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Your condescending tone is uncalled for, incidentally.
Well, you're not getting my (dashingly handsome) facial expressions and pleasant tone of voice on the interwebz.
That's okay, I'm over it.
I'm still coming over for Easter, right?
Yeah, but you're bringing the booze!
It's a deal. Just make sure the CD-Rs of the out-of-print titles are ready for me. 
The burner's cookin' full speed...oops, let's just keep this between the two of us...
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Nice to see two guys make up so easily. I'LL buy the booze.
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And the other big question:
Did the overdubs show up on the mono 12" LP?
That's what I'm wondering too.
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Posted: |
Feb 24, 2017 - 10:35 AM
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By: |
Jim Doherty
(Member)
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Another note...
I just re-watched this film and was sort of startled by its use of music. There is virtually no actual dramatic background scoring, per se. Almost all of Stevens' music is source music, playing on a hi-fi or a car radio, etc. Mind you, it still creates a mood for the scene, acting as source music yet still providing the right dramatic support for the scene. I found it an interesting approach. I also found it interesting and odd that Coral Records put out an LP of this music to such an obscure film, especially considering the fact the music is relegated to the far background in most of the movie. Perhaps they thought it would ride on the coattails of Stevens' score for THE WILD ONE, which was issued on Coral's mother label, Decca Records.
At any rate, it's still a really cool jazz score in either its original mono version or its later, doctored-up stereo version.
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