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Posted: |
Apr 1, 2013 - 5:26 PM
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By: |
David-R.
(Member)
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SEVEN DAYS IN MAY / THE MACKINTOSH MAN
Label: Intrada Special Collection Volume 235
Date: 1964 / 1973
Tracks: 26
Time = 53:31
World premiere release of two outstanding thriller scores by legendary Academy Award-winning composers, both in stereo! SEVEN DAYS IN MAY is John Frankenheimer film about attempted military overthrow of U.S. government, written by Rod Serling, starring Burt Lancaster, Kirk Douglas. Jerry Goldsmith provides stunning, albeit brief (15 minutes) tour-de-force for impressive array of both melodic & non-melodic percussion, including two pianos, vibraphone, marimba, bass marimba, xylophone, multiple snare drums, tympani, chimes. Inventive score offers melodic motifs for left-hand piano, marimba, xylophone, balances with stark rhythms for snares, tympani. Goldsmith also created two main titles, one featuring actual chime melody at start, the other featuring just snare drum rolls with snares tuned to different strengths to start. Latter version features in film. Both versions are included on CD. Complete score presented in dynamic stereo audio from original three-channel stereo masters courtesy Warner Bros. Second score on CD features hypnotic score by Maurice Jarre for John Huston thriller with Paul Newman, James Mason. Jarre uses array of exotic colors (strings, keyboards, cimbalom, accordion, ondes Martenot, balalaika, mandolin, bouzouki) to create basic theme, then repeats in variety of moods, tempos while generating hypnotic effect similar in style to legendary THIRD MAN score by Anton Karas. Score mixed in stereo from 1" master elements with demo "single version" mixed from 2" 16-track master courtesy Warner Bros. Douglass Fake, Lukas Kendall produce, Scott Bettencourt provides informative notes, Joe Sikoryak designs dramatic package. Jerry Goldsmith conducts first score, Maurice Jarre conducts second score. Intrada Special Collection release available while quantities and interest remain!
SEVEN DAYS IN MAY (Jerry Goldsmith)
01. Main Title (Original Version) 2:10
02. Pickets 1:20
03. First Sign Of Trouble 1:07
04. Prentice Spills The Beans 0:28
05. Midnight Rendezvous 1:06
06. The Meeting Is Over 2:17
07. Casey Is Caught 0:29
08. Secret Rendezvous 2:55
09. Escape From Ecomcon 1:58
10. Scott Defeated 0:35
11. End Title 0:12
The Extra (Seven Days In May)
12. Main Title (Film Version) 1:59
Seven Days In May Total Time: 17:00
THE MACKINTOSH MAN (Maurice Jarre)
13. Main Title 2:19
14. Postal Thief 2:36
15. Meeting In Prison 1:24
16. Loose Talk 1:44
17. Clean Laundry 2:02
18. Drugs For Rearden 2:58
19. The Pursuit 3:01
20. Escape Route 1:29
21. Party 1 4:50
22. Party 2 2:56
23. Rendezvous With Wheeler 3:14
24. End Title 2:08
The Extras (The Mackintosh Man)
25. Loose Talk (Alternate) 1:31
26. The Mackintosh Man (Single Version) 4:04
The Mackintosh Man Total Time: 36:23
http://store.intrada.com/s.nl/it.A/id.7974/.f
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Wow! Guess what? Ordered!
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The REAL "Seven Days In May" for real! And I have far too little Jarre. Looking forward to this - sooooo ORDERED!
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In case people are wondering: the rights to the rejected David Amram score for Seven Days at May were returned to the composer (except for a juke box source cue which is in the movie, but of little musical interest). The studio has no tapes. Perhaps an enterprising producer can contact Amram to see if he has any tapes, and interest in releasing. Incidentally, the Goldsmith masters for Seven Days at May were stored at Paramount, where the film was theatrically released, although the rights later went to Warner Bros. as part of the Seven Arts catalog. I am very glad Intrada was able to release this one, as well as The Mackintosh Man, which seemed like an interesting companion.
Lukas
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Thanks for the interesting background info, Lukas -- now we don't have to wonder and can hope the enterprising producer does as you say in regards to the Amram!
Yavar
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I like the new art work for SEVEN DAYS IN MAY. The original didn't offer much to work with.
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Gotta say, this short but effective score sounds like a warm up for IN HARMS WAY and THE MAN FROM U.N.C.L.E. Although I love Goldsmith(especially unreleased Goldsmith), the big treat here for me is the Jarre score. Great combo.
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Because of the necessity of combining the making-of-histories of two films into one booklet, there wasn't room for all the gossipy stuff I found while researching the films for the liner notes.
As far as I can recall, MACKINTOSH MAN happened because Walter Hill sold a script (ultimately never filmed) to Warner Brothers, which the studio resold to another studio at a profit -- a profit which Hill did not share. Hill was not happy with WB but was contractually obligated to write another original script for them, but they compromised and allowed him to do an adaptation instead. According to Hill, the studio sent him a box of books they owned, and Hill picked Desmond Bagley's THE FREEDOM TRAP (the basis for MACKINTOSH MAN) because he felt it had the least chance of actually getting made. He claimed he wrote the script in only five days or so and then left town, only to learn from his agent that Huston and Newman wanted to make it (Newman owed a project to the studio, and Huston needed the money).
The happy ending is that Huston, Newman and producer John Foreman still wanted to make another film together after MACKINTOSH finished. They looked at unmade Huston projects and chose THE MAN WHO WOULD BE KING as a Newman-Redford reteaming, until Newman wisely realized that that project really should be made with British actors, and the Connery-Caine classic was born.
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Thanks for posting that piece Mr. Tone. Inexplicably, I haven't listened to it n ages... but I will now. 
I was lucky enough to be introduced to the music of Bartok just as I was seriously getting into film music. It is at about that point point that Mr. Goldsmith, who was already stratospherically high in my esteem, really skyrocketed to top of my film composer list (and coincidentaly, Horner started slipping off the precipice).
Any true appreciation of great film scores must be informed by the knowledge and study of the works of such classical Masters, of which Mr. Bartok was one of the brightest lights..
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In case people are wondering: the rights to the rejected David Amram score for Seven Days at May were returned to the composer (except for a juke box source cue which is in the movie, but of little musical interest). The studio has no tapes. Perhaps an enterprising producer can contact Amram to see if he has any tapes, and interest in releasing. Incidentally, the Goldsmith masters for Seven Days at May were stored at Paramount, where the film was theatrically released, although the rights later went to Warner Bros. as part of the Seven Arts catalog. I am very glad Intrada was able to release this one, as well as The Mackintosh Man, which seemed like an interesting companion.
Lukas
Ineresting. Question: isn't it out of the norm for a label, any label -- no label specifically -- to in a situation like this, to not contact the composer of the repsective rejected score?
His e-mail is right on his blog. Hell, I'll be asking him later tomorrow, but then again I'm the rejected scores guy and I just gotta know.
I think the pairing of the Goldsmith are Jarre is a little odd, as both scores are styalistically very, very different. I remember hwne, for example, you said you were lookking for suggestions on a pairing for "Rich and Famous", and when FSM finally released it a few years later, it was paired with "One Is a Lonely Number", more stylistically similar.
I'm guessing I'm looking to dep on this and the pairing of "The Mackintosh Man" was nothing more than both being Warner Bros. and both beign scores Intrada wanted to do.
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I like the new art work for SEVEN DAYS IN MAY. The original didn't offer much to work with.
Well, our cover art was based entirely upon Saul Bass' very cool title sequence, so how can you go wrong with THAT source material?
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In case people are wondering: the rights to the rejected David Amram score for Seven Days at May were returned to the composer (except for a juke box source cue which is in the movie, but of little musical interest). The studio has no tapes. Perhaps an enterprising producer can contact Amram to see if he has any tapes, and interest in releasing. Incidentally, the Goldsmith masters for Seven Days at May were stored at Paramount, where the film was theatrically released, although the rights later went to Warner Bros. as part of the Seven Arts catalog. I am very glad Intrada was able to release this one, as well as The Mackintosh Man, which seemed like an interesting companion.
Lukas
Thank you very much, Lukas, for your effort.
I always admire the martial nature of "Seven Days In May" that also contains some uncanny "Twilight Zone" moments. The score is a good exercice of minimalism and mood.
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