D) RECORD

Everybody’s from “The Midnight Cowboy"

The April Fools

True Grit

Theme from “The Wild Bunch”

Summer Me, Winter Me from "Picasso Summer"

Mah-na Mah-na from "Sweden—Heaven & Hell"

4

Goodbye, Columbus

Raindrops Keep Falling On My Head from "Butch Cassidy & The Sundance Kid"

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The Day of Anger

Alice’s Restaurant *

Jean from "The Prime of Miss Jean Brodie"

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PR 5046SD

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E%fOVlE EMES

1970 <ENOCH<UGHT

_ and THE FLIGHT (BRIGADE

This album rated

"g

scores

upcast

^ ired the star of a film. :ber the movie theme;??

,.ave undergone a tremendous change in the few years. The fihns produced in late 1969 and'early 70

have shown a more sophisticated approach- in their: .use of music and artists to hype the action and mood, of the con¬ temporary scene."Lyrics and music tell it like it is for younger

audiences. ' "Goodbye, Columbus" has The Association recording sequences on the sound track.

"Alice's Restaurant" features the poetic songs of Arlo

Guthrie. The voice of Nilsson cuts through the lonely landscapes of

"Midnight Cowboy". And the haunting "Love Theme" underscores the story of

"Romeo & Juliet". These songs and others in the album are indicative of the

new wave in movie scores; the importance of provocative ijpsic in pictures. Today, an $scar award for a film score is as hotly debated as the best actor or actress among movie bufFs.

Enoch Light has re-created the excitement and nostalgia of the songs you like*to remember.

Listen!

They're

playing

5Q46SO

our

movie theme!

THE|BEST

THEtMOVIE THEMES

197® <ENOCHjUGHT

and THE FLIGHT (BRIGADE

This album rated

SIDE ONE:

SONG FROM "THE WILD BUNCH" 2:34 J. Fielding/W-7 Music Corp./ASCAP

EVERYBODY'S TALKIN' 2:42 From "Midnight Cowboy"/F. Neil/Coconut Grove Music Third Story Music, Inc./BMI

LOVE THEME FROM "ROMEO AND JULIET" 3:05 N. Rota/Famous Music Co rp./ASCAP

ALICE'S RESTAURANT 2:59 A. Guthrie/Appleseed Music, Inc./ASCAP

TRUE GRIT 3:64 from "True Grit"/E. Bernstein, D. Black/Famous Music Corp./ASCAP

MAH-NAMAH-NA 2:15 from "Sweden Heaven & Hell"/P. Umiliani/E. B. Marks Music Corp./BMI

SIDE TWO:

THE DAY OF ANGER 2:45 from "The Day of Anger'VR. Ortolani/Unart Music Corp./BMI

RAINDROPS KEEP FALLING ON MY HEAD 2:45 from "Butch Cassidy & the Sundance Kid"/B. Bacharach, H. David Blue Seas Music, Inc./Jac Music Co., Inc./ASCAP

JEAN 'Mb from "The Prime of Miss Jean Brodie"/R. McKuen 20th Century Music Corp./ASCAP

SUMMER ME, WINTER ME 2:23 from "Picasso Summer"/M. Legrand, M. & A. Bergman W-7 Music Corp./ASCAP

GOODBYE, COLUMBUS 2:17 from "Goodbye, Columbus"/J. Yester/Ensign Music Corp./BMI

THE APRIL FOOLS 3:13 from "The April Fools"/B. Bacharach, H. David/Blue Seas Music, Inc. Jac Music Co., Inc./April Music, Inc./ASCAP

© 1969 THE

■ americas/new YORK NY

SIDE ONE:

1. SONG FROM "THE WILD BUNCH" All of the excitement and flavor of this spectacular

movie has been captured and re-created in Dick Hy¬

man's highly imaginative arrangement. The distinctive

rhythmic patterns and combinations of ensemble

sounds heard here are closely associated with the musi¬

cal heritage of the Far West and Mexico. Familiar

guitar strumming and castanets provide a perfect set¬

ting for the trumpets of Bernie Glow and Mel Davis,

and later for the flute and marimba combination of

Phil Bodner and Phil Kraus. The string section functions

in a variety of roles, ranging from leading the orches¬

tra melodically to lending strength to the intense rhyth¬

mic vitality of the tune. Wildly cascading figures bring

a return to the opening two-trumpet sound, and the

theme is recalled briefly before the music heads into a

triumphant finale.

with the rhythmic section playing stop-time behind him.

After a short "Dixie" interlude, the arrangement re¬

turns to the initial folk setting, which is continued on

through the fade ending.

5. TRUE GRIT A solo fiugelhorn statement by Bernie Glow is

echoed by Phil Bodner on flute, and the mood is set for

the sound of "Toots" Thielman's harmonica as it sings

out the warm phrases of the tune. Arranger Hyman

chose a particularly simple orchestral setting here,

relying on the lyrical quality of the song and the soft

colors of flugelhorns and harmonica to convey the

warmth of the song. Sumptuous coloring is also pro¬

vided by the combination of flute and accordion

(played by Dominic Cortese).

6. MAH-NA, MAH-NA

ported by the colorful combination of flute and

accordion.

3. JEAN

A beautifully expressive violin solo (played by

George Ockner) and cadenza clearly establish the

proper mood and setting for this song, Dick Hyman

has created an arrangement which feature a sonorous

orchestral texture and a flexible "romantic" concep¬

tion of rhythm, i.e., a flowing "rubato" as opposed to

a strict, metrical approach. Notice that within the con¬

text he establishes here, Hyman is able to continuously

vary the type of string writing and texture he uses.

Of the featured orchestral colors, mention must be

made of the English horn (played by the versatile Phil

Bodner), the French horn (impeccably played by James

Buffington), as well as the harp, piano, and bells. The

poetic finale is highlighted by warm, full-bodied

chords from the brass section.

2. EVERYBODY'S TALKIN'

Country and Western style banjo pickings start

things rolling in this popular tune from "Midnight Cow¬

boy." The train whistle effect provided by "Toots"

Thielman's harmonica furthers the mood already cre¬

ated and announces the entrance of singer Malcolm

Dodds. Note the superb phrasing and feeling which

Malcolm imparts to the lyrics. A wonderfully homo¬

geneous vocal blend is created as girls' voices join

the sound and provide background harmonies to AAal-

colm's solo. The simple but colorful orchestration here

involves a relatively small combination of instruments,

each one of which was selected because of its distinc¬

tive tone color. In addition to the improvisatory style

of the banjo and harmonica, very effective use is made

of flute, accordion, vibes and flugelhorns. Malcolm's

expertise and vocal artistry provides a breathtaking

(literally!) climax to this arrangement.

3. LOVE THEME FROM "ROMEO AND JULIET"

The elegance of the title theme itself is perfectly

matched by the symphonic treatment it is given here.

A brilliant orchestral opening is contrasted by an un¬

accompanied piano solo (superbly played by arranger

Hyman) which makes the first presentation of the

theme. A soaring string section soon takes over and is

complemented by a sonorous brass ensemble. The

spotlight falls to the lower strings (violas and celli) and

flute before the sharply punctuated brass chorale. A

brief statement by the solo piano leads to a full re¬

capitulation by a string-dominated ensemble. The

piece closes with the last sighing phrase of the melody

repeated in sequence by violins, flute, piano and solo French horn.

4. ALICE'S RESTAURANT

The original folk style of the Ario Guthrie epic is

wonderfully captured by the guitars of Tony AAottola

(12-string acoustic) and Vinnie Bell (folk). The sim¬

plicity of this style is continued by singer Malcolm

Dodds and the girls' vocal ensemble, as they sing the

praises of Alice's Restaurant. By way of contrast, the

second chorus is a Dixieland tour-de-force featuring

Mel Davis on trumpet, Phil Bodner on clarinet and

Bernie Glow on fiugelhorn (quasi-valve trombone!)

"7„TV The arrangement also features an outstanding ad lib

solo chorus (country-style) by banjoist Eric Weissberg,

Ail the stops are pulled out in this spirited, romp¬

ing, almost tongue-in-cheek arrangement. The "shak

ing" sounds which get things rolling are produced by

percussionist Phil Kraus playing the cabaza. He is

soon joined by the low, groaning sound (which recurs

throughout the arrangement) of Phil Bodner's alto sax,

modified and made to sound two octaves lower by the

use of a new electronic device known as the "mul-

tivider." The girls in the vocal ensemble add to the

fun as they sing delightful "nonsense" syllables to this

disarmingly naive tune. "Toots" Thielman (harmonica)

and Dominic Cortese (accordion) keep up the spirit

with humorous quotations from famous melodies. The

arrangement goes romping out with Dick Hyman pro¬

ducing a fantastic "wah-wah" effect on the clavinel

in an improvised repartee with the "multivided" sound

of Bodner's alto sax.

SIDE TWO:

1. THE DAY OF ANGER

The overpowering strength of Tony Mottola's 12-

string electric guitar is matched by the brute force of

the sound pyramids in the orchestra. Tony doesn't pull

any punches here, as he performs extremely difficult

"double picking" passages with the ease of the master

he is, and makes his sound more ominous by adding

reverberation and tremolo. Brass-dominated ensemble

passages alternate with Tony in presenting the theme,

with some "other-worldly" combinations of sounds pro¬

vided by the string section. An incredibly driving rhyth¬

mic underpinning is provided by Bob Rosengarden on

drums (notice his "fills" for the biting brass chords!)

Tympani are called in at the end to complete the com¬

bination of forces for the last chords of power,

2. RAINDROPS KEEP FALLING ON MY HEAD

The delightful "wah-wah" sounds of ihe clavinet

(played by arranger Hyman) which open the arrange¬

ment are particularly apropos to this light-hearted

Bacharach tune. Perfectly matched flugelhorns, played

by Bernie Glow and Mel Davis, make the first presen¬

tation of the beguiling melody and are followed by

solo singer Malcolm Dodds with the girls' vocal en¬

semble providing background support. Notice the ex¬

cellence of Malcolm's phrasing and the natural way in

which he inflects the melody. The rhythm section sup¬

plies a light, buoyant feeling throughout and is sup¬

4. SUMMER ME, WINTER ME

The range of orchestral colors displayed here is

truly remarkable. Solo instruments featured through¬

out this version of Michel Legrand's playful tune are

the piccolo and temple blocks which appear at the

start, and the bass trombone (played by Paul Fauiise).

A wide variety of textures is used, as the string section

alternates between pizzicato and bowed playing,

while the brass section is split with trumpets and trom¬

bones using cup mutes and French horns playing open.

A high point occurs in the country-style "hoe-down"

section, where Tony Mottola lets fly with some genuine

"down-home" licks on guitar. The arrangement closes

brilliantly as the plucked str ing sound seems to evapo¬

rate, leaving the bass trombone with the last "word."

5. GOODBYE, COLUMBUS

The trumpets emerge from a cushion of vocal har¬

monies to announce the start of this happy, infectious

melody. Sharply punctuated rhythmic figures clear

the air for the beginning of the vocal chorus by Mal¬

colm Dodds, with the girls supplying lyrical echoes.

Floating effortlessly over a bossa-nova-rock feeling in

the rhythm section, the arrangement has the effect of

sweeping the listener along on its lively way. As the

tune begins to fade, a spirited vocal chorus reiterates

the happy feeling.

6. THE APRIL FOOLS The soio fiugelhorn of Bernie Glow unfolds over a

lush background of strings and harp before the guitars

establish the lilting rhythm of the tune. The expressive¬

ness of the melody is beautifully conveyed by the vio¬

lins, with the full orchestral sound being reserved for

the second half of the song. New colors are added in

the second chorus, which features a sensuous alto flute

solo and some sensitive fiugelhorn phrases. The strings

lead the tune to a close, but it.remains for the flugel-

horn and alto flute to supply the final echoes to this

haunting Bacharach ballad.

PRODUCER: ENOCH LIGHT

ASSOCIATE PRODUCERS: RECORDING ENGINEER:

ARRANGEMENTS: COVER CONCEPT:

PIC:

TONY MOTTOLA/JEFF HEST

DON HAHN EXv-Gc “*3. Ina DICK HYMAN

uE VRIES NORMAN TRIGG

PR 5046S

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