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Omen II

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Posts posted by Omen II

  1. 10 hours ago, Jurassic Shark said:


    That's a great song! Is it used in The Italian Job? I can't remember.


    Yes, not only used in but written for.  Quincy Jones had to take a crash course in cockney rhyming slang from Don Black when it came to the lyrics.


    A fun fact is that Quincy Jones and Michael Caine were born on exactly the same day - 14th March 1933.

  2. Wonderful news about the expanded The Italian Job!  It's one of my favourite films (as an England football supporter, how could it not be?) and I love Quincy Jones's score.  I had always thought that the original film tracks were lost, so this is a great surprise.  It will be great to have the film version of On Days Like These too, as the album version is slightly different.


    You may not know that the England band regularly plays Self-Preservation Society at England football matches.  The only other piece of film music that they play sometimes is Elmer Bernstein's The Great Escape.



  3. An early example of the sustained trumpet note accompanying a character falling to his death can be heard in the album version of Up The Drainpipe from The Eiger Sanction.  The music accompanies the scene in which Hemlock (Clint Eastwood) travels to Zurich and scales a drainpipe to kill enemy agent Kruger.  In the film version, Williams uses a strident synthesiser note to depict Kruger's death plunge from the window of the apartment.  However, in the album rerecording Williams replaces the synthesiser note with an equally strident two-note trumpet stinger, heard at about [2:46] in the album track (or at [12:48] in this video).



  4. Although this video is not of the best quality, you can hear a couple of the source music cues I mentioned earlier in this thread.  First up is the film version of Miles' Pool Hall (markedly different from the album version, as you can hear) then, from about 1:50, my favourite bit of source music from the movie.  Gotta love that Hammond organ!



  5. I am interested in the source music cues from Earthquake and wondered if either @Jay or @TownerFan or anyone else might know the answers to a couple of questions I have.


    There are quite a few source music cues in the film, for example in the supermarket where Jody (Marjoe Gortner) works and especially in the bar scene where Lew Slade hangs out with Rosa, Miles and others (I hear four distinct pieces in those scenes).  There are also a couple of guitar cues later in the film, heard when the survivors are sheltering in Wilson Plaza and are entertained by Walter Matthau's drunkard.  Most if not all of them sound to me very much like they were penned by John Williams, but it does not look like they are included on the new CD as far as I can tell from the track list.


    If they are by John Williams (and I believe they are) and are not included, was this because Williams did not want them on the album (as was the case with the source music from Superman, IIRC) or because the elements did not survive or because of space limitations or some other reason?  Apologies if this is explained in the liner notes, but I assume there is a reason why most of the source music from The Poseidon Adventure and The Towering Inferno is included in their respective albums whereas most of the source music for Earthquake is not included (apart from - and I am guessing again here - Lunch With Remy and Something For Rosa).  The film version of Miles' Pool Hall sounds quite different from the album version too but only the album version is represented as far as I can tell.


    P.S. I am only interested in the Williams source music; I already have the CD of Dee Barton's music for High Plains Drifter and if I need the Hare Krishna mantra, I can just go up Oxford Street and whip my phone out.



  6. 16 minutes ago, The Five Tones said:

    Can anyone recall a 70s era LP rerecord of JW's themes (and perhaps other composers') that included Earthquake and TI? I remember only that it was an American orchestra and the hi-hats were quite prominent compared to the OST. Was a library copy and my memory of playing it is from 1981-82, so not razor sharp.


    Might you be thinking of the Disaster Movie Suite conducted by Henry Mancini and featuring a suite from Earthquake, The Towering Inferno and Jaws?  It was an English orchestra (the LSO) but Hank was an American conductor, of course.  There is a thread about the album here.

  7. 10 hours ago, King Mark said:

    how much music of Earthquake was unreleased?

    My main standout cue on this is The City Sleeps


    As well as being a different recording from the 1974 soundtrack album, the film score recording features music not represented at all on the original album.  This is not therefore a case of having slightly different versions of the same music in most cases.  I am especially looking forward to hearing Aftermath with its chimes tolling on a wide shot of the devastated city, Refugees And Looters which I assume is the memorable cue featuring the motif for the demented Jody that starts as a National Guard convoy drives through the city after the quake and The Tunnel, which I am guessing is the music heard as Chuck Heston tunnels his way beneath Wilson Plaza to reach the survivors trapped in the underground car park.


    It is also great that the full film version of Something For Rosa is included.  At three minutes long this is much longer than the five seconds heard in the theatrical version of the movie, emanating from a radio in the supermarket when Jody hears the announcement mobilising the National Guard.  Interestingly, a longer cut of the film version of the cue can be heard very faintly in one of the additional scenes shot for the extended TV version a few years later, this time heard as background music on an aeroplane.  Listen here from about 35 seconds in:



  8. This is great news!  These are three of my favourite Williams scores and I am particularly excited about the prospect of having the film recordings of the score for Earthquake as well as the soundtrack album.  It is good to see that they appear to have extracted the Miles' Pool Hall track from the medley and presented it on its own as a separate track, yet still retained the entertaining Medley album track as a bonus.  There appears to be no sign of the two effects-only tracks (Earthquake: Special Effects and Aftershock), but worse things happen at sea, as Red Buttons, Gene Hackman and Ernest Borgnine would attest.


    I can't believe that I wrote my analysis of the Earthquake score nearly seventeen years ago!  I gave speculative cue titles to all of the unreleased tracks in the absence of any documentary evidence whatsoever, so I am chuffed to bits that I got at least one of them right (The Aftermath, a fantastic little cue by the way)! :lol:


    I am assuming that Williams again nixed the inclusion of most of the source music cues in the presentation of the score proper?  There are several fun source tracks from the film that I would love to hear in full one day.  Perhaps Williams can be persuaded to approve a separate CD release of all his groovy 70s source cues one day.  I am sure that the availability of the original film recording of the score will increase the appreciation of Williams's work on this movie.

  9. 4 hours ago, Jurassic Shark said:

    What a magnificent event!


    Did you speak to Hess?


    No, as I did not want to Badger him while he was having his tea!  Besides, my soup was not going to eat itself.


    When I told my brother afterwards he said I should have spoken to him, as it is probably very rare that anyone recognises him.  Oh well.

  10. 25 minutes ago, Jay said:

    Wait, Gandalf?  What?


    He meant that he did not know about Gandalf having a staff in the Lord of the Rings films, so as far as he was concerned his idea to have the Bulgarian boys bang staffs on the ground in the fourth Harry Potter film was an original one.


    Mind you, we have had Alien v Predator so why not the franchise mash-up spin-off Gandalf v Dumbledore?  I am thinking Brian Tyler for the music (natch) and can see the tagline now:


    "One packs a staff, the other packs a wand.  Together they deliver."

  11. I made a very late decision to go along to the evening performance of Harry Potter and the Goblet of Fire yesterday and was glad that I did.  I had a ticket to the talk with Patrick Doyle before the final concert and thought it might have been a bit rude to bugger off home straight afterwards, so I bought a cheap ticket for the gallery.  I think I had seen the film once when it was on TV a few years ago but remembered almost nothing about it, so it was nice to see it again and on the big screen this time.


    Justin Freer announced just before the film started that Patrick Doyle was in the audience (in fact his wife and at least a couple of his grown up children were with him, including Abigail who sings on the track Underwater Secrets on the soundtrack album).  Not only did this mean that he got a particularly enthusiastic and well-deserved cheer when his name appeared during the end credits, but it also meant that he was able to come out on stage at the end to thank the orchestra and take a bow.  One nice little quirk I noticed was that most of the orchestra were swaying from side to side as they played the various waltzes in the end credits!


    Here are a couple of my customary blurry photos:





  12. I went to the European premiere of Whitacre's The Sacred Veil at St. John's Smith Square in Westminster last night.  It was a very moving experience, especially for anyone who has lost someone close to them.  The piece tells the story of the courtship, love, loss and search for solace of Charles Anthony Silvestri (Whitacre's best friend and writer of the words to many of his works, e.g. Sleep) following the death of his wife Julie from ovarian cancer in 2005.  The work is in twelve movements as follows:


    1. The Veil Opens
    2. In a Dark and Distant Year
    3. Home
    4. Magnetic Poetry
    5. Whenever There Is Birth
    6. I'm Afraid
    7. I Am Here
    8. Delicious Times
    9. One Last Breath
    10. Dear Friends
    11. You Rise, I fall
    12. Child of Wonder


    Such a premise runs the risk of bathos or coming across as quite maudlin (dare I say especially for a stiff-upper-lip British audience), but it really was outstanding in both the words and the music.  Some of the words were taken from Julia Silvestri's own diary entries and e-mails (Dear Friends in particular I found heartbreaking).  The words were projected on a screen behind the choir which was a neat idea, as it allowed the audience to pay full attention to the choir and musicians (pianist Christopher Glynn and cellist Jeffrey Zeigler) instead of following the words in the programme.  When it finished a couple of the choir members were wiping tears from their eyes.  If you get the chance to see this piece performed, I heartily recommend it.  It will be recorded for release next year on Signum Records.

  13. 13 minutes ago, Jurassic Shark said:

    Which works by Finzi are well known?


    Classical music lovers would probably be most familiar with his Eclogue for piano and strings, Five Bagatelles, the clarinet concerto and the cello concerto.  But I take your point.


    Love's Labour's Lost, which I posted somewhere earlier in this thread, deserves to be better known and played more often as well.

  14. I would be very surprised if Anne-Sophie Mutter stopped her performance due to concerns about copyrighting.  It was clearly distracting her enough that she felt it was affecting her performance for whatever reason, therefore I completely understand her stopping the performance and asking the young woman to stop.  It might be that she was in a crabby mood that day and might otherwise have let it go, but that is her prerogative as the performer (Williams himself has gone on record as saying that she is a woman you cannot say no to).


    It might be partly a generational thing too.  I grew up in an age without smartphones whereas many youngsters nowadays are used to having every aspect of their lives recorded for posterity as soon as they emerge from the womb (literally in some cases!); they therefore see nothing wrong in videoing anything and everything that happens to them and are less bothered by others that do so.  I still feel a little self conscious just taking a couple of still photos with my camera at the end of a performance during the applause and cannot envisage myself ever recording during a performance in a classical concert.


    For me it is not a question of whether or not I can still enjoy the concert at the same time as videoing it, it is a question of whether or not I could do so without affecting other people's enjoyment of the concert.  I usually do find the use of smartphones during a formal performance very distracting.  At somewhere like the Royal Albert Hall where the seats in the stalls and circle are very steeply raked, you can easily see when someone in the rows in front of you turns their phone on.  It seems that so many people cannot sit still for three quarters of an hour without checking their phone.  I was at a Proms concert a few weeks ago where a man actually took a telephone call during a magical performance of John Luther Adams's In the Name of the Earth, until he was quickly taken to task by the people sitting around him.


    That said, I am open to accusations of hypocrisy here given that I have enjoyed the occasional video taken by concertgoers and indeed have linked to them plenty of times here.  For example there was a video of the final scenes of E.T. live in concert that was brilliant, although I am glad I was not sitting behind the person taking it!



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