Christine, based on Stephen King's novel about an unusual kind of car repossession, was taken by John Carpenter from book to screen in a blazingly short time. Rather than bypassing his usual methods, as he did with The Thing, Carpenter once again chose to do the score. The original soundtrack released from the movie was a brief affair indeed, offering up a small selection of rock & roll tunes used in the movie, plus a short selection ("Christine Attacks," here with the subtitle "Plymouth Fury") from Carpenter's score. As it is, this Tangerine Dream-influenced, mechanically pounding number is probably the best thing in the score, highly visual, threatening, and relentless. As with the best of Carpenter's work, it's enough to haunt your dreams for a few days – a property shared by the scores for Halloween and The Fog (both on Varese Sarabande).
The soundtrack features music composed & performed by John Carpenter (HALLOWEEN, ESCAPE FROM NEW YORK) in association with Alan Howarth (THE LOST EMPIRE, HEADLESS) for the 1981 cult horror sequel directed by Rick Rosenthal, written by John Carpenter and Debra Hill, starring Jamie Lee Curtis, Donald Pleasance, Lance Guest, Nancy Stephens, Pamela Shoop, Tawny Moyer, Leo Rossi and legendary stuntman Dick Warlock as The Shape. The film's score is a variation of John Carpenter s compositions for the first HALLOWEEN, particularly the main theme's familiar piano melody played in a 5/4 time rhythm. This time, the score was performed on synthesizer organs rather than on piano. For this special 30th Anniversary Edition of HALLOWEEN II, the original 1981 album presentation is included, newly remastered. In addition, a special suite of seven tracks has been prepared, consisting of the entire film score sequenced in chronological order and including previously unreleased music. In addition, Alan Howarth has contributed exclusive notes for the booklet.
Pure delight for Lalo Schifrin fans! World premiere of exciting soundtrack for Phillip Borsos crime thriller with Kurt Russell, Mariel Hemingway, Andy Garcia. Schifrin spins web of suspense, then unleashes wild excitement for full orchestra. Along way are detours into classic Schifrin jazz. Dynamic main title is one of several highlights, with scorching trumpet in lead. Haunting closing music ("Christine") also features trumpet. Composer wrote some 45 minutes of score with thematic development but also wrote over half hour of tiny fragments, transitions, stingers. We have assembled "the album" portion with maximum listening in mind but also include every short cue, fragment in "the extras" section of CD, plus roadmap in notes for those wishing to dispense with tighter album listening and instead program entire 77-minute score in sequence. Intrada was given access to actual 32-track digital session masters vaulted by MGM in pristine condition, allowing us to create brand new two-track digital stereo mixes of every cue!
Halloween II is a 1981 Horror film directed by Rick Rosenthal, and written by John Carpenter and Debra Hill. It is the second installment in the Halloween series and is a direct sequel to Halloween set on the same night of October 31, 1978 as the seemingly unkillable Michael Myers continues to follow his intended victim (his sister) Laurie Strode (Jamie Lee Curtis) to a nearby hospital while Dr. Sam Loomis (Donald Pleasence) is still in pursuit of his patient. Stylistically, Halloween II reproduces certain key elements that made the original Halloween a success, such as first-person camera perspectives and unexceptional settings. The sequel was a box office success, grossing over $25.5 million in the United States.
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.