THREE HORRORS FROM THE EIGHTIES.

Three horror movies released in 1986, all had a connection. Troll, Terrorvision, and From Beyond were all fairly-low budget movies, but also all contained effectively atmospheric musical scores by composer Richard Band. Band was very busy during the 1980.s and into the 1990’s scoring in the main sci fi and horror movies all of which had limited budgets. However, this never seemed to deter Band from creating large scale sounding symphonic works that enhanced the proceedings on screen. I think this is the reason that the composer was to become so busy and in demand. His ability to work quickly and to fashion commanding and innovative soundtracks was attractive to producers of movies and TV.

Richard Band.

 Many of his scores being performed by the National Philharmonic Orchestra. Band is still as industrious nowadays creating powerful soundtracks for a wide variety of motion pictures and TV series. The three movies I have mentioned are all horrors, but three very different horrors. Terrorvision for example is more of a sci-fi horror which focuses upon the central character Stan who installs satellite TV for his family, which is a good thing one would think.

But, soon things become a little unnerving as Stan starts to pick up a signal from another planet and his television system becomes the gateway between earth and the aliens. A creature comes to his apartment but only Stan’s son Sherman sees it, his parents finding it hard to believe that the child is telling the truth.  

Then there is Troll, in which we see a Troll King take up residence in an apartment block in San Francisco, the same apartment block where the Potter family have just taken up residence. Harry Potter Sr, (yes Harry Potter, but not The Harry Potter) and his wife Anne are bringing the packages to the apartment and their son Harry Jr (no this is not The Harry Potter either) and his younger sister Wendy Anne stay on the sidewalk. Wendy becomes curious about her new home and decides to explore going into the laundry room, where she encounters wicked troll Torok who uses his evil magic ring to possess her. Torok then proceeds to use the girls form to transform the dwellers and the apartment into trolls and builds his kingdom within it. Harry Jr. feels that something is wrong with his sister and seeks out a good witch Eunice St.Clair who by a stroke of luck also lives in the building.

It’s an entertaining movie and does contain some real moments of terror and apprehension.

Last but by no means least is From Beyond, Dr. Edward Pretorius and his assistant, the physician Crawford Tillinghast, have developed the Resonator, a machine to stimulate the sixth sense through the pineal gland. When Crawford activates the apparatus, he sees creatures flying in the air and he summons Dr. Pretorius. The experiment goes out of control and Dr. Pretorius refuses to turn off the Resonator.

Meanwhile their neighbour calls the police, and when the police officers arrive, they see Crawford trying to escape from his house and Dr. Pretorius beheaded. Crawford is sent to a mental institution under the supervision of the sadistic Dr. Bloch. However, the prominent psychiatrist Dr. Katherine Mc Michaels requests the custody of Crawford and Detective Bubba Brownlee that is investigating the bizarre case decides to stay with them. Katherine goes with Crawford and Bubba to see the Resonator and after reactivating the machine. Dr. Pretorius returns in mutant form and viciously attacks them, which heralds a long and gory night of violence which is filled with weird life forms.

The score for From Beyond, is an inventive one, the composer fashioning atmospheric and sinewy sounding themes that work effectively with the images on screen and support and underline the unlikely but disturbing storyline. The music has to it a Bernard Herrmann-esque/Jerry Goldsmith sound, with dark and commanding strings becoming the foundation and the most utilised instrumentation of the score, the composer embellishing these further with percussive elements and brass that are further driven by timpani and added electronic support.

The soundtrack was re-issued in 2021 with extra music and improved quality sound after being re-mastered. The re-issue is available on most digital platforms. Band’s score is oozing with mystery and malevolence, with shadowy sounding nuances and unnerving passages that realise an uneasy and foreboding persona. 

To Troll now, I think that this along with Band’s superb The Pit and The Pendulum and Mutant are amongst my favourites by the composer. The use of choir within this score is as effective as the satanic choruses that were penned by Jerry Goldsmith for The Omen trilogy, maybe not as powerful but just as chilling and sinister sounding and just as affecting. The score is relatively short as in duration, but the music plays an important role within the movie that also becomes integral to the storyline.

The theme for the Troll, is masterful, and is at times dark and fearsome, add to this Danny Elman-like voices (before Danny Elfman wrote his first score by the way) has a dual atmospheric effect, as it is both threatening but nervously comedic. Band utilises to great effect strings, percussion and those choral performances as the score and the storyline develop. The combination of strings, electronic effects and choir has a superbly dark and sinister effect. The composer driving the action and underlining key moments with music that is frantic and chaotic in a melodic way.  

The score is sectioned into five cues that are all entitled Cantos, the last track on the score Cantos V being the most driving and commanding, filled with an ominous and unrelenting air, in which choir and percussion are supported by brass flourishes and fast paced strings, but this action frenzy soon turns to a more settled and calm mood as the track reaches its conclusion and becomes the films hopeful sounding end titles. The five-track soundtrack is available on digital platforms and on compact disc. And the expanded Intrada release is sometimes available on various selling sites.

The score for Terrorvision leans towards a more electronic sounding work, but this is no way means that Band is not as inventive. In fact at times the score is probably one of his most innovative, and in keeping with the tech subject matter of the movie.

Band also employs rock like cues some of which are vocals by Fibonaccis. Not really my thing but work well in the context of the movie. The soundtrack is available on the likes of Spotify. All three releases are worth a listen and if you’re not a Richard Band fan I think you might be after savouring these.   

COMPOSER RICHARD BAND. EXORCISING MUTANTS, TROLLS and OTHER HORRORS.

 

In the many years that I have been collecting film music I thank heaven for composers like Richard Band, he has I think more than many other composer manages to maintain a high standard of music within films that maybe did not deserve music of such great quality, if you understand what I am saying. With many of the composers scores it is a case of the music actually being far superior than the films they were written for. Take THE PIT AND THE PENDULUM for an example, great pulsating and powerful score, one of his best in my opinion, but the film well, I can take it or leave it, and when I say leave it I mean actually leave it somewhere in the hope that it gets lost.

 

 

One of Band’s most recent assignments that gets a release on DRAGONS DOMAIN records is  EXORCISM AT 60.000 FEET, an obvious in flight version of the EXORCIST, with the composer even poking fun at the original films score via the use of a TUBULAR BELLS type motif which at times raises its head throughout the score. But Band, I have to say has written a superb soundtrack, it has a wonderful driving theme that carries the work along at pace, the composer introducing various takes on it throughout the score. With the remainder of the soundtrack being just too good for this movie. It is filled to overflowing with a real sense of the dramatic and also has to it a cheeky and impish style that is comedic and at the dame time quite patronising as in it parodies the sound of the horror movie from the 1950’s through to more contemporary examples including Band’s own work within the genre and the likes of  Danny Elfman on  BEETLEJUICE etc. What I love about Band’s music for film is that it never really takes itself seriously, and I think therefore it works so well and is also so appealing. To be quite honest if I saw this movie was on at the local picture house I don’t think I would even bother, but after hearing Richard Band’s excellent music I may be persuaded to try and sit through it. Richard Band also has a few other releases that are popping up on digital platforms, which although not ideal is quite useful for anyone not familiar with his music for film.

CASTLE FREAK is one such title, no not the 2020 remake but the original from 1995 directed by Stuart Gordon of RE-ANIMATOR fame. It’s a creepy tale of a man who attempts to protect his family against an evil that is resident in a castle that he has inherited. Again Band did a brilliant job for a low budget movie with an evil and spiky sounding violin solo weaving its way through the score, a dark and mischievous sound that is enhanced and supported by equally devilish sounding strings, brass and strategically placed percussion. I always have thought that his music for this production was quite evocative of Jerry Goldsmiths menacing, unsettling and virulent sounding score for the MEPHISTO WALTZ. Plus, I am of the opinion it also has to it elements that resemble Carol Anne’s theme from Goldsmiths POLTERGEIST. Amongst all the atonal and creepy sounding material Band has created a score that aids the movie greatly, but it also one that rewards the listener when heard on its own, it is an inventive work, again one of Richard Bands finest.

THE HOUSE ON SORORITY ROW (1982) is yet another gem of a horror score, Band in a lyrical mode for the opening theme, which kind of lulls one into a false sense of security, a mood that I will say does not endure for long, its not too long before the composer begins to introduce icy sounding passages, sinewy sounding strings, tinkling piano that is more menacing than calming and also he utilises female voice in certain cues that purveys a sense of uneasiness and adds a chill to the proceedings, but there is still maybe a semblance of calm and warmth within it, in the same way that Morricone did in films such as BIRD WITH THE CRYSTAL PLUMAGE. Again, a low budget affair, but still Band produces a top-notch soundtrack. After a prank goes terribly wrong a group of sorority Sisters are stalked by a killer and murdered one at a time in the house whilst a party is being held that is to celebrate their graduation. The score is an accomplished one for a low budget horror and contains a few interesting themes and again is something of a homage to the scores of Jerry Goldsmith.

THE RESSURECTED was released in 1991, directed by Dan O Bannon, its one of those movies that you probably begin to watch will a modicum of interest, and by the end of the film you find that you really enjoyed it. Well that’s how it was for me anyway, I also like the score by Richard Band a lot, I think its classy and accomplished, and has about it a style and sound that radiates sophistication, yes I realise it’s a horror and I can’t say its particularly original, but there are many interesting points within it, it is in fact more like a film noir score than a horror, the subtle menacing nuances wash over the listener and also add a chilling and apprehensive dimension to the story being acted out on screen. It is for the most part dark and malevolent, but there are hints of romanticism and a lush almost opulent style that emerges albeit briefly at key moments with the soundtrack, entertaining movie, and score.

 

MUTANT or NIGHT SHADOWS as it was originally entitled contains a score that outshines the movie it was intended to enhance. I never did like the movie, but just love the score. Directed by John Cardos it focuses upon two Brothers who find out that the residents of a small town in the Southern States are slowly being infected by a Toxic waste, the substance apparently turning them into bloody lusting Zombies. The score is performed by the NATIONAL PHILHARMONIC ORCHESTRA with some electronic support, it is certainly one of the composers more powerful works, again inventive, and innovative in the way the string section is utilised. There is just something attractive about this score maybe more than any other Richard Band soundtrack, the sound and the style is robust and vibrant, there is more of a commanding feel to this with the composer creating a superbly dark and foreboding set of atmospheres, that delight and chill all at once.

 

SHRUNKEN HEADS was a comedy horror movie released in 1994, the score had a theme provided by Danny Elfman, but the main score was the work of Richard Band, in many ways this is very similar to Band’s work on TROLL which he scored in 1986, the composer making effective use of choir that he seamlessly fuses with quirky but dramatic musical passages and adding a touch of melancholy here and there for effect . The opening theme by Elfman I think also influenced Band as he seems to take his cue from the offbeat and slightly demented sound created by Elfman. Imaginative orchestration and inspired writing, this is an enjoyable listening experience, and a soundtrack that I think will be returned to many times after the initial listen.

SHIVER.

Released in 2012, SHIVER is based upon the novel of the same name and is a thriller/serial killer movie which at times hits the mark but for the most part falls short of its target. The main problem for the film not delivering is that the script is just not worthy of the actual book, with a number of the characters being presented as either incompetent cops or rather boring and flat individuals with no real character. The musical score by veteran composer Richard Band is probably the best thing about the production, with Band delivering a suitably chilling and on the edge sounding score that has some nice set themes throughout, but for the most part is what one would expect for a film such as this. Band is known for his work on relatively low budget movies and I have to say that he always amazes me getting the results he does on these somewhat lean budgets. The score is a combination of both the symphonic and the electronic, but as per usual Mr Band is able to fuse the two mediums together with consummate ease. At times I was reminded of the style of Jerry Goldsmith when he was involved on movies such as BASIC INSTINCT, it has that kind of steamy, sultry air to it that is tinged with an aura or hint of sensuality. There are also however present fragments of past Richard Band scores such as THE PIT AND THE PENDULUM there is a definite presence of that particular theme within the score for SHIVER, albeit a slower tempo arrangement also a glimpse of styles employed in movies such as THE ALCHEMIST and THE CALLER.

 

 

The composer manages to create a score that is entertaining to listen to as a stand-alone piece as well as being a strong and supportive component of the movie and although a lot of the music is what many would call atonal, it is still interesting and entertaining. The composer making good use of driving strings and imposing and tense sounding brass flourishes. Which can be heard within cues such as PRISON BUS BREAK, WENDY GRABS THE GUN and THE OFFICE MASSACRE. The soundtrack also includes a handful of songs, which are all at the end of the recording, the first of which also acts as the END TITLES (TWILIGHT GREEN) and begins as an instrumental but after the initial introduction which is apprehensive and menacing, segues into a laid back vocal performance by an uncredited female singer, the song reminded me a lot of SUGAR IN THE RAIN from the movie STILLETTO it has that kind of sweet and too good to be true sound, but saying this is easy on the ear and pleasant enough, oddly the song then reverts back to the instrumental score and again we hear a threatening and tense style employed by Band.

Other songs include YOU MADE ME LOVE YOU, WE’LL ALWAYS HAVE THE MOON, AFTER YOUV’E GONE all performed by the same vocalist and are jazz influenced, with the final cue being an instrumental which again is jazz orientated entitled POOR BUTTERFLY all pleasant enough to listen to but a little out of kilter with the main score. An interesting score, check it out, Its on INTRADA.

1.
Rude Fantasy
0:51
2.
The Killing
2:02
3.
Main Title
1:19
4.
Decapitated?
0:26
5.
Police Briefing
1:59
6.
Wendy Views The Necklace
0:23
7.
Gryphon’s Playground Flashback
1:00
8.
Break In
1:25
9.
Gryphon Attacks Wendy
2:47
10.
Jennifer Death
2:50
11.
Recalling The Event
1:54
12.
The Shack No. 1
0:48
13.
Wendy Rests In Police Station
0:35
14.
Killing Spree
4:39
15.
Transporting Wendy
5:41
16.
Here We Go
0:26
17.
Road To The Shack
1:02
18.
The Shack No. 2
0:30
19.
Entering The Shack
0:31
20.
Wendy Grabs The Gun
1:54
21.
Searching The Apartment
1:02
22.
The Rape
3:58
23.
His Show Of Heads
1:56
24.
The Saw And Fight For Life
2:26
25.
Delgado Finds Wendy In Shack
0:48
26.
The Prison Bus Break
1:22
27.
The Office Massacre
4:50
28.
Wendy Approaches The Gryphon
0:51
29.
End Titles (Twilight Green)
3:33
30.
You Made Me Love You
2:27
31.
We’ll Always Have The Moon
3:05
32.
After You’ve Gone
3:32
33.
Poor Butterfly
3:30

Total Album Time:
66:22

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..

BAND MOON RISING. ( FULL MOON/MOONSTONE RECORDS).

A brief look at the film production company of Charles Band

FULL MOON.

Originally published in Music From The Movies 1990/91.

Full Moon productions is a company that was founded by film maker Charles Band, the company has been producing low budgets movies mainly of the Horror variety since 1988 and has enjoyed considerable success with this particular genre, cornering the market in what are essentially termed or looked upon as B movies or straight to video/DVD productions. This success has even surprised Band himself, and during the mid to late 190’s the company began to produce up to ten full length feature films per year, again these were aimed at the straight to home video market and did not receive a cinema release. “We are making movies now that are for the video market that would have been full blown cinema releases a few years ago” said Charles. “Today’s theatrical market place is so unforgiving, that if you bomb out with just one film, it could be the end of the company. So in my opinion there is no shame in releasing a movie in a premiere situation directly for home viewing”.

 

 Charles grew up in a family that was immersed in the film industry, from the age of nine he and his family moved to Italy, where his Father Albert band made a handful of Spaghetti westerns, and also was involved in the production of a number of Sword and Sandal epics. Charles said that his love of fantasy began as a child when he read the Marvel comics, which featured super heroes such as The Incredible Hulk, Spiderman and the Fantastic Four. He gained much of his experience via hands on training after his Father put him to work on the film sets of movies he was either directing or producing. Charles would do a number of jobs, these ranged from numbering negatives to assisting with sound equipment and cameras. At twenty one, Charles returned to the United States and made his first feature film which was entitled MANSION OF THE DOOMED, which starred the late Richard Basehart. After this Charles went on to produce and direct a couple of 3D features, PARASITE and METALSTORM for Avco Embassy and Universal respectively.  In 1982/83 Band founded Empire Entertainment under whose banner he released films such as RE-ANIMATOR,TRANCERS and GHOULIES. However Band found that buying pictures from other suppliers tended to water down the companies overall product, so in 1988 FULL MOON was born.

Band and Full Moon went on to release numerous production, granted many were of the low budget variety, but many ranged in budget from one and a half million Dollars to three Million Dollars, and up wards of six million Dollars as in the case of THE PIT AND THE PENDULUM. Which was one of the company’s biggest movies during the 1990’s. To say that Full Moon is just a film production company is certainly an understatement, Band has been busy creating a whole line of merchandising which includes, Trading Cards, T.Shirts, Sweat Shirts, Comic Books, and a great series of model kits. “I suppose we are creating the comic books of the future here” said Band. Charles’s Father Albert was not only active as a film maker in Italy he worked alongside John Huston on THE ASHPHALT JUNGLE and THE RED BADGE OF COURAGE. “I am from the old school of film making” remarked Mr Band snr. “ I never had just one genre that I loved, unlike my son, I always found if I liked the story whatever the subject matter, I would make the movie, but Charlie, he sticks to the same genre”. Albert worked with Charles on DOCTOR MORDRID, and also co-produced the Disney fantasy comedy HONEY I BLEW UP THE KID which was directed by Stuart (THE RE-ANIMATOR) Gordon.

During the early 1990’s Charles decided to expand the company’s merchandise from the films that they had released, he formed a sister company called, MOONSTONE RECORDS, this branch of the company packages and releases the soundtracks from the films that are produced by Band’s film company. Soundtracks such as MERIDIAN by Italian Maestro Pino Donaggio, SUBSPECIES by Aman Folk, NETHERWORLD by David Bryan, PUPPET MASTER 1 and 2 and THE PIT AND THE PENDULUM by Richard Band have all seen releases on the MOONSTONE label.  Whilst Charles is the man behind the camera as it were producing and directing movies, his younger Brother Richard is the man behind the music. “I am a composer who is as much dedicated to music as Charles is dedicated to film”. Explained Richard, “I have my own business, and I work freelance for other producers and film companies not exclusively for FULL MOON”.  Richard also lived in Italy for nearly eleven years. “I fell in love with classical music and through my Father I also learnt a lot about films by visiting the sets”.  The composer taught himself guitar, for a while touring Italy as a flamenco guitarist, he then took up rock music for a period of seven years. When he returned to the United States in 1972, he attended the music conservatory in Los Angeles. Richard got his first opportunity to break into film scoring in 1977 when he collaborated with Joel Goldsmith on the score to the low budget sci-fi romp LAZERBLAST.

His first score for his Brother was in 1978 when he wrote the soundtrack for THE DAY TIME ENDED. This was followed by another Band Brother’s joint effort PARASITE. The composer admits he has done so many fantasy type movies that he feels “It has given me a particular style which I tried to develop. There are certain film music composers, Jerry Goldsmith, John Williams and also the great Miklos Rozsa, that have worked for many many years within the industry and consequently have developed a definitive sound, but they have worked to refine this sound and when you get this sound you are inevitably asked to do certain types of movies”.

The composers score for THE PIT AND THE PENDULUM is creating a stir amongst collectors, and it is in fact a highly atmospheric and imposing soundtrack, the sound achieved is not a million miles away from the AVE SANTANI chorus in Goldsmiths THE OMEN. “Thank you for that, I don’t think I set out to get that sound, but it worked for the movie and to be compared to Goldsmith, that’s a compliment. I got sick whilst doing the score so maybe I should get a fever more often and I can produce some more great scores”. Richard has composed the music for approx-fifty movies, at least twenty of these have been for his Brother Charles.