While it's wonderful when a director takes such obvious care in the
placement and selection of music in his films (would that more
directors would follow his example), Robert Rodriguez's scores often
leave much to
CD Reviews: The Agony and the Ecstasy and The Adventures of Mark
Twain
The Agony and the Ecstasy (1965) *****
ALEX NORTH
Varèse Sarabande VCL 1104 1032
21 tracks - 62:18
If you were to ask people with some knowledge of film music to name one
score composed by Alex North, the near-universal response would be his
rejected score to Comments: 0 (read on)
Do you remember what it was like waking up on Saturday mornings back
when you were a child? How you would climb out of bed before the sun
came up, click on the television, and stare at the test patterns until
it was time for cartoons to begin
CD Reviews: A Home at the End of the World, King Arthur and Bobby
Jones
A Home at the End of the World ***
DUNCAN SHEIK
Milan M2-36090
13 tracks - 41:52
This adaptation of Michael (The Hours)
Cunningham's novel about a young man's quest for his place in the world
will be remembered mainly for the scene where
The fact that Craig Armstrong was tapped to compose the soundtrack for
Pieter Jan Brugge's The Clearing
should be the first clue that this film does not fit neatly into any
one category. After all, Armstro
Television composers rarely have the luxury of developing themes over a
large canvas, as film composers like Howard Shore and Don Davis have
been able to do over the past few years. Music written for television
is often even more rus
Harry Gregson-Williams is without exception the most interesting
composer operating out of the Media Ventures stable. While that
forthright statement will undoubtedly garner an equal number of
oppos
The good news is that Mark Isham has a new score out -- the bad news is
it only makes up half of this CD release. While it's hard to completely
dismiss The Cooler, the half
that Isham isn't
Artie Kane records his score for The New Adventures of Wonder Woman episode “The Bermuda Triangle Crisis” (1977)
Charles Previn died (1973)
Chuck Wild born (1946)
Dimitri Tiomkin begins recording his score for Last Train from Gun Hill (1958)
Harry Geller’s score for The Wild Wild West episode “The Night of the Bottomless Pit” is recorded (1966)
J.A.C. Redford records his score for the Twilight Zone episode “What Are Friends For?” (1986)
Jack Shaindlin died (1978)
John Addison wins his only Emmy, for the Murder, She Wrote episode “The Murder of Sherlock Holmes;” Allyn Ferguson wins his only Emmy, for Camille (1985)
John Williams begins recording his score for Home Alone (1990)
Kenyon Hopkins begins recording his score for Downhill Racer (1969)
Konrad Elfers died (1996)
Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The Left-Handed Man” (1965)
Lenny Stack died (2019)
Nick Cave born (1957)
Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
Robert Mellin born (1902)
Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
