocal talents of Boris Karloff, Guitar and Orchestra,”; the jazz/funk fandango for the 1974 Star Trek and The Man from native, avant garde score; students. The Poseidon of classic western. The Phyllis Diller and Ethel Ennis. title song performed by subway hostage thriller on U.N.C.L.E. composer gets 2- one of Rosenman’s Adventure is classic Irwin Loner includes theme and Features 16-page color Shirley Bassey, plus two FSM’s first album release. A CD release of creepy, early signature works. Symphonic Allen disaster score. Also two episode scores for short- booklet with rare and unpub- unreleased, alternates and sensational, driving, pulsating horror scores, packaged in yet thrillingly bizarre. $19.95 includes Conrack (1974), lived Rod Serling western lished photographs and con- vintage underscore. $16.95 score in a class by itself. slimline case; same shipping main title (6:07). $19.95 series. $19.95 cept drawings. $16.95 $16.95 as one CD. $29.95

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell NEW!!! 2003 Film/TV Music Guide From the Music Business Registry Respected TV composer Bell (Star Trek: Voyager) wrote this book in 1994 to help producers and directors get the most out of film music. Aimed at filmmak- Isn’t your career worth it? An exhaustive directory of record labels, music pub- ers, this book also provides useful professional info to composers and musi- lishers, film/TV music depts., music supervisors, music editors, composer rep- cians—or any interested fan. Topics include spotting, communicating, record- resentatives, composers, clearance companies, recording studios, performing ing, budgeting and licensing, with explanations of the personnel and entities rights societies, and music libraries—names, addresses and numbers. $94.95 involved in each; also includes lists of agents, clearance companies, glossary 8 terms and resources. Silman-James Press, 112 pp., softcover. $12.95 The Click Book Timing tables for music-to-film sync By Cameron Rose BOOKS FOR MUSIC LOVERS

Get click-tempo tables for 6-0 through 32-0 frame click-tempos. Each timing The Score: Interviews with Film Composers by Michael Schelle table covers beat 1 to beat 999 at the given click-tempo. With easy-to-read This 1999 book uses a Q and A format to provide readers with a conversa- click-tempo and metronomic values at the top of each page, there are tim- ing, frame and footage breakdowns for rhythmic subdivisions within each tional look at contemporary composers, featuring lengthy transcripts with click-tempo—including compound meters. Includes a tutorial of standard Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, Howard, Isham, timing-conversion formulas for 24 fps film speed, and a tutorial in SMPTE-to- Licht, McNeely, T. Newman, Shaiman, Shore, Walker and C. Young. Written absolute time conversion, plus frames-to-seconds conversion tables for U.S. by a composer, who delves deeply and precisely into each composers’ and European film & video speeds. 430 pp. $149.95 ideas. Silman-James Press, 432 pp., softcover. $19.95

U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Music for the Movies Price Guide by Robert L. Smith 2nd Edition by Tony Thomas FSM’s 2nd market-standard price guide contains 2,400+ album titles with com- The original film music book (1971), telling the stories of Hollywood’s most posers, label numbers, special collectible info and estimated values. Listings successful composers. Updated in 1997, shortly before the author’s death. are annotated to differentiate between originals and reissues, commercial Composers covered (many with photos) are Stothart, V. Young, Green, albums and promos. Learn what’s out there, what they’re worth, and how Newman, Tiomkin, Waxman, Kaper, Rózsa, Steiner, Korngold, Herrmann, much you should spend on your collection. Smith surveys the market and pro- Friedhofer, Raksin, Antheil, Thompson, Copland, North, Bernstein, Duning, vides a checklist for the top 50 collectible CDs. Vineyard Haven LLC, 154 pp., Rosenman, Goldsmith, Mancini, Schifrin, Scott, Shire, Broughton and softcover. $17.95 Poledouris. Silman-James Press, 330 pp., softcover. $19.95

Hugo Friedhofer: The Best Years of His Life A Heart at Fire’s Center: Edited by Linda Danly, Introduction by Tony Thomas The Life and Music of Bernard Herrmann by Steven C. Smith The gifted musician of such classics as The Best Years of Our Lives, Above The most influential film composer of all time, who scored Citizen Kane, and Beyond and Soldier of Fortune was considered by his peers to be the Vertigo, Psycho and Taxi Driver, Bernard Herrmann (1911-1975) was as most sophisticated practitioner of their art. Friedhofer (1901-1981) gave a famous for his musical passion as his bad temper. This hard-to-find 1991 lengthy oral history to the AFI, rife with anecdotes, opinions and wit, which book is the definitive biography of the legendary composer, covering his film, forms the centerpiece of this book. Includes a short biography by Danly, the television, radio and concert work as well as his personal life. It’s a brilliant NEW softcover ed. eulogy from Friedhofer’s memorial service by David Raksin, a filmography, illumination of Herrmann and probably the best film composer biography NEW lower price! photographs and more. The Scarecrow Press, 212 pp., softcover. $24.95 ever written. University of California Press. 416 pp., hardcover. $39.95

Sound and Vision: 60 Years of Motion Picture Soundtracks Film Music and Everything Else! by Jon Burlingame Foreword by Leonard Maltin Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Journalist and historian Burlingame’s overview of movie music composers and Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo history, encapsulating the most notable people and events in clear and direct and others. Originally written for“The Score,” the quarterly journal of the prose. Largely comprised of composer mini-bios with reviews of their most Society of Composers and Lyricists. Topics include: melodies, “hummers,” notable works and photo portraits (from Golden Age titans to present-day mas- emotion and more. It’s a rare opportunity to read thoughtful opinions and ters), there is also a thorough overview of soundtrack album history (LP and musings from a film composer directed towards other practitioners of the art. CD), a section devoted to song compilation reviews, and a helpful movie music Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95 bibliography. Billboard Books, 244 pp., softcover. $18.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com The Music of Star Trek: Profiles in Style Stu Who? Forty Years of Navigating the Minefields by Jeff Bond of the Music Business The first-ever history of Star Trek scores, from 1966 thru 2000—by FSM’s by Stu Phillips editor-at-large. With interviews of composers Goldsmith, Courage, Fred Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of the Steiner, Fried, Ron Jones, McCarthy, Chattaway, producer Robert Justman, Dolls) and virtually every Glen Larson TV show ever produced (Battlestar music editor Gerry Sackman and others, the book contains a complete list Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full of of music written for four TV series; a guide to score tracking and credits; exciting stories from the worlds of arranging, music directing, record produc- Trek manuscript excerpts from the composers; and several cue sheets. ing, and film and TV scoring. Published Cisum Press, 304 pp., hardcover, illus- Lone Eagle Publishing. 224 pages, softcover, illustrated. $17.95 trated. $29.95

Overtones and Undertones: Reading Film Music Memoirs of a Famous Composer— Nobody Ever Heard Of by Royal S. Brown by Earle Hagen The first serious theoretical study of film music explores the relationship Composer Hagen (b. 1919) has had an outstanding career: as a trombone between movie, music and narrative, chronicling the its aesthetics player with ; working under Alfred Newman at 20th Century through several eras. Key works analyzed include The Sea Hawk, Double Fox; and as a composer/music director for thousands of hours of television, Indemnity, Laura, those of Prokofiev and Eisenstein, Herrmann and including I Spy, The Mod Squad and . He wrote the Hitchcock, and several scores for Jean-Luc Godard. Also features probing standard, “Harlem Nocturne,”and authored two books on film composing. interviews with Rózsa, Raksin, Herrmann, Mancini, Barry and Shore. U.C. This is Hagen’s story, filled with charming anecdotesand some of the biggest Press. 396 pp., softcover. $24.95 names in movie music. Xlibris Corporation. 336 pages, hardcover. $34.95

BACK ISSUES OF FSM music books. Cinemusic ’96 (Barry, Zhou Jiping); Vic Varèse, Pendulum CDs; TV CDs. *#46/47, Jul. ’94 P. Doyle, J.N.Howard Mizzy. Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ VOLUME ONE, 1993-96 (Wyatt Earp), John Morgan (restoring *#75, Nov. ’96 Barry Interview; J.Bond’s J.Horner, Best of 1997, Cinerama, Greig Hans Salter); Tribute to Mancini; M. reviews; Recordman on War Pt. 2. McRitchie, Fox Newman Stage, Oscars. 24 pp. unless noted. Nyman, collectible CDs. *#76, Dec. ’96 R. Edelman, Barry pt. 2, R. Vol. 3, No. 4, May ’98 Bruce Broughton Asterisk (*) indicates photocopies. *#48, Aug. ’94 Mancina (Speed); Chuck Cooder (Last Man Standing); A. Dursin’s (Lost in Space), D. Arnold (Godzilla); *#30/31, Mar. ’93 64 pp. M. Jarre, B. Cirino & Peter Rotter; R. Kraft: aspiring Laserphile, Lukas’s reviews. Inside CE3K restoration; Williams Guide Poledouris, Chattaway, J. 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FILM SCORE MONTHLY REWARDS Kraft; John Beal Pt. 1; scores vs. songs; Heimat, Star Trek; promos. Most Influential Scores; Goldsmith Bond’s movie reviews. loyal customers with a free gift for Herrmann Christmas operas; Film *#52, Dec. ’94 E. Serra; M. Shaiman Pt. 1; video. *Vol. 2, No. 4, Jun. ’97 Elfman (Men in spending over $50 on any one order, Composers Dictionary. Sandy De Crescent; Valencia Film Music *#63, Nov. ’95 James Bond Special! Black), Promos Pt. 2, and and TWO free gifts for spending over *#36/37, Nov. ’93 40 pp. Bob Townson Conference; SPFM Conference Pt. 1; J. Barry; E. Serra (GoldenEye); History of Exotica, Lady in White; Laserphile on $100. (Magazine subscriptions, ship- (Varèse); Richard Kraft & Nick Redman StarGate; Shostakoholics Anonymous. Soundtrack Collecting Pt. 3; Davy DVDs, Brian May obit, The Fifth Element. ping and tax are not applicable Pt. 1; John Beal Pt. 2; CAM CDs; classic *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Crockett LPs. *Vol. 2, No. 5, Jul. ’97 Goldenthal towards the $50 or $100—but every- corner; fantasy scores of E. Bernstein. McCarthy (Star Trek); Sergio Bassetti; *#64, Dec. ’95 Danny Elfman Pt. 2, Steve (Batman & Robin), Mancina (Con Air, thing else is, including backissues.) *#38, Oct. ’93 16 pp. John Debney Jean-Claude Petit & Armando Trovajoli Bartek, Recordman on Blaxploitation; Speed 2), Clinton (Austin Powers), (seaQuest DSV); Kraft/Redman Pt. 2. in Valencia; Academy Awards Pt. 1; Kamen Pt. 3; re-recording House of ASCAP & BMI nites; Crash, Lost World. IF YOUR ORDER APPLIES, PLEASE *#39, Nov. ’93 16 pp. Kraft & Redman Pt. rumored and quad LPs. Frankenstein. Vol. 2, No. 6, Aug. ’97 Schifrin (Money note your selection on the form or a 3; Fox CDs; Nightmare Before Christmas; *#55/56, Apr. ’95 B. Poledouris (The *#65/66/67 Mar. ’96, 48 pp. T. Newman; Talks), J. Powell (Face/Off), Shaiman separate sheet, The free gifts will Bride of Frankenstein. Jungle Book); A. Silvestri (The Quick Takemitsu; Robotech; Star Trek; 10 (George of the Jungle); Tony Thomas; change from time to time—and they *#40, Dec. ’93 16 pp. Kraft & Redman Pt. and the Dead); J. Lo Duca (Evil Dead); Influential composers; Glass; Heitor Summer movies, TV sweeps. may be available from other sources. 4; Re-recording The Magnificent Seven. Oscar & Music Pt. 2; Recordman’s Diary; Villa-Lobos; songs in film; best of ’95; *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; SPFM Conference Report Pt. 2. documentary reviews (Herrmann, (Peacemaker), M. Beltrami (Scream, HERE IS THE PRESENT LINE-UP of J.N. Howard; Kitaro & R. Miller (Heaven *#57, May ’95 B. Broughton (Young Delerue, Takemitsu, “The Hollywood Mimic), Curtis Hanson (L.A. Confidential); available gifts: & Earth); R. Portman; Ken Darby; Star Sherlock Holmes); Miles Goodman; ’94 Sound”). Laserphile; Film Music as Fine Art, Wars trivia/cue sheets; sexy LP covers; Readers Poll; Goldsmith concert. *#68, Apr. ’96 D. Shire’s The Taking of Recordman. Basil Poledouris: His Life and Music western music; ’93 in review. *#58, Jun. ’95 M. Kamen (Die Hard); Pelham One Two Three; C. Burwell *Vol. 2, No. 8, Oct. ’97 Poledouris FSM’s videotape documentary of the *#44, Apr. ’94 J.McNeely; B. Poledouris Royal S. Brown; Recordman Loves (Fargo); gag obituaries; Apollo 13 (Starship Troopers), Shore (Cop Land, admired composer. Specify NTSC (On Deadly Ground); SPFM Morricone Annette; History of Soundtrack promo/bootleg tips. The Game), Zimmer vs. FSM Pt. 2, Alloy (U.S.) or PAL (U.K.) format. tribute & photos. Collecting Pt. 1. *#69, May ’96 Plan 9 from Outer Space; Orchestra; Golden Age CDs. Regular FSM Price: $19.95 *#45, May ’94 R. Newman (Maverick); G. *#59/60, Aug. ’95 48 pp. Sex Sells (LPs); Movie music glossary; Herrmann & Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold Revell (The Crow); Goldsmith M. Jarre; Soundtrack Collecting Pt. 2; Rózsa radio programs; Irwin Allen; (Tomorrow Never Dies); J. Frizzell (Alien Now Playing on Marco Polo Sampler concert;The Magnificent Seven, Rózsa Remembered; film score concert Bender’s “Into the Dark Pool.” Resurrection); Neal Hefti; U-Turn & The of John Morgan/William Stromberg Schindler’s List; Instant Liner Notes, film debate. *#70, Jun. ’96 Mancina (Twister), desert Mephisto Waltz, Razor & Tie CDs. re-recordings on the Marco Polo island lists, summer movies; TV’s label (8 tracks -37:55). Biggest Hits review. Retail Price: $14.95 *#71, Jul. ’96 D. Arnold (Independence EXCLUSIVE VIDEO! VOLUME THREE, 1998 U.S. Soundtracks on CD Price Guide: Day); M. Colombier; Recordman Goes to Expanded format! Issues 48 pp Basil Poledouris: His Life and Music 2nd Edition Congress; Summer round-up. *Vol. 3, No. 1, Jan. ’98 Williams An intimate visit with the composer of Conan the Barbarian, FSM's market-standard price guide *#72, Aug. ’96 10 Best Scores of ’90s; T. Buyer’s Guide Pt. 1 (Star Wars to Free Willy, Starship Troopers and Lonesome Dove. Take a tour featuring over 2,400 listings. Newman (The Player); Escape from Amistad), M. Danna (The Sweet of his work and lifestyle, from his methods of composing to his Regular FSM Price: $17.95 L.A.; cond. John Mauceri; reference Hereafter), Titanic‘s music supervisor, love of sailing. The video runs 50 minutes and includes footage books; Akira Ifukube CDs. Laserphile, Silvestri lecture, Rykodisc of Basil conducting and atwork on synthesizer mock-ups of PLEASE NOTE! *#73, Sept. ’96 Recordman on War Pt. 1; CDs. Starship Troopers, as well as dozens of behind-the-scenes and If your order qualifies, you must David Schecter: Monstrous Movie *Vol. 3, No. 2, Feb. ’98 Glass (Kundun), family photos, and appearances by wife Bobbie and daughter Zoë. Discover ASK for a free gift—we won't send Music; Ifukube CDs Pt. 2; Miles Williams Buyers Guide Pt. 2 (The Reivers the man behind the music, in a way you’ll never see on TV, or experience in it automatically. Thanks! Goodman obit. to Black Sunday), D. Amram (The print. Specify NTSC (U.S.) or PAL (European) $19.95 *#74, Oct. ’96 Action Scores in the ’90s; Manchurian Candidate), Goldsmith on

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com Burkhard Dallwitz (The Truman Show); tribute, Camille Fielding; Top picks for (Final Fantasy); Shore (The Score); Hennagin story; 25+ CD reviews; more. Christopher Gordon (Moby Dick); Debbie ’99; Oliver Stone’s score-o-matic (Any Williams (A.I.). Vol. 7, No.9, Nov. ’02 BOND TURNS 40: Wiseman (Wilde); ‘70s soul soundtracks. Given Sunday); George Duning obit; Vol. 6, No 7, August ’01 D. Arnold (Die Another Day, reviews *Vol. 3, No. 7, Aug. ’98 South Park Score Internationale;1999 release stats. PART 1; Moulin Rouge; J. Morgan on and re-releases); W. 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(continued from page 35) nearly 30-year-old film was a heavenly (aside from the fact that As Warner Bros.’ preeminent who deserted all of my neigh- cause célèbre all over again, in a few numbers there are musical director, Heindorf’s talent borhood friends (right in the though it would take another two slightly perceptible shifts from for interpretive versatility was middle of a truly intense kickball decades before the soundtrack stereo to mono). The most wel- such that he was able to utilize game) whenever the 1954 version album received the same restora- come addition to this album is the melody of “The Man That Got of A Star Is Born turned up on tele- tive treatment. It’s an honor to the inclusion of Heindorf’s mas- Away” to underscore several dra- vision. in a great announce unequivocally that it terful, Oscar-nominated scoring. matically different moments in big Technicolor musical took was worth the wait. These arrangements enhance the the film: the sweeping determina- precedence over lemonade Without question, this film’s mammoth scope while pro- tion of Garland’s “First Day in the stands, pollywog dips at the Y Columbia/Legacy/Sony Music viding sensitive accompaniment Studio,” the weariness and expec- and afternoon pilgrimages to the edition of the soundtrack is to this emotionally charged epic’s tation of “Esther in the Boarding corner store for Everlasting definitive. The audio quality is manic depressive moods. House” and the fatalistic grandeur Gobstoppers. of “The Last Swim,” an unused Eventually I would blow an cue intended to accompany entire week’s allowance on the An Album We Love to Hate James Mason’s deep-sea suicide. Columbia Records soundtrack Even if Judy’s only film had album, the cover of which fea- Harlow (1965) ★ been A Star Is Born, the explosive tured Judy in the feminized NEAL HEFTI •DRG • 13 tracks - 34:25 intensity of her singing in this tuxedo she wore in her first one picture would have ensured scene in the picture. Needless to he was an incandescent knockout poured into a silver satin evening gown. her place as the greatest musical say, I played the record inces- The audacious dame always ready with a blistering wisecrack. Gable’s girl in comedy star of all time. Garland’s five films. The original Blonde Bombshell...Jean Harlow. An enduring screen santly despite the fact that like S performances of “Gotta Have Me legend whose 26 years were marred by tragedy, Harlow was a gossip columnist’s the movie itself, some of its Go With You,” “Lose That Long dream. So it came as no surprise that biographer Irving Shulman’s 1964 portrait parts were conspicuously miss- of the tormented superstar became a major bestseller that inspired not one but Face” and the elaborate “Born in a ing. For example, where was Ray two feature films released in 1965. The glossier of the two productions featured Trunk” medley are dazzling Heindorf’s commanding main- Carroll Baker as Harlow and an effective as Jean’s scheming examples of “Miss Show Business” title music or any of his brilliant Mama. For some reason, the score for this lavish biopic was assigned to Neal at her most accomplished. underscoring incorporating Hefti, a composer best known for his immortal and enjoyable themes from tele- Equally powerful and effecting vision’s Batman and The Odd Couple. Harold Arlen and Ira Gershwin’s are the more soulful songs, This DRG Records version of the soundtrack (originally released by Columbia immortal themes? On the flip including “Here’s What I’m Here Masterworks) begins with the film’s theme song, “Lonely Girl,” which immediately side, why did my album feature dates the entire enterprise. Stuck in a mid-’60s time warp, the bossa-nova-paced For” and “It’s a New World.” In a spectacular songs that were music seems to be unsuccessfully emulating Henry Mancini’s easy-listening hip- class by itself is “The Man That nowhere to be found in the ster period. A New Christy Minstrels-style chorus alerts listeners that we’ve wan- Got Away,” the ultimate torch movie? dered into rarefied camp territory. The innocuous instrumentals that follow radiate song with Arlen’s haunting It didn’t take me long to dis- with all of the emotional intensity of lemon-scented furniture polish. Hefti’s score melody and Ira Gershwin’s let-it- has little to do with the on-screen action, and even less acquaintance with the era cover that after its glammy bleed lyrics. Although nominated of the ’30s, when Harlow reigned as the ultimate glamour queen. September ’54 premiere, George for an Academy Award, “The Man “Waltz for Jeannie” sounds like an overzealous high school drama club paean Cukor’s masterpiece had been to Jean Harlow. The inexplicably titled “Blues for Jean” features inappropriate, That Got Away” lost Oscar to the mutilated, with key exposition blaring Vegas-style trumpets—the blues never sounded this peppy, manic and lighter-weight “Three Coins in the and musical sequences care- overblown. “Girl Talk” stands out as it’s one of the few tracks on the album that’s Fountain.” lessly excised. Gone was Judy’s not unbearably upbeat. This particular selection is where Hefti comes closest to Just when you thought pro- beleaguered ascent to stardom, evoking some genuine emotion and a more realistic means of expressing it. As ducers Didier C. Deutsch and far as “Carroll Baker a Go-Go” is concerned, the only endearing aspect of that which Moss Hart’s screenplay Darcy M. Proper couldn’t possibly composition is its anachronistic title. had detailed in several witty and unearth another sparkling artifact Prior to the release of Harlow, an obscure record label known as World Artists poignant scenes. The mystique released a far more thoughtful vinyl collection titled Great Motion Picture Themes from that battered trunk direct surrounding the vanished por- From Jean Harlow Films, which featured Perry Botkin Jr. conducting such memo- from Pocatella, Idaho, the collec- tions of A Star Is Born would rable tunes as “Reckless” (from Harlow’s 1935 film of the same name) and the tion concludes with a pair of become as legendary as the haunting “Did I Remember?” from the overlooked Suzy (1936). That Harlow was priceless outtakes: “When My movie’s featured performer. a Paramount release and most of Jean’s films were lavish M-G-M affairs may Sugar Walks Down the Street,” a account for why Hefti didn’t incorporate any of the tunes associated with the leg- Throughout her life, Garland deleted ditty from the “Born in a endary siren into his own score. As a result, the luminous spirit of Harlow is was uncannily adept at staging Trunk” montage and “The nowhere to be found on this album. In retrospect, a more considered, sensitive miraculous comebacks, and in approach to this material might have aided the cause, similar to what John Barry Trinidad Coconut Oil Shampoo 1983 she became a posthumous achieved in his score for Frances (1983), which concerned another troubled star Commercial,” a delightful jingle showstopper when film histo- of the Depression era, the radiant Frances Farmer. that allows Judy an opportunity rian Ronald Haver unveiled a While DRG certainly deserves points for ushering in many long out-of-print to slip into a Caribbean-flavored reconstructed A Star Is Born. After titles like this soundtrack to the compact disc format, the reissue producers may accent. want to be a bit more discerning in the future about which collections get sprung a valiant search, Haver located The disc includes Garland’s from the vaults. In this case, the results simply aren’t worthy of one of the most the missing production numbers very famous final line from the exalted goddesses in the Hollywood heavens. —Mark Griffin and other truncated footage. The film, “Hello, everybody, this is

FILM SCORE MONTHLY 43 SEPTEMBER 2003 SCORE

Mrs. Norman Maine!” The ova- superb soprano Nqobile Sibeko, tion that follows is thunderous chants and body percussion from and approving and exactly the the Khoisan, the Khayalitsha kind of reception this superlative Gospel Choir, the Sdasa Chorale release deserves. This is one star and a full symphony orchestra to that keeps right on shining. paint an amazing picture of —Mark Griffin South Africa. Unlike many world music scores, which tend to exag- JAG: Original Television gerate the “world” and pay less ★★★ 1 Soundtrack /2 attention to the “music,” this CD STEVE BRAMSON plays like an amazing tone poem ST0N010 PROMO tors in raising this series out of when given the chance. Let’s that moves effortlessly from one or fans of quality scoring, the mediocre swamp is its fea- hope that more upcoming pro- style to the next. Beautiful the- Fmodern-day television poses ture-quality sound. There is a ductions choose to take the high matic pieces interchange with something of a paradox. There is depth and breadth to the scoring road. —Stephen Greaves intense ethnic tracks. The opening more programming on the tube that is seldom heard outside of title track and other extended ★★★ 1 than ever before, and virtually all big-budget films. Final Solution (2001) /2 cues like “Grandpa’s Grave” and of it has some kind of musical The soundtrack for JAG offers a JOHN SPONSLER, TOM GIRE “Interrogation” are highlights, underpinning—even reality TV. complete yet economical sam- Magicbox Music along with the individual themes What is odd is that in this boom- pling of material from the show. Distributed by Crown Video for Celeste, Grandpa and redemp- ing era of small-screen fare, so Bruce Broughton’s taut main 24 tracks - 38:49 tion. very few shards of music are theme gets things under way and his past July I spent two Final Solution has been a darling memorable. One would think the rest of the disc is pure Tweeks surrounded by of film festivals, having received that just in terms of sheer num- Bramson underscore. The range 30,000-plus teenagers who had the Best Picture award at the 2002 bers there would be many more of styles and emotion he traverses come together to celebrate the ICVM Crown Awards, and the great TV themes etched in our is impressive, particularly within theme of “Ubuntu” set forth by Crystal Heart award at the 2002 brains than there were from, say, what could have been a confin- Bishop Desmond Tutu in his Heartland Film Festival. It recently the ’60s or ’70s. Not so, and there ing museum of strict militaria. work on reconciliation in South garnered Best Soundtrack at the are two factors that are likely the The stoic, heroic sound of horns Africa. Final Solution is a film that 2003 Down Under Film Festival. culprits: an overwhelming “same- is certainly here, along with the would have provided valuable Its U.S. premiere was in Bismarck, ness” to much of the synthetic rat-a-tat snare drums and jab- historical context for that experi- North Dakota, of all places, and it pads and textures to which shows bing low elements you’d expect ence, and it should now be mak- was also seen this past April at of various genres seem to soni- in any militarized zone. But there ing its way to your local PBS Worldfest, Houston. The CD cally default, and a lack of pro- is purposefulness to how these affiliate. The movie is based on release appeared to have loosely duction budgets sufficient to hire cues are constructed. Bramson the true story of Gerrit Wolfaardt, coincided with the June video full, real orchestras and the nec- never beats you over the head a paramilitary member who release. —S.A.K. essary support staff (not to men- with clichés and, in fact, makes worked to drive blacks from tion an experienced, A-list com- oft-used colors seem fresh. South Africa, and is set in the Chouans! (1988) ★★★ poser capable of superior writing). As an album experience, JAG final days of Apartheid. With GEORGES DELERUE This being the case, the excep- works thanks to Bramson’s deft- Hitler as an inspiration, Wolfaardt Disques Cinémusique DCM 108 tions in this bleak landscape ness at creating variety within a planned a mass extermination, a 24 tracks - 52:22 sparkle that much more. There clearly stated framework. One “final solution,” for blacks in eorges Delerue and Philippe are very few full-scale orchestral expects the sounds of action, sus- South Africa. But somehow, in the Gde Boca, who both rose to scores now produced for ongoing pense and solemnity in this midst of this, he experienced a prominence as members of the series. Notables include Star Trek: arena. Gently bumbling humor, profound personal transformation nouvelle vague in the 1960s, col- Enterprise (Dennis McCarthy and playful Gaelic and Celtic motifs that is the subject of the film. laborated off and on as composer others), The Simpsons (Alf Clausen) and a gorgeous romantic theme Incidentally, Wolfaardt is now an and director on film projects for and, the star of our review, JAG are pleasing sidesteps. What ordained minister living in almost 30 years. Some of their (Steve Bramson). holds it all together is Bramson’s Colorado, where he centers his pictures, like That Man From Rio It is indeed rare nowadays that unmistakable gift for melody. world travels to promote racial and King of Hearts, became minor a TV score is actually better than Unlike much of today’s action reconciliation. classics while many others, the show for which it was cre- music, the melodic wheels don’t After recently hearing the out- including Chouans!, failed to con- ated, but JAG is just such an ani- come off the minute he shifts into standing Nowhere in Africa, the nect with critics and audiences. mal. Nothing against the show, high gear. His mellow moments opening bars of Final Solution Set during the French which has had a surprising flight are lush, and his action fierce, but seemed like the second chapter of Revolution, Chouans! features from its early cable sleeper detail all favor tonality over texture. the same score. However, it is Philippe Noiret as a troubled aris- to a full-fledged network hit. It’s JAG is worthy of attention, if only in the inspiration where tocrat whose two sons both fall good, but is it truly great? only to serve as a reminder of these two scores maintain com- in love with his adopted daugh- Perhaps one of the sealing fac- how good TV music can still be parison. Final Solution mixes in the ter. Given such a scenario, listen-

SEPTEMBER 2003 44 FILM SCORE MONTHLY ers might expect the film’s score 2000, and Chouans! may be their producer for a number of Alberto that sounds like a karaoke to pulse and pound with the best release yet—or at least their Iglesias’ film scores and was also accompaniment. same emotional violence that best Delerue (and I’ve reviewed an uncredited orchestrator for The An annoying aspect of the disc afflicts its characters. Yet the bulk all of them). No doubt the label’s Others (2001). He is a very good is the inclusion of dialogue—this of the music presented here is next release (Delerue Conducts the guitarist and the primary per- isn’t the first Milan import to be delicate and happy, featuring Film Music of Maurice Jaubert) will former driving Mondays in the Sun. plagued with this. This no doubt cyclical melodies and springing deliver similar and, perhaps, even “Los Lunes al Sol” opens the was done to try and fill out the rhythms appropriate for dancing. greater pleasures. disc promisingly with a simple meager timing of the material, “Aurèle et Céline” and “Menuet,” —Stephen Armstrong theme for guitar and melodica but there is no consistency to for instance, are ballroom compo- that is reminiscent of more recent how these tracks are used. They ★ 1 sitions, and “Lanterne Magique” Mondays in the Sun /2 popular foreign scores by Luis tend to be layered over the ends sounds like it may have once LUCIO GODOY Bacalov. This idea reappears in or beginnings of music cues, thus been performed in some chateau Milan 36014 • 20 tracks - 33:32 practically the same guise in a distracting the listener from the parlor for privileged guests. (9 score tracks: 14:53; shorter version entitled “Ocho music. When will record compa- The score’s darker cues move 4 song tracks: 14:30; Mil.” “Lady Espana” moves the nies understand that the entire along on tightly patterned routes, plus 7 dialogue tracks: 4:09) music up a notch toward a more point of soundtrack albums is to with looping melodies and ondays in the Sun was this pop feel with a drum set. The listen to the music? We can enjoy springing rhythms. But they don’t Myear’s official Spanish same music repeats in the final the entire spectrum of dialogue, sound at all frivolous. On the entry for the Academy Awards. track, “Que Dia Es Hoy.” “Si Cae sound effects and music on our beautiful danse “La The film appeared at Sundance Uno” contains a new idea scored DVDs. If we’re that desperate to Bataille,” for example, the com- and may get a limited release this for solo piano and a sparse not see something, we can turn poser marries pouncing strings July. It garnered many accolades accompaniment of viola and off the TV while it’s playing. and horns to approximate the abroad and received five Goya melodica that manages to intro- This score is competent, but energy of battle. He follows this awards (nominated for eight). In duce melancholy into the pro- its simplicity wears thin after a tense volley with an airy Mondays, director Fernando León ceedings. The overall score has a time because there’s little dra- arrangement that floats over low de Aranoa focuses on a group of Mediterranean feel that continues matic weight to the material. Or cello. men dealing with unemployment even through the musical per- at least one doesn’t get a sense Cinémusique has been reissu- and bad economic times. Lucio formances of the material by Tom of the drama simply by listening ing the overlooked works of well- Godoy’s name may be unfamiliar Waits and in a scene featuring a to the disc. —S.A.K. known French composers since to most. He has served as a music sing-along of the classic “Volare” FSM

FILM SCORE MONTHLY 45 SEPTEMBER 2003 RETROGRADE

On Leathern Wings and Shiny Discs An interview with writer/director Matthew Robbins. By Dennis Schmidt

ficiently powerful. Its odd counterpoint had been used up and it was just time to stop counter programming and go one-on-one with the mood of that final battle. I was not alone in that feeling. It was upsetting to Alex that we moved the cue, but the legendary Walter Murch mixed the reel. He and I collaborated many times over the years and have known each other since we were 18 at Johns Hopkins University. Walter was mixing when we came to that sequence, and he stopped and asked, “Do you agree that this cue, this scherzo at this place, is just not happening?” and I said, “Yes, but what are we going to do?” We found from an underground sequence a dragon cue, so to speak, that was extremely powerful and omi- EQUAL OPPORTUNITY SCORING: Both the reptilian menace of Dragonslayer and the nous. It was as if Alex had written it expressly cutsie-pie extraterrestrials of *batteries not included benefitted from A-list composers. for this moment as well. It was the only instance that we made a change of that s the classic Dragonslayer gets set for its premiere release on DVD nature, but all the angst and worry and bad feeling vanished when Alex got an Academy this month, we caught up with director Matthew Robbins to get Award nomination for the score. FSM: Another movie that you directed was his thoughts on his movies, music and James Horner’s accent. *batteries not included. Why did you select James A Horner as your composer? FSM: Let’s start with your first film as a he had to actually write the score for MR: I was aware of James because his director, . I believe your writing Dragonslayer? It seems as though many com- career was moving very quickly. Steven partner was . How did you select posers today only have two to three weeks to Spielberg was the producer of the film and Craig Safan as the composer? compose a score. had heard scores by James. He asked me what Matthew Robbins: I remember it well MR: I don’t remember how much time he I thought of him, and I thought he would be because the editor of the movie, Amy Jones, had, but it was a matter of months. He cer- an exciting, original choice. James did come was so astonished at how it came about. I tainly needed and had months to write it. and visit the set while we were shooting, and received a cassette as a submission; either FSM: Alex North wrote a scherzo that is one of the first things he suggested was the from Craig Safan directly or his agent, and heard early on, when the lead character use of a big-band 1940s sound to reprise the while going home one day, I listened to his begins his journey. I believe this was intended era of the old couple, played by Hume Cronyn tape and was very impressed. So I asked for to be used in several sequences, such as the and Jessica Tandy. They were the center of the some more music and they sent a second earthquake and the climactic battle with the film and James put his finger very quickly on tape, which, I believe, had not only orchestral dragon. In the final film, however, this piece that element. and ensemble work but also songs. It imme- was dropped and another cue was tracked in FSM: What was your working relationship diately struck me as being apt for the story. from an earlier scene in the film. What led to like with him? FSM: And why did you hire Alex North for this decision? MR: We had a lively and fruitful collabora- Dragonslayer? MR: The scherzo in question was a very tion. Even though he was young, he had MR: I was an Alex North fan and this was inventive and charming cue, and it’s true, many credits behind him. He was really ahead a big pageant movie, a challenging wide- there is one instance where we changed it. It of me, in a way, with ideas that he had screen work. I knew that he was nearing was near the end of the film when the char- sketched out as keyboard simulations of cues retirement, and I had dreamed I might be able acter played by Ralph Richardson confronts I was going to hear. We got along well. to work with him. So I took a chance, having the dragon. Alex called for the reintroduction Then Steven took an interest in the score as no idea if he would be available or interested. of the scherzo and, unfortunately, at that we were finishing, particularly the comedic, FSM: Do you know about how much time moment in the mix, I realized it was not suf- fantastic elements. It’s a story in which little

SEPTEMBER 2003 46 FILM SCORE MONTHLY flying saucers come into people’s lives and fix don’t think the score does so. everything, a fairy tale. We had designed some FSM: Matthew, a last question. Having an cartoon-like sequences where the saucers English wife yourself, what do you think would get into trouble and have adventures about James Horner’s English accent? in the night, like the elves visiting the cobbler. MR: I was surprised to learn that he wasn’t Steven was beguiled by this and urged James English. I understand that he was raised in to use sounds that would reprise the scoring England, but it’s something that I didn’t even of 1940s cartoons. If you listen with an ear for react to, having many English relatives since my marriage. It didn’t really strike me as anything special one way or the other. I don’t know the particu- lars of James’ early life, but I do know that he is the son of Harry Horner, who was one of the most celebrated art directors in Hollywood from the 1940s through the 1970s—an absolutely first-rank production designer. I don’t remember how it came about that James was raised in part in England, that, in addition to the big-band elements, but he was a child of Hollywood. you will hear cartoon music, with odd instru- FSM: What’s keeping you busy today? mentation, like Raymond Scott—extravagant, MR: I have a film that I wrote with goofball stuff. Guillermo del Toro called Riding Shotgun. It’s a What I remember best about James and the contemporary melodrama, a father and son scoring of *batteries not included is how excited story that is very dark. We are just now going he was to pull together players from the big- in search of backing, with me as the director. band era who lived in Southern California, We don’t have it set up yet and it’s certainly people who had, in many instances, been too soon to announce it in any official way. retired for a long time. I didn’t know who they FSM: Have you considered any part of your SOUND were; it was not a field that I knew anything crew, such as the composer? about. But James was able to attract these MR: No, I haven’t, but it will be a great TRACK players. It was a lovely thing to see that pleasure to collaborate with a composer on reunion. It was as if it were a class reunion, this material because it’s very different from ALBUM but it was in fact a working session, so they previous films that I’ve directed. not only had the joy of reconnecting after FSM: What is the story you want to tell? RETAILERS many years, but they went to work, too. Of MR: The story of Riding Shotgun is about a course these guys can sight read anything, father who was a hit man, long since retired, Specializing in and the were done by Billy who has been living a quiet, anonymous life SOUNDTRACK, May, whom James knew. They are true to the in San Diego with a little shop that he runs, era. I have not spoken to James in many years, repairing watches and clocks. His life revolves BROADWAY but looking back on it, if there is one aspect of around his son who is an aspiring actor in L.A. that score that endures in his scrapbook it The movie is about the disillusionment of and STUDIO CAST CD’s would surely be the opportunity to do that the father who is obliged to get back into a DOMESTIC and IMPORT 1940s sound for the picture. criminal enterprise. He accompanies a ship- FSM: How difficult was it to keep the film ment of drugs in a stretch limousine, sitting in RELEASES from being too sentimental, and how did that the death seat—as they say, “riding shotgun”— e-mail or write for your affect the spotting and scoring process? en route to Denver. During the course of this FREE CATALOG MR: My own sensibility is not geared journey he learns that the son is not at all P. O. Box 487-Dept. FS toward sentiment. I’m much more inclined what he was hoping. The son turns out to be New Holland, PA 17557-0487 toward irony and black humor. I was happy to a dangerous and murderous character and it NEW e-mail: [email protected] see that this was very much James’ impulse. I devastates the father. It’s a rough passage, very phone/fax: don’t recall putting out any warning flags to dramatic. A lot of it will be shot at night on (717)351-0847 him, nor do I recall any occasions during the the road. There are occasional bursts of vio- Visit our website at: preparation of the score where I leaped up lence. Musically, I would like to find some- www.soundtrak.com and said no, that’s far too sweet. There are def- thing brooding, probably a jazz ensemble ALL MAJOR CREDIT CARDS ACCEPTED initely moments of pathos in the film, but I with some adventurous, modernist elements certainly did not want to play into that, and I mixed in. FSM

FILM SCORE MONTHLY 47 SEPTEMBER 2003 of mine. It has great personal the CD booklet: Georges Delerue’s John Gugolka and Louis Sheldon- Mail Bag (continued from page 9 meaning as it was filmed here in gorgeous main theme was a vari- Williams, did appear in other South London (in Croydon, not ation on his earlier theme for the films/TV shows here in the U.K. Harry and the rest at Media Ventures far from me); one scene, the boat classic Jules et Jim (1962), and he Gugolka was in films such as will keep it up. For a long, long time... ride, was shot in Crystal Palace again revisited the main melody Hammer’s A Challenge for Robin Park in my neighborhood when I and mood in the opening theme Hood (1967) as the young Robin, Worst Overall Mailbag Ever? was a small boy. As the Croydon for Promise at Dawn (1970)—perhaps and Sheldon-Williams was in TV ow wonderful it is that area was being rebuilt in the ’60s the loveliest of the versions. On a series and plays until the late ’70s. HGeorges Delerue’s beautiful and ’70s, the film is a valuable non-musical note, two of the Michael Viner score to Our Mother’s House has local historical record. The main child actors in Our Mother’s House, London, England finally been released on CD! I am house and many others seen in delighted by the disc’s superb the film were demolished a year GET HEARD! GET PRINTED! L.K. responds: Thanks for your sound quality and its fine booklet or two after the film was released. If you’ve got something to say— letter and your nice words about Our Mother’s House. I am glad you photos, two of which I’d never A few years ago I wrote an article Write us at: FSM Mailbag, liked the CD. I didn’t know much of 8503 Washington Blvd., seen before (and I collect memo- for the local Croydon newspaper the information you provided, so Culver City CA 90232 rabilia from the film). Our Mother’s about the film, identifying its thanks for taking the time, as I or e-mail: House, a neglected poetic master- locations. quite enjoyed the film. [email protected] piece, is an all-time favorite film On a couple of points raised in

Television scoring has changed a great deal motif in seven, and then I would superimpose Boomtown since the old days when a 25- to 35-piece four on top of it, and it had a kind of cold feel- (continued from page 29) orchestra was the norm; the majority of TV ing to it but also one of intelligence.” same event but from a different point of view, scores are done with MIDI instrumentation Giffin bounces back and forth between film we definitely used different music, a different now—but Giffin still tried to get live players and television scoring and working on palette and different theme, so even though it into the mix on Boomtown. “The easiest instru- records. “The fact that I go from one to the was the same event, we would know whose ment to emulate with samples are drums, but other makes it all fresh, and if I had to do just flashback it was and at what time. It was every week I had a drummer. I’m pretty good one, that would become hard,” he notes. amazing what free rein they gave me.” with grooves and beats myself and I would “There’s something wonderful about working have those, but I would always hire a drum- with a band where you’re the coach of a team mer, a guitarist, trumpet players, clarinet play- and there’s a lot of camaraderie. There’s some- ers.” The composer spent a solid year cranking thing lonely about film composing when it’s out scores for the series. “I would finish one three in the morning and you’re by yourself SCREEN show and that day go and spot the next show. working, but it’s incredibly rewarding when It was a full year of not seeing my kids. I’d do it’s on television a day later and 13 million approximately 18 minutes of music per show. people are watching it.” FSM ARCHIVES I had a couple of 27-minute shows, but the average was 18.” ENTERTAINMENT Giffin often built minimalist elements into his music on the show. “I tend to always write Fortune & Glory Large selection of using polymeters and polyrhythms, meaning (continued from page 18) new domestic and I combine things. I’ve always been attracted to say the least. Placed in the context of the odd meters like seven and nine and 11, and larger body of Williams’ work, this score import releases, Graham, being a drummer, liked that aspect— comes amidst a decade of staggering creative older releases and he said I was a combination of Philip Glass, output that included the scores to Superman, and Thomas Newman. I was Close Encounters of the Third Kind and the entire out-of-print CDs very flattered by that although I couldn’t Star Wars trilogy, just to name a few. Many sharpen those guys’ pencils.” Despite the lean people still prefer it to the less diverse score Major credit cards accepted. approach, the composer still applied recog- for Raiders and the more conventional sound Write for free catalog! nizable thematic material to the story lines of Last Crusade. But any way you approach it, PO Box 500 and characters. “There were definite themes, Temple of Doom stands on its own as a breath- and even the producers and directors would taking example of action scoring at its finest. Linden, VA 22642 specifically request themes—Donny The music leaps and ducks with every har- ph: (540) 635-2575 Wahlberg’s character had a theme, the deputy rowing escape, slices with every swish of D.A. had a theme, there was a general cop whip or blade, illustrates every landscape and fax: (540) 635-8554 theme, and I would present the main title in augments every emotion. If adventure has a e-mail: [email protected] kind of a different form. And of course each sound, it must be John Williams. FSM week I would come up with new stuff just Special thanks to Ricard L. Befan and JWFan.Net visit: www.screenarchives.com because of the scenario of the show. I used a You can write the author at [email protected]

FILM SCORE MONTHLY 48 SEPTEMBER 2003 FSMCD Vol. 6, No. 17 • Released by Special Arrangement with Turner Classic Movies Music The Man From U.N.C.L.E. Vol. 2 By Jerry Goldsmith. et al.

Last December, Film Score Monthly released a 2CD set of music from the classic ‘60s spy series The Man From U.N.C.L.E. Within a matter of weeks, it became one of FSM’s fastest-selling, best-reviewed and most popular titles.

Now, by popular demand, FSM has returned to the Turner/ Warner Bros. vaults of classic MGM TV music and assembled a second volume of great spy music for agents Napoleon Solo (Robert Vaughn) and Illya Kuryakin (David McCallum) and their never-ending battle against the bad guys of Thrush.

As with the first volume, this new 2CD set draws on music from all four seasons of the series, including nearly a half-hour of previously unreleased Jerry Goldsmith cues from his pilot and episode scores; plus music by Lalo Schifrin, Nelson Riddle, Gerald Fried, , Walter Scharf, and Richard Shores— most in crisp-sounding mono, but more than a half-hour (fourth-season and theatrical-release music) in stereo.

D i s c O n e 2:31 This volume contains all 1. First Season End Title 18. The Moonglow Affair (Fried) of the remaining original versions of (Jerry Goldsmith) 1:16 7:09 2. The Vulcan Affair suite no. 2 Total Time: 77:54 the music that Hugo Montenegro chose for (Goldsmith) 9:59 D i s c T wo his two RCA LPs of U.N.C.L.E. themes, plus 3. The Iowa-Scuba Affair 1. One of Our Spies Is Missing seven different arrangements of Goldsmith’s (Morton Stevens) 6:54 (Goldsmith, arr. Fried) 3:08 4. The Shark Affair (Walter Scharf) 7:55 2. Third Season Main Title U.N.C.L.E. theme—including two (one by 5. The Deadly Games Affair (Goldsmith, arr. Fried) 0:31 Goldsmith, one by Fried) that were recorded suite no. 2 (Goldsmith) 8:38 3. The Sort of Do-It-Yourself but never used on the show! The CD includes 6. Meet Mr. Solo (Goldsmith) 1:45 Dreadful Affair (Fried) 6:39 7. The Giuoco Piano Affair (Scharf) 3:23 4. The Galatea Affair (Robert Drasnin) 5:36 detailed liner notes by author Jon Burlingame, 8. The King of Knaves Affair 5. The Pop Art Affair (Drasnin) 4:34 whose research for these two volumes has suite no. 2 (Goldsmith) 3:40 6. The Come With Me to the turned into the most exhaustive chronicle ever 9. First Season Main Title, revised Casbah Affair (Fried) 4:16 (Goldsmith, arr. Stevens) 0:56 7. The Off-Broadway Affair (Fried) 7:12 written of the music of a single television 10. The Deadly Decoy Affair (Scharf) 4:32 8. The Concrete Overcoat Affair show. $24.95 plus shipping 11. The Spy With My Face (Stevens) (Nelson Riddle) 6:48 5:12 9. The Napoleon’s Tomb Affair 12. Second Season Main Title (Fried) 5:17 Album Produced by Jon Burlingame (Goldsmith, arr. Lalo Schifrin) 0:37 10. Alternate Fourth Season Main Title (Goldsmith, arr. Fried) 0:37 13. Alexander the 11. Fourth Season End Title (Gerald Fried) 1:25 (Goldsmith, prob. arr. Robert Armbruster) 0:36 Don’t Miss This Month’s Greater Affair 14. The Ultimate Computer 12. The Test Tube Killer Affair (Fried) Golden Age Classic Affair (Schifrin) 5:00 7:05 15. The Very Important 13. The Prince of Darkness Affair The Brothers Affair (Fried) 4:10 (Richard Shores) Karamazov 16. The Dippy Blonde Affair 11:39 (Robert Drasnin) 2:01 14. See page 19 The Seven Wonders of the 17. The Deadly Goddess Affair (Fried) World Affair (Shores) 11:46 forfor details.details.