angelo badalamenti - c/d s/d

It's been a while since I listened to Mulholland Drive, but it has" I've Told Ev'ry Little Star" on it. I know that there are two songs during that sequence in the film and that is one of them. I think the other one might be 16 Reasons. Either way, the other song is not on the soundtrack.

The Twin Peaks soundtrack is great if you like Twin Peaks, if not, I'd pass on it. Kind of repetitive.

Some people like the Wild At Heart or Eraserhead soundtracks, but I'm not really one of them. Hope this helps.

i heard the mulholland drive sdtk at an afternoon party drifting in from the bedroom it was really amazing.

i have the twin peaks sdtk but i don't listen too much... "falling" is played on a Fender Bass VI. angelo badalamenti plays a fender jaguar.

he used to play in LA a lot in the early/mid-90s.

Search: Mulholland Drive, Blue Velvet and Twin Peaks soundtracks, Julee Cruise's debut.
Destroy: Lost Highway (it's industrial metal, really) and Eraserhead (not really, but it is massively overrated)

oh YEAH!

Meanwhile, Baddalamenti recorded with Tim Booth from James on the Booth and the Bad Angel album, which I've not honestly heard, but the single "I Believe" was nice.

Have you guys heard the Straight Story soundtrack? It's all finger-picked acoustic Americana -- no spooky synths!

Somebody oughta work on that. I bet there'd be an audience for it. I'd buy it.

go to imdb.com

Actor - filmography
(2000s) (1980s)

Mulholland Dr. (2001) .... Luigi Castigliane
... aka Mulholland Drive (2001) (France) (USA: closing credits title)

Blue Velvet (1986) (as Andy Badale) .... Piano player

then come back her and give me a sweet apology... NOW!!! OR ELSE!!!

It's Dan Hedaya.

INT. CONFERENCE ROOM - DAY
    
The men in dark suits go in as if they owned the place. Ray,
Mr. Darby and Robert Smith stand immediately. Adam remains
seated. Mr. Darby is the only one near enough to attempt a
hand shake, but when he offers his hand it is not taken. The
men in dark suits sit down without wasting a movement and
without acknowledging anyone. One of the men in a dark suit
opens a briefcase. Ray has been trying to make
introductions.
    
				RAY
		Ah... the Castigliane brothers. Let me
		introduce you around ... please ... sit down.
		(after they've already seated
		themselves) ... this is Mr. Darby whom you
		know and this is the director Adam
		Kesher and his manager Robert Smith
    
The Castigliane brothers do not acknowledge any of this,
however, during the introductions the one with the briefcase
removes a photo of a girl and sets it in front of Ray.
    
				RAY (cont'd)
		Ah... she's very pretty.
    
We see the photo of the girl - of a nice looking blonde -
someone we've never seen before. Adam looks like he doesn't
know what's going on and he's getting upset about not
knowing. His manager, Robert Smith, is beginning to see the
makings of a confrontation - he's starting to panic.
    
				MR. DARBY
			(referring to Castigliane
			brothers)
		May I offer you gentlemen anything?
    
				LUIGI CASTIGLIANE
		Espresso.
				VINCENZO CASTIGLIANE
		Nothing. 
    
				ADAM
		Uh  what's the photo for?
    
				MR. DARBY
			(picking up phone and speaking)
		One espresso ... no, that's it.
			(sets phone down - addresses
			Castigliane brothers)
		I think you're going to enjoy your
		espresso this time... I've been doing
		quite a bit of research knowing how hard
		you are to please... this one comes highly
		recommended.
    
				ADAM
		What's the photo for?
    
				RAY
			(to Adam)
		A recommendation... a recommendation to
		you Adam.
    
				VINCENZO CASTIGLIANE
		Not a recommendation.
    
    
				LUIGI CASTIGLIANE
		This is the girl.
    
				ADAM
		What girl? For what? What is this Ray?
    
Ray, still standing with a forced smile, turns to the
Castigliane brothers.
    
				RAY
		We'd be happy to put her in the pile for
		considerations ... you'd be pleased to know
		there's quite a lot of interest in this
		role.
    
				ADAM
		Interest?! There's six of the top
		actresses that want this thing.
    
				LUIGI CASTIGLIANE
		This is the girl.
    
				ADAM
		Ray...you better take care of this.
    
				ROBERT SMITH
		Hold on ... hold on, Adam.
    
				ADAM
		Hold on!!!!!!!! There's no way, there's
		no way!!!
    
Luigi Castigliane's espresso is brought in by the man who had
been in earlier. The man sets the espresso down in front of
Luigi and takes a step back. The room becomes silent -
watching the Espresso Man and Luigi. Without looking up Luigi
speaks softly.
    
				LUIGI CASTIGLIANE
		Napkin.
    
				ESPRESSO MAN
			(leading forward to hear)
		Pardon?
    
				LUIGI CASTIGLIANE
		Napkin.
    
				ESPRESSO MAN
		Of course. Excuse me.
    
The Espresso Man leaves the room. Luigi looks at the
espresso. Vincenzo stares at Adam.
    
Adam is doing his best to stare down Vincenzo. The Espresso
man returns with a cloth napkin and lays it down next to the
espresso.
    
				ESPRESSO MAN (cont'd)
		Will that be all, Sir?
    
Luigi doesn't answer and after a moment of standing very
still waiting, the Espresso Man turns and leaves the room.
    
Adam is stared down by Vincenzo and averts his eyes to the
espresso cup. He looks around at Ray and Mr. Darby - seeing
them stare at the espresso cup.
    
Vincenzo keeps staring at Adam.
    
Luigi picks up the napkin and holds it in his left hand.
With his right hand he lifts the espresso cup and places it
above the napkin. He brings the cup and napkin to his mouth.
He takes a sip of espresso. A small fleeting expression forms
on Luigi's impassive face as if for one millisecond he is
going to vomit. His mouth opens and he allows the espresso
to fall and dribble onto the napkin. He pushes any remaining
espresso in his mouth out with his tongue. He holds it in
that position for a moment.
    
				LUIGI CASTIGLIANE
		Is shit!
    
Luigi Castigliane stands up.
    
				RAY
		I'm sorry. That was a highly
		recommended...
    
				MR. DARBY
		That's considered one of the finest
		espressos in the world , Sir.
    
Luigi just stands there. A small thread on his left suit
jacket pocket catches his attention and he smooths it back
into the fabric. Vincenzo closes his briefcase, takes out a
hankerchief and cleans his nose - then stands, placing the
handkerchief back in his pocket.
    
				ADAM
		Wait a minute!! What's going on here?
    
Vincenzo just stares toward Adam as if he's not even there.
    
				ADAM
		There's no way that girl is in my movie!
    
Silence.
    
				LUIGI CASTIGLIANE
		That is the girl.
    
The Castigliane brothers begin to leave. Adam stands up
trembling with anger.
    
				ADAM
		Hey!!!!! That girl is not in my film!!!
    
				VINCENZO CASTIGLIANE
		It is no longer your film.
    
Adam turns white and stands very still as this sinks in. The
Castigliane brothers leave. As the big blonde wood doors
close behind them Adam starts to boil.

(one of my favorite records ever. renders most other badalamenti redundant.)

The sound editing in Lynch's films rocks in general- I've never seen a director that pays that much attention to how a film sounds.

i'd also recommend late godard's dolby masterpieces (esp. "hail mary" and "nouvelle vague").

In contrast, he's never done anything with Saint Etienne but they have a couple of songs that sound a lot like him. "California Snow Story" and "Puppy Love" are the ones I remember now but I think there are more.

Earlier too -- that's his orchestrations on "It Couldn't Happen Here" from Actually.

Revive!

I've been digging into the Julee Cruise album and Mulholland Drive. I'm with the original poster, it's the string (particularly the string synth) chorales really get me on Mulholland Dr.

It's kind of remarkable how...tonal he is. It's particularly interesting for me, b/c I have very little use for the likes of Henryk Górecki, who sort of makes a big deal out of his tonality. But Badalamenti's harmonies and melodies have an almost deceptively simple quality.

He also writes great songs. Agreed with grimly fiendish, "Mysteries of Love" is something else, as is Floating Into the Night's "Rockin' Back Inside My Heart."

In his AMG review, Ned says "Lynch's surprisingly affecting lyrics, which play just enough with clichés so as not to seem willfully ironic" -- I'd say the same about Badalamenti's music. I can think of a thousand modern artists that pilfer the ambiance and instrumentation of classic rock and roll and pop -- but I can't think of more than one or two that create something wholly unique out of them. This guy's one. Quite special.

Some trivia 4 U: Badalamenti & Lynch's first collaboration was on Blue Velvet. Lynch had fallen in love (who didn't?) with the cover of "Song to the Siren" by This Mortal Coil, and had to have it for his film. When he realized he couldn't afford the licensing, he hired AB to concoct his best facsimile. AB went out and found Julee Cruise, recorded "Mysteries of Love," David loved it, and the rest is history. "Song to the Siren" was later used in Lost Highway, which obv had a much bigger budget than BV.

Fire Walk With Me is easily my favorite AB soundtrack, though I am a pretty big fan of his work as a whole. I could do without the trend-du jour industrial metal of the Lost Highway soundtrack, and I agree with the poster above that, if you think he is a one-trick-pony, simply give a listen to the gorgeous Straight Story score for confirmation that he is not.

All fans of this music need to buy/hear Black Earth by Bohren and Der Club of Gore. It's been reissued in the US by Ipecac. This is the darkest, smokiest doom-jazz ever. Totally feels like Badalamenti in the best way...

I read that story about "Mysteries of Love" -- I hear the similarities (pedal tones, ethereal vocal) but am decidedly pleased that Badalamenti ended up creating his own thing.

The Fire Walk With Me soundtrack is fantastic, really diverse and has some of the best of Lynch and Badalamenti's long-running collaboration- "Sycamore Trees" with Jimmy Scott, "The Pink Room" which is this sort of gay cowboy grinding industrial thing, don't really know how else to describe it (it's from the scene in FWWM in the Canadian nightclub), and two tracks from Lynch and Badalamenti's Thought Gang project. They were planning on releasing a Thought Gang album through davidlynch.com, like the Blue Bob project, but it never came together. Maybe just as well. The two tracks ("The Black Dog Runs At Night," "A Real Indication") are incredibly fucking weird, and make great mixtape fodder.

And Bohren seconded.

Here's the scene from FWWM with "The Pink Room": I think gay cowboy grinding industrial thing sums it up pretty well, actually. Sorry for the annoying shit at the beginning of the vid, but its the only clip I could find. These jackasses think this is one of the worst movie scenes of all time, but I really like it: "I am the Great Went"

It's been a while since I've seen Fire Walk With Me, but isn't this also the scene where Laura and her friend are just sitting at the table while two guys go down on them from under the table?

yeah, I watched it last week (after watching the whole series). My mind was pretty warped. Still think Fire Walk With Me is one of Lynch's best films.

The Straight Story soundtrack is incredible.

Anyone familiar with the album with Tim Booth? I'm curious.

This is awesome. Badalamenti describing how he wrote "Laura Palmer's Theme" with David Lynch:

that was on the dvd extra footage from a few years back.

He did some/maybe all? of the score for Eli Roth's Cabin Fever, and in the commentary he refers to one piece as...um...fingerblast suite or something? It's the score for the part where the dude tries to finger a girl and finds she's all rotten and grody. It's SURREAL.

I love him so so much.

I only just found out about this, so I haven't got it yet, but about a year ago a second Twin Peaks CD was released. It's on Amazon.

Back in the late '60s under the name Andy Badale, he cowrote the track "Visa to the Stars" on the Perrey-Kingsley album The In Sounds from Way Out and several pieces on Jean-Jacques Perrey's solo albums.

mysteries of love really is phenomenal huh?

Yes. (Wanna come over to my place? Please?)

RIP :(

oh damn rip

oh noooo. jeeez. RIP.

It's been said before but it can't be overstated that part of Twin Peaks' cultural impact, and what immediately identified it as something special, was that no one had heard music for television like that in their life.

What Chris L said. RIP.

badalamenti explaining how he composed Laura Palmer's theme is a beautiful thing

https://www.youtube.com/watch?v=e-eqgr_gn4k

i was just watching that for probably the 10th time, it's... comforting

Going to rewatch Straight Story over xmas

RIP

https://www.youtube.com/watch?v=YQtm1eznrtU

https://www.youtube.com/watch?v=aVI-Jew-iHo

🤣

His score for Paul Schrader’s The Comfort of Strangers (1990) is wonderful

https://www.newyorker.com/culture/postscript/angelo-badalamenti-was-beyond-refined

Nice piece written by Badalamenti's niece Frances.

Because it's the season, was just reminded of Badalamenti's oddest credit: National Lampoon's Christmas Vacation

Nice piece written by Badalamenti's niece Frances.