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Does anyone know if this ever been released on CD? It'd make an interesting release (alongside the Michel Legrand rejected score) assuming the tracks are still around.
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It's been released on CD by Harkit. This is an LP transfer and is probably a boot.
Session tapes and original LP masters appear lost.
I didn't know that Michel Legrand had a score rejected for this movie.
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The LP is truly a masterpiece. Didn't like the movie though.
Wish was well reissued on CD.
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Posted: |
Jul 13, 2010 - 10:39 PM
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By: |
ToneRow
(Member)
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"BOOM! -- Michel Legrand. Listed on BFI.org.uk's site. When a label looked into releasing the score, supposedly Intrada Records, the studio could not find the tapes to Barry's score (nothing was said about Legrand's); any CD you see of it is a bootleg, regardless of excuses. Supposedly John Dankworth did a score as well, and one musician lists working with Dankworth on the film, but doesn't say if it was score or song(s)."
the above quote can be found within the following listing/article:
http://rejectedfilmscores.150m.com/list.html#Rejected
I am an avid follower of director Joseph Losey;
I find it ironic that Michel Legrand, who had scored Losey's "Eva" in 1962, had been called in to replace Richard Rodney Bennett's music for "The Go-Between" in 1971, after having his own score for "Boom" rejected in 1968!
"THE G0-BETWEEN -- Richard Rodney Bennett. The director thought the score was too dramatic and too climatic, so he got rid of it"
I'm the reverse of Zambra Alex: I like the movie "Boom" very much, but I feel John Barry's music is not suited to Losey's stylizations. That "Boom" LP and Harkit CD doesn't sound the same as the music heard in the film...
[I feel that John Barry was not appropriate for Nicolas Roeg's "Walkabout", either...]
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Posted: |
Jul 13, 2010 - 11:17 PM
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By: |
Bond1965
(Member)
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"BOOM! -- Michel Legrand. Listed on BFI.org.uk's site. When a label looked into releasing the score, supposedly Intrada Records, the studio could not find the tapes to Barry's score (nothing was said about Legrand's); any CD you see of it is a bootleg, regardless of excuses. Supposedly John Dankworth did a score as well, and one musician lists working with Dankworth on the film, but doesn't say if it was score or song(s)."
the above quote can be found within the following listing/article:
http://rejectedfilmscores.150m.com/list.html#Rejected
I am an avid follower of director Joseph Losey;
I find it ironic that Michel Legrand, who had scored Losey's "Eva" in 1962, had been called in to replace Richard Rodney Bennett's music for "The Go-Between" in 1971, after having his own score for "Boom" rejected in 1968!
"THE G0-BETWEEN -- Richard Rodney Bennett. The director thought the score was too dramatic and too climatic, so he got rid of it"
I'm the reverse of Zambra Alex: I like the movie "Boom" very much, but I feel John Barry's music is not suited to Losey's stylizations. That "Boom" LP and Harkit CD doesn't sound the same as the music heard in the film...
[I feel that John Barry was not appropriate for Nicolas Roeg's "Walkabout", either...]
And let's muddy the waters a bit more by mentioning that Legrand scored Losey's version of A DOLL'S HOUSE in 1973 and John Barry scored the other version in the same year directed by Patrick Garland.
James
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ToneRow wrote
... I feel that John Barry was not appropriate for Nicolas Roeg's "Walkabout", either.
Them's fightin' words around here, pardner! 
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A few years ago I was killing time in a bookstore in New Orleans and was paging through a Joseph Losey bio. If I remember correctly, Legrand flew somewhere to meet with Losey regarding Boom! but no music was ever recorded. Any Losey and or Legrand fans have anything more definative? Love Barry's score but would also like to hear what Dankworth wrote.
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I've yet to see anything that says Legrand didn't do his score. But, on a related note, another composer did record a score. From my currently defunct Rejected Film Scores website:
BOOM! -- John Dankworth, R.I.P.. Dankworth tells in his book, Cleo and John: A Biography of the Dankworths, how with little direction from the director and only having seen the film a couple times, he did a score; after a couple sessions the director, not liking the score, said, "Maybe I just don't like strings much" -- never a good sign. He said another composer had been on board, so unless there's a mystery composer I don't know about, that solves where Legrand falls. INFO. [John Barry, R.I.P..]
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My recollection is the Dankworth was the original composer and Hideaway (the song) is the hangover from that.
Incidentally, if anyone asks you on which three films John Barry worked for Richard Lester...
The answer is not The Knack, Petulia and Robin and Marian.
The answer is The Knack, Petulia and Boom.
Richard Lester was brought in to direct (uncredited) the post-production of Boom after Losey left the project, including procuring a new score and it was Richard Lester that brought John Barry onto the picture.
Presumably it was straight after they did Petulia.
(And of course on Robin and Marian, Barry was brought in by the producer after Lester had left.)
Cheers
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It's curious how Lester brought Barry in again considering the director had not really liked Barry's work for The Knack and Petulia. Lester is known for saying he did not share Barry's approach to scoring films, although the director was quick to acknowledge the effectiveness of Barry's music. Did Lester choose effectiveness over his own taste?
Alex
For someone who supposedly didn't like Barry, Barry saved his film Robin and Marian, so he should be eternally grateful.
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It's curious how Lester brought Barry in again considering the director had not really liked Barry's work for The Knack and Petulia. Lester is known for saying he did not share Barry's approach to scoring films, although the director was quick to acknowledge the effectiveness of Barry's music. Did Lester choose effectiveness over his own taste?
Alex
And of course in television advertising Barry and Lester worked together a few times, too.
I don't know this for sure, of course, but I suspect Lester's disdain for Barry was really with Robin and Marian, which he then retrospectively transposed onto the earlier scores.
We do have a tendency to 're-write' our story in light of information that comes later. Psychologists call it Hindsight Bias and is basically one of several reasons that we are often the worst witnesses to our own story.
I mean, if he really didn't like Barry's music for The Knack at the time (as opposed to later), why on Earth would he invite him onto Petulia and Boom?
Cheers
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I'm curious. The Robin and Marian story with Legrand/Lester/Barry is well documented, but I've never heard of Lester actually speaking about this in an interview, just what his R&M editor recalled him saying at the time. Can you share?
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