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THE LONG GOODBYE (1973) - REISSUE
Music Composed and Conducted by John Williams
Lyrics by Johnny Mercer
Long-awaited reissue of Quartet Records' complete release of John Williams’s cult score for The Long Goodbye, directed by Robert Altman in 1973 and inspired by the Raymond Chandler novel. The film starred Elliot Gould as Philip Marlowe, with Sterling Hayden, Nina Van Pallandt, Mark Rydell, Henry Gibson, a cameo appearance by David Carradine, and an uncredited Arnold Schwarzenegger!
This film represents the second score by John Williams for a film by Robert Altman; it was preceded by Images (1972) and some episodes of the TV series “Kraft Suspense Theatre” in the early sixties.
For this revision of the Philip Marlowe character, Altman asked Williams to provide a most unusual score: one single theme repeated throughout the film with many variations adapted for various scenes. The tune, one of Williams’ most inspired from the seventies, is presented as a song (lyrics by Johnny Mercer), with vocals by Jack Sheldon and Clydie King. Williams also presents the theme in different jazz versions (with the Dave Grusin Trio), as a tango, in blues style (“Night Talk”), as a warm love theme for trumpet and strings, on sitar (for the hippie party), or in Mexican variations for the last part of the film (“Mariachi,” “Guitar Nostalgia”). Williams arranged and personally supervised the different versions, in addition to adapting the song as underscore (“The Border, “Marlowe in Mexico, “The Mexican Funeral” and “Finale”). The lengthy 10-minute “Main Title” sequence deserves special mention as an example of how Williams developed his tune.
No album of The Long Goodbye was released at the time of the film, nor was the single with the Jack Sheldon and Dave Grusin versions prepared by United Artists Records. With the passing of time, the tapes for many United Artists films of that period have been lost, but some years ago part of the score (about 23 minutes) was released by Varèse Sarabande in a limited edition CD that quickly sold out. To assemble this album we had to do some detective work, but that has been possible thanks to the efforts of MGM. In their vaults they found (in addition to the tape containing the versions included in the previous Varèse edition), two tapes containing new versions: an alternate of Dave Grusin, a jazz piano version featuring Williams himself, and some takes from the underscore. To complete the underscore assembly we used two different 35 mm. magnetic music stems in mono with acceptable sound quality. Finally, a trio of bonus tracks (found on the tapes) concludes the album: a fascinating and fun vocal in which singer Clydie King ad-libs while getting her voice into the song’s vibe, a rehearsal of the beach house party chorus with Jack Riley and Clydie King singing with the crowd, and a rehearsal of the solo violin for “Tango Version.”
So here, finally, is the original concept of John Williams for The Long Goodbye, as conceived by Robert Altman. Because of the many repetitions of the tune and the different sources from which the cues are drawn, this album is not presented in film order, but arranged for pleasant home listening.
The package includes a 24-page full color booklet with liner notes by film music writer Randall D. Larson.
CD will ship the first week of July.
For more info, order and listen audio samples please visit www.quartetrecords.com
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It's OK with me!
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Posted: |
Sep 27, 2015 - 3:09 PM
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By: |
Graham Watt
(Member)
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This came in a few weeks ago along with stuff like INVASION OF THE BODY SNATCHERS and a few more things which I have been playing "constantly". Obviously that means that they're on a rotation system, and my latest rabbit was about the Carmen Dragon score. But now it's John Williams' turn. Please forgive me in advance - I'm awaiting a few phone calls, and will also have to go to bed soon, so this may be only the first part of an ill-thought-out and partially dismembered rabbit. I haven't planned this, it's all Robert Altman improvisation, so, you know, this is real life...
God Almighty, that first bonus track with Clydie King doing her supposed adlibbing rehearsal of the song is supremely annoying. All that drawling "I don't even know which part of this damn song I'm on, what time's the plane to Boston?, oh that's too late, I don't get up until 12, hey what's this tune all about anyway?" ad nauseum reminds me of sitting in a corner at a party and observing people I don't know trying to be funny with their friends who I don't know either. Maybe if I knew them it'd be different. But I shouldn't complain about a bonus track. I just won't listen to it again. The other one with Jack Riley is quite irritating too - all these people I don't know having a laugh and I'm not in on the joke. I felt excluded. The last bonus track, the Violin Rehearsal, is actually pretty interesting because it's the violin line from the great "Tango" track, and according to Randall D. L's informative liner notes includes the voice of our beloved John T. W at the end. Interesting too is how the violin, although it's only a solo violin, is really very much like SCHINDLER'S LIST. I'm sure that not every violin solo in the history of the universe sounds like that, so I reckon it's down to the great JTW's specific writing.
I started negatively there. It's just the way the chips fell. I appreciate the bonus tracks for what they are, like DVD (now Blooray?) extras. I'll be more positive later, but I think those calls are coming in. I hope to be back later today, or tomorrow.
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Posted: |
Sep 28, 2015 - 2:06 PM
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By: |
Graham Watt
(Member)
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That was the fastest wine in the history of the universe. So here I am back home. Mind you, I do live above the bar. That was an irrelevant mini-rabbit, a baby bunny.
So then, yes, it's amazing that this score works at all away from the film. Having said that, and being picky, I haven't quiiiiiite made it all the way through with ease. I think I love it up until about three-quarters of the way through, maybe more. Haven't quite put my finger on the "problem" (not even that) with the later tracks... I feel that in general - and there are exceptions - the later material goes into shorter pieces, and the sound quality begins to vary too. It becomes a bit... "bitty", and almost sounds like you're on bonus material before it actually appears. I know that's nitpicking. What I also know is that any toe-twiddling which may be induced in the listener in the later stages is not the fault of John Williams (nor anybody at Quartet, just to make it clear.)
Right then, John Towner Williams - What a guy! Did you know that? What makes THE LONG GOODBYE so good is the f'ckin' great tune!!! It's one of those flexible, malleable melodies which never sounds "odd", whether it be performed as pure jazz, a tango, supermarket muzak or a Mexican funeral dirge. It just seems to adapt itself effortlessly to all idioms. It's a bit like "Nice to be Around" from CINDERELLA LIBERTY. It's not an easy A-B-A structure, although it almost makes itself sound simple. That's great writing there. Sometimes it nearly feels like the B part is coming out straight in the middle of the A part, and you're going, "Wait a minute, what did he do there?"
And Johnny Mercer's lyrics! I don't think I've thought too much about (film) song lyrics in the past, but these are beautiful, even heartrending if you interpret (ha!) them in a certain way. Johnny Mercer! "Moon River!" First time I've bothered about goddamn songs on a soundtrack! Each vocalist does have his/ her exaggerated style and resulting annoyance factor, but I think I can accept them all.
Oh, and I was reminded that JW could certainly tinkle the ivories. I love that touch of his on Track 1. Does he still play? Lordy, and Dave bloody Grusin!!! Adore his trio's versions of the melody! John Williams - genius. Dave Grusin - genius. Johnny Mercer - genius.... Honestly, it's not the wine speaking.
I would go on, but I don't want to make you feel sick with my enthusiasm.
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