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Posted: |
Mar 11, 2019 - 11:43 PM
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By: |
jkruppa
(Member)
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That's another good track from the film THE FAMILY WAY. He did with Mc Cartney exactly what he did on Live and let die. When THE BEATLES adventures was over, could George Martin have been able to become a succesful film music composer ?
https://youtu.be/j79QWYzCWmI?list=OLAK5uy_muSmyMC8WNZSats8Adx5_FxKnrKkQy-nQ
https://www.youtube.com/watch?v=_Svt45Vv9NQ&list=OLAK5uy_muSmyMC8WNZSats8Adx5_FxKnrKkQy-nQ
I've been doing research on Martin's career for way too long to admit, and I have a podcast now looking at The Beatles from his perspective -- Producing The Beatles, on iTunes and everywhere else. One of Martin's early aspirations in music was to be a film composer, but after his time with The Beatles he seemed to just want to dabble in a little of everything (and said as much once).
I think there's some good stuff on Live and Let Die, which he seemed to be warming up for with his score for Pulp the year before. I think the score for Yellow Submarine deserves a reassessment, though. That's where he had the most free hand to do what he wanted and he wore his love for the French Impressionists on his sleeve.
For sheer cinematic brilliance, though, it's hard to beat Eleanor Rigby, which I think functions as a film score for McCartney's concise little two character drama.
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That's another good track from the film THE FAMILY WAY. He did with Mc Cartney exactly what he did on Live and let die. When THE BEATLES adventures was over, could George Martin have been able to become a succesful film music composer ?
https://youtu.be/j79QWYzCWmI?list=OLAK5uy_muSmyMC8WNZSats8Adx5_FxKnrKkQy-nQ
https://www.youtube.com/watch?v=_Svt45Vv9NQ&list=OLAK5uy_muSmyMC8WNZSats8Adx5_FxKnrKkQy-nQ
I've been doing research on Martin's career for way too long to admit, and I have a podcast now looking at The Beatles from his perspective -- Producing The Beatles, on iTunes and everywhere else. One of Martin's early aspirations in music was to be a film composer, but after his time with The Beatles he seemed to just want to dabble in a little of everything (and said as much once).
I think there's some good stuff on Live and Let Die, which he seemed to be warming up for with his score for Pulp the year before. I think the score for Yellow Submarine deserves a reassessment, though. That's where he had the most free hand to do what he wanted and he wore his love for the French Impressionists on his sleeve.
For sheer cinematic brilliance, though, it's hard to beat Eleanor Rigby, which I think functions as a film score for McCartney's concise little two character drama.
No doubt about it. March of the Meanies ROCKS!
And we know the string backing in the excellent Eleanor Rigby was partly inspired by Bernard Herrmann and a certain all time favourite score of ours..
I think Martin is one of the great film score composers we never got (in full).
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