Sally Whitwell - Falling, from Twin Peaks

139 plays

Falling by Angelo Badalamenti. Arranged and performed by Sally Whitwell (me!)

Sometimes, when I’m drowning in dull administrative tasks and attempting to spruik myself for more gigs and juggle the ones that I’ve been offered (that all clash with each other. Argh!) I need to give myself little reminders of what I do and why I do it.

This track I recorded, I’m really rather proud of it. It reminds me that what I want to do most in the world is to communicate ideas for which there are no words available. Even though this song originally has words, I think it’s the non verbal elements that communicate the most strongly. Or maybe that’s just me? I dunno.

Hope you enjoy it anyway *grin*

Sally Whitwell - Falling (Twin Peaks)

182 plays

Falling by Angelo Badalamenti.  Performed by me (Sally Whitwell) as my own personal tribute to David Lynch’s genius on my album The Good, the Bad and the Awkward.

Happy Birthday Mr. Lynch!

Sally Whitwell - Falling, from Twin Peaks

129 plays

Falling by Angelo Badalamenti arranged for and performed on solo piano by Sally Whitwell (me!). Featured on the album The Good, the Bad and the Awkward. 

Following my “least popular track" post, I thought I’d do a "most popular track" post! Compare and contrast, if you will ;)

Originally, this piece was the theme from the television series Twin Peaks, directed by David Lynch.  A sung version was also recorded by Julee Cruise.

Here’s some words on it, an excerpt from the album’s digital booklet;

Disturbing neighbours is something from which director David Lynch has formed an entire career.  There is very little that is as disturbing as pleasant looking people in average suburban neighbourhoods being subjected to incredibly disturbing things behind closed doors.  One of these pleasant neighbourhoods would be the small fictional Washington State town of Twin Peaks where young, beautiful, popular Laura Palmer was slain by her own father Leland Palmer possessed by the evil killer BOB. Lynch’s typical juxtaposition of horrific occurrences in pleasant surrounds is for me the key to its success.  Add onto this Angelo Badalamenti’s misty floating score, including a version of the originally instrumental theme Falling sung by the cute-as-pie Julee Cruise and you’ve got yourself a beautiful sugary pink bubble just waiting to be burst by terrifying demonic tragedy.

L'execution

40 plays

L’execution by Angelo Badalamenti. Performed by Sally Whitwell, melodica, toy piano and harpsichord.

This piece is a creepy story about some siamese twins… Here’s an excerpt from the digital booklet all about it *shivers*

There are many occasions in cinema and indeed in life when harsh judgements are placed upon individuals.  Perhaps it’s due to some kind of pack instinct that humans have?  Or perhaps it’s too much effort to research the details before you go accusing people of wrongdoing?  Some creatures are labelled as bad, like vampires and werewolves, but they are also victims and hey, they need to eat too!   Some we feel deserve this label, others not.  It’s what they choose to do with this label that is the most interesting part of an often complicated story.

Let’s take the case of La Pieuvre (The Octopus) from The City of Lost Children (dir. Marc Caro and Jean-Pierre Jeunet 1995).  For a start, it has nothing to do with any deep sea creature. They, for they are two women (humans), are siamese twins joined at the lower leg who run an orphanage rather in the style of Charles Dickens’s Fagin i.e. the children are expected to pick pockets and fund the octopus’s lifestyle. To cut a long story short, they own a trained flea that performs only when it hears, L’éxécution  a piece performed by The Octopus on their barrel organ. It’s performance triggers a response in the flea, to poison a person. The victim of said poisoning will then kill the first person they see. Confused? Whatever.  Nobody can prove La Pieuvre is a murderer and whilst theirs is an abominable action, you’ve got to admire that kind of ingenuity.

Dear Mr. Lynch,
Thank you for discovering Angelo Badalamenti. Thank you for incorporating his other-worldly music into your fine television series Twin Peaks.  Thank you for asking Julee Cruise to sing it and make it into the hit song that it is.  I think it’s just such a rare gem, it really speaks to the people somehow.  You inspired me to arrange it for solo piano and record it, and for that opportunity/inspiration I am very grateful.
Thank you also for having magnificent hair.
Yours,
Sally.
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