The Eiger Sanction

[Muad'Dib 1,800]

I remember listening to some cues of this score a couple of years ago, but for some reason it didn't grab my interest. However, recently and particularly thanks to the recent JW concert broadcast, I got interested in exploring those old scores of Johnny that people seem to forget. The scores that are pure Williams, before he got patented as the Star Wars guy. And it's nice (at least for me) that he's returning to his old sound in his new scores.

And I bumped into this...

Needless to say, I loved that little watlz at the end, and while it sounds familiar, the score seems very fresh in general and maybe it's the closest to what could have been a James Bond score for Johnny. Specially this...

Now that's not the first thing that comes to mind when you say "John Williams"!

So, does anyone else really like the score around here? I also plan to see the film, as I've read that a lot of the best cues didn't make it to the album. Yeah, the sound quality isn't the best, but the music is great! It's almost like hearing an old LP, which is something I love to hear from time to time. There's a certain something that's very special about the noise that the LP's produce...

[indy4 155]

I'm also a fan of this score. The main theme, the theme for George, and the non-thematic stuff is really nice. Buy Soundtrax recently released a piano arrangement of the main theme which is quite nice..

[Neimoidian 14]

Terrific score. One of my Holy Grails in John's discography.

[A24 4,326]

It's almost like hearing an old LP, which is something I love to hear from time to time. There's a certain something that's very special about the noise that the LP's produce...

I think it is a LP. I thought I heard a tick.

[Thor 7,463]

Love this score. It contains what I label 'baroque jazz melancholy', which was the rave at the time (also evident in, say, Goldsmith's LAST RUN). Interestingly, the main theme sounds very much like a theme I composed myself back in the day....way before I had heard EIGER. So it definitely taps into a musical territory that is close to my heart.

[Omen II 1,235]

I too am a big fan of The Eiger Sanction and it is in my top five favourite scores by John Williams. The album is, like many others from that era, a rerecording that presents a pretty good overview of the score but does leave out some fantastic cues from the mountain-climbing scenes in the last third of the movie. One of the best unreleased cues accompanies the French climber Montaigne's death, a classic piece of writing from Williams. Director Clint Eastwood gave an interview not long after the film's release in which he opined that the score was better than the one Williams wrote for Jaws the same year.

Michael - A couple things to note about the great album tracks you posted above are that the jazzy second half of the main title cue is a specific album arrangement that does not appear in the movie in that form (although the end title music presents the theme in a similar style); the movie version of the main title develops into a wonderful counterpoint that is not heard on the album. Also, unfortunately the electric guitar coda to Friends and Enemies is not heard in the movie, but is nonetheless a rare opportunity for some serious air guitar from Williams's oeuvre!

I started on a detailed cue by cue analysis of the score for my own amusement a while back and got about two thirds of the way through. If I ever get it finished, I may just polish it up and post it here for those that are interested in that sort of thing (don't all shout at once...!). I am heartened to see that I am not the only person that likes the score so much, while the movie itself is a guilty pleasure too.

[Muad'Dib 1,800]

Director Clint Eastwood gave an interview not long after the film's release in which he opined that the score was better than the one Williams wrote for Jaws the same year.

Do you have a link to read that? It would be great if you could find it!

And who's with me in that Williams should invite Eastwood to one of his future concerts and even perform some Eiger Sanction tracks? It would be so cool!

Michael - A couple things to note about the great album tracks you posted above are that the jazzy second half of the main title cue is a specific album arrangement that does not appear in the movie in that form (although the end title music presents the theme in a similar style); the movie version of the main title develops into a wonderful counterpoint that is not heard on the album. Also, unfortunately the electric guitar coda to Friends and Enemies is not heard in the movie, but is nonetheless a rare opportunity for some serious air guitar from Williams's oeuvre!

I started on a detailed cue by cue analysis of the score for my own amusement a while back and got about two thirds of the way through. If I ever get it finished, I may just polish it up and post it here for those that are interested in that sort of thing (don't all shout at once...!). I am heartened to see that I am not the only person that likes the score so much, while the movie itself is a guilty pleasure too.

I've got to see the film as soon as possible. The trailer doesn't make it look too good though, but it could be a lot of fun! And hearing those unreleased cues should be awesome. And interesting to read that a lot of stuff didn't make it to the film, too.

And please finish that analysis! I would love to read it!

[tharpdevenport 4]

Funny Clint shopuld say that, 'cause every single film he's done, that he scored, had a score wholefully lacking in every departments, sounding almost all the same, uninvolving, random placement, and leaving one wishing a REAL compoer had scored each film.

Yes, indeed he's one to make such statements.

[Omen II 1,235]

Director Clint Eastwood gave an interview not long after the film's release in which he opined that the score was better than the one Williams wrote for Jaws the same year.

Do you have a link to read that? It would be great if you could find it!

I do not have a direct link I'm afraid, but it was in an interview with Patrick McGilligan in April 1976, reproduced in the book Clint Eastwood: Interviews (Conversations With Filmmakers). Eastwood mentions that the music was almost up for an Oscar but that the panel who voted chose Jaws instead because it was the "movie of the year." Clint's words were:

"The same guy [John Williams] did this score and it was probably better than Jaws."

And thanks for the encouragement on the score analysis, maybe I will pull my finger out and get it done before one of the labels releases the whole thing, thereby rendering any such analysis superfluous.

[A24 4,326]

Time for Varése to release a double CD of this score:

CD 1. Complete and original score

CD 2. Rerecorded album

[fommes 153]

Indeed. I'm with Omen II - I'm a big, big fan of this score as well. I can't get enough of the theme, and luckily it shines throughout the soundtrack. The actual film score is itself a gem as well, it's well worth picking up the cheap DVD of the film.

[Ollie 1,059]

I love this score. Some of the music is a glimpse of ideas that would a appear in CE3K.

Needs to be remastered and expanded to the complete score if possible.

[crocodile 7,983]

I heard one or two tracks on some compilation and it sounded intriguing. But then again it's the 70's JW so it is a no-brainer for me.

Karol

[A24 4,326]

It's Williams but somehow I also hear Morricone and Legrand in the main theme. Does anyone know what I'm talking about?

[Thor 7,463]

It's Williams but somehow I also hear Morricone and Legrand in the main theme. Does anyone know what I'm talking about?

Yes, it's the 'baroque jazz melancholy' I mentioned earlier. Both of those gentlemen tapped into that territory now and then.

I wouldn't want a new or expanded version of EIGER, of course, but I actually prefer the film version of the main title over the album version. It's more 'classical' somehow.

[A24 4,326]

Yes, that might be a good description of the style. I remember that The Incredible Hulk (TV-Series with Bill Bixby) also had a theme like this. It should be fun to find out who the real inventor is of the 'baroque jazz melancholy' style, but before one can do that, one must have a vast knowledge of the scores of the '70s. It definitely feels like a European thing.

Alex

[Omen II 1,235]

It should be fun to find out who the real inventor is of the 'baroque jazz melancholy' style, but before one can do that, one must have a vast knowledge of the scores of the '70s. It definitely feels like a European thing.

I think it is likely that this particular sound was influenced by Lalo Schifrin's seminal 1966 album The Dissection and reconstruction of music from the past as performed by the inmates of Lalo Schifrin's demented ensemble as a tribute to the memory of the Marquis de Sade (yes, that is the full name of the album!). It was Creed Taylor of Verve Records fame who suggested to Schifrin that he create a jazz album based on mediaeval and baroque music. Schifrin later reworked some of the tracks for his Jazz Meets The Symphony series of albums to great effect. I think this one, for example, bears a stylistic resemblance to some of Williams's work on The Eiger Sanction.

Baroque? Check

Jazz? Check

Melancholy? Check

[Thor 7,463]

It should be fun to find out who the real inventor is of the 'baroque jazz melancholy' style, but before one can do that, one must have a vast knowledge of the scores of the '70s. It definitely feels like a European thing.

I think it is likely that this particular sound was influenced by Lalo Schifrin's seminal 1966 album The Dissection and reconstruction of music from the past as performed by the inmates of Lalo Schifrin's demented ensemble as a tribute to the memory of the Marquis de Sade (yes, that is the full name of the album!). It was Creed Taylor of Verve Records fame who suggested to Schifrin that he create a jazz album based on mediaeval and baroque music. Schifrin later reworked some of the tracks for his Jazz Meets The Symphony series of albums to great effect. I think this one, for example, bears a stylistic resemblance to some of Williams's work on The Eiger Sanction.

Baroque? Check

Jazz? Check

Melancholy? Check

Yeah, good track! I'm not sure if Schifrin is to be credited with it, but that's surely a nice representative. Although perhaps a bit "too" jazzy and free-form compared to the particular sound we're looking for. As I mentioned earlier, I think Goldsmith's LAST RUN really taps into this. If you have a harpschicord, all the better!! "Richard Escapes", for example:

Although the melancholy is more evident in the beautiful title song -- one of my favourite JG compositions ever!

[Wojo 2,453]

I wouldn't want a new or expanded version of EIGER, of course

You wouldn't have to buy it, of course.

I, on the other hand, am about five minutes' free time away from downloading an illegal copy rather than paying out the nose for an original pressing, so I would happily welcome any kind of remaster, expansion, or even an affordable reissue.

[A24 4,326]

I don 't really hear it in The Last Run, Thor. It's a merger between classical music and jazz fusion but it doesn't have that certain 'Legrand' feel to it. You know, that slightly kitschy, dreamy, melancholic and sad melody of which the notes of the first part of the melody gets gets repeated and transposed a lot. In my understanding, a prime example of the 'baroque jazz melancholy' style is Love Story (1970 - Francis Lai). A big hit (film and music) and a possible candidate for inventing the whole thing or at least making it very popular throughout the seventies.

Alex

[publicist 4,643]

@Alex:

This is the theme from LAST RUN. Fits the bill, i'd say.

http://www.youtube.com/watch?v=WbZGYVgSkWU

[Omen II 1,235]

And thanks for the encouragement on the score analysis, maybe I will pull my finger out and get it done before one of the labels releases the whole thing, thereby rendering any such analysis superfluous.

I finally got my arse in gear and finished this work of fiction, so head on over to the Reviews section if you want to know more about The Eiger Sanction or if you suffer from insomnia and need something to send you off.

[Naïve Old Fart 9,493]

One of my Holy Grails in John's discography.

Agreed. Conventional wisdom says: "NO WAY", but it is interesting that J.W. sandwiched "The Towering Inferno" inbetween "Earthquake", and "TES", and that both scores sound alike, drawing as they do on "jazz sensibilities" (whatever that means). The more one listens to "TES" (and "Earthquake", for that matter), the more there is to hear ("Earthquake"'s "Something For Rosa" is gorgeous!).

To my eternal shame, I have not heard "TLR", so I am unable to comment on its similarity to "TES", but if you like your scores to have a little bit of jazz class, and you want a J.W. score that is just a little bit "left field", then check out "TES".

My only criticisim of the score is that the recording sucks! Let's hope it gets a rerelease soon.

[filmmusic 1,823]

Does anyonthe have any info on a re-issue/expansion of this?

used copies start from $56 at amazon.

[A24 4,326]

You can have my copy for 200 Euro!

[filmmusic 1,823]

You can have my copy for 200 Euro!

Why I should buy it from you since I can buy it from amazon for much less than half?

[A24 4,326]

It means I'm not selling unless somebody pays me big money for it.

[filmmusic 1,823]

It means I'm not selling unless somebody pays me big money for it.

oooooooooooohhhh....

[Naïve Old Fart 9,493]

You can have my copy for 200 Euro!

Done!

Do you take AMEX?

[#SnowyVernalSpringsEternal 10,265]

I'll pay 210!

[A24 4,326]

What?! I only accept a bank transfer!

[Incanus 5,713]

I hope they will expand this score soon (as suggested here with the original score on one disc and album on the second). It is fantastic entry from the Maestro just before he was catapulted to musical fame by Jaws and Star Wars. Shows yet again the diversity of subjects and most of all musical sounds Williams is capable of adapting to.

[Thor 7,463]

It's an album I play ever so often. The baroque jazz melancholy of the main theme is a sound I'm particularly drawn to (Goldsmith's THE LAST RUN falls in the same category). Incidentally, I had composed a piano theme that was quite similar -- with my meager skills -- before I heard the Williams theme. So there's obviously some connection to a sound I love.

[Marian Schedenig 8,172]

I just spent a few minutes reading 2 year old posts in this thread before realising it. Apparently something got merged again. Isn't there a fix for the board to retain the read marks in those cases? Or a way to display a merge warning?

Anyway, great score. I wonder how it would fare in a chronological (and complete, I guess - don't know what's missing from the album) release, since I always found the album sequencing confusing, from a purely musical/listening point of view. Whether due to the album arrangement or the score itself I couldn't say.

[Incanus 5,713]

Nothing was merged. The thread was just moved to the JW section of the MB, where it belongs. filmmusic just resurrected 2 year old thread, that's all.

[Marian Schedenig 8,172]

Then the read flags get destroyed in moved threads as well.

[Omen II 1,235]

Anyway, great score. I wonder how it would fare in a chronological (and complete, I guess - don't know what's missing from the album) release, since I always found the album sequencing confusing, from a purely musical/listening point of view. Whether due to the album arrangement or the score itself I couldn't say.

There is a suggested chronological sequencing of the album at the end of this analysis:

http://www.jwfan.com/forums/index.php?showtopic=20897

If you can bear to scan through my waffle you will see that there is quite a lot of music not represented on the album, especially for the climbing scenes on the Eiger itself.

[Naïve Old Fart 9,493]

I'll pay 210!

220!

[Muad'Dib 1,800]

One jillion dollars!

[fommes 153]

One euro.

I'd happily pay for an expansion though, this one is right up there with PoA for me.

[crocodile 7,983]

I still need to hear the whole album. Bits I do know are intriguing.

Karol

[Incanus 5,713]

I still need to hear the whole album. Bits I do know are intriguing.

Karol

Definitely Karol! It's a really interesting score in Williams' ouvre.

[Jay 37,281]

I would guess that all these Williams Universal film / MCA LP releases - Eiger Sanction, Jaws II, and Dracula - are Varese territory, and we won't get an expansion or straight-up re-issue of them all until they get off their concert planning and go back to releasing Club CDs again.

[Ollie 1,059]

No the rights have expired on those titles. I believe Lukas, Roger F or Ford mentioned it.

[Jay 37,281]

I am positive that La-La Land, Intrada, Kritzerland, Quartet, etc would have HAPPILY released expanded versions of all 3 of those titles were they able to. Maybe the rights expired, but I'd guess Varese bought them back. I mean, remember last year when Intrada was releasing a bunch of titles with "Universal 100th Anniversary" on them? Why wouldn't they have included at least one of these 3 if they had been able to? Instead all we got was Charade, The Shadow, High Plains Drifter, and Coogan's Bluff....

[Ollie 1,059]

Well you could always ask MV or Roger F and see what they say.

[fommes 153]

At one point Intrada said they no longer had any interest in John Williams releases, because they released everything they wanted or found interesting, or something.

[filmmusic 1,823]

At one point Intrada said they no longer had any interest in John Williams releases, because they released everything they wanted or found interesting, or something.

Oh really? that's disappointing...

[Thor 7,463]

That's too bad, because there's a lot of GREAT unreleased Williams stuff out there. THE SECRET WAYS, for example, is a marvelous early score that at least warrants research for release.

[crocodile 7,983]

I'm sure they will turn up, sooner or later.

Karol