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Posted: |
Jan 8, 2014 - 8:21 PM
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By: |
spectrum
(Member)
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I was a young and impressionable 17 year old when I saw this film in early 1971. I was also able to purchase the LP recording that was released on RCA Records at the time (An English recording which I imported 2 copies into Australia).
Over the years I wondered why this film was never mentioned in any Sci-Fi film books or why is was left out of Olivia Newton-John's biography. Late in the 1980's, I found out why!
This is taken from Wikipedia (for those who don't know anything about the films history).
(Quote)
James Bond film producer Harry Saltzman entered into a three-picture deal with Don Kirshner. Kirshner had helped create The Monkees. However, according to director Val Guest, Kirshner and Saltzman grew to loathe each other during the increasingly troubled production.
Saltzman hired novelist David Benedictus to write the script, but after 30 pages neither Saltzman nor director Val Guest felt it was working. Guest concedes that it was "very well written, but a little bit too 'high-faluting'." Saltzman advised Guest to write a new script. However, unbeknownst to Guest, Saltzman never informed Benedictus. Only during production did Benedictus learn that a new script had been commissioned.
Guest had been working on the film for six months beyond the time specified for in his contract and still hadn't been paid, nor had anyone else who worked on the film. Saltzman didn't have the money nor did his company "Sweet Music" which was in Switzerland. Guest waited until after the film's premiere at the London Pavilion to obtain an injunction. The film could not be shown until Guest and the other people who worked on the film were paid. According to Guest in 1994, he still had not been paid and the injunction was still in effect.
(End quote)
If you like Olivia Newton-John or the music of Abba, then I cannot recommend this release highly enough. The only wish that I have was that more of the music by Hugo Montenegro could have been added to this release.
Toomorrow: From the Harry Saltzman/Don Kirshner Film
DateFriday, December 13, 2013 at 07:17PM
The Cult Classic Soundtrack to the 1970 Sci-Fi Movie Musical Starring Olivia Newton-John
First Time Reissued in Any Format
Produced by Don Kirshner and Harry Saltzman
Toomorrow Was Groomed to Be the Next Kirshner Creation After the Monkees and the Archies
Composers Include Mark Barkan, Richie Adams and Hugo Montenegro
Liner Notes by Joe Marchese
Remastered by Maria Triana at Battery Studios in NYC
AVAILABLE FEBRUARY 4, 2014 PRE-ORDER COMING SOON
TOOMORROW: From the Harry Saltzman-Don Kirshner Film “Toomorrow”—Original Soundtrack Album CD.
Long before she was Sandy, the good girl of Rydell High, or Kira, the Olympian muse of the roller disco Xanadu, Olivia Newton-John was just plain Livvy, the girl singer with dreams of the big time in the 1970 sci-fi movie musical Toomorrow. This little-known motion picture was the brainchild of music impresario Don Kirshner and Harry Saltzman, best known for co-producing the first nine James Bond films with Albert R. Broccoli. And Toomorrow wasn’t just the movie’s title. After a lengthy talent search, Kirshner and Saltzman assembled the band Toomorrow, whom the music mogul modestly described as “the best-looking total group that ever existed.” Why the misspelling? As drummer Karl Chambers put it in the film itself, “I dig it! We’re too much, we’re too morrow!” At least Kirshner thought so—he had visions of Toomorrow achieving the success of his previous creations the Monkees and the Archies, and enlisted the aid of songwriters Mark Barkan and Richie Adams (along with composer Hugo Montenegro) for the movie’s bubblegum-meets-rock tunes. But, weighed down by legal problems surrounding Saltzman, and a premise—Toomorrow was going to save a race of aliens called the Alphoids from an existence-threatening “sterility of sound”—that was silly even by late-‘60s B-movie standards, the movie went nowhere. The soundtrack, however, boasting the nascent superstar Newton-John, has attained serious cult status over the years, and our Real Gone release marks its first reissue in any format, with notes by Joe Marchese and remastering by Maria Triana at Battery Studios in NYC. Like the cover says, “Launch out on a musical cosmic trip with the new ‘Toomorrow’!”
SONGS:
You’re My Baby
Taking Our Own Sweet Time
Toomorrow (Instrumental)
Let’s Move On
Walkin’ on Air (Instrumental)
If You Can’t Be Hurt
Toomorrow
Walkin’ on Air
Spaceport
Happiness Valley
Let’s Move On
Goin’ Back
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