soundtrack – Page 12

Stephen Sondheim | Being Alive (from “Company”), feat. Rosalie Craig

“Being Alive” is the final number in the 1970 musical Company, featuring a score by the late Stephen Sondheim. Comprised of a series of vignettes about marriage, Company ushered in the era of the “concept musical,” where the focus is on a theme rather than a narrative-driven plot. Bobby, the central character of the show, is celebrating his 35th birthday, and has invited his married friends over for a party. Over the course of the show, they describe the costs and benefits of being married, and this song represents his response.

The original production was nominated for 14 Tony Awards and won 6. In 2018, a major revival was mounted in London, featuring a female Bobbie as well as a same-sex couple for the first time. Sondheim gave his blessing to the changes. “My feeling about the theater is the thing that makes it different from movies and television is that you can do it in different ways from generation to generation,” he said in an interview. “Company has a different flavor than it had before feminism really got a foothold…What keeps theater alive is the chance always to do it differently, with not only fresh casts, but fresh viewpoints.”

The production transferred to Broadway and was originally scheduled to open on Sondheim’s 90th birthday in March 2020, but was delayed due to the pandemic. Sondheim was able to see the show in New York a few days before his death last November, and the cast, musicians and crew subsequently dedicated the entire run to his memory. Company is nominated for Best Revival at the upcoming Tony Awards.

The song begins in A and subtly shifts up a half step to Bb halfway through at 2:29.

Jack Antonoff, MØ | Never Fall In Love (from “Love, Simon”)

“Never Fall In Love” is featured in the 2018 coming-out film Love, Simon. Written and performed by Jack Antonoff, who also produced the soundtrack, the synth-driven song features Danish singer MØ. Beginning in D, a modulation to E occurs at 2:55.

Makin’ It | David Naughton

The 1979 disco tune “Makin’ It” is the only song actor/singer David Naughton ever released. Naughton’s career has been about acting, with music serving only as a sideline: “David Naughton made his professional debut in the New York Shakespeare Festival’s production of Hamlet in Lincoln Center … he was cast as the lead singer/dancer in the ‘Be a Pepper’ advertising campaign for Dr. Pepper,” (IMDB). His film credits include An American Werewolf in London, Midnight Madness, and the American ski comedy Hot Dog. On TV, he was seen in 1986’s My Sister Sam.

Written by Freddie Perren and Dino Fekaris (who also penned the #1 hit “I Will Survive”), “Makin’ It” was theme song for the 1979 sitcom of the same name, in which Naughton starred, and has been used in other shows and commercials in the decades since. There is a modulation from C to D at 1:33.

Thanks to MotD regular Rob Penttinen for this submission!

Judy Garland feat. Tommy Dorsey Orchestra and Mickey Rooney | I’ve Got Rhythm (from “Girl Crazy”)

Tap cowboy boots? Yep, we’ve got those. The ninth of ten movies co-starring the iconic pairing of Judy Garland and Mickey Rooney, 1943’s Girl Crazy ends with “I’ve Got Rhythm” staged as a gargantuan Busby Berkeley production number –the very definition of the “Golden Age movie musical.”

From Film Frenzy‘s review: ” … another Rooney-Garland confection where not much of interest happens when everyone isn’t singing or dancing. The Gershwin score is tops, though.” HighDefDigest describes the title as “the best film pairing of Mickey Rooney and Judy Garland … Girl Crazy not only showcases the dynamite talents of two enduring dynamos, it also features a first-class score by George and Ira Gershwin that includes such standards as ‘I Got Rhythm,’ ‘Embraceable You,’ and ‘But Not for Me,’ a bubbly cast, and a lavish rodeo finale staged by Busby Berkeley.” Meanwhile, Tommy Dorsey leads his orchestra while playing some top-drawer trombone.

After the intro, the tune begins in earnest at 0:58 in Eb, shifts to F at 1:34, and lands in D at 1:42 — for starters. Thereafter, key changes continue to parade by throughout.

Reba McEntire | Somehow You Do

“Somehow You Do,” from the 2021 film Four Good Days, was nominated for Best Original song at the 2022 Academy Awards and performed at the ceremony (and in the film) by country star Reba McEntire. It marks the fifth consecutive best song nomination for composer Diane Warren and her 13th overall — she has yet to win.

McEntire’s performance was introduced by Mila Kunis, who stars in the film as a young woman recovering from heroin addiction. “[The song is a] story of hope, perseverance and survival that celebrates the strength of the human spirit,” Kunis, who was born in Ukraine, said. “Recent global events have left many of us feeling gutted. Yet when you witness the strength of those facing such devastation, it’s impossible not to be moved by their resilience. One cannot help but be in awe of those who find strength to keep fighting through unimaginable darkness.”

Starting in C, the song dramatically modulates up a half step to Db at 1:56.

Steal With Style (from “The Robber Bridegroom”)

“Steal With Style” is from the 1975 Broadway musical The Robber Bridegroom, adapted by Alfred Uhry (book & lyrics) and Robert Waldman (music) from a 1942 novella by Eudora Welty. The score is one of only a handful in Broadway history to be bluegrass-inspired — the band consists of a guitar, fiddle, mandolin, banjo, and harp. The show was revived Off-Broadway in 2016 starring Steven Pasquale, featured here, and is regularly performed at regional theaters.

The song alternates between E major and E minor throughout before ultimately modulating to G major at 2:25 for the final chorus.

Ariana Grande & Kid Cudi | Just Look Up (from “Don’t Look Up”)

“Just Look Up” is an original single written and performed by Ariana Grande and Kid Cudi for the Oscar-nominated 2021 movie Don’t Look Up. The songwriters and other members of the film’s creative team, including director Adam McKay and Nicholas Brittell, who is also nominated for his score, discussed the song a behind-the-scenes video.

The tune starts out in A and shifts up to Bb major in a standard direct modulation at 2:42.

Imagine (from “Athena”)

The May 14, 2020 installment of the Chicago Tribune’s “Coronavirus Overdue Film Festival“ featured a review of the now-obscure 1954 film “Athena”:

“The phrase ‘MGM musical’ shimmers with nostalgia, but what does it evoke, exactly? Technicolor dreams of tuneful romance? Backlot depictions of Times Square, Paris or the Scottish Highlands, along with occasional bursts of realism, as when the 1949 “On the Town” managed to sneak in a few days’ location filming in New York City? Yes, all that. Also, orchestral swells and mile-wide Gene Kelly and Judy Garland smiles, and a deathless handful of triple threats who really could sing, act and dance. But the ‘MGM musical’ label misleads. So many MGM musicals, the famous ones, were treated to royal budgets and top talent, while so many others had to settle for smaller budgets, mismatched contract players and lesser material. For every ‘Singin’ in the Rain‘ or ‘The Band Wagon‘ there’s a lesser-known commodity — or outright oddity — revealing a different story, more about the musical genre’s struggles to remain vital than the onscreen romantic complications taxing our patience in between numbers.

One of the strangest is ‘Athena,’ … a contemporary riff on MGM’s big musical draw that year, ‘Seven Brides for Seven Brothers‘ … Crooner and sometime actor Vic Damone, a diffident MGM staple of the day, paired off in ‘Athena’ with Debbie Reynolds. They’re treated to the duet “Imagine,” a melodically unpredictable standout in the Hugh Martin/Ralph Blane score … There are compensations, as there are in other offbeat, youth-craze MGM titles of the era … Damone may have been a mite bland, but he could sing.”

According to the trailer, the film was categorized as a romantic comedy — but not quite like the rom-coms viewers became accustomed to in the 1990s! Apparently much of the action took place in the family home of Reynolds’ character; the family were health and wellness enthusiasts. The movie took that premise and ran with it, dropping a Mr. Universe bodybuilding contest into the film (see trailer, below) … as one does.

Jamie A., the former host of Cinema Songbook on Martha’s Vineyard’s WVVY FM, submitted the tune. He adds more detail: “This movie actually started out as an idea for a film with Esther Williams, about a goddess come to life on Earth. But studio bosses were trying to force her out because her films were too high budget, and they sabotaged her last film at MGM, ‘Jupiter’s Darling’ (worth a view—a musical about Hannibal’s march on Rome with elephants!). The concept changed drastically when Jane Powell and Debbie Reynolds took over.”

Damone’s feature is in A major, transitioning to Reynolds’ section in Gb major at 1:12.

I See The Light (from “Tangled”)

“I See The Light,” written by composer Alan Menken and lyricist Glenn Slater for the 2010 animated Disney film Tangled, was nominated for Best Original Song at the Golden Globe and Academy Awards, and won the Grammy Award for Best Song Written for Visual Media.

The film is based on the Brothers Grimm Rapunzel fairy tale, which served as inspiration for Menken to venture into a folk rock idiom for the score. “I wanted folk rock on this,” he said in an interview with Collider. “I thought about her long hair and the freedom she wanted. I immediately thought about Joni Mitchell’s ‘Chelsea Morning’ and all that folk music that I love. Cat Stevens and that energy. I just felt like that would be, on a gut level, a fresh palette to bring to this. So, that was really our way into the score.”

The track, performed by Mandy Moore and Zachary Levi, begins in C and modulates up to Eb for Levi’s verse at 1:39.

Linda Eder | Someone Like You

“Someone Like You” is from the 1990 musical Jekyll & Hyde, featuring a score by Frank Wildhorn and Leslie Bricusse. Eder originated the role of Lucy in her Broadway debut and was nominated for a Drama Desk award for her performance. She is now an acclaimed solo concert artist and has released 18 studio albums.

The song, which comes at the end of Act 1 as Lucy is questioning her love for Jekyll, modulates at 2:43.