One of my favorite AFOS e-mails: "Film music is fun and vital"

Here's an excerpt from a listener e-mail I was lucky to hold onto before my PC died last year. From August 18, 2005, Vincent Bernard, who sometimes posts comments here and says he prefers A Fistful of Soundtracks over Sirius XM's Cinemagic channel, explained to me why he can't stand most film and TV score music DJs and was spot-on about them:

... all those other film music DJs are the most unhip, unfunny bastards I've ever had the misfortune to hear. They make film music out to be some kind of once-removed relative of classical music, which it isn't! Film music is fun and vital, and not beholden to the rules of classical which is one of the reasons I love it. You make it even more fun with your commentary, giving us a little well-researched history and your opinions of new as well as older music. You've introduced me to CDs full of new music. Artists I've never heard of like Yoko Kanno (I now own all the Bepop albums because of you) Riz Ortolani, Gert Wilden, Jerry van Rooyen (all from your "Sleazy Listening" ep.) You've even rekindled my interest in some of the old masters like Herrmann, Barry, Morricone and Schifrin.

Adrian Younge's recent Black Dynamite score, which I've been praising--and streaming--constantly, would probably never get any airplay on the channels or programs that Vincent finds irritating because it's not classical music. The Black Dynamite score, my favorite score from last year, is film music at its most fun and vital.

Robert Emmett is a great example of a DJ who champions film music without taking it so damn seriously (another example: the Wax Poetics magazine folks, who put together an incredible film music-themed issue at around the time their record label division released the two Black Dynamite soundtrack albums). Emmett hosts The Norman Bates Memorial Soundtrack Show (Saturdays 9am-noon on KFJC or at the Los Altos Hills station's spot on the iTunes Radio dial, under Eclectic) and was once one of several guest programmers whom I enlisted to assemble special "Movie Music Mixtape Month" playlists for the college radio incarnation of AFOS. The playlist he submitted to me was as eclectic as his Norman Bates playlists. It ranged from The Misfits to Intinti Ramayanam. Norman Bates, a program I first tuned into when I was in high school, is a must-listen--even though it's often sprinkled with Broadway show tunes, which aren't my cup of tea (the only musicals I can stand are either satirical ones like South Park: Bigger, Longer & Uncut or musicals that come out of Bollywood).

AFOS: "Super Groover Mama Dalai Lama" playlist

Starting tomorrow, the 2003 Fistful of Soundtracks: The Series episode "Super Groover Mama Dalai Lama" (WEB09) airs Tuesdays and Thursdays at 4am, 10am, 3pm, 7pm and 11pm and Saturdays and Sundays at 7am, 9am, 1pm, 3pm and 5pm for the rest of July on the Fistful of Soundtracks channel. WEB09 first aired during the week of April 21-27, 2003. I haven't aired "Super Groover Mama" on the channel since '03 and was recently surprised to find it's a pretty good early episode from my archives.

I took the ep's title from a lyric in the album version of "Ask DNA," which Yoko Kanno and lyricist Tim Jensen wrote for the opening titles of Cowboy Bebop: The Movie (an animated feature that had a better title in Japan, Cowboy Bebop: Knockin' on Heaven's Door, which resumed the Bebop TV series' tradition of naming eps after classic rock tunes). "Ask DNA" is one of 10 original opening theme songs on the WEB09 playlist that are either quirky, out-of-place or incomprehensible (during the "Thunderball" recording session, Tom Jones asked John Barry "What's a thunderball?"--something I wondered too when I first heard the song but hadn't seen the movie yet--and Barry responded to Jones with "Just sing it, Tom").

There's a mistake during this ep. I said Jon Brion's terrific "Here We Go" is from the Punch-Drunk Love score. Actually, "Here We Go," the vocal version of Brion's main Punch-Drunk Love theme, isn't used at all during the movie (however, Columbia Pictures used "Here We Go" during its Punch-Drunk Love TV spots). I didn't know "Here We Go" wasn't in the movie because I hadn't watched it yet when I recorded WEB09.

1. Seatbelts featuring Raju Ramayya, "Ask DNA" (from Cowboy Bebop: The Movie), Ask DNA, Victor
2. Jon Brion, "Here We Go," Punch-Drunk Love, Nonesuch
3. Isaac Hayes, "Buns O'Plenty" (from Three Tough Guys), Double Feature: Music from the Soundtracks of Three Tough Guys & Truck Turner, Stax
4. Tom Jones, "Thunderball--Main Title," Thunderball, EMI/Capitol
5. Elmer Bernstein, "Frankie Machine" (from The Man with the Golden Arm), Crime Jazz: Music in the First Degree, Rhino
6. Elmer Bernstein, "Autumn in Connecticut," Far from Heaven, Varèse Sarabande
7. Randy Newman, "A Fool in Love," Meet the Parents, DreamWorks
8. Yoko Kanno, "N.Y. Rush," Cowboy Bebop: Blue, Victor
9. The Dust Brothers, "Hessel, Raymond K.," Fight Club, Restless
10. Badly Drawn Boy, "Something to Talk About," About a Boy, ARTISTdirect/Twisted Nerve/XL/BMG
11. Willie Hutch, "I Choose You" (from The Mack), Pimps, Players & Private Eyes, Rhyme Syndicate/Sire/Warner Bros.
12. Queen, "Flash's Theme," Flash Gordon, Hollywood
13. Craig Safan, "Confrontation," Thief, Elektra
14. The MASH, "Suicide Is Painless" (from M*A*S*H), Movie Music: The Definitive Performances, Columbia/Epic/Legacy
15. The Five Blobs, "The Blob" (from The Blob), Sci-Fi's Greatest Hits Vol. 3: The Uninvited, TVT
16. The Hollies and Peter Sellers, "After the Fox," After the Fox, Rykodisc
17. Mark Mothersbaugh, "Kite Flying Society," Rushmore, London
18. Simon Brint, "Julverset," Monarch of the Glen, BBC Music
19. Howard Shore, "The Riders of Rohan," The Lord of the Rings: The Two Towers, Reprise/WMG Soundtracks
20. Curtis Mayfield, "Freddie's Dead (instrumental version)," Superfly: Deluxe 25th Anniversary Edition, Curtom/Rhino
21. Michael Brook, "Bar-B-Que," Charlotte Sometimes, Visionbox Pictures
22. Semiautomatic, "Can't Spell," Better Luck Tomorrow, MTV Films
23. Duran Duran, "A View to a Kill" (from A View to a Kill), The Best of James Bond: 30th Anniversary Limited Edition, EMI
24. The Dickies, "Killer Klowns from Outer Space" (from Killer Klowns from Outer Space), Sci-Fi's Greatest Hits Vol. 3: The Uninvited, TVT
25. Bernard Herrmann, "Prelude/Outer Space/Radar" (from The Day the Earth Stood Still), Sci-Fi's Greatest Hits Vol. 3: The Uninvited, TVT
26. John Williams, "Finale and End Title March," Superman: The Movie, Warner Archives/Rhino
27. John Williams, "Love Theme from Superman," Superman: The Movie, Warner Archives/Rhino
28. Jerry Goldsmith, "End Titles (Your Zowie Face)" (from In Like Flint), In Like Flint/Our Man Flint, Varèse Sarabande

List habit

Matthew from the Culture Kills blog says he would like me to post what my 10 favorite film scores are.

That's too much pressure, Matt! I dig so many of them. Scores come in many different categories or genres (film, TV, synthesizer, 80-to-100-piece-orchestra, blaxploitation, espionage, poliziotto, lederhosen porn...). It's too broad a question, and it'd be difficult to narrow them down to 10.

I don't spend much time on Facebook(*) anymore (mostly because I now prefer the more stripped-down Twitter), but there's one thing I enjoy doing on Facebook: making lists(**) of my favorite pieces of music on Facebook's LivingSocial and iLike apps.

(*) Damn, even Facebook's CFO doesn't like the new Facebook either. He hates it so much he quit!

(**) The title of this post refers to the "List Habit" tag that Kim Morgan uses for her list-crazy posts.

In LivingSocial's case, the app has you post Top 5 lists of your favorite things. So instead of a "Top 10 favorite scores" list, I'll repost the Top 5 lists of favorite score cues (or scores) under certain categories that I've been posting on LivingSocial and Twitter.

Five favorite marches from original film or TV scores
5. John Williams, "The Imperial March (Darth Vader's Theme)," The Empire Strikes Back
4. John Williams, "March from 1941"
3. Jerry Goldsmith, "Main Title," Star Trek: The Motion Picture
2. John Williams, "Main Title," Superman: The Movie
1. Terence Blanchard, "Fruit of Islam," Malcolm X

God, the Oscars are a joke. How could they not nominate Terence Blanchard for his 1992 Malcolm X score, which is filled with awesome themes like "Fruit of Islam," the cue he wrote for the film's Harlem march sequence? What was the score that won in 1993? Oh right, Aladdin. Give me a break.

Gene Roddenberry dug the Star Trek: The Motion Picture march so much that he recycled it for Star Trek: The Next Generation in 1987. TV composer Dennis McCarthy wrote an updated arrangement of the march, and it was performed by an orchestra that was smaller than the 90-piece orchestra that performed it back in 1979. That explains why the TNG version lacks oomph. I prefer the original 1979 rendition. I like how the brass sounds jazzier.

Five other favorite marches
5. Ennio Morricone, "March of the Beggars," Duck, You Sucker
4. Jerry Goldsmith, "Attack," Patton
3. Elmer Bernstein, "Main Title," The Great Escape
2. Elmer Bernstein, "Stripes March"
1. John Williams, "End Credits," Raiders of the Lost Ark

Five favorite film scores frequently sampled by beatmakers
5. The Mack (Willie Hutch)
4. Superfly (Curtis Mayfield)
3. Trouble Man (Marvin Gaye)
2. Enter the Dragon (Lalo Schifrin)
1. The Taking of Pelham One Two Three (David Shire)

Five favorite Danny Elfman film scores
5. Dead Presidents
4. Pee-wee's Big Adventure
3. Mission: Impossible
2. Batman
1. Midnight Run

Five favorite original TV themes
5. It Takes a Thief (third season version) (Dave Grusin)
4. I Spy (Earle Hagen)
3. Barney Miller (Jack Elliott and Allyn Ferguson)
2. The Persuaders! (John Barry)
1. Cowboy Bebop (Yoko Kanno)

Listeners like Portland film critic and CulturePulp artist Mike Russell have told me they became Yoko Kanno fans after hearing her Cowboy Bebop score tracks on my station.

On the opposite end of the spectrum, what's the crappiest original TV theme of all time? I was going to say Enterprise, but then I remembered the Diane Warren-penned "Where My Heart Will Take Me" wasn't an original work. It was recycled from Patch Adams, of all movies. (In a sketch I wrote for A Fistful of Soundtracks' 2002 Halloween special, gangbangers torture a hostage by subjecting him to the Enterprise theme.)

The worst original TV theme is Joanie Loves Chachi, hands down. Click at your own peril.

Williams Street does Blu-ray-less Venture Bros. fans a solid

Here's some good news for budget-conscious Venture Bros. fans like myself who want avant-garde composer J.G. Thirlwell's Venture Bros. score album but don't intend to buy either the Blu-ray release of the third season (which, unlike the DVD release, will include the album as an extra) or the vinyl version of the album. Williams Street Records will make The Venture Bros.: The Music of J.G. Thirlwell available on its amusingly retro site (which spoofs the primitive designs of sites like the ones Veronica Belmont and Ryan Block blog about on The Vintage Web). The label will begin shipping the CD on March 24.

The $12 CD version will contain 20 tracks, which are all listed here (no OSI theme song, unfortunately), while the $18 LP version will contain 16 (to accommodate the higher fidelity) and come with a coupon for a free digital download of the album.

Thirlwell's work on The Venture Bros.--particularly that wonderfully over-the-top opening theme--is the craziest-sounding original score music I've heard on an animated show since Yoko Kanno's genre-straddling music for Cowboy Bebop.

"Go Team Venture!"

"Shutup, I Love This Title Screen," Part 13

Cowboy Bebop

Director Shinichiro Watanabe's Bebop main title sequence--clearly inspired by animator Herbert Klynn's splashy split-screen titles from I Spy and It Takes a Thief--was justly praised by the A.V. Club for being one of "22 TV Opening-Credit Sequences That Fit Their Shows Perfectly." The Bebop titles were accompanied by the coolest original theme ever written for TV, "Tank!" by Yoko Kanno and the Seatbelts.

So the Jewfro'd Spike Spiegel might be played in live-action form by that great Jewish actor Keanu Reeves? Oh Lord. I'm taking that casting possibility as seriously as the "Cher to play Catwoman in next Batman film" item from a British paper. (Those U.K. rags are as trustworthy a source as Fux News. What's next? "Streisand to play Harley Quinn"?)

A live-action Bebop flick is an inane idea. If it gets greenlit, whoever Fox or producer Erwin Stoff will get to direct the flick will probably look for all sorts of ways to botch it, like not hiring Kanno--whose music was such an integral part of the original show--or cramming in dialogue where there shouldn't be dialogue. Part of the beauty of the show was its minimal dialogue. (I can't stand anime, but I dug Bebop, and the music and dialogue--or lack of it during some episodes--were why I enjoyed it when it first aired on Adult Swim. Speaking of which, maybe I ought to check out some Bebop eps from my DVD collection that I haven't watched yet. I never finished watching the entire series.)

The only director whom I think could pull off a live-action Bebop is Peter Yates, who has a knack for exciting action sequences with no dialogue (Bullitt, Breaking Away), but he's not exactly an A-lister anymore, I doubt any of the present-day Hollywood suits have ever seen his work and I'm not sure if Yates would be interested in anime-based material.

By the way, Selma Blair would be perfect as Faye Valentine. She's got the stems to play Faye.