soundtrack

Bodkin soundtrack: The definitive guide for all songs in the movie

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Refreshing the catalog with more mystery and a touch of humor, Netflix’s Bodkin has captivated viewers with its seven-episode series.

Bodkin follows Gilbert, Dove, and Emmy, who unravel dark secrets while uncovering the mystery that transpired 21 years ago. The unraveling of this decade-old mystery leads them to an even more intricate web involving the disappearance of people, a festival with ancient significance, eel smuggling, and more.

EVERY SONG FROM EACH EPISODE:

Episode 1: One True Mystery

  • Vampire Empire by Big Thief

Episode 2: Who We Are

  • Unfollow Hate by Killa Fonic
  • Knock on Wood by Amii Stewart
  • H.O.O.D by Kneecap
  • More is Less by The Murder Capital
  • Lavender by Biig Piig

Episode 3: Perfectly Innocent Life

  • (I’m A) Ramblin’ Man by Waylon Jennings
  • It’s All Your Fault by Bobby Lee Trammell
  • Oh No by Biig Piig

Episode 4: Poison of Something

  • Time After Time by Cyndi Lauper
  • Zeu by Spike
  • Another Round by The Scratch

Episode 5: Peace in Our Time

  • Blue Suede Shoes by Party All Night
  • Suspicious Minds by Find Young Cannibals
  • Without Me by Ezra Williams
  • I Want To Know What Love Is by Foreigner
  • You Were Always On My Mind by Willie Nelson
  • I Can Talk by Two Door Cinema Club
  • Le belle 7 by Franco Tonani
  • Burning Love by The Computers

Episode 6: Ends Justify Means

  • Gone For Good by GA-20
  • Don’t Cling To Life by The Murder Capital

Episode 7: Empty Your Pockets

  • The Parting Glass by The Parting Glass
  • Old Note by Lisa O’Neill

Below is the complete list of the original score for Bodkin, composed by Paul Leonard-Morgan:

  • Driving to Bodkin
  • Eavesdropping
  • Interviewing at the Wake
  • Scooting Away
  • Eel Warehouse
  • Apologize to Teddy
  • Meet the McCardles
  • Fintan and Teddy
  • What Use Are Eels to a Dead Man
  • Breaking Into the Library
  • Truth is a Funny Thing
  • Hello Punch Run
  • Funeral Questions
  • We’re All Just Stories
  • Bad Nuns Tripping
  • Life is a Funny Thing
  • Every Cent I Have
  • Dove
  • Dove Confronts Power
  • Threats on the Boat
  • We’ll Need Some Insurance
  • You’re My Son
  • It’s My Podcast
  • Podcasts Save Lives
  • Off to the Nunner

Source: Bodkin soundtrack: The definitive guide for all songs in the movie

Soundtracks We Love: “The World of Henry Orient” (1964)

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The World of Henry Orient is a wonderful, joyful score, bouncing with melody and life. It is one of the cinema’s all-time greatest scores for a movie involving children, but only Elmer Bernstein’s second-greatest work in that genre. Such is the case when To Kill a Mockingbird, written two years earlier, is also on your resume.

The World of Henry Orient (1964) stars real schoolgirls Tippy Walker and Merrie Spaeth as youngsters in New York City obsessed with a local, fairly bad pianist and lothario with a predilection for married women: Henry Orient, a signature comic role for Peter Sellers. The girls follow Henry throughout the city, spoiling his escapades and causing trouble with their innocent games. In the skillful hands of director George Roy Hill, the film is no mere spoof but an honest and emotional study of the girls whose interest in Henry is an outlet for their yearning for parental love.

That the film manages to stay true to its dramatic origins while providing comic belly laughs is evidence of a brilliant composer. Bernstein evokes innocence, mischief, bonding and heartbreak—sometimes all in the same cue. He scales his music perfectly to the girls’ mindset as they tail Henry throughout the city, playing on dramatic film music conventions with a light and comedic touch. His main theme, with gentle mixed meters and a catchy theme, is instantly memorable. As fans of the film have known for 37 years, the score is an absolute gem, without a phony note.

The World of Henry Orient was recorded at the Goldwyn Scoring Stage—now closed—which was widely considered the finest stage in Hollywood. As recorded by Dan Wallin, the acoustics are so crystal clear that one can practically hear the players touching their instruments. The CD also includes the film’s sarcastic, avant garde piano concerto, composed for scheduling reasons not by Bernstein but by Kenneth Lauber—the finishing touch on a soundtrack masterpiece.

About he Composer:

Elmer Bernstein (1922–2004) had a Hollywood career that lasted over a half a century; invented and reinvented himself as a composer across several genres (jazz, epics, westerns, comedies and adult dramas); and scored more than a few Hollywood classics—The Ten Commandments, The Magnificent Seven, To Kill a Mockingbird, The Great Escape and Airplane! to name but five. FSM has released a dozen of his scores and counting, but the most popular may be Heavy Metal (1981)—don’t be fooled by the title, it’s Elmer’s “Star Wars.” In addition to his prolific work as a composer, Bernstein was a tireless champion of film music as an art form, serving on the boards of several professional organizations and in the 1970s recording his own LP series of classic Hollywood scores, Elmer Bernstein’s Film Music Collection, released by FSM as a 12-CD box set. IMDB

Source: https://www.filmscoremonthly.com/daily/index.cfm

‘Mark Knopfler’s ‘Local Hero’ soundtrack still resonates far and wide

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Mark Knopfler’s score for the comedy-drama Local Hero saw the artist’s own name on the UK album chart for the first time on 16 April 1983.

Taking the 1996 album Golden Heart as the official starting point, Mark Knopfler‘s solo career span easily outstretches the time he spent at the helm of Dire Straits. But even before that staging post, and during the band’s active service, he made frequent forays into the world of film composing.

The first such project is one that became so dear to his heart, he returned to the theme some 35 years later to write for a musical with the same inspiration. The proposed June 2020 opening of Local Hero at London’s Old Vic, threatened at writing by the coronavirus pandemic, follows the warm critical and public embrace of a fringe production at the Royal Lyceum Theatre in Edinburgh in 2019.

Between ‘Love Over Gold’ and ‘Brothers In Arms’

Prolific as ever, Knopfler was writing for that new presentation at the same time that his ninth solo studio album, Down The Road Wherever, was taking shape. The original commission came as Dire Straits were en route to a reluctant role as global ambassadors of British rock, in the wake of their Love Over Gold set and before Brothers In Arms. His original, self-produced score for director Bill Forsyth’s charming comedy-drama saw his own name on the UK album chart for the first time on 16 April 1983.

The singer, songwriter and guitarist worked on the soundtrack in 1982 sessions at New York’s Power Station and at the now-defunct Eden Studios in west London. The latter’s Chiswick location was a ten-minute drive from the facility he now owns proudly, British Grove Studios, Knopfler’s regular, latter-day recording base.

The release of the Local Hero album was previewed by a single that has become uniquely associated with the Glasgow-born, Newcastle-raised musician. The charming instrumental ‘Going Home’ had memorable lead saxophone lines by the late American jazz saxophonist Michael Brecker. It has especial resonance for fans of English football and in particular those of Knopfler’s home town club, Newcastle United, as it’s played as the team runs out before every home game. It also remains the valedictory closing song of his live set.

The ‘Going Home’ single made a modest UK chart showing in March 1983. The album also featured Knopfler’s acoustic guitar interpretation of the melody on the equally delightful ‘Wild Theme.’ The tune recurred again on the deeply atmospheric ‘The Ceilidh & The Northern Lights’ and ‘Smooching.’ Another memorable moment was provided by Gerry Rafferty’s unmistakable guest vocals on ‘The Way It Always Starts.’

Forsyth’s film, produced and brought to the screen by David Puttman, won the director a BAFTA Award and starred Burt Lancaster, Peter Riegert, Denis Lawson and Fulton Mackay. Its stunning settings were filmed on the Aberdeenshire coast and on the beaches at Morar and Arisaig, on Scotland’s west coast.

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