Separate names with a comma.
Discussion in 'Music to Your Ears' started by Frank'n'censed, May 18, 2018.
It's all about the sense of drama the music helps foster.
People love drama.
I just thought it is cool because it is different.... Thanks for pointing out the difference!
This was a cool video. If you like this sort of thing , check out The Soundtrack Show podcast.
I love movie scores and analyzing the emotion and color of music. The podcast guy does an awesome job discussing music, applications, and theory. My favorite episodes so far are on Super Mario Bros and Star Wars.
Have Twang - will travel ...
This stuff is so cool it is insane. The funny thing is if you imagine yourself living in the actual time frame that these movies try to emulate, maybe 1870's to 1890's (?) music like this soundtrack would be unimaginable, yet paired with the films sounds perfectly matched and complementary to the visuals presented. Before the first time it was tried, who woulda figured surfy guitar and heavy reverb would go with a western movie?
Because the composer, Ennio Morrocone is talented and well educated classical music composer.
Edit: I like his work, and I like spaghetti western music very much.
Alessandro Alessandroni - on homage to Sergio Leone
...because it's genuine 'Italian' Spaghetti western sounds!
Always a good idea!
This thread has me thinking, I need to learn to play some of this stuff. I haven't found much online in the way of tab books though, anyone have any suggestions?
A different approach to The Good, The Bad and The Ugly theme tune...
The Uke Orchestra of GB does a knocked-out version of the Theme From Shaft. It's on YouTube. I'm not keen on Ukes but I've watched most of their videos.
"The ecstasy of gold" has to be one of the greatest pieces of movie music ever, and I still wonder if the graveyard scene (Il buono, il brutto, il cattivo) was edited to the music "the trio" or music scored to the cut.
. . .something about death . . .and reverb.
Morricone - The Trio-mp3
Pretty much my all time favorite movies with perhaps my all time favorite scores. Dang, I feel like unblocking my trem and cranking up the reverb.
Throughout my band and jobbing career, 1968-78, the twangy sound associated with these examples was something I would use in jams, goofing off in rehearsals, or to send onstage messages to the bass player (long story). Whenever we did Wipe-Out, Secret Agent Man, and whatever, we always played it tongue-in-cheek, as they were throwaway tunes.
Sometime in late 70s (earlier/later based on location) it seemed like these sounds were starting to become "ironic," in the popular sense. I wasn't playing anymore by then, although I did put in some hours in Chicago's Orbit Room, and was overwhelmed by the irony the pervaded the place. Anyway, it is my contention (happy to be wrong) that surf and Dwayne Eddy twang were played straight, originally. If cover bands played them, they used the same sound. At first, dancers just did it straight, as they would for any other rock and roll-derived style. But by the time my bands started throwing out one-offs as mood lighteners, there was a very strong increase in the audience's seeming enjoyment and participation. For decades now, dancers still love those songs, I think, because they get to join in on the irony (girls dancing the pony just like people used to do in movies.
But around 1965 give-or-take, guitar sounds became warmer, fuller, and more varied. Twang sounds were used more for color or effect, rather than as a backbone to the song. (The kind of twang I'm speaking of does not include Steve Cropper, as he played a whole different style in a different register.)
When the Trilogy came out, all three played one night at the drive-in. My friends in the band all went and stayed through the entire series, which ended around dawn. The funny thing about these, were that the bad-dubbing was comical and the cool gunplay sometimes played also for laughs ("if you going to shoot, shoot.") The sounds of the guitars were very appealing, but had a tongue-in-cheek quality to me. Fast-forward to the ironic movie era, when soundtracks consisted of surf songs and neo-surf, or maybe not-so-much surf per se, but that sound used to convey other scenescapes, such the desert. I don't remember hearing early desert music played with that kind of twang at all. Solo guitar parts were often played staccato and slightly muted, which made the note pop out in a larger ensemble.
It's not like I spent hours developing this idea, so I welcome corrections, counter-claims, etc.
Was in a record store today and an employee had popped a CD into their player. I only had to hear 2 tracks before I inquired and bought it.
Federale. From my city, and I had never heard of them.
Stirring compositions that conjur images of the old West with reverb, twang and the occasional spitting fuzz pedal? Its a potent combo.
Interesting... I was not aware that most of the guitar parts in Sergio Leone's films were played withs a sunburst stratocaster...
You want to hear the version they do of "Smells Like Teen Spirit". Genius, IMO. Actually, the really funny bit is reading some of the comments from outraged Nirvana fans. Talk about getting your cargo shorts into a bumch.