Song of the Day: The Watermelon Woman (“Another Day”) [YouTube link] features the words and music of Ed Baden Powell, Kwame Kwaten, Sarah Webb, Steve Marston, and Kathy Sledge, who delivers this R&B track with gusto on the soundtrack to this 1996 landmark film in New Queer Cinema. Sledge, the youngest and founding member of Sister Sledge, can also be heard in this house-inflected Hands in the Air Remix of the song (not to be confused with the classic Stevie Wonder track, which Sledge has covered [YouTube links].)
Song of the Day #1849
Song of the Day: The Good Son (“Opening Credits”) [YouTube link], composed by Elmer Bernstein, is from the Ian McEwan-penned 1993 thriller starring Elijah Wood and Macaulay Culkin (not the relatively innocent “Home Alone” kid here!). The film harks back to a 1956 film, “The Bad Seed,” with a different ending, for sure. The score is among the best aspects of the movie!
Song of the Day #1848
Song of the Day: Ben-Hur (“Conflict”) [YouTube link], composed by Oscar-winner Miklos Rozsa for the 1959 Best Picture, which won a record 11 Academy Awards, highlights the confrontation between the Jewish Prince Judah Ben-Hur (played by Oscar-winner Charlton Heston) and his Roman boyhood friend Messala (played by Golden Globe-winner Stephen Boyd), a conflict that reaches its apex in an epic chariot race for the cinematic ages (check out an excerpt here—spoiler alert! [YouTube link]). It’s a tradition of sorts to post a cue from my favorite score from my favorite movie on this date. And today, the Prime #17th Annual Film Music February Meets The Prime #17th of February! I was actually born on this day (Wednesday), on this date, back in 1960. Since it’s not yet 4:27 pm ET (the time of my birth), call me 61*. Either way, I’ll always be younger than this film!
Song of the Day #1847
Song of the Day: Mickey One (“Mickey’s Theme”) [YouTube link] is from the soundtrack to this 1965 neo noir crime drama, composed by Eddie Sauter and Stan Getz. The score reunited these two giants, who gave us the sublime 1961 jazz orchestral masterpiece, “Focus” [YouTube link]. Just breathtaking …
Song of the Day #1846
Song of the Day: Soul (“Born to Play”) [YouTube link], composed by Jon Batiste, is just one of the many swinging tracks from this 2020 Disney-Pixar animated film. The original motion picture soundtrack features ambient, new age selections by Trent Reznor and Atticus Ross of Nine Inch Nails fame. “Music From and Inspired by Soul,” on which this piece can be found, was released on vinyl, with jazz compositions and arrangements by Batiste. It’s a fun film with a kaleidoscope of musical sounds.
Song of the Day #1845
Song of the Day: Dear Heart (“Main Theme”), music by Henry Mancini, lyrics by Ray Evans and Jay Livingston, is from the 1964 film of the same name, starring Glenn Ford and Geraldine Page. This Oscar-nominated song is ever-so-appropriate for Valentine’s Day. But I also dedicate it to my sweetheart friend, Mimi Reisel Gladstein, who celebrates her birthday today, and who has been calling me her “dear heart” practically from the beginning of our friendship in the 1990s. A happy and a healthy birthday, dearest Mimi! And a Happy Valentine’s Day to all who love. Check out the original recording and renditions by Andy Williams, Frank Sinatra, Jack Jones, Al Martino, and Bobby Vinton [YouTube links].
Song of the Day #1844
Song of the Day: Lovelace (“I’ve Got to Use My Imagination”), words and music by Gerry Goffin and Barry Goldberg, first appeared on the 1973 album, “Imagination,” by Gladys Knight and the Pips. That version opens up this 2013 biopic of Linda Lovelace, of “Deep Throat” fame. This is one of those examples of how a film can successfully adapt period music—with a message—to its sad, central theme [YouTube link].
Song of the Day #1843
Song of the Day: The Russia House (“Soundtrack Suite”), composed by Jerry Goldsmith, ends our four-day salute (within our Film Music February tribute) to one of the greats of the “art of the score.” This suite derives from the 1990 film based on the novel by John Le Carre (who died in December 2020), starring Sean Connery (who died in October 2020). Back in 2008, I highlighted the soaring love theme to this film (“Alone in the World” [mp3]—delivered with perfection by my sister-in-law, Joanne Barry, accompanied by jazz guitarists Jack Wilkins and my bro, Carl Barry). Interestingly, the main theme owed its origins to earlier work that Goldsmith had done for “Wall Street” (1987) and then, for “Alien Nation” (1988)—both times, rejected! This profoundly moving jazz-infused score, which features the virtuoso saxophonist Branford Marsalis throughout, is a testament to Goldsmith’s genius.
Chick Corea, RIP
Sad news of the deaths of Hal Holbrook, Christopher Plummer, and Mary Wilson came over the past week or two. But tonight’s news was truly devastating for this long-time fan of one of the greatest musicians in the history of jazz: Chick Corea, who passed away on Tuesday at the age of 79.
I am without words. There are so many of his compositions that have graced “My Favorite Songs” throughout the years that I would not know where to begin in celebrating his legacy. Winner of 23 Grammy Awards, a master improviser and innovator, whether in acoustic or electric settings, playing standards or original fusion compositions, which defied categorization (encompassing jazz, rock, and classical influences), Chick was among the most important pianists of his generation.
I saw him in concert, a joyful tribute to his terrific 1978 album, “The Mad Hatter” (along with Herbie Hancock, Joe Farrell, Gary Burton, Eddie Gomez, Steve Gadd, Gayle Moran, and an orchestra). Check out that album, starting here [on YouTube].
RIP, Chick.
Song of the Day #1842
Song of the Day: Poltergeist (“Soundtrack Suite”) [YouTube link], composed by Jerry Goldsmith, continues our four-day salute to this great film score maestro. This suite, derived from his 1982 Oscar-nominated score to one of the best supernatural horror films, shows the enormous breadth of moods and motifs that Goldsmith typically delivered. The score lost out to one of the great triumphs of John Williams’s career (“E.T. the Extra Terrestrial“), but it’s with a little irony that it arose out of a collaboration with the director of that other film: Steven Spielberg.
