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 Posted:   Nov 3, 2019 - 1:28 PM   
 By:   Steve H   (Member)



This music ended up in the trailer for YEAR OF THE COMET which means it might have been reused for that rejected score.

James


Just watched that trailer. It sounds like the piece used comes from the last part of Ultralite #3 alternate. So maybe not necessarily re-recorded. But who knows?

 
 Posted:   Nov 4, 2019 - 2:28 AM   
 By:   Stephen Woolston   (Member)

Just watched that trailer. It sounds like the piece used comes from the last part of Ultralite #3 alternate. So maybe not necessarily re-recorded. But who knows?

Those folks who were involved in preparing music elements with the Twilight Time Blu-Ray will know. Given they were trying to get permission to include Barry's unused score on their Blu-Ray, they will have heard it.

 
 Posted:   Nov 7, 2019 - 4:54 PM   
 By:   chadergeist   (Member)

I finally got my cd yesterday along with Intrada's An American Tail, The Last Starfighter and La La Land's Child's Play 2...all from Intrada's website. S.A.E. charges way too much for shipping. 4 cd's guys, would have cost me $17 something and on Intrada it only cost me $8 something. One cd alone on S.A.E. cost about $7 something, maybe $8. I am still trying to find Intrada's WFRR? too. frown

 
 
 Posted:   Nov 14, 2019 - 10:40 PM   
 By:   Alex Klein   (Member)

I finally got my copy of this score and, boy, this is by far the most thematically-rich score Barry wrote in the 80s: I counted at least four strong themes, not to mention the stylistic variety (there's jazz, there's orchestral lyricism, there's Bondian brass and there's a big sci-fi sound all around the package).

After listening to this, I am more convinced than ever that this score just won't be taken seriously because it was written for such a bad movie. And I am more convinced than ever that Barry's disappointment in not meeting George Lucas, coupled with Barry seeing all his musical efforts go down the drain with the film's bad critical and financial reception seriously hampered his creative energy for the remaining four years of the 80s decade. Scores like The Golden Child and Masquerade are nowhere near Howard the Duck in musical variety. Not even close.

My compliments to Intrada for releasing this overlooked gem in all its glory. While I was listening to the score, I couldn't help but smile and even laugh when it became obvious that Barry truly took this film seriously. How beautiful it is to imagine this melancholic and serious artist give his best to a talking duck. Priceless.

Alex



 
 
 Posted:   Nov 15, 2019 - 4:32 AM   
 By:   Bond1965   (Member)



After listening to this, I am more convinced than ever that this score just won't be taken seriously because it was written for such a bad movie. And I am more convinced than ever that Barry's disappointment in not meeting George Lucas, coupled with Barry seeing all his musical efforts go down the drain with the film's bad critical and financial reception seriously hampered his creative energy for the remaining four years of the 80s decade. Scores like The Golden Child and Masquerade are nowhere near Howard the Duck in musical variety. Not even close.

Alex


Well, I think that ruptured esophagus had more to do with that.

I many would argue that THE LIVING DAYLIGHTS is very creative.

James

 
 
 Posted:   Nov 15, 2019 - 6:52 AM   
 By:   brian101976   (Member)

Yeah it certainly didn't hamper The Living Daylights or Dances with Wolves, which are two of my favorite Barry scores.

 
 
 Posted:   Nov 15, 2019 - 8:21 AM   
 By:   Alex Klein   (Member)

Yeah it certainly didn't hamper The Living Daylights or Dances with Wolves, which are two of my favorite Barry scores.

Dances with Wolves was written in the nineties, and the movie was good enough to demand Barry's best efforts.

My point is: after Howard the Duck, Barry would rarely take sub-par films seriously, and it shows in the rest of his career. Unlike Goldsmith, Barry was not capable of taking bad films seriously on a consistent basis; the english composer would only reserve his best for movies that truly warranted it.

Alex

 
 
 Posted:   Nov 15, 2019 - 8:22 AM   
 By:   Alex Klein   (Member)

Yeah it certainly didn't hamper The Living Daylights or Dances with Wolves, which are two of my favorite Barry scores.

The Living Daylights is not as thematically varied as Howard the Duck. And you could argue that a film like Daylights demanded more themes than Howard.

Alex

 
 Posted:   Nov 15, 2019 - 8:49 AM   
 By:   Tom Servo   (Member)

Yeah it certainly didn't hamper The Living Daylights or Dances with Wolves, which are two of my favorite Barry scores.

The Living Daylights is not as thematically varied as Howard the Duck. And you could argue that a film like Daylights demanded more themes than Howard.

Alex


I don't know if that's as a fair assessment of Barry's score for TLD - there are three new songs he co-composed for the movie and multiple new sub-themes, even though they only show up a few times, such as the new theme during the sniper sequence, that descending motif when Bond is tracking down Kara to her home, the fanfare when landing in Afghanistan plus the ensuing action cue, all the sweeping music for the desert sequence, that great standalone cue when Bond drops the bomb on the bridge.. TLD is almost as thematically rich and varied as Barry's own score for Diamonds Are Forever.

 
 
 Posted:   Nov 15, 2019 - 8:57 AM   
 By:   Alex Klein   (Member)


I don't know if that's as a fair assessment of Barry's score for TLD - there are three new songs he co-composed for the movie and multiple new sub-themes, even though they only show up a few times, such as the new theme during the sniper sequence, that descending motif when Bond is tracking down Kara to her home, the fanfare when landing in Afghanistan plus the ensuing action cue, all the sweeping music for the desert sequence, that great standalone cue when Bond drops the bomb on the bridge.. TLD is almost as thematically rich and varied as Barry's own score for Diamonds Are Forever.


It's a good argument. But Barry barely wrote anything in the title song, and Daylights, after all, was a Bond movie, which meant Barry was going to put a lot of effort in it.

In things like Masquerade and Hearts of Fire, it sounds like he didn't even try. And the beautiful theme in Masquerade was a recycled theme from The Prince & The Aviator.

Bottom line is: there's something different about Howard the Duck. The music has an energy and variety I feel was very much gone in the following years of Barry's output, Dances with Wolves excepted.

Am I nuts?

Alex

 
 
 Posted:   Nov 15, 2019 - 9:34 AM   
 By:   villagardens553   (Member)

Elmer Bernstein, in a Starlog interview from the early 80s, said--and I'm paraphrasing--that Barry was very special and very strange in that his scores totally depended on how much he cared for the film, citing the early Bonds and The Lion in Winter as pictures he was devoted to.

 
 Posted:   Nov 15, 2019 - 9:41 AM   
 By:   Stephen Woolston   (Member)

I think I know what you're getting at Alex.

As lovely as Barry's music was in the 80s, there is a sense that Barry had found his formula and wasn't really 'reaching' the way he used to do in the 60s and 70s.

There is a sense that in Howard The Duck, he worked harder—went the extra mile.

I do think The Living Daylights is a greater score, and indeed I hold scores like Frances, Body Heat and Out of Africa as greater scores than Howard The Duck, but there is a sense that Barry worked harder to make Howard special, harder than he was working on average, and definitely harder than, say, High Road To China or Masquerade.

Cheers

 
 
 Posted:   Nov 15, 2019 - 12:53 PM   
 By:   Alex Klein   (Member)

I think I know what you're getting at Alex.

As lovely as Barry's music was in the 80s, there is a sense that Barry had found his formula and wasn't really 'reaching' the way he used to do in the 60s and 70s.

There is a sense that in Howard The Duck, he worked harder—went the extra mile.

I do think The Living Daylights is a greater score, and indeed I hold scores like Frances, Body Heat and Out of Africa as greater scores than Howard The Duck, but there is a sense that Barry worked harder to make Howard special, harder than he was working on average, and definitely harder than, say, High Road To China or Masquerade.

Cheers


Thank you, Stephen. Your eloquent words explain better what I wanted to say.

With Howard the Duck, Barry even agreed to write completely different alternates for certain cues (something he never liked to do), and he also wrote completely new themes for short scenes such as Howard's melancholic walk in the street (boy, that's a lovely cue). I suppose Barry really thought that George Lucas' name was going to make Howard a box office spectacle, and that was a golden chance for Barry to get his name on more blockbusters.

Alex

 
 Posted:   Nov 15, 2019 - 5:10 PM   
 By:   Steve H   (Member)

For me the real meat of this score begins with 'Duck Bond I Presume' right throught to 'Jennings as Dark Overlord'. None of which, apart from the Ultralite cue were featured on the original LP. Its loaded with those great Bondian overtones. Is this actually Howard The Duck?
Cues like 'Shoot To Kill, 'He's Got A Whole Gang', 'Power' and 'Nuclear Drive' is Barry right on point and nobody else could do this. Forget the film, its the music that counts.
God I wish this guy was still around.

 
 Posted:   Nov 15, 2019 - 8:55 PM   
 By:   Mr. Jack   (Member)

My point is: after Howard the Duck, Barry would rarely take sub-par films seriously, and it shows in the rest of his career.

The Specialist is a TERRIBLE movie, and yet Barry's music is classy, elegant and as good as anything he wrote for a movie of genuine quality.

 
 
 Posted:   Nov 16, 2019 - 2:42 PM   
 By:   Alex Klein   (Member)

The Specialist is a TERRIBLE movie, and yet Barry's music is classy, elegant and as good as anything he wrote for a movie of genuine quality.

"As good as anything he wrote for a movie of genuine quality"?

The Specialist basically has one theme (a great one, true), but that's it. Are you seriously telling me The Specialist is as good as Barry's scores for films like The Lion in Winter, Out of Africa or Dances with Wolves?

Alex

 
 
 Posted:   Nov 16, 2019 - 3:07 PM   
 By:   Alex Klein   (Member)

For those who still doubt Barry put an unusual effort into Howard the Duck, please compare the beginning bars of the following:

- So Long Ducky (track 14, Howard the Duck) with the Alternate End Titles of The Living Daylights.

As far as my ear can tell, the love theme from Daylights was definitely inspired by the two chord progression heard in "So Long Ducky".

I'm telling 'ya: Howard was special for Barry, and he wrote so much good material for the talking Duck that the composer ended up using much of this material for future scores.

Alex

 
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