Treat for Bill Conti fans! World premiere release of Bill Conti score to intense, dramatic Rick Rosenthal juvenile incarceration tale with Sean Penn, Esai Morales, Ally Sheedy, Reni Santoni. Conti anchors with tender theme in keeping with emotional weight of story but quickly ushers in dramatic tension, vivid urban flavor. Conti wrote considerable action music, mirroring violence in film but, interestingly, most action segments were dropped from final film. These are heard here for the first time ever! Elsewhere, Conti uses strings with emphasis on darker ideas. One cool highlight is austere woodwind chordal sequence identifying Rainford juvenile detention facility where action takes place. Here, clarinets dominate with cold, inhumane feel. Recurring idea plays in contrast to gentler melodic material. Great music! Courtesy Studiocanal, Intrada presents entire score in stereo from composer's own personal two-track tapes, the only known complete copies anywhere. After 57-minute score plays, CD offers 7 minutes of additional alternate and unused source cues. Flipper packaging gives you two distinct covers to choose from. Bill Conti conducts. Intrada Special Collection release available while quantities and interest remain! SOLD OUT!
The Album 01. Titles (2:16) 02. Chicago Night (1:10) 03. Meet Paco (3:37) 04. The Plan (1:36) 05. Don't Dream (2:48) 06. The Crime (5:43) 07. Music Of The Night (2:12) 08. Source #3 (2:15) 09. Welcome To Rainford (1:14) 10. Vow For Revenge (1:03) 11. It Was An Accident (0:49) 12. They Got Me (4:24) 13. Soda Punch (3:02) 14. New Barn Boss (0:49) 15. Food Fight (1:14)
16. The Rape (3:29) 17. After The Rape (0:41) 18. The Lineup (0:48) 19. Reunion (3:00) 20. Hospital Source (2:40) 21. Calm Before The Storm (6:23) 22. Redemption And Credits (5:26) Total Album Time: 57:31
The Extras 23. New Barn Boss (Alternate) (0:50) 24. Jailbird Source (2:25) 25. Country Slammer #1 (Unused) (1:54) 26. Country Slammer #2 (Unused) (2:12) Total Extras Time: 7:25
Tech Talk From The Producer…
Bill Conti’s original score for Bad Boys plays an unusually significant role in the success of the picture, yet there is almost as much source music in the film as there is score. Conti wrote several such cues to be heard coming from the Chicago streets, nightclubs and similar onscreen sources, but a seemingly endless list of songs were licensed for the movie as well and can be heard in snippets throughout. Yet in spite of the wall-to-wall musical treatment, the songs are never placed in the foreground and the sobering voice of Rainford, the correctional facility for juvenile offenders, rests completely in Conti’s hands. In fact, when all the smoke clears—in a musical device rare in 1980s filmmaking—it is the original scoring alone that brings the movie to a close and plays through the entire end credits.
The music divides roughly into four categories, depending on where it is used. Largest in impact is the austere, clinical sound of high woodwind harmonies, dominated by clarinet choir and first heard during “Welcome To Rainford.” While they move about in ostensibly minor keys, Conti thickens them with quasi-wrong notes, giving them a degree of quiet intensity. The most judiciously placed cues in the film, these woodwind “prison” motifs literally speak of cold confinement. A second orchestral device features piano and strings playing a warm and tender love theme. It’s melodic and gentle but remains rooted in minor-key sadness. One side of it speaks to the imprisoned, wrong-headed protagonist; the other side speaks to the innocent girlfriend equally trapped—albeit on the other side.
The third category of the score features suspense and dramatic action material. Ironically, the action sequences are the ones most truncated, but the crisp direction of the film itself reveals those portions are not necessary. The fourth layer of music is that of Chicago and her streets at night where the story begins.
The orchestral palette itself is also of interest. Conti scores for full orchestra, but primarily uses strings, piano and percussion for the love themes, woodwinds for the correctional facility, and strings, woodwinds and French horn for the action. He reserves full brass for his sizzling source music. In addition to the above, Conti further colors the street scenes with subtle percussion rhythms under dynamic saxophone cries. When heard as one lengthy work, the shades of excitement, color, subtlety and drama are impressive.
One significant cue that breaks somewhat with the above and deserves spotlighting is “The Rape,” an emotional turning point for the entire film. Here, Conti melds most of his ideas into a single voice. His street music ambience now combines with his action material as well as fragments of the woodwind “prison” material, all of it churned into a single, urgent musical crescendo crying in terror for the victim of this most brutal event.
In sequencing this CD, we have placed every cue Conti recorded for the picture where originally intended, including the dramatic segments deleted from the finished film. Where Conti wrote an original source cue, we have also included it in the intended position wherever possible. However, in the early street scenes, source cues were sometimes heard for just a few seconds, dialed in and out of the larger scoring cues playing underneath the scene. Here, without the visuals, we can include each respective sequence without such encumbrances.
Since the actual scoring session elements had long since vanished, it was necessary to work with the composer’s own recorded copy of the score. As this did not include everything, we had to locate additional tapes from engineer Dan Wallin, which were also incomplete but happily inclusive of everything missing from the composer’s tapes. Since many of the cues were transferred from first generation cassettes, some noise is evident. Even so, the audio quality is quite vivid.
Listen now to Bill Conti as he inhabits the world of juvenile offenders, does serious time with them and finally holds out hope for redemption.
Composed and Conducted by Bill Conti
Recorded on December 22, 23, 30, 1982, and January 3, 1983, at Paramount Stage M, Hollywood, California
Paul C. Shure
Alfred C. Breuning
Mari Tsumura Botnick
Ernest J. Watts
Paul A. Castillo
David A. Duke
Paul A. Goldfield
R. J. Cavanaugh