{"id":5010,"date":"2012-06-02T13:30:18","date_gmt":"2012-06-02T17:30:18","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5010"},"modified":"2012-06-02T13:30:18","modified_gmt":"2012-06-02T17:30:18","slug":"cd-mccullochs-the-1975","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5010","title":{"rendered":"CD: McCullochs, The (1975)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>M<\/a><\/p>\n

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\"\"<\/a>Rating: Excellent<\/p>\n

Label:\u00a0Monstrous Movie Music<\/a> \/ Released: March 27, 2012<\/p>\n

Tracks & Album Length: 29 tracks \/ (39:47)<\/p>\n

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Special Notes: 16-page foldout colour booklet with extensive liner notes \/ Limited to 1000 copies.<\/p>\n

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Composer: Ernest Gold<\/p>\n

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Review:<\/p>\n

Monstrous Movie Music\u2019s production of this little-known Ernest Gold score is mastered from near-pristine stereo elements, bringing out all the nuances of Gold\u2019s skillful writing for what CD producer David Schecter characterizes as a character film wrongly marketed by AIP to the youth market as a take of hot & bothered southern spoiled brats.<\/p>\n

Written, produced & directed by Max Baer, The McCullochs<\/strong> \/ aka The Wild McCullochs <\/strong>was a deliberate tribute to The Quiet Man<\/strong> (1952) and Giant<\/strong> (1956), and although set in 1949, Gold\u2019s score only lightly evokes the period, mostly through jazzy source songs, and rather boisterous cues like \u201cDrag Race,\u201d with its furious march and mocking brass eruptions redolent of fifties comedies.<\/p>\n

The score isn\u2019t a western, per se, but its central theme deliberately harkens back to the sweeping western musical landscapes of the fifties, and that gave Gold direct license to write in a modern style, easily crafting striking theme variations for opposing moods, and source cues spanning jukebox music, church organ solo, and bits of Americana (most of which are collected in the Bonus Tracks gallery).<\/p>\n

The most striking aspect of the score is the sheer finesse which bleeds from every cue. Obvious melodrama in cues such as \u201cIt\u2019s Your Life\u201d are earnest and affecting instead of clich\u00e9d, and while the CD does feature apparently every note of music (including short-short bridge cues), the standout material is where Gold infers emotional grandeur and seething conflict through rich orchestral colours.<\/p>\n

In a way his rousing main title theme is perfunctory \u2013 it\u2019s the core fulfillment to Baer\u2019s request for a melody recalling the film\u2019s aforementioned cinematic inspirations \u2013 because the richest material lies in the grey-coloured cues which add subtext and dramatic anchor points towards the finale\u2019s character clash. Even with no knowledge of the film, \u201cArrest\u201d is filled with details and portent, whereas the two montage cues glide between militarism, tenderness, angst, and gentility. The intricacies within the deceptively simple \u201cMontage 2\u201d are always astonishing \u2013 particularly the peculiar effects by elliptical flutes \u2013 and it\u2019s unsurprising Gold was writing concert and classical music in between scores during the seventies. The details within his writing are exceptional, yet each cue follows the emotional progression of the characters without verbatim theme restatements.<\/p>\n

MMM\u2019s CD is a real treat, and Shecter\u2019s liner notes give a full overview of the film\u2019s genesis, theatrical release, Baer\u2019s aspirations, and the film\u2019s failure at the box office. Gold\u2019s cues receive specific breakdowns, and the composer also receives a compact bio sketch for those unfamiliar with the marginalized composer. Gold\u2019s best-known score remains Exodus<\/strong> (1960), if not scores for films by his longtime collaborator, director \/ producer Stanley Kramer (It\u2019s a Mad, Mad, Mad, Mad World<\/a><\/strong> [M<\/a>]), but because so few of his scores were released on LP during his lifetime, it\u2019s easy for CD producers to forget his substantive C.V.<\/p>\n

The McCullochs<\/strong> isn\u2019t a long score \u2013 separated from the bonus source cues, it runs just under 29 mins. \u2013 but it features an easy sampling of Gold\u2019s brilliance as composer, orchestrator, and arranger (including bouncy jazz cues). The tight cue sequencing maintains a relatively smooth flow in spite of there being a number of short-short cues, and the only complaint lies in the rapid denouement, perhaps tied to the film\u2019s structure, and tight budget.<\/p>\n

MMM\u2019s CD was also released in tandem with Gold\u2019s Ship of Fools <\/strong>(1965).<\/p>\n

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\u00a9 2012 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0M<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ M . Rating: Excellent Label:\u00a0Monstrous Movie Music \/ Released: March 27, 2012 Tracks & Album Length: 29 tracks \/ (39:47) . Special Notes: 16-page foldout colour booklet with extensive liner notes \/ Limited to 1000 copies. . Composer: Ernest Gold . . Review: Monstrous Movie Music\u2019s production of this little-known […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[741],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1iO","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5010"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5010"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5010\/revisions"}],"predecessor-version":[{"id":5013,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5010\/revisions\/5013"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5010"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5010"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5010"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}