Movie Music Monday – Young Guns II

It was on this day in 1881 that Billy the Kid was shot dead by police.

His story is one of fascination and uncertainty. Eyewitness history says that prior to his death “Billy worked as a ranch hand for John Tunstall. Tunstall befriended the Kid acting in many ways as a surrogate father. Tunstall’s ambush and murder in 1878 by a sheriff’s posse set the Kid off on a path of revenge. His first victims were the sheriff and his deputy, killed from ambush on the streets of Lincoln. On the run for two years, the Kid was eventually captured, tried, convicted and returned to Lincoln to hang for the murders.

On the evening of April 28, 1881 as he was climbing the steps returning him to his cell, the Kid made a mad dash, grabbed a six-shooter and shot his guard. Hearing the shots, a second guard ran from across the street only to be gunned down by the Kid standing on the balcony above him. Mounting a horse, he galloped out of town and into history.”

After his escape he was pursued by sheriff, Pat Garrett. “I knew the desperate character of the man,” Garrett later wrote. “That he was daring and unscrupulous, and that he would sacrifice the lives of a hundred men who stood between him and liberty, when the gallows stared him in the face, with as little compunction as he would kill a coyote.”

That July, Garrett and his deputies followed the outlaw’s trail to Fort Sumner, New Mexico, and to a ranch owned by Peter Maxwell. On that fateful night, Garrett snuck into Maxwell’s home and found the rancher in bed. There, in the dark, the sheriff suddenly heard someone else approaching. He hardly had time to react when a shadowy figure appeared in the doorway and demanded in Spanish to know who else was there.

“That’s him,” Maxwell whispered to Garrett, so the sheriff raised his gun.

Billy the Kid died that night at the age of 21, shot near the heart as he lurched into Maxwell’s bedroom. But despite several people coming forward in the subsequent days to identify his body, it didn’t take long for rumors to circulate that Billy the Kid had actually escaped death — again.

Emilio Estevez starred as Billy the Kid in the 1988 film, Young Guns and the 1990 sequel. A third installment is currently in the works with Estevez returning again as the Kid.

For the sequel, Emilio Estevez asked Jon Bon Jovi for permission to use the song “Wanted: Dead or Alive” in the movie. Bon Jovi didn’t feel the song’s lyrics were appropriate; however, he was inspired by the project and resolved to write a new song for the film that would be more in keeping with the period and setting. He quickly wrote the song “Blaze of Glory”, and performed it on acoustic guitar in the Utah desert for Estevez and screenwriter John Fusco. John loved it and put it in the movie.

Fun Fact: Bon Jovi wrote the song on a napkin in a diner on the set of Young Guns II. Emilio Estevez has it framed on a wall at his home.

Bon Jovi ended up recording a whole album of songs inspired by Young Guns II, which was released a week after the film and also called Blaze of Glory. It was his first solo album, and it sold over 2 million copies. To play on the album, Jon recruited some big names, including Elton John, Little Richard and Jeff Beck, who played slide guitar on this track.

Sources: Songfacts, All That’s Interesting, Eyewitness History.

Movie Music Monday – Dragnet

Nine notes. Nine notes that are still recognizable today. Broken into two parts – 4 notes, then 5 notes. “Dum da dum dum” (Pause) “Dum da dum dum da.” Those notes were immediately followed by a stern narrator who informed listeners, “Ladies and gentlemen. The story you are about to hear is true. Only the names have been changed to protect the innocent.”

On this day in 1949, Jack Webb debuted on radio as Sergeant Joe Friday in Dragnet. He created and produced the show as well. Wiki states that “Dragnet is perhaps the most famous and influential police procedural crime drama in American media history. Webb’s aims in Dragnet were for unpretentious acting and a realistic depiction of policing. The series portrayed police work as dangerous and heroic, and helped shape public perception of law enforcement in the 20th century, improving the public’s opinion of police officers.”

The radio show was so popular that it made the transition to television. It ran on NBC from 1951 to 1959. NBC brought the show back to television from 1967 to 1970. It first appeared as a feature film in 1954. It became the first theatrical film to be based on a TV show.

Check out this trailer!

A TV movie was produced in 1966 with the intention of it launching the return of the show to TV. It didn’t air until 1969 for some reason. The final film version made Dragnet a comedy starring Dan Aykroyd and Tom Hanks.

Wiki says “The film contrasted the terse, clipped character of Friday, a hero from an earlier age, with the “real world” of Los Angeles in 1987 to broad comedic effect. Apart from Aykroyd’s spot-on imitation of Webb’s Joe Friday and Harry Morgan reprising his role of Bill Gannon (now Captain), the film version has few similarities with previous incarnations. This Dragnet parody was a hit with audiences.”

Dragnet was no stranger to parodies. It was parodied by Looney Tunes, Woody Woodpecker, Sesame Street, The Three Stooges, Rocky and Bullwinkle, and a series of audio parodies by Stan Freberg. Jack Webb loaned Stan the actual band/orchestra he used on radio for his parodies.

As I mentioned, the theme is instantly recognized today. For the 1987 film, producers got the British band The Art of Noise to perform it. The them is actually two songs merged together. The opening is entitled Danger Ahead, and what follows is the Dragnet March. The Art of Noise version is very …. 80’s.

The first “hit version” was done by Ray Anthony and His Orchestra in 1953. It starts very familiar and gets a bit “jazzy.”

And to start your Monday with a laugh or two, here are a couple of Stan Freberg’s Dragnet parodies. Notice how the music “stabs” were used to enhance the story, just like on the radio.

Happy Birthday, Dragnet!!

Movie Music Monday – Great Balls of Fire

It was on this day in 1989 that Dennis Quaid hit the big screen as Jerry Lew Lewis in Great Balls of Fire.

The film covers the early career of Lewis, from his rise to rock-and-roll stardom to his controversial marriage to his 13-year-old cousin. That marriage led to his downfall. Until the scandal of the marriage depreciated his image, many had thought Lewis would take over Elvis Presley as the “King of Rock and Roll” in the 1950s.

The story was co-written by Myra Gale Lewis (her autobiography Great Balls of Fire!), the former wife of Jerry Lee Lewis, with Murray Silver. Despite this, co-writer Silver was upset by the lack of accuracy in the film, claiming it was “phoney”.

Lewis openly stated that he hated the film and the book it was based on. He did, however, praise Quaid’s portrayal of him in the film, saying “he really pulled it off”. Quaid even learned to play “Lewis-style” piano for the role.

For the soundtrack, Lewis re-recorded some of his music from the 1950s. The songs included “Whole Lotta Shakin’ Goin’ On,” “That Lucky Old Sun,” “High School Confidential,” “Breathless,” and the title track.

Overall, the re-recordings aren’t bad. Jerry Lee’s voice still sounds great and the sound is pretty close to that of the originals. Many of them are longer and contain extra solos, which is actually neat to hear.

I could pick a few from this soundtrack, but I’ve gotta go with the title track. Here are the versions from the film, the soundtrack and the original hit.

Movie Music Monday – Batman

It was on this day in 1989 that Michael Keaton hit the big screen as Batman. Jack Nicholson was chosen to play the Joker.

Growing up, my only knowledge of Batman was from cartoons and the 1966 series. When the previews came out for this, I was very apprehensive. It was darker than any previous incarnation of the character I had seen.

I remember being one of the “hold outs” who didn’t really want to see the movie. My girlfriend at the time wanted to see it, so I eventually caved (pun intended) and went to see it

I truly loved the movie. Keaton was actually pretty good as the title character. Nicholson was, of course, fantastic as the Joker. He kind of stole the show, as they say.

The opening theme from Danny Elfman perfectly fits the movie. His music throughout the film seemed to enhance the scenes they accompanied. Then there was the “other” soundtrack.

From Songfacts.com:

Because of the abundance of music available for the movie (Danny Elfman of Oingo Boingo created the instrumental score), there were two soundtrack albums: Elfman’s and Prince’s. Everything that Prince composed for the movie, whether it was used in the film or not, went onto his album, including “Batdance.”

Director Tim Burton asked Prince to contribute songs for his Batman movie (at the time, he was using “1999” and “Baby I’m a Star” on a temporary soundtrack). Prince accepted while watching a rough cut of the movie and noticed four places in the film that would be “natural” locations for his songs.

Prince canceled a scheduled Paris vacation to write and produce songs for the movie. A month after the meeting with Burton, he played the director eight songs, all of them synchronized to the film. Burton rejected some of them (including “Rave the Joy Fantastic,” and “200 Balloons”), but liked most of what he heard and asked for two additional songs. “Trust” and “Partyman” were quickly offered by the Purple One. In the end, six Prince songs were used in the film.

“Batdance” was not used in the movie, and Prince never offered it up. Comprised of bits Prince pieced together overnight from music, sounds and dialogue from the movie, it served as a companion piece for the film and was essentially promotional vehicle for Batman.

Batdance was Prince’s first #1 hit since “Kiss” in early 1986. It seemed to be on every radio station around this time and did help boost the popularity of the movie. Personally, it didn’t do much for me.

Elfman’s theme, however, was a cut that I just loved! That entire build up until the opening chord (:40 seconds in) builds so much suspense. When that chord ceases and the theme continues it foreshadows the action that the film will present. It’s so good.

Happy 36th Anniversary, Batman!

Movie Music Monday – Grease

47 years ago today, Grease opened in theaters starring John Travolta and Olivia Newton-John. In its opening weekend, the film grossed $8,941,717 in 862 theaters in the United States and Canada, ranking at number 2 (behind Jaws 2).

The soundtrack album for Grease featured some original songs (Grease, Summer Nights, You’re the One That I Want) and covers mostly sung by Sha-Na-Na (Blue Moon, Hound Dog, Tears on My Pillow). It wound up being the second best selling album of the year. The soundtrack that was number one was from Saturday Night Fever, which also starred Travolta.

Fun fact: Two of the bass players who recorded on the Grease soundtrack were members of the band Toto.

Olivia Newton-John’s contract for Grease stipulated that she should have a solo spot. However, nobody had any ideas for a song for her character, Sandy, until Olivia’s producer John Farrar came up with “Hopelessly Devoted To You” halfway through the shoot. Director Randal Kleiser wasn’t wholly convinced by the song at first and had to come up with an entirely new scene to fit it in. It was eventually filmed and recorded after the movie had wrapped and it earned the film’s only Oscar nomination, for Best Music – Original Song.

John Travolta evoked this song when he introduced the In Memoriam segment at the Oscars in 2023, seven months after Olivia Newton-John died of cancer at 73. “In this industry we have the rare luxury of getting to do what we love for a living, and sometimes getting to do it with people we come to love,” a tearful Travolta said. “They’ve touched our hearts, they’ve made us smile, and became dear friends that we will always remain hopelessly devoted to.”

Movie Music Monday – Back to the Future

Michael J. Fox celebrates his 61st birthday today. He started acting as a child in the 70’s, but his role as Alex Keaton on Family Ties in the 80’s made him a star.

The role of Marty McFly in Back to the Future was first given to actor Eric Stoltz. His performance didn’t fit what they were looking for and he was replaced by Michael J. Fox.

Fox was the original choice to play Marty. Producers gave the script to the producer of Family Ties and asked him to give the script to Fox. They didn’t. After shooting scenes with Stoltz and deciding he was wrong for the part, they approached the Family Ties producer again. This time he told Fox that he was wanted for a role. They also told him he could take it as long as filming didn’t interfere with his work on Family Ties. Fox accepted the role without even reading the script.

Michael would film Family Ties during the day and Back to the Future at night until production ended on Family Ties. This left him exhausted, but according to him “Worth it.”

Huey Lewis was approached to write a song for the movie. He contributed Back In Time and The Power of Love.

My favorite cut on the soundtrack is the version of Johnny B. Goode that Marty sings at the dance in the film. Producers wanted audiences to think that it was Michael singing the song, so they never gave credit to Mark Campbell who is really singing.

Fox was taught how to look like he was playing guitar, as well as mimicking the moves of Jimi Hendrix, Pete Townshend, and Chuck Berry. Berry originally wrote and had a hit with Johnny B. Goode. He waited until the day before filming to give them permission to use the song in the film.

In the movie, Marty kind of goes crazy at the end of the song, leaving the audience and band members wondering just what he was doing. On the soundtrack, we hear a version with bits of the guitar solo from the film, but not the craziness Marty does in the film.

Happy Birthday, Michael J Fox!

Movie Music Monday – The Sting

American composer and conductor Marvin Hamlish was born on this day in 1944. He is one of a handful of people to win the “EGOT” (Emmy, Grammy, Oscar, and Tony awards).

Marvin’s first film score was in 1968 for The Swimmer. He also wrote the score for The Way We Were, the theme music to Good Morning America, and the score of the Broadway Musical A Chorus Line. He was also conductor for symphony orchestras in San Diego, Buffalo, Dallas and Pittsburgh. It is obvious to say that he was musically busy.

He may be best known for adapting the music of Scott Joplin for the movie The Sting in 1973.

The Entertainer is a rag that was composed by Scott Joplin, the first classically trained black composer to become a household name in America. The piece was copyrighted December 29, 1902; copies were received by the Copyright Office, January 8, 1903.

Joplin died in April 1917; although his place in the history of contemporary music was already secured, he predicted that he would not receive the recognition he deserved until 25 years after his death. He had no Idea that his music would go on to chart success over 50 years later!

Marvin Hamlisch on adapting Joplin’s tunes for The Sting:

“From the beginning, [director] George Roy Hill’s idea had always been to use the ragtime music of Scott Joplin. I was well aware that there were other musicians who knew the music of Scott Joplin far more intimately than I, men who had popularized Joplin’s famous piano ‘rags.’ But I knew how to write for film, marrying music to the length of each scene, and I could also play the piano ‘rags’ – those Juilliard piano lessons were about to pay off.

The real fun came for me when we started recording the soundtrack. We didn’t have a full-size orchestra, as with The Way We Were, but we had eight or nine great musicians, with yours truly at the keyboard. We spent hours making ragtime; the piano player in me had found a long-lost brother in Scott Joplin.”

Hamlisch’s rendition peaked at #3 on the Hot 100 in May 1974. It hit #1 on the Adult Contemporary charts.

Happy Birthday, Marvin Hamlish!

Movie Music Monday – Pete Kelly’s Blues

Today marks the 105th birthday of legendary singer Peggy Lee. She was discovered singing in a noisy club in Palm Springs. That noisy club played an important role in her sultry singing style. She said,

I knew I couldn’t sing over them, so I decided to sing under them. The more noise they made, the more softly I sang. When they discovered they couldn’t hear me, they began to look at me. Then, they began to listen. As I sang, I kept thinking, ‘softly with feeling’. The noise dropped to a hum; the hum gave way to silence. I had learned how to reach and hold my audience—softly, with feeling.

In 1941, she would go on to be the singer in Benny Goodman’s orchestra. She enjoyed a seven decade career which included songwriting and singing. She recorded over 1100 songs and of those co-wrote 270 of them.

Her record label kept her very busy, but she did find time to do some acting. In 1955 she did some voice work for Disney’s The Lady and the Tramp and starred with Jack Webb in Pete Kelly’s Blues. She played an alcoholic blues singer in the film and her performance earned her a nomination for the Academy Award for Best Supporting Actress.

Peggy sang 9 songs in the film. One of which was Sugar.

Fun Fact: Peggy Lee was used as inspiration for the Miss Piggy character in 1974. Originally called Miss Piggy Lee, her name was shortened to Miss Piggy when the Muppets gained fame.

As a bonus, for Peggy’s birthday, I want to include one of my favorite Peggy Lee songs. I mentioned earlier her sultry voice. I can think of no better song to demonstrate her sexiness and sultriness than Big Spender.

In the song she has her eyes on a guy with a big money roll. He caught her eye as soon as he arrived and she wants him to spend some time with her. The arrangement of the song makes you picture her walking slowly and deliberately over to him. You can picture her staring him in the eyes and shifting her hips from side to side as she moves closer.

When I was in Jazz Band in high school we played this song. I remember the director asking us to picture a beautiful woman walking towards us slyly as we played. As silly as that sounds, it made the saxes play the melody with a bit more feeling, it made us trumpets really hit to “stab” notes, and the trombones really made their glissandos loud and sloppy.

Happy Birthday, Peggy Lee!

Movie Music Monday – Shrek 2

Celebrating its 21st anniversary today is Shrek 2, which debuted in theaters May 19, 2004. It brought back our favorite characters from the first film and introduced us to some new ones.

The soundtrack included some great songs. Accidentally in Love by Counting Crows was written especially for the film. It also included Changes by David Bowie, Funky Town by Lipps Inc, and Holding Out for a Hero by Frou Frou. One of my favorites on the soundtrack is a cover of an old Buzzcocks tune.

Ever Fallen in Love (With Someone You Shouldn’t’ve)? dates all the way back to 1977. Band member and songwriter, Pete Shelley, explained that the song was inspired by a line of movie dialogue. “We were on a roll. It was only six months since we’d finished the first album. Up in Manchester this was what we used to dream of… a whirlwind of tours, interviews, TV. We were living the life. One night in Edinburgh we were in a guest house TV lounge watching the musical Guys and Dolls. This line leaped out – ‘Have you ever fallen in love with someone you shouldn’t have?’ The next day the van stopped outside a post office and I wrote the lyrics there. I did have a certain person in mind, but I’ll save that for my kiss’n’tell. The music just seemed to follow, fully formed.”

A few folks have covered the song including the Fine Young Cannibals in 1986. For Shrek 2, it was Peter Yorn who did it.

Yorn has been recognized as one of his generation’s best songwriters. He is also a singer and musician. One of the things he is known for is playing the majority of instruments on all of his songs.

Fun Fact: Peter Yorn has collaborated twice with actress/singer Scarlett Johansson: first in 2009’s Break Up and again with 2018’s Apart.

In the film, Shrek, Donkey and Puss in Boots are in the Fairy Godmother’s lab trying to find a specific potion. Puss in Boots finds it, but has issues getting it out of the case. This leads to a mess and the Godmother’s security system going off. As the trio tries to escape, an abbreviated version of Yorn’s song plays.

Here is the full tune.

It definitely get’s your toes tapping ….

Movie Music Monday – Pulp Fiction

It was on this day in 1994 that Pulp Fiction premiered at the Cannes Film Festival.

Today’s song is one that you will recognize immediately if you have seen the movie, but you probably had no idea what it was called. The song is Miserlou from Dick Dale and His Del-Tones.

No one knows who the original author of the song is, but it was around as early as the 1920’s. It was during that time that the song was popular with Greek, Arabic, and Jewish musicians. The earliest recording of the song was back in 1927. The song was often a choice for belly dancers to dance to.

Dick Dale recorded the song back in 1962. It was sort of popular around that time as part of the “Surf Rock” craze. It wasn’t until 1994 that the song gained wide spread recognition after it was featured in Pulp Fiction.

The song has been covered by trumpeter Harry James, pianist Vince Guaraldi (of Charlie Brown fame), and even the Beach Boys. Dick Dale covered himself when he rerecorded the song with a faster tempo in 1975.

In honor of Pulp Fiction’s premier 31 years ago – lets go surfin’ with Dick and the Del-Tones