FilmFlaneur
06-03-2018, 11:22 PM
TWO HARLOW SOUNDTRACKS
Hefti helmed the Carroll Baker film, producing a characteristic score that does not attempt in any way to capture the musical styles of the 30s, at least in the cuts heard here. The LP goes so far as to include 60s-esque tunes titled "Carroll Baker A-Go-Go," with prominent electric guitar and organ, and "Lonely Girl Bossa Waltz."
But then, the LP is labelled "Music from the Score of the Motion Picture," so what we hear on the record may be at some distance from what moviegoers experienced. For example, Bobby Vinton sang the theme song over the titles, where here on the album it is handled by a chorus. The lyrics were by Livingston and Evans, a fact only mentioned on the label. Side note: Burt Bacharach and Hal David wrote two songs for the picture, "Harlow" and "Say Goodbye," which weren't used.
The best known tune on the record is "Girl Talk," which achieved some renown as a pop song after acquiring Bobby Troup's notoriously sexist lyrics. The LP version is instrumental, so as a bonus I have added Tony Bennett's superb rendition, also arranged and conducted by Hefti. Here, as elsewhere in the score, the composer achieves memorable results from simple, repetitive riffs.
http://www.mediafire.com/file/595ws9kcz1d7457/Harlow%20%28Hefti%29%20%28OST%29.zip
Nelson Riddle had no such pop success with his competing score for the Carol Lynley "Harlow." His efforts were not notably improved by a few flowery songs from pop producer Al Ham, with lyrics by Marilyn and Alan Bergman. The vocal versions of the songs are beautifully done by Mary Mayo, Ham's wife.
Riddle's own material is gorgeous as always, notably "Come to Me." He uses some period effects in the score, although he undershot the mark with "Wake Up." Its wah-wah trumpet and banjo are more reminiscent of the 20s than the 30s.
If neither musical score recaptured the time in which Harlow lived, the same may be true of the films themselves. Baker and Lynley were beautiful women and accomplished actors, but neither captured Harlow's unique look, with penetrating eyes set off by platinum hair, arched eyebrows and bow lips, nor her charisma. Those were Harlow's alone.
http://www.mediafire.com/file/0ghm7p51hqu03vu/Harlow+%28Ham-Riddle%29+%28OST%29.zip
Apple lossless
Hefti helmed the Carroll Baker film, producing a characteristic score that does not attempt in any way to capture the musical styles of the 30s, at least in the cuts heard here. The LP goes so far as to include 60s-esque tunes titled "Carroll Baker A-Go-Go," with prominent electric guitar and organ, and "Lonely Girl Bossa Waltz."
But then, the LP is labelled "Music from the Score of the Motion Picture," so what we hear on the record may be at some distance from what moviegoers experienced. For example, Bobby Vinton sang the theme song over the titles, where here on the album it is handled by a chorus. The lyrics were by Livingston and Evans, a fact only mentioned on the label. Side note: Burt Bacharach and Hal David wrote two songs for the picture, "Harlow" and "Say Goodbye," which weren't used.
The best known tune on the record is "Girl Talk," which achieved some renown as a pop song after acquiring Bobby Troup's notoriously sexist lyrics. The LP version is instrumental, so as a bonus I have added Tony Bennett's superb rendition, also arranged and conducted by Hefti. Here, as elsewhere in the score, the composer achieves memorable results from simple, repetitive riffs.
http://www.mediafire.com/file/595ws9kcz1d7457/Harlow%20%28Hefti%29%20%28OST%29.zip
Nelson Riddle had no such pop success with his competing score for the Carol Lynley "Harlow." His efforts were not notably improved by a few flowery songs from pop producer Al Ham, with lyrics by Marilyn and Alan Bergman. The vocal versions of the songs are beautifully done by Mary Mayo, Ham's wife.
Riddle's own material is gorgeous as always, notably "Come to Me." He uses some period effects in the score, although he undershot the mark with "Wake Up." Its wah-wah trumpet and banjo are more reminiscent of the 20s than the 30s.
If neither musical score recaptured the time in which Harlow lived, the same may be true of the films themselves. Baker and Lynley were beautiful women and accomplished actors, but neither captured Harlow's unique look, with penetrating eyes set off by platinum hair, arched eyebrows and bow lips, nor her charisma. Those were Harlow's alone.
http://www.mediafire.com/file/0ghm7p51hqu03vu/Harlow+%28Ham-Riddle%29+%28OST%29.zip
Apple lossless