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Not With My Wife, You Don't!/Any Wednesday (1966)
Music by George Duning, John Williams
Not With <i>My</i> Wife, You Don't!/Any Wednesday Not With <i>My</i> Wife, You Don't!/Any Wednesday Not With <i>My</i> Wife, You Don't!/Any Wednesday
Click to enlarge images.
Price: $16.95
Limited #: N/A
View CD Page at SAE Store
Line: Silver Age
CD Release: March 2006
Catalog #: Vol. 9, No. 3
# of Discs: 1

This doubleheader CD presents digital premieres of two swinging sex comedy scores from 1966: Not With My Wife, You Don't! and Any Wednesday , as re-recorded for Warner Bros. Records.

Not With My Wife, You Don't! starred Tony Curtis, George C. Scott and Virna Lisi in a wacky love triangle involving two servicemen and an Italian beauty. The score by John "Johnny" Williams was one of several he composed for adult-oriented "screwball" comedies in the 1960s, three of them already released by FSM: John Goldfarb, Please Come Home!, Penelope and A Guide for the Married Man.

Williams's work on Not With My Wife, You Don't! is noteworthy for his collaboration with legendary lyricist and performer Johnny Mercer, with whom he wrote three songs: the upbeat "Big Beautiful Ball," romantic "My Inamorata," and goofball-pop "Not With My Wife, You Don't." The album, as was the custom for the day, features vocal and instrumental versions of the songs, selected score cues, and expanded versions of source music.

Although he was many years away from his worldwide fame, Williams's gifts for composition and cinema were more than evident on "light" fare such as this; his score is tuneful, diverse and imaginative in its symphonic and dance-band orchestrations.

Any Wednesday was based on a Broadway hit and starred Jane Fonda as a ditzy, heartsick mistress to an industrial tycoon played by Jason Robards. The score—very much of a piece with Not With My Wife, You Don't!—was composed by George Duning, an underrated composer with a gift for melody who was a contract composer at Columbia Pictures in the late 1950s (when Williams was the studio orchestra pianist).

This bargain doubleheader is long overdue for John Williams collectors, a rare release for aficionados of George Duning, and a charming delight for fans of the Henry Mancini/Neal Hefti school of "swinging sixties" comedy. The albums have been remixed and remastered from the 1/2" four-track masters for superb stereo sound quality.

George Duning Scores on FSM
About the Composer

George Duning (1908-2000) was a longtime contract composer at Columbia Pictures (From Here to Eternity, Picnic) who later did feature films as a freelancer (including several of the titles released by FSM) as well as a great amount of television (including Star Trek). A former bandleader for Kay Kyser, he was comfortable in jazz idioms and had a sensitive and melodic touch as a symphonic dramatist. FSM is one of the only labels to showcase his work, from action-adventure (The Devil at 4 O'Clock) to magical comedy (Bell, Book and Candle) to bluesy and lyrical (Toys in the Attic). IMDB

John Williams Scores on FSM
About the Composer

John Williams (b. 1932) is not only the composer of most of the biggest blockbusters of all time—including Star Wars, E.T., Jaws, the Indiana Jones films, Harry Potter, Jurassic Park and many more, many of them directed by Steven Spielberg—but he has transcended film music to become the world's most famous living composer, and an American institution. His popular symphonic scores are so iconic that they often overshadow the fact that he has been equally proficient at sophisticated, adult fare (Schindler's List, Images) and had a successful career in composing (for television and often comedy features), arranging and performing well before he even met Steven Spielberg. FSM, like most labels, will release everything it can of Williams's music, and has concentrated (for reasons of availability) on his early years as "Johnny" Williams when he was doing sterling work on relatively little-known television and films—always with an amazing attention to melody and detail. In fact, his early works are fascinating for the ways in which they foreshadow his later, world-renowned efforts. IMDB

Comments (12):Log in or register to post your own comments
Did I tell you the one about the greengrocer's bloomers? Well, this was the last CD that slid out the crack a few months back. So it's taken me two months to type all the garbage I'm gonna spew on screen. But it's taken the rest of you fourteen years and you didn't write anything.

I'm not criticising you, because this may be the weakest of my rabbits - and, ironically, for one of the very best of the butcher's batch. I absolutely LOVE this CD! It's probably THE one I now go to for cheering up. It's just so much fun from start to finish. It's strange in a way because if one is feeling a bit down, very often "annoying" music will have the undesired effect of making you feel more irritable. But this one just oozes joy and effervescence. Not everybdy will love it of course. My brother doesn't, and neither does my friend Mitch. On the other hand Thor loves it (the Williams score at least).

So we know that this CD represents the two re-recorded LPs released in their day. NOT WITH MY WIFE YOU DON'T is Johnny Williams at his light romantic/comedic/parodic best. The Main Title is a wonderful big band version of the film's title song, highlighting very skillful jazz soloists. Sax and piano are wonderful, everything so swinging and energetic. And then we're onto tracks which range from a VERY Mancini-like chorus, through Burt Bacharach, Bert Kaempfert, and The Beach Boys, to beautifully slinky romantic lounge pieces, cool "spy" pastiche and outright bonkers lunacy. But I never find it annoying! It's all so effortlessly endearing (to me). Pure joy!

I mentioned the following in my mini-rabbit about DIAMOND HEAD - This score is SO like Mancini! Even the track titles are like Mancini ("Foney Poochini" for example). And speaking of track titles (but not on this release), didn't both Williams and Mancini have several releases with a track "Something For..." on them?

My rabbit's out of control. Just as my favourite track on DIAMOND HEAD was very possibly the Manciniesque "Mei Chen", my favourite from this score could well be the wild, wonderful, Manciniesque and not-even-in-the-film "Hungarian Jungle Music". I trust Thor approves. Anyone else?

Ah! When I was doing a search for the FSM CDs listed here, I noticed that the actual film score was released in 2011. I had either just forgotten that or probably didn't even know it. For those of you who have it, how does it compare with this? I imagine it's a nice companion piece, but the score as adapted and presented here is unbeatable.

ANY WEDNESDAY by George Duning is the perfect bed partner for the JW score. I love most of Duning's work anyway, so clear and transparent, and memorably melodic. And oh my, he had such a deft touch for light romantic comedies. I adore how he keeps everything so lively with the commendably frequent passages for jazz soloists.

I'm so happy having this that I've used up all my energy. What do all you folks think?

A great twofer. I love John Williams music composed during his "Johnny" years.

I bought this back in the day, for two reasons: It's John Williams, and the cover art looked fun. I still haven't even unwrapped it yet, but your comments are pushing me to finally give it a listen today!

I also have the CD with the actual film score tracks. If I like this one, I might open that one today, too.

Hey prindlesailor - Why would you buy CDs just to have them sit unopened for years?

Get those CDs played and report back here. Thanx!

Excellent rundown, Graham, and I'm so relieved you liked it. After THE REIVERS, which stands as Williams' 60s masterpiece, NWMWYD stands as number 2, and unquestionably the most entertaining soundtrack album he did in the decade. It's all re-recorded, and it has several tracks that don't appear in the film, but it just works like gangbusters as a concept album.

Yes, "Hungarian Jungle Music" is not only my favourite cue on the album, but one of my favourite JW cues of the entire 60s. How I would love to hear this in concert!

Here's my old thread on film and score:

https://www.filmscoremonthly.com/board/posts.cfm?threadID=80848&forumID=1&archive=0

(oh, and I had actually completely forgotten they had released the film tracks from this; I've never cared about such things; this 'concept album' is all I ever need).

Hey prindlesailor - Why would you buy CDs just to have them sit unopened for years?

Get those CDs played and report back here. Thanx![/endquote]

I buy them with the best of intentions - to listen to them!! But many times my eyes are bigger than my stomach, so to speak. I find that I don't have time to listen to everything properly. And if I don't have time for a decent listening experience, I tend to forget about it.

And I also have a fear of missing out. So, if there's something I'm fairly interested in listening to "someday", I buy it so I don't have to worry later about searching on eBay.

I listen to lots of stuff in the background when I don't have time to pay attention, but I never do any "first listens" that way. Unfortunately (or fortunately in this instance) the pandemic has allowed me to devote more time to those undiscovered gems in my collection. Working at home does have some advantages!

I'll definitely report back with my opinions!

I would recommend the original soundtrack of "Not With My Wife, You Don't" as well! Of all the many, many soundtracks from FSM I have bought, this is near the top as far as me being pleasantly surprised. There are more memorable tunes than one might expect, and there is a variety of moods that keeps up the level of interest.

I found the OST a bit long, and I whittled away about a third of the runtime. Let me tell you - that whittling was difficult. Yeah, this tune or that tune might appear 3 or 4 times, but each presentation is delightful in its own way!

When I later got the rerecording, I thought it might replace the OST with a concise summation of the score, but I was wrong. While the rerecording is excellent, it misses some great presentations of the tunes.

This is one of only a few soundtracks that I have kept BOTH the OST (or 70% of it) and the rerecording on my iPod. It may be my favorite early Williams composition.

I just spent the afternoon listening to these CD's for the first time. And, just to break things up a bit, I listened to The Reivers in between (not the first time for that one, as it's one of my favorites).

So, the original 2006 FSM CD... Yeah, this one is a lot of FUN! Really great jazz performances, and I'll definitely keep this album in my rotation now. The fact that the CD includes Duning's "Any Wednesday" is a nice bonus. I didn't enjoy that quite at much as NWMWYD, but I'll listen to it some more, for sure. For the relatively cheap price, you simply can't go wrong with this album.

The "Volume 2" FSM CD from 2011 was a pleasant surprise, and a completely different listening experience from the 2006 CD. At certain times, it was almost likely totally different music. For that reason, I'm glad to have both CD's. In fact, I would go so far as to say I wouldn't want to be without either of them. There was more than enough to hold my interest for most of the 64-minute length

In summary, I would say the 2006 CD is ultra-enjoyable and a great all-around listening experience. It would be very easy to play it casually in the background. On the other hand, the 2011 CD was better than I expected and contained some good variety. The newer one does require more "active" listening though, as some of the cues are shorter and tend to break up the flow of things. Both of them contain music that's on one, but not the other. You might need both!

Love, love LOVE this stuff. ANY WEDNESDAY is a perpetual favorite and in regular rotation.

Gonna dig out both CDs and listen to them this weekend.
I remember enjoying the original concept album Williams released, but much preferring the original score album, which plays like an actual film score, than the Mancini-like 'muzak' LP more popular in the day.

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Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
John T. Williams

Violin:
Herman Clebanoff, Sam Freed, Jr., David Frisina, Irving Geller, Thelma Hanau (Beach), Anatol Kaminsky, Nathan Kaproff, George Kast, Marvin Limonick, Alexander Murray, Erno Neufeld, Irma W. Neumann

Viola:
Allan Harshman, Virginia Majewski, Robert Ostrowsky, Sanford Schonbach

Cello:
Armand Kaproff, Raphael "Ray" Kramer, Edgar Lustgarten, Eleanor Slatkin

Bass:
Joseph Mondragon

Flute:
Arthur Gleghorn, Ronald Langinger (aka Ronny Lang)

Oboe:
Gene Cipriano

Clarinet:
Justin Gordon

Saxophone:
Gene Cipriano, Charles Gentry, Justin Gordon, Ronald Langinger (aka Ronny Lang), John Lowe, Ted Nash

French Horn:
Vincent N. DeRosa, William A. Hinshaw, Richard E. Perissi, Henry Sigismonti

Trumpet:
Austin "Bud" Brisbois, Conte Candoli, W. Pete Candoli, Henry Jack Laubach

Trombone:
Michael J. Barone, Francis L. "Joe" Howard, Richard "Dick" Nash

Tuba:
John Bambridge, Jr.

Piano:
Artie Kane, Ray Sherman

Organ:
Artie Kane

Guitar:
Robert F. Bain, William Pitman, Thomas "Tommy" Tedesco

Harp:
Dorothy S. Remsen

Percussion:
Larry Bunker, Sheldon "Shelly" Manne, Emil Radocchia (Richards), Jerry D. Williams, John F. Williams

Arranger:
James H. Bryant

Orchestra Manager:
Robert Helfer

Copyist:
Dan Franklin, Arthur W. Grier, Robert G. Hartley

© 2020 Film Score Monthly. All Rights Reserved...