laohu
08-06-2014, 01:29 AM
Jerry Goldsmith - The Trouble With Angels (1966/2009, FLAC)
tracks
1. Main Title (02:43)
2. Welcome to St.Francis (02:20)
3. First Warning (02:15)
4. Pot of Tea (02:13)
5. Dancing Lesson (02:44)
6. Lifeguard (01:38)
7. The Trouble with Angels (01:59)
Performed by The Devils ; Written by Jerry Goldsmith and Ernie Sheldon
8. Sewing Circle (02:42)
9. Future Plans (02:46)
10. Marching Band (02:11)
11. Rachel Says Goodbye (03:16)
12. End Title (01:13)
https://mega.co.nz/#!vkxl1JDY!i3hWAr__igqTG3CBWR1ppiptHS0U6FV638M7b5q uM-g
---------- Post added at 01:29 AM ---------- Previous post was at 01:29 AM ----------
The Trouble With Angels
Jerry Goldsmith is often regarded as an action composer, but here in this 1966 Hayley Mills comedy, he displays his considerable talent at creating a score that is light, sweet and full of touching humour.
The Main Title Theme from The Trouble With Angels is a riotous piece with "Mickey Mousing" abound. The theme that Goldsmith expounds upon in the film is here in full force combining mad cap bells, whistles and hooters with the serene beauty of the string section highlighting the religious aspect of the film before transforming into an upbeat tune for piano, low brass and drums introducing Hayley Mills' character.
Welcome to St. Francis starts out with a combination of strings and percussion and turns into a slower version of the theme with a train whistle and low brass coming in to play with the main theme. In the movie, Sister Clarissa orders them onto a Bus and a marching version of the theme is heard as they file on quickly turning into where we started, only the strings play a much larger part. Strings swell to signify the religious symbols they see while driving. Towards the very end of the cue the music turns a little mysterious where the girls comment on the medieval appearance of the building.
First Warning starts with bells introducing a gentler rendition of the Main Title but with support from bass guitar. When they go upstairs for a smoke it turns into a frantic version of the title theme after Mother Superior catches them and they flush their cigarettes down the toilet.
Pot Of Tea is a beautiful interlude with strings and a cascading piano that plays out the conversation between Sister Liguori and Reverend Mother. A more religious and tranquil rendition of the main theme, it then segues into lush sounding brass and a flute playing out a melody signifying the return of the girls to the school.
Dancing Lesson underscores, firstly, a conflict between the girls and Mother Superior, leading in with the familiar main theme now accompanied with some military-like snare drums. It then segues into period dance music which introduces Gypsy Rose Lee into the story as the dance teacher who teaches the girls to be 'fluuuuuuuuuid' and 'willoooows'. Noteworthy is an unused portion of the cue that exists on the album in which the Main Title theme is reiterated in a very frantic arrangement with brass and a whistle following.
Lifeguard starts with a light rendition of the title theme before segueing into elaborate percussion, brass and piano to underscore the chaos that abounds when Mary and Rachel attempt to take their compulsory swimming final. The main theme is at its best here with the brass being especially powerful. The upbeat and frantic tempo makes for an exciting listen, although in the film, this cue appears to be a slightly different rendition, sounding more synthesized. The cue ends humorously when Mother Superior sees Sister Clarissa flailing in the water with the two girls, and the music goes under for her one-liner.
The Trouble With Angels (Vocal) doesn't appear in the movie, and doesn't utilize the title theme. But it captures Mary's character perfectly and overall it's a short, pleasant, song that is welcome on the album.
Sewing Circle starts out with some pizzicato strings and resumes with the train-whistle rendition of the main theme with woodblock supporting. Lush strings ensue and a short interlude occurs, accompanied by the title theme. A piano duet of the vocal theme appears in this cue, making it the only time in the score that it is utilized. Strings accompany making for a beautiful arrangement that perfectly captures Mary's inner struggle of becoming a Nun.
Future Plans is a beautiful and melancholy sounding cue that heavily utilizes the main title theme. Strings accompany a rather melancholy chime, a piano also enters to deliver a meaningful rendition of the main title theme as well. Towards the end, bells are supporting the melancholy strings, underscoring the times when Mary witnesses the Nuns and becomes rather curious of their way of life.
Marching Band is probably my favourite cue on the entire album! The piece starts out with a fanfare utilising traditional marching band instruments; trumpets, crashing cymbals, drums, glockenspiels and a twittering flute. From here It segues into a majestic rendition of the title theme with the glockenspiel and trumpet playing to their forte with a tuba and baritone 'oompa-ing' away in the background. Another fanfare occurs midway through the piece, even bigger than the first and starts the cycle over again, only this time the low brass instruments take control of the main theme while the trumpet twitters out a 'Wild Blue Yonder' interlude in the background.
Rachel Says Goodbye, the longest cue on the album, starts out with solo flute joined by understated strings. The music then turns anxious over whether Rachel will speak to Mary now that she is a Nun. Pizzicato strings swell and pour out a victorious rendition of the main theme as the brass and percussion mimic the train carrying out its last St. Francis graduate. The strings gradually swell and conclude with their last triumphant rendition of the main theme. The brass/percussion fades as the train moves away and the strings start to subside, but not until a mischievous brass figure signifies Mary and Mother Superior's final joke to each other.
End Title starts with a religious vibe, with chimes, bells and strings developing into a buoyant version of the main theme, utilising piano, snares and jazzy brass. The End Title then ends abruptly with a 'oom-pa' between the train whistle and bells and a staccato scale played on the strings with snares and brass fading out.
The score to The Trouble With Angels will never be hailed as one of Jerry Goldsmith's finest, but like so many of the composer's works features a memorable theme which is wonderfully developed and supports a fun, humorous but gentle score.
http://s11.flagcounter.com/count/Pf5Y/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_170/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/Pf5Y)
tracks
1. Main Title (02:43)
2. Welcome to St.Francis (02:20)
3. First Warning (02:15)
4. Pot of Tea (02:13)
5. Dancing Lesson (02:44)
6. Lifeguard (01:38)
7. The Trouble with Angels (01:59)
Performed by The Devils ; Written by Jerry Goldsmith and Ernie Sheldon
8. Sewing Circle (02:42)
9. Future Plans (02:46)
10. Marching Band (02:11)
11. Rachel Says Goodbye (03:16)
12. End Title (01:13)
https://mega.co.nz/#!vkxl1JDY!i3hWAr__igqTG3CBWR1ppiptHS0U6FV638M7b5q uM-g
---------- Post added at 01:29 AM ---------- Previous post was at 01:29 AM ----------
The Trouble With Angels
Jerry Goldsmith is often regarded as an action composer, but here in this 1966 Hayley Mills comedy, he displays his considerable talent at creating a score that is light, sweet and full of touching humour.
The Main Title Theme from The Trouble With Angels is a riotous piece with "Mickey Mousing" abound. The theme that Goldsmith expounds upon in the film is here in full force combining mad cap bells, whistles and hooters with the serene beauty of the string section highlighting the religious aspect of the film before transforming into an upbeat tune for piano, low brass and drums introducing Hayley Mills' character.
Welcome to St. Francis starts out with a combination of strings and percussion and turns into a slower version of the theme with a train whistle and low brass coming in to play with the main theme. In the movie, Sister Clarissa orders them onto a Bus and a marching version of the theme is heard as they file on quickly turning into where we started, only the strings play a much larger part. Strings swell to signify the religious symbols they see while driving. Towards the very end of the cue the music turns a little mysterious where the girls comment on the medieval appearance of the building.
First Warning starts with bells introducing a gentler rendition of the Main Title but with support from bass guitar. When they go upstairs for a smoke it turns into a frantic version of the title theme after Mother Superior catches them and they flush their cigarettes down the toilet.
Pot Of Tea is a beautiful interlude with strings and a cascading piano that plays out the conversation between Sister Liguori and Reverend Mother. A more religious and tranquil rendition of the main theme, it then segues into lush sounding brass and a flute playing out a melody signifying the return of the girls to the school.
Dancing Lesson underscores, firstly, a conflict between the girls and Mother Superior, leading in with the familiar main theme now accompanied with some military-like snare drums. It then segues into period dance music which introduces Gypsy Rose Lee into the story as the dance teacher who teaches the girls to be 'fluuuuuuuuuid' and 'willoooows'. Noteworthy is an unused portion of the cue that exists on the album in which the Main Title theme is reiterated in a very frantic arrangement with brass and a whistle following.
Lifeguard starts with a light rendition of the title theme before segueing into elaborate percussion, brass and piano to underscore the chaos that abounds when Mary and Rachel attempt to take their compulsory swimming final. The main theme is at its best here with the brass being especially powerful. The upbeat and frantic tempo makes for an exciting listen, although in the film, this cue appears to be a slightly different rendition, sounding more synthesized. The cue ends humorously when Mother Superior sees Sister Clarissa flailing in the water with the two girls, and the music goes under for her one-liner.
The Trouble With Angels (Vocal) doesn't appear in the movie, and doesn't utilize the title theme. But it captures Mary's character perfectly and overall it's a short, pleasant, song that is welcome on the album.
Sewing Circle starts out with some pizzicato strings and resumes with the train-whistle rendition of the main theme with woodblock supporting. Lush strings ensue and a short interlude occurs, accompanied by the title theme. A piano duet of the vocal theme appears in this cue, making it the only time in the score that it is utilized. Strings accompany making for a beautiful arrangement that perfectly captures Mary's inner struggle of becoming a Nun.
Future Plans is a beautiful and melancholy sounding cue that heavily utilizes the main title theme. Strings accompany a rather melancholy chime, a piano also enters to deliver a meaningful rendition of the main title theme as well. Towards the end, bells are supporting the melancholy strings, underscoring the times when Mary witnesses the Nuns and becomes rather curious of their way of life.
Marching Band is probably my favourite cue on the entire album! The piece starts out with a fanfare utilising traditional marching band instruments; trumpets, crashing cymbals, drums, glockenspiels and a twittering flute. From here It segues into a majestic rendition of the title theme with the glockenspiel and trumpet playing to their forte with a tuba and baritone 'oompa-ing' away in the background. Another fanfare occurs midway through the piece, even bigger than the first and starts the cycle over again, only this time the low brass instruments take control of the main theme while the trumpet twitters out a 'Wild Blue Yonder' interlude in the background.
Rachel Says Goodbye, the longest cue on the album, starts out with solo flute joined by understated strings. The music then turns anxious over whether Rachel will speak to Mary now that she is a Nun. Pizzicato strings swell and pour out a victorious rendition of the main theme as the brass and percussion mimic the train carrying out its last St. Francis graduate. The strings gradually swell and conclude with their last triumphant rendition of the main theme. The brass/percussion fades as the train moves away and the strings start to subside, but not until a mischievous brass figure signifies Mary and Mother Superior's final joke to each other.
End Title starts with a religious vibe, with chimes, bells and strings developing into a buoyant version of the main theme, utilising piano, snares and jazzy brass. The End Title then ends abruptly with a 'oom-pa' between the train whistle and bells and a staccato scale played on the strings with snares and brass fading out.
The score to The Trouble With Angels will never be hailed as one of Jerry Goldsmith's finest, but like so many of the composer's works features a memorable theme which is wonderfully developed and supports a fun, humorous but gentle score.
http://s11.flagcounter.com/count/Pf5Y/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_170/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/Pf5Y)