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The latest CD from Intrada is Jerry Goldsmith's score for SHAMUS. The 1973 mystery from director Buzz Kulik (Warning Shot, TV's Babe) starred Burt Reynolds (shortly after Deliverance and his Cosmopolitan centerfold finally made him a full-fledged movie star) as a low-rent NY private eye, with Dyan Cannon as his love interest. A minor star vehicle with a lot of personality, Shamus benefits from Goldsmith's funky, low-key score, featuring his usual inventive sounds and exciting action music, and presented here in its entirety and for the first time. The liner notes, discussing the film's production history, were written by me.

La-La Land has announced their slate of releases for this month.

Next week they will release a new edition of Jerry Goldsmith's lively score for the 1980 Casablanca homage CABOBLANCO, starring the Bogart and Bergman of the late 1970s, Charles Bronson and Dominique Sanda, and a 40th anniversary edition (that makes me feel really old) of Alex North's Oscar-nominated score for DRAGONSLAYER.

On June 22 they will release an expanded version of John Wiliams' score for Steven Spielberg's 1989 romantic fantasy ALWAYS, and will re-release their three-disc edition of what I personally feel is the greatest stand-alone score of the 21st century so far, Williams' A.I. ARTIFICIAL INTELLIGENCE.


The Alan Howarth Collection Vo
l. 2 - Alan Howarth - Dragon's Domain
Ghoulies IV
 - Chuck Cirino - Dragon's Domain
 - John Scott - Dragon's Domain  
Ratataplan - Detto Mariano - Quartet
San Pasquale Baylonne Protettore Delle Donne
 - Guido & Maurizio De Angelis - Quartet  
Shamus - Jerry Goldsmith - Intrada Special Collection
Swallow - Nathan Halpern - Ship to Shore 


All Light, Everywhere - Dan Deacon
City of Ali - Ruwanga 'Ru' Samath, CJ Vanston 
The Conjuring: The Devil Made Me Do It - Joseph Bishara
Introducing Jodea - Rossano Cariello, David Shaw 
Jallikattu - Prashant Pillai 
Monuments - Nick Takenobu Ogawa
Spirit Untamed - Amie Doherty
Super Frenchie - Jonathan Haidle, Bradley Laina 


June 11
The Albert Glasser Collection Vol. 2 - The Invisible Mr. Unmei/Geisha Girl 
- Albert Glasser - Dragon's Domain
Caboblanco - Jerry Goldsmith - La-La Land
Dragonslayer: 40th Anniversary Edition - Alex North - La-La Land
The Proposal - T. Griffin - Constellation
The Resurrected
 - Richard Band - Dragon's Domain
Turkey Shoot (Escape 2000)
 - Brian May - Dragon's Domain
June 25
A.I. Artificial Intelligence [reissue] - John Williams - La-La Land
Always - John Williams - La-La Land
The Film Scores of Bernard Herrmann (box set) - Bernard Herrmann, various - Decca
July 23
Formula 1 Nell'inferno del Grand Prix
- Alessandro Alessandroni - Beat 
Date Unknown
Belli e brutti ridono tutti
 - Giacomo Dell'Orso - Beat 
Forbidden Planet [reissue]
 - Louis & Bebe Barron - GNP Crescendo
Fuga Dal Bronx
 - Francesco De Masi - Beat
Il Giro Del Mondo Degli Innamorati Di Peynet
 - Alessandro Alessandroni - Beat 
Io So Che Tu Saiche Io So
 - Piero Piccioni - Beat 
Straziami Ma Di Baci Sazliami
 - Armando Trovaioli - Beat


June 4 - Marjan Kozina born (1907)
June 4 - Irwin Bazelon born (1922)
June 4 - Oliver Nelson born (1932)
June 4 - Suzanne Ciani born (1946)
June 4 - Poltergeist released in theaters (1982)
June 4 - Recording sessions begin for Danny Elfman’s score for Planet of the Apes (2001)
June 5 - William Loose born (1910)
June 5 - Laurie Anderson born (1947)
June 5 - Tyler Bates born (1965)
June 5 - Amanda Kravat born (1966)
June 5 - Danny Lux born (1969)
June 5 - Aesop Rock born (1976)
June 5 - Arthur Rubinstein begins recording his score to Whose Life Is It Anyway? (1981)
June 5 - David Newman begins recording his score for DuckTales The Movie: Treasure of the Lost Lamp (1990)
June 6 - Aram Khachaturian born (1903)
June 6 - Ed Plumb born (1907) 
June 6 - Edgar Froese born (1944)
June 6 - Herbert Stothart begins recording his score to The Yearling (1946)
June 6 - Miklos Rozsa begins recording his score for The Red Danube (1949)
June 6 - Leigh Harline begins recording his score for The Wonderful World of the Brothers Grimm (1961)
June 6 - Michel Legrand begins recording his unused score for The Man Who Loved Cat Dancing (1973)
June 6 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Broken Link” (1996)
June 6 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Call to Arms” (1997)
June 7 - Georges Van Parys born (1902)
June 7 - Franz Reizenstein born (1911)
June 7 - Charles Strouse born (1928)
June 7 - Don Peake born (1940)
June 7 - Lewis Furey born (1949)
June 7 - David Raksin begins recording his score for A Lady without Passport (1950)
June 7 - Giong Lim born (1964)
June 7 - Dave Grusin begins recording his score for The Heart Is a Lonely Hunter (1968)
June 7 - Morton Stevens wins an Emmy for his Hawaii Five-O episode score “A Thousand Pardons, You’re Dead,” and Pete Rugolo wins for his TV movie score The Challengers (1970)
June 7 - David Buckley born (1976)
June 7 - Elmer Bernstein begins recording his score for The Shootist (1976)
June 7 - Daniele Amfitheatrof died (1983)
June 7 - Billy Goldenberg records his score for the Amazing Stories episode "The Amazing Falsworth" (1985)
June 8 - George Antheil born (1900)
June 8 - Cesk Zadeja born (1927)
June 8 - Recording sessions begin for Bronislau Kaper's score for The Wild North (1951)
June 8 - John Williams wins the Outstanding Music Composition Emmy for Heidi (1969)
June 8 - Jean Wiener died (1992)
June 8 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “In the Hands of the Prophets” (1993)
June 8 - Caleb Sampson died (1998)
June 8 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Tears of the Prophets” (1998)
June 8 - Herschel Burke Gilbert died (2003)
June 9 - Jon Lord born (1941)
June 9 - James Newton Howard born (1951)
June 9 - Geir Bohren born (1951)
June 9 - Louis Gruenberg died (1964)
June 9 - Chris Tilton born (1979)
June 9 - Matthew Margeson born (1980)
June 9 - Ron Jones records his score for the Star Trek: The Next Generation episode "Shades of Grey" (1989)
June 9 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Adversary” (1995)
June 10 - Frederick Loewe born (1901)
June 10 - Don Costa born (1925)
June 10 - Randy Edelman born (1947)
June 10 - Laurent Petitgirard born (1950)
June 10 - Hugo Friedhofer begins recording his score to Above and Beyond (1952)
June 10 - Steve London born (1970)
June 10 - Jerry Goldsmith begins recording his replacement score for Chinatown (1974)
June 10 - Marius Ruhland born (1975)
June 10 - David Shire begins recording his score to Farewell, My Lovely (1975)
June 10 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Basics, Part II” (1996)
June 10 - Marc Fredericks died (2004)


BLAST BEAT - David Murillo R.
"A soundscape comprised of David Murillo’s moody electronic score and tracks exemplifying the genres that distinguish the duo’s personalities (heavy metal for Carly and Spanish-language rap for Mateo) exalts the contrast between them on a sonic level. Hot and heavy perreo, a suggestive Latin American dance style, and the presence of Colombian-American singer Kali Uchis on screen as Carly’s Colombian girlfriend (and through the use of one of her songs) reveal how vital music is in Arango’s storytelling grammar."
Carlos Aguilar, The Wrap 

"None of this is particularly compelling. Arango relies on the raw, visceral charge of constant death-metal overlays -- bands like Soulburner and Synapticide are featured on the soundtrack, along with David Murillo R.’s original score -- to pump up the youth-driven energy, but fails to invite much emotional engagement. All that abrasive music just makes the ears, rather than the heart, bleed. Groan-inducing dialogue doesn’t help, either, such as Dr. Onitsuka declaring that working in aerospace technology has made the concept of borders seem foolish to him."
David Rooney, The Hollywood Reporter 

DREAM HORSE - Benjamin Woodgates
"It’s especially disappointing to see Lewis sand down his edge so much that he can’t make a real impression. Collette is terrific, though, as is Teale as her unexpectedly supportive spouse. Benjamin Woodgates’ sprightly score keeps things moving along, and the well-chosen soundtrack -- featuring Welsh bands like Manic Street Preachers, Catatonia, and Super Furry Animals -- adds some welcome depth. But such a narrow dramatic focus, in such a predictable arc, does make for a rather slender film."
Elizabeth Weitzman, The Wrap

"Benjamin Woodgates’ engaging original score mixes accordion-based folksiness and orchestral urgency. But the film is dominated to an even larger degree by a host of songs associated with Welsh acts (Super Furry Animals, Tom Jones, Manic Street Preachers, etc.) that are variously heard in their original form or sung by characters much inclined toward karaoke and group sing-alongs. (During closing credits, the real people these actors play join them to sing Jones’ 'Delilah.')"
Dennis Harvey, Variety 
"That pattern gets the proverbial rinse and repeat throughout the film, as Dream starts placing higher and higher at the meets. Adroitly edited as they toggle back and forth between the track and the spectators looking variously nervous and then ecstatic, the racing scenes are expertly assembled, enhanced with sometimes surprising angles on the horses themselves, the odd drone shot, and thoughtful scoring by composer Benjamin Woodgates that sounds a little different — drier and more experimental -- from the usual rousing orchestral manipulation you hear in Hollywood films. Best of all, no one can do joyous happy face like Collette as her Jan watches Dream cross the finish line, even in third place -- although Lewis, Teale and some of the many supporting characters come close."
Leslie Felperin, The Hollywood Reporter  
TENET - Ludwig Göransson

"In keeping with 'Tenet’'s allegiance to the world of James Bond, Branagh’s villain almost itches to prove how bad he is (think of Mads Mikkelsen’s Le Chiffre bleeding from his eyes in Casino Royale). Sator constantly checks his pulse, which never rises above 130. 'Each generation looks out for its own survival,' the Protagonist says, and it seems like Nolan is trying to acquit himself of not taking his 007 riff further. Bond has been pilfered, reworked, and parodied, but Nolan’s self-seriousness is such that he’s loath to subvert the tropes of Fleming’s spy universe. Yes, Tenet knows how to go full throttle. There’s fun to those explosions, and Ludwig Göransson’s throbbing score, which gets the blood pumping higher than Branagh’s pulse counter will allow. But every time it stops to speak, it only emphasizes a hollowness within: how enamored it is of its own cleverness."
Ben Flanagan, Slant Magazine

"VRRRRRONNNNKKK! That sound you hear is at once the declamatory score to several enormous action setpieces in Christopher Nolan’s new film, 'Tenet,' and the sound of 'Tenet' itself, crash-landing like a shipping container full of plutonium in the depleted cinematic desert of 2020. HHRRRRRUNNNNNK!"
Caspar Salmon, The Playlist

"Nolan, an avowed 007 fan, luxuriates in the surface pleasures of his material: impeccable fashions, tall buildings, tall women, sleek cars, cool gadgets, swanky restaurants with kitchens perfect for knocking around goons, lots and lots of boats. The film opens just like a Bond movie, with an in media res action sequence -- a swarm of black-clad SWAT operatives, scurrying like ants into a Kiev opera house under siege. Propelled by the angry insect-buzz synth and Dolby rumble of Ludwig Göransson’s score, it’s fresh proof that Nolan knows how to spend a generous studio allowance."
A.A. Dowd, The Onion AV Club

"When masks aren’t occluding the character dialogue, yet another Nolan motif is doing it instead: thunderous sound design. Swooping helicopters, crashing planes, whooshing boats, and other machinery surround the characters in cacophony. Ludwig Göransson’s booming score gets in the way as well. The sound mix renders some of the dialogue virtually moot. For a movie this complicated, where every line counts toward understanding the film’s dense plot machinations, and with Nolan including several scenes and throwaway characters written solely for explicit exposition, it’s a downright storytelling failure to make it this difficult to hear his characters."
Tina Hassannia, Polygon 

"Still, Branagh’s fire by itself isn’t enough to provide emotional heat to 'Tenet.' The cerebral underpinnings and exact mechanics of this particular puzzle may demand more from the filmmaker than the audience, but no amount of painstakingly crafted 'time-inverted' action sequences nor Ludwig Göransson’s sweeping score can fill that hole occupied by a sympathetic main character."
Michael Burgin, Paste Magazine
"It is, like all of Nolan’s canon, built around an intriguing and complicated premise, one that considers how time itself could be weaponized and what sort of threat that might pose to humanity. It’s huge and loud and filled with spectacular set pieces, which undeniably look their best in 70 mm projected on an immense IMAX screen. Its characters, led by John David Washington’s inexplicably named operative 'The Protagonist,' traverse the globe, from Oslo to the Amalfi Coast to India, and the action sequences, which emerge at regular intervals, don’t disappoint. Aesthetically -- accompanied by Ludwig Göransson’s aggressively throbbing score -- 'Tenet' is the cinematic spectacle you’ve imagined."
Emily Zemler, The Observer 

"Two parts ersatz Bond movie to one part hard-sci-fi mind-scrambler, 'Tenet' is a blockbuster with huge ambitions: it’s not just here to save cinema, it wants to reinvent the way you process its very visual grammar. Christopher Nolan’s films usually come with an envelope-pushing experimental edge, albeit one lubricated by seven-figure budgets, and this one feels like his most lab-coated effort yet. Visual information comes at you in multiple directions in massive action sequences that offer little respite from the brain-bending ideas being chucked about. In Imax, and accompanied by Ludwig Göransson’s blaring, Hans Zimmer-channelling score, it gets pretty close to cortisol-inducing."
Phil De Semlyen, Time Out 

"As for what it’s actually about, 'Tenet' places any reviewer in a familiar bind with Nolan: What’s narratively most interesting about it is strictly off-limits in any pre-screening discussion. A pounding introductory set-piece plunges us into a packed Kiev opera house as it falls prey to a terrorist heist, infiltrated in turn by an unnamed CIA agent (John David Washington) to retrieve some manner of asset. Nolan’s script is evasive and sketchy on details at first, which may lead you to think this immersively choreographed scene is just a bit of formal flexing before the story begins in earnest. (The first sound we hear in the film, after all, is that of an orchestra tuning up, before composer Ludwig Göransson -- more than ably filling in for Nolan standby Hans Zimmer -- thunders in with his own thrilling percussive clatter.)"
Guy Lodge, Variety 

"It’s immediately apparent she is traumatised by a recent blaze. She blames herself for failing to save three boys who were caught up in it. And so -- with pacy, stylish direction from Taylor Sheridan ('Sicario,' 'Hell or High Water'), who also co-wrote the script with author Michael Koryta -- 'Those Who Wish Me Dead' tracks Hannah’s attempts to save this other young kid. Ridden with flashbacks and with a punchy orchestral score, it’s a thoroughly improbable story of her internal redemption. And it’s largely pretty great."
Huw Oliver, Time Out 

"Adapted by crime writer Michael Koryta from his novel with Charles Leavitt ('Blood Diamond') and Sheridan, the movie bolts along at a sustained pace, steered by Brian Tyler’s muscular orchestral score. The stirring feel for the grandeur and solitude of frontier country that Sheridan has shown in both his films and his television work on Yellowstone places the characters in an expansive canvas, requiring all of their resources to stay alive. That includes not just Hannah and Connor, who become the emotional center of the thriller as they gain one another’s trust, but also Ethan and heavily pregnant Allison, whose quick-thinking gives the killers an unexpectedly formidable opponent."
David Rooney, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

June 4
FAST & FURIOUS 6 (Lucas Vidal) [AMC Burbank 16]
THE FIFTH ELEMENT (Eric Serra) [Fairfax Cinema]
GOODFELLAS [Alamo Drafthouse]
THE LEGO MOVIE 2: THE SECOND PART (Mark Mothersbaugh) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PULP FICTION [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]

June 5
GOODFELLAS [Alamo Drafthouse]
THE LEGO MOVIE 2: THE SECOND PART (Mark Mothersbaugh) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PULP FICTION [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Hollywood Legion]
THE TERMINATOR (Brad Fiedel) [Fairfax Cinema]
TWELVE MONKEYS (Paul Buckmaster) [Fairfax Cinema]

June 6
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
BRIDESMAIDS (Michael Andrews) [AMC Burbank 16] [AMC Century City] [AMC CityWalk]
CASABLANCA (Max Steiner) [Hollywood Legion]
GOODFELLAS [Alamo Drafthouse]
THE GOONIES (Dave Grusin) [IPIC Westwood]
THE LEGO MOVIE 2: THE SECOND PART (Mark Mothersbaugh) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PARIS IS BURNING [Fairfax Cinema]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]

June 7
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
GOODFELLAS [Alamo Drafthouse]
THE LEGO MOVIE 2: THE SECOND PART (Mark Mothersbaugh) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Laemmle Royal]

June 8
CINEMA PARADISO: DIRECTOR'S CUT (Ennio Morricone) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Laemmle Playhouse]

June 9
BRIDESMAIDS (Michael Andrews) [AMC Burbank 16] [AMC Century City] 
CINEMA PARADISO: DIRECTOR'S CUT (Ennio Morricone) [New Beverly]
THE GOONIES (Dave Grusin) [IPIC Westwood] 
HACKERS (Simon Boswell) [Fairfax Cinema]
RAIDERS OF THE LOST ARK (John Williams) [AMC Burbank Town Center 8]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Laemmle NoHo]

June 10
BRIDESMAIDS (Michael Andrews) [AMC Burbank 16] [AMC Century City] 
CINEMA PARADISO: DIRECTOR'S CUT (Ennio Morricone) [New Beverly]
THX-1138 (Lalo Schifrin) [Fairfax Cinema]

June 11
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
JOHNNY MNEMONIC (Brad Fiedel) [Fairfax Cinema]
PULP FICTION [New Beverly] 
2001: A SPACE ODYSSEY [American Cinematheque: Aero]

June 12
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
TRON (Wendy Carlos) [Fairfax Cinema]
2001: A SPACE ODYSSEY [American Cinematheque: Aero]

June 13
CHILDREN OF THE SEA (Joe Hisaishi) [AMC Burbank 16] [AMC Century City] [TCL Chinese]
DECODER [Fairfax Cinema]
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
MY FAIR LADY (Frederick Loewe, Andre Previn) [AMC Burbank 16] [AMC Century City]
2001: A SPACE ODYSSEY [American Cinematheque: Aero]


Heard: I've been waiting for new speakers to arrive in the mail, so I actually haven't played any music all week. On the other hand, a seismic retrofit is currently being done two floors below me, so my home hasn't exactly been quiet.

Read: My Ex-Life, by Stephen McCauley

Seen: Tenet, A Quiet Place Part II, Trolls World Tour, Swimming Out Till the Sea Turns Blue, Cruella, The Killing of Two Lovers

Watched: 1900; The Americans ("Cardinal"); The Rockford Files ("Profit and Loss, Part 1: Profit"); The Strange Case of Dr. Rx; The Man with the Golden Gun; Star Trek: Enterprise ("Home"); Top of the Lake: China Girl ("Who's Your Daddy?"); Nightmare Alley; Archer ("Deadly Prep"); The Rockford Files ("Profit and Loss, Part 2: Loss")

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