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Richard Band is a composer whose work I've really been getting into lately, but I'm not sure where to begin in terms of my first CD listening experience. So far, I've enjoyed what I've heard from "Troll" the most (and I really look forward to playing "Demonic Toys" as I really love the film itself), and I also love the main theme to Ghoulies, but I'm curious as to what's widely regarded as his best work and what would be most reccomended.
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Music by Richard Band has been with me since the beginning of my soundtrack collecting.
Acquiring soundtracks in earnest during 1985, Band's Troll was one my earliest favorites.
Before 1986's year end, I'd added Enigma Records' From Beyond as well as The Alchemist/Zone Troopers on Varese Sarabande to my LP of Troll on Restless Records.
I also had gotten Re-animator around this time, but I never like that one in particular.
For whatever it's worth, my recommendations on Richard Band are:
From Beyond
Troll
The Alchemist
Pit and the Pendulum
Much later (after 2008), I got Intrada's issue of Ghost Warrior. I think this is also one of the better Bands out there, but it's not a fave (as it might have been if it was released back in 1986 when I had far less composers in my collection). I still like Band's music, but my tastes have expanded into other areas over the decades and, as I age, Band has less presence and significance than he had before in my listening experiences.
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My favorite Richard Band score is for the obscure horror film The Resurrected directed by Dan O'Bannon - one of my favorite horror scores, ever. It is one of those perfect albums that takes you on its own journey (better than the film, though I have a soft spot for it, too).
Second favorite is his eerie and strange score for From Beyond. (Always preferred this film and score over its predecessor, Re-Animator, but the recomposed Psycho disco music from that one is a hoot.)
Coming in third for me is the great old combo album from Intrada with terrific suites from The House on Sorority Row and the Alchemist. Both of course were released later in more expanded form, only Sorority Row currently still in print. (Never saw the films, never will, but the music is first rate.)
I also love Troll, ever since I picked up the cassette for a song back in the 80's. And I enjoy others of the 20 albums I've got, but these are my favorites.
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Mutant will always be my favorite. I'm also really partial to Metalstorm. And the orchestral parts of Dungeonmaster. Too many to chose from!
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Posted: |
Nov 9, 2015 - 3:25 AM
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By: |
hyperdanny
(Member)
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My favorite Richard Band score is for the obscure horror film The Resurrected directed by Dan O'Bannon - one of my favorite horror scores, ever. It is one of those perfect albums that takes you on its own journey (better than the film, though I have a soft spot for it, too).
I agree...the movie is a little gem, one of the very few movies that have been able to conjure a genuine Lovecraftian feel to it (actually it's only 2, this and In the mouth of madness) and the score is really good.
Like most Band, it's IMHO derivative (Chris Young's Hellraiser looms large), but who cares, I listen to it with pleasure.
I got the cd from a bargain bin, and a bargain it was.
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Agreed, Resurrected is certainly influenced (temped?) by the gothic Hellraiser sound, but I think it shows plenty of individuality in the music even so. And also agreed on Resurrected being closer to Lovecraft than other interpretations. (And I know what you mean about Madness being the other one that comes closer, though the film has never really worked for me. That said, I'll rewatch it whereas I don't feel the need to ever see Reanimator or From Beyond again.)
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I think Resurrected and From Beyond are equivalent in their effectiveness both musically and as movie scores, but then I don't have any concern with the mix of orchestra and electronics. I've always assumed that Resurrected is more electronic because that's all that was affordable, so he picked where orchestra could have the most effect. For me it's seamless, and I often otherwise get weary of synthestra. I think the soundworld in Resurrected is aided not mitigated by the electronics.
Curiously, it's Mutant for me that's not up to the standards of these other scores - it sounds more derivative to me, and where not derivative, more formless, than the other scores I've named as my favorites. It could be that the temp love (for Poltergeist is it?) just irritated me so much when I first heard it that I haven't spent as much time with it overall.
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Posted: |
Nov 9, 2015 - 10:06 AM
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By: |
bobbengan
(Member)
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Curiously, it's Mutant for me that's not up to the standards of these other scores - it sounds more derivative to me, and where not derivative, more formless, than the other scores I've named as my favorites. It could be that the temp love (for Poltergeist is it?) just irritated me so much when I first heard it that I haven't spent as much time with it overall.
There's a lot of ALTERED STATES going on in that score, admittedly, and the "Mutant Onslaught/Finale" cue borrows a page from Donaggio's PIRANHA of all things.
I can forgive that though, because for me it represents Band's best thematic development of his career. A pretty but fleeting piano motif used early on in the score soon evolves into a warm thematic idea, and then slowly over the course of the score into a beautiful love theme, culminating in an utterly gorgeous, soaring and all-to-brief end title cue that wouldn't have sounded out of place in an 80's fantasy film. It takes you on a musical journey that's far more robust, intelligent and effective than the film needed - And on its own, it's probably Band's "beefiest" score, using the National Philharmonic Orchestra brilliantly. The militaristic nature of some of the early underscore is an interesting, unexpected and inspired touch, too.
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This is helpful, Bob. I'll give it a spin with the motif and development in mind. Thanks.
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Yep, the Intrada. Never picked up the later edition.
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