ONCE IS NOT ENOUGH

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01. Opening Scene (1:44) 02. Son Of Main Title (3:17) 03. Something For Alexis (2:56) 04. January’s Theme (2:04) 05. Right On Time (1:01) 06. Lonely Figure (1 1:27) 07. One More Jolt (1:04) 08. Only In Movies (0:37) 09. El Morocco Rocker (3:45) 10. Once Around The Floor (2:25) 11. Holly* (1:52) 12. The Soft Touch (From Hatari!) (3:03) 13. The Woman I Love (1:43) 14. Karla (3:46) 15. The Zinger (2:33) 16. Enchanting Creature (1:47) 17. Bike Ride (Orchestra/Piano) (1:32) 18. The Soap Trick (4:39) 19. Mad Mike (1:35)

20. No Coming Back (1:12) 21. Nowhere To Go* (1:38) 22. Lonely Figure 2* (1:19) 23. Theme From Once Is Not Enough No. 6 (Piano) (1:30) 24. End Title And Credits (Orchestra/Chorus) (Lyrics: Larry Kusik)* (4:21) Total Time: 53:47 THE EXTRAS 25. Opening Scene – Alternate 2) (Vocal by Jerry Wright) (Lyrics: Tony Asher)* (2:48) 26. Opening Scene – Alternate 1) (Orchestra/Chorus)* (2:48) 27. Bike Ride (Orchestra & Chorus)* (1:33) 28. End Title And Credits – Alternate (Orchestra/Wordless Chorus)** (4:20) 29. End Title And Credits – Alternate 2 (Orchestra/Chorus)) (Lyrics: Sammy Cahn)* (4:21) 30. End Title And Credits – Film Edit (Orchestra/Chorus) (Lyrics: Larry Kusik)* (6:07) 31. Lonely Figure (Piano: Henry Mancini)* (1:19) 32. Theme From Once Is Not Enough No. 4 (Piano: Henry Mancini)* (1:23) * Not Used In Film Total Extras Time: 25:10

Tech Talk From The Producer…

Henry Mancini fashioned one of his most beautiful main themes for Once Is Not Enough, as well as an equally haunting melody for the tender/tragic character of January. But even with Mancini’s veteran status and his long-term familiarity with the process of getting music from players to tape, recording much of this score proved a somewhat daunting task.

For the opening of the movie, the filmmakers had Mancini record takes both with wordless chorus and with orchestra alone. Then they had him record yet another take featuring singer Jerry Wright. Ultimately they stayed with the take featuring just the orchestra. When they got to the “Bike Ride” sequence, they again tried versions for both the orchestra alone and with wordless chorus and again the orchestral take was selected for the finished film. All versions of both sequences are included on this CD, with the film choices playing in the main program and the alternates appearing as extras.

The final section of the film proved even more difficult, with Mancini recording an orchestral cue as well as a solo piano version of his secondary theme for January (also known in the Paramount paperwork as “Lonely Figure”) only to have both dropped from the film. He also recorded no less than six versions of the main theme on solo piano for the same sequence. Ultimately, the sixth version was used, accompanying January as she wanders aimlessly down the streets alone. Most of the six versions were essentially identical except for tempo and feel, but the fourth version featured a different introduction and, as such, is included in the extras, along with Mancini’s unused piano version of “Lonely Figure.”

Immediately following this penultimate scene, the final moments of the film encapsulate the movie in a montage, leading into the “End Title And Credits.” However, scoring the sequence proved a lot less cut and dried. Again, Mancini recorded versions for orchestra with piano as well as for orchestra plus chorus both wordless and with lyrics. But when the dust settled, the film editing needs had changed, the closing montage scene was longer than the music already recorded, and the film makers not only had to choose which version to use but how to make it fit. It ended up being something akin to fitting a square peg into a round hole, editing between versions to lengthen the montage portion, then subsequently (and awkwardly) deleting bars to make the end credits time out properly.

We have included all of the versions, placing the original concept Mancini planned (with chorus and lyrics) in the main program and the alternate versions as extras. We have also included a rough approximation of the film version (including the edits between takes to allow for the extended montage music), although this version actually plays longer here than in the film since we did not want to duplicate the awkward edits which cut bars to shorten the piece.

A word is also in order regarding the lyrics. Even they proved to be a challenge, with different sets of lyrics penned by three authors and recorded by Mancini, each of them heard in various used and unused choral and vocal tracks included on this CD.

To present all of this music, including the variety of alternates, we were given access to the 2? 16-track session masters vaulted by Paramount in pristine condition. While the film mix was monaural, having these multi-channel elements allowed us to create brand-new two-track stereo mixdowns of the entire score—including the various unused orchestral, choral and vocal pieces.

The mixing was somewhat complicated, with Mancini assigning many of the sixteen different channels to a variety of solo colors that included flute, electric piano, upright piano, electric guitar, two acoustic guitars, vibes, harp and bells. These are spotlighted at various times throughout the score in front of a bed of strings, brass and percussion, thus moving around the sound stage without being “anchored” in place.

As a coda on the CD, we include the above-mentioned fourth solo piano rendition of the main theme by the composer as well as his unused piano performance of “Lonely Figure.” Since the film was presented in mono only, these solo piano pieces were not recorded in the 16-channel format but played directly onto just one channel and preserved on both ½? tape and ¼? safeties.

Enjoy now what is probably Henry Mancini's most “sixties” sounding score of the seventies. It is rich in melody both warm and sad, chock full of striking combo and big band source cues and will surely linger in your mind long after the disc stops playing.

—Douglass Fake