I think the Cacavas Score for Airport 77 is particularly good. the crash scene, which could have been without any music is actually enhanced by the music cue. That kind of action scoring is not always the case.
I agree Brian. The driving, percussive motif during this sequence adds immeasurably to the impact of the scene. If you ever see the extended US network TV version it is very briefly tracked in during a navy search montage - with less sound effects this sequence enables it to be more clearly heard. When my lottery numbers come up I will gladly send a portion of the proceeds in the direction of Universal and any label that would like to pursue this project.
This would be a great release. What I've always wanted is some of the more obscure background tracks - eg The Diner music when D O Guerrero says goodbye to Inez in 'Airport', or how about the disco music the girls are dancing to in Airport '79 just before the cargo door blows? I totally love that track and have no idea how to get hold of it. The Diner music WAS released on the Airport OST LP but was a totally different version to that used in the film. Probably loads of other examples and some might just be library incidental music, as Lalo Schifrin almost certainly didn't write the disco track.....
This is long overdue! If not a box set then they need to start releasing each soundtrack from each film ASAP. Hopefully waiting this long, they will do it right.
Since the sound quality on some of the OSTs is so poor (Universal!), I think a new recording of suites of the four Airport films, fitted on a single Cd, would be the best representation. 20 minutes per score would include all the highlights.
These are definitely my holy grails. Interestingly enough, I learned that Jerry Goldsmith was in discussions to score AIRPORT '77, but was (obviously) too busy that year. I'm currently reading John's book It's More Than Do-Re-Mi and highly recommend it!
Does anyone know if the Airport 1975 LP/CD is a rerecording? I've always wondered because "Suspense, Approach and Landing" sounds completely different in the movie. Even the film version of the main title seems to have different orchestrations than the album release.
Either way, I would definitely be in for a release of the Airport scores.
As much as I love Newman's original AIRPORT, and the single Cacavas AIRPORT score I have heard (75), I am kind of surprised that no one seems to have mentioned Schifrin's CONCORDE: AIRPORT 79 yet. Like most of these movies, this one was not worth watching a second time, but I once enjoyed a concert where Schifrin played some music from thay film. It was of course, more in his 4 Musketeers, etc. vein (more classical than jazz) but obviously it was Schifrin.
And there was actually a recording - on a 45 rpm, that included the Overture (what I heard at the concert) and on the flip side a disco version of the love theme (I think).
As much as I love Newman's original AIRPORT, and the single Cacavas AIRPORT score I have heard (75), I am kind of surprised that no one seems to have mentioned Schifrin's CONCORDE: AIRPORT 79 yet. Like most of these movies, this one was not worth watching a second time, but I once enjoyed a concert where Schifrin played some music from thay film. It was of course, more in his 4 Musketeers, etc. vein (more classical than jazz) but obviously it was Schifrin.
And there was actually a recording - on a 45 rpm, that included the Overture (what I heard at the concert) and on the flip side a disco version of the love theme (I think).
Hi Bill.
Yes, Schifrin provided a great score for Airport '79 which I would love to see released (even though when I hear the the main title with it's "newsflash"-style percussion I'm put in mind of Elmer Berstein's "Airplane!" which followed in 1980). Some of the suspense cues also remind me of Lalo's "Amityville Horror" score. I recall seeing this on the big screen during Easter 1980 and must have been the target audience age (11) as I remember finding it thrilling. (The film was scheduled to be released here in December '79, however NZ experienced its worst-ever aviation disaster at the end of November '79 - which bore an unfortunate resemblance to the film's finale, however with no survivors.)
The MCA 45rpm is worth getting hold of as it has (as you mentioned) the Overture (which is actually the End Credits suite) and a disco version of the love theme - with vocals no less! Some of the priceless lyrics include "Have lunch, have fun a bunch".
The MCA 45rpm is worth getting hold of as it has (as you mentioned) the Overture (which is actually the End Credits suite) and a disco version of the love theme - with vocals no less! Some of the priceless lyrics include "Have lunch, have fun a bunch".
Yes, I remember now. about the "Overture" being the End Credits. I'm afraid that I actually saw the film, so I remember that.
Well, maybe the first AIRPORT movie was worth a second viewing (but maybe not the others).
Airport 77 had that 'Towering Inferno' - helicopter in transit - opening for which Cacavas delivered a brief two-note, low bass, electric guitar twang. Then there's a period of silence and nothing more except those flipping two notes preceding the orchestral, mainly romantic narrative. I'd really like to know what his motivation for starting the picture that way stems from. Overall, it gives a feeling that things are not quite right. And I can't think of a film starting out acoustically in this way ever before. Was it a TV movie style transplanted into a motion picture?
Nice one Mike. So it was a Moog? Maybe Mr Cacavas did that because it hadn't ever been done before. But I wonder if he was in some way using hi-tech because hi-tech was very much on show in the form of that beautiful 747. But you are right - it instantly sets the mood.
Albert Whitlock took conventional visual FX to their highest plane in this picture. The shot of the 747 overflying DC is a quality depiction on celluloid - it has a sort of picture postcard feel to it. And the multi-plane views of the aircraft flying at night amongst the clouds somehow beats the real thing.
Pretty sure it's a Moog...I remember reading it somewhere I'll have to double check. Sure sounds like it. On one of my synths I edited a bass patch to sound somewhat similar and named it "Airport '77"... waaarb wab...waaarb wab.
I really like the way Cacavas used synths in Airport 1975 and '77. He used them mainly as extra subtle colors and tone-setters. I adore the man and his music...wish he had gotten to score more films. His composition and orchestration techniques are amazingly clear and concise. I always turn to his arranging texts whenever I feel stumped or looking for inspiration.
I always say The Towering Inferno was my "Star Wars" in terms of inspiring me to become a composer and it's still my #1 favorite score...but these two scores are definitely up there too.
That is so cute. You know, I was trying to think of a way of vocalising those two notes . . . but you win the prize - waaarb wab. They're never going to leave. I'll tell ya!
Here's a version where everyone sounds like Brenda Vaccaro!
Some time in the early 80's, a local TV station showed AIRPORT 77 in two parts over two nights. Probably in an effort to expand the movie to fill four hours, the station tinkered with the film speed. However, they failed to take into account how this would effect the pitch of some of the voices...
I just noticed that the first three AIRPORT films are back up on Netflix. I skimmed 1975 and '77 and the HD transfers look absolutely gorgeous. Blu-Ray box set please!
I just finished '77 and watched 1975 the other night. I'm still surprised by how much more I like '77 as a film compared to 1975. It's treated much more seriously (even if the plot may require more suspension of disbelief). Jack Lemmon is great and I always enjoy Lee Grant (who looks much younger than her 50 years here). The visual effects even hold up better. It's probably my favorite out of all 4 films.
I had to chuckle when I noticed that the Universal stock sound effects for the bulkhead door opening up in '77 came directly from the malfunctioning elevator in Thoroughly Modern Millie. I half expected Mrs. Meers to show up. The underwater photography is great, too (filmed in Wakulla Springs, though no Gill-Man in sight). Plus, who wouldn't want a 747 with shag carpet and a fancy Laserdisc player??
Both Cacavas scores were great, as always. Can't wait for that boxed set someday...
