THE HORROR OF IT ALL!!!!

Music in horror movies has to play a larger role than in most other types of film, but there again this notion is just a personal opinion and one which many will probably disagree with. I always remember seeing the original black and white Universal horrors and even at an early age thinking what an important role the musical scores played. I recall in particular one of the werewolf movies when actor Lon Chaney transformed from meek and gentle human into a fearsome and blood lusting lupine, howling as he ran into the fog shrouded night accompanied by a powerful and driving background score which underlined the ferocity and also the desperation of the creature. It was because of the Universal tales of terror that I progressed to the full colour horrors of the Hammer studio, DRACULA being one of the first that I managed to get into the local flea pit to see. The rich colours and also the dramatic music got me hooked instantly and I am glad to say I have never fallen out of obsession with these marvellous cinematic works of art. However as we all know there were other horror movies produced by the likes of TIGON and also AMICUS in the U.K. plus of course there were the AMERICAN INTERNATIONAL MOVIES, with the Edgar Allan Poe tales and lots of superb and eloquent overacting by Vincent Price. Hammer always insisted on having strong musical scores which was something that was the norm thanks to the companies original Musical Director John Hollingsworth. Musical genius Hollingsworth was instrumental in ensuring that the music for the Hammer horrors and also other genres of film that the company produced worked and supported the action on screen, Amicus who appeared on the scene some years after Hammers first foray into the gothic horrors such as DRACULA and FRANKESTEIN seemed to follow in Hammers footsteps when it came to the music department in their movies, often utilising the same composers as Hammer and even employing Phil Martell who had taken over as MD for hammer after the death of John Hollingsworth. Sadly both Amicus and Tigon films musical scores do not seem to have received the same amount of attention from record labels as Hammer soundtracks have and I realise it took many years for the Hammer gothic horrors soundtracks to make it any kind of recording, but considering the success and amount of positive feedback from collectors that these releases received I am surprised, “NO” ! dumbfounded that there has been nothing issued onto compact disc from the Amicus stable, yes of course the excellent WITCHFINDER GENERAL by Paul Ferris did only last year(2013) at last get an issue on disc by De Wolfe music representing Tigon plus we must not forget the excellent BLOOD ON SATANS CLAW which was finally released onto compact disc by TRUNK records a few years back.

But where are the excellent and richly dark soundtracks from films such as THE CREEPING FLESH, THE BLOOD BEAST TERROR, CURSE OF THE CRIMSON ALTAR etc. Where are the scores from the AMICUS productions such as, VAULT OF HORROR, DR TERRORS HOUSE OF HORRORS, THE TORTURE GARDEN, THE SKULL, THE HOUSE THAT DRIPPED BLOOD, ASYLUM, AND NOW THE SCREAMING STARTS, MADHOUSE, and other such mini horror classics and AMICUS favourites. Languishing in a vault of horror of their own I am guessing. Plus there was also TYBURN films who produced a handful of films that are now considered an important part of the horror cinema genre, THE LEGEND OF THE WEREWOLF and THE GHOUL instantly come to mind because of the actual movies and also because of the excellent musical scores penned by Harry Robinson, truly classic horror music, even if LEGEND OF THE WEREWOLF was a little lack lustre in places.

So I suppose what I am saying is WHY stop at Hammer or why did the record companies stop at Hammer, when there is such a wealth of wonderful music out there somewhere that will tantalise, entertain and delight students of the macabre, the gothic and also the downright scary. We as collectors deserve at least a compilation or two of AMICUS themes, TIGON tracks and TYBURN scores. Silva screen, Tadlow, Prometheus or maybe Chandos please start your expedition into the dark and dusty depths that are the music vaults of terror.

Tigon British Film Productions or Tigon Films was a film production and distribution company founded by the filmmaker Tony Tenser in 1966. The company is probably best remembered for the now classic Vincent Price horror, WITCHFINDER GENERAL (USA Title-THE CONQUERER WORM). Which was directed by the ingeniously clever filmmaker but somewhat insecure Michael Reeves who sadly died too soon. The studio also produced BLOOD ON SATANS CLAW, which was directed by Piers Haggard in 1971, both WITCHFINDER and SATANS CLAW have since their release attained a status of being iconic and cult movies and both have about them a real sense of authenticity. TIGON also produced a number of other horror pictures, THE CREEPING FLESH, THE BLOOD BEAST TERROR and THE SORCERERS among them all of which were scored by the late Paul Ferris. It also released the feature film version of the popular British TV series DOOMWATCH in 1972 which contained a score by renowned British composer John Scott(or Patrick John Scott as he was known in his early days of composing). The London based Tigon had offices in Wardour street Soho, the company did make forays into other genres of film but it was the Horror genre that it seemed to excel at and in many fans and critics opinions were one of Hammer’s biggest rivals, although saying this Tigon productions did have a very different look from the Hammer gothic horrors, WITCHFINDER especially being given a more realistic appearance thanks mainly to the inventive camera work of John Coquillon who’s somewhat watery and misty looking effects gave the production a touch of realism, this combined with the fresh and at times off beat approach towards direction by Reeves gave WITCHFINDER a persona all of its own.

TYBURN films was formed by Kevin Francis who was the son of acclaimed cinematographer and notable director Freddie Francis.
Kevin had a career that led him from slaughterhouse employee to film company tea boy and then a gradual climb up the ladder to become a Hammer films employee, it was he who was responsible for giving the studio the idea for TASTE THE BLOOD OF DRACULA given them the basic idea for the story, he then became a freelance production executive and had a glowing ambition to create a new company that would eventually be as respected as the famed Hammer studio. The problem that Francis encountered was that as the 1970,s dawned the tastes of cinema audiences began to change drastically, they no longer yearned for Gothic horrors but were drawn to the more cerebral storylines of films such as ROSEMARY’S BABY and the gore, realism and thrills that were purveyed by films such as THE NIGHT OF THE LIVING DEAD and the numerous films that followed in the same ilk. Continuing to produce Gothic horrors was to be TYBURN Films eventual downfall and they disappeared from the scene, but before doing so did produce a handful of movies that were deemed to be fair examples of the horror genre. TALES THAT WITNESS MADNESS was in fact Tyburn’s first release but had no mention of the company on its credits, instead it was billed as a WORLD FILM SERVICES release. The movie which had a tag line of AN ORGY OF THE DAMNED, boasted an impressive cast list that included Jack Hawkins, Joan Collins, Kim Novak and Donald Houston to name but four. Helmed by film maker Freddie Francis who was to direct all of the Tyburn horrors, the film was an effective tale but one that lacked real course mainly due to a weak storyline that at times would be amusing rather than disturbing, which in a horror movie could be a problem.

The film was a compilation type movie which had become popular with audiences at the time and included four segments or stories each one concentrating upon a different patient who was secured in an asylum, the music for the movie was written by Bernard Ebbinghouse, who was responsible for the music to PRUDENCE AND THE PILL and penned the theme for the popular TV series of the 1960,s THE HUMAN JUNGLE which was recorded by John Barry and his orchestra who took it into the hit parade in the UK. Ebbinghouse also worked as a musical director for artists such as Cilla Black, Andy Stewart and Cliff Richard as well as working on a handful of movies and some television productions. Tyburn’s first official release was to be PERSECUTION or THE TERROR OF SHEBA, the film starred Lana Turner, and was Tyburn’s attempt to cash in on the trend to install well known Hollywood actress’s in starring roles, which is something that Hammer had done with Bette Davies in THE NANNY. The music for PERSECUTION was the work of Paul Ferris, who if he had not died young would in my opinion been one this countries top film music composers.

Tyburn’s reign of terror was a short one the company never attaining the heights or realising the achievements that its founder Francis had wanted for it and although the company produced some interesting horrors its output paled in the brightness of the Hammer studios output, although saying this TYBURN did return in 1984 with a production for television, MASKS OF DEATH was screened on channel 4, and starred an ageing Peter Cushing in the role of Sherlock Holmes with John Mills as Dr Watson, directed by Roy Ward Baker and with a screenplay by Anthony Hinds it was a polished and entertaining production. The score was by Malcolm Williamson who had worked on Hammers THE BRIDES OF DRACULA, THE HORROR OF FRANKENSTEIN and CRESCENDO, Williamson was the first non British citizen to be appointed Master of the Queens music. Peter Cushing was also the subject of a TV documentary in 1990 which was produced by Tyburn entitled, ONE WAY TICKET TO HOLLYWOOD a documentary that is highly regarded and also is considered by many as Tyburn’s finest production. The music was taken from existing soundtracks composed by James Bernard and Malcolm Williamson.

AMICUS was indeed a success story and along with American International pictures was probably the biggest rival company to the mighty Hammer films. Amicus produced numerous movies and many were at times difficult to tell apart from Hammer horrors, the music department for Amicus was almost identical to that of Hammer, the company utilising the talents of composers such as James Bernard, Don Banks, Douglas Gamley, David Whitaker etc. Based at the famous Shepperton studios Amicus was founded by Milton Subotsky and Max Rosenberg, who had previously worked together in the 1960,s on the movie THE CITY OF THE DEAD, Amicus began its life by producing two musicals which were aimed at the younger end of the cinema going public, ITS TRAD DAD! and JUST FOR FUN enjoyed mild success at the box office, the company went on to produce a number of films that contained more than one story, this portmanteau series of motion pictures were particularly popular with audiences the producers basing their ideas upon the Ealing films classic DEAD OF NIGHT. One of these types of movies was THE HOUSE THAT DRIPPED BLOOD, which I personally felt was one of the companies better efforts, directed by Peter Duffell it starred Denholm Elliot, Peter Cushing, Christopher Lee, Ingrid Pitt, Joss Ackland and Jon Pertwee. The film was scored by Michael Dress, who had worked on a handful of films prior to scoring THE HOUSE THAT DRIPPED BLOOD, Dress died in 1975 aged just 40 years of age. Amicus however were not just restricted to horror movies and turned their hand to thrillers and also were responsible for releasing some pretty unusual movies, the company at times co-produced with AIP MADHOUSE and SCREAM AND SCREAM AGAIN being examples of their collaboration.

Considering the rich and varied musical content of the Horror genre as produced by TIGON, TYBURN and AMICUS it is surprising that an enterprising record company has not seen the market for these scores with collectors of fine film music. Even if the tapes no longer exist a re-recording surely should be worth investigation, a company such as Chandos with the aid of the talented Philip Lane surely could resurrect these classic soundtracks from the depths of obscurity. The compilations would be endless, with AMICUS, TIGON and also TYBURN being the central focus but with music from other classics such as CIRCUS OF HORRORS by Franz Reizenstein, CRY OF THE BANSHEE by Wilfred Josephs, THE FLESH AND THE FIENDS by Stanley Black, THE CORPSE by John Hotchkis, SCREAM AND SCREAM AGAIN by David Whittaker and THE HOUSE IN NIGHTMARE PARK by Harry Robinson making it into the running order somewhere.
We must also not forget the wealth of music that adorned Italian horror movies and the releases of TITANUS productions, plus the films of Jess Franco especially that directors version of the Dracula story IL CONTE DRACULA was said to be actor Christopher Lee’s favourite version of the tale because Franco stayed so close to Stokers original story often studying the book whilst on set, the music for this movie was the work of Italian Maestro Bruno Nicolai, who became well known via his involvement with fellow composer Ennio Morricone on the Sergio Leone DOLLAR TRILOGY, Nicolai produced a highly atmospheric soundtrack for IL CONTE DRACULA and was also involved with numerous other pictures within the horror genre that were being produced in Italy during the 1960, through to the latter part of the 1970,s either as composer or as musical director. But Italian horrors should and will have a section of their own on this site very soon.

MUSIC FROM THE HAMMER FILMS.

Originally released back in 1989 by Silva Screen Records, MUSIC FROM THE HAMMER FILMS was indeed a groundbreaking release, the compilation which was firstly released on long playing record in a gatefold cover later received a compact disc issue and has remained an iconic and popular release amongst collectors of fine movie music. Remember this was in the days before any of Hammers film music had been released in full soundtrack editions by GDI/BSX records and I think I am correct when I say that the only music that had been released was in the form of background music to story version from Hammer movies such as THE LEGEND OF THE SEVEN GOLDEN VAMPIRES and CHRISTOPHER LEE,S DRACULA album on EMI, which did have four tracks on its flip side that were promoted as THE FOUR FACES OF EVIL, these being the romantic and haunting SHE by James Bernard, the sensual and malevolent sounding THE VAMPIRE LOVERS by Harry Robinson, the gloriously dramatic and romantic DR JECKLE AND SISTER HYDE by David Whittaker and the jagged and chilling FEAR IN THE NIGHT by John McCabe all of which were conducted by Philip Martell.

Hammer films from the 1950,s through to the late 1970,s always boasted strong musical scores and it was something of a surprise to many when the scores were not issued onto any recording format whatsoever. James Bernard’s iconic and fearsome sounding DRACULA theme surely deserved an entire release to its self, alas not. So when SILVA SCREEN announced this re-recording fans of Hammer went into raptures. The compilation features mainly the music of Hammer’s almost composer in residence Bernard and also boasted David Whittaker’s powerful music for VAMPIRE CIRCUS and Christopher Gunning’s beautiful but at the same time unsettling music for THE HANDS OF THE RIPPER. The music was performed by the world renowned Philharmonia orchestra under the baton of Neil Richardson, the whole thing being supervised by Hammer films MD Philip Martell. Silva Screen had obviously put a lot of time thought and effort into bringing the re recording to fruition and presented the release with glowing art work and informative liner notes, giving collectors a chance to see James Bernard, at the recording sessions with engineer Mike Ross Trevor and producer Eric Tomlinson at the mixing desk, the booklet also featured pictures of David Whittaker listening intently to the playback of VAMPIRE CIRCUS and Neil Richardson conducting the orchestra. The compact disc opens with THE DRACULA SUITE, which is such a fitting way to start any compilation of Hammer film music, James Bernard’s foreboding, dark and evil sounding DRA-CU-LA three note motif setting the scene for the Prince of chaos.

The suite which is in five sections is made up from music that is taken from the original 1958 DRACULA and also DRACULA PRINCE OF DARKNESS from 1966, the opening is instantly recognisable and still strikes a little terror into the hearts of anyone who hears it, Bernard’s simple but highly effective musical motif is as recognisable as Monty Normans, JAMES BOND THEME, as terrifying as Herrmann’s PSYCHO and as menacing as the JAWS theme by John Williams. After the familiar and dramatic opening the suite segues into the music that Bernard used to accompany Jonathan Harker on his investigation of the lofty hallway of castle Dracula, where he encounters a young woman, unbeknown to him she is one of the undead and attempts to turn Harker into one of her kind, this is interrupted by the appearance of Count Dracula who ferociously attacks the girl and also lashes out at Harker. Part three of the suite THE KISS OF THE LIVING DEATH is a piece of masterful scoring by Bernard his music acting as a hypnotic and alluring background to Dracula’s attempt to seduce his victims. Part four of the suite is FUNERAL IN CARPATHIA, which is a slow but menacing piece for strings woodwind and subdued brass that are all punctuated by a slow and deliberate sounding drumbeat. Part five is the finale sequence music from DRACULA PRINCE OF DARKNESS, which takes place on a frozen river, where the infamous Count is dispatched by Father Shandor (Andrew Keir) with a single gun shot into the ice that releases pure running water, the vampire lord falls into the icy depths and is destroyed, but I think we all realise at this point that he will return. Bernard’s music is dramatic and feverish in places, supporting and underlining wonderfully the confrontation between good and evil and the Counts demise. The next section is from the 1971 Hammer production HANDS OF THE RIPPER, this starred Eric Porter and also Dora Bryan, with Anghard Rees as the beautiful but deadly Anna, who is supposedly the daughter of Jack the Ripper and is from time to time possessed by his spirit and goes on a killing spree, the movie was actually very entertaining and the score by British composer Christopher Gunning had within its make up a kind of James Bernard sound, but also had at its core a mesmerising and haunting theme for the films central character Anna that is luxurious and affecting. In my humble opinion this is probably one of Hammer’s best non James Bernard scores, Gunning unfortunately did not return to work on any other horrors for the studio, which is a great pity. For the next section we return to the music of Bernard and also to DRACULA. DRACULA HAS RISEN FROM THE GRAVE was the third in the Christopher Lee DRACULA cycle of movies, and for this outing the Count becomes locked in a battle of wills and also stamina with a Monsignor played by the excellent Rupert Davies.

The glamour in the movie was provided by Veronica Carlson who took the role of the Monsignors Daughter who was a prime target for the Count. Bernard’ s music was just as dramatic as his two previous works for Dracula but on this occasion the Dracula theme did not seem to be used as much the composer opting for an arrangement of the theme on which he based the remainder of his score.

VAMPIRE CIRCUS comes next in the running order a vampire movie with a difference and one that took the traditional vampire tale and twisted it slightly to come up with an ingenious and also an entertaining movie. The opening pre credit scene is one that must go down in Hammer history as being one of the most exciting and dramatic. Helped along by the powerful, sensual and mesmerising music of composer David Whittaker. The music for this compilation and re recording is represented by a near 10 minute suite that is just glorious. Whittaker’s darkly rich and evil sounding waltz like theme weaving its way through the suite and acting as the basis of the work, effective use of cimbalom that is strategically placed adding an authenticity and giving the music a greater depth and increasing the atmospheric effects of it within the film, bombastic sounding brass that is supported by thundering percussion and punctuated by strings making this a candidate for the best Hammer vampire soundtrack ever penned. I hope that one day the entire score will be released as only sections have since made it onto compact disc, within the excellent GDI series. For the final section on the compilation we return to the master of the Counts music James Bernard, for TASTE THE BLOOD OF DRACULA the composer was asked by producer Aida Young to provide a more romantic sounding score, I remember Bernard telling me in interview that initially he was a little cross at the request, but then could see that the movie did need a love theme for the two young central characters in the story, thus was born the beautiful and quintessentially English sounding pastoral piece THE YOUNG LOVERS, which has endured over the years as one of the scores most haunting themes. In fact it ranks along side the composers romantic and mysterious theme for SHE, which was his own personal favourite. Of course Bernard utilised his DRA-CU-LA theme within the score and because of the presence of the love theme this already familiar and fearful sounding theme seemed even more threatening and ominous. The suite of music contained in this re-recording runs for just over 17 minutes, with ROMANCE AT DUSK being the highlight cue, beautiful and subdued woodwinds open the track that are underlined by a light strings, the central theme is then taken on by the string section who give it a more sustained working, the theme gradually builds and emerges into a poignant and attractive composition.

The final cue THE VICTORY OF LOVE is a triumphant sounding version of the love theme the composer adding brass and percussion to the proceedings, telling the audience that evil has once again been defeated and love and good has prevailed. This is a collection that you as a Hammer fan should not be without, and yes I know these are not the original recordings, but they were arranged by the composers and also supervised by Hammers own Phil Martell, the compilation which was deleted was soon after resurrected with alternative art work the only difference being that the suite from HANDS OF THE RIPPER was a shorter version on the re release, if you can find a copy of the original release it would be far better, but if not settle for the re-issue an essential purchase.

THE HAMMER FILM MUSIC COLLECTION VOLUME 2.

Just when you thought it was safe to return to the CD player along comes another terrifying collection of themes from the Hammer House of horror. Yes those nice people at GDI who brought you THE HAMMER FILM MUSIC COLLECTION VOLUME 1, were not content with leaving you with just a taster of the Hammer musical heritage, so they have put together another 25 themes to delight, tantalise and terrorize. If you thought that volume one was awesome, then volume two will most certainly entertain and wow you. In many ways I think that this second volume of music is better than its predecessor, not because the music is of a higher quality or sound quality is better, but because it seems to me to be a more varied selection of music a wider musical palette if you will. James Bernard is represented, but this time by just 6 tracks, but these half a dozen entries do represent some of the composer’s musical triumphs for Hammer, FRANKENSTEIN AND THE MONSTER FROM HELL, DRACULA HAS RISEN FROM THE GRAVE, THE PLAGUE OF THE ZOMBIES, FRANKENSTEIN CREATED WOMAN, QUATERMASS 2 and THE HOUND OF THE BASKERVILLES are all present and showcase Bernard’s evident gift when it came to the scoring of gothic horrors. But the remainder of the collection, is a varied, vibrant and thoroughly entertaining listening experience and like volume 1, this disc’s contents evoke many memories of seeing these wonderful Hammer productions for the first time, Whether that was at the cinema or on many of the late night showings on the BBC.  As I have already said the variety of music on this compilation is stunning and the composers that are represented read like a who’s who of British film music. Harry Robinson, with his lilting and bittersweet theme for DEMONS OF THE MIND,  John McCabe, with his superbly edgy music for FEAR IN THE NIGHT.  Richard Rodney Bennett, with his brief but highly atmospheric opening music for THE WITCHES, Malcolm Williamson, with his beautiful and haunting piano led opening for CRESCENDO, which for me personally evokes musical classics as  THE WARSAW CONCERTO  and THE LEGEND OF THE GLASS MOUNTAIN,  Don Banks, for his thundering and robust music for THE CURSE OF THE MUMMY’S SHROUD and also his equally driving theme for THE EVIL OF FRANKENSTEIN and his swirling and tormented opening theme for RASPUTIN THE MAD MONK.  Paul Glass, makes an entry with his TO THE DEVIL A DAUGHTER, which is one of the latter Hammer movies and this is reflected in the modern sounding approach that was taken with the score.

 

 

 Gary Hughes, is represented by his rousing theme from THE PIRATES OF BLOOD RIVER, which was an interesting and fairly fast paced adventure and contained a musical score that was even more adventurous, filled with numerous references to what is or were perceived to be salty sea dog Pirate music and being more YO Ho Ho, and shiver me timbers than Long John Silvers parrot. It is a shame that Hughes has not more entries on this collection, his soundtrack for THE VIKING QUEEN for example is one that in my opinion should be issued in the form of a full score compact disc or indeed the composer should have a compilation dedicated to his Hammer film music, THE SCARLET BLADE, THE VIKING QUEEN, A CHALLENGE FOR ROBIN HOOD and DEVIL SHIP PIRATES would I know attract soundtrack collectors like flies around a honey pot.  Benjamin Frankel, Humphrey Searle, Mike Vickers, David Whitaker, Carlo Martelli, Edwin Astley, all put in appearances, as do Italian Maestro Mario Nascimbene and American composer John Cacavas, the latter’s modern take on DRACULA being a solid and infectious sounding theme. The composer adding an upbeat almost pop sounding theme to the proceedings to accompany the infamous Count when he was resurrected in 20^th Century England. But that was the beginning of the end for DRACULA as far as Hammers film cycle was concerned, because the idea of having Dracula roaming the streets of a 20^th Century London did not quite gel or impress cinema goers, and quite often the gasps and screams that one associates with Hammer horrors were replaced by sighs and sniggers at the lack-lustre attempts by Hammer to bring them selves in the 1970’s. Plus once the Count was resurrected in the 20^th Century how would you send him back in time, (where is that time lord Dr Who when you need him). Now there’s a project for Hammer THE TIME LORDS OF TRANSYLVANIA !  

 

The music however never suffered and was never wanting in any department, in fact at times it was surprising that Hammer’s production contained such wonderful music because of the budgets that were allotted to the music, but because of accomplished composers and also inventive and clever use of instrumentation these scores are now considered as classics, everyone of them..

James Bernard

James Bernard

Muir Matheson once said something along the lines of “Films need music, but music does not need films”. Which I suppose is true to a certain degree, but one could argue that if it were not for films, then some of the most popular and finest music ever written would probably not have seen the light of day. As film music enthusiasts we are probably more aware of the need for music in a movie, and if placed correctly, the score for a film can add a whole new dimension to the images that are appearing on the screen.

Horror movies in particular tend to use a great deal of music, and the films as produced by Hammer from the late 1950’s through to the 1970’s relied quite heavily upon the use of dramatic orchestral scores. The Hammer studios used various composers for their Gothic horrors, but one in particular stood out above the others and his scores were and still are highly regarded by collectors of film music throughout the world.