This is today's find at Vinal Edge. I found the premise of the movie, and the fact that it was directed by Roman Polanski intriguing. With this post, I feel that I've assuaged my need to share soundtracks. So, the next post will be a Mystery Album #6. Until then ....
[aka The Fearless Vampire Killers] The score for The Dance of the Vampires probably sounded just as strange in 1967 as it does today. The film was marketed as a horror farce, but it sounds like Polish composer Krzysztof Komeda had slightly different thoughts in mind. The score is not completely macabre nor is it completely tongue-in-cheek. Instead it inhabits this weird space in between that draws on both traits at the same time. It’s eerie but not frightening, legitimate but not serious. And some of its main themes ride upon instrumentation that could strike listeners today as almost alien. Harpsichord and upright bass with wordless incantations from a wavering choir sitting just a few tracks away from strings and woodwinds and drum-backed kitsch reminiscent of Rocky Horror—it begs the questions “Is this a joke?” and “Are you trying to freak me out?” simultaneously. It sounds slightly dated, but not in the ways one would think.
With 19 tracks clocking in at just a hair over thirty minutes, The Dance of the Vampires is not a large score. Shortening it even more is the fact that many of the themes are repeated with sometimes very little variation. For instance, the “Main Title” at the start is almost identical to the closing number “Herbert’s Song” (the latter is longer by about two minutes). The slowed minor key vibratos of the choir are the driving force on these two tracks, using the harpsichord as a piece of archaic window-dressing. “Sarah in Bath” is an acappella “Snowman” sped up to a moderate tempo. And “Snowman” is a guitar and oboe waltz that mutates into a minor-key chant for “Koukol Laughs”. Then it goes back to being “Snowman” for the start of “Sarah’s Song”. “Sarah Asks for a Bath - Love Tune”, which appropriates the opening theme, is probably the least romantic twenty-two seconds of the program. Between these numbers are incidental cues that visually set scenes (as they should).
World premiere release of vibrant 1971 soundtrack to third and final film starring Sidney Poitier as Police Lt. Virgil Tibbs, a commanding role begun with IN THE HEAT OF THE NIGHT. Gil Melle takes over scoring reins from Quincy Jones, creates dynamic, exciting score for orchestra with meld of jazz flavor, complex orchestral color. Evidence found in master tape boxes plus correspondence with late composer's spouse suggests discussions were in play to release brief album at time of initial film release, during heyday of United Artists Records 25-29 minute souvenirs of UA movies, albeit LP never materialized. Short running time is offset by vivid stereo audio from 1/4" two-track masters courtesy of MGM which feature most of score's major set-pieces. Gil Melle conducts. Intrada Special Collection release limited to 1000 copies! -Amazon.com
First off, I've two requested re-ups: the Abbey Lincoln, and William Onyeabor posts. I appreciate all of you who visit and enjoy this blog, and I'm never bothered by requests. I always try to fulfill them in a timely manner, so don't hesitate asking. The easiest method for me is to message this blogs Facebook page. And now, today's album... Very typical of Piero, this soundtrack contains elements of Jazz, Funk, Big Band, and Pop. Even if film scores really aren't your thing, his work is worth adding to your library. I have shared this album before back in 2013, but the link is long dead, and it fits in with my recent theme of OSTs. So, here we are :) Enjoy!
GDM Music presents for the first absolute time on CD the OST by Piero Piccioni for the movie "Anastasia mio fratello ovvero il presunto capo dell'anonima Assassini" (aka" My Brother Anastasia") directed in 1973 by Steno and starring Alberto Sordi and Richard Conte. Don Salvatore (Sordi) leaves Calabria to fly to New York where he is assumed as vice-parish priest in Santa Lucia, Little Italy. His brother Alberto, known as Big Al among friends, is believed the boss of Italian criminal organization specializing in murders, but Don Salvatore does not realize about this situation. When Alberto is put on a trial (and later is killed after detention), Don Salvatore comes back to Italy, still convinced about his brother's innocence. Piero Piccioni has written one of the best scores of his long artistic relationship with Alberto Sordi alternating American flavoured Beat style music to extremely melodic music. For this CD, besides the original album stereo master tape, the complete stereo session master tapes were used that gave the chance to use beyond half hour of extra music previously unreleased and properly restored and remastered in digital. -Amazon.com
I recently bought this soundtrack on a whim while making a pit stop at Vinal Edge Records here in Houston, which is honestly the best record store in town. I didn't look it up on Youtube, since I tend to buy records the old fashion way: take a chance and hear whatever it may be. It's pressed on beautiful clear vinyl, and came with not one, but two posters from the film. Enjoy ...
Unavailable since the film's release in 1982, Susan Justin’s music for FORBIDDEN WORLD – produced by the legendary Roger Corman – mixes the electronic influences of the time with splashes of new wave, creating a score that fuses the eerie tonalities and avant-garde sensibility of ALIEN with the straight-up funk of ASSAULT ON PRECINCT 13. Birthed from this is a cult classic score that deserves to be held up alongside the works of Richard Band and Alan Howarth.
What immediately stands out from the score is the amazing main theme, a melodic groove firmly embedded in the 80s synth movement, complete with creepy vocal effects overlaying its driving keyboard line. Originally a parody that Corman turned into a straight horror, the score is used typically to create tension with isolated piano and harsh electronic tones, acting as a stereotypical precursor to the horror moments. Amidst all this is also the ‘Blaster Beam’, a unique instrument famous for its use in Jerry Goldsmith’s STAR TREK – THE MOTION PICTURE. A fantastic voyage amongst the stars full of offbeat melodies and alien tones, this is a musical world that demands multiple visits. -Mondotees.com
France, 1984. A Shakespearian quotation opens the hostilities of a film that claims to be the bearer of a disturbing truth and a neutral look at the unavowable taboos of French society. Over the hour and a half, the film unfolds without transitions scenes following episodes of the lives of people frequenting the "under" of France, these deviant spaces where anonymous indulge in unlimited freedom of manners.
André Georget's incredible music also contributes to this ambiguity, making film fiction a reality, until it ends up integrating a field almost mythological, enriching the Countries of a shadow zone just waiting to be cleared. It is not for nothing that the film ends with the unusual and exalting image of a young woman naked galloping on horseback: a scene can only be inspired by myths and folk legends, yet coming to be part of the supposed Reality unveiled by La France Interdite . -Film Exposure
Well, I'm back into another major soundtrack binge. And, so it begins ... Expect plenty of them for many posts to come. Some are albums I've already had up years ago, so it's a chance to re-up links that you may have missed out on, or didn't know you wanted. Enjoy!
Colpo Rovente was released a couple of years before the Giallo boom in the early seventies, and the film is more like the American film noir movement than Italy's finest cinematic export. Indeed, the film is often called a 'psychedelic noir' and this atmosphere is achieved through some bizarre set design and the soundtrack. The film also features a voice-over, which serves in giving it that classic noir feel. Colpo Rovente is set in New York, and unlike a lot of Italian films set in America; actually does a decent job of making New York the central location. The plot reminded me more of the later Italian 'Polizi' films than a Giallo, and focuses on crime in New York. Frank is a police inspector that was on the case of MacBrown; the head of a pharmaceutical company, and suspected of dealing in drugs. However, Frank was pulled off the case and shortly thereafter; MacBrown is murdered in the middle of a group of people by an unseen assassin. Frank is called in to investigate the murder. But the dead bodies soon start to pile up...
Given the time in which it was made, Piero Zuffi's only feature film as a director isn't as sordid or as gory as what we would later come to associate Italian cult films with. But the film makes up for its lack of sex and blood with a fairly engaging plot line and some great visuals. It has to be said that the plot line moves a little sluggishly in places, and in typical Italian style; it doesn't always make sense, but generally it has enough to keep the audience watching and patience is rewarded with a great little twist at the end. The cast isn't very notable, but future Giallo heroine Barbara Bouchet stands out. Bouchet looks particularly tasty in this one, as she gets to don a stylish black wig! The plot takes in ideas of the 'horrors' of organised crime, and although it doesn't quite analyse them to any substantial extent; Colpo Rovente does feel like a film that has had some thought put into it. Overall, I can't say that this is one of the best Italian movies I've seen, but it's certainly one of the more unique ones and I wouldn't hesitate to recommend it to the cult fan! -IMDB.com