Noise Junkies - Soundtracks

Dark Destinations. He's maybe end Times night creature. Why would a few more casually struggle me because their blood will join yours a radio drama anthology. You are wrong how you figure every mark on Mango's hunting You don't not you your partner, he said, I didn't have a ray gun polecast performances set in the haunted corners of the globe. Darkness is coming for you.

Ye, that's the fear that daunts me. Dark Destinations by Father belowe at weirding Waymedia dot com weirding Way Media. The soundtrack to a movie is an art form unto itself. It can enhance the visuals, serve as a commentary on the action, and deepen the viewers connection to the film. From the legendary compositions of John Williams and Danielle Morriconey to the carefully curated soundtracks of Quentin Tarantino from James Gunn, their formats are varied, but they are all created in the service of the story they're helping us to own.

Some might even take on a separate life apart from the movies. Tonight on Noise Junkies movie soundtracks Welcome, everybody, Welcome to noise Junkies. I am in the captain's seat this week. This is HP with me as always to my right, So my main woman, the cream to our coffee. Noise junkie number two, this is Heather Drain.

Heather say hi, Hello, I am your noise junk yet ladies and gentlemen. So my left is the man I've known longer than most people in my life. He's the green headed wonder. He is a man of mystery. He is Father Malone.

Hello, Father Malone, a fellow noise junkie. Is happy to be here, happy to be anywhere. Honestly, it's probably it's gonna be hard to say whether we are music fans first or movie fans first. So this is kind of the intersection of the things we're most passionate about. At least in my case not me, it's movies.

But yeah, continue first thing we do. We lead off every show with a little bit of show and tell. The things that we're all listening to this week can be an album, that can be a particular artist song. Heather, why don't you start? What are you listening to this week?

Oh? My goodness. One of the most amazing musical discoveries Uh, that I have made in the past few months, and is a band from Italy called Devil Doll and Holy shit, like this is. It's a band, but the main creator is UM the Mysterious Figure of Mister Doctor, which is a tribute to Jekyl and Hide. Um.

They this is like if I have never heard music that has so seamlessly merged so many elements. I mean there's parts of it that are very Gothic classical. Um, you have a little bit of like brectan kind of spress. I think it's like spreck singa spreck songa you know, the whole speak talk thing, very cabaret. Then it's like heavy metal, little bits of industrial and especially UM the Mysterious Mister Doctor is also a huge fan.

It's all over the various album art of UM Classic, UM, Silence, Horror, as well as early talkies. There's a lot of tributes to like Conrad Vates, Yeah, and you know, Todd Browning and more now and so this is obviously a band after my own heart. I don't know how I have made it this far in my life and not really be that familiar with them until recently. And I have a writer named Thomas Clark to Think, who did an article on them for a zine called Deserts of Hecks and Oh my God. They've only released five albums but um and they are very out of print, but you can find everything on YouTube.

The music is so powerful. Some people call it proc metal. I just call it devil Doll. They're to me, some of my most favorite bands are ones that basically what is the genre that band like, they defy genres and create their own sound that you can only call that band that artist. So Devil Doll is my pick of the week that sounds it is it?

Is it like tongue in cheek or are they deadly serious? Like what's the Because you mentioned a lot of different homages and influences, I wouldn't call it. I would necessarily call it tongue in cheek. I mean it's very very much like kind of in a way, sort of like floating through a sea of of at times, sort of like the of insanity. The man behind Mister Doctor, which this was found out just like I think a few years ago, is actually an attorney by trade and has a degree as psychology, and so some of the inspiration behind some of the songs were like based on actual cases he was working on and us them alone.

How about you, sir, what's getting you through the week? Well, mine actually ties in with our greater theme this evening in that I've been listening to quite a lot of Philip Glass, particularly the sound track to koyaniscots Nice is a soundtrack that I tend to revisit at different portions of my life, like and then listen to it a lot, and then I don't listen to it for quite some time. I actually have a Koyanisconts story. When I was living in Los Angeles, I was a projectionist at a movie theater called the New Wilshire Theater in Santa Monica. And as part of my projection as duties, it was a twin we had two screens.

Part of my duties was I got to program the non sync music, the music that played before the movie. So I would try to theme whatever. And you know, I didn't have This is like ninety four ninety five. There's no CD burners necessarily, so I can't make a playlist. I can just pick an album and put it in.

And for one movie, I put in Kuyaniscontsey because I just wanted to listen to Kaion Wisconsi as much as possible, and particularly sitting in an empty theater on a movie theater sound screen and listening to music. There's no better way anyway. So I had it playing before the movie started, and I got a phone call in the projection booth from someone downstairs saying, there's a customer here. I'd like to speak to you. And I said okay, and they gave him the phone and he said, could you turn off this rather aggressive music?

And so now every time I think of Philip Lass, I think of it rather aggressive music. But you know, I don't think anything could be further anyway. That's what I've been listening to, Like, it's amazing. Philip Glass, the minimalist. I thought minimalism would never agree with me, but he made me.

He converted me. He did a song suite based around David Bowie's heroes, which I keep trying to get into. It's one of those things I try every It's tough for me because I love Bowie so much. It's hard for me to listen to something that's like a translation of what he does. But maybe I'll give it another tribe.

You're inspiring me or I endure that soundtrack. I had an art teacher and eleventh grade that made me a taped copy of it wonderful. She was, Yeah, if you ever listen to this, miscarraway, I love you. The news came out that Deaf Punk is putting out a tenth anniversary edition of the Random Access Every album, which is my favorite DEAK album. I still think it's It's It kind of drives me crazy that it's been ten years because I still listened to it.

I pop it in every once in a while and it still sounds as fresh as it did when I first listened to it. So that's been in my rotation this week. I'm super excited for all the extra music. I needed a sound. I needed a click, so we put the click and that became the rhythm.

That's Georgio by Marot. The dream was just so big at the time. You know, this all ties in because we're gonna be talking about DCT Funk, We're gonna be talking about Georgie Omarroder for say we are absolutely so. So that's that's what I revisited every once in a while, and it's on top of mine because I'm super excited about the new edition coming. I still revisit they did uh that year they were up for a bunch of Grammys and they performed on the Grammys.

I don't know if you guys have ever seen them perform. They performed. It was with Stevie Wonder and obviously Nil Rogers was there. It's still a clip that I revisit even to this day because it's so full of energy. It's an amazing performance.

They incorporate Stevie Wonders song Another Star, which is it's an amazing segue, and just to see a whole room full of like stuffy Grammy's dignitaries just get up and just enjoy the hell out of the song. It's It's really something. There's not too many performances in the Grammys that you can live up to that kind of kind of power. So that's what I'm listening to this week. And they're robots, and they're robots, and sadly they they long since broken up, but hey man, robots gotta go do their own thing.

They can't be tied up together. It doesn't have to be a binary system. I can't believe it's been ten years. Yeah, that's so great. I don't like that.

No, I don't either. I always wondered if they took a lot of influence from a There was a fan of the seventies, also from Europe, from France called Space. Yes, I'm familiar with Space. Yeah, they're like the big hits magic Fly. But if you look at the look that they had and the fact that you know, I mean, they were like a very cool, kind of slightly strange electronic band, interesting.

I never would have made that connection, but you're probably right, to be honest, I don't even know what Space looked like. I just remember that album. I don't know where I came across it, but I remember that album being like really really kind of out of left field for me and really really digging it. I'll have to check out what they look like. Is it's because obviously daft punk is French as well.

It'd be interesting to see if there's a connection there. Yeah, there's a really cool video, like an official music video for magic Fly. It should still be on YouTube, but you can get like a get get eyeful of the band. Guys are full of great ideas. Tonight, I'm gonna have to make a note of this.

What makes a great film soundtrack. This is a broad question, but at a thirty thousand foot of view, I'm going to pose the question to you, guys, what do you think makes a great film soundtrack? Is it? Is it just that it has great synergy with the movie that it's pulled from or created with. Is it just a great collection of music that can work regardless of the visuals?

What do you think? I'm want to start with you follow them along. What's your opinion on that the best kind of soundtrack is the one that's most appropriate for telling the story in the way the movie is attempting to It's just as important as the costumes and the lighting. It should urge the viewer in the direction that the filmmaker is attempting to get you too, And in my mind that means that the best kind of film music is the kind that doesn't call attention to itself like good editing. It should propel you in one way that you know that the filmmakers hoping to elicit, whether that be an emotion or any kind of reaction, without you noticing that you're being manipulated.

Which doesn't mean that I don't like a big, bombastic score because I love a big, bombastic score. And I guess what I'm saying is like, no one kind of film soundtrack is the best. It's whatever works for that thing. It can be you know, mechanical noises as as a as a soundtrack, but if it works for that movie, then so be it. And I don't think I don't think the movie the song needs.

The music needs to be able to stand on its own either, that's not a prerequisite for it. But it doesn't hurt you share the same you know, basic opinions with Father Malone. Where do things differ because I suspect you have slightly different opinions and what makes a great soundtrack? Yeah, I don't have a feeling none of us are going to have the wrong answer, but I'm very biased. But I'm also right, so it all works ound.

But now for me, like a truly great soundtrack is one And this ties to kind of what you were saying, Father Malone. That is as intricral a part of the film's fabric as the editing, the visuals, the you know, the emotiveness of it. Um you know, editing all of that m a great you know, when a filmmaker knows how to integrate sounds and do sound design, and that could be a piece of music or m or like you said, you know, it could be just like almost like natural sounds, like mechanical sounds. It could even be like I remember watching Marco Ferraris m things called The Seat of Man, where a lot of it's just weird, like different sounds just layered upon layers. You almost get like at times like this white noise hum that's very like unsettling, but they're in a very desolate like future situation, so it's perfect.

So to me, it's a great soundtrack does that. But also when I think of musical soundtracks, I think a truly great centric is one that can also stand on its own as a piece of music, you know, one that you could you could put on you know, on you know, on your computer or your Spotify, your iPod, your record player, even your boom box, and and just revel in just the beauty of it as just a piece of music, like you don't necessarily need the film with it either. To me, that's kind of what separates the boys from the men when it comes to to soundtracks. It's interesting because I know, my, my, what I thought made a good soundtrack. You know when I was younger that that definition for me has evolved.

But I think because when I'm a kid, when you're a kid, you just you know, a cool soundtrack is just something that gets you. You know, that that you can relive the movie through, Like like the classic example for me as a child would be Star Wars, Like, you know, having that that big black soundtrack in, you know, on record as a kid putting it on. This was a time before we could really like go out and rent a movie even or buy a DVD or stream a movie. So for me that was almost like owning the movie in a sense because you could put that on and I could totally envision all the action that was happening. You know, when you hear you know, the Imperial March, you know exactly what's happening in that moment, and it was it was kind of a nice way to bring you back into the movie, the world of the movie, I guess.

But ultimately, I think a really great soundtrack, I mean it's hard to talk in absolutes on this, but I think one of the things that it should do is really elevate what is already you know, a great piece of artwork in other ways you have you know, if it's filmed well acted well, a soundtrack has that ability to really create an emotional elevation of the material. Right. Think about a great soundtrack and how it can sometimes you know, just kick it up, kick the knob up to eleven, right, make a real emotional sort of connection to the fidem More so, what about can a soundtrack be successful even if the movie itself isn't done. We're talking a lot about how a good soundtrack makes a good movie great, But what if the reverse is true?

What if you have kind of a so so movie? Can you have a soundtrack that outpaces and outlives a really a dud of a movie? Define what we're talking about here, HP, because are we talking about film scores? Are we talking about none? Are we talking about diagetic music?

Or we talk about non diagetic music. Those are the types of film music that are available everybody, just for your listeners out there, if you're unaware. Diagetic music in a film is music that the characters can hear, so that's like source music stuff playing on the radio. Non diagetic is music that only we hear. Is the audience which which would primarily be a film score, but can also be a song score.

Right, So I'm going to break this out into in different terms. Bottom alone, this was this was a tough concept to wrap our minds around. Yeah, we're looking at you know, composed scores all you're John Williams, Rannie Marconi's so on and so forth, and your curated soundtrack collections that will be talking about your pulp fictions that kind of a thing. Where in the case of pulp fiction, this is it's very much diagetic, right, so like the characters are hearing it because it's playing on the radio, but at the same time it may also be commenting on the action on screen, sometimes in a very clever way. In terms of our discussion tonight, I'm breaking it out into composed scores versus curated collections.

In those terms, let me get back to the question at hand. What about a movie that isn't so elevating on its own it can a soundtrack have a life outside of that movie? And what examples can you come up with such a situation. I can give you one off top of my head. I think Tron Legacy is a fantastic soundtrack.

The movie itself not so good. But if you're going to talk about tron legacy, in my mind, I'm thinking about Daft Punk's score. Not to bring it back to Daft Punk, but the score is phenomenal. The movie is a horrible letdown in that perspect What other examples can you guys come up with? Some some might say Zanna Do.

That Elo soundtrack to Zanna Do is really good in that movie is bad, but I think the film and the music are pretty much on par so. Not that one, but Star Wars episode seven, the Force Awakens. It is a great score for a very mediocre movie. I know some people, petty people would say it's Phantom Menace, but Phantom Menace is a better movie than Force Awakens, and Force Awakens has a bit of music in it. Raised theme that John Williams composed the best thing he's composed in twenty years easily wasted on that film.

Not necessarily that character she's good. The character is good, and you know what's her name is good in it. But that that, to me, is a score that's way too good for the movie that it is. That's that's I too. Thought about Zanda Do, but that gets to be sort of thorny because a movie can be so bad.

It's like it's like bringing for me, it's it's on a par with Grease Too. Grease Too, objectively is not a good movie, nor is it really a good soundtrack. But I love it. I love them both. I love I love the movie Grease Too, and I love the soundtrack despite the fact that I can objectively look at it and say this is not this is not good filmmaking.

Um, Zanna Do kind of fits into that category as well, which is why I didn't really bring it up as part of my spiel. But fit Heather, what what about you? What do you think? Well, before I go into into my thoughts, I have to say, um, there's a huge defense of Zanna Do because I got two words for you guys. The tubes.

Because the tubes are in Zanta Do, and that's an awesome sequence or emerging forties in current day, and there's like a there's just a great sort of decadence about the tubes and that and uh, I mean it's you know, I'm not gonna if if you put the tubes in anything. I'm on a fan girl and that's just a fact. I don't know. I'm not sequence is fantastic. I remember as a kid watching that on cable.

There is I think decadence is the great. There's a darkness and kind of you know, like a ten eleven year old kid nine years old watching that. There's a lot of weird, kind of creepy stuff happening in the background. But it's really fantastic in the way that then merges like the zoot suit kind of crowd with the new wave punk kind of crowd. It's fantastic.

So yeah, but I wanted to I have another movie where the movie is mediocre and the soundtrack is fucking awesome. It's a score which is the movie is Young Guns Too, which is a passable Western act best but Alan Sylvestri wrote the score for it, and it is. It's very high on my list of favorite Western scores of all time. And the sad thing is the whole thing got overshadowed by a couple of songs by fucking John bon Jovi. The absolute indignity.

So people when they think of that movie, if they think of that movie at all, they think the music might have been by John bon Jovi, And what they're missing out isn't one of the best Western scores of all time. That to me is probably top of the list of bad movie good score because it's completely wasted on the film. Listen, so we're talking bad movie good score. How about good movie bad score? I'm that You're I'm getting to that.

So, so, since you've introduced a topic, follow what's your what's your pick? There are a couple If you've ever seen Ryan's daughter, David Lean's film, it's about sort of rural Ireland. It's a period piece. Maurice Jare gave him, gave him a score that is basically like a Carl Stalling soundtrack for a Warner Brothers cartoon. He was told not to do the sort of traditional Celtic Irish instrumentation.

What he gave him instead was like a lot of buying kind of stuff, really bad. Not a lot of people listening to this probably would know that one, but they might know the movie Lady Hawk. Oh yeah, I love it. I love Lady Hawk. Do you do you love the soundtrack to Lady Hawk?

No? I just love how great the soundtrack to that movie is so off putting. It's just, you know, this isn't me railing against anachronism, like I can tolerate electronic instruments in a period setting. I think Legend with Tangerine Dream did at that movie, even though they were sort of late to the game. I think that soundtrack works fucking phenomenally with image imagery like that.

But there's something about the Ladyhawks soundtrack that just every time a music que comes up in that movie, it reminds me, I'm watching a movie and it's nineteen eighty five or whatever, and it's just it's it's the worst for me, that's the worst. That's the most egregious example. HP Is there a movie that you think is really great but the soundtrack is a little questionable or even bad. A soundtrack that I despised in a movie that I really enjoyed, which I think is a slightly different thing to judge it on. I was reminded of this because I did a show recently with Chris Statue, so we covered forrestcumb the soundtrack.

It makes me angry now. It's such a lazy, boring collection of signposts songs that comment a little too on the nose with every scene that it appears in. Right, So you have so Forrest Gump is running in the Desert. Why don't we have you know it keeps you running? By the Doobie Brothers, Or how about how about running on empty by Jackson Brown having fun in Alabama?

Let's play Sweet Home Alabama. It just it's I love Robert Zemeckis and I love the movie. I just think it's such a lazy way of signposting all of these different scenes and these eras that forrestcumb lives through. And what really makes me mad is at the time that the movie came out, I was working. I was selling CDs a circuit city and that was probably people could not get enough of the Forrest Comes soundtrack, the double CD soundtrack that things sold in numbers that still astonished me to this day, which tells me that people don't really care about the soundtrack experience.

They just want what they know. Here's where I take umbrage with this entire evening, because when you start talking about curated soundtracks, they actually branch off into two categories. Which is the one you're talking about, which is the American graffiti style. We're gonna score every scene with a song. In the case of American graffiti, incredibly thoughtfully done, where they sometimes seem to be commenting on the scene directly, but it's never like hitting you over the head, like you know, he's choosing a suit and there's a song about choosing a suit or something.

I don't know. That's not a real thing, but that the other curated soundtrack, now, this was this is the nineteen nineties, just this explosion of we're gonna put twenty three current songs onto a soundtrack. We'll cram them all into the credits of a movie, in most cases just to sell CDs. But then starting I think with Until the End of the World, the vim Venders thing where they got a bunch of alternative artists and said, hey, could you write a song about the end of the world and they all did. That became that kind of a curated soundtrack.

So there seemed to be a lot of those two where like Judgment Night is another sort of big curated soundtrack where it's like, let's get these metal guys and these hip hop guys together and that'll be our soundtrack. So there were some of those, But then yes, there continued to be the Forrest Gumps of the World limping along where it's just like let's just jam a bunch of pop songs into a movie, willy nilly, and shame on Robert Zemeckis for being so goddamned obvious with every choice. We're going to Vietnam, fortunate Soun's gonna start playing, okay, But it's like, to me, I think of that movie. It's like, you know, everybody has that story where they've like accidentally shipped themselves in some situation, and you know you think of that and you're always like, oh god, that was awful on so many levels.

That's for me, that soundtrack and that movie merged with it. I mean, I'm sorry, fucking it lettered Skinner's Free Bird where she's perched on a window sill like a bird. You get it, you fucking get it. I hate that. It makes me irrationally like upset.

But no, it's just it's lazy. It's just lazy, and it's it's it's an excusable. You have all of that money for any kind of songwrites and that's what you go with. It's it's just yeah, I don't I don't like it. What about movies that that don't really have a soundtrack, that like something like No Country frolled then is a good example of a movie that really has no soundtrack.

It's it's all just source sound from the scenes that everything is happening in or the other thing. I had to look the stub network, as it turns out, has no soundtrack either. Can you guys think of any other movies where a soundtrack, you know, it might have been too distracting, like something like No Country for Old Men. It makes perfect sense why the wouldn't want to put a soundtrack in it, because it's it's such an intense experience and the story that they're telling is you know, the absence of a soundtrack kind of keeps you in the moment, I think, and that's why I think it works so beautifully. But you guys have any other examples or things you can think of where a soundtrack is kind of unnecessary to the movie and it's maybe a choice that the filmmaker made not to have a soundtrack.

No, I was about to say it wasn't and please correct me wrong, because I'm a little rusty. It's been a while since rewatched it, but I believe James Wells Frankenstein, the original one doesn't have a soundtrack. Please please correct for me. I know when I took a film class in the university, there was this was a whole discussion. But again that was a long time ago too because I'm a Highlander.

But um, sorry, but I don't know. I mean I think I think no music and it kind of kind of goes back to what we were talking about earlier, like with sound design, like when Father Malone was talking about like you'll hear like you know, an industrial sound or yeah, just something that's going on in the scene is like, that's still you know, I think that can be just as impactful. I think it's it's you know, it's like anything. It's like, That's a beautiful thing about about cinema is it's truly, you know, a multi layer kind of art. It's truly like multimedia in some ways because you're using multiple ways of creative.

You've got writing, you could have music, You've got audio regardless, um, you have visuals, etc. U. So yeah, I mean it could definitely be I think as impactful. It's just it's just like anything else that just you know, how was it done and when is it? I can think of a film without a score.

Actually The Birds, Alfred Hitchcock's film The Birds has no music at all. There's there's there's a little bit of source music here and there for like playing on a radio. But um, there's no score at all in that film. And it's perfect for that film. I mean there's that, there are sounds, there's sound design on the soundtrack, the sounds of the birds themselves, but no music composed for the film at all.

He did that a couple of times too. I think he did it. He did it in Rope as well. I don't think there's any there's any soundtrack for that movie. Yeah, and it makes perfect sense there, but but for something like and not I guess like Blair Witch Project doesn't have a soundtrack because it's supposed to be found footage, so that it would be counterproductive, that would that was obviously a choice that he made to not have a soundtrack.

What what do you think is about that movie that makes it more or less impactful with or without a soundtrack. I think in that case, I think Hitchcock might have been embarrassed to be doing a animals attack movie, and so in order to downplay the fantastical element of that, you strip away the score for the film, and then it forces the audience to deal with it a little more realistically. So just like I, like I said, just like a score should complement a movie, like the way the costumes do. If not having a score works best for the film, I think it does in that case, probably the best example of no score for a movie. Although because you know, even you mentioned No Country for Old Men, you're right that the running time of that movie contains no music at all, does have a little bit of a score, though Carter Burwell does.

There is a theme from No Country for Old Men that plays over those end credits, so even that had a little bit of music written for it, whereas the as I think, has none. I just fact checked myself because I got paranoid, and yes, the original nineteen thirty two Frankenstein no soundtrack Failsafe by Sidney Lament. It makes perfect sense why it wouldn't have a score, because again, you're you're dealing with the intensity of this sort of nuclear showdown that's happening in this movie. And yeah, I guess you could have had a melodramatic sort of like swelling strings and stabs and things like that, but I think it works really well, And what a great deliberate choice by the filmmaker not to have music there to it increases the sort of claustrophobia of the movie and of all the events that are happening in that movie.

So I guess you know soundtracks can exist. You know, movies can can thrive and be popular without soundtracks. It's interesting. I never thought of it. This another soundtrack that fulfills everything you just said that contains no music is Dark Day Afternoon that had no music in it.

All right on one once again, if you want to throw your audience into the headspace of your characters, strip away the Fansom store that that is going to be leading emotion. I guess what's really interesting about that is that that is also a Sydney Lamit movie that didn't fail safe. Both didn't have soundtrack. Nobody throws away a score better than Sydney Lamented, although twelve twelve Angree Men didn't have a soundtrack. I wouldn't call it icnic, but a soundtrack.

Now we're going to talk a little bit about what would Father Malone was sort of railing against a little while ago, which is composed music versus curated collections. Now you know curated collections. I think we can we can agree as something akin to dazing confused as an example of a curated collection, or like I said, pulp fiction, reservoir dogs, anything by Martin Score says he's the He's the king of the collection, of the curated collection. Like So, just for the sake of our conversation, we're talking about curated collections like Martin Scorsese and not the Crow soundtrack. Woo.

That's a that's a tough. That's a tough, isn't it? And this is why I have been driving myself crazy for low these few weeks. In this wide arranging topic you've given us, the definition of curated can be a little flexible for our purposes. Here here I've made my choice.

I don't know if my choice fits in with your delineation as important as a distinctions it should it probably is. I'm gonna say, there's gonna be I'm going to offer a little bit of leeway in how we define that a curated collection is probably an unfair choice of words. I would say a song collection as opposed to a composed score. Is that? Is that a better way way of defining what those means?

No one of the filmmakers that planted the seats for Scorsese's approach the soundtracks is Kenneth Banger, who used soundtracks like curated sound you know, basically curated songs for all of his films until well almost all, like for like once, like Scorpio Rising. For sure. Um I believe would you say that curated soundtracks are your example of the best of that particular genre. It's pretty powerful. I mean, there's a lot of there's a lot of ones I would say are great.

I mean, I mentioned, um, I think less to my conversion be up there, I mean, to me, the big daddy. But this also reveals my biases a little bit. Is Returned the Living Dead, because I think that soundtrack is like you know it is, and I mean, and obviously there's a score to that movie too, So I don't know if that counts because there is like instrumental music, but all of the music, whether it's the curated part of it, the score part, all of it integrates so well and really I think heightens the feel of them movie. Which no matter why, you know, why you want to slice and dice, it's how you're approaching your your sounds. That's the goal with any kind of audio, as you want it to enhance the proceedings and just you know, give it that nice, lush kind of boost.

We well, let's get let's get into this. Then I did ask you guys if you could come armed with any I think examples of your favorite film scores and soundtracks as song collections, if you will. So is this am I to take that? This is this return of Living debt. Is is your example of a favorite song soundtrack?

It's on there? I mean, this is this is this is like a oh, it gets so hard for me because there's so many ones I love, you know, like there's so many great ones. Um. But as far as like non musical curated songs. Um.

And when I say that, because obviously, like you could say, well, you know, obviously like something like Tommy or a fan of the Paradise Is but those are musicals, so it's a little different. But um, though I will this may be a hottake. I think I actually even prefer Elton John's version of him a Lizard to the Who. I love the Who for the record, but John's commers tight. But I'm Amy fan.

I mean, I just can't get past like the image of him in the movie with like you know with with the big boots, you know, the I don't know, you can't get that awesome image. What are you talking about right now? Can't I can't do it. I can't do it. I'm I'm much I'm much happier envisioning The Who killing it at the Isle of White nineteen seventy, playing Tommy from beginning to end, just nothing but the four of them.

It just, you know, a force of nature. To me, to compare that to Elton John doing his best Elton John impression doing Look, it's fine. I don't think the song is bad by any stretch, But I to me like we're getting away from soundtracks a little bit. But the power, now that's my fault. The power of the Who doing it live, I think is still so iconic in my mind.

But before we delve further into esoterica, I just want to echo something that Heather said, because that soundtrack Return of the Living Dead is very high on my list of curated soundtracks, and that, to me is a case where I'm actually making an exception because I think somebody like Martin Scorsese, while he's shooting a scene, knows the song that he's putting in that scene from whatever time period it's from, whether it recontextualizes a scene or not. And that to me is what an actual curated soundtrack is, or at least a like a soundtrack kind of coordinator dealing with the director during the production of the movie, giving them choices. But I know for a fact that in the case of Return of the Living Dead, that Dan O'Bannon had no fucking idea about punk music and the punks when he wrote that movie and then and then made it, and so all of those songs were brought to him.

Is as it turns out, it's a perfect fusion of sound and image. Uh, like he could have he couldn't have done better in that case. So anyway, I just agree with you. Either it is a fantastic curated soundtrack for a movie. And and a lot of those songs, uh you know, it's it's diagetic and non diagetic.

Some of those songs play in the movie as source music, and some of them play over scenes, and it all works wonderfully. I got I got a question. Here's here's a whole other musical genre for soundtracks. How about the film that has a composer and a band attached to it like this weirdo hybrid like Highlander, which has a score by Michael Kaman but songs, My Queen, where does this rank in our papion? That Flash Gordon to me is a composed soundtrack.

It's a kindle. I'm not talking about Flashgarden, sir. You brought it up, you said, hire is what I said, which is a It's a hybrid of Michael Kaman's music and Kun songs, like the soundtrack to Dune, which has Toto doing the music, except Brian Eno came in and did a separate song for it. You know. Yeah, Batman Tim Burton's Batman, because I mean, you have Danny Elfman's score, but score married with these fucking songs.

Yeah, what about where does that call? HP? This is your show? The Batman thing? I think they're two totally separate soundtracks.

They may appear concurrently in the movie, but there was a Elfman soundtrack and there was a Prince soundtrack. So that's to me that that's where that ends. I've seen the future, HP, and it will be for the future and it works. Yes, yea, I love well. Here I'll tell you my example of one of my favorite film soundtracks that is a curated collection.

Just to give you some insight into where my head was at this. I chose the soundtrack to the movie Heavy Metal, adaptation of the seventies metal herdun With and it has to me the soundtrack is is it sort of accomplishes the brief of elevating and making the movie more interesting, but existing entirely separately of the movie if you need it to be. I mean that it's the first time I ever heard Dido with Black Sabboth doing mob Rules, which is an absolutely incredible scene where it's it's the attack, it's the last episode in Heavy Metal. It's Tarna. It's like the you know, the attack against the citizens of that planet or whatever.

And while it's not necessarily commenting on the events that are happening on screen, it absolutely conveys the vibe of there's this battle going on, no one knows what's happening. People are getting killed left and right. It's a crazy situation and it all works. I could say the same thing about Don Felder's Heavy Metal, the song heavy Metal as that be the Bomber coming in, where that's it's that song playing as the bombers under attack. And it has this real streamlined feel and feels very spacey.

Me. I knew you would pick heavy metal because you're a veteran of a thousand psychic. How do you look inside my soul and speak my truth? Father below? You know, I was going to bring that up, and this is why we're praying.

We had a conversation very early on our friendship that would basically share a brain. So that's just I'm not surprised. This is who we were hatched out of the same weird egg. I've got at a collected soundtrack HP, here's one American Graffiti. It's it's effectively a jukebox soundtrack, right, But you know he wrote every scene and you can look in his script and he wrote the name of the song in the scene, and there's there could be no better punctuation in each of the moments throughout that entire movie.

And it turns out it's a fucking great soundtrack of like collection of music of the time period, like all the coolest of that cool music. Anyway, I've said my piece because it works as a piece of nostalgia for that time and place, but it also, like you said, it has a way of commenting on the scenes that it's appearing in. It's very deliberately selected and curated. I think that's probably the alpha when you think about curated soundtracks, as American Graffiti even had both Man Jack as a character in the flick the I've spinning those spinning those planters. Absolutely, Heather, what what do you think about song collections?

What's what's what's one of your favorites if we're talking in like the school of something like American Graffiti. Um, I think Paul Thomas Anderson's score for Boogie Knights. If an unusual that the song Boogie Knights is not on the soundtrack to Boogie Knights, I don't, But yet we get the amazing Dirk Diggler's rendition of You've Got the Touch, which is that I believe is its Transformers. Oh sorry, sorry, I love how I do. God damn remember Megatron, guys, remember that scene.

It's horrifying. This probably wouldn't count, but I think it's Actually it's an interesting kind of hybrid because one one movie was an amazing soundtrack and it's both diagetic and non diagetic, and it's all the same band. Is um the movie that Slade did in Flame, which I don't think a lot of Americans have saying Slade. I mean it's it's actually really depressing. It's really good.

It's a very heavy, like gritty basically kind of like docu drama of Slade's band, but also just like how you know, just kind of seedy the music scene. It's and we're not talking your typical like rags riches seediness where you know it's cocaine and orgies. Now it's like you know, working class bands playing pubs and dealing with the mob, and you know, it's it's a I cannot and I think that movie has been long out of print. It needs to get back in prints. Slaves and Flame is excellent the soundtrack.

I mean, obviously it helps if you're a Slave fan, which I am. Um, I wish, I wish they would have been a bigger band over here, because I think most Americans just known for come on field of Noise and honestly, most Americans probably a war Fieler with a quiet riot cover the Slaves at this point. But um, but I mean Slade Slade were great now, yeah, but I mean that like, yeah, these kind of monkeys, you know, can't swing. Um, because I love you. I mean, Slave is such a great band and it Flame is a really great use of that of that band, of that music, and it's very effective too.

It's not just like, oh, here's a popular band, here's a music like it's there's a point in a purpose to it. Um. Another one that's actually kind of hitting me that I think would actually be a very good double bill with that film in a bizzarrow way would be Derek Jarman's Jubilee because there's some really great um punk like music and that in this sort of dystopian world. I mean, you have like early Susan in the band Chess and Adam and the Ants. You've got Jane County, who Goddess loves Jane County, and Jane County's great everything and she should that woman should be heralded from the stars.

And this guy great rock and roller. Um. So yeah, I mean that's the thing we have. There's so many films we can then well, yeah, leaning to the point that my allergies are kicking in, leaning into the punk direction. A wonderful curated soundtrack diegetic and non for me is the Sit Nancy Soundtrack, which features a lot of covers of songs like the Sex Pistols had done but had a fucking phenomenal uh song score and uh just score for the film by the Pogues and Pray for Rain and Joe Strummer.

It's a it's that's a that's a great one as far as I'm concerned, as far as UH cureted collections of tune like they had, you know, they had like three different bands basically write a song saying the name of the song is love Kills. Come up with something, and each of them did and there we go. So, oh my god. You know what one I can't believe we haven't mentioned Father alone an HP, I'm assuming you love this movie as much as I know we do, is get crazy good lord. Yeah, I mean it's a curated some They wrote all those songs specifically to be performed.

It's basically like, yeah, what's that calls? Okay? So insane, it's so wide ranging and crazy, like we're going to get too scores. We haven't even gotten to scores yet and that it's mind bending. I'm so mad at you.

HP. Well we're getting there. My My honorable mention, by the way, for song curated song collections is another one that I know is you probably already thought of it. One. This is a bit of having its cake and eating it too.

Father them alone. It's the soundtrack to the Warriors because you have Voon, Yes, well his because that's his work is so I keep using the word, but it's so iconic in that movie. You can't hear his synthesized, driven, moody, funky score and not think of the baseball Furies running down, you know, down the street with baseball bats and like murder in their eyes. It's fantastic. But you also have there's some great songs in the soundtrack.

You've got um Echoes in my Mind by a band called Mandrill, which is this incredibly sort of mellow, funky R song You've Got Nowhere to Run. It's it's amazing. What's his name there, mister Eagles? Oh um Joe was in the City's great that you can't hear that song and not think of the Warriors. I think that technically is an Eagles song, because I think I could be wrong.

I thought it was on an Eagles album. But you can't hear that song and not think of the Warriors. Finally making it to Coney, I will never the Eagles. When I hear that song ever, oh hell, now, now anything good the Eagles did, just put it on. Joe Joe Walsh is the man, well mother talents of people on that bad too.

Yeah, like Felder but you know to Felders fine actual the will Well. When we actually end up talking about yat Rock, one of the things that the yacht rock guys said, there's the best thing the Eagles ever did was break up because them solo on their own is it's kind of like it's the opposite of the you know, greater than the some of their parts. Basically, the parts are greater than the some of the whole. I think we can talk about the Eagles, but that's another topic. And yeah, well well but anyway, so as Father Malone said or entreated me to get into this, let's get into the big one.

Let's get into composed soundtracks. Okay, we'll want to again. I ask you guys to come armed with one of your favorite composed soundtracks. I'm really interested to see what you guys come up with here, Heather, why don't we start with you? I again, it's so hard for me to pick because I'm greedy and I love music.

Which is obviously we all do. That's why we're doing the show. Um, but uh, can I do two runners up before? Absolutely, I'm a greedy I'm a greedy girl. Um.

Lolo Schiffern's score for Dirty Harry I think is perfection. Love it, love it, love it, give me more. Also on my list Lalo Schiffern in general. So yeah, go to town. Amen, Yeah the man you could do no wrong.

The score and I'm gonna probably mispronounce the name, but I believe the band was called Snoia Caves for Beyond the Black Rainbow, the Pana's Cosmato's film. That's a gorgeous score. Also a Cantus score for Genre Launched Ship or the Vampires Perfect the Ammon Folk Orchestra for Subspecies. I'm doing more than two runners up. I'm sorry, I digress.

My number one is Mitchell firm score for Cafe Flesh because I obviously I'm a huge, huge Stephen Sadian fan who directed it, and that's why I'm working on a book about his art. But one of the many great things about Stephen is his use of music and working with a guy like Mitchell Froome, who on his own is a very talented musician who's worked in many different capacities, and his score for Cafe Flesh is hypnotic, at times, downbeat and others jarringly haunting at times, at other times also weirdly catchy, but very mutated, which is absolutely perfect. I cannot you could not make a Cafe Flesh without that score, like it is such an essential part, an ingredient of a film, but I already consider a masterpiece of a very vital part of cinema.

So yeah, Mitchell Firm's Cafe Flash. Nice nice father Malone Ian to hear what you have to say as well. I have so much to say. This is an almost incredibly unfair topic. I think we've been saddled with because I too, am going to go through a list because it's insanity.

Not too how about Lawrence of Arabia by Mauricia I mentioned him earlier has put it as one of the worst scores for his Ryan's Daughter score, but that one's really good. Stewart Copeland's score for Talk Radio is fucking phenomenal. Almost anything by Carter Burwell, who did the music almost all of the Cohen Brothers films. He is constantly into it. I my favorite of his is Miller's Crossing.

However, the score is sort of comped from an original Irish traditional called the Lament for Limerick. So if I had to pick a Carter Burwell one sort of specifically be raising Arizona. How about Georgio Moroder showing us what a soundtrack can also be. I mean they're been electronic soundtracks before his, but he certainly did it in a wonderful way. I'm not even thinking of the flashy or eighties ones like Scarface, which is a great one, but like Midnight Express is so tense, like amazing, like that score makes that movie a better, better movie.

John Barry's a really good composer, you know Goldfinger, like that one You Only Live Twice? Pretty great. And that one is where where the composer of the soundtrack for the film also effectively creates the song for the film, because they turn his whatever melody he's come up with that Bond movie becomes the song. That's kind of a feat that's pretty incredible. Anything by Bernard Herman is really good.

So here's where the fist fight comes in HP because I have somebody like John Williams in my mind, because who could be better than John Williams. Just every single movie is stuck in my head that has to be some sort of sorcery. But that doesn't make him my favorite score. The actual fight comes down to two. Jerry Goldsmith, who has composed some of my favorite music from all of my favorite movies.

The score for like Gremlin's which you don't even realize it until like forty minutes into the movie what that score actually is, and it's bonkers and it's so appropriate for the movie. Anyway, I love Jerry Goldsmith and I want to say he's my favorite composer and that's my favorite soundtrack, but it's not. My favorite actual composer is John Carpenter. Yes, oh that's crazy. Every one of his soundtracks are scores, and every one of them sounds inevitable when you hear it married with the pictures they're They're so good and propulsive.

My favorite of all time is Escape from New York, where it's a combination of all of his strengths as a composer, and he even defers he's got some debut say that he quotes in that soundtrack. It tells the story. It's what you mentioned earlier at the at the beginning HB. When you got that that Star Wars soundtrack home, you could relive the movie listening to that soundtrack, and you certainly can do that with Escape from New York. You know what every single scene is thanks to the music used there.

John Carpet had a quote I actually have would like to read if you don't mind, which is he said, I think of the orchestral stuff as carpet music. I lay a carpet under the scenes. It doesn't get in the way, and you're watching the scene and the music won't intrude on you. I describe my style as anti John Williams. His style goes back to Max Steiner, where you might emphasize every action and flourished, and I came from the minimalist school, to which I would say, that's a great quote.

But he's just as bombastic as John Williams. Is he crazy? The Halloween theme, Yeah, it's sort of minimally minimal, like instrumentation wise, but John fucking grabbing the viewer by the fucking throat. Oh god, the theme for Christine like that main piece of music. Beautiful, that's so good.

That's a that's an exquisite choice. There's I don't know the name of the music. But in Christine, it's the scene where UM is the football scene. Yes, yes, we talked about this not too long ago, where there's something like I think I played this for you on vinyl when you were in my home. Well, just something there's there's something about like the emotion of the scene because he's basically seeing you know, Arnie kind of making time with his girl so to speak or whatever.

He's distracted by it and that's when he breaks his leg. I don't know, there's something about the choices that he makes in that scene John Carpenter in terms of music that I just think is amazing. I just I just love it. Back we're talking about, by the way, is called football Run Slash, Kill your Children. It's great.

It's because the thing of Christine is it's you know, a lot of the showiness of that is when when Christine's radio comes on, and it's usually some kind of like old duop song that is commenting on whatever Christine's going to be doing in the moment. But his score is just phenomenal. Bravo. That's a that's a great one. I didn't even think of that, Um, but my choices I two had a lot of runners up, if you will.

Among the runners up, the soundtrack to played Runner vengelis phenomenal. I mean, it's basically it's not impossible to separate the soundtrack from the movie. They're just so inextricably linked in my mind, and each one makes the other one better. As a result, expanded my mind as to what an electronic score could be. Unrelated but similar.

Note in my mind, the Untouchable soundtrack by more Coney think I mean more Coney. Obviously he has this incredibly storied career, and you would think of The Untouchables as the latter day work, but it is so good. Something about the way that soundtrack works in the movie. There's a jauntiness but a darkness to it as well. The harmonica is so menacing, oh man, and the scene that the the sort of homage to Battleship Potemkin in the train station when all that stuff's going on, and like the sort of operatic score that he has built up around it.

Yeah, the Palma usually used Pino Donagio for most of his movies. And if you think in any way that Anio Marconi lapsed into sentimentalism, you have no idea because Pino Denagio is just like a wash in the sentimental So thank god any Marconi got the got the gig Fen touchables because it is again perfect marriage of film and of audio and visual. It's just remarkable. I could keep going. I mean, I would even put the original Tron soundtrack the Wendy Carlos Tron soundtrack because it was so because it's so groundbreaking, because it's easy to take for granted now when you have a synth score matched up against an orchestral score.

But they didn't have that. There was no way to sync those two pieces up. Yes, they didn't have the technology to really you know, matten. So it was My understanding is it was an ordeal just to sync up those two halves of the score. But it works brilliantly.

I mean, Wendy Carlos is is a trailblazer beyond that, I mean just in the in the world of electronic music, she is the name. I mean, we wouldn't have electronic music and it wasn't for Wendy Carlos. And from a time when you had to program every one of those notes, it's not that's the thing, not like flipping on the synth. Now you had to not only that, you only had there are only you know, basically three types of sound. There was sawtoothed us uh sign wave or a square wave, and white noise.

And the keyboards were all monophonic. In other words, you can't you couldn't play a card before you know, anord. You had to play every note one at a time, record it, play it back, play along with it, multi track multi It's just that's a story for another episode. Clearly, the reason I bring it up is to sneak back around and praise my choice again because John Carpenter had to do the same thing. I can't say this is my favorite soundtrack of all time, but this is certainly one of my favorite soundtracks is the soundtrack to the original movie Rocky by Bill Constei.

And part of the reason that it's it's it's I recognize that it's a much more popular choice, but it is. It's impossible. It's one of the most identified themes when you think of going to fly. Now it's it's a cliche. Now when you have a comedy routine about somebody training for a fight or doing some sort of physical activity, you know, there was a time when they would que up Gonna Fly Now because it was so the the training montage became a thing with Rocky, but beyond the obvious sort of like I said, massive market appeal of that song.

The soundtrack itself, I think doesn't get a lot of credit for what it does, which is what it What it does is it really elevates the original story and it's something that is both incredibly epic but also like painstaking the human size because if you listen, there's a lot of bombastic songs like Gonna Fly Now, Going the Distance and all this stuff, but then there's like softer pieces that kind of underscore the the the human sort of emotions around this whole movie. It's really a movie about you know, flawed people kind of falling into each other's orbit and you know, making each other better as a result. My favorite, my favorite track in that is HB What's that Take It to the Zoo? But remember what I thought, would you tell me that's that's a well I it's it's so.

I mean, you know, I can't say much about Bill Conti's work before and after. The thing I know him most from, frankly, is the fact that he was the bandleader for the Oscars for like fifty years or something, because they would always go, there's the Maestro, Bill Conti whatever. And I think he did the soundtrack for the Karate Kid. I'm sure I'm missing a lot that he did, but oh yeah, he's very prolific. But Rocky is It's almost it's really almost a cliche at this point, but it is so again, it's one of those soundtracks.

You can put it on the record player, as I did as a child, and you hear this music and it takes yours. That the the fanfare, the Rocky fanfare. If you're in the you know, it gives me chills even now to listen to it because it is so grandiose. He lifted the story and made it bigger and larger than life. And I think that's part of what carried through all of the Rocky movies to follow it.

They became larger than life. Those movies have actually lived up to that scar absolutely that that's exactly right. It's hard to score. It's actually not about an everyman. It's about the greater man.

He'll be right exactly exactly, and that's why that's you know again, it's impossible for us to give our our final definitive. This is my favorite soundtrack, but that is one of many that are in my orbit constantly. So HP, yes, if you would allow me to hijack a segment here based on were your choice, I'm Gonna Fly now represents the rare hybrid of song score popular music in that that track, the main title theme became a number one hit in May of nineteen seventy seven. Right, So, here are some other movie soundtrack scores that became hits. Unchained the soundtrack to Unchained by Less Baxter, Unchained Melody April ninth, nineteen fifty five, number one.

Man with the Golden Arm main soundtrack by Elmer Bernstein, number fourteen. That was February thirteen, nineteen fifty six, the proud one soundtrack to that by Lionel Newman of The Newman's He got to number thirty nine. The Apartment by Adolph Deutsch got to number ten. Exodus theme from Exodus nineteen sixty Baby Pink Panther theme Fancini two got to only number thirty one. That shocks me.

It's unbelievable that next big movie soundtrack to chart was Jaws theme from Jaws to number thirty four, Okay, then Rocky blows It All wide and Ghost to number one in seventy seven, Later in seventy seven, number ten in August, Star Wars theme by John Williams, and then the following year January twenty first number thirteen on the charts, Close Encounters theme by John Williams, which is the last major movie score to chart in the Billboard charts. Anyway, that's actually pretty shocking to think. I mean, did you say nineteen seventy seven was that when that last seventy eight no film scores? I mean a lot of song collections have charted, but no film scores. I mean you could say axel f.

I guess that that counts, but like I don't want to count, like win Beneath My Wings. You know we're talking about it like a score. Yeah, yeah, know that this is this is something that is you know, composed and performed by it by by an orchestra, and it surprises Oh you know what what am I talking about? The the the Van Gelis score for Chariots of Fire had to chart some very high had had to yeah, because that was that was omnipresent at that point. But name another one since can you know?

So for the final final spin, I'm gonna ask the question what would the soundtrack to your life be called? And who would be the preferred composer? And I'm gonna ask you first bottom alone. Oh, I don't know what the title would be because that that presupposes that there would be a movie. Or is it one of these situations like where the soundtrack has a separate title than the movie, like the soundtrack to the Last Temptation of Christ by Peter Gabriel is actually called Passion, so is it?

Yes? Oh that's a great Oh my good lord. Let's let me let me that's thank you for clarifying. Let's put it this way. Uh, the movie of your life, what's it call?

And who's going to compose the soundtrack? It's going to be called background player? Okay? Title? I actually really that that's very literally.

I think that might be better than mine. Yeah, And if I get to choose the composer from the soundtrack of my life out of left field, I'm going to choose Mark Mothers. Yes, oh I was. I was tempted to go from Mark Mother's bos but but I'm glad you picked him. I mean, he's not my favorite composer, but he's pretty fucking close, you know.

He has such a great background in just the world of music, and all of his scores are really rock solid and good. Like Elfman gets all the attention, but Mother's Buds are really like right on top of it. That's an excellent choice. That's a good one. That's a very good choice.

All right, Heather, I'm dying to hear what you have to say. On the side. The title was the hardest part for me, to be honest, because um, I would never just the thought, even though even as a hypothetical like a moving on my life gives me I'm like, oh no, like you know. But but if we're plain hypotheticals, the title would have to be Mondo potso okay, because that was not just because that title, uh was the genesis of the inspiration of me taking on Mondo as a name back when I saw the trailer for it on Real Wild Cinema as a teenager. Uh.

And that's a great trailer and a great sort of bombastic narration. But the composer, I have to pick the one and only my man, Mark Garson and say, somebody might be listening like Heather. Oh no, it's okay. I was gonna say more Garson as well, again, this is all right. Let's I should have said somebody living, because I don't believe more Garson.

No he's not. This is my movie. I will, I will, I will practice the dark arts of necromancy. Sir. It's a get.

It's a good one. That's a good one. I like I said, I was. I had him typed into the movie and then I said no, no, no, he's dead. I couldn't do that.

I missed the living part. If I had picked a living one, it's my fault. I didn't. I didn't. Well, then I'm sticking with more Mark Garson babies.

No, that that's that's great. I think we will. We will get a chance to talk about the Wizard of Is at some point, hopefully soon, and we will well. He also did a film soundtrack. He to myology is at least contributed to two films.

Uh the better, No, I want to sun a Blob which that title track is Purifier, but also there's a really obscure movie and a stads tracks. Finally, in print, the movie is not called didn't you hear? And we will dig into Mark Garson, probably to Father Malone's eternal schugrin, because we're just gonna go crazy talking about him. I love the guy. Uh, this was this is not easy.

The the the title, Uh, it's it's not as good as as yours, yours or Father Malone's. My title was just going to be something to the effect of fanfare for the exceedingly common man. Yeah, I love that. I love that. I just couldn't.

I couldn't think of anything else. And I think my my composer, although he's not a composer in the vein of somebody like a John william but I would like to see what this person would do with the soundtrack of My life. That person is Christopher Guests of This is Spinal tab Goffman Fame. I think he is. He's a very very good musician.

I think in his movies, especially I'm thinking of a mighty Win, he's able to write to a specific genre or period and make it really work, but also make it really interesting and funny and commenting on the events of the movie in addition to being very authentic. I'd love to I'd love to hear a dramatic score by Christopher Guest Honestly, I don't know why he doesn't, because he is. He's a very good musician. I just don't and I've read articles over the years. This is just a complete side doown that he does perform and does like Celtic music.

I think he plays a lot of mandolin. He does side projects with different people. But to my knowledge, I've never come across these as you know, bodies of work that you can purchase, like, you know, like like something like a Bacon Brothers. There's no Christopher Guest collection that I can get outside of his movie soundtracks or or whatever spinal tap project they're doing to keep the copyright you know, enforced. So I don't know.

I'd like to see what he can do with it. It's proof there is no God that the Bacon Brothers are readily available in the Christopher Guest styling. Okay, Rococo now okay. And with that, I think I think there there is no better sentiment to wrap up the show on. I love that.

Uh, we're gonna go ahead and wrap it up here. We're gonna give some plugs, Uh, Father Malone, why don't you tell the folks where they can hear you? You can head over to weirding Way Media dot com. It's probably where you heard this, where you can hear this show, and I do a whole bunch of other shows like Astounding Tales of the Public Domain nos are enhanced audio performances of classic sci fi or dark Destinations. It's a half hour radio drama I right and produce or Midnight Viewing The Night Gallery Podcast where I talk about the Night Gallery television series.

Weirding Waymedia dot com and Heather, Where can we find you? You can always find me over at my website, which is Mondo Heather dot com. I also have a Patreon, so if you'd like, if you're able to support, if you can't know words, but you if you're able to, you can check out my my fun articles, little sundry supplementals, occasionally videos, and all kinds of just weird. Oh Mondo Heather or Monto, Patsos Terrik it too. That's great As for myself, you can also find me and the all over the weirding Way network as well.

I am the co host of the Wolf and Raising Banna Check podcast with fadom Alone. We also co host the Night Mister Walters Taxi Podcast. I've done some guest spots here and there on the Culture Cast, so look for me there and uh yeah so again weirding Way Media. Go check it out. So thank you both very much.

Another wonderful discussion here, really really uh good good, some good stuff. I look forward to the next edition of the Movie Soundtrack Discussion. But anyhow, for myself, for Heather, and for Fadom alone, this is noise junkies. Thank you very much for listening.