Category Archives: Movies

Soundtrack Collection: Dragonheart to Dutch

Dragonheart

Dragonheart (Randy Edelman, 1996): Randy Edelman’s main theme to Dragonheart has been used in so many trailers for other movies that it is likely to be instantly familiar to most people even if they have no idea what it is from.

The theme is introduced during the opening cue, entitled  “World of the Heart (Main Title)”.  It is a primarily string-driven theme with a warmly noble quality to it.  The theme has a definite grandeur and sense of importance, which is obviously the reason why it has become so popular to re-purpose it.  In some parts of the score, starting with the album’s 2nd cue “To the Stars”, Edelman adds a wordless choir to the theme as well, giving it an even broader scope.  Much of the score continues in the same vein as the theme, usually strongly melodic with strings generally in the forefront.

The score does have occasional darker patches, such as the very prominent percussion and chant-like vocals found in the cues “Einon” and “Bowen’s Decoy”.  The former cue also introduces some distinctive ethnic elements to the score, with some old-European styling to some of the melodies. This includes some prominent use of acoustic guitar in this and a number of other cues.

Despite the highly melodic, fairly large-sound to the score, Edelman actually makes pretty extensive use of synthesizers during much of the score.  During some of the bigger orchestral segments, synthesizers are used to enhance the percussion and give the score a bit more active bass.  Some of the lighter, more comedic sections of the score place the synthesizers more up-front, as in the cue “The Last Dragon Slayer”.

The soundtrack to Dragonheart was released on CD at the time of the film’s release and is still readily available.  The album contains a relatively generous 45 minutes of score and is generally a solid representation of the score, although I suspect there would be plenty of material for an expanded release.

Dragonslayer

Dragonslayer (Alex North, 1981): This big-budget Disney/Paramount co-production (unusual at that time) wasn’t a big hit at the time of its release, but it has increased somewhat in stature over the years.  It isn’t considered a classic by any means, but it is now generally fairly well-regarded as one of the better entries in the sword & sorcery genre.

The score to Dragonslayer came fairly late in Alex North’s distinguished career and it was really his last score for this type of epic, action-oriented period piece, the type of film in which the composer often exceled.  He delivered a dark, minimally-thematic score that is often a bit difficult to listen to separate from the film, despite the score’s obvious artistry.  North’s score is an avant-garde, often biting effort that lacks the generally upbeat sense of fun that is usually associated with this genre.  It isn’t for everybody and has long been a controversial score among fans, but it is a complex and always interesting score.

While North never really establishes much in the way of strong, distinctive themes that carry through the score, he does introduce melodic material, although it is often surrounded by very active, often dissonant music.  For example, the cue “Maiden Sacrifice” introduces a distinctive, tender melody, but generally overwhelms it with intense strings, brass, and percussion.  This type of approach is repeated fairly often throughout the score.

It is fairly well known that North repurposed portions of his rejected score to 2001: A Space Odyssey for Dragonslayer and those familiar with the either or both of the recordings of that score will certainly recognize its echoes here.  In particular, the waltz that North wrote for the space station docking sequence is clearly reproduced in the cues “Burning Village” and “Dragon Sore-ing” as well as during the finale and over the end credits.   It becomes the most thematic part of this score, although I’m not sure I would think that had I not heard the 2001 score.  In each cue, North builds on his already existing music to build something distinct to this score.  The two scores really make for interesting companion pieces.

While the score did receive a fairly limited LP release as well as an earlier CD release (of dubious legitimacy), the first truly official CD release came from La La Land Records in 2010.  It is a limited edition of 3,000 copies, although still readily available at the time I’m writing this.

Dreamer

Dreamer (Bill Conti, 1979): This fairly obscure Bill Conti score opens with a “Main Title” cue featuring a pleasantly old-fashioned Americana swing-music style, which figures prominently in other parts of the score as well.  Towards the end of the cue, it transitions into more of the late-70s pop style that is more typical of Conti’s scores during that time period.

The score is kind of all over the place stylistically, with some cues featuring the old-fashioned style, others in the more pop style, such as the romantic pop cues “Double Image”, “Blurry” and “Alley Cat”.  The cue “Pool Room” even has a country instrumental style while “Waitress Walking” is pretty much pure disco and “Racking Pins” has a bit of a Mexican mariachi style.

The soundtrack also includes a catchy, 70s pop song entitled “Reach for the Top”.  The song was written by Conti and performed by Pablo Cruise.  It certainly isn’t as memorable as Conti’s famous “Gonna Fly Now” which was written for Rocky just a year earlier, but it still has the same triumphant, anthem style.

The score for Dreamer was released by Varese Sarabande paired with Conti’s The Scout on a 1,000 copy limited edition “CD Club” release, which is now sold out.  The music from Dreamer runs around 40 minutes.  Note that the above image is poster art from the film as there was no Dreamer cover art with the CD.

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Soundtrack Collection: Dirty Dozen to Dragnet

The Dirty Dozen

The Dirty Dozen (Frank De Vol, 1967): The 1967 hit The Dirty Dozen was an early example of the more edgy, revisionist approach to war movies that would eventually largely dominate the genre.  The film is an all-star action/adventure about a squad of hardened criminals that are sent on a suicide mission during World War II. 

Composer Frank De Vol, who is probably better known as a songwriter (including the famous “Brady Bunch” theme) provided a very upbeat, traditional war movie score that was intentionally designed to be somewhat in conflict with the film’s very violent, and even cruel, depictions of war.  Separated from the context of the film, the score loses its ironic component and, instead, simply plays as a fun, old-fashioned war movie action score.  I consider it to be a fascinating and impressive aspect of this score that it plays so differently in the film and on an album.

Central to the score is a fairly simple, 4-note motif that sounds like it could easily be matched to the four syllables of the movie’s title, although De Vol fortunately avoids that temptation.  Surrounding that motif is a score full of marches and largely dominated by brass and percussion.  The tone of the music remains generally light throughout much of the score and even occasionally takes amusing turns, such as the big band sound first heard during the cue “The Builders / Train Time”.  On occasion, De Vol also incorporates familiar melodies such as “Don’t Sit Under the Apple Tree” and “You’re In the Army Now” in a few cues.  The score also has some fairly traditional suspense cues as well, such as “The Wire Cutter / Posey’s Fight”.

The soundtrack also features two original songs that were written by De Vol for the film.  These include a German folk-style song entitled “Einsam” and performed by Sibylle Siegfried and the pop song “Bramble Bush” performed by Trini Lopez.  The latter is pretty firmly steeped in the popular style of the late 60s and is the one part of the film’s music that does tends to date it.

Film Score Monthly released a limited edition CD (still available) of the complete score in 2007.  This CD release more than doubles the running time of the original LP release, which had received a couple previous CD releases paired with other scores.  The limited edition CD also contains the first releases of the versions of the two songs as used in the film.  It does also include the album versions of the songs as bonus tracks, along with a few pieces of source music and score alternates.

Dirty Rotten Scoundrels

Dirty Rotten Scoundrels (Miles Goodman, 1988): Miles Goodman was a prolific film composer during the 1980s and 1990s (until his untimely death in 1996 at age 46), although very few of his scores have been released to CD.  Goodman tended to specialize in comedies, many of which also contained a number of songs, which is likely the main reason for the relative lack of score soundtracks.  His frequent collaboration with director Frank Oz was a particularly fruitful one.

In 2010, La La Land Records put out a limited edition CD of Goodman’s score to Oz’s big comedy hit Dirty Rotten Scoundrels.  While the release was a limited edition of only 1200 copies, it is still readily available at the time that I’m writing this.  The film was a farce starring Steve Martin and Michael Caine as con-men competing to woo a mark played by Glenne Headly.  The setting is a small coastal town in France, which provides Goodman with the opportunity to provide a lively, European sounding score.

The score is consistently upbeat, with an often jazzy style to it.  Strings and horns dominate, particularly in the fast paced, swinging main theme, which debuts in the opening cue “Prologue/Dirty Rotten Theme” and then figures prominently throughout the score.  The rest of the score continues in a similar style, with the string composition particularly conveying a European classical feel to much of it.  The aptly named “Ruprecht Tango” is a particularly strong example of the European influences.

The soundtrack also includes Goodman’s instrumental arrangements of a few well-known standards: Jerome Kern’s “Pick Yourself Up”, Irving Berlin’s “Putting On the Ritz”, and Harry Warren’s “We’re In the Money”.  Stylistically, these arrangements fit in very well with the rest of the score.

Doctor Dolittle

Doctor Dolittle (Leslie Bricusse, 1967): The 1967 big-budget (for the time), musical version of Dr. Dolittle was, at the time of its release, a notorious box-office failure that was also pretty widely savaged by critics (although the film was surprisingly nominated for the Best Picture Oscar).  While it isn’t quite right to say that the film has become a classic, it has played reasonably well on TV and home video over the years and some of the songs have endured fairly well. 

The most famous and enduring of Leslie Bricusse’s songs is “Talk to the Animals”, which was performed by Rex Harrison as the title character.  That catchy song won the Academy Award for Best Song that year and is now something of a standard that is likely to be recognizable even to those that don’t really know the film.  This familiar song is fairly typical of the lyrical style found on all of Bricusse’s songs for the film and the overall score does have a very coherent sound with the songs all fitting together well.

Harrison, who was best known as Henry Higgins in My Fair Lady, was the central performer and dominates the song score.  The songs are written to be well-suited to his distinctive style of speak-singing and he does bring a fair amount of charm to his songs.  Besides “Talk to the Animals”, he also is solo performer on “The Vegetarian”, “When I Look In Your Eyes”, “Like Animals” and “Something In Your Smile”.

The other prominent performers on the soundtrack are Anthony Newley as the doctor’s friend and Samantha Eggar as the love interest.  Newley was a very popular singer at the time and lends his expressive voice to  several solos, including “My Friend, the Doctor”, “After Today”, “Where Are the Words” and the title song.  He also duets with Eggar on “Beautiful Things”.  Eggar has the solo “At the Crossroads” and duets with Harrison on two songs: “Fabulous Places” and “I Think I Like You”.

The soundtrack was originally released on LP with the film and has been issued on CD a couple different times.  The content of all releases has been the same, with the full set of songs from the film, including “Where Are the Words” and “Something In Your Smile”, which only were used in the early road-show version of the film.  The only instrumental piece is the overture that opens the album.

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Soundtrack Collection: Die Hard to Dirty Dancing

Die Hard

Die Hard (Michael Kamen, 1988): Today, the original Die Hard is considered to be an iconic action film.  Not only was it a blockbuster that kicked off a major franchise and established the film careers of Bruce Willis and Alan Rickman, it essentially served as the prototype to an entire sub-genre of action movies that are now regularly described with a phrase starting with “Die Hard on a …”  At the time it came out, the film was viewed as having more limited potential, though, particularly due to it headlining Willis, who at the time was primarily a TV actor and mainly known for romantic comedy.

Likely due to the limited expectations for the film as well as the prominent use of non-original music, no soundtrack album was released along with the film.  Although the sequel scores were released with the films, Michael Kamen’s score remained unavailable (at least officially) until Varese Sarabande finally put it out on a 3000 copy limited edition “CD Club” release in 2002.  That release sold out fairly quickly and used copies today fetch prices well in excess of $100.  The soundtrack seems to be a pretty obvious candidate for a re-issue, but right now it remains one that is costly and difficult to obtain, if you don’t already have it.

Kamen’s original contributions to the score were dominated by stark, intense themes dominated by deep brass, vivid strings, and some very effective acoustic guitar.  The most recognizable component is a brief, guitar motif that is essentially the Die Hard series’ musical signature.  This motif is really too short to truly classify as a theme, but it is a distinctive element that is instantly associated with these films. 

A particularly interesting element to this score is Kamen’s use of the film’s Christmas time setting.  Kamen occasionally integrates sleigh bells or bell choir into the score as well as brief samples of familiar Christmas tunes such as “Winter Wonderland”.  These brief excerpts are presented in an almost chillingly menacing way.  The use of familiar holiday-associated melodies and instruments presented in this way makes for a very interesting effect.  The film memorably ends with the upbeat holiday classic “Let It Snow, Let It Snow, Let It Snow” playing over the end credits and the song also closes the soundtrack CD, although in an instrumental version rather than the traditional version used in the film.

The most prominent and memorable non-original music used in the score is the “Ode to Joy” from Beethoven’s 9th Symphony.  Bits of this familiar melody are regularly integrated into the score, essentially serving as a primary theme for the film’s villains.  The melody is then presented in full accompanying the key scene where the villains manage to open the safe that they came to the building to rob.  The disconnect between this emotionally full and usually joyful music and the temporary triumph of the bad guys is a bold, memorable and remarkably effective musical choice.  While “Ode to Joy” is not traditionally associated with the holidays, its use still served to vividly underscore the film’s unusual juxtaposition of festive/joyful elements with violence and peril.

Die Hard 2: Die Harder

Die Hard 2: Die Harder (Michael Kamen, 1990): For the first sequel to Die Hard, the filmmakers (led by new director Renny Harlin) didn’t stray too far from the formula established in the first film.  The sequel once again takes place during the holiday season and again has Bruce Willis fighting back against terrorists in a fairly enclosed complex (this time an airport instead of a skyscraper).  The film even included a few bits of dialog that directly addressed the implausibility of Willis’ character facing two such similar situations.

Michael Kamen was brought back to score the sequel and provided a score that is contains some similarities to the original, although with a few key differences as well.  One of the most obvious differences right from the start is that this score seems a bit more fully orchestral than the original.  Even the familiar Die Hard signature motif is generally performed by the orchestra’s violin section this time instead of on acoustic guitar as in the original.

The airport setting provided a more expansive setting, including considerably more outdoor sequences, so the somewhat larger scale of the score is fitting.  The first score tended to be dominated by stark, tension-filled cues, and there are similar ones here as well, the new one provides more opportunities for more dynamic, high-octane chase type music as well.  The cue “Snowmobiles”, which accompanies an almost James Bond style chase sequence late in the film, is a particularly good example of this side of the score.

Kamen did not repeat the use of “Ode to Joy” or the Christmas carol excerpts from the first film.  He does once again incorporate an existing piece into the score, though.  This time the piece that he uses is “Finlanda” by Jean Sibelius, which is certainly not as well-known or familiar as the Beethoven piece.  A full performance of the piece closes out the soundtrack CD, which was released by Varese Sarabande at the time that the movie came out.

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Soundtrack Collection: Diamond Head to Die Another Day

Diamond Head

Diamond Head (John Williams, 1963): Diamond Head was John Williams’ first feature film score to receive a soundtrack album release (some of his TV work was released earlier).  The LP was originally released on the Colpix Records label and is currently available on CD from Film Score Monthly, paired with Lalo Schifrin’s Gone With the Wave.  The Diamond Head album runs a little over half an hour and features a mix of Williams’ original score and various Williams-composed source cues.

In the 1960s, Williams most frequently scored comedies and most of his scores tended to have a light, pop/jazz style.  Diamond Head was a drama, though, and featuring a score that much more closely resembled Williams’ later highly thematic symphonic sound. Cues such as the “Main Title” cue as well as “Sloan Strolls” and “Sloan’s Dream” are very recognizably in line with Williams most recognizable style of music.

The inclusion of the source cues makes the album into something of a hybrid between Williams’ early and later approaches to scoring.  The source cues have more of a small ensemble, somewhat jazz-influenced sound to them with an emphasis on piano, horns, and underlying percussion.  The cue “Catamaran” is a particularly interesting hybrid, starting off with a lighter jazz piano melody before eventually seguing into a string-dominated orchestral conclusion.

The album opens with a title song written by Hugo Winterhalter and performed by James Darren, one of the film’s co-stars.  The song is a pretty typical pop song of that era, although with a bit of a Hawaiian tropical influence to fit the setting of the film.  Williams does occasionally incorporate Winterhalter’s melody into the score cues.

Diamonds Are Forever

Diamonds Are Forever (John Barry, 1972): Diamonds Are Forever was the 7th film (and the last to star Sean Connery) in Eon Productions’ James Bond series.  By this point, the musical style of the series was firmly established by John Barry, who had worked on all of the previous films and was the sole credited composer on all but the first.

As was often the case with the Bond scores, the central melody here comes from the title song, written by Barry with lyrics by Don Black and performed by Shirley Bassey over the opening title.  This was Bassey’s second Bond theme song after her famous performance of “Goldfinger”.  While she would only return to the series one more time (for “Moonraker”), her vocal style remains the one that is most associated with the Bond films.

The song itself is a textbook example of Barry’s James Bond sound, with his distinctive mix of strings, piano, and blasting horns.  The lyrics to the song are loaded with sexual innuendo, even a bit more so than usual for a James Bond theme.  The theme has a distinctive melody that Barry uses well throughout the rest of the score.  Of course, the classic James Bond theme is also incorporated into the score periodically, including an electric guitar rendition that played over the usual gun barrel opening and more orchestral versions in other parts of the score.

The score is very typical of Barry’s Bond scores, with a very melodic, but often boldly energetic approach.  As expected, it is dominated by lush strings and extremely active brass.  As is usual for Barry, there is a bit of an underlying jazz influence, particularly in the occasional saxophone riffs.  The score does have a few interesting variations, particularly the unusual female choral music featured in the cue “Slumber, Inc.”

The most complete and readily available soundtrack release is an expanded CD that was released by Capital/EMI records back in 2003.  This disc contains about 75 minutes of music from the film (including a number of alternate cues), definitely a dramatic expansion over the original 35 minute LP release.  The CD is rather oddly sequenced, though, with the music presented in a seemingly almost random order.  While the title song does at least open the CD, the gun barrel opening doesn’t appear until track 13!  Throughout the album, the music is way out of film sequence.

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Soundtrack Collection: Delta Force to The Devil’s Brigade

The Delta Force

The Delta Force (Alan Silvestri, 1986): Alan Silvestri’s score to the Chuck Norris action film Delta Force is one of the most prominent fully-electronic scores of Silvestri’s film career.  There are no orchestral elements in the score at all.  It is instead entirely performed on a Synclavier synthesizer, giving it a very energetic, modernistic sound.  Silvestri’s musical style is definitely evident in the score, but the electronics gives it a somewhat different flavor.

The “Main Title” cue starts off with some very rhythmic, fairly dissonant material before eventually transitioning into a melodic, anthem-style main theme.  This theme melody is worked into other parts of the score and Silvestri also provides some other effective melodic elements, such as the music heard in the cue “First Class”.  Rhythmic action music is definitely the dominant feature of this score, though, and the album is pretty much packed with high-energy action cues.  The  main theme is often well woven into the action cues, as in the excellent cue “Rescue”.  The theme does a good job of providing a solid anchor for the score.  In several cues, Silvestri also programs the synthesizer to present a melody in a style that resembles a bell choir, providing an occasional bit of gentility during an otherwise intense score.

Intrada’s 2008 limited edition CD release is somewhat notorious among film score fans for the fact that all 1,000 copies had sold out within about 15 hours after the announcement.  This title is often cited as a case study for the growth of the soundtrack fan community and the demand for titles by major composers (particularly titles from the 80s and 90s), even when the movie and/or score isn’t thought to be particularly popular.  Used copies of this CD now regularly sell for well over $100, a price probably defined more by its reputation for rarity than by the quality of the score itself.  

The Intrada CD contains the complete score and runs for about an 1 hour and 15 minutes.  A 38 minute LP of excerpts from the score was released at the time of the film’s release.  A previous CD release on the Milan label paired about 32 minutes of the score (it was missing one cue from the LP release) along with excerpts from Jerry Goldsmith’s score to “King Solomon’s Mines”.  The Milan CD is generally easier to find at more reasonable prices, although the Intrada release is definitely a preferable presentation of the score.

Demetrius and the Gladiators

Demetrius and the Gladiators (Franz Waxman, 1954): This biblical epic was the sequel to The Robe, the hit film that had famously introduced the CinemaScope widescreen format to theaters a year earlier.  While The Robe featured a score by Fox’s music director Alfred Newman, the sequel was scored by Franz Waxman.  While Waxman does occasionally re-use some of Newman’s key themes from the previous film, the majority of the sequel score consists of original compositions.

The score is pretty much what you expect from biblical epics during that era, which certainly isn’t a bad thing.  The score is a large-scale orchestral work with lots of strings and brass as well as some dramatic choral elements.  The central theme is an exciting march that is loosely derived from Newman’s music for the earlier film, but with orchestrations and surrounding material that is original to the new film. 

Waxman’s most substantial original themes include a lush and seductively charged theme for the character of Messalina and a darkly menacing villain’s march for Caligula.  Messalina’s theme is first heard in a short presentation in the cue “Messalina” and is developed further during several later cues, some of which contain the character’s name.  The villain’s march is prominently featured in the cue “Caligula Enters”.

The soundtrack CD was released by Film Score Monthly as part of their Golden Age Classics series.  It is a limited edition of 3000 copies, but still readily available.  The score is presented in stereo with generally decent sound quality, considering the age of the recording.  A handful of damaged cues are presented as bonus tracks at the end of the CD.  Other bonus tracks include some original temp tracks that were provided by Newman and some brief alternates.

The album ends with a 5 minute cue from Film Score Monthly’s previous release of Newman’s The Egyptian, repeated on this release in order to correct a mixing error that was present on the previous release.

Demon Seed

Demon Seed (Jerry Fielding, 1977): Jerry Fielding’s score to Demon Seed was released on CD by Film Score Monthly in a Silver Age Classics limited edition that was paired with Fred Myrow’s score to Soylent Green.  The result was a CD release that definitely tends towards the strange.

Fielding’s score definitely falls into the weird category.  The score is dark and atonal, pretty frequently straddling, or even crossing, the line between music and sound effects.  Much of score is performed on synthesizers, although even the orchestral elements are rarely melodic. Only very rarely are bits of melody introduced, including in the final segment of the album’s first cue as well as much of the surprisingly brassy “End Credits” cue.  The overall effect of the score is definitely creepy and fairly unsettling.

Some of the motifs are presented on the CD both in electronic and symphonic versions, with the liner notes explaining that some of these electronic bits were unused in the film in favor of the symphonic versions.

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