This soundtrack to the popular 1982 animated film based on the acclaimed children's book by Peter Beagle was scored by songwriter/composer Jimmy Webb ("Wichita Lineman," "MacArthur Park") and features performances from the soft rock duo America. The score itself, an appropriately somber and sentimental blend of fairy tale motifs and dark, Wagnerian cues, reflects the story's achingly beautiful tale of a unicorn who attempts to overthrow a maniacal king determined to rid the world of the magical creatures, while the songs are far more creative, daring, and eloquent than all of the cookie-cutter balladry that would eventually replace their type in future animated films. Like Watership Down, The Hobbit, and even Robert Altman's live action, Harry Nilsson-scored Popeye, this hard to find soundtrack is a gem from another age.
In 1970, Ashton, Gardner & Dyke somehow ended up supplying the soundtrack music to an obscure Western starring football star Joe Namath. Also important to the soundtrack's composition and performance was Deep Purple's Jon Lord, who co-wrote the score with Tony Ashton and shared keyboard parts with Ashton as well. Like many soundtracks, it's a jumble of pieces that might have served adequately as background music to specific scenes…
is a 1975 musical film starring , , , , and . A sequel to the 1968 film , it is a highly fictionalized account of the later life and career of comedienne and her marriage to songwriter and impresario . The screenplay was by and , based on a story by . The primary score was by and . It was directed by .
It has taken eight years and over 130 CDs but FSM finally releases a score by the great Ennio Morricone: Guns for San Sebastian (1968), commonly known as a western but more accurately a historical adventure set in Mexico circa 1750. The film stars Anthony Quinn as an outlaw who is mistaken for a priest and protects a humble village against a violent tribe of Indians; Charles Bronson is the antagonist and Anjanette Comer the love interest. Filmed in Mexico, the international production is a sunburnt, action-packed look at a violent time in colonial Latin American history. The late 1960s were an especially fertile period for Ennio Morricone, whose prolific genius has enhanced hundreds of films for over 40 years. By 1968 Morricone had already scored the groundbreaking Dollars trilogy for Sergio Leone—establishing the revolutionary style for the "spaghetti" westerns—and Guns for San Sebastian preceded their western masterpiece, Once Upon a Time in the West.
Original soundtrack to the 1982 film directed by Philippe de Broca. The soundtrack was written by Georges Delerue, who was one of de Broca's favorite composers. This edition of the soundtrack was remastered from the recently discovered master tapes and is released to coincide with the 20th anniversary of Delerue. In addition to the soundtrack, you can savor the exclusive first recording of the Suite Symphony Broca, which compresses 30 years of de Broca/Delerue collaborations into 15 minutes.
Fame was a film directed by Alan Parker, a serious auteur (some would say overly serious, especially in light of the work that came later) who designed the film for posterity, and the same attitude carried over the music. Yes, the production techniques often do sound dated – the over-reliance on state-of-the-art synthesizer ironically now sounds helplessly tied to the year of its creation – but the music by Michael Gore is dynamic, varied, and alive, sung with real passion and vigor, and it still retains its essential spark 23 years after it was a pop culture phenomenon. Sure, it's glitzy and glossy, sounding like show tunes, but that's the tradition of this music, and it was done better than most Broadway tunes and movie soundtracks of the '80s. Years later, this still has the spark and vitality of kids trying to make their big break, no matter the kind of music they're singing, and that's one of the main reasons (along with Gore's fine compositions) Fame retains its power and entertainment value years later.
There’s nothing disastrous about Daniel Pemberton’s fine score. Pemberton’s star has been on the rise for a few years now and it was 2015 that turned out to be his real breakthrough year, with his very impressive (and very different) scores for The Man from UNCLE and Steve Jobs. There’s a bit of the effortless cool of the former heard in Gold but by and large this is another very different affair, a fun action/adventure score that stays refreshingly free of the turgid sounds that tend to dog these things these days.