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Tuesday, April 17, 2007
Friday, April 6, 2007
I'm back -- the Blog is NOT dead!
Sorry everyone it has been a really long last month, with various appointments, the puppy, cleaning things out around home and all that fun stuff.
What's new? First a few thoughts on the Varese CD Club discs, which showed up the other day:
-THE KARATE KID: Love it. Terrific work by Robert Townson on bringing four of Bill Conti's finest scores to CD. Long overdue and enhanced by terrific liner notes by Julie Kirgo (who actually does a superb job with all of the booklet notes). I had no idea a lot of Conti's score for The Next Karate Kid was dumped in favor of cues by William Ross (who as memory serves was credited too), but his original score is here. Expensive...but worth it!
-AUTHOR! AUTHOR!: I have a fascination with rejected scores and this CD enables you to compare Dave Grusin's energetic but more "commercial" replacement score with Johnny Mandel's mellow, introspective original. The movie's shifting tone was a problem and the producers tried to address it by dumping Mandel...it didn't work, but you get two solid scores for the price of one. Highly recommended.
-THE VANISHING: This isn't my favorite Goldsmith score, it has a lot of that cliched "Action" writing that marked (or marred) his '90s scores, and some of it is tedious. But I do love the jazzy end title (which was originally written for his rejected Gladiator score), and it's essential for Goldsmith fans. At 3000 copies this won't be moving any time soon, though.
-GLORIA: Bill Conti's superb score was a title I passed on before, but decided to pick up. I'm glad I did, this is an excellent work that is nearly sold out at Varese.
I also added the Fenton score but haven't listened to it yet...
I've also recently picked up THE HIDENBURG, ZODIAC (sadly disappointing on its own) and two Frederic Talgorn scores (MOLIERE and a film about boyscouts lost in the woods), which confirm he's been sadly neglected by the U.S. studio system (and filmmakers too). Talgorn has more talent than most anyone scoring films in America and it's a shame he continues to work on French films, many of which never reach these shores.
What's new? First a few thoughts on the Varese CD Club discs, which showed up the other day:
-THE KARATE KID: Love it. Terrific work by Robert Townson on bringing four of Bill Conti's finest scores to CD. Long overdue and enhanced by terrific liner notes by Julie Kirgo (who actually does a superb job with all of the booklet notes). I had no idea a lot of Conti's score for The Next Karate Kid was dumped in favor of cues by William Ross (who as memory serves was credited too), but his original score is here. Expensive...but worth it!
-AUTHOR! AUTHOR!: I have a fascination with rejected scores and this CD enables you to compare Dave Grusin's energetic but more "commercial" replacement score with Johnny Mandel's mellow, introspective original. The movie's shifting tone was a problem and the producers tried to address it by dumping Mandel...it didn't work, but you get two solid scores for the price of one. Highly recommended.
-THE VANISHING: This isn't my favorite Goldsmith score, it has a lot of that cliched "Action" writing that marked (or marred) his '90s scores, and some of it is tedious. But I do love the jazzy end title (which was originally written for his rejected Gladiator score), and it's essential for Goldsmith fans. At 3000 copies this won't be moving any time soon, though.
-GLORIA: Bill Conti's superb score was a title I passed on before, but decided to pick up. I'm glad I did, this is an excellent work that is nearly sold out at Varese.
I also added the Fenton score but haven't listened to it yet...
I've also recently picked up THE HIDENBURG, ZODIAC (sadly disappointing on its own) and two Frederic Talgorn scores (MOLIERE and a film about boyscouts lost in the woods), which confirm he's been sadly neglected by the U.S. studio system (and filmmakers too). Talgorn has more talent than most anyone scoring films in America and it's a shame he continues to work on French films, many of which never reach these shores.
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