Black Killer

Black Killer
Black Killer

The first Italian western score I ever heard by composer Daniele Patucchi was DEAF SMITH AND JOHNNY EARS or LOS AMIGOS as it was called in Italy. I remember thinking that the music was not pure Spaghetti in its style and overall sound but was a fusion of that type of scoring together with a more conventional approach which harkened back to the days of the traditional western a la Hollywood. Patucchi is a composer who worked steadily in film during the late 1960s, through the 1970s and into the 1980s. Although containing a number of original references, his music was not as popular as other composers who were active at around the same time but this does not mean that Patucchi’s style and approach to scoring movies did not find favour with some soundtrack collectors and aficionados of music from Italian cinema. Continue reading Black Killer

One Step To Hell

One Step To Hell
One Step To Hell

This is not, as many collectors thought, a spaghetti western but an action adventure movie set during the early 1900s. Ty Hardin is cast in the role of a British Colonial Policeman, Lieutenant King Edwards (sorry if that should make anyone think of potatoes) an unfortunate name for the leading character but hey, the movie was a pretty solid adventure yarn and also starred respected actors Rossano Brazzi and George Sanders. Directed by Nino Scolaro and Sandy Howard, this Italian, Spanish and American co-production tells the story of a policeman’s pursuit of a band of killers who have escaped from prison and whilst doing so take a hostage, Pier Angeli, who provided the love interest within the story. Edwards pursues the killers over sprawling and desolate plains in Southern Africa and tackles wild and untamed countryside which as the title of the movie suggests is ONE STEP FROM HELL. Continue reading One Step To Hell

Mama

Mama
Mama

In recent years the score for the Horror movie seems to have become a more popular entity within the realms of soundtrack collectors. OK, a horror score normally contains its fair share of crashes, bangs and bumps but because the music is from a tale of terror or torment or a story of evil and sheer fright, does not mean that the music cannot be melodic or have sweeping themes to underline the action or the at times grotesque or just downright scary moments that the movie could contain. In fact in many cases composers have scored a moment of sheer terror or a moment of violence with music far removed from the actual scenario being acted out upon screen; by this I mean the composer underlines or enhances that moment with music that could either be beautiful or indeed soothing, thus making the scenario even more shocking and hard hitting with watching audiences when Continue reading Mama

Cromwell

Frank Cordell
Frank Cordell

I first became aware that Frank Cordell was involved in scoring the film CROMWELL (1970) on reading article in “Films and Filming” in 1969 reporting that the composer was having more than a few problems completing the score. I vaguely recall that there were even rumours at one point saying he had been replaced. Thankfully this was not the case and Cordell produced a stirring and imposing musical score tailored to the movie which enhanced and supported it perfectly. His sterling efforts on the soundtrack earned Cordell both Academy Award and Golden Globe nominations for best original score in 1971; the composer being nominated alongside Jerry Goldsmith for PATTON, Henry Mancini for SUNFLOWER and Alfred Newman for AIRPORT – all of them losing out to Francis Lai for his haunting score to LOVE STORY. Continue reading Cromwell

Jack Reacher

Jack Reacher
Jack Reacher

When I listened to FEMME FATALES and THE WAY OF THE GUN for the first time I was reminded so much of the style of the late Jerry Goldsmith; there were little nuances and a style of composing and orchestration present in both scores which reminded of some of his work from the late 1970s but the music had a more contemporary twist that evoked memories of Goldsmith’s later triumphs such as LA CONFIDENTIAL and BASIC INSTINCT. Like Goldsmith, Kreamer has the ability to create music having a core theme which is not melodic but is just as powerful and still sounds great and works wonderfully. From the offset, Joe Kraemer’s exciting and superb soundtrack to JACK REACHER had exactly the same effect and evoked that same feeling within me. The composer has created a score filled with strong action-driven thematic material overflowing with dramatic and exciting passages underlining Continue reading Jack Reacher

FILM AND TELEVISION MUSIC FROM AROUND THE WORLD AND MOVIE REVIEWS AND NEWS.