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Posted: |
Apr 27, 2015 - 5:09 PM
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By: |
David-R.
(Member)
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Label: Intrada Special Collection Volume ISC 318
Date: 1993 / 1991
Time: 72:12
Tracks: 24
Trio of rousing David Newman soundtracks, all on one CD! First up is Newman's nod to Bernard Herrmann with evocative out-of-this-world score for The Coneheads featuring Dan Aykroyd and Jane Curtin reprising their popular roles from NBC's Saturday Night Live sketches, this time on the 1993 big screen for Paramount Pictures. Steve Barron directs wild tale of extraterrestrials bent on invasion of planet Earth with Newman tipping his hat towards The Day The Earth Stood Still. Signature "tri-tone" throughout (both in melodic intervals, harmonic vernacular) keeps homage in spotlight while moving "Bed Talk" brings touch of warm Americana into play. "Blunt Teeth" allows serious edge while "Return To Earth" brings satisfying resolution to score. Newman brings rousing, dramatic sports vibe to Talent For The Game, directed by Robert Young, starring Edward James Olmos. Newman joins their 1991 baseball game with musical moments both stirring, poignant. Winning Americana! Filling out CD is crisp, punchy Newman score for 7-minute animation short Itsy Bitsy Spider that played in front of 1992 Paramount feature Bebe's Kids. Witty tale has cute arachnid falling from web into piano pupil's practice session, bringing wacky exterminator (voiced by Jim Carrey) into zany house-destroying efforts to remove it. Newman uses familiar nursery rhyme as foundation for his own wild, madcap orchestral tour-de-force. All three scores presented in dynamic stereo from mint condition master elements courtesy Paramount. David Newman, Lukas Kendall supervise production with informative liner notes from Andy Dursin. Three musical faces of David Newman! David Newman conducts. Intrada Special Collection CD available while quantities and interest remain!
CONEHEADS
01. Opening Credits (3:11)
02. Eating Soap (1:47)
03. Communicator (2:19)
04. Seedling & Eli (2:03)
05. The Symbol (1:58)
06. Phlairndep (1:58)
07. Bed Talk (4:29)
08. What’s With the Head (1:12)
09. The Big Phone (3:01)
10. Human Authority Figures (4:45)
11. Blunt Teeth (3:50)
12. Master Speech (1:45)
13. Return to Earth (2:25)
Total Time: 35:12
TALENT FOR THE GAME
14. Traveling Montage (3:26)
15. Rainy Tryout (5:09)
16. The Discovery (1:43)
17. Sammy’s Tryout (1:28)
18. How Good Is My Son? (2:49)
19. Visualize the Target (1:52)
20. Don’t Try So Hard (3:44)
21. Am I Ready? (2:07)
22. Sammy to the Mound (1:27)
23. The Final Out (6:43)
Total Time: 30:47
THE ITSY BITSY SPIDER
24. The Itsy Bitsy Spider (6:00)
http://store.intrada.com/s.nl/it.A/id.9584/.f?sc=13&category=-113
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Samples sounded great. Ordered along with Ghost and the Darkness. Thanks again Intrada!
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Excellent release. 3 fantastic and quite diverse scores. Instantly ordered.
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Is Coneheads one of those 90's "just copy the Danny Elfman and James Newton Howard temp-track" Newman scores?
Definetely not. As a matter of fact I don`t know of any Newman score where he copied Elfman. Newman has proven over and over again that he is a brilliant composer with so many ideas that I doubt that he has to copy Elfman.
Btw. why don`t you just listen to the amples on the Intrada homepage?
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Sorry, but a lot of Newman's early-mid 90's efforts are clearly temped up the wazoo with Elfman for the "zany" parts and Newton Howard (especially Dave) for the "sensitive" moments. I generally like his music when he actually writes music, but back in the day, he was neck-and-neck with John Debney and Joel McNeely as a serial temp-track plagiarist. Tommy Boy had Pee-Wee Herman licks all over the place.
I couldn`t disagree more. When you compare Elfman with Newman you can clearly hear that Elfman sometimes has nice ideas but he definetely lacks the musical education that Newman has. That results in much more orchestrational ideas in terms what to do with a large orchestra in Newman`s scores.
Listening to Elfman I often feel that the music doesn`t go anywhere. 20 minutes of Mars Attacks is more than enough for me. But when you hear Newman`s Flintsones, Jingle All The Way or 102 Dalmations there are so many ultra creative orchestral ideas that even longer Newman scores are never boring and keep the listener interested until the last note. Something I definetely can`t say about Elfman although like I said I appreciate his ideas which unfortunately don`t go anywhere due to the fact that Elfman unlike Newman didn`t study his craft. Just listen to Newman`s powerful use of horns or his exquisite string writing or how inventive he uses samples in 102 Dalmations or Scooby Doo. There is always something fresh and new happening.
But I agree that Tommy Boy apparently was temp tracked with Dave. And I also hear a bit of Mrs. Doubtfire.
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Curious what you mean by this Schiffy? Is it common-knowledge that Newman scores have a tough time selling? I'm asking sincerely because I'm honestly unaware of this.
About half of the Newman titles they released, were discontinued not long after under the new limited edition policy of while interest remains.
"Paradise"/"Can't Buy Me Love" (around a year)
"Fire Birds" (a little over a year)
And maybe another two or three (with "Malone" reportedly doing poorly).
"Meet the Applegates" appears to have done well, quickly selling out. At least, even though it sold well the decision was made not to press a second batch, so it probably sold something like 1,000 to 1,500 copies.
"Bill & Ted's Bogus Journey" did well, too, hanging on for about four years. Which is nice to me, as I consider it one of his best scores.
And one of this top five scores, in my opinion, "Bill & Ted's Excellent Adventure", to my knowledge has still not been discontinued or sold out. Make sure you check out the samples if you haven't yet.
It's kind of a 50/50 thing; there's not enough interest from the fans to keep half the titles going for more than a little over a year.
EDIT:
Immediately after leaving this thread I found some most haneous news:
"AVAILABLE UNTIL MAY 18TH OR WHILE SUPPLIES LAST
http://store.intrada.com/s.nl/it.A/id.8816/.f?sc=13&category=-113"
It didn't even last a year!
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I know David Newman is a tough sell, so bravo Intrada for doing this!
Curious what you mean by this Schiffy? Is it common-knowledge that Newman scores have a tough time selling? I'm asking sincerely because I'm honestly unaware of this.
Not meaning to put words in Schiffy's mouth, but I imagine it's less to do with Newman and more to do with the projects he gets. Comedy scores are a notoriously tough sell, and Newman's done a ton (and I mean a TON) of them. He also scores a lot of smaller (or, say, less mainstream) movies like PARADISE, THE AFFAIR OF THE NECKLACE, LIFE OR SOMETHING LIKE IT, etc., that also have smaller soundtrack markets.
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