SOUNDTRACKS
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Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
This week's soundtrack recommendation is again an easy one to make and once
again a special edition DVD prompts this recommendation.
I've been listening to the soundtrack to 1967's Valley of the Dolls ever since I
got my hands on an LP copy way back in the mid-70s -- soon after seeing the film
for the first time. It's safe to say that I know every note of this soundtrack
intimately. The songs, by Andre and Dory Previn are here in all their terrible,
horrible, fabu-lush, over the top glory. And so are all those "ghost singers" since
neither Patty Duke nor Susan Hayward was (thankfully) trusted to do their own
singing. Margaret Whiting dubs for Susan Hayward, someone else for Patty Duke (I
can't remember who but a quick internet search will turn up her name), and an
anonymous studio singer has to fill in for Dionne Warwick on the title song
(Warwick's record company not allowing her to appear naturally).
We also get Tony Scotti doing his own singing on the Rat Pack flavored "Come Live
With Me" which has one of the best, most kitschiest instrumental intros ever (I've
used it as the intro music for my own uber lounge character, Dick O'Day since the
mid-80s). The intro to "I'll Plant My Own Tree" is another amazing piece of wretched
excess and comparing the Whiting version to the Judy Garland bootleg which has
circulated among collectors for years (along with Patty Duke's unfortunate attempts
at the Neely O'Hara songs) is fascinating. Garland gave it the old college try and
there are moments of genuine personality which, sadly, the Whiting version lacks.
Another favorite track of mine has always been "Chance Encounter," a piece of
elevator type source music that is so bland and sugary at the same time that it's
almost the apogee of Muzak type arrangements (Dave Grusin's "Sunporch
Cha-Cha-Cha" which accompanies the seduction scene from The Graduate is another).
John Williams (then "Johnny") took the music scoring chores away from Andre Previn
(who was trying to walk away from Hollywood and commence his classical conducting
career). Williams does such good work with Previn's haunting theme song (the one
genuinely good song in the bunch) that he garnered himself his first Oscar
nomination. He honestly tugs heartstrings with the "Jennifer's Recollection" cue that
accompanies her untimely onscreen demise and also delivers a piece of 60s
Broadway-Hollywood bombast in the mini-suite of Previn themes that makes up the
"Neely Career Montage" cue. The silly "Gillian Girl Commercial," firmly locked in the
film's 1967 musical time period is another fave.
One wishes that the Tony-Neely "Come Live With Me" duet and other underscoring
music were included in an expanded edition but there's enough here to feast on for
years (as I am living proof). Enjoy this one to the hilt, camp queens!
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Week: TBD
again a special edition DVD prompts this recommendation.
I've been listening to the soundtrack to 1967's Valley of the Dolls ever since I
got my hands on an LP copy way back in the mid-70s -- soon after seeing the film
for the first time. It's safe to say that I know every note of this soundtrack
intimately. The songs, by Andre and Dory Previn are here in all their terrible,
horrible, fabu-lush, over the top glory. And so are all those "ghost singers" since
neither Patty Duke nor Susan Hayward was (thankfully) trusted to do their own
singing. Margaret Whiting dubs for Susan Hayward, someone else for Patty Duke (I
can't remember who but a quick internet search will turn up her name), and an
anonymous studio singer has to fill in for Dionne Warwick on the title song
(Warwick's record company not allowing her to appear naturally).
We also get Tony Scotti doing his own singing on the Rat Pack flavored "Come Live
With Me" which has one of the best, most kitschiest instrumental intros ever (I've
used it as the intro music for my own uber lounge character, Dick O'Day since the
mid-80s). The intro to "I'll Plant My Own Tree" is another amazing piece of wretched
excess and comparing the Whiting version to the Judy Garland bootleg which has
circulated among collectors for years (along with Patty Duke's unfortunate attempts
at the Neely O'Hara songs) is fascinating. Garland gave it the old college try and
there are moments of genuine personality which, sadly, the Whiting version lacks.
Another favorite track of mine has always been "Chance Encounter," a piece of
elevator type source music that is so bland and sugary at the same time that it's
almost the apogee of Muzak type arrangements (Dave Grusin's "Sunporch
Cha-Cha-Cha" which accompanies the seduction scene from The Graduate is another).
John Williams (then "Johnny") took the music scoring chores away from Andre Previn
(who was trying to walk away from Hollywood and commence his classical conducting
career). Williams does such good work with Previn's haunting theme song (the one
genuinely good song in the bunch) that he garnered himself his first Oscar
nomination. He honestly tugs heartstrings with the "Jennifer's Recollection" cue that
accompanies her untimely onscreen demise and also delivers a piece of 60s
Broadway-Hollywood bombast in the mini-suite of Previn themes that makes up the
"Neely Career Montage" cue. The silly "Gillian Girl Commercial," firmly locked in the
film's 1967 musical time period is another fave.
One wishes that the Tony-Neely "Come Live With Me" duet and other underscoring
music were included in an expanded edition but there's enough here to feast on for
years (as I am living proof). Enjoy this one to the hilt, camp queens!
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Week: TBD
The album and CD cover to the camp
classic -- both film and soundtrack -- is
pictured above. Susan Hayward as
Broadway "legend" Helen Lawson belts
it out (thanks to Margaret Whiting)
during the triumphant opening night of
"Hit the Sky," the movie's fake
Broadway musical. A rare shot of
Andre Previn who wrote the songs with
his soon to be ex-wife Dory and a
young John Williams during the
recording session for the movie.
classic -- both film and soundtrack -- is
pictured above. Susan Hayward as
Broadway "legend" Helen Lawson belts
it out (thanks to Margaret Whiting)
during the triumphant opening night of
"Hit the Sky," the movie's fake
Broadway musical. A rare shot of
Andre Previn who wrote the songs with
his soon to be ex-wife Dory and a
young John Williams during the
recording session for the movie.
