| 17 March 2009
As a (cough) musician, I try and listen to everything with an open ear. I usually pick out the drum part first, quickly followed by the bass. Everything else falls into place. If there are no drums and/or bass parts then I start with anything keeping a pace or creating a melody. I work my way towards the complete piece, sort of a like a fat kid eating the icing off of his cake before devouring the rest of it in one gulp. As a film buff, I really enjoy the interaction between the film and it’s score. it is no strange feat that the majority of my favorite films likewise possess my favorite film scores. Music is such a part of me that I can really enjoy a crappy film if the music ain’t too bad (see: Purple Rain) and in turn really hate on a decent movie if the score sucks (see: Eyes Wide Shut)
So it is without further bullshit Smokey presents you with the first of his Top Ten Movie Scores of All Time. The list will be updated daily, so be sure and check in to comment about whether you agree or disagree with my choices.
#10 - Bernard Herrmann, Psycho (1960)
Using only the string section, Herrmann makes a frenetic case for Filmdom’s favorite mama’s boy. Never mind the screechy violin sounds of the shower scene, the real meat of the infamous music lies in the film’s main theme. Inventive and creepy, this score deserves it’s spot near the top of AFI’s greatest film score list.
#9 - Dirty Harry (1971)
Wow. All due respect to a master, Lalo Schifrin’s music can get really cheesy. For every Bullitt there is a Rush Hour. For every Mission Impossible there is an Amityville Horror. Oh, who am I foolin’? This guy has written a hundred good scores. I love him, and chances are you do too. Even if you didn’t know his name before now. But now you do, so you can’t say Smokey don’t teach!
The score that brings his funky style to the fore is the original Dirty Harry. The Scorpio killer is given an eerie break beat that curls my toes and sends shivers down my spine. A great drum kit starts off teasing, then builds up the beat for great jazz/funk mixes with a slow electric piano riff. Good times, Lalo, you over-productive sonuvabitch! Can I use your samples?
#8 - The Good, The Bad, and the Ugly. Ennio Morricone.(1966)
Morricone is an understated genius. His work is truly only beginning to get the recognition it deserves. And he wrote a song with Roger Waters. The guy knows genius. We all know the main theme. It has unfortunately become a pop culture cliche by now. But how many of us remember the great Dick Dale influenced galloping guitar? Or the soft, sad theme of the Civil War camp?
#7 - Shaft (1971)
Isaac Hayes. Before he became a full-blown, stroke-afflicted Scientology joke, Isaac Hayes was a pretty bad mofo. From his bad-ass portrayal of the Duke in Carpenter’s Escape From New York to his turn as writer of such classics as “Soul Man” and “Hold On I’m Comin’” Hayes was a true versatile talent. His signature piece is his score for the little film about a “black private dick” that helped kick off the “blaxploitation” genre. A slow yet funky build-up leads to an explosion of black macho posing that makes the ladies swoon and the men jealous. While the theme song is the most famous, check out the instrumental passages to see how strings and wah-wah should really work together. Here’s a crazy awesome live clip of the song with the special bonus of Jesse Jackson back when he had that cool huge ‘fro.
#6 - Debbie Does Dallas (1979)
Gerald Sampler. Before you all freak out on me I have to tell you this: I challenge you to watch the film and tell me the score does NOT rule. A funky main theme, a Classical Gas-esque guitar jam, and a Pink Floyd-lite jam for the girl in the candle shop.. But the real joy on here is the demented guitar jam that plays every time a man nears climax. It sounds like three notes on a piano mixed with a dying animal. The “song” is so unsexy it’s fascinating. It makes me care for every orgasm. I have no idea who Gerald Sampler is. I know his name sounds like a box of chocolates. And I know I would shake his hand. And I know there is a girl in this movie that it supposed to be a virgin yet has a C-section scar. And that’s funny.
#5 - Star Wars: The Empire Strikes Back (1979)
Why not the original? With it’s sweeping themes from desert Tatooine to the final, triumphant conclusion Star Wars has one of the greatest themes of all time, no doubt. But Empire introduces the greatest “evil” march in recent film history. Darth Vader enters the room in style with this intense melody. Many of you who have had the (dis)pleasure of playing Risk with ol’ Smoke will know how much I like to hum this theme when I am doing well. I know Lucas likes to sue so here’s a bootleg of some second-rate orchestra doing a bang-up job with Williams’ score.
#4 - A Clockwork Orange, Walter (Wendy) Carlos (1971)
Smokey loves synths, that’s for sure. And this score is chock full of ‘em. Future chick Carlos arranged land performed some great classical pieces for the interpretation of Alex’s one true passion. Classical music. Carlos is very anal about posting clips of his/her work on the web, so this clip may get yanked. I cannot even find a decent clip of the film with the score, so for laughs I’ll post a shirtless weirdo playing the main theme on his grandmother’s home-made Wurlitzer or something. It’s still genius stuff.
#3 - The Exorcist (1973)
Various, Mike Oldfield(Tubular Bells) Everybody rides Oldfield’s New-Age-y “Tubular Bells” as the definitive theme for the Exorcist. And it is a great piece of minimalist work. But this film is a great melange of sound effects, backwards Latin and scary animal noises. While the visuals in this film are striking, watch it without the sound someday and see how scared you get. Fun Fact: Our old buddy Lalo Schifrin was commissioned to compose the original score for this horror classic, but it was turned down for being “too jazzy”. I don’t believe I’ve ever heard any of his original work, but I would love to. Here is the trailer for the film, which sums up the scary noises and disturbing screams fairly well:
#2 - Superfly (1971)
Curtis Mayfield. This is a great example of a phenomenal soundtrack elevating a so-so movie. For those that argue with my choice of runner-up, think of all the classics this work of art produced: “Freddie’s Dead”, “Superfly”,and “Pusherman” all spring from this great soul masterpiece. People know Curtis was smooth, but they don’t immediately realize how awesome the guy was on rhythm guitar. Eric Clapton and Jimmy Page worshiped him as primary influence on their scratch riff playing. Bob Marley covered him like crazy. Curtis Rules. There is some great videos of him on the ‘tube. Do yourself a favor and check them out!
#1 - Jaws, John Williams (1975)
No matter how many times I argued with myself about numbers 1-9 I had already had in my head the first, absolute number one. The score which holds a grand influence over what I choose to admire. A score with action, humor, and abject terror. A score that has been in danger of becoming a household cliche yet resists becoming too cornball due to it’s frightening undertones. A score that brings to mind adventure and seafaring goodliness. A score that will forever be identified with killer sharks everywhere. Any guesses so far? That’s right, I’m choosing the Academy-Award winning Jaws soundtrack for my number one pick!
Now I’m not going to go the usual route and praise the score for making the film more terrifying and effective. That has been well-documented everywhere else. I want to dig deeper and look at the score as a whole. Most folks only think Duh-duh, dun-dun etc. when the name Jaws pops up but there are so many more great pieces to this score. There are several recurring motifs such as the barrel chase and Quint’s theme which resonate in your head long after you watch the movie. We’re talking high-seas adventure music! And the creepy factor is never far behind. Listen to the Indianapolis Speech music or the Night Theme music. Creepy and interesting.
As far the whole enchilada goes, John Williams “borrows” from Tchaikovsky in all the right areas making for a great overall piece. Run, do not walk to your local store and purchase the 25th anniversary soundtrack cd. It includes bits not found in the film, and is arranged as one long suite. Sweet!
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