X is for Baxter
La La Land’s latest entry in its Les Baxter cata- log celebrates the AIP stalwart’s score for Roger Corman’s landmark X: THE MAN WITH THE X-RAY EYES (1963; La La Land LLLCD 1174, $19.98, 15 tracks, 42m 37s). Previously unreleased in any format, the music veers with manic splendor from moodpieces and angelic vocals (with theremin) for Ray Milland’s tortured Dr. James Xavier and his “x-ray” vision to raucous brass and string dramat- ics, percussive pursuit music, and lounge and beat source cues (including the finger-poppin’ music for the famous “nude twist” sequence). Unfortunately, elements of Baxter’s underscore are missing from the studio archive, but the 1,200- copy limited edition fills the gap with two sets of bonus tracks. Four tracks (9m+) provide the miss- ing main title and Las Vegas arrival music (both with sound effects), solo organ music, and a suite of four unused alternate takes. Three tracks (8m+) represent the premiere release of Baxter’s recently recovered music for the “Morella” episode and end credits of Corman’s Poe trilogy TALES OF TER- ROR (1962). These gothic-flavored cues pit churn- ing and arpeggiating strings against a soprano vocal expressing Morella’s ghost, then sweep into a climactic brass-led finale.
Breaking Down Breakdown
Basil Poledouris’ music for Jonathan Mostow’s BREAKDOWN (1997) receives stellar treatment in a three-disc, 3,000-copy limited edition that, with the help of Jeff Bond’s thoughtful and extensive liner notes, offers fascinating insights into the im- pact of digital technology on soundtrack compo- sition (La La Land LLLCD1173, $24.98, three discs, 167m 54s). Although Poledouris had an established reputation for bold, thematic orches- tral /electronic action scores for the likes of CONAN THE BARBARIAN (1982), RED DAWN (1984) and THE HUNT FOR THE RED OCTOBER (1990), Mostow urged him to pursue a different direction for the desert pursuit mash-up of DUEL and THE HITCHER.
Poledouris muted his original melodic orches- tral intentions for BREAKDOWN and embraced a digital arsenal of samples, loops, and sound de- signs; but, after test screenings, Mostow pushed him further. Poledouris and assistant Eric Colvin joined with mixer Timothy Boyle and Judd Miller, an expert on the Nyle Steiner EVI (Electronic Valve Instrument), a trumpet-like wind-blown MIDI con- troller that, at the time, Steiner created through
modification of his earlier invention, the Akai EWI (Electronic Wind Instrument). (Steiner hand-built later models of the EVI from scratch.) The EVI, like the EWI, allows performers to “play” connected synthesizers and samples through a combination of breath control and fingered sensors. Colvin and Miller improvised and adapted Poledouris’ music, with the EVI and live and sampled percussion tak- ing prominence. They ultimately received collabo- rative credits for certain cues, as did percussionist Steve Forman—as well as Richard Marvin, who Mostow retained to work independently on other cues, including those used in the film’s climax. In a rare exhibition of the evolution of a film score, Disc One presents the final revised score as heard in BREAKDOWN, Disc Two provides Poledouris’ originally recorded score, and Disc Three includes alternate takes on, and early revisions of, the original recordings. For additional information about the composers, the discs, and the EVI, visit:
soundtrackcorner.de myspace.com/rizortolani
myspace.com/stelviocipriani2
lalalandrecords.com
basil-poledouris.com
patchmanmusic.com/NyleSteinerHomepage
You can contact the Audio Watchdog online at
OnEyeDog@aol.com or by visiting
douglasewinter.com. Review materials should be sent c/o Vale House, 2495 Oakton Hills Drive, Oakton VA 22124.
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