Raising Arizona / Blood Simple


Film | Data wydania: 13/03/1987 | Format: CD, Płyta winylowa
 

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# Tor   Czas
Raising Arizona (1987)
1.Introduction - A Hole in the Ground0:32
2.Way Out There1:53
3.He Was Horrible1:26
4.Just Business1:13
5.The Letter2:24
6.Hail Lenny2:12
7.Raising Ukeleles3:37
8.Dream of the Future2:25
9.Shopping Arizona2:43
10.Return to the Nursery1:27
 
Blood Simple (1984)
11.Crash and Burn2:38
12.Blood Simple3:30
13.Chain Gang4:45
14.The March3:30
15.Monkey Chant1:02
16.The Shooting2:48
17.Blood Simpler1:21
 39:25
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Raising Arizona / Blood Simple - 06/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
While most people see the directors/writers/producers Coen Brothers as well as composer Carter Burwell as products of the late 90's, this album clearly indictates successful careers that spanned back even further. Raising Arizona and Blood Simple were the Coen's first two films and were a typically successful blend of oddball characters, twisty plots and dead pan humour which has marked their best work. Film makers are often required to work under limited budgets and judging by the short list of instrumentalists (only four for Blood Simple and one of them is Burwell himself on keyboards) this extended to the music.

Raising Arizona is first on the album, although was chronologically their second film (in 1987) and is definitely the best half of the album for my money. The small ensemble is essentially a blue grassy kind of get up with a few additions. After an atmospheric opening, Way Out There introduces a bit of foot stomping bluegrass banjo fun, which adds one of the more curious extra instruments, John Crowder, yodeling. Raising Ukeleles adds ukeleles with the yodeling, the result sounding like an outtake from a Slim Whitman album and is great kitchy fun. Just Business is a short percussive rhapsody which might well have been more or improvised live to the picture. Alongside the more kooky elements are some more refined moments, such as The Letter which uses soothing synth pads onto which is grafted a darkly romantic piano solo. Burwell gets the most out of his synthesisor with Hail Lenny which uses the orchestral hit as a well of adding some deal of menace to a track which also features all sorts of snippets from a soprano to electric guitar.

Due to the extremely limited ensemble, Blood Simple just can't quite compare in the range of styles and sounds that Burwell is able to conjur on a bigger budget. Several of the tracks revolve around subdued synth backing lines that tend to meander around somewhat. In fact the closest comparison I can think of off hand is comparing it with Fiedel's Terminator music; mechanical and synthesised. Chain Gang features some modestly interesting sampling or what sounds like a crowd cum orchestra jeering and shouting, but faded in and out with the effect that it sounds like the music is drowning them out from time to time. After this point, the synth pads of the first few cues give way to a few more interesting ideas, a piano adds to the colour in march and Monkey Chant is a short excerise in jungley percussion. The piano reprises ideas from The March during Blood Simpler to provide a quiet conclusion.

There were occasions during Raising Arizona when I couldn't help but feel this might be how Burwell might have scored The Good, The Bad and the Ugly. The solo soprano, the whistling and generally off the wall orchestrations are all very much something endorsed by Morricone, even if Morricone reaches heights of elegaic beauty that Burwell doesn't really set out to achieve. Burwell is almost always surprising and these two scores are quite different in tone and character. Even if Blood Simple isn't always terribly interesting, the entertaining wackiness of Raising Arizona has enough confidence, fun and inspiration to be worth repeated listens.


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