 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 6, 2017 - 5:11 PM
|
|
|
|
By: |
SBD
(Member)
|
BABY'S DAY OUT
Composed and Conducted by BRUCE BROUGHTON
INTRADA Special Collection 377
Bruce Broughton's 1994 score for 20th Century Fox's Baby’s Day Out is a largely comic triumph of underscoring, elaborating on acres of humorous action sequences and leading into emotional directions when required. A favorite of the composer, however slapstick the action, Broughton’s music is unfailingly elegant, never talking down musically. At times eye-winking, tongue-in-cheek, sometimes sweetly thematic, often adventurous and with a joyous spirit that will bring a smile to any listener, the score is a major Broughton work.
Originally released as a promotional album featuring 39 minutes of highlights, this premiere commercial release features 80 minutes of music -- a running time that is 20 minutes short of the entire film's running time. The film is nearly wall-to-wall music, and this release is assembled and mastered under the composer's supervision from the digital two-track scoring session mixes made by Armin Steiner at Twentieth Century Fox Studios in May and June of 1994.
The film beings with a heinous if comically staged crime: the kidnapping of wealthy Bennington Austin “Bink” Cotwell IV, whose parents (Lara Flynn Boyle and Matthew Glave) set the runaway train of events in motion by deciding to have their precious offspring photographed for the local society pages. The “photographers” turn out to be a trio of bank robbers-turned-baby snatchers: three stooges called Eddie (Joe Mantegna), Norby (Joe Pantoliano) and Veeko (Brian Haley). Little do these dopes know what they’re in for: falling off roofs, hanging from towering construction sites, being mauled by great apes, pants literally set on fire. Don't mess with Bink.
INTRADA Special Collection 377
Barcode: 7 20258 53772 0
Retail Price: $21.99
SHIPPING NOW
For track listing and sound samples, please visit:
http://store.intrada.com/s.nl/it.A/id.10780/.f
http://www.intrada.com
01. Main Title (2:26)
02. The Boo Boo Book (1:16)
03. The Three Furies (1:22)
04. The Boys Arrive (1:18)
05. Garment Du Jour (2:41)
06. Stealing Bink (1:43)
07. Changing Bink (1:23)
08. FBI Arrives (0:39)
09. Bink Starts Off (2:55)
10. Baby On The Roof (2:21)
11. Bink Finds A Bus (4:18)
12. The Fat Lady (1:43)
13. The Department Store (2:14)
14. The Taxi (1:48)
15. Not Bink (1:30)
16. Street Crossing (2:15)
17. Baby Tracks (1:11)
18. The Shoelace (1:41)
19. The Mop Bit (1:31)
20. Up In Arms (2:09)
21. The Kid’s Gone Again (1:15)
22. Homesick (1:50)
23. The Rabbit Hole (2:40)
24. Summer Barbecue (4:51)
25. In The Nursery (1:47)
26. The Construction Site (7:28)
27. Veeko’s Next (3:02)
28. Quitting Time (4:41)
29. I Know Where He Is (3:23)
30. Boo Boo At The Tick Tock (1:30)
31. He’s Back (3:30)
32. End Credits (5:03)
|
|
|
|
|
|
|
Why....why do these guys keep hiring Julie Kirgo for liner notes?
......
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Nice! Instant buy.
|
|
|
|
|
|
Sheesh, thirteen more seconds and we would've had a 2-disc set!
Anyhoo, I might keep an eye on this one, if Varese doesn't put out much of interest next weeek. But then I really need to save up to buy a new cat carrier (Yumi's outgrown her old one)...
|
|
|
|
|
|
"Also, some may have the opinion that she does a swell job."
They do. And I'm one of them, FWIW.
|
|
|
|
|
|
Amazing release! I've been waiting for this one for years, and the clips sound fantastic. Bruce Broughton should IMO be regarded with the same level of respect as John Williams, both for his creativity in fashioning music to fit the visuals and for the high intrinsic musical quality of his compositions. Like Williams for HOME ALONE, Broughton put his heart and soul into this score, and it shines among scores in its genre. Heck, I even liked the film -- dumb rip-off plot, but the cutest baby ever. Big fun. Thanks Intrada, you've done it again!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dana, I, too, feel exactly as you do about Mr. Broughton's work. I've long considered him one of the very best of contemporary film composers, on a par with Willams and a very few others whose work I always anticipate with the same zeal I used to hold for scores by Bernstein, North, Newman, etc. As witness: my order for this new CD, even though I've never seen the film nor heard a note of the score.
|
|
|
|
|
|
Dana, I, too, feel exactly as you do about Mr. Broughton's work. I've long considered him one of the very best of contemporary film composers, on a par with Willams and a very few others whose work I always anticipate with the same zeal I used to hold for scores by Bernstein, North, Newman, etc. As witness: my order for this new CD, even though I've never seen the film nor heard a note of the score.
If you are disappointed once you hear it, you can throw (virtual) rocks at Amer and me! (I'm not worried!)
|
|
|
|
|
|
Instant buy.
Just a quick note: I don't like the direction Intrada has been taking with their cover art. Many of the typical bootleg-fan-art characteristics (such as using similar fonts to the title logo font for names of composer or other texts, out-of-date Photoshop blending-options or unlogical positioning of text, mostly ignoring other text positioning but using the photo as a guideline) seem to have become Intrada-cover art characteristics. While other labels seem to have become more and more professional in their cover art design (La-La-Land e.g.), that does not seem to be the case with Intrada.
I'll keep buying Intrada albums and supporting their efforts to release so many gems that would otherwise not see the light of day - and I'll be buying this one as well - but as a designer myself, I would really love to see some more attention to detail regarding the cover art of the Intrada-releases.
(non-English speaker; sorry about my English)
|
|
|
|
|
|
"If you are disappointed once you hear it, you can throw (virtual) rocks at Amer and me! (I'm not worried!)"
Neither am I. 
|
|
|
|
|
|
|
|
|
|
In the mood to look into this one. Any thoughts from those that bought this?
|
|
|
|
|
|
Definitely top-drawer Broughton, though I felt 80 minutes was a bit much for the listening experience (especially since the score's mainly driven by two themes back-to-back). I'd really only want to take off about 20 minutes though, so it's not a big fuss.
My favorite of the composer's work remains Lost in San Francisco, but I can definitely see why this one has its fans.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
