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Kritzerland is proud to present a new world premiere limited edition release:
PATERNITY
Music Composed and Conducted by David Shire
Paternity was a 1981 Burt Reynolds comedy – back then he was at the apex of his popularity, and regularly split his focus between drama and comedy. In addition to Reynolds, first time director David Steinberg assembled a wonderful cast – Beverly D’Angelo, Lauren Hutton, Norman Fell, Paul Dooley, Elizabeth Ashley and Juanita Moore. The film’s poster and ad campaign were fun – a big image of Reynolds with the tag line, “He wants you to have his baby.” The film received middle-of-the-road reviews and did only decently at the box office. But as with so many films of that era, it found a new and appreciative audience on TV, cable and home video, with people discovering the film was charming, funny, and endearing. And one of the reasons for that is the wonderful score by David Shire.
By 1981, David Shire was likewise well-established and in-demand – as a composer for film and TV. He had already written several classic scores (including The Conversation, The Taking of Pelham One Two Three, Farewell, My Lovely, The Hindenburg, All the President’s Men, Norma Rae and others) and in 1980 he’d received his first two Academy Award nominations – both in the Best Song category –for The Promise and for Norma Rae (the latter of which took the prize).
In Paternity, Shire’s gift for melody is evident from the first notes of the main title, which introduces the film’s two main themes – “Love’s Gonna Find You” and “Baby Talk.” There are several variations of each throughout the film (in addition to some beautifully arranged source music cues), resulting in a score of great charm, beauty and fun.
With this CD we happily present the world premiere of the complete score. At the time of the film’s release, Shire prepared an album master that never saw the light of day. To that master, we’ve added the few cues he didn’t include (for time reasons, as usual in the days of LPs), plus some bonus tracks – all in beautifully recorded stereo.
Paternity is limited to 1000 copies only and is priced at $19.98, plus shipping.
CDs will ship by the last week of June, but we’ve been averaging three to five weeks early in terms of shipping ahead of the official ship date. To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.
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First Shire's score in my collection (please, don't blame me - I'm too young  )!
Ordered this one + Full House/Luck Of The Irish + No Down Payment/Remarkable Mr. Pennypacker.
Bruce, you ruins all my plans to save some money - good job!
Hope there will be many more Shire soundtracks in your collection soon - he is an amazing composer.
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Had a lovely call from David Shire today. He's thrilled that Paternity is coming out. I didn't tell him that for all of the "can't we have more Shire CDs" posts there are, how little actual interest there is when one actually comes out. It's kind of shocking. Oh, well.
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Mr Kimmel, thank you for releasing the score.
I don't think it's safe to assume that sales are less than anticipated because it's a Shire score, but rather a comedy score.
"Remembrance Montage" sounds very nice, I know I'll at least be enjoying that track when i pick up the disc.
(Excessive negativity edited from post)
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I have to say, and this is just me, I just don't get the genre thing, the supposed curse of the comedy score. Some of my all-time favorite scores are from comedies. I loathe most horror films, for example, but that doesn't stop me from enjoying scores from them - I should think I could make the same kind of blanket statement about horror film scores that others are making about comedies but I don't because I would have missed out on some amazing music.
Breakfast at Tiffany's is a romantic COMEDY. Should we avoid that score? Tootsie is a COMEDY and guess what - great score. John Williams' many comedy scores are great, as are the early Goldsmith comedy scores. What wonderful music some of you are missing out on. There's nothing "comedy" about Paternity - it's a wonderful score by a wonderful composer, but alas, I'm not going to be changing anyone's mind.
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Well, be fair. That's what's so enjoyable (for me, anyway) about Bernstein's comedy scores. They don't sound like they are trying to "tell" you that something is funny. No slide whistles or giddy big band numbers or wacky synth pads.
And Bruce, I suppose you are right. Paternity does not sound overly comedic. I think it's just the palette that some of us might be reacting to. A lot of the popular sounds of that era are on display, moreso than any other Shire score than I own (I think I own them all...cd releases anyway). I guess The Big Bus is pretty dated too. I still find moments to enjoy though, as I know I will with this one.
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There are definitely some that leave me cold but I love lots of comedy scores. One of my favorites is by David Shire and released by Intrada: Max Dugan Returns.
It's not just Kritzerland that has trouble moving comedy scores either. I don't think Quartet had so much trouble moving those two recent Cliff Eidelman releases because of the composer at all, but because they were semi-obscure comedies and I don't think the image of John Candy on the cover screams "great film music" to people. I was also sad to hear about LLL's troubles moving their great releases of John Morris's Clue and especially Miles Goodman's Dirty Rotten Scoundrels.
On the bright side I think It's A Mad Mad Mad Mad World sold well for both Kritzerland AND LaLaLand...
John Williams' many comedy scores are great, as are the early Goldsmith comedy scores.
Any chance Kritzerland's fourth Goldsmith release might be a comedy score? You've already covered western, horror, and sci-fi thriller for him... 
I would guess S*P*Y*S (hopefully paired with the John Scott score) except some time back you said other labels had gobbled up pretty much all of what was on the Varese Fox Box. So now I want to guess Take Her, She's Mine because it's not only an "early Goldsmith comedy score" but THE earliest. In the liner notes for their Fox Box, Varese claimed the tapes for this were sadly unsalvageable resulting in its omission, but how many releases have we seen since then of Fox scores previously deemed unsalvageable? Not to mention all the extra material Intrada was able to give us for Von Ryan's Express, Shock Treatment, and Fate Is The Hunter, as compared with the bits available on the box (and in greatly improved sound, too!)
Yavar
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