Hello to you guys from the North of England! Tell me, is the Newcastle Odeon still there and still operating? Spent a lot of time there in the early 70's. Gorgeous place. We always stood for "God Save The Queen" when the theater would close for the night........
J.
I still get up to the Toon occasionally, for business and pleasure, and it's my unhappy duty to report that the old girl's standing empty and looking much the worse for wear.
On the plus side, the Tyneside Theatre's still going, just across the road.
The Album 01. Arizona Desert 1:12 02. Coogan's Wild Ride 1:15 03. Capture The Chief 0:49 04. Main Title Part A 0:48 05. Main Title Part B 2:40 06. The Big Apple 1:22 07. Small Talk 1:07 08. Song To Julie 2:13 09. Five Minutes 1:37 10. Getting Better 3:26 11. Get Out 2:49 12. Cartoon Background 0:33 13. Wrong Number 1:56 14. Beat Up 1:31 15. Green Worms 2:27 16. Tell Me About Arizona 3:53 17. "Pigeon-Toed Orange Peel" 4:30 18. "Everybody" 2:52
19. "Coogan Raga" and Pushie's Pool 4:34 20. Looking For Jimbo 1:00 21. Where's Ringerman 2:42 22. Ringerman's Chase 2:41 23. Ringerman's Chase (continued) 1:31 24. End Title & End Cast 0:50 Total Album Time: 50:35
The Extras 25. Main Title Part A (Version 1) (Unused) 0:47 26. Main Title Part B (Version 2) (Unused) 0:49 27. Song For Julie (Humming) 1:15 28. Pushie's Pool (Unedited) 0:59 29. Pool Room Source (Unused) 0:41 30. Radio Spot I 0:40 31. Radio Spot II 0:35 32. Radio Spot III 0:10 Total Extras Time: 6:07
The U.S. LP for TWO MULES was issued by Kapp Records (MCA in the rest of the world). It's now with Universal Music Group. Legend released the only CD version. Some coordination between UMG and Universal Pictures will be required before we get the original tracks.
While it's lovely that Intrada finally managed to do this CD, I have to say that....eh, I'm not actually feeling the love for it. Odd, given my liking for the vast majority of Schifrin's film scoring (and jazz, for that matter).
The fact that I never really cared much for the film itself may have something to do with it, but no matter what I don't find the music especially engaging.
To be honest, I'd be more excited if someone released David Shire's early music scores for the tv series that was inspired by Coogan's Bluff - McCloud. Or indeed any of the music from McCloud that followed in later seasons.
I didn`t know the score but I really liked the samples. And now listening to the CD for the fourth time COOGAN`S BLUFF is becoming my favorite Schifrin score. It`s the kind of original and creative music you don`t hear in today`s filmscores. And the crisp recording with the wonderful 60s stereo seperation is a big asset too. Just a fantastic release. Thanks Intrada.
Just listening to my copy for the first time and it's such a delight. Lalo and Mancini really are the kings of cool.
Ditto. The two Mancinis and the two Eastwood-related scores from Universal make my day. "Coogan's Bluff" is versatile despite the character theme music. It's designed like "Bullitt" in a way.
Groovy, man. Look Charlie, they use tablas too. The score is about the clash of music: the west versus the east, the square versus the hip. There's some weird and dissonant stuff when Coogan meets Pushie: see "Wrong Number" and "Looking for Jimbo". There are some wild fast-paced chase music too, buddy boy. Or you prefer some warm love melodies like "Song To Julie" or "Five Minutes": that's for the soft part that you also find in "Bullitt" for Frank and Cathy. What's your bag, Joe? "Coogan's Bluff" can be filed between three scores by Schifrin: • • •the country western "Cool Hand Luke" • • •the urban "Bullitt" and "The Contender" (a season 3 MISSION score). Buy it, Mac, and you'll live better.
While it's lovely that Intrada finally managed to do this CD, I have to say that....eh, I'm not actually feeling the love for it. Odd, given my liking for the vast majority of Schifrin's film scoring (and jazz, for that matter).
The fact that I never really cared much for the film itself may have something to do with it, but no matter what I don't find the music especially engaging.
To be honest, I'd be more excited if someone released David Shire's early music scores for the tv series that was inspired by Coogan's Bluff - McCloud. Or indeed any of the music from McCloud that followed in later seasons.
Sorry Lalo
While I yet have to order "Coogan's bluff" (and I definitely will as I like the film), I too have a difficult time with liking Lalo's type of music. I love the "Bullit" re-recording (yes you read it here and correctly: I do love a RE-recording) but the original is gathering dust. Most of his work is very abbrasive to my ears. His TV-pota music, apart from the theme, I can't handle. And talking of themes, he did knock it out of the park with the theme for "Earth star voyager" which I still want to have so very much:
As for McCloud: having the music of one of my favourite 70s series would be a dream. It was Universal's golden age of crime series featuring individualisticly operating heroes.
While it's lovely that Intrada finally managed to do this CD, I have to say that....eh, I'm not actually feeling the love for it. Odd, given my liking for the vast majority of Schifrin's film scoring (and jazz, for that matter).
The fact that I never really cared much for the film itself may have something to do with it, but no matter what I don't find the music especially engaging.
To be honest, I'd be more excited if someone released David Shire's early music scores for the tv series that was inspired by Coogan's Bluff - McCloud. Or indeed any of the music from McCloud that followed in later seasons.
Sorry Lalo
While I yet have to order "Coogan's bluff" (and I definitely will as I like the film), I too have a difficult time with liking Lalo's type of music. I love the "Bullit" re-recording (yes you read it here and correctly: I do love a RE-recording) but the original is gathering dust. Most of his work is very abbrasive to my ears. His TV-pota music, apart from the theme, I can't handle. And talking of themes, he did knock it out of the park with the theme for "Earth star voyager" which I still want to have so very much:
As for McCloud: having the music of one of my favourite 70s series would be a dream. It was Universal's golden age of crime series featuring individualisticly operating heroes.
Disco Stu.
I'd like to see all of the Sunday night mystery theater. McCloud, McMillan, Columbia, Banacek
We all know Lalo was eclectic, but what do folk think about the mood here? I always reckoned that, as is the case with the script itself, the pop bits ('Pigeon -Toed Orange Peel' etc.) were meant to be a sort of satirical crit of real pop music of the time.
So is it a satire score, or straight-up?
Whoever said above that 'The Beguiled' needs a release is right on.
We all know Lalo was eclectic, but what do folk think about the mood here? I always reckoned that, as is the case with the script itself, the pop bits ('Pigeon -Toed Orange Peel' etc.) were meant to be a sort of satirical crit of real pop music of the time.
So is it a satire score, or straight-up?
Whoever said above that 'The Beguiled' needs a release is right on.
I did. THE BEGUILED is also colourful with many bents: neo-Baroque with intimistic harpsichord, psychedelic, action, love.
Furthermore, COOGAN'S BLUFF reflects the late 60's zeitgeist so it's amusing to recapture that. Paul Verhoeven used to do an hommage to the hippie club in ROBOCOP.
THE BEGUILED is also colourful with many bents: neo-Baroque with intimistic harpsichord, psychedelic, action, love.
It's probably my favourite Eastwood film, all things considered, one tune reappears in '4 Musketeers'.
Furthermore, COOGAN'S BLUFF reflects the late 60's zeitgeist so it's amusing to recapture that.
Maybe, but then the thrust of the film, as with so many Eastwood flicks, is the virtue of quainter, older values. So the hippy stuff is really being parodied in a critical way. None of the hippies come out as anything other than criminals and delinquents, and Coogan slams the newer feminist, liberal values. To that extent, it was 'amusing' then too, but was it part of the zeitgeist really? More of a caricature, even then. You can tell what party Coogan would vote for, hell, he'd be mayor of Carmel.
Another one new in my collection - that's five CDs so far this year!
At first I wasn't "feeling the love for it", but now I'm feeling the love for it very much. And you, Simon? Things I didn't like at first - Blimus! - I'm on Track 7 and it's the same bleedin' tune again! Blinkin' éll! - That source music section mid-way through gets a bit much at three tracks back-to-back, with the hippie stuff and the stoned sitar. Cripes! - That cartoon cue is shurely non-essential. Etc.
But really, this must have been a producer's nightmare - original score, source cues, unused cues... how do you put that all together and make everyone happy? Well, it's impossible, and as LK himself once said about FSM (I'm paraphrasing), the best idea is not to leave anything off. If I were a record producer, my releases would only suit me, so kudos to the Intrada team for just sticking everything into the big seething brew. Despite the supposed "story arc", this is one CD that I could quite happily put on shuffle. I can't really see an ideal way of putting things in order. But I am a-rambling.
So some bits of some tracks are annoying to me. The songs and the siter do seem to go on forever no matter how you programme them, but I don't want to programme them "out" because there's a lot to enjoy there too. I can't say if they are a parody or not, but the "Pigeon-Toed Orange Peel" has got an awful lot of embarrassing vocal effects - but it also has a very distinctive Lalo phraseology and some dynamite keyboard work. "Everybody" has got a very cool melody behind it but I hate the way everybody shouts, eh, "Everybody". These songs could be right out of something like BARBARELLA. That's the good part of them.
So let's concentrate on the score as we all understand the term. It's great. The theme itself is infectious (and curiously or not, in the same mode as the McCLOUD TV series), the action pieces rattlingly good with percussion and inventive semi-jazz bass and piano, the romantic interludes very beautiful... some of the more reflective moments are amongst my favourites - In "Green Worms" and "Tell Me About Arizona" for example, we have Lalo at his most delicate, but it also borders at the same time on the avant-garde. THE HELLSTROM CHRONICLE isn't a million miles away from the lovey-dovey interludes. Wonderful instrumentation here, with haunting use of guitar (plus things like the psaltario and the tiple - apparently). In a nutshell, I wasn't feeling the love for it at first, but now I am.
One final observation before you all fall asleep - the stereo separation seems so vast on headphones that I thought it was a manufacturing fault. On some of the tracks where there are passages for solo instruments (or two acoustic guitars playing at the same time), I thought I'd gone deaf in one ear, until the other instruments come in. No spill-over at all into the other channel. Did anyone notice that? Am I going mad?
At first I wasn't "feeling the love for it", but now I'm feeling the love for it very much. And you, Simon?
No change, I'm afraid Graham.
One or two cues I like (I'm a sucker for tablas in film scores) but the source music overwhelms me a bit. As I may have said before, I never liked the film much either (although I love McCloud, oddly enough...). It just hasn't really clicked with me.
