A few subjects of varying importance:
- The weather has been off its meds for since March. Today it can't decide whether it wants to be an ugly rainy day or a nice sunny day.
- I have recently found a decent LP rip of Kenyon Hopkins' sizzling jazz score for The Hustler. I was familiar with the music from Robert Rossen's film, based on a Walter Tevis novel and featuring Paul Newman's signature role "Fast" Eddie Felson as well as Piper Laurie, George C. Scott and Jackie Gleason in the role of Minnesota Fats, but the soundtrack album has never been released on CD. Hopefully this will be rectified soon by one of our enterprising labels (it's the sort of project that has Bruce Kimmel's Kritzerland written all over it). I also really dug Hopkins' score for The Fugitive Kind which was issued by Film Score Monthly in the Black Box, so I'm keeping my eyes open for more of his music.
- After trying for several weeks, I have given up trying to grow my hair long. In order to keep it from going all over the place, I had to slick it back into a ponytail, and when I'd take it out and clear all of that crap out of my hair, it just kept puffing out in an unattractive manner (think Benjamin Franklin crossed with Robert Plant in The Song Remains the Same, only more obnoxious). So once again, my hair is short, which is how it will now be staying. Alas.
- Last Wednesday I saw Star Trek in the theater for the last time (in 35 millimeter). I'm going to miss it until its eventual release on Blu-ray in a few months (and no, I don't do bootlegs, thank you very much).
- A brief glance at my mix workshop tag will show that I have many more ideas for mixes than I actually produce. Sometimes I try an idea and find it just doesn't work (such as the Harry Palmer mix), other times I just get distracted by other projects. And sometimes I just have to be in the mood to work on a specific project.
One of the reasons why I removed the music from Dirty Harry and Magnum Force from the original version of Urban Danger when I started working on the revised edition was because I wanted to make a compilation dedicated to Dirty Harry himself featuring Lalo Schifrin's blistering scores for the series as well as Jerry Fielding's contribution to Callahan's 1976 outing The Enforcer. I originally started work on this project months ago, but it went on hold because of a yen to create something a little more traditional after the funky Just Talkin' About Shaft, the electronic Christopher Franke disc Alone in the Night¹ my weird-sounding Ennio Morricone/Sergio Leone compilation Gun and Sun and the jazzy Bill Lee mix Father To Son and, of course, Urban Danger revision. This resulted in my John Barry Scores the Middle Ages and Jerry Goldsmith Scores the Middle Ages compilations.
Several mixes later, I'm ready to return to the harsh soundscape of Inspector Callahan's world, and I have started putting together the new mix. While it initially looked like it may be a pretty daunting concept (five discs consisting of relatively short tracks), I found that the scores are quite cohesive, and so I expect to have a rough draft in a few days.
- STUMPER OF THE DAY: How many calories was the Stay Puft™ Marshmallow Man?
- Has anybody else noticed a distinct resemblance in The Last Waltz between Garth Hudson and Vangelis? Or is it just me?
¹ — I did make Love and War consisting of Bill Conti's very traditional orchestral music for the first two North and South mini-series, but it was one among a slew of rock, jazz, new age and funk albums.