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Wreck: soundtrax [playlist]

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  • ninplant@xs4all.nl
    wReck thiS meSS on Radio Patapoe 97.2 - Amsterdam Adventures in UNsound: no. 150 Bandes de Sontrax Maandag, 27 Augustus 2001 (17:00 - 19:01) Betty Et Zorg
    Message 1 of 1 , Sep 3 11:16 AM
      wReck thiS meSS on Radio Patapoe 97.2 - Amsterdam

      Adventures in UNsound: no. 150 > Bandes de Sontrax
      Maandag, 27 Augustus 2001 (17:00 - 19:01)

      Betty Et Zorg [Betty Blue] > Gabriel Yared [1]
      Des Orages Pour La Nuit > Gabriel Yared [1]
      Cargo Voyage > Gabriel Yared [1]
      La Poubelle Cuisine > Gabriel Yared [1]
      Humecter La Monture > Gabriel Yared [1]
      Blues de Memphis [J'Irais Cracher Sur Vos Tombes] > Alain Goraguer [2]
      Generique > Alain Goraguer [2]
      Theme d'Amour > Alain Goraguer [2]
      Theme de Liz > Alain Goraguer [2]
      Blues de Memphis 2 > Alain Goraguer [2]
      Surprise-partie au bord de l'Eau > Alain Goraguer [2]
      Le Petit Nicolas > Gabriel Yared [1]
      Gyneco Zebre > Gabriel Yared [1]
      Haschich Party > Georges Garvarentz [3]
      L'Eau a la Bouche > Serge Gainsbourg [4]
      OK Chicago > Resonnance [3a]
      Time Out [Beat Girl] > John Barry [5]
      The Sharks > John Barry [5]
      Beat Girl Song > Adam Faith & John Barry [5]
      City 2000 AD > John Barry [5]
      Erotico Tico > Serge Gainsbourg [6]
      Wake Me At 5 > Serge Gainsbourg [7]
      Generique et Car de Police [400 Blows] > Jean Constantin [7a]
      Ecloe Buisonniere > Jean Constantin [7a]
      Comment Voulez-Vous? Balzac et gymnastique > Jean Constantin [7a]
      Trinite et Finale > Jean Constantin [7a]
      Goodbye Emmanuelle > Serge Gainsbourg [8]
      Generique [Les Loups dans la Bergerie] > Serge Gainsbourg [9]
      Fuite du Rouquin > Serge Gainsbourg [9]
      Les Loups dans la Bergerie > Serge Gainsbourg [9]
      Cha cha cha du Loup > Serge Gainsbourg [9]
      Les Loups dans la Bergerie [fin] > Serge Gainsbourg [9]
      Nuit sur Les Champs Elysees [take 1] Ascenseur pour l'Echafaud >
      Miles Davis [10]
      Nuit sur Les Champs Elysees [take 2] > Miles Davis [10]
      Nuit sur Les Champs Elysees [take 3] > Miles Davis [10]
      Black March > Serge Gainsbourg [11]
      Le Crocodile Porte-Cle > Bernard Gerard [3b]
      Smog Smog 2 Introduzione & Finale > Chet Baker [12]
      Sentiris: Solo > Chet Baker [12a]
      Some Small Chance > Serge Gainsbourg [7]
      African Kings > Andre Arpino [3c]
      Cinematheque > Boris Vian [13]
      Fugue > Serge Gainsbourg [14]
      Le Theme d'Olivier > Francis Lai [3d]
      Manon > Serge Gainsbourg [15]
      Night of the Iguana > Benjamin Frankel [16]
      Opium Den > Pierre Bachelot & Hervé Roy [17]


      [a] Uncorking a French Bordeaux Le Paleis Rehan 1999 -- sounding more
      impressive than its meager cost betrayed... I ventured into a kind of
      mini audio slide show of some French soundtrack faves and recent
      acquisitions. The basement in the Overtoom is clearly not what one
      would term an aesthetically romantic spot although it does seem to be
      a good location to assume the responsibility as bomb shelter. The
      water seeps in through walls somewhere else leaving a puddle in front
      of the studio door. once inside you realize its summertime because
      there are hundreds of newborn mosquitoes buzzing around. So while
      cue-ing up discs I have rolled up newspaper close at hand ready to
      add the mosquitoes to the already emerging abstract wall pattern that
      can only be termed ... smashed mosquito. Of all the soundtracks
      listed here I have only seen 3 of the actual films [Betty Blue,
      Elevator to the Gallows and 400 Blows] that is weird...

      [1] Betty Blue [37.2 Le Matin] by Jean-Jacques Beindeix, who earlier
      directed another great atmospheric and visually stunning film called
      "Diva". This film really really spoke to me when I first saw it late
      80s. There was that all important atmospheric absorption [so often
      missing from Hollywood] plus the circumstances of my life perfectly
      coincided with the evolving insanities of this film which touches on
      the pains and tortures of creation and how creativity and instability
      go hand-in-hand. Sometimes a great movie [personally] has to do with
      a confluence of timing, emotional state, your date[s] [I actually saw
      it with 3 different women] and the mystical qualities of the film
      plus one of the great moody soundtracks of all time by the renowned
      Gabriel Yared.

      [2] "Jazz in Paris: Jazz & Cinema, vol. 1" on Universal/Gitanes is
      very sexy packaging of a lot of the kind of Paris we all remember
      through images and film and music. Beautiful packaging although the
      music is sparse, short CDs and some of the jazz is historically
      interesting but not what one called earth-shatteringly original.
      Besides the Michel Gast film of the scandalous Vian novel, there is
      Barney Wilen's soundtrack to "Un Temoin dans la Ville" This is
      wonderful pastiche music for a disastrously [hilariously so] film [I
      have yet to see it] although I have reviewed the Boris Vian novel on
      which it was ostensibly based. From my ABR review: "Boris Vian:
      Cultural Pariah, Swingin' Dilletante, or Iconoclastic Pataphysician?
      [I Spit On Your Graves, Boris Vian, TamTam Books, 1999 ISBN
      0-9662346-0-X, Translated from the French by Boris Vian & Milton
      Rosenthal 200 pp. $17.00 / From Dreams to Despair: Integrated Reading
      of the Novels of Boris Vian, J.K.L. Scott, Rodopi BV Editions,
      Amsterdam, 1998, ISBN 90-420-0310-3, pp. 304, $40] On the morning of
      June 23, 1959 Vian sank nervously down into his seat in the stuffy
      Cinema Marbeuf as he awaited the private screening of the film
      version of his controversial novel, J'Irai Cracher Sur Vos Tombes (I
      Spit On Your Graves). He'd already denounced it, had already fought
      so much with the producers over their treatment versus his that he
      was ready to remove his name from the credits. He'd also "forgotten"
      to take his heart medicine that morning. The curtains parted and ten
      minutes after the first images flickered across the screen he
      reportedly blurted, "These guys are supposed to be American? My ass!"
      At 10:10 AM he collapsed into his seat and died of a heart attack en
      route to the hospital. The horror of coming face-to-face with his own
      Frankenstein literally may have killed him.

      So when Vian, early in his life, declared he'd never live to age 40,
      his death at age 39 seemed prophetic. Although given his medical
      history - rheumatic and typhoid fever - the prediction wasn't
      altogether prescient. The end of his short life had been a long time
      coming. Twelve years earlier doctors had urged him to give up his
      beloved trumpet and jazzy lifestyle. In 1956 he had a stroke but by
      1959 he'd stopped fretting about his heart, denying he even had the
      chronic heart problems that had dogged him his entire life. So it was
      then: fragile body betrays implacable soul.

      Vian had created so much, so fast, and "pseudonymbly and
      nomdepluminously aliassisted ... in composing explosive spirals of
      nitroglycerincognitro," wrote Raymond Queneau, author of Zazi Dans Le
      Metro, in 1953 and when he wrote, "Boris Vian is just setting out on
      the road to becoming Boris Vian," he had no idea how short Vian's
      road was to be or how fast Vian would travel down it and how right
      he'd be because serious interest in Vian would only blossom some 10
      years after his death - only coming to full life after his death.

      Like compatriot-protegé, Serge Gainsbourg [see:
      <http://www.litline.org/ABR/ABR.html>], Vian's career would be
      jettisoned into the world of scandal by one work. And to think he
      began writing in 1941 just to amuse his first wife, Michelle Léglise.
      But as Queneau emphasized, "that's far from being the whole story."

      [3] "Shake Sauvage: French Soundtracks 1968-1973" on Crippled Dick
      Hot Wax! <www.crippled.de> <info@...> This is a fun album of
      a kind of post-mod [already aware of its kitsch-fun-exploitation
      value] revaluation of soundtrax that go heavy on tongue in cheek
      utilization of cliches for probably fairly bad hippiesploitation
      films. symphonic + hash = psychedelic Muzak. All of the audio forays
      into seedy scandal, OD exaggeration, melodramatic cliche, faux
      politics, and pseudo-hippie lifestyle are covered here. Lots of
      sitar, psychedelia, self-discovery, hair, drug intrigue and somehow
      there evolved a sound that forever marks its use as representing that
      time. I will say that the liner notes are over the top with praise
      for the "genius" of the included cuts. It is uneven, mostly always
      enjoyable, sometimes annoying and sometimes impressive.

      "Haschisch Party" was composed for the Sergio Gobbi film "Un Beau
      Monstre." combine funk with an oriental sound inc. protoypical
      "hippie" music instrumentation inc. haunting enchanting female
      vocals, psychedelic chorus and that damned flute
      [3a] Resonnance IS Pierre Bachelet who did the soundtrack to
      "Emmanuelle". This is an homage to funk heard on 'blacksploitation'
      films complete with gunfire, frantic footsteps and escaping cars.
      [3b] This was composed by reputable composer BG [who composed for JP
      Melville as well] for the 1970 film "Des Vacances en Or" [Golden
      Vacation] a comedy by Roger Pierre and JM Thibeau. Pascal Armand's
      liner notes point out the "amazing compression of electropop which
      combines ringing bells, electronic effects, break beat on drums and
      riffs of organ. Specialists are bound to pickup reminiscences of JJ
      Perrey & Pierre Henry ..."
      [3c] by studio drummer AA, who also worked with JL Ponty, Michel
      Colombier [see Gainsbourg] and others. A fairly enthusiastic and
      exact facsimile of roots & rhythm drumming.
      [3d] Francis Lai [best known for "Love Story" music] This is for the
      film "Olivier," which tells the story of an "amorous adventurer's"
      affair with a 25 year old mistress.

      [4] This is the title track from the 1960 film "Watering Mouth /
      L'Eau a la Bouche" with arrangements by Alain Goraguer for a film by
      Jacques Doniol-Valcroze. One of his most popular songs. It was a
      difficult film otherwise and did not see much success. His text/vocal
      version of the song however became a huge success and led to more
      soundtrack work.

      [5] "Beat Girl" or "Wild for Kicks" by Edmund T. Greville [1962],
      stars Christopher Lee, Adam Faith, Oliver Reed, et al. Girl rebels
      against father for marrying a French woman and gets into delinquent
      sub-Beatnik cliché [as parody?] mischief. Soundtrack by John Barry.
      Here you can hear the genius of JB and also hints of elements that
      Gainsbourg tried to imitate or mirror or improve upon as he
      eventually began a serious relationship with JB's wife, Jane birkin.

      [6] "Couleur Cafe" on Philips. This is one of 4 repackagings of Serge
      works in 4 themes. It is a very nicely produced series, better than
      any number of other rehashes of SG music. Death is certainly a boon
      to the reissue market. For more about SG see:
      <http://www.litline.org/PDF/ABRMJ99plan.PDF>. This is from the
      soundtrack for Comment Trouvez-vous ma Souer? Also includes songs I
      have never heard: "Marshmallow Man" and "Rocking Horse" and "No Love
      for Daddy". SG was developing his "unique" or at least interesting
      use of ambiences, a kind of wall of sound effect.

      [7] "Serge Gainsbourg du Jazz Dans le Ravin" on Philips, 1996, from
      the 45 original soundtrack to Striptease [1963]. Again with Goraguer.
      He was very busy at this time, even writing music for a film of
      sketches by Roman Polanski & Claude Chabrol. Where IS all this music?
      Why has it not been reissued in a comprehensive collection of all of
      SG's soundtrack music?

      [7a] "Original Film Music from the Films of Francois Truffaut" on
      Milan. I bought this originally for Shyboy x-mas present some years
      back as a cassette!! Made a copy for myself. Found it in the Tower
      Music bargain basement when they were shedding all their Lps and
      cassettes. It includes copious wonderful liner notes to a series of
      films that are only rivaled by Godard's of that period as far as
      influencing my then-young and agile sensibilities. They [Godard &
      Truffaut] remain in some measure the guage I use to judge films by.
      400 Blows hits at so many youthful eternal truths it is definitely in
      my top 5 of all-time moving movies. The soundtrack is sooo effective
      in helping the general emotional values along! The liner notes are
      filled with interesting facts, that the famed Antoine Doinel
      character played by a young and great Jean-Pierre Leaud, got his last
      name from Jean Renoir's secretary. That the action takes place in
      Truffaut's juvenile haunts around Pigalle, where I lived for some 2
      years. Truffaut is buried not far from where he grew up in the
      Montmartre cemetery.

      [8] "Serge Gainsbourg" Serge Gainsbourg on Polygram adequate 2 record
      set with all the obvious hits but misses most of his great reggae
      forays with Sly & Robbie & the I-Threes. Very little info or context
      but good starter nonetheless. Also on just about every repackaging of
      SG material including the wonderful look at his hipster mambo period.
      This cut is the title piece from the 1977 film Goodbye Emmanuelle by
      Francois le Terrier.

      [9] "Jazz in Paris: Jazz & Cinema, vol. 1" on Universal/Gitanes inc.
      the SG soundtrack material but also soundtracks for "Les Tripes au
      Soleil" a film by Claude Bernard-Aubert, soundtrack composed by Andre
      Hodeir asn well as some pieces from "The Connection" and "One Mint
      Julep". The SG work for "Wolves in the Sheepfold" [their loose
      trans] is among the hundreds of films which have fallen into almost
      total obscurity and in fact, may very well merely exist now in
      soundtrack form. The film is a noir thriller that pits juvenile
      delinquents against gangsters. The writer of the liner notes, Alain
      Tercinet, notes that the music is superb [i agree] and gets very
      close to the eterheal qualities of what was then known as "West Coast

      [10] "Ascenseur pour l'Echafaud" soundtrack to an absolutely
      incredible 1957 Louis Malle film that many agreeout-Hitchcocks
      Hitchcock by Miles Davis is a landmark because it began a [French]
      film trend of using excellent jazz musicians rather than other
      composers or invariably a lot of hack reworkings of cliches. This is
      a reissue on Fontana with liner notes by Boris Vian detailing how the
      Davis project serrendipitously came together plus photos of Jeanne
      Moreau and Miles Davis. This may be one of the most well-researched
      and fetishized soundtracks but luckily it deserves the attention.
      Boris Vian says of MD's work: "But the hours you spent insinuating
      the thin blade of your shoulders between frames will cast a shadow
      even you could not anticipate....no one can take these notes out of
      the air. They hang like raindrops in the mist, carry menace and
      melancholy into the bones...The distance between notes is the
      distance the accused travels in each step to the scaffold."

      [11] "Serge Gainsbourg du Jazz Dans le Ravin" on Philips, 1996, is
      truly a beautiful collection of his jazzier fare, some beautiful
      instrumentals like "Angoisse" which is truly memorable Serge
      Gainsbourg: du jazz dans le ravin (Philips / Mercury) 1996
      repackaging of Gainsbourg's jazzier stuff. Highly recommended.
      Especially the instrumental material some of which comes from his
      underrated soundtrack work. Could he have been competing with John
      Barry, the husband of his then-love, Jane Birkin? "Black March" is
      from the 1960 film "Watering Mouth / L'Eau a la Bouche". With
      arrangements & musical arrangements by Alain Goraguer.

      [12] "Jazz in the Movies" Chet Baker, music by Piereo Umiliani. This
      is soundtrack music for the film Smog [1962]. Leonard Maltin does not
      list this film nor does he list "I Spit on Your Graves". He always
      misses a lot of films I seem to be interested in.

      [12a] "Jazz in the Movies" Chet Baker, music by Piereo Umiliani. This
      is soundtrack music for the film L'Audace Colpo dei Soliti Ignoti
      [1959]. Maltin ditto for this one.

      [13] From an old tape of old bits & pieces, taken from talk shows and
      various sessions of Vian's. The tape was made with great care &
      prescience by the one and only Black Sifichi who knew what I was into
      before I was even into it.

      [14] "Serge Gainsbourg du Jazz Dans le Ravin" on Philips, 1996, from
      the film Les Loups dans la Bergerie but not on the "Jazz in Cinema"

      [15] "De Gainsbourg A Gainsbarre" on Phonogram/Philips is a better
      than average 2-CD collection with a sensibly moving sequence to the
      songs that allows you to partake of a wide range [although not much
      of the reggae period] of his omniverious apprpriations and retoolings
      of pop genres. Great intro to Serge with lyric sheets. "Manon" is
      from the soundtrack of the Jean Aurel film Manon 70 [1968]. Even
      though the vocal version of this song became a big SG hit, the
      original soundtrack does not include it. Apparetnly the producer
      didn't like SG's breathy-wheezy style.

      [16] From the critically-under acclaimed John Huston of a Tennessee
      Williams script. Strangely, the soundtrack includes almost all pieces
      that are NOT included in the film. It is as if the composer put this
      out to show his talents which were perhaps unfairly truncated by the
      processes of editing.

      [17] From the soundtrack to Emmanuelle. I know this is an erotic film
      with some cache and kitsch period-piece value but L. Maltin has
      decided not to include it in his guides.




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