Not bad meaning bad, but Badarou meaning good!
The world of the movie soundtrack is one that has always fascinated me. Take for example Scorsese's use of music in his films. Stemming from a great knowledge and love of various songs and styles of music, the songs he chooses to add to the narratives of his films are often so perfect as to be vital ingredients in confirming plot and progression, effortlessly intertwining with the script and action to create an incredible holistic effect on viewers. Tarantino is another obvious example of a well-known director with a knack for picking the perfect, often obscure, gem from his record collection to drop into his films at just the right time. Who can ever forget the ear-slicing scene in Reservoir Dogs and the accompanying "Stuck In The Middle With You" by Stealer's Wheel?
However, these glorified compilation tapes are really just the mere icing on the cake of what the world of cinema can offer the music lover, and only go a small way to illuminating the power of music in cinema, and our appreciation of film. For it is the background and the incidental that is often truly the star of the show, often without us even realising it. The difference between the soundtrack and the score. Think Star Wars without the John Williams theme, and the ebbs and flows that it provides to the narrative.
Think Jaws without the chilling string section heightening the tension with the unforgettable "derr-da" motif, now itself a cultural touchstone for terror. Watch a Tom & Jerry cartoon with the sound down and you'll soon see how clear the slapstick action is dependent on the aural soundscape, and on turning the volume up will also see how incredible this orchestral work often is (something true of many cartoons, actually). And the point of this admittedly amateur dissection of music in the movies? Well, it is a long-winded introduction to the work of French-born Benin-raised producer and synthesizer wizard Wally Badarou, and in particular his significant contribution to the soundtrack to the 1985 film "Kiss of the Spiderwoman".
Though only delivering a handful of tracks on this album, directed by John Neschling (now conductor of the Sao Paulo State Symphony) and incredible Brazilian guitarist Nando Carneiro, the work is simply breath-taking. Released through Island Records (Badarou was a key component of the Compass Point All-stars stable in Nassau under Chris Blackwell, and as such contributed to some incredible recordings from Grace Jones to Tom Tom Club, alongside Sly & Robbie and many others) the album is inexplicably difficult to get hold of today. But it is a bonafide classic, a combination of intoxicating bossa nova, samba and salsoul rhythms, emanating from the film's South American origins, and wrapped in sophisticated arrangements that stem from Badarou's own impeccable classical heritage and Neschling's overall direction.
The work is seductive, sensual and wonderfully layered, with a jazz-funk element that secures its appeal. And if this is a starting point, then Badarou's own solo work is ever worthy of exploration. 1982's "Echoes", again on Island, is immense, a more danceable offering, and simply dripping in mellow funky sunshine, with the trademark harmonic and synth-led layering, giving the record a real depth and intoxicating power. It is a real must-have. And Badarou's influence goes beyond his impressive recorded output. Knowing he is unofficial 5th member of British proto-funk popsters Level 42 might put you off, or if you are sensible give you an opportunity to reassess some of their work. Say what you like, but Mark King is an incredible bassist.
And then there is the afore-mentioned work on Island, not to mention pioneering of home studio technology, and incredible Afro-Jazz-Funk outfit Voodoo Family, alongside the "French Herbie Hancock", the criminally under-rated and lesser known Philippe Dambury. Wally Badarou, in addition to having one of the best names in music, is an absolute living legend, and well worth an investment of time in exploring. He's even contributed to the New Jack City soundtrack for goodness sake. He played synth on Gregory Isaac’s “Night Nurse” LP!! Bad to the bone, plain and simple.
However, these glorified compilation tapes are really just the mere icing on the cake of what the world of cinema can offer the music lover, and only go a small way to illuminating the power of music in cinema, and our appreciation of film. For it is the background and the incidental that is often truly the star of the show, often without us even realising it. The difference between the soundtrack and the score. Think Star Wars without the John Williams theme, and the ebbs and flows that it provides to the narrative.
Think Jaws without the chilling string section heightening the tension with the unforgettable "derr-da" motif, now itself a cultural touchstone for terror. Watch a Tom & Jerry cartoon with the sound down and you'll soon see how clear the slapstick action is dependent on the aural soundscape, and on turning the volume up will also see how incredible this orchestral work often is (something true of many cartoons, actually). And the point of this admittedly amateur dissection of music in the movies? Well, it is a long-winded introduction to the work of French-born Benin-raised producer and synthesizer wizard Wally Badarou, and in particular his significant contribution to the soundtrack to the 1985 film "Kiss of the Spiderwoman".
Though only delivering a handful of tracks on this album, directed by John Neschling (now conductor of the Sao Paulo State Symphony) and incredible Brazilian guitarist Nando Carneiro, the work is simply breath-taking. Released through Island Records (Badarou was a key component of the Compass Point All-stars stable in Nassau under Chris Blackwell, and as such contributed to some incredible recordings from Grace Jones to Tom Tom Club, alongside Sly & Robbie and many others) the album is inexplicably difficult to get hold of today. But it is a bonafide classic, a combination of intoxicating bossa nova, samba and salsoul rhythms, emanating from the film's South American origins, and wrapped in sophisticated arrangements that stem from Badarou's own impeccable classical heritage and Neschling's overall direction.
The work is seductive, sensual and wonderfully layered, with a jazz-funk element that secures its appeal. And if this is a starting point, then Badarou's own solo work is ever worthy of exploration. 1982's "Echoes", again on Island, is immense, a more danceable offering, and simply dripping in mellow funky sunshine, with the trademark harmonic and synth-led layering, giving the record a real depth and intoxicating power. It is a real must-have. And Badarou's influence goes beyond his impressive recorded output. Knowing he is unofficial 5th member of British proto-funk popsters Level 42 might put you off, or if you are sensible give you an opportunity to reassess some of their work. Say what you like, but Mark King is an incredible bassist.
And then there is the afore-mentioned work on Island, not to mention pioneering of home studio technology, and incredible Afro-Jazz-Funk outfit Voodoo Family, alongside the "French Herbie Hancock", the criminally under-rated and lesser known Philippe Dambury. Wally Badarou, in addition to having one of the best names in music, is an absolute living legend, and well worth an investment of time in exploring. He's even contributed to the New Jack City soundtrack for goodness sake. He played synth on Gregory Isaac’s “Night Nurse” LP!! Bad to the bone, plain and simple.
posted by Twelve Bar at 1:13 AM
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