Matt Yorston
01-29-2002, 07:16 PM
Here's a topic for those on this board interested in cartoon scores and, in particular, those who scored the cartoons (Stalling, Bradley, Sharples, etc.).
Anyway, does anyone else find the music of Edward Plumb enjoyable? For those unfamiliar with Plumb, he scored a handful of Disney cartoons and one MGM cartoon. I find his music absolutely superb at times, particularly because it excels on defining the cartoon's mood, atmosphere, and "attitude".
Take "The Missing Mouse" (The 1 MGM cartoon he scored), for example. Some T&J fans are disappointed in this because it isn't scored by Bradley. While any composer filling in for Bradley is begging to be compared to him, Plumb does not do a bad job. While Bradley's music are often comedic and musically witty, Plumb's score is downright suspenseful... spooky in moments, even. Plumb makes you feel for Tom as he fearfully tries to keep the explosive mouse (Jerry) from exploding. Likewise, when Tom's feelings turn from cowardice to over-confidence (when Jerry's disguise comes off), Plumb's scoring suits those scenes to a tee as well. He does an extremely good job but, of course, he's still no Bradley.
Of his Disney cartoons, those scored by him are "Mother Goose Goes Hollywood" (uncredited), "Donald's Crime", "The New Neighbor", "Football Now and Then", "How to Sleep", and "Donald's Diary". "Donald's Crime" has a GREAT score and, again, Plumb's music really defines the cartoon's mood. It's dark and moody and, again, heightens suspense when certain scenes require it (Donald climbing the stairs to the roof, for example). "The New Neighbor" is good with the music really pacing the cartoon's action, particularly during the fence-building sequence. "Football Now and Then" has hardly any music at all (except when absolutely needed) so can't comment much here. "How to Sleep" has a very good score with "Rock-a-Bye Baby" being used almost inceasingly during the cartoon (to match its' sleep theme) and in different variations depending upon scene. The best part of this cartoon's score is when Goofy has a nightmare while counting sheep, causing him to believe a stampede. Again, mood is everything. Finally, "Donald's Diary" has a "romantic" theme going for most of the cartoon with each of Donald's reaction shots being promptly accentuated by Plumb's score. In the end, when Donald slowly goes mad, Plumb's score goes hog wild punching the scene across with cannon-fire precision.
Last but not least, Plumb also scored the "Peter and the Wolf" segment of Make Mine Music. He does a perfect adaptation of the Prokofiev classic making you feel all the more for Peter and the characters with its powerful underscoring.
Sadly, the cartoons mentioned above seem to be the only cartoons Plumb ever fully scored in his life. Much of Disney's cartoons were either scored by Oliver Wallace, Paul Smith, and, in the 1950's, Joseph S. Dubin. Plumb's music only came along now and then but when he was able to "perform", he did almost perfectly. He is probably the most underestimed cartoon scorer of all time.
Any comments on this thread????
Anyway, does anyone else find the music of Edward Plumb enjoyable? For those unfamiliar with Plumb, he scored a handful of Disney cartoons and one MGM cartoon. I find his music absolutely superb at times, particularly because it excels on defining the cartoon's mood, atmosphere, and "attitude".
Take "The Missing Mouse" (The 1 MGM cartoon he scored), for example. Some T&J fans are disappointed in this because it isn't scored by Bradley. While any composer filling in for Bradley is begging to be compared to him, Plumb does not do a bad job. While Bradley's music are often comedic and musically witty, Plumb's score is downright suspenseful... spooky in moments, even. Plumb makes you feel for Tom as he fearfully tries to keep the explosive mouse (Jerry) from exploding. Likewise, when Tom's feelings turn from cowardice to over-confidence (when Jerry's disguise comes off), Plumb's scoring suits those scenes to a tee as well. He does an extremely good job but, of course, he's still no Bradley.
Of his Disney cartoons, those scored by him are "Mother Goose Goes Hollywood" (uncredited), "Donald's Crime", "The New Neighbor", "Football Now and Then", "How to Sleep", and "Donald's Diary". "Donald's Crime" has a GREAT score and, again, Plumb's music really defines the cartoon's mood. It's dark and moody and, again, heightens suspense when certain scenes require it (Donald climbing the stairs to the roof, for example). "The New Neighbor" is good with the music really pacing the cartoon's action, particularly during the fence-building sequence. "Football Now and Then" has hardly any music at all (except when absolutely needed) so can't comment much here. "How to Sleep" has a very good score with "Rock-a-Bye Baby" being used almost inceasingly during the cartoon (to match its' sleep theme) and in different variations depending upon scene. The best part of this cartoon's score is when Goofy has a nightmare while counting sheep, causing him to believe a stampede. Again, mood is everything. Finally, "Donald's Diary" has a "romantic" theme going for most of the cartoon with each of Donald's reaction shots being promptly accentuated by Plumb's score. In the end, when Donald slowly goes mad, Plumb's score goes hog wild punching the scene across with cannon-fire precision.
Last but not least, Plumb also scored the "Peter and the Wolf" segment of Make Mine Music. He does a perfect adaptation of the Prokofiev classic making you feel all the more for Peter and the characters with its powerful underscoring.
Sadly, the cartoons mentioned above seem to be the only cartoons Plumb ever fully scored in his life. Much of Disney's cartoons were either scored by Oliver Wallace, Paul Smith, and, in the 1950's, Joseph S. Dubin. Plumb's music only came along now and then but when he was able to "perform", he did almost perfectly. He is probably the most underestimed cartoon scorer of all time.
Any comments on this thread????