February 21, 1993
"Soundtracks are hotter than ever," begins the intro to Michael Walker's piece on recordings of music for movies ("The Hills Are Alive With the $ound of Movies," Jan. 31). Ah, I thought, someone was listening when I wrote my letter (Jan. 24) on the lamentable lack of coverage about instrumental soundtracks. Wrong! Documenting how little attention is paid to the composer, there was mention of the Bryan Adams song from "Robin Hood: Prince of Thieves," the duration of its stay on the charts and its estimated sales.
August 17, 1997
Mark Swed's feature "The Marriage of Classical Music and the Movies" (July 27) should have been titled "The Mirage of Classical Music and the Movies" since, historically, the majority of film scorers more often than not have pilfered, debauched and watered down distinguished compositions by celebrated composers. PHILLIP LAMBRO Los Angeles Swed performed a real public service, but his observations would not be complete without mention of two of the most ubiquitous pieces of music to grace the screen: Pachelbel's Canon and Carl Orff's "Carmina Burana."
October 17, 2002
Thanks for finally tackling the question of noise, even if it's New York's noise (Oct. 13). Perhaps now someone will build a defense against the deafening decibel level of our movie theater soundtracks. When I took my 4-year-old grandson to his first film, as soon as the sound came on, he ran out of the theater crying and holding his ears. I know how he felt; many of us now take ear plugs to the movies. If it's true that most movies are made to target the teen audience, then why is the soundtrack geared for the hard of hearing?
November 7, 1999 |
Is Hollywood enters a new millennium, few doubt the film industry's ability to maintain its high artistic standards. What is of concern, however, is the industry's ability to hold down costs and to commit its precious resources to projects guaranteed to turn a profit. This is why the future of motion pictures lies not in more beguiling effects, more spellbinding plots or charismatic performers, but in niche marketing and creative cost-cutting.
July 24, 1995 |
Electric Flag, "Old Glory: The Best of Electric Flag," Legacy/Columbia ** 1/2. Featuring guitarist Mike Bloomfield and singer Nick Gravenities, this group created a stir with its bluesy blend of jazz-rock. Bloomfield left after one terrific 1968 album, "A Long Train Comin'." The follow-up, "The Electric Flag," was terrible and the group flamed out. Fortunately, "A Long Train Comin' " dominates this collection, which also includes some so-so previously unreleased material.