View my complete profile. Those expecting a suitably Coplandesque musical score will be disappointed, as this is music more in the style of Basil Poledouris' Lonesome Dove and more contemporary westerns of that ilk, with a little Thomas Newmanesque Americana thrown in.
If nothing else, it shows the versatility of composer Zigman, whose more recent projects are of a more urban nature such as ATL and Akeelah and the Bee. I actually have a lot of time for his score for Flicka, with its oft-times rousing orchestral action music, and occasionally more folksy, piano-lead fare.
There's a strong theme for Flicka, which appears in variations throughout, and a more melancholy one, often voiced by piano, for Lohman's Katie. Along the way, there's sensitive, warm scoring, sometimes featuring guitar prominently, and some more disturbing sounds where appropriate. But ultimately it's the composer's handsome wide-open spaces music, often featuring the main Flicka theme at its most inspirational, and purposeful action scoring, that registers strongest.
I have no details of the Varese Sarabande release, but imagine much of the music on this disc will feature, though some of the more brief cues that make up the latter part may be omitted. Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score)it's one of the more enjoyable Hollywood scores I've heard in a while. How could it fail? Well, at least for me it didn't. I love the film and, though at times I can take or leave Maurice Jarre's music, particularly his later stuff, this is certainly up there with his work on the likes of Lawrence of Arabia, Is Paris Burning?
Paul Newman plays the somewhat exaggerated hanging judge, Roy Bean, a young, almost unrecognisable, Victoria Principal, plays his girl, and there is a fine performance by a rather large bear to boot. There is also a brief, but memorable, turn by Stacy Keach, as an albino gunfighter. As for the score, as I grow older I seem to miss the old days of melodic scoring more and more, and this is certainly melodic, even if it has its dissonant moments the lengthy bonus track "That Man on Horseback" for instance.
At the heart of it all is Bean's memorable and quite nostalgic theme, voiced by full orchestra and Darlene - Various - Endorse It In Dorset Festival 2010 Volume 7 kinds of solo instruments in various arrangements, from a noble march in "The Marshalls" to a waltz in "On the Way to the Opera.
Even the bear has a theme, played instrumentally and also voiced by Andy Williams as "Marmalade, Molasses and Honey," with lyrics by the Bergmans - a charming, infectious number. There are also source-like cues like the mariachi style of "Sent to Madgeland," the hymn-like theme for "Reverend La Salle" and the piano duet of "Old Ragtime.
The score, presented here, is much expanded from the original LP release, and there are also four bonus cues, including an instrumental of the bear's theme and a music box version of "The Yellow Rose of Texas," which is earlier voiced by Newman in the body of the score. As always, a splendid booklet accompanies the disc, with plenty of colour stills and Lukas Kendall's notes on the film and its score, with comments by the composer, from an interview with Jeff Bond, as well as the always valuable cue-by-cue guide.
A fabulous, must-have release for anyone, like me, who loves the melody-based scoring of the '70s. Words that come to mind while listening to Common Places include imaginative, courageous, dynamic, passionate, Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) , pensive, restrained, and euphoric.
I'm thoroughly entranced by the whole experience. Parodi draws inspiration from her Steinway grand piano that once adorned the legendary MGM sound stage in its most glorious era and was used on such classic films as "The Wizard of Oz. She played keyboards at the Kennedy Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) for the inauguration of President Clinton, and performed as an artist at Keyboard Magazine's 20th Anniversary concert in which 20 of the world's top keyboardists were invited to play.
Continuing her multifaceted musical journey, Starr has returned to her touchstone and first love, the piano, for an intimate solo recording of spontaneous and uncommon improvisations on themes.
Included in the collection of 10 songs is Starr's recording of a completely solo piano version of the classic James Bond Theme. This new version takes its inspiration from Parodi's earlier version of the theme arranged, produced and performed with her husband and production partner, featured Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) the gold-selling Capitol CD "The Best Of Bond As the Santa Ana winds kicked up, I felt a well of inspirational emotion inside and just started to play.
Though all the sounds on this CD were originally created on the piano, after recording the basic improvisations, Starr and Fair experimented with a new sonic palate. They continued to use only the piano but affected it with various filters and other devices. Adding these textures to the improvisations broadened the musical voice of the piano and contributed another layer of emotion and interest to the performances. I read somewhere that fans were disappointed that the "End Title" music wasn't included in the first volume of music from Season 1.
Well, the "End Title" from Season 2 is featured here, and I hope, for their sake, that this is the music they seek. Unfortunately, these days I seldom listen to end credits music as British TV announcers have the totally annoying habit of speaking over the meat of them, often totally ruining whatever mood has been created by the conclusion of the film or programme.
A sorry state of affairs indeed. I am very partial to the Alfred Newman sound of this period, achieved with the help of an extremely talented orchestra at Twentieth Cenury-Fox, and if you like Newman's score for the likes of The Song of Bernadette, one of my personal favourites, you're sure to enjoy his original scoring for this handsome production, based on the book by W.
The score opens with Newman's handsome "Main Title" theme, which is to feature strongly, along with another theme in the two lengthy tracks "Larry Travels to the East" and "The Mountain Road. The other theme of note is the somewhat doomed love theme for the Power and Tierney characters, Larry and Isabel, which crops up from time to time, particularly passionate in "Night Clubbing" and going through the gamut of emotions in the concluding "After Elliott's Death" and "Finale.
Some of this music consists of arrangements of popular songs of the time, and there are original pieces by Newman, including some nice waltz music. Even Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) Edmund Goulding chips in with a few numbers. Goulding, like Charles Chaplin, was what is known as a "hummer," coming up with very worthy melodies, which were then arranged by their respective composers.
It's all very listenable, but sometimes Newman's original scoring has to share track time with this music, so if it's just the score you're interested in you may find it a little frustrating having to Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) some tracks for it.
Excellent though the CD is, with fine stereo sound for its age, the accompanying booklet is almost worth the price alone. Lavishly illustrated, its 36 pages tell you just about everything you could want to know about the film and its music, the excellent notes being penned by Rudy Behlmer and Jon Burlingame, and there is even a cue-by-cue guide.
I can't wait to see what the label's next rescued gem from the Moonstomp - The Suiters - Do The Ankle-Twist! Age of Hollywood will be. Remo Williams - The Adventure Begins The title of this film suggests the first in a series, but unfortunately that just didn't happen, which is a shame as Ahead By A Century - The Flatliners - Division Of Spoils (Vinyl, LP, LP) actually quite an enjoyable film, which starred Fred Ward as a cop, whose death is faked so he can join a covert organization called CURE, where he is trained as a deadly assassin by a mysterious Korean martial arts master, Chiun, played by Cabaret star Joel Grey in heavy makeup.
Obviously these days it would probably not be politically correct for Grey to play the role, Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) I have to say he invests the part with great integrity and believability. Director of the film was James Bond veteran Guy Hamilton. Composer of the film's score was Craig Safan, fresh from his triumph with The Last Starfighter and, on the strength of that, Remo and his subsequent score for Son of the Morning Star, it is difficult to see why he didn't quite make it as a film composer, retreating into the world of TV.
As with Starfigther, Safan came up with another memorable main theme for Remo, starting with a brassy fanfare before seguing into a catchy beat driven theme, sometimes with simulated gunshots, which first appears in the "Main Title," after Chiun's splendid pseudo-oriental theme opens. Safan's score is a mix of orchestra and electronics, perhaps somewhat ahead of its time and there is much action and suspense to follow throughout the album, highlighting one element or the other and sometimes combining the two very effectively, with the two main themes, particularly Remo's, making its presence felt.
Chiun's is saved for more specific moments, though Safan did enlist a 9-piece Korean ensemble to add authentic sounds to the mix. And they indeed add a strange, somewhat otherwordly quality to the score. The disc is accompanied by Perseverance's usual high quality booklet, featuring plenty of colour stills from the film, plus Randall Larson's excellent essay on the film and its music, which incorporates comments from the composer himself.
During this rare public appearance, Elfman will sit down with Tamara Conniff, Billboard's executive editor and associate publisher, to discuss his career achievements, his new projects, and the evolving role of music in film and television.
Danny Elfman, who has established himself as one of Hollywood's leading film composers, was born in in Los Angeles, California, where he currently resides with his wife Bridget Fonda.
Elfman is also known for his work in the music and television industries. He was the founder of Oingo Boingo, a rock band which has produced such hits as Weird Science and Dead Man's Party, and is the creator of the infectious themes to The Simpsons and Desperate Housewives.
His honors include a Grammy, an Emmy and three Academy Award nominations. Additionally, this self-taught composer just released Serenada Schizophrana, his first orchestral composition written specifically for the concert hall, and his The Nightmare Before Christmas score will be released on October 24 by Walt Disney Records in a 2-Disc special edition which Strong Love - Phoenix (25) - In Full View the film's 13th anniversary.
The set will introduce nine new tracks to the original recording, and will include new versions of Elfman's songs re-recorded by Marilyn Manson, Panic! For information on registration and group discounts, contact Erin Parker at For sponsorship information, contact Karl Vontz at For hotel information, contact The Beverly Hilton Hotel at There's still plenty of threatening, suspenseful and atmospheric music, again with violent bursts of action.
If anything though, the choir is more ever-present, with solo voices breaking through here and there. This album is not quite as long as that for the first film, which helps, but I do actually prefer this one of the two, due possibly to more use of the main theme, be it the introductory ethereal voices or the surging, full choral theme itself. Also the moments of conflict seem a little more powerful somehow. The purposeful theme, which always seemed a little at odds with the rest of the music, introduced in the first film, only gets a brief workout here at the end of "Raphael.
As with all Perseverance's releases, the CD is accompanied by an impressive, colourful booklet, with extensive notes by Paul Tonks and the composer himself.
Obviously this, another bumper double issue, in its editorial, spends a little time looking back on the magazine's history, but then it's on with the goodies we've come to expect with the main features being extensive coverage of the recent blockbuster movies, including Superman Returns, with recording sessions pictures and interviews with composer John Ottman and director Bryan Singer; X-Men 3, featuring composer John Powell and director Brett Ratner; the remake of The Omen, with composer Marco Beltrami and director John Moore; and Mission: Impossible III, with composer Michael Giacchino and director JJ Abrahams, which again features recording sessions coverage.
In addition, Michael Beek takes a look at the music for the Superman films thus far, and composer Ken Thorne talks about his work on Supermans 2 and 3. There is also a tribute to the late, great Akira Ifukube, plus news, CD, DVD and concert reviews, but I've saved the best for last, a well-deserved page tribute to the much-missed Ron Goodwin, including much archival interview material.
At pages, that little lot should keep you happily reading for an hour or two! The best track is the final offering "At Bat," which finds the composer in splendid, stirring sporting Americana mode and clocks in at less than 4 minutes. I'd love to hear the rest of Debney's score someday if it is anything like this cue. Eastwood directs and also contributes the score, ably assisted, as usual, by Lennie Niehaus, who orchestrated and conducted. In addition to his score, which runs for just under 30 minutes, the album features well-known numbers of the era, stirring Sousa marches, a couple of classical pieces by Mozart and Haydn, plus Eastwood's son Kyle is credited with "Special Arrangements" and performs on "Knock Knock.
But what of Eastwood's score I hear you ask? Well, there is suitably tense, dark and dissonant material, but with some martial drumming. However, at its centre is his main theme, a delicate lullaby, largely piano-lead, with possibly Eastwood performing himself, as he is indeed an accomplished pianist. Throughout the score, variations can be found on this theme with other instruments taking the lead, particularly the guitar in the penultimate album track, but ultimately it largely returns to piano.
With Unforgiven and Billion Dollar Baby, Eastwood has demonstrated before his ear for a Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) tune and, in addition to his main theme, contributes another, this a tender, flute-lead theme, with a piano bridge, featured in "The Medals. Continuing a longstanding relationship that dates back to their college days, "The Prestige" is the latest in a series of collaborations that includes such films as "Memento" and "Insomnia.
The rivalry is so intense that it turns them into murderers. Although the story is set at the turn of the century, Julyan incorporated modern musical elements into his music for the film.
In addition to a 60 piece orchestra, Julyan employed electronic music to capture a sense of intensity and intrigue that follows the magicians' lifelong battle for supremacy, full of obsession, deceit and jealousy.
Nolan and Julyan's Uleczmy Maszyny (1989) - Düsseldorf - 1989-1993 Lazy Guitar - Starr Parodi - Conversations With Other Women (Original Motion Picture Score) back to Nolan's short film "Larceny," shot while Julyan was still in college. Soon after, they collaborated on their first feature length film, "Following," a black and white movie shot on the streets of London.
Julyan's dark and atmospheric scores began to add impact to Nolan's suspenseful stories. For the breakthrough hit "Memento," a noir thriller of murder told Led Zeppelin - Plays Pure Blues reverse, Julyan's music again added a new depth and mood. The big-budget "Insomnia," another collaboration with Nolan, marked Julyan's first orchestral score, with a soaring combination of live instruments and electronica that brought him to a new level of scoring sophistication.
David Julyan has scored over a dozen film and television projects in various genres with various directors, including intimate character ensembles in films such as "Spivs" and "Inside I'm Dancing," and Flatside Negative - Shark Pants - Automatic Pinner scale orchestral scores for "Dungeons and Dragons 2" and "The Descent.
The music is provided by Trevor Raindrops Keep Falling On My Head - Los Hermanos Castro - Y Despues Del Amor, who has developed from his early Media Ventures days into quite a versatile screen composer, The Great Hope To Find - Various - Tales From The Edge Volumes Seven & Eight: Arocknophobia!
Plus Attacked By being just one of the fine scores he has recently provided. Sporting films generally provide plenty of opportunity for strong main themes and inspirational scoring, and Rabin has a decent 6-note motif lead the way here, but unfortunately whilst this does reach occasional heroic heights, these moments are few and far between, with much subdued and sentimental scoring surrounding them. This makes for a pretty frustrating listening experience, because there are some fine action-orientated passages, but they never last long enough to really enjoy.
It's not a totally one-themed score as some critics would lead you to believe, but the theme does appear in variations during most tracks.
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