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I haven't seen WHOSE LIFE IS IT, ANYWAY since the mid-80s, but the score is a very good stand-alone listen. I'm playing it now and wondering why the CD never got more attention. Maybe it would have...
- If the film had been a huge hit.
- If every note were the same and nobody saw the film, but it was a Jerry Goldsmith title. [It could easily be taken for early Goldsmith, melodic and intimate, by turns sensitive and determined.]
http://www1.screenarchives.com/title_detail.cfm/ID/12472/WHOSE-LIFE-IS-IT-ANYWAY/
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A great score that no one seemed to care much about when the FSM release came out!
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Good score with a Baroque flavor fairly unusual in film music outside of perhaps some period films (most scores tend towards the sound of Romantic era music). I don't consider it mind blowing or anything but it is quality work and worthy of being picked up.
Yavar
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This was one of the first titles I edited for FSM. I remember getting to visit Arthur Rubinstein at his home and cutting parts of this on his Pro Tools system. At one point there was a performance mistake in one of the takes, and fresh-out-of-Pro-Tools-school me said, "Oh, that's an easy fix" and I cut to another take briefly to fix the performance. I was doing this all right in front of Mr. Rubinstein and thankfully it went off without a hitch, because I'd never done anything like that before in my life! And please don't ask where it it. I can't remember.
Mr. Rubinstein is happy with this album. He got to spend a lot of time making sure the mix was to his liking.
Neil
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Always enjoy your reminiscences Neil! Thanks for sharing.
Yavar
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I'm playing this title at the moment and marveling again at its richness and quality. You can forget all about the film, you can never have seen the film, but you hear this score and think, THIS is what life should be like. This is the world I should be living in, as portrayed in music.
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I like Arthur B. Rubinstein music from his two biggies (WarGames & Blue Thunder) and TV stuff (Scarecrow & Mrs King), but I've still never gotten into this score yet!
I will probably pull out the CD and give it another whirl due to this thread.
I'm sure it's time will come.
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I've made a little discovery. If you play Track 25 (Montage, pre-recording piano version) first, it makes an incredible intro and build-up to Track 1 (Main Titles). It's like learning to walk, then run, and then soar above the clouds. So I'm playing Track 1 second now, after 25.
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(Here's most of what I wrote in 2009, maybe even my first post here, on the thread connected to the original release. Kinda pompous, but that's how I roll.)
I can barely express how much I appreciate this release, for two reasons, one musical, one not.
Arthur B. Rubinstein is for me one of the finest composers working in television and film in the past 40 years. And this is one of his superb works - for its extraordinary craft and wit and just plain musical interest, and for elevating the film and giving it distinctive life.
I distinctly remember seeing the film in the winter of 1981, when I was a nursing home aide caring for paralyzed residents (among many others). Hearing the first bars of the Main Title I am back in the theater opening night, and also a few days later making the bed in the room of a recent quadriplegic, watching Richard Dreyfuss on Phil Donahue on the small black and white TV on the dresser, talking about the film and individual choice. The memories are both precious and painful, and watching the film again last weekend in anticipation of receiving my copy, I understood that no movie can hold up under that weight of memory.
But the music does.
Thank you Mr. Rubinstein, and thank you FSM.
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