The Origin of the Bum Bum Song (ie the End Title)
Posted: Mon Aug 01, 2005 5:08 pmFrom
http://www.seaoftranquility.org/reviews ... nt&id=2179
It appears it was a reused track
[quote]
Emerson, Keith, with Nobuhiko Morino & Daisuke Yano: Godzilla–Final Wars (OST)
Fifty years! In 2004, our favorite atomic-breathed walking metaphor celebrated five decades of rule over Kaijutopia. Diminished box office returns won’t unmake Godzilla’s status as one of pop culture’s single most recognizable icons—one as familiar as Star Wars, Playboy, and that dude over in Neverland. For Big G’s birthday, Toho approved a script that involved the largest collection of empowered beasties—kaiju—since 1968’s Destroy All Monsters. The film retains Akira Ifukube’s timeless titular theme, but an otherwise all-electronic underscore was commissioned, the bulk of which was performed by Keith Emerson, along with two other Japanese synthesists. Emerson’s presence marks his first venture back into the soundtrack realm since the animated series Iron Man and Harmageddon (his first was for Dario Argento’s Inferno, in 1978).
How amusing that Emo’s already been criticized for using much, perhaps all, of the music he wrote for an unpublished ELP album for Final Wars. It’s true: “Crossing The Rubicon,â€
http://www.seaoftranquility.org/reviews ... nt&id=2179
It appears it was a reused track
[quote]
Emerson, Keith, with Nobuhiko Morino & Daisuke Yano: Godzilla–Final Wars (OST)
Fifty years! In 2004, our favorite atomic-breathed walking metaphor celebrated five decades of rule over Kaijutopia. Diminished box office returns won’t unmake Godzilla’s status as one of pop culture’s single most recognizable icons—one as familiar as Star Wars, Playboy, and that dude over in Neverland. For Big G’s birthday, Toho approved a script that involved the largest collection of empowered beasties—kaiju—since 1968’s Destroy All Monsters. The film retains Akira Ifukube’s timeless titular theme, but an otherwise all-electronic underscore was commissioned, the bulk of which was performed by Keith Emerson, along with two other Japanese synthesists. Emerson’s presence marks his first venture back into the soundtrack realm since the animated series Iron Man and Harmageddon (his first was for Dario Argento’s Inferno, in 1978).
How amusing that Emo’s already been criticized for using much, perhaps all, of the music he wrote for an unpublished ELP album for Final Wars. It’s true: “Crossing The Rubicon,â€