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Gave Elmer Bernstein's GOD'S LITTLE ACRE, Leith Stevens' HELL TO ETERNITY, Alexander Courage's HOT ROD RUMBLE, and a Dick Jacobs/George Cates album, MAIN TITLE, a spin tonight on their way to CD.
GOD'S LITTLE ACRE was a holy grail for me for decades but I could never afford the top dollar collector price for it. I finally got it at a much more affordable price on ebay a few years back. My memories of it were based on watching the movie back when CBS aired it. When I finally got the Lp it didn't really match those memories and was bit of a letdown. However, repeat listenings have overcome my initial disappointment. This is a very nice album, a bit short as Lps were in those days.
A number of Bernstein's trademark musical signatures are present here, the gospel title theme looking forward to THE HALLELUJAH TRAIL, a bit of THE SCALPHUNTERS, some of his jazz stylings, a dash of MAGNIFICENT SEVEN, and that nostalgic tone of SUMMER AND SMOKE and TO KILL A MOCKINGBIRD. It was originally released on UA and has great cover art from the one-sheet poster of Aldo Ray and Tina Louise.
Leith Stevens' HELL TO ETERNITY is another one of his inventive jazz scores. This is a war movie but Stevens' music, save the last cue, is mostly in that bright, peppy jazz style of the 1950s he was so good at composing. This Warwick album is another album with a great cover featuring art from the poster.
HOT ROD RUMBLE is one of those JD films that references rock 'n roll but all the music is really jazz. Alexander Courage did this one around the same time he was working on M SQUAD so you might know what to expect. There's lot of peppy stuff here, too, and you can imagine somebody dancing to this if it were played on a jukebox. There's darker stuff, also, some it possibly influenced by WEST SIDE STORY. One thing's for sure, it has one hell of a line-up of players: Shelley Manne, Bud Shank, Pete Candoli, Maynard Ferguson, Barney Kessel, and, on oboe, Gerald Fried.
MAIN TITLE features twelve movie themes, some of them from movies that aren't even in Leonard Maltin's movie guide any longer, if they ever were. Most of the films are from 1956 but one is listed as a 1957 release. Being that this is Dick Jacobs and George Cates (the man who combined "Moonglow" with Duning's PICNIC theme) you can't expect spot on renditions. But, actually, most of them are pretty good. Some of the more obscure tracks are Previn's THE CATERED AFFAIR (a lovely piece), Mancini's CONGO CROSSING, Skinner's AWAY ALL BOATS, and Burke-Gilbert's WHILE THE CITY SLEEPS. There's even "Nemo's Theme" from 20.000 LEAGUES UNDER THE SEA, with material I think Cates composed and added.
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Anyone remember PRIVILEGE? It's been a while since I've seen this 1967 film so the details are a bit murky. As I recall this could be labelled borderline science fiction, in the same manner that CLOCKWORK ORANGE earns that classification. PRIVILEGE, as my mind dimly recalls, is set in a future England and involves government efforts to use an immensely popular rock star to control the masses. I remember there was a sadomasochistic element in which the pop star suffered physical pain for his fans. Anyway, I'd like to see this one pop up gain. Peter Watkins (THE WAR GAMES, THE DIARY OF AN UNKNOWN SOLDIER) directed.
There was an Lp issued on UNI back in the day but, so far as I know, there's been no CD issue. Given that it’s Universal I guess we shouldn’t hold our breath. This score by Mike Leander mixes rock ballads and songs with traditional scoring. All of the music is catchy (although I don‘t much like “Onward Christian Soldiers“ and “Jerusalem“). Of the non-rock pieces "Vanessa" is a particularly beautiful, melancholic ode to the character played in the film by the waif-like, delicate beauty Jean Shrimpton, a gentle and somewhat dreamy piece for the actress who was once a trend-setting SuperModel. “Alvin“ is an instrumental cue that could easily have been used in THE PRISONER TV series. “Privilege,” “Free Me,” and “I’ve Been a Bad, Bad Boy” are good rock songs sung by the film’s lead Paul Jones who some of you may remember from the band Manfred Mann.
Anybody seen the film or have the album?
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Okay, nobody saw PRIVILEGE.
What about CUSTER OF THE WEST? This made-in-Spain Cinerama roadshow attraction featured Robert Shaw as Col. George Armstrong Custer. Anyone seen it or have the score?
Bernardo Segall scored the film and his music has long been a favorite of mine. I see that there was a German release on CD but it looks like it might be one of those of questionable origin. The Lp is a gatefold with a detail (blow-up) from the dynamic poster art on the cover. On the back cover there is a much smaller but complete version of the art.
Anyway, as I remember the film, it was a bit fuzzy in characterization, but it didn't portray him as a madman (as in LITTLE BIG MAN) nor as a swashbuckling hero (as in THEY DIED WITH THEIR BOOTS ON). Naturally, with Shaw in the role, Custer was a very serious, very intense individual, always out to prove how tough he was and equally tough on his men.
Segall's score, played alone, seems to be working on a level beyond merely supporting the action. "When The War Is Through," which kicks off the album, is a vocal with male chorus that wonders what military men do when there is no war? The private goes back to his plow. The sergeant yells at his mules. The captain sleeps in. The general? "He waits for a war to get him through, so early in the morning."
Right away, Segall's music posits a psychological dilemma for Custer, a man who, at least in this song, exists only uneasily outside of the environment of war. This suggests that Custer's single minded determination to "win" battles informed his approach to dealing with Native American Indians. Perhaps he was too eager and ready to fight. And no doubt too sure of his own abilities. This seems not far off the mark of historical interpretation.
"Civil War" is a dramatic orchestral version of the first cue. "Elizabeth" introduces the musical theme for Custer's wife played by Mary Ure (Shaw's real life wife). That she is a military wife is suggested by atmospheric bugle calls, blurring the line between love for her with love of the military. Later, we will hear this "love theme," which is rearranged here, by itself as "Theme Music (When Will Love Rule the World)."
"In The Cabin" has the sound of domestic setting, bucolic, pastoral. It's been too long since I've seen the movie. Perhaps a quiet interlude between Custer and Elizabeth?
"Punishment Drill" is for a sequence I remember demonstrating Custer's no-nonsense, tough approach to his men. Here, he nearly kills the men as he relentlessly runs them around the fort. The music, reflecting this attitude, builds to a peak before, oddly, just fading out.
"Custer's March" is what it sounds like. An original Segall march with full orchestra, heavy on the brass and percussion. What makes it more interesting is that the melody is from the "love theme," "Theme Music (When Will Love Rule the World). Here Segall firmly connects Custer's love of the military to that of his wife. Does Segall believe that the two were intertwined and inseparable for Custer?
"Fourth of the July" is a perky number with banjo and overtones of a square dance, though I've never heard a square dance with horns.
Now we get "Theme Music (When Will Love Rule the World)" by itself. It's a lovely piece played by a plaintiff piano, rich strings in the background.
"Overture (Second Act)" reprises some of "Civil War" but with a more tragic feel, perhaps setting up the tragedy to come. It seques into a rich rendition of "Theme Music" which itself then seques into a new piece of music, a noble march with soaring horns, fifes (?) and rolling drums.
In one sequence Custer and Elizabeth visit the theater and see his exploits trivialized in a "Theatre Parody." This cue features a fanfare after which we hear the heroine’s theme, the Indian theme, and the rescue all wrapped up with a closing fanfare. Very easy to visualize.
“Washita -- The Last Stand” begins with ominous strings before giving way to the powerful brass section. There is a dynamic reprise of the love theme before the ominous strings, representative of the Native American Indian, returns and finished out the piece as it fades out. "Custer Is Dead" wraps up the album, reprising the love theme with a harmonica lead and punctuated with gentle bugle calls.
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I love the score from "Custer of the West." One of my great bargain bin finds back in the day. The film is not well thought of, but it still deserves better than the non-anamorphic, non-stereo, non-roadshow version DVD that's out there.
I'm glad that there's at least one other fan of the music out there. I originally saw the movie at a Cinerama theater. The six track discrete sound blew me away. Unfortunately, aside from a TV viewing, I haven't seen this movie in a long time. Love to see it again.
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Got to see PRIVILEGE a few months ago when it was available on YouTube... supposedly a legit DVD is to be available later this year.
Another Peter Watkins masterpiece - very ahead of its time, yet no one today would even be able to do something as edgy.
The score/songs are very good - if you're a fan of 60's soundtracks, it's worth searching out the album.
Who knows, it's possible that a DVD release will revive interest in the music. Maybe the DVD itself will feature a score only track.
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I love the score from "Custer of the West." One of my great bargain bin finds back in the day. The film is not well thought of, but it still deserves better than the non-anamorphic, non-stereo, non-roadshow version DVD that's out there.
Well, Bob, it looks like the movie itself has become a great bargain bin find. Just picked it up at Big Lots for $3.00. Like you I was intensely disappointed in the no frills presentation but especially because it wasn't in stereo. CUSTER OF THE WEST was one of the earliest films in which I noted the spectacular stereo separation and discrete placement of sound effects.
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Been away from the conversions for awhile but am starting to commece again.
I grabbed the closest thing at hand, which was A FACE IN THE CROWD. If you haven't seen it, this is a terrific, ahead of it's time (for a movie), examination of good-old-boy hobo who goes from jailbird to media star with his folksy talk and singing only to find downfall in the make-up of his own character. It stars Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick, and many others. Elia Kazan directed it and Budd Schulberg wrote it (including the lyrics to the songs it would appear).
In the movie, Griffith, as Lonesome Rhodes sings. Griffith was a multi-talented performer -- an actor, a stand-up comic, a singer, and I don't know what else -- and his singing here is quite pleasant. The songs are included on this Capitol release (they also released his comedy albums) but they are re-recordings. I actually prefer the versions in the film over these.
The music itself is composed by Tom Glazer. I don't know much about him other than he was the brother of film producer Sidney Glazier, was a folk singer, and had the hit recording "On Top of Spaghetti."
"Main Title" is a nice bluesy piece for a whistler. It's reprised as the last track but this time with vocals by Griffith. "Free Man in the Morning" and "Mama Guitar" are two of Griffith's vocals. He also contribues "Just a Closer Walk With Thee." If I recall correctly, Griffith later recorded at least one album of gospel songs.
This album also has a calypso number, a rock instrumental and the Girls' Trio singing the Vitajex Jingle.
Frankly, not that exciting an album but three or four tracks are nice to have.
Next up was the Dot Lp "Bernstein: backgrounds for Brando." Yes, he small "b" for "backgrounds" is how they spell it. As you'd think, this is a collection of themes (newly recorded) from many of the movies starring Marlon Brando. Included are SAYONARA, ON THE WATERFRONT, VIVA ZAPATA, THE MEN, DESIREE, THE WILD ONE and JULIUS CAESAR, among others.
It's an ambitious program with Elmer Bernstein conducting what must have been designed as an easy listening album. Most of the cues lean towards the love theme variety, low-key, lovely, very relaxing. "Fugue for Tinhorns" from GUYS AND DOLLS and "Blues for Brando" from THE WILD ONE are the liveliest tracks. Each of these is situated as the last track on each side of the record.
It looks like this one came out on CD in Spain on the Blue Moon label back in 2004. They've added three additional cues, one each for MUTINY ON THE BOUNTY, THE CHASE, and THE YOUNG LIONS.
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Been away from the conversions for awhile but am starting to commece again.
I grabbed the closest thing at hand, which was A FACE IN THE CROWD. If you haven't seen it, this is a terrific, ahead of it's time (for a movie), examination of good-old-boy hobo who goes from jailbird to media star with his folksy talk and singing only to find downfall in the make-up of his own character. It stars Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick, and many others. Elia Kazan directed it and Budd Schulberg wrote it (including the lyrics to the songs it would appear).
In the movie, Griffith, as Lonesome Rhodes sings. Griffith was a multi-talented performer -- an actor, a stand-up comic, a singer, and I don't know what else -- and his singing here is quite pleasant. The songs are included on this Capitol release (they also released his comedy albums) but they are re-recordings. I actually prefer the versions in the film over these.
The music itself is composed by Tom Glazer. I don't know much about him other than he was the brother of film producer Sidney Glazier, was a folk singer, and had the hit recording "On Top of Spaghetti."
"Main Title" is a nice bluesy piece for a whistler. It's reprised as the last track but this time with vocals by Griffith. "Free Man in the Morning" and "Mama Guitar" are two of Griffith's vocals. He also contribues "Just a Closer Walk With Thee." If I recall correctly, Griffith later recorded at least one album of gospel songs.
This album also has a calypso number, a rock instrumental and the Girls' Trio singing the Vitajex Jingle.
Frankly, not that exciting an album but three or four tracks are nice to have.
Next up was the Dot Lp "Bernstein: backgrounds for Brando." Yes, he small "b" for "backgrounds" is how they spell it. As you'd think, this is a collection of themes (newly recorded) from many of the movies starring Marlon Brando. Included are SAYONARA, ON THE WATERFRONT, VIVA ZAPATA, THE MEN, DESIREE, THE WILD ONE and JULIUS CAESAR, among others.
It's an ambitious program with Elmer Bernstein conducting what must have been designed as an easy listening album. Most of the cues lean towards the love theme variety, low-key, lovely, very relaxing. "Fugue for Tinhorns" from GUYS AND DOLLS and "Blues for Brando" from THE WILD ONE are the liveliest tracks. Each of these is situated as the last track on each side of the record.
It looks like this one came out on CD in Spain on the Blue Moon label back in 2004. They've added three additional cues, one each for MUTINY ON THE BOUNTY, THE CHASE, and THE YOUNG LIONS.
That Brando/Bernstein lp was available in the late 70's, British pressing as I recall.
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