Herrmann, Bernard - Citizen Kane + Magnificent Ambersons CD Cover Art

Bernard Herrmann Citizen Kane + Magnificent Ambersons Soundtrack CD - Import

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For the first time, the original performance of the score composed by Bernard Hermann for this Orson Welles masterwork. Plus the music, also by Bernard Hermann, for the second film directed by Welles. 60th Anniversary DeLuxe edition with outer card sleeve.

Original scores by Bernard Herrmann.

Includes liner notes by J. G. Calvados.

Citizen Kane + Magnificent Ambersons Soundtrack Music

List Price	$12.97 (You save $0.98)
Category	Rock/Pop Albums, Jazz CDs, Soundtrack
Label	Soundtrack Factory
Orig Year	2001
All Time Sales Rank	322796
CD Universe Part number	1394782
Catalog number	33553
Discs	1
Release Date	Feb 06, 2001
Studio/Live	Studio
Mono/Stereo	Stereo
Additional Info	Original Soundtrack; Spain

Bernard Herrmann Citizen Kane + Magnificent Ambersons Soundtrack Songs

	1.	Main Title - Bernard Herrmann
	2.	Rosebud - Bernard Herrmann
	3.	News on the March - Bernard Herrmann
	4.	Searching Traces on the Thatcher Librery - Bernard Herrmann
	5.	Arrival to " The Chronicle" - Bernard Herrmann
	6.	Kane Meet Benrnstein - Bernard Herrmann
	7.	Party on " The Inquirer" - Bernard Herrmann
	8.	Mr. Kane Politician - Bernard Herrmann
	9.	Kane and Miss Susan - Bernard Herrmann
	10.	Operatic Fiasco at the Opera House - Bernard Herrmann
	11.	Memories of the Susan Life - Bernard Herrmann
	12.	Decline of a Bel Canto Diva - Bernard Herrmann
	13.	Disbanding Xanadu - Bernard Herrmann
	14.	End Title - Bernard Herrmann
	15.	Main Title - Bernard Herrmann
	16.	Arrogant Ambersons - Bernard Herrmann
	17.	Great Ball - Bernard Herrmann
	18.	Young People Promenade - Bernard Herrmann
	19.	Death of Wilbur Minafer - Bernard Herrmann
	20.	Morgan's Love Letter From Isabel - Bernard Herrmann
	21.	Isabel Death - Bernard Herrmann
	22.	End Title - Bernard Herrmann

Citizen Kane + Magnificent Ambersons Soundtrack Review

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A return look and listen to this historical and breathtaking collaboration between two of the great figures of modern music should naturally be prefaced by a few key facts. Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film -- not that much of this music was actually used. All one really needs to know about the film itself, other than the fact that it was directed by Dennis Hopper, is that it is awful, even by bad film standards. That it was the impetus for this marvelous music to be made is something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker. Anyone who grew up with the former artist during his electric transfusions of the '60s and '70s probably wondered why he wasn't playing with John Lee Hooker the whole time, since they both seemed headed in the same direction. In fact, one wonders why it took this crummy film and the personal appeal of its director to bring these two musical giants together. That they didn't seek to do something like this on their own can be looked at as a character flaw, one that can only be forgiven after listening to how wonderfully they interact here. An important aspect of the magic is their individual genius in the art of playing blues music in such utterly personal ways. There is no mistaking the sound of either Hooker or Davis for anyone else, with layer upon layer of detail backing that up -- the actual sound of their instruments is distinctive, their choices of notes and timing completely unusual and impossible to imitate, and they both have a knack for casually making even the most basic sort of band track sound as if it is a style of music that has never been played before. No matter how many times one may have heard a bar band break into what they think is a Hooker boogie, a brief recovery period will still be required after first exposure to the tracks here. Often during his recording career, Hooker was able to get a particularly scintillating rhythm section sound going with whatever pros had been assembled for the occasion. This is one of these sessions, but it indeed makes it seem like a royal visit to have Davis blowing over the top of these grooves. There are other dignitaries as well. Blues guitarist Roy Rogers adds some tasteful slide guitar, and it could be said that it presents another melodic direction for the interaction. But when one has a choice to hear Hooker or Davis instead, most listeners will simply ...

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