 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Guys - i think you will find that during the 50s and into early 60s, morricone ventured into every element and conceivable style of pop music for dozens of different artists for hundreds of songs - i think maybe your heading should be The influence of Ennio morricone on Burt Bacharach!!!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 11, 2014 - 2:12 PM
|
|
|
|
By: |
Morricone
(Member)
|
Gotta admire consistency. No matter what is brought up, the corrosive turn that always takes place here from "film music fans" is predictable.
So yeah, Morricone doesn't talk about many influences on his career but Bacharach is one he admits and has shown much admiration for. That probably is because they both began in the 50s doing the exact same thing; arranging, conducting and then writing for major recording stars in their respective countries. Morricone has mentioned Bacharach's skill at voice substitution that influenced him in his arrangements. But if you think Ennio uses Edda exactly as Burt did his studio recording girls I think that is pushing it. Bacharach did influence, not just Morricone, but everybody in the field at the time. And if you hear more than a tinge of Burt in the pieces above, here is one that is absolutely in your face. Goldsmith is one of my gods, along with Morricone, but this song, despite being catchy, crossed the line with these pure Bacharach orchestrations and is my least favorite of his. Must have been a straight request from a Columbia honcho "Give me another WHAT'S NEW PUSSYCAT?" No wonder they pulled it from the film to avoid ridicule or a lawsuit.
https://www.youtube.com/watch?v=tRyCs9fw1KE&feature=youtu.be
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 11, 2014 - 2:32 PM
|
|
|
|
By: |
JohnnyG
(Member)
|
Gotta admire consistency. No matter what is brought up, the corrosive turn that always takes place here from "film music fans" is predictable.
So yeah, Morricone doesn't talk about many influences on his career but Bacharach is one he admits and has shown much admiration for. That probably is because they both began in the 50s doing the exact same thing; arranging, conducting and the writing for major recording stars in their respective countries. Morricone has mentioned skill at voice substitution that influenced him in his arrangements. But if you think Ennio uses Edda exactly as Burt did his studio recording girls I think that is pushing it. Bacharach did influence, not just Morricone, but everybody in the field at the time. And if you hear more than a tinge of Burt in the pieces above here is one that is absolutely in your face. Goldsmith is one of my gods, along with Morricone, but this song, despite being catchy, crossed the line with these pure Bacharach orchestrations and is my least favorite of his. Must have been a straight request from a Columbia honcho "Give me another WHAT'S NEW PUSSYCAT?" No wonder they pulled it from the film to avoid ridicule or a lawsuit.
https://www.youtube.com/watch?v=tRyCs9fw1KE&feature=youtu.be
C'mon, Henry, there's not a hint of Burt here. You're exaggerating things! Jerry is God - all I can hear in this one is his masterful original voice! 
(I always liked the song BTW.)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bacharach is americana pop, and I think the solidly consistent and contagious aspect of his vibrant style of music was bound to cross borders. Still, there is a predominance of non-vocal female chanting over language in your chosen example, which is a Morricone hallmark. So I would agree, there appears to be blending going on to some extent.
Grecchus, I see that you are in the UK. It is interesting that from your perspective Bacharach is "Americana pop." Coming from the US, I always thought Bacharach had a very European and Brazilian sensibility. Along with Jobim and Legrand (and others), Bacharach was a progenitor of the 1960s international jet set sound. He is to me the least "American" of the American (and I mean US) songwriters. This is just my perspective.
And Bacharach, like Legrand (and Charles Strouse and Quincy Jones and too many others to mention) were also students of Nadia Boulanger, which I think also plays into the more "continental" sound that Bacharach has. I'm a big fan of his melodies - they have a marvelously thorny quality to them at times - I think it's his idiosyncratic interval leaps. I love his work!
And yes, I've noticed the Bacharach-Morricone connection, too. I think the two strains very successfully cross-pollinated (with a bit of Legrand, too) in the "South American Getaway" sequence from "Butch Cassidy..." - which remains one of my favorite pieces in Bacharach's film catalogue.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
