When did you start to become interested in film music.
Since I first became aware of the TV. So when I was a very young child. But I started buying film and TV music when I was about 15 years old.
what was your first soundtrack purchase.
What composers do you give preference to.
I don’t really have any preferences. It’s whoever I am listening to at the time, or whatever album I am trying to track down.
you are a dj as well, and you have a radio show on saturdays I understand, where you talk about and play film music, can you tell us a bit about the programme and how you started to present it.
Yes, the show is called OST and it’s on Resonance FM here in London. You can hear it on FM or on line. I had always wanted to do a film music radio show, and I found out about Resonance early on and sent over a proposal I had been working on. They asked me to start three day later. I had to present it myself – it was little scary to start with, but then you quickly realise that mistakes, “erms” and “aahs” are OK, and that the music is much more important. Every week the show has a theme, and in four years I have covered masses of genres, sub genres and composers. There are also regular guests, I love it, and feel very lucky to have the show.
your record label has released a lot of interesting albums, one of your up an coming releases is BLOOD ON SATANS CLAW, this is a classic british horror and the soundtrack by Marc Wilkinson is very good, how did you manage to get this soundtrack, I ask this because I was trying to get this for GDI, and was told that Channel 4 owned it, and also that the composer was not interested ?
You were mis-informed! This has come about like all the other albums I produce, through hard work, determination and a bit of common sense. But for every successful release, ten planned releases fall by the wayside and never come out.
Staying with BLOOD ON SATANS CLAW, were the tapes in good condition, or did you have to do a lot of restoration on them, and did Marc Wilkinson have a lot of input into what actually went onto the final disc.
The tapes were alright, but a little restoration here and there was still necessary. It sounds great now. Marc didn’t have much input, simply because he now uses a hearing aid and every time he listened to something he’d say “remember I have a hearing aid”. Basically the whole recording will be reproduced.
How many soundtracks do you have in your collection.
Thousands. All on vinyl. Very few on CD.
Do you like other collectors get frustrated about soundtracks that deserve a release and dont get one ie WITCHFINDER GENERAL, ?
Well that’s the very nature of things at this high end of film music collecting. Thousands of film music recordings are out there, lots, all unheard. Laws. licensing, dead composerss and complex ownership rights make it often impossible for them to ever get heard. Incidentally Witchfinder will be coming out next year. De Wolfe music who own the recording will be issuing it.
If you could release a soundtrack that has not been issued which one would it be , and why, and what projects have you got lined up for the future?
I can’t tell you all my secrets.
Ok lets play desert island discs, what 10 soundtracks would you take with you if you were marooned on a desert island ?
Well here is the current top ten. If you asked me the same question tomorrow it would be completely different.
Il Grande Silenzio – Morricone
Kes -John Cameron
Hans Chrsitina Anderson – Frank Loesser
The Conversation – David Shire
Midnight Cowboy – John Barry
Dumbo – frank Churchill
Rosemary’s baby – Komeda
The Brown Bunny – (Various)
7 Dollari Sul Russo – De Masi
The Clangers – Vernon Elliot.
Are there any soundtracks that you have wanted to release but could not because the tapes were in such poor condition ?
Not yet. But I’m sure there will be as tapes get older.
Many thanks to Jonny