Music Jukebox
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Πέμπτη, 5 Φεβρουαρίου 2009
20:26
 
Arizona Dream
 
Soundtrack by Goran Bregović
Released 1993
Genre Soundtrack
Length 46:08
Label Mercury

Soundtrack from Emir Kusturica's Arizona Dream by Goran Bregović featuring the vocals and lyrics of Iggy Pop on tracks 1, 4 & 6 and the lyrics of Emir Kusturica as well as the vocals of Iggy Pop on track 10.

  • 1. In The Deathcar
  • 2. Dreams
  • 3. Old Home Movie
  • 4. TV Screen
  • 5. 7/8 & 11/8
  • 6. Get The Money
  • 7. Gunpowder
  • 8. Gypsy Reggae
  • 9. Death
  • 10. This Is A Film

en.wikipedia.org/wiki/Arizona_Dream#Soundtrack

 

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Τετάρτη, 4 Φεβρουαρίου 2009
12:14

1. 
The Man In Me - Bob Dylan
2. 
Her Eyes Are A Blue Million Miles - Captain Beefheart
3. 
My Mood Swings - Elvis Costello
4. 
Ataypura - Yma Sumac
5. 
Traffic Boom - Pierro Piccioni
6. 
I Got It Bad And That Ain't Good - Nina Simone
7. 
Stamping Ground - Moondog
8. 
Just Dropped In (To See What Condition My Condition Was In) - Kenny Rogers/First Edition
9. 
Walking Song - Meredith Monk
10. 
Gluk Das Mir Verblieb (from Die Tote Stadt)
11. 
Lujon - Henry Mancini
12. 
Hotel California - Gipsy Kings
13. 
Technopop - Carter Burwell
14. 
Dead Flowers - Townes Van Zandt

en.wikipedia.org/wiki/The_Big_Lebowski

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Κυριακή, 1 Φεβρουαρίου 2009
20:06

Track listing

1.  Il Buono, Il Brutto, Il Cattivo  
2.  Il Tramonto  
3.  Sentenza  
4.  Fuga a Cavallo  
5.  Il Ponte Di Corde  
6.  Il Forte  
7.  Inseguimento  
8.  Il Deserto  
9.  La Carrozza Dei Fantasmi  
10.  La Missione San Antonio  
11.  Padre Ramirez  
12.  Marcetta  
13.  La Storia Di Un Soldato  
14.  Il Treno Militare  
15.  Fine Di Una Spia  
16.  Il Bandito Monco  
17.  Due Contro Cinque  
18.  Marcetta Senza Speranza  
19.  Morte Di Un Soldato  
20.  L'Estasi Dell'Oro  
21.  Il Triello

 

Review by Messrob Torikian May 21st 2004

 

No one brought as many new ideas and revolutionary takes on the western genre as Sergio Leone did with his Spaghetti Westerns. His "Man With No Name" trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad and The Ugly) made Clint Eastwood a household name and connected with audiences around the world. While succeeding as popular entertainment, their artistic merits were debated at the time and quickly dismissed. Time has been on Leone's side and the longevity and impact of his films still reverberates through our culture and, more specifically, the Western genre itself. There is little argument that the best of the trilogy is the last one – a stunning accomplishment in style, character, visual storytelling, and, of course, it's incredible music score. The plot is relatively simple: three ruthless gunslingers are in search of $200,000 in stolen Yankee gold. What makes the film stand out, however, is how this story is told. While some will debate as to which movie in Leone's canon is the best; for me, The Good, The Bad and The Ugly is his masterpiece and my favorite Western of all time.

In breaking tradition with how they worked on the previous two movies, Morricone and Leone developed the major themes of the film before production started. They would later undertake this method for future projects like Once Upon a Time in The West. Leone would play the music on set while filming and even orchestrate camera moves to match the cues. The final result is a legendary film score that put Morricone's name on the map.

When the film was released in 1966, Parade and RCA put out an album of roughly 35 minutes of score. As fans of the movie were aware, there was a great deal of memorable music left out. The CD release in the late 80's was identical to the vinyl album. Now MGM Music and Capitol Records have released an expanded version of the score to coincide with the release of the Special Edition DVD. All the previously released tracks are here with the new tracks added to keep the chronological order of the film.

The theme song is a remarkably simple two-note melody that is instantly recognizable and is the heart of the score. Although this simple theme is used for all three of the main characters, what is different is the instrument being played: soprano flute for Blondie (Eastwood), arghilofono for Sentenza (Van Cleef), and human voices for Tuco (Wallach). As such, this theme is repeated throughout the film over and over, but never to the point where it's overdone. Timing is everything in Leone's films, and he knew how to manipulate the audience by playing this theme at only the appropriate moments. That is the principal reason why it's so memorable.

This, of course, is not to imply the rest of the score is filler. Hardly. Morricone applies his magic to give the epic Civil War battle scenes their poignancy, the cold-blooded murders their comic timing, and the thrill of one-up-man ships its vibrancy. While each of the main characters can be justly regarded as cold-blooded murderers, what sets them apart is the extent of their greed and to what means they'll resort to in finding the hidden loot. The title descriptions of each character are relative. And with Morricone's music, Leone allows us to peer into each man's heart.

One of the best new cues is "Padre Ramirez" for the scene where Tuco tries to reconcile his relationship with his brother whom he hasn't seen in years. While Blondie secretly watches, the brothers end up in a brief scuffle and depart on bitter terms. A solo classic guitar conveys the pain and regret between the brothers. As Tuco and Blondie leave the monastery, Tuco sings the praises of his brother and the love between the two. In that moment, Tuco is partially redeemed in Blondie's eyes. Yes, Tuco may be a thief, a rapist, a murderer, and a liar, but he's got heart. As the two men share a cigar, the solo guitar slows in tempo and the orchestra kicks in to give a rousing kick-off to their journey.

Another great cue is "Morte Di Un Soldato (Death of a Soldier)". It begins with a mourning male chorus accompanied by a harmonica as the Union Captain dies upon hearing the explosion that destroys the bridge for which many of his men have died needlessly. As Blondie and Tuco cross the river and near their destination, they come across a mortally wounded Confederate soldier. Ignoring Tuco, Blondie stops to ease the dying soldier's pain by giving him his cigar and long coat. The subdued music continues it's mourning with a solo horn section while the orchestra quietly accompanies his last breaths.

The last cue "Il Triello (The Trio)" is also unforgettable. As the gunfighters end up in a three way showdown in a graveyard, all sound effects and dialogue are gone with only Morricone's score helping to tell the story. Guitars and orchestra combine together with the editing to slowly ratchet up the tension over the next seven minutes as the three face off against one another and try to decide who to shoot first. It ends with lightening fast close-ups of eyes, hands, and pistols and with the every instrument creating a pounding heartbeat until finally a shot is fired and all the music stops.

While clocking in at 55:03 this CD release is still not complete. In 2001, a European company GDM Music released an expanded score that clocked in at 59:30. Both releases are essentially the same as far as the number of cues and titles. The disparity lies in sound quality and the use of different versions of the same cue. An A/B comparison between the domestic release and the European release revealed that while the source material is the same (scratches and noise in identical spots), the noise floor on the domestic release is quieter. Perhaps a level of noise reduction was applied. Most of the unreleased cues sound as good as the original cues. The main differences between the two releases lie in cues "La Storia Di Un Soldato" and "Il Triello". The domestic release lifts these cues from the previous release while both these cues are 2 minutes longer on the European release. For "Il Triello", the domestic release is abruptly cut short before the final 2 minutes and leaves off the full build up of the tempo leading up to the resolution. The differences in "La Storia Di Un Soldato" are more pronounced. Not only is the European cut two minutes longer, but it's a different arrangement. This piece is played while Tuco is beaten into submission at the Union camp. The Euro version features vocals which are mixed to bring them more to the forefront. Neither, however, is faithful to the movie version which features a violin solo, but the Euro version is closer in spirit.

Without question, Morricone's score to The Good, The Bad and The Ugly is a masterpiece of film music. He strikes the perfect notes to give heart and soul to the otherwise ruthless action on the screen. There's simplicity and coolness to the main theme making it instantly memorable. This score is a must have in any film score library. While both CDs feature an expanded score, they are by no means complete. Some cues (like the final one where Blondie shoots Tuco's noose and rides off) are still missing. Given a choice between the two releases, however, I would hunt down the European version and get the full version of the final shootout cue.

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Τετάρτη, 28 Ιανουαρίου 2009
22:50

Track listing

1.  Opening: "The End" - The Doors 6:29
2.  The Delta 2:41
3.  Dossier 2:09
4.  Orange Light 1:16
5.  "Ride of the Valkyries" - R. Wagner 1:50
6.  "Suzie Q" - D. Hawkins / S.J. Lewis / E. Broadwater 3:23
7.  Nung River 2:44
8.  Do Lung 4:06
9.  Letters From Home 1:14
10.  Clean's Death 1:58
11.  Clean's Funeral 2:56
12.  Love Theme 3:06
13.  Chief's Death 1:50
14.  Voyage 3:08
15.  Chef's Head 1:54
16.  Kurtz Chorale 1:29
17.  Finale 6:05

Review by Dan Goldwasser  Aug. 31st  2001

Truly one of the defining films about the Vietnam War is Francis Ford Coppola's masterpiece Apocalypse Now.  Loosely based on Joseph Conrad's novel "Heart of Darkness", the film follows Captain Willard (Martin Sheen) who is sent on a mission to find a renegade military outpost led by Colonel Kurtz (Marlon Brando), and assassinate him.  As he travels down the river looking for Kurtz, Willard slowly becomes consumed by the same madness that afflicted Kurtz - and he must find Kurtz before he succumbs to his insanity.  Recently re-issued in theaters with an extra 53-minutes of footage, Apocalypse Now Redux explores in further detail the personal relationships between Willard and his men, as well as the people they meet along their journey.  The soundtrack, containing score by Carmine Coppola as well as Francis, is probably not as memorable as the visuals and the storyline, but play a rather important, if subtle, role in the journey into madness.

When you ask someone about the music in Apocalypse Now, chances are that they will remember Wagner's "Ride of the Valkyries" more than anything else.  As well they should - it's part of a scene that is forever preserved in cinematic history.  The sweeping strings and harsh brass blaring out of the helicopter's speakers as a Vietnamese village is something you don't easily forget.  Also memorable is "The End" by The Doors, used in the opening sequence of the film.  It's dark, surreal, and the middle part is just completely insane.  (On a technical note, the sound quality is exquisite.)  But the underscore really goes to the heart of the film.  Carmine Coppala's music ranges from simple and tender, to dark and ominous.  Primarily synthesized, with guitar, flute and percussion accompaniment, the music can be harsh at times ("Nung River"), and ethereal at others ("Letters From Home"). 

A more traditional romantic cue can be heard in "Love Theme", but the synthesizers removes any warmth that might exist due to the melody.  "Voyage" is an interesting cue consisting of dark atmosphere, a soft low bass rhythm, and a wailing electric guitar.  If it weren't for the incredibly dissonant cue immediately afterwards ("Chef's Head"), it could easily have been something out of a Michael Mann movie.  The dark "Finale" is soft and somber, and adequately mirrors your emotions when the film is done: you're not gleeful and happy.  This isn't a movie that really entertains you; it drains you.  This score drained me somewhat as well - I sincerely doubt that I will pop this in for another listen anytime soon; it took that much out of me.

The mixing of the score is interesting.  The cues tend to blend into each other, which made the "Ride of the Valkyries" and "Suzie Q" cues all the more interesting, since they went right into each other - and it worked!  The previous soundtrack release was filled with dialogue from the film and spread out over two compact discs. This version removes the dialogue, and adds two previously unreleased tracks ("Clean's Funeral", "Love Theme").  If you already have the previous release, chances are you can stick with it.  But if you don't have it at all, and want to take a musical journey into madness, then this 50-minute album is just right for you.

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Τρίτη, 27 Ιανουαρίου 2009
15:53

Track listing

1.  Last Tango In Paris - Tango 3:24
2.  Jeanne 2:35
3.  Girl In Black - Tango (Para Mi Negra) 2:10
4.  Last Tango In Paris - Ballad 3:45
5.  Fake Ophelia 2:59
6.  Picture In The Rain 1:54
7.  Return - Tango (La Vuelta) 3:06
8.  Its Over 3:16
9.  Goodbye (Un Largo Adios) 2:34
10.  Why Did She Choose You? 3:03
11.  Last Tango In Paris - Jazz Waltz 5:46
12.  Last Tango In Paris Suite 1:46
13.  Last Tango In Paris Suite 1:25
14.  Last Tango In Paris Suite 0:41
15.  Last Tango In Paris Suite 1:32
16.  Last Tango In Paris Suite 1:40
17.  Last Tango In Paris Suite 0:34
18.  Last Tango In Paris Suite 0:21
19.  Last Tango In Paris Suite 0:31
20.  Last Tango In Paris Suite 0:51
21.  Last Tango In Paris Suite 0:26
22.  Last Tango In Paris Suite 0:12
23.  Last Tango In Paris Suite 1:02
24.  Last Tango In Paris Suite 0:30
25.  Last Tango In Paris Suite 0:51
26.  Last Tango In Paris Suite 0:25
27.  Last Tango In Paris Suite 0:21
28.  Last Tango In Paris Suite 0:58
29.  Last Tango In Paris Suite 1:21
30.  Last Tango In Paris Suite 1:05
31.  Last Tango In Paris Suite 0:26
32.  Last Tango In Paris Suite 1:13
33.  Last Tango In Paris Suite 0:25
34.  Last Tango In Paris Suite 1:07
35.  Last Tango In Paris Suite 1:14
36.  Last Tango In Paris Suite 1:34
37.  Last Tango In Paris Suite 2:22
38.  Last Tango In Paris Suite 0:33
39.  Last Tango In Paris Suite 0:23
40.  Last Tango In Paris Suite 1:27

Review by Rafael Ruiz Aug 4th 2004

How do you judge a person's life? Do you look at what they were at the end of it or at their greatest? The typical answer is to say it is something in-between depending on the person and what they did. For Marlon Brando, I remember the middle of his career where he recovered from his fading star status of the 1960's and became a real actor again. In 1972 he pulled the greatest acting double punch in film history with The Godfather and Last Tango in Paris. Both are amazing tour-de-forces of acting. Brando proved himself both by his passion and his diversity. Though Godfather is the more renowned of the two, Last Tango is the zenith of Brando's work.

It is also the career best of director Bernardo Bertolucci, a controversial mixture of sex, identity and death and how they mix together in a single unfurnished apartment. Though he would do plenty of Italian scores before and afterwards, this would be the most popular soundtrack of Argentinean saxophonist Gato Barbieri that would get attention in the United States (he won a Grammy for it). Barbieri uses Jazz fusion to combine outside elements of Tango and Latin jazz into a moody, sexy undercurrent for the doomed relationship in the film. The music's tone shifts back and forth between the "lightness" of Maria Schneider's youthful excitement (represented in "French" sounding tracks with amble use of an accordion with light string and piano) and the "weight" of Brando's pain (brooding Latin percussion and quivering strings). The shifts jerk you violently back and forth as Barbieri's masterful alto-sax work centers the compositions.

This new album is twice the length of the original release but is virtually identical to the already solid 1998 RykoDisc release. Like the previous release, the bulk of the album is devoted to the fragmented film suite, which contains 28 untitled tracks of the source cues. Most of the tracks are brief flashes of musical punctuation, barely 30 seconds or so. While the choice of including all the tracks for the completist is the appropriate one, the album gets very repetitive. This is one of those situations where having everything can be a little bit dull as a listening experience. The best way to take in this album would be to listen to the first twelve tracks or the suite by themselves.

  

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