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If any of you have ever seen this movie and have the promo, you may have noticed that the CD track titles are curiously named. Almost as if they were made years later with only a faint recollection of the film.
Here then, are my own more descriptive track titles with the original CD titles in brackets.
Michael J. Lewis: The Hound of the Baskervilles - 1983 (50:26)
1. Main Title (Titles) 2:24
2. Sir Charles' Death (Dark Mansion) 1:53
3. Sir Hugo's Banquet/ Pursuit/ Rape (Rich Ancestry) 3:17
4. The Note/ "We'll Keep Our Eye on that Cab, Watson." (Growing Fear) 3:05
5. (Dartmoor) (unused) 3:00
6. Lestrade (unused)/ Leaving the Pub/ Carriage Ride to Baskerville Hall (A Lighter Moment from the Past) 1:34
7. Banquet (unused)/ Sheba Meets the Hound (More Anxiety) 2:10
8. unknown cue (Lento) 0:58
9. The Lyons/ Watson on the Footpath (Not So Pleasant After All) 0:49
10. Entomology/ Sir Henry Meets Beryl Stapleton (Spirits of the Moor) 2:14
11. Candles in the Window/ Watson and Sir Henry Investigate (Aggressivo) 4:09
12. Sir Henry and Beryl Ride on the Moor/ Gypsy Camp/ Beryl Flees (Fiddler on the Moor) 3:19
13. Watson Meets the Gypsy (Apprehension) 1:13
14. The Hound Attacks Selden (Dark Times) 1:37
15. Leaving the Lyons' (Lying In Wait) 0:57
16. Laura Lyons' Death (Starry Night On the Moor) 1:46
17. unknown cue (Reflections) 1:15
18. The Grimpen Mire (Anxiety) 1:35
19. Holmes Vs. Stapleton (Hunt the Dog) 2:24
20. The Hound Hunts Sir Henry (Spirit of Baskerville) 3:45
21. A Message from Dr. Mortimer (Reining at the Bit) 0:57
22. The Hound Hunts Sir Henry (alternate) (Chase Across the Moor) 3:08
23. No Horror/ End Title (Finale) 2:32
chronological
1. Main Title 2:24
2. Sir Charles' Death 1:53
3. Sir Hugo's Banquet/ Pursuit/ Rape 3:17
4. The Note/ "We'll Keep Our Eye on that Cab, Watson." 3:05
5. Dartmoor (unused) 3:00
6. Lestrade (unused)/ Leaving the Pub/ Carriage Ride to Baskerville Hall 1:34
7. Banquet (unused)/ Sheba Meets the Hound 2:10
8. unknown cue 0:58
9. The Lyons/ Watson on the Footpath 0:49
10. Entomology/ Sir Henry Meets Beryl Stapleton 2:14
11. Candles in the Window/ Watson and Sir Henry Investigate 4:09
12. Sir Henry and Beryl Ride on the Moor/ Gypsy Camp/ Beryl Flees 3:19
13. Watson Meets the Gypsy 1:13
21. A Message from Dr. Mortimer 0:57
14. The Hound Attacks Selden 1:37
15. Leaving the Lyons' 0:57
16. Laura Lyons' Death 1:46
17. unknown cue 1:15
20. The Hound Hunts Sir Henry 3:45
18. The Grimpen Mire 1:35
19. Holmes Vs. Stapleton 2:24
23. No Horror/ End Title 2:32
22. The Hound Hunts Sir Henry (alternate) 3:08
The 2CD promo FILM MUSIC contains a 6 minute suite called 'Dartmoor', made up of 'Dartmoor' and extended romance music that accompanies Sir Henry and Beryl riding on the moor, best exemplified by track 12 on this CD.
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Posted: |
Mar 18, 2015 - 11:25 AM
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By: |
DS
(Member)
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I love his music, too. Looking over his filmography, Lewis consistently scored movies from 1969 through 1984, and then from 1985 through 1994 he had a total of three films (two made for TV, one direct to video, all of them forgotten now), and then nothing since. I have to imagine - particularly given how rich film music was in those years - that this was deliberate on his part rather than his phone simply not ringing. He also doesn't have any rejected scores that I know of, so it doesn't seem like he got burned by the business or anything - he seems to have simply phased out as a choice. Curious if he'd be willing to score movies again if asked (but the sad reality is that contemporary directors and producers don't really ask any of these spectacular '60s-'90s composers for scores anymore).
According to the bio on his website he's devoted a lot of his time recently to story and screenplay writing - http://michaeljlewismusic.com/biography.html - but at least according to the IMDB nothing he's written has been made, even as a short project.
Again, agreed that his work is truly glorious and I too look forward to hearing all of "Baskervilles."
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Posted: |
Mar 18, 2015 - 12:06 PM
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By: |
bobbengan
(Member)
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I love his music, too. Looking over his filmography, Lewis consistently scored movies from 1969 through 1984, and then from 1985 through 1994 he had a total of three films (two made for TV, one direct to video, all of them forgotten now), and then nothing since. I have to imagine - particularly given how rich film music was in those years - that this was deliberate on his part rather than his phone simply not ringing. He also doesn't have any rejected scores that I know of, so it doesn't seem like he got burned by the business or anything - he seems to have simply phased out as a choice. Curious if he'd be willing to score movies again if asked (but the sad reality is that contemporary directors and producers don't really ask any of these spectacular '60s-'90s composers for scores anymore).
According to the bio on his website he's devoted a lot of his time recently to story and screenplay writing - http://michaeljlewismusic.com/biography.html - but at least according to the IMDB nothing he's written has been made, even as a short project.
Again, agreed that his work is truly glorious and I too look forward to hearing all of "Baskervilles."
I love that a serious, religious Welsh composer with a very "British" voice has gone and become a BBQ-guzzling Texan, cowboy hat and all. Who the hell'da thunk it???
Given the amount of commercials he's scored, I'm actually not surprised he's retired from features - For those who don't know, the money spent by brands on ad campaigns is RIDICULOUS. He's probably made more money from six or seven of those spots than all of those feature films on his resume combined. Good on him, though I would love to hear him make a comeback obviously in the feature realm!
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Man who haunted himself was what got me into him.
And i loved 11 harrowhouse, medusa touch, north sea hijack, Chaillot etc.
He had a very consistent record of delivering impressive scores.
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Posted: |
Mar 20, 2015 - 12:00 AM
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By: |
bobbengan
(Member)
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I like that one a lot too, Josh - At first it didn't resonate as strongly for me as his other works but it quickly became a score I visit frequently. Especially the opening and closing title themes, respectively, which has a far stronger gravitas (and melancholy, as you pointed out) than you'd expect. Point of fact, the music feels out of place altogether given the almost parodic quality of the animation. See (and listen) for yourself, folks:
https://www.youtube.com/watch?v=zfm_qtMOz7E
Josh - Do you notice that the driving, adrenal motif that forms that basis of MEDUSA TOUCH showed up in *every single* actions score Lewis EVER write thereafter? He uses that VERY distinct rhythm setter very prominently in LION, THE WITCH AND THE WARDROBE but also THE PASSAGE, the finale music of SPHINX, one or two action cues from THE PASSAGE, throughout NORTH SEA HIJACK... Those who like to criticize Horner with his four-note danger motif would have an absolute field day with this guy!
Regardless, he is an amazing melodist, perhaps one of the best in film history - I can't believe I have only recently discovered his work.
Josh, you MUST check out THE PASSAGE: https://www.youtube.com/watch?v=-dWchGMDLlY
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