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Here's a weird one, really.
The first Full Monty album had 2 selections of Anne Dudley's wonderfully witty score.
The second album had 2 more.
The FYC 5-track CD had 3 of the above tracks and 2 more additional tracks.
In other words, to get all 6 tracks you need all 3 CDs.
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Ok, we know that Henry Mancini changed the scores to his films for
his 60s albums to varying degrees of success- the most “offensive” one
being 1967’s Gunn, a sort-of downbeat mystery with atmospheric
(and effective) underscore reminiscent of the TV series becoming a
wacky, circus-like romp.
And for a finale, add a terrific arrangement of the famous theme that’s
ruined by the addition of the Mancini chorus with some dumb lyrics
(Bye-bye baby!!!!)
I love Mancini folks. This one still hurts.
But the fellow above is right. The Road Warrior, with its fkn SFX suite
is the prime offender here. The more you see the film the more
worthless it becomes.
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Here's a weird one, really. The ... Full Monty album ...In other words, to get all 6 tracks you need all 3 CDs.
That might be the winner.
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Ok, we know that Henry Mancini changed the scores to his films for
his 60s albums to varying degrees of success- the most “offensive” one
being 1967’s Gunn, a sort-of downbeat mystery with atmospheric
(and effective) underscore reminiscent of the TV series becoming a
wacky, circus-like romp.
And for a finale, add a terrific arrangement of the famous theme that’s
ruined by the addition of the Mancini chorus with some dumb lyrics
(Bye-bye baby!!!!)
I love Mancini folks. This one still hurts.
But the fellow above is right. The Road Warrior, with its fkn SFX suite
is the prime offender here. The more you see the film the more
worthless it becomes.
On this recording Plas Johnson is playing an electric sax, a Selmer Varitone that could split into octaves and other tricks. It didn't last very long.
Mancini did some advertising for it on a Selmer demo that went to dealers.
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Addison's SLEUTH. Spoiled by dialogue intrusions.
John Scott's "Greystoke" should also be a candidate... if not for "Worst", then at least for "Most Inadequate".
Mancini's "Me, Natalie" has Patty Duke interrupting the flow of the score.
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My worst film score recording release nominations:
Back in 1975, United Artists released 4 lp’s of re-recordings of film scores, conducted by Leroy Holmes: CITIZEN KANE, KING KONG, THE PRISONER OF ZENDA (Newman), and Steiner’s A STAR IS BORN. I bought them all, but they were all just bad, very short, poor orchestrations, tinny sound, played by little better than enlarged band. I ended up getting rid of all of them, though, years later, I found a CD of the PRISONER OF ZENDA recording, simply because it’s the only recording of that Newman score ever released.
Don’t bother spending money on any of them.
I think they were the first in a proposed series. But they didn’t sell, and there weren’t any more.
Small loss.
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My worst film score recording release nominations:
Back in 1975, United Artists released 4 lp’s of re-recordings of film scores, conducted by Leroy Holmes: CITIZEN KANE, KING KONG, THE PRISONER OF ZENDA (Newman), and Steiner’s A STAR IS BORN. I bought them all, but they were all just bad, very short, poor orchestrations, tinny sound, played by little better than enlarged band. I ended up getting rid of all of them, though, years later, I found a CD of the PRISONER OF ZENDA recording, simply because it’s the only recording of that Newman score ever released.
Don’t bother spending money on any of them.
I think they were the first in a proposed series. But they didn’t sell, and there weren’t any more.
Small loss.
I can see why they didn’t sell. I tried listening to the Holmes recording of Prisoner of Zenda online and couldn’t make it past the opening fanfare it was that bad. While the Salinger arrangement done for the Stewart Granger remake is very good, I do wish we could have a release of Newman’s original 1937 arrangements, or even a suite of them (the suite recorded in New Zealand sounds like it’s based more on Salinger’s arrangements than Newman’s).
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The one that comes to mind is the original TOMORROW NEVER DIES---or really any album that is released before the entire score is finished recording.
Alternately, any score that has shoehorned dialogue like the original BABE is basically a frisbee.
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Lots of good choices here, particularly agree with The Road Warrior. I only listen to that one every 5 or 10 years, and then I just stop because it's not worth it.
Another is Six Degress of Separation. I just loved the musical approach Goldsmith and Schepisi took - string quartet infused with tango. But interspering it with dialogue from a play-cum-move that is all dialogue all the time and so doesn't excerpt at all well - just didn't work on any level. Yes, too little music for an album. So maybe one better off unreleased, it did neither the movie nor the music any favors.
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Weirdly, it seems like a couple brief cues were actually still left off the Six Degrees of Separation album!
Personally I would have loved if Jerry could have pulled a Fierce Creatures to expand it closer to 30 minutes for album purposes…
Yavar
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