July 26th, 2007

Tuco (The Good the Bad & the Ugly)

On To Silverado

Well, they've delivered my brand panking new cable modem... I will definitely have to get myself a wireless router, as this cord keeps getting in the way. It's pretty fast, too...

Meanwhile, I started work on the neo-noir and mob mixes. There are a few titles on their way, so I can't really finalize anything just as yet, but I've done the preliminary selection and some track editing already.

Now, I am going to end up using the John Debney recording of Body Heat on the mix. I created a suite from the original soundtrack recording that is an interesting by-product of the project. It will not appear on the mix itself, but it was prepared for my own listening purposes since I had the music available and all the tools open. It is made up of three cues, the main title, "Kill for Pussy" and "Explosion." The edit on the first two is an approximation of an arrangement made by Nic Raine for one of the numerous Silva John Barry recordings, while the tag of "Explosion" was added (with a slight expansion of the tail of the cue) to close of the suite on a more pensive note. This particular piece of music actually finished off the original theatrical trailer for Body Heat, and it stuck with me for a while.

Composed and Conducted by JOHN BARRY
RONNIE LANG, saxophone
7 mb (4:45) joint stereo VBR mp3

I recently re-watched Lawrence Kasdan's homage to to the traditional American Western, Silverado. Faced with a film that is essentially a cowboy matinée flick writ large, a movie about movies, Bruce Broughton wrote a score to sort of encapsulate the Coplandesque sound of the American Western film. While there is some modernism in the action sequences, there are none of the otherworldly sounds of the Spaghetti Western here, this was written in the mold of Elmer Bernstein's The Magnificent Seven and Jerome Moross' The Big Country, and I sometimes wonder if Broughton's theme isn't the logical successor to those iconic scores of the genre.

Interestingly, he would compose a very different score when he would return to the theatrical Western nearly a decade later with Tombstone. While it lacks the hummable 'hook' of Silverado main theme, the one for Tombstone is much more muscular; this is, of course, fitting in that the film itself doesn't have the bright-eyed optimism of Silverado.

Because I am knee-deep in two distinct mixes, naturally the idea of creating a mix that would have a place for Silverado and Tombstone occurred to me... a Bruce Broughton Western mix!!! Those two scores could be joined by selections from Roughing It, True Women and The Ballad of Lucy Whipple, and it would be a pretty rousing collection.