A very happy birthday to Angelo Badalamenti the amazingly non-Oscar nominated scorist of 75 films -- best known for his work with David Lynch from Blue Velvet onward. No Elephant Man, no Dune, no Eraserhead. But hasn't it been since these films -- though gems all -- that the true Lynchian world has emerged? And each masterful director knows that half the cinematic experience is music.
Would I cry when Yoda raises the X-Wing from the Dagobah swamp without John Williams?
Would I cry when the Cadillacs of the sky buzz by without the very same John Williams?
Where is Edward Scissorhands, Beetlejuice, or Batman without Danny Elfman?
And where would a small milltown with a murdered prom queen... a young man caught-up in the kidnapping ear-snipping love triangle... an old man on a tractor... a pair of lesbian starlets... ironing bunnies... Julee Cruise... or the J.G. Ballard (second ref to the man in this post) collaborations be without the man himself, Angelo Badalamenti.
"Twin Peaks" is probably his musical masterpiece. Badalamenti brought intense multi-track scoring complete with character oriented themes, leit motifs that cued the presence of the supernatural, roadhouse performances, drug addled over the border brothels, and the perfect combination of romance and suspense. The sounds of "Twin Peaks" are as memorable as it's backward talking dwarf, the Log Lady, its stoplights, its blowing Douglas Firs, ceiling fans, donuts, flickering lights, and un-hung dear trophies. The relentless soundscape elevated this program from mere soap opera to a level of television never witnessed before: film quality in hourly doses. It did what only music could do -- dance between two worlds with the shift of a key or the change of tempo.
Badalamenti paved the way for the likes of Thomas Newman's work with "Six Feet Under" and Michael Giacchino's work on "Lost." The music of television has never been the same -- and used properly -- lofty stories are granted the poetic soundscape to make each episode a true feast for the senses.
So I thank you, Angelo. I thank you for letting me fall in love with Audrey Horn. Thank you for "Rocking Back Inside My Heart." Thank you for creating perfect cover material for Anthony and the Johnsons. Thank you for meshing perfectly with Bowie. Thank you for being with Lynch -- no matter what the tale required.
Thank you for City of Lost Children -- and the beyond minimalist score from Eyes Wide Shut... which truly borders on psychosis -- but ends up being perfect for Kubrick's last.
I listen to you with revery and respect.
Happy Birthday, good sir.
- Matthew J. McCue
No comments:
Post a Comment