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Posted: |
Feb 24, 2021 - 4:26 PM
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By: |
increbula
(Member)
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The packaging for them is nice. I do have to laugh at some of the tracks though, as some have way more cues than what's listed. "Adventure in Kigan Castle" is an example. Also, the cue names that make up the "Baluchaung Project" track are fake! Also, the music in quite a few of the suites are out of order.
On the bright side, the LP master tapes (and the CDs) have music from scores that are now lost, such as "Silver Suicide" and "Who Committed Murder".
Yes, no arguments there. The LPs were compiled in a less meticulous era, before the Great Digital Enlightenment. I don't (yet) have the latest reissue of the set (which comes in a box with cardboard LP replica sleeves), but I wouldn't bet on anything being corrected.
Despite its flaws (and packaging aside), I'm grateful for the rarities the set contains. Perhaps some day we'll see an ambitious, comprehensive box containing all of the existing Ifukube score cues that have not (or cannot) be presented in complete form. About 10 years ago, I chronologically collated all of the non-sci-fi cues that had been available at the time (which filled about 15 discs), but I'm sure there is still a lot of worthy stuff floating around.
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Posted: |
Feb 24, 2021 - 6:21 PM
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Ostinato
(Member)
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Yes, no arguments there. The LPs were compiled in a less meticulous era, before the Great Digital Enlightenment. I don't (yet) have the latest reissue of the set (which comes in a box with cardboard LP replica sleeves), but I wouldn't bet on anything being corrected.
Despite its flaws (and packaging aside), I'm grateful for the rarities the set contains. Perhaps some day we'll see an ambitious, comprehensive box containing all of the existing Ifukube score cues that have not (or cannot) be presented in complete form. About 10 years ago, I chronologically collated all of the non-sci-fi cues that had been available at the time (which filled about 15 discs), but I'm sure there is still a lot of worthy stuff floating around.
I certainly know the box set you're talking about. While they are CD issues of the original LPs, King Records at least went back to the LP master tapes to assemble the set. However, I feel it's not worth the price tag overall (I don't want to pay over $200 for ten half-filled CDs).
I do love that the LPs and the SLC series have an emphasis on Ifukube's lesser known efforts, which more people need to hear. Sadly, there are a lot of people out there who basically say "If it's not Godzilla, I'm not interested!"
Amazingly, I've seen most of the films covered on the LPs/SLC CDs.
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Posted: |
Feb 24, 2021 - 7:41 PM
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By: |
Ostinato
(Member)
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I wholeheartedly agree. Ifukube's "Film Composer Selection" series on VAP is similarly indispensable for the same reason. The recent Nikkatsu collection on Three Shells was a welcome surprise too.
Yes, I love those albums to death! By the way, the Film Composer Selection Series wasn't limited to Ifukube, but featured albums from other composers such as Katsuo Ohno. That's what's confusing about VAP's Music File Series. You have the Music File Series, then you have series within that series and series within those series. It's a confusing freaking mess! Hell, it was confusing just trying to type that.
Oh man, I was over the moon when Three Shells announced that Ifukube set! I was hoping for something like it for years.
That is amazing. I've only seen a handful of non-sci-fi films that Ifukube scored - specifically, "The Birth of Japan", "The Whale God", "Tale of Osaka Castle", "The Adventures of Taklamakan" and "Lady Ogin". I would love to see a subtitled copy of "The Little Prince and the Eight-Headed Dragon" someday.
As for non-Ifukube Japanese films, I of course love "Seven Samurai" and "Rashomon" (both scored by Fumio Hayasaka) and have enjoyed "Samurai Pirate" and "Yojimbo" (scored by Satoh) and "Madame White Snake" and the "Musashi Myomoto" trilogy (all by Ikuma Dan). There are countless other classics I need to catch up with, including more of Kurosawa's work and the "Zatoichi" films.
I've probably seen well over 100 Ifukube scored films at this point. I've actually lost count.
Oh man, I've also seen countless Japanese films over the years, including all that you mentioned. However, there are a couple of Kurosawa's films I still need to see.
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Posted: |
Feb 24, 2021 - 8:18 PM
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By: |
Ostinato
(Member)
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Yes, keeping track of their assorted soundtrack and "BGM" collections can make your head spin. And their CDs never seem to go out of print, unlike most of the other labels. What's up with that?
I can say one thing, I'm glad that many don't go out-of-print. Some have, but the majority haven't. I do own one of their out-of-print albums, Jiger/Zigra. My guess is that they have a license to keep repressing most the albums.
Wow - truly amazing!
Indeed! I also pay close attention to Ifukube's reuse of material.
Remember us talking about the "Boss of the Underworld"? I forgot to mention that M15B from that film, used as The Park at Night (M6A) in "Gigan" is actually variation of "Mansikka", a Finnish folk song. Ifukube used that melody in several films. The earliest film I've heard it was in "Wolf" (1955), in which children sing a song to that tune. The melody plays a key role in "Friendship Story" (1957), in which an entire classroom sings a song to that tune (a bit similar to "Wolf"). In addition, the main character plays the melody on his harmonica. After which, it's obviously heard in "Boss of the Underworld". It's even in "Teikoku Bank Incident: Prisoner of Death Row" (1964). The cues from that film are M-16-1 and M-31-1, although the latter went unused in the film.
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Posted: |
Feb 24, 2021 - 8:39 PM
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increbula
(Member)
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I do own one of their out-of-print albums, Jiger/Zigra. My guess is that they have a license to keep repressing most the albums.
Is that one of the Showa Gamera scores? I have all of those (not that I ever play them). Surprising that would go out of print, of all things.
Remember us talking about the "Boss of the Underworld"? I forgot to mention that M15B from that film, used as The Park at Night (M6A) in "Gigan" is actually variation of "Mansikka", a Finnish folk song. Ifukube used that melody in several films. The earliest film I've heard it was in "Wolf" (1955), in which children sing a song to that tune. The melody plays a key role in "Friendship Story" (1957), in which an entire classroom sings a song to that tune (a bit similar to "Wolf"). In addition, the main character plays the melody on his harmonica. After which, it's obviously heard in "Boss of the Underworld". It's even in "Teikoku Bank Incident: Prisoner of Death Row" (1964). The cues from that film are M-16-1 and M-31-1, although the latter went unused in the film.
That's some deep research! Now that you mention it, that cue does have a European folk feel to it.
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Posted: |
Feb 24, 2021 - 8:48 PM
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By: |
Ostinato
(Member)
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Is that one of the Showa Gamera scores? I have all of those (not that I play them). Surprising that would go out of print, of all things.
Yeah, it's the fourth of their Gamera albums. I was lucky to find a sealed copy of it, from that batch of Futureland stuff I got in November.
That's some deep research! Now that you mention it, that cue does have a European folk feel to it.
Thanks! It's amazing how much an individual learn simply from viewing these films. It's a great tune. My mom is one who is obsessed with the melody. In fact, I am too, and have been since the first time I saw "Gigan". After viewing the film, I ended up humming it nonstop.
I noticed that Ifukube used Russian folk songs in a variety of scores, including "The Crab Canning Ship" (1953), "Dobu" (1954), the second "Yagyu Secret Scrolls" film, "Teikoku Bank Incident", "Japanese Archipelago" (1965) and even in "Latitude Zero".
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Posted: |
Feb 24, 2021 - 9:54 PM
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By: |
increbula
(Member)
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I noticed that Ifukube used Russian folk songs in a variety of scores, including "The Crab Canning Ship" (1953), "Dobu" (1954), the second "Yagu Secret Scrolls" film, "Teikoku Bank Incident", "Japanese Archipelago" (1965) and even in "Latitude Zero".
That's a fascinating observation, and it reminds me of my own attempts to connect the dots of Ifukube's career. Soon after I first started collecting his scores in the mid-90s, and realized how many films he was involved with, I was determined to look beyond his monster scores and view all of his available work in a broader context. After all, he didn't create his "Godzilla" music in a vacuum, and I was determined to see how all the puzzle pieces fit together. My ultimate goal was to attempt to identify his very best film work, regardless of genre.
In many ways it was an uphill battle, because his sci-fi scores were better preserved, got all the attention and were more readily available for people to hear, while most of his lesser known film cues could only be accessed in bits and (poor-sounding) pieces. And in the end, I came to the tentative conclusion that his best film work, for the most part,IS his sci-fi/fantasy work. This judgement may have been reached at least partially by default, because as we have discussed, many of his other important film scores ("Buddah", "The Burmese Harp", etc) have been all but lost. But the other side of the coin is that Ifukube really let his creativity and imagination run wild with his monster scores, and he has admitted as much in interviews.
By the way, I have certainly not ignored Ifukube's classical work, which was arguably the foundation upon which his film music was built (or at the very least, the two careers nurtured and fed off each other). And his Ainu influences were a key component across the board.
In any case, you've clearly taken my forensic ambitions to the next level, because you've managed to look beyond Ifukube's available score recordings and watch the films themselves (obscure and otherwise), which I'm sure has helped you evaluate Ifukube's film music to a far greater degree. Well done!
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Posted: |
Feb 24, 2021 - 10:32 PM
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By: |
Ostinato
(Member)
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That's a fascinating analysis, and it reminds me of my own attempts to connect the dots of Ifukube's career. Soon after I first started collecting his scores in the mid-90s, and realized how many films he was involved with, I was determined to look beyond his monster scores and view all of his available work in a broader context. After all, he didn't create his "Godzilla" music in a vacuum, and I was determined to see how all the puzzle pieces fit together. My ultimate goal was to attempt to identify his very best film work, regardless of genre.
In many ways it was an uphill battle, because his sci-fi scores were better preserved, got all the attention and were more readily available for people to hear, while most of his lesser known film cues could only be accessed in bits and (poor-sounding) pieces. And in the end, I came to the tentative conclusion that his best work, for the most part,IS his sci-fi/fantasy film work. This judgement may have been reached at least partially by default, because as we have discussed, many of his other important film scores ("Buddah", "The Burmese Harp", etc) have been all but lost. But the other side of the coin is that Ifukube really let his creativity and imagination run wild with his monster scores, and he has admitted as much in interviews.
By the way, I have certainly not ignored Ifukube's classical work, which was arguably the foundation upon which his film music was built (or at the very least, the two careers nurtured and fed off each other). And his Ainu influences were a key component across the board.
In any case, you've clearly taken my forensic ambitions to the next level, because you've managed to look beyond Ifukube's available score recordings and watch the films themselves (obscure and otherwise), which I'm sure has helped you evaluate Ifukube's film music to a far greater degree. Well done!
Thanks! You can say that I have connected many, MANY, dots in his career. Almost entirely from listening to his music and watching the films he scored.
Based on the countless films I've viewed, I feel Ifukube's best film scoring period was from the start of his career in 1947 until 1959 or 1960. There are some pretty unique scores he did at that time. "Danshichi's Black Horse" (1948) is phenomenal. "Stolen Love: I Love You" (1951), has a great title cue full of playful string work. Those are two of many examples I could list. I've noticed that many of these obscure films feature some of his most creative film music. Most of my favorite scores from him happen to be from films released in the '50s, such as "Varan" and "Sakuma Dam Part Two: Transformation of the Great Tenryu".
I agree about his Godzilla/Sci-Fi scores, especially those produced in the '50s. The orchestrations for those particular scores are quite unique. Overall though, I prefer his lesser known scores.
Don't get me started on his concert works! His "Rapsodia Concertante" was what got me seriously into Ifukube. A favorite of mine is "Symphony Concertante for Piano and Orchestra", especially the third movement. I also enjoy his ballet music, such as "Fire of Prometheus". I actually prefer the piano reduction version of that one rather than the reconstructed orchestral version. Some of his other ballets I'd love to hear are "Egozaider" and "Fashan Jarbo".
Again, thank you for your input. What I've done has probably taken me ten years or so.
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Posted: |
Feb 25, 2021 - 5:36 AM
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By: |
increbula
(Member)
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Based on the countless films I've viewed, I feel Ifukube's best film scoring period was from the start of his career in 1947 until 1959 or 1960. There are some pretty unique scores he did at that time. "Danshichi's Black Horse" (1948) is phenomenal. "Stolen Love: I Love You" (1951), has a great title cue full of playful string work. Those are two of many examples I could list. I've noticed that many of these obscure films feature some of his most creative film music.
Those sound wonderful! I have no doubt that there is a wealth of unreleased film music that is waiting to be discovered.
Most of my favorite scores from him happen to be from films released in the '50s, such as "Varan" and "Sakuma Dam Part Two: Transformation of the Great Tenryu".
"Varan" is one of my favorites as well - such a rich score for an essentially second-rate kaiju film (though there is much to be enjoyed about it). And I think that the score for "King Kong vs. Godzilla" is one of his very best. It has an incredible variety of great themes. The score for "The Birth of Japan" (aka, "The Three Treasures") is also monumental and varied, with a wide range of orchestral and traditional influences (undoubtedly Ainu-inspired). I am particularly drawn to the long cue titled "Birth of Japan" (following the Main Title), which is a truly haunting piece.
Don't get me started on his concert works! His "Rapsodia Concertante" was what got me seriously into Ifukube. A favorite of mine is "Symphony Concertante for Piano and Orchestra", especially the third movement. I also enjoy his ballet music, such as "Fire of Prometheus". I actually prefer the piano reduction version of that one rather than the reconstructed orchestral version. Some of his other ballets I'd love to hear are "Egozaider" and "Fashan Jarbo".
I also enjoy the piano reduction of "Prometheus", though the orchestral version is magnificent as well. The fact that it has been released at all gives me hope that other lost works (such as the ballets you mentioned) will see the light of day. I have to say that out of all of Ifukube's concert work, my favorite is probably "Ritmica Ostinata for Piano and Orchestra", a stunning blend of beauty, sadness and manic hyperactivity. Many amazing recordings of this piece have been released in recent years, though I am still partial to the 1971 performance found on "Contemporary Music of Japan Vol. 5" (VDC-5505 or VICC-23010).
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Posted: |
Feb 25, 2021 - 7:36 AM
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By: |
increbula
(Member)
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I noticed that Ifukube used Russian folk songs in a variety of scores, including "The Crab Canning Ship" (1953), "Dobu" (1954), the second "Yagyu Secret Scrolls" film, "Teikoku Bank Incident", "Japanese Archipelago" (1965) and even in "Latitude Zero".
Speaking of folk songs, I've often wondered if the mournful harmonica tune played on the fishing boat, Eiko-Maru (just before Godzilla flame-broiled it in the first film) was an existing song, or something that Ifukube wrote. The fact that a more complete version of this ditty is heard on the 2016 Kaoru Wada concert recording led me to think it may have been a real song that Ifukube adapted. Do you have any insight on this?
And while we're on the subject, what about the twangin' surf instro that is played by the band in "Frankenstein Conquers the World"? It certainly sounds authentic, so it would be fun to know if Ifukube actually composed it.
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Posted: |
Feb 25, 2021 - 12:06 PM
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By: |
Ostinato
(Member)
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Those sound wonderful! I have no doubt that there is a wealth of unreleased film music that is waiting to be discovered.
Yes, there is! His scores for the National Forest Trilogy (1955) are some of his best efforts at that point in his film music career. The films are apparently lost, and so are the tapes of the scores. However, Bukimisha made new recordings of music from the scores. And my God, those scores are phenomenal!
"Varan" is one of my favorites as well - such a rich score for an essentially second-rate kaiju film (though there is much to be enjoyed about it). And I think that the score for "King Kong vs. Godzilla" is one of his very best. It has an incredible variety of great themes. The score for "The Birth of Japan" (aka, "The Three Treasures") is also monumental and varied, with a wide range of orchestral and traditional influences (undoubtedly Ainu-inspired). I am particularly drawn to the long cue titled "Birth of Japan" (following the Main Title), which is a truly haunting piece.
"Varan" certainly has a rich score. The film is definitely second rate, which is understandable given its production history, but it did have some impressive special effects.
I also like his "King Kong vs. Godzilla" score, though I'm not a fan of his King Kong theme for whatever reason. By the way, his scores to "National Forest Part Two" and "King Kong vs. Godzilla" have something in common!
As for "The Birth of Japan", I know the cue you're referring to. I also love it. My favorite cue from the score is Takama-ga-hara (M13A).
I also enjoy the piano reduction of "Prometheus", though the orchestral version is magnificent as well. The fact that it has been released at all gives me hope that other lost works (such as the ballets you mentioned) will see the light of day. I have to say that out of all of Ifukube's concert work, my favorite is probably "Ritmica Ostinata for Piano and Orchestra", a stunning blend of beauty, sadness and manic hyperactivity. Many amazing recordings of this piece have been released in recent years, though I am still partial to the 1971 performance found on "Contemporary Music of Japan Vol. 5" (VDC-5505 or VICC-23010).
"Ritmica Ostinata" is one of the most dynamic and complex pieces Ifukube composed. It too has something in common with his "King Kong vs. Godzilla" score, albeit briefly. I still need to hear the recording of its premiere.
Speaking of folk songs, I've often wondered if the mournful harmonica tune played on the fishing boat, Eiko-Maru (just before Godzilla flame-broiled it in the first film) was an existing song, or something that Ifukube wrote. The fact that a more complete version of this ditty is heard on the 2016 Kaoru Wada concert recording led me to think it may have been a real song that Ifukube adapted. Do you have any insight on this?
And while we're on the subject, what about the twangin' surf instro that is played by the band in "Frankenstein Conquers the World"? It certainly sounds authentic, so it would be fun to know if Ifukube actually composed it.
As far as I know, the harmonica cue is completely Ifukube's. He only recorded a portion of what he had written for "Godzilla". The Wada recording is the entirety of it as Ifukube had written it. By the way, you hear it again in that score, as Oxygen Destroyer (DB-47 M-20), this time arranged for cello and piano. He composed an orchestral version of it for his score to "The Crime of Shiro Kamisaka" (1956). He also made an arrangement of it for Expo '75 according to the Ifukube website.
The surf music in "Frankenstein vs. Baragon" was also composed by Ifukube. I believe this was mentioned at the Ifukube website, but I can't remember.
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