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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.
I love some really delightful comedy scores. It is these synth-heavy scores that make me back away very slowly. Doesn't matter who composed it but as soon as I heard the first sample I was immediately not going anywhere close to this one.
Funny that you say that, because in the horror genre or even other genres any 1980s piece of crap synth score sells well. This, however, is NOT a synth score. It is a full orchestral score with one synth pad used here and there.
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This arrived today (along with the Harline double-bill), and I just wanted to put in a quick endorsement for it. Like all of Shire's scores, it's very intelligently constructed. If you like your scores tuneful, then "Paternity" offers up two great themes that are run through the wringer, alongside a number of other great standalone melodies - orchestrated with Shire's usual skill (I'm a big fan of the eight-note "motor" figure that drives "Baby Talk"). It's music with an abundance of personality, and a great deal of energy and charm (and some good standard arrangements, too! I particularly like the jazz violin take of "Isn't It Romantic?" And, in a great touch, Shire brings the Grapelli-esque violin material into the main body of his underscore at key points, too - it's a great bridging device.) - and it's always a kick to hear Dave Frishberg performing, he brings his usual droll delivery to "Baby Talk." Anyway, I'm really quite enjoying it - it's a score that displays Shire's sense of wit to great effect, and, to say again, the melodies are refreshing and pretty terrific.
So, if you haven't yet picked this up, I highly recommend tossing it into your digital cart alongside the freshly released "It's a Wonderful Life."
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On your "recommendation", Mr McG, I dug this one out and gave it a spin today. Yes, as you point out, a bit "twee" but still the two main tunes/songs are reasonably memorable. Anything by David Shire is worth investigating, in my view, but I get your drift about it being a bit lightweight.
Meanwhile, do check out the Kritzerland web-site for Mr Shire's tale concerning the involvement of a certain famous French violinist on this score...
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And yet, one of Nick Redman's favorite Shire scores. Go know.
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While I try to be positive around here, I plumped for this title when I saw it on offer for $9.99 at SAE (and there were a few other titles that I wanted) and have to say it's...not great!!
I generally love Shire, but here, he makes the catastrophic error - like Goldsmith often did - of writing 'funny' music for the comedy.
He even goes so far - also as Goldsmith often did - as incorporating some 'silly synth' noises throughout the score.
It just makes the music sound stupid.
The Randy Newman-esque opening song is also a bit embarrassing.
There are some pleasant cocktail/lounge/source cues threaded throughout, to break up the comedy music, but they're not the reason I tend to buy or listen to film scores, no matter how well they're done.
I can see why 'comedy scores' don't sell, when I play this one.
It reminds me of the old goofy TV series SOAP!
Not a fan of Carl Stalling or Raymond Scott, I gather?
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) 
