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While not the delirious trip into style and insanity that was Stanley Kubrick's The Shining, Mick Garris' 1997 mini-series for ABC is considered more faithful to Stephen King's source material.Īlong for the ride is Garris' frequent composer Nicholas Pike, here given the rare opportunity to record his score in Los Angeles with a substantial orchestra. Harper, who has carved a career for himself writing additional music for Trevor Rabin, continues where Hans Zimmer's Oscar-winning score for The Lion King left off, those this time tipping the balance towards the orchestral/choral, with plenty of ethnic touches, and African-style vocals.Ĭontinuing with the Halloween theme. Certainly inline with the work of a composer with considerable strengths for melodic, listenable film music. McNeely's is a traditional orchestral score that is both unassuming, gentle and sweet. Harper's Lion King 1 1/2 felt even less love, completely ignored on a quickie soundtrack release that featured songs performed by Raven, and Vinx (who?).īoth scores are entertaining and animated (er, like their films). Only Heffalump received a few scant minutes of space on Walt Disney Records' Best of Pooh and Heffalumps, Too album, which was released to conincide with Heffalump's theatrical run and was dominated by Carley Simon tunes. Neither score has been released in any significant form.
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Up next is a pair of Mouse House titles, Joel McNeely's Pooh's Heffalump Movie and Don Harper's The Lion King 1 1/2, both released as promotional albums by their composers.
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This promotional disc was released in 2001 by Super Tracks, and has since burnt up into out-of-print oblivion like an asteroid entering the gravitational pull of the sun. While Talgorn continues to write top notch music in his native France, Heavy Metal 2000 remains his last major Hollywood effort, which, if you haven't heard until this point, will surprise you with rich, evocative orchestrations ("Julie & Kerrie) and enough rage-filled action scoring to keep things interesting ("Julie's Journey"). The music is incredibly reserved in emotion, but is so professionally written it's no surprise that Talgorn enthusiasts bemoan his absence from the Hollywood film music scene for the last ten years. A sequel to the classic animated rocker Heavy Metal (with score by Elmer Bernstein), Talgorn was handed a film that perhaps works best in the mind's eye of his music, which is suitably expansive, instantly evoking the dark reaches of space. Here's a fantastic and sadly underrated score from French film composer Frederic Talgorn. (let me emphasize that dot, dot, dot!) I post only original albums, not re-ups from other sites.įirst up is Conrad Pope's Film Score Suites, with music from a few films you've probably never heard of, but feature music inspired by scores you probably have! While it is exceptionally well crafted, Pope relies a bit on memorable themes and ideas from more prominent film scores like Goldsmith's Basic Instinct and Williams' Hook. That is until the files are re-uploaded somewhere else and linked on another blog. These are titles that can only be found here at SoundtrackSharity. The next few titles I'll be posting are compilation/reel albums. There's no older form of promotional disc then the "general reel", a compilation disc of a composer's greatest hits, showcasing their diversity with selections from their "contemporary", "orchestral" and assorted styles.
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SoundtrackSharity is all about promotional discs distributed for free to promote a composer's work (and not a place you'll find commercial releases).