RICHARD BAND.

Your father Albert band was a film maker and I understand that you accompanied him to Italy at one point in his career. Did you go on set when you were in Italy and if so did this have an influence upon you when you decided upon a career?

Yes, we actually lived in Rome, Italy for about eleven years. Those years were between 1959 and 1971 when Rome was considered the “Hollywood of Europe”. Both my brother and I went on set many times sometimes lasting as long as a month or more. As far as influence goes I only knew at that time that I would eventually do something on some level in films but had no clue as to what it would be nor when.

What musical education did you receive, I understand that you toured Europe at one point playing guitar, how did you go from this to being involved in writing music for films?

I toured Italy and parts of Europe playing guitar with my band from around 1968 – 1971 but it wasn’t until I returned to the US that I began studying music seriously at Immaculate Heart College and afterwards with composer Dorrance Stalvey who ran the famous Monday Evening concerts in Los Angeles.

It wasn’t until 1978 after having worked for a few years on several of my brother’s movies as an assistant director, production manager and line producer

that the opportunity came up for me to return to music to score a film he had done called “Laserblast” which I then co-scored with my friend Joel Goldsmith.

When you start work on a project, where do you actually begin, by this I mean do you like to watch the rough cut of the film first and discuss it with the director or producer or do you like to see a script, and have there been occasions where you have written music before you have seen any footage?

All of the above is the true answer! Most of the time it starts with viewing a rough cut of the film although there have been many times I started earlier by

Reading the script. There were of course occasions where I had to write music prior to any filming such as in the case of a song like “Cantos Profane” in the movie “Troll”.

You have worked on a number of movies for your brother Charles, does he have a hands on approach to music in his movies or does he let you have a freehand and maybe just etc updates etc every so often?

He likes to be in the loop but after the first year or so there was a trust established so I now have quite a free hand. Usually once he’s approved the general direction of the music and the main themes, etc, I’m left on my own to do my thing.

The score from THE PIT AND THE PENDULUM is one of my own personal favourites, this was one of FULL MOON’S most expensive movies, what size orchestra and choir did you utilize on the score and how much time were you given to write and record the music?

I remember having about 4 to 5 weeks to complete the whole project. I had about a 20 piece string section, 12 brass which included the French Horns and 10 singers for the choir (which I overdubbed).

RE-ANIMATOR is a brilliant score, in many ways I felt it was a homage to Bernard Herrmann, was this something that you set out to do when writing the score, or did this develop as your work on the score progressed and you became more involved with the characters within the movie?

Yes, I did in fact set out with that idea from the outset. It was always meant to be a ‘Humorous Homage’ to Herrmann and had the end credit I designed not have ended up being omitted (albeit by accident) I might not have received so much flack over the years. The missing credit was to be “With my most humble apologies to Bernard Herrmann”.

When working on a score, do you like to work on a central theme firstly and then build the remainder of the score around this, or do you work on secondary themes for characters etc and come up with a central theme that is derived from these?

Usually I like to compose the central themes first but there are certainly occasions whereby concentrating on secondary themes in the beginning helps bring out the central and/or main themes more readily.

You scored the majority of THE PUPPET MASTER films, how difficult is it working on a series of movies that deal with same characters to keep the music fresh and different for each instalment because being a series you obviously have to have some links between the stories. Also did you have any input into what music was going to be used on the 5 CD set, PUPPET MASTER music collection?

Where and when I had a chance to, I tried to introduce new themes for new characters or puppets though always keeping in mind that the MAIN puppets and puppet master theme were the anchor that held everything together. Luckily there were plenty of more characters and puppets introduced over the years.

GHOST WARRIOR was a movie that you scored in 1985, this had a great score, and was released on Intrada in 2008, (but needs an expanded re-issue) you used the Royal Philharmonic orchestra for this soundtrack, did you record the score in the UK?

Yes, it was recorded in London at Olympic studios. The very unique percussion though (which was supplied by Emil Richards and originally created by the famous composer Harry Parch) was pre-recorded in Hollywood with 9 specialized percussion players. We then flew to London to overdub the Royal Philharmonic.

You have worked predominately within the horror/sci-fi genres; do you think that you were typecast a little because you started out doing these types of films?

Unfortunately yes. Interestingly though, I took almost seven years off from composing any genre films during which I scored many family films, comedies, documentaries animation and TV series. I broke that self imposed rule when Stuart Gordon asked me to compose the music for the “Masters of Horror” episode “Dreams in the witch House” for which I was nominated for an Emmy.

What composers either film music or classical would you say have influenced you?

Beethoven, Wagner, Bartok, Harry Parch, Stravinsky, Jerry Goldsmith, John Corigliano, John Williams and a few others I’m sure.

When you are given a movie to score, how do you bring your musical ideas to fruition, what tools do you use, i.e. piano, pencil, manuscript, or more advanced methods?

I use all the tools you mentioned above although I also rely heavily on more advanced tools like my DAW (Digital Performer) and a slew of computers in my studio, etc.

 

Do you conduct and orchestrate all of your music for film,

and have you performed yourself on any of your scores?

I’ve conducted most but not all of my scores and the same goes for orchestrating.

In both cases it depends on the time given and budget restrictions.

And yes, I have performed on many of my scores.

DRAGON WORLD was a film that was a little different for you, how did you become involved with this project?

Over the years I had previously worked with the director Ted Nicolao on a few films and since Paramount was distributing at that point in time and since I had also scored a few projects for Paramount, I was easily approved and it all just fell into place.

How would you say film scoring has changed over the last twenty years?

It some ways it’s got better and in some ways a lot worse. I think the opportunities are not nearly what they use to be. While there use to be a healthy ‘Middle Ground’ of budgets in 50K – 70K range, that ground has been overtaken by many of your ‘Top Tier Composers” thus forcing the “middle ground’ composers down to the 5k-10K range. This is largely because there are so few movies being made.

At the same time the TV networks have created so many “off Shoot” small cable channels, the royalty rates for those small channels have plummeted. While there are certainly many more channels than before, their rates are PITIFUL and don’t come close to what they use to be or should be.

As we all know the amazing advances in technology have made scoring a lot more accessible to musicians who have little training and so many more unqualified people try their hand at it….thus driving the cost even lower.

Now, from a quality standpoint though, the technology has also provided amazing tools for composers and there are certainly some superb composers doing wonderful work in both films and your higher quality cable networks such as HBO, SHOWTIME, AMC, FX, etc.

Like with life it’s a mixed bag. I still remain optimistic though and just keep plugging ahead.

You recently worked on SHIVER a feature and also a documentary entitled, SAFE HAVEN THE WARSAW ZOO, what are the main differences between scoring a feature film and working on television productions?

Ultimately I don’t think there is a huge difference. The music is still trying to bring out the emotional content though the documentary approach might differ from the standpoint of some historical or factual aspects rather than fantasy. I think there is perhaps a lot less musical manipulation in scoring a documentary as opposed to a film as well.

 

Many of your soundtrack albums are now deleted and out of print, do you think there is any chance of any of them being re-issued for the collectors who missed out on them first time round?

Quite a few scores are scheduled for release in the next year or so.

As to those that are out of print, I still have most available though my store on my website. www.richardbandmusic.com

What are you working on at the moment?

A very cool film called “Wizardream” starring Malcolm McDowell.

My thanks to Richard for his time and patience..

CONTINUAVANO A CHIAMARLO TRINITA, (THEY STILL CALL ME TRINITY).

The Italian western was and still is a popular genre of film, my own personal theory of the Italian westerns success is that the movies worked on more than one level, by this I mean they entertained via their quirky and gimmicky plots and also attracted because of their inventive story lines and scenarios that unfolded within each individual movie. Then there was the appeal of the actors involved, i.e. Clint Eastwood, Lee Van Cleef, Eli Wallach, Franco Nero, Bud Spencer and Terence Hill plus there were some appearances by actors which were surprising in roles that one would never have thought of them undertaking and of course bit parts taken on by Hollywood actors who had been associated with American film makers versions of westerns. Then we have the appearance of the movies the camera shots and angles etc etc. But of course one of the most prominent and popular components associated with the Spaghetti Western was the musical score or soundtracks. These were as original, quirky and inventive as the movies that they were composed for and in fact many of these soundtracks have outlived and outshone the movies that they were intended to support and enhance. There were many composers associated with the Italian western genre, but the most prominent of course has to be Ennio Morricone, this gifted and versatile composer who came from the Italian popular music scene and worked originally as an arranger is credited with inventing the SOUND that is the Italian western, mainly because of his scores for the Italian director Sergio Leone, but we have to look at the bigger picture with the Spaghetti score, and I am of the opinion that “yes” Morricone was responsible for creating the benchmark on which all subsequent works for the genre took their lead from, but we have to acknowledge that other composers who worked within the genre should be credited for at times building on this Morricone musical blue print and expanding it and on occasion even improving on it, and although this does not necessarily apply to the composing duo of Guido and Maurizio De Angelis, this partnership of sibling music smith’s were responsible for assisting in the establishment of what is now referred to as THE ITALIAN WESTERN SOUND. THEY STILL CALL ME TRINITY (1971) is probably of the best examples of a western score from the Brothers De Angelis, and surprisingly enough it was their very first film score, it contains so many infectious themes and compositions, plus it has a great opening theme song, TRINITY STAND TALL and an even more attractive second vocal cue within the score in the form of REMEMBER. Guido and Maurizio De Angelis have what I call a sound that I suppose appeals to an acquired taste, a little bit like Marmite you either love it or loath it.

Their style which is highly original can I suppose be described as a fusion of symphonic and  a pop orientated folksy sound with a lazy country vibe giving it a slightly intimate, laid back and warm atmosphere. It’s a haunting and interesting concoction which at times can be bluesy but also has a grand and imposing resonance, the combination of these very different styles actually works in 99 percent of cases, although there are a few scores by the Brothers where one finds yourself thinking “WHY”. This I think can be applied to the songs in KEOMA, because although the actual music works well, the songs at times distract the audience from what is happening on screen, but this I think is because of the performance of them rather than the actual composition. I was pleased when Digit Movies announced the release of  THEY STILL CALL ME TRINITY on compact disc for the first time, as I have hinted this is one of the better scores by De Angelis, and ranks alongside numerous other Italian western scores as being a classic work from the genre. The music was issued at the time of the films release on a long playing record on RCA, but like so many releases at this time it was only a representation of the score containing a selection of tracks from the soundtrack a number of cues were missing from the recording simply because they would not fit onto one album, this has at last been rectified with this outstanding edition of the score, which is not only expanded and sequenced so the music plays as it runs in the movie, but it also has wonderful clear sound quality and great art work, the cover being the original art from the album release. Lovingly restored and released by those lovely people at Digit movies who are more than just another soundtrack label, they are passionate about their releases and this is reflected in the quality and also the titles that they choose to release., this must be one of the best releases of the year for fans of the genre and aficionados of the music from that genre. The CD opens with a previously unreleased cue, that although is short lived (0:30 secs) conjures up an atmosphere of tension, performed by strings it is basically one note that is held for half a minute, this leads nicely into track number two which is the theme song for the movie TRINITY STAND TALL. “Again we must travel onto nowhere, even when we were kids we stood alone, all the things that we tried just never mattered, they all shattered, so we packed up and moved on“. are the now familiar opening lines of this infectious vocal, which is performed by Gene Roman, supported by guitar, subdued percussion, pleasant and melodic sounding strings and the distinctive 4+4 Coro of Nora Orlandi.

I think along with FIND A MAN from Quella Sporca Storia Nell West, DJANGO and RUN MAN RUN from The Big Gundown, this vocal has stood the test of time and is probably one of the iconic vocal performances from the western all’Italiana genre (that’s a personal opinion). Track number three, TRINITY E BAMBINO A SAN JOSE, is another short but affecting cue, soft guitar picks out the TRINITY STAND TALL theme, giving it a brief but pleasant variation. Track number four, ASSALTO ALLA DILIGENZA, is the first time we hear guitar and harmonica combined on the score, again a short cue at just 33 secs it is over far too soon not really being given adequate time to develop, but the combination of that almost bluesy sounding harmonica and bluegrass influenced guitar is a real treat. Track number five, RANCH DI PARKER, is performed by low key guitar that is laid back and easy on the ear. Track number six, TRINITY E BAMBINO A SAN JOSE is an expanded version of track number three, the composing duo adding piano, which reminded me of the style employed Roy Budd in movies such as SOLDIER BLUE etc, they add to this smooth underlying string layers that introduce us to the secondary central theme from the score which is an instrumental version of the song REMEMBER which makes a brief appearance performed on subtle woods supported by solo guitar, but this is soon upstaged by a jaunty sounding guitar solo, that takes the cue to its conclusion. Tracks seven and also eight are entitled TRINITY E BAMBINO IN CITTA, again we are treated to yet another theme to represent the two central characters of the movie, brass is on this occasion added to the mix with slightly upbeat percussion and little choral nuances backed by harmonica and guitar with elusive and easy going flute work. Both tracks give this theme a work out but each track is different the composers employing different instrumentation to a degree in track number eight, choir being omitted in favour of guitar and brass being given a more prominent part to play, piano which has a jazz sound to it is also utilised again evoking memories of Roy Budd, and it is the piano supported by lightly played guitar and brass punctuation that becomes the main component of the cue as it progresses. The theme is also utilised in track number nine, TRINITY E BAMBINO AL RISTORANTE, which if my memory serves me correctly is an hilarious scene from the movie. Track number ten, is an up-tempo variation of the TRINITY STAND TALL theme, performed on just guitar which again is just a fleeting piece at 40 seconds. The compact disc contains a number of cues which are at first given a short work out but later are expanded upon and fleshed out by the composers.

One of the highlights of the score for me is track number twelve IL CARRO AL FIUME, which was track number two on the original album, it begins with a lazy bluesy sounding guitar which is supported by strumming from a second guitar, the lead guitar performs a version of the TRINITY STAND TALL theme, which segues into a beautiful rendition of the theme performed on strings which act as support to a faraway sounding horn and choral flourishes that together conjure up visions of a vastness of the old west. Track number thirteen is a fuller arrangement of REMEMBER again instrumental, performed by a small string section that is embellished by guitar and plaintive sounding woods. The vocal REMEMBER does not appear in the running order until track number, nineteen, but this is shortened version of the song, the original and unedited version of the vocal making an appearance at the end of the disc, but its worth waiting for. Performed by Gene Roman and also an un-credited female vocalist, the composition and lyrics are mesmerizing. “ I want to loose myself and free my mind again as fading leaves fall to the ground,(remember in lonely times the love we had found). Young woman tell me if you can what makes you fight to tame this wonder-lust in me, to calm a sea even when you know the ships could never sail. Though it may be right it somehow it just don’t work though it may be right”. So not your typical spaghetti western lyrics but still stunning, with effective support from, strings, guitar and woods, giving it a tinge of melancholy and adding a highly emotive dimension to it. This is a brilliant score, an iconic work within a collection of scores from a genre that was and still is original, popular and at times a little manic. It contains excellent solo performances on guitar, harmonica and woodwind, with haunting vocals and infectious sounding melodies that are enhanced by contagious sounding choral work. Well worth adding to your collection, highly recommended. Great production values from Digit Movies on this one and wonderful art work too.

DREAM CINEMA.

DREAM CINEMA, is not an actual score from a particular movie, but it is a collection of themes composed and conducted by the very talented music smith Larry Groupe, who of course we all know via his writing for the cinema, and his atmospheric scores for movies such as the remake of STRAW DOGS, DEAD DROP, RESURRECTING THE CHAMP and THE CONTENDER among others,  the composer tells us in the brief sleeve notes that this album is a collection of pieces that he has written that basically are for films or stories that he has dreamt of. It was something that he did as a child when laying in his bed of a night time before he went to sleep, he would imagine a story and score it in his head, this album is I suppose his music for imagined films thus the title DREAM CINEMA. The album opens with a stunning composition entitled THERE ARE HEROES AMONG US, female vocal is utilized being underlined and supported by enchanting and lush sounding strings, at first it put me in mind of the early works of Morricone when he employed the unique vocal talents of Edda dell Orso, the sound achieved here is almost celestial and intimate, but as the cue progresses the sound and style of the composition grows in stature and also in momentum, the composer adding to the mix choir, imposing brass and booming percussion which together create a more action led style that is exciting and somewhat tense and powerful, this builds and eventually segues into a thundering crescendo that seems to lift the entire orchestra onto a higher plain and leads into a sweeping, sumptuous and breathtaking romantic sounding theme performed by a full and lavish sounding string section, this is music that is filled to overflowing with emotion and beauty. The action music returns with percussive elements working overtime being embellished and underlined by choir and urgent brass flourishes, this mood fades rapidly and ends abruptly and the composition returns to how it began with solo female voice fleetingly being utilized to close the cue. The opening track has a great sound to it and sets the scene wonderfully for the remainder of the album, the composer pulls out all the stops in the opening cue, he creates a romantic and also a suspenseful atmosphere that echoes and evokes many of the great film music composers such as Williams, Goldsmith, Barry and Morricone. Track number two, CORAZON DE SEVILLA, is completely different from the opening cue, where as the opening is grand and powerful, this is quiet and reflective sounding, it is Hispanic in its sound and construction with two classical guitars being employed to perform the main melody with subtle and warm support from the string section.

Track number three, THE ULTIMATE CAUSE, is a return to a more upbeat and grand sound, in many ways this reminded me of John Williams music for THE PHANTOM MENACE, the cue begins with ominous sounding strings that gradually build assisted by punctuation from the brass and woodwind sections, choir is then added to the proceedings giving the composition an even more darker atmosphere, percussion supports the choir and drives it headlong on to the cues conclusion. As I said this evokes memories of PHANTOM MENACE for me personally, it has that sound to it and an atmosphere that is urgent and potent. The remainder of the album is a fantastic listen, and I know this is not a soundtrack as such but I think this is definitely film music that maybe is looking for a film! The music is powerful, haunting and highly atmospheric, it is at times action led but at the same time appealing and stirring. I am sure if this was sent to a film maker he would say straight away “Get this guy on the phone, I want him to score my next movie”. Larry Groupe has created a wonderful collection of themes for his dreams, so sit back close your eyes and imagine, superheroes, maidens in distress, romantic meetings, cowboys riding the vast open plains, heartfelt sorrows, enchanted kingdoms, vast deserts and the enormousness of outer space, because this music fits all of the above and more. Highly recommended, go buy it, available on IMPERATIVA RECORDS,IMP 00215.

SARAH CLASS.

Emmy-nominated composer, singer, songwriter Sarah Class brings an astonishing scope of talents and experience to every score. She is now one of Britain’s most sought-after young composers. Sarah’s ability to think quickly and clearly, together with a positive and flexible approach, equips her well for the challenges of working creatively with production teams to tight deadlines. Sarah’s love for all music has led her to write diverse soundtracks that reflect the power and passion of the African savanna, to a classical score, through to jazz and more urban contemporary styles. One of her more recent scores for the BBC series, Madagascar is hugely popular and has generated a great deal of praise from press and audience alike. Sarah’s epic score for THE MEERKATS, a Harvey Weinstein and BBC production is an exhilarating mix of musical textures featuring the richness of Sarah’s vocals, and African choir with full orchestral forces. Sarah has written extensively for Europe and North America on a number of album, TV and film projects, notably, the score for the independent feature THE WEEKEND starring Gina Rowlands and Brooke Shields. This brought Sarah’s talents to the attention of legendary producer Sir George Martin, who took her under the wing of his company George Martin Music.

One of your latest projects was for the BBC television series AFRICA, When scoring a project such as this do you score it order of episode or do you approach it in any particular set way, by this I mean do you tackle larger cues first or maybe begin with a central theme and then build your score and other themes from this?

 

I only tackle the larger cues first if the director has asked me to do an initial idea for a scene they feel strongly about and want to see what I would do (maybe for co-producers or if it’s a particularly key scene which may then set the tone for the rest of the film or series). I like to generally start at the beginning of the film and work through to the end. If a good theme arises I may either go back and tweak other main cues – like titles or pre-titles and then work it in to the rest of the series.

How does scoring a documentary film differ from working on a movie or television project that has actors etc ?

It seems to me that documentaries – particularly wildlife,  calls for writing even more closely to picture – for example a hunt sequence with a lion chasing a gazelle – I take great care to put every hit point in, and go musically with every movement of the animal – picking up pace, building drama. But then I would probably do that with a dramatic film scene also. Maybe in a different way. Whatever you’re writing for, you never want the audience to suddenly think they’re being told what to feel with the music. The trick is in any scene to subconsciously build drama with the music at an undetectable level and when the music is totally allowed to breathe and take over the story then you can really let loose on the score and the story is really enhanced.

What size orchestra did you use for AFRICA?

It was around 55 musicians.

 

When working on a score, how do you develop your musical ideas, do you use piano, or keyboards or write ideas down and then develop them by use of computer etc ?

I usually sit at my computer and an idea will come. Very often I hear the bass, melody and harmonic structures all at the same time, or I may sit at my piano away from the computer which sometimes helps the creative flow! Or sometimes I’m on a train or something and I’ll get a little idea and I’ll either sing it into my iPhone or recorder or jot it down on some roughly drawn manuscript!

Do you orchestrate all of your music for film or do you at times use orchestrators?

I do all the arranging myself -all the parts are written before I give the score to an orchestrator who then checks through everything and adds dynamics and orchestral direction and generally all the legwork I don’t have time to do like putting all the midi into Sibelius – which is a job in itself!

 

How many times do you like to watch a film before you begin to get fixed ideas about where music should be placed and what style of music you think will suit?

 

Once. And if there’s guide music I listen through the first time, and take note if there’s any good things about it – i.e. if it’s working and if the director particularly loves that piece, but apart from that I don’t listen again to the rest as I don’t want to be influenced by other music.

 

You worked with Polish composer Zbignew Preisner on a Christmas album, how did you become involved on this project?

I met his manager at a concert and he invited me to meet him – he heard some of my music and we ended up working in the studio together.

What musical education did you receive?

I did a Related Arts (Hons) degree in which there was a lot of musical improvisation and I got heavily into jazz. I had formal piano lessons and reached Grade 8 at 16. I have never had a formal training in composition. I’m not technical at all about writing music – I do everything by ear, and have learned everything on the job – I’m still learning and it’s an amazing journey!

Do you come from a family background that is musical?

Yes, my father played the piano and encouraged me from age 4 to play also – he would get me up for piano practice before school every morning – then it was done for the day. I’ve very happy he did now!!  My mother and grandmother also played the piano and my sister learned violin when we were growing up.

Was music for film always something that you wanted to do right from the very beginning or was it something that happened as your career in music progressed?

Well initially I wanted to be a concert pianist at the age of 10 then it progressed to wanting to be a jazz pianist by the age of 16!, then I realised that I loved composing and developed that when I left home. As my career progressed after being in different bands I began to see the full scope of possibilities for the film and TV world in my career. I’m now mixing film work with my singing and songwriting, which I’m loving.

Do you conduct at all or do you prefer to have the music directed by a conductor so you can monitor recording etc?

I have conducted in the past, but yes I’ve realised I prefer to sit in the studio where you can hear everything properly. 

 

What are you working on at the moment?

BBC Africa, the concert. A 2014 Concert Tour is now being scheduled, dates and venues

to be confirmed in the coming weeks!!!’I’m also working on a new album of my own songs.

NANA.

Released back in 1983, NANA contains a musical score by Ennio Morricone, I must admit to knowing very little about the film itself, but apparently it is a somewhat shady soft porn flick which has a period setting, so maybe lots of bodice ripping etc and Lords of the Manor demanding what is rightfully theirs from village Maidens, (don’t quote me on that though). The score is a pleasant enough one, with a number of the Maestro’s well know musical trademarks surfacing throughout the soundtrack. It contains some agreeable saxophone solo’s which are suitably steamy and sensual in their make up and performance which are essentially jazz orientated and contain an attractive and haunting atmosphere. The composer employs the saxophone on a number of cues within the score and combines this with underlying strings that seem to carry the sax along on a gentle current of romanticism. These strings are supported by the sporadic use of piano which punctuates proceedings and along with muted brass and somewhat laid back enhancement from electric guitar create a gentle yet effective sound. Morricone also write some rather more robust CAN-CAN type compositions for the score, and these have a definite comedic air about them, THROUGH THE PEEPHOLES for example contains, a number of styles in one cue, it jumps from the aforementioned CAN-CAN interlude into neo-classical passages which are laced with Female voice, that is as always highly effective when employed by Morricone. These ingredients are further embellished by the inclusion of a jaunty piano and a somewhat frantic sounding xylophone, which are them-selves stopped in their tracks with a jolt by a romantic sounding violin solo which is underlined by brass. GIRL HUNTING is one of the scores highlights, this is typical Morricone, subdued melancholy infused horns open the cue, and are joined by light sounding strings which seem to swirl around the horns and tease them. The track progresses with delicate piano, understated brass, more strings, various woods and a return of the jaunty piano. The remainder of the score is written in a similar fashion and contains THE SOUND that we have all now become used to and readily associate with the Maestro. The final cue on the disc is a vocal version of the scores central theme, and I have to admit whilst listening to it I could not help but be reminded of the sound achieved by Henry Mancini on many of his film scores, it comes complete with a Mike Samme’s sounding choir, who place their on particular mark on this for the most part entertaining score. This remastered CD is released on GDM,but did receive a release originaly on LP record,on the General Music label under the title of NANA LE DESIR, which is rather hard to find nowadays, this re-mastered edition of the score was issued in 2001, and is well worth adding to the collection.