Archive for the Soundtrack Samples Category


Posted in Barbara Eden, Fabian, Music and MP3s, Soundtrack Samples, Surfboards and Hotrods on October 24, 2011 by Bill Courtney

1964/Director: Don Taylor/Writers: Jo Napoleon, Art Napoleon

Cast: , Fabian, Shelley Fabares, Peter Brown, Barbara Eden, Tab Hunter, Susan Hart, James Mitchum

Columbia Pictures’ Ride the Wild Surf is considered one of the better surf/beach party movies of the mid-sixties because it tried to veer away from the campy zaniness of the AIP Frankie Avalon/Annette Funicello features and attempted to make as lightly more ‘serious’ surf movie. There are still those campy little moments of course and sometimes they are intentional and other times they are not. The unintentional laughs and embarrassing moments stem from occasional over acting and the cliché situations the characters find themselves in one scene after another, but even given those expected shortcomings the movie is pretty good. There are no crooning surfer boys, silly bikers or people in gorilla suits and the catchy theme song sang by Jan and Dean is saved until the closing credits. But there are lots of blue screen shots of Fabian and Tab Hunter on their boards that cut away to shots of professional surfers riding the waves and silly beach party antics. The film is shot in Hawaii rather than the usual locales of Santa Monica and Malibu. Hardly the first surfer/beach film shot in Hawaii (Gidget goes Hawaiian, Blue Hawaii, Paradise, Hawaiian Style) but one of the better ones that focuses on the powerful and intimidating waves, sometimes 30 foot, the islands get at certain times of the year. And of course there are a trio of romances with our male and female leads that can be summed up as the formulaic boy meets girl, boy loses girl, boy wins girl back routine (and what other formula would you really want here) but it is all pretty bearable nonetheless.

Three basically All-American boys meet three All-American girls while they are in Oahu Hawaii to surf the big waves at Waimea Bay. The guys must face their own mortal shortcomings, of course, while wooing the gals and competing the seasoned local surfers. Jody (Fabian) is the college drop-out with a chip on his shoulder who falls for sensible and down to earth Brie Matthews (Shelley Fabares) and tries to gain her attention initially by shooting a pineapple on a dork’s head with a spear gun. She acts all repelled by his hokey machismo but of course she can’t enough of him and his edgy bad boy attitude. And like every good girl she makes it her mission to turn the bad boy around by the film’s end. Jody is intent on proving to everyone, and to himself, that he is not a “chicken”. The big waves intimidate him the way Apollo Creed intimidated Roxy and the way Steve Vai intimidated Ralph Macchio in Crossroads, but he has to conquer them to conquer himself and make Brie really respect him and know he is not just another “bum from the neighborhood”. Jody is more concerned with Jody going back and finishing college and after a heated discussion of about ten seconds he totally changes his views on college and his future and decided to go back and give it try, but it will have to wait until he has conquered the surf and competition, including his pals and local legend Eskimo (played by Jim Mitchum, another  of Robert Micthum’s boys, along with Chris, whose acting career never really went anywhere).

Chase (Peter Brown) is a pretty common sense sort of surfer and even wear nice sports jackets to beach. While he wants to shoot the tubes of Waimea he is basically a fairly conservative guy who prefers to color inside the lines. Well that all changes when flips –literally- for perky Augie Poole (the always gorgeous Barbara Eden) who happens to a black belt in judo. Augie takes delight at first in simply shaking Chase’s tree any chance she gets but soon enough, natch, she is falling in love with him and he learns to loosen up and gt a little crazy once in awhile himself, such as when he jumps drunk off a dangerous cliff into a pond known for bringing the waves to Waimea, if the diver does not crack his head open on the rocks beneath the surface. Rounding off the romance angle of the film is Steamer (Tab Hunter) and local girl Lily Kilua (Susan Hart) who have problem’s convincing Lily’s mom that Steamer is not just another beach bum like her ex-husband was. The old gal is pretty hard to convince but eventually ol’ Steamer pulls out his wallet and shows her his bank account of about $1800 and some paid off bills and that puts the old bird’s fears to rest and she all but starts calling him son after that. Susan Hart does one wild Hawaiian dance at a beach party that is not to be missed. She would later marry AIP co-founder and co-producer James H. Nicholson.

Surf movies are not for everybody. They are usually pretty contrived and typically downright silly. I guess some guys may even feel a bit uncomfortable watching bronze surfer boys run around, much the way they may feel watching queasy with most sword and sandal/peplum films. Ah, never bothered me. I only recently realized that these movies are called “homo-erotic”, or whatever, by lots of my fellow straight guys. Who the hell cares if it is, this is fun stuff. If you must know I own the Arnold Schwarzenegger documentary Pumping Iron and that is great too, homoerotic or not! And for fear of seeing guys in swim trucks these types will miss the best part of these surf flicks and that is those full figured 60’s chicks in bikinis. No tasteless things, just old school bikinis, and Barbara Eden can certainly fill her’s out. Ride the Wild Surf is not heavy in the pop tune department and the score by Stu Philips works just fine. But there is the catchy surf tune sung by Jan and Dean –and co-written by Beach Boy Brian Wilson- that is saved until the end of the film. I lifted the song form the film and I think it is a bit shorter here than the full 45 rpm version, but here is the film version of Ride the Wild Surf by Jan and Dean.



Posted in Australian and New Zealand Films, Drama, Russell Crowe, Soundtrack Samples on October 5, 2011 by Bill Courtney


1992/Director: Geoffrey Wright/ Writer: Geoffrey Wright
Cast: Russell Crowe, Daniel Pollock, Jacqueline McKenzie, Alex Scott, Leigh Russell, Daniel Wyllie, James McKenna, Eric Mueck, Frank Magree,
Romper Stomper was early on in Russell Crowe’s movie acting career and when I first saw the film on VHS back in the 90’s he had yet to achieve the level of stardom he has since attained. Had I known Crowe already and some of the Hollywood work I have seen of his lately, such as A Beautiful Mind and Cinderella Man I would have thought something like “wow, he really made some wild movies way back then, not like Gladiator at all”. But when I first saw the film I really knew very little of the guy and doubt that I even knew his name, which only added to the intensity of this already riveting drama about angry skinheads in Melbourne Australia. Crowe is simply mesmerizing as Hando, the leader of a band of skinheads who focus their hatred and violent behavior on the local Asian community, and Vietnamese in particular. The film was written and directed by Geoffrey Wright and has a blood pumping soundtrack of instrumental music as well as bombastic skinhead punk rock music. Along with Crowe are Australian actress Jacqueline McKenzie and actor Daniel Pollock, who had played a small role with Crowe in 1991’s Proof, another great independent Australian film.

The film opens up with Hando and his band of neo-Nazi misanthropes intimidating and beating some Vietnamese skateboarders in the train station of a blue collar neighborhood in West Melbourne. The scene quickly set the tone and pace for the rest of the film and there is little let up as the tensions between Hando and his gang and the local Vietnamese escalate as the immigrants seek to find business opportunities in their community. Hando is the dangerous yet charismatic leader of the group and his best mate is Davey, a brooding, thinking type who has a softer nature. He hides his tattoos from his German speaking grandma and collects matchbook covers his father sends him. He seems to have roots the rest of the band lack, including Hando, who reads quotes from Mein Kampf and hurls Italian pasta rather than eat “wop” garbage. The friendship seems solid and deep until Gabe (McKenzie) is introduced into the story as a sexual diversion for Hando. Gabe is really screwed up herself as she is running away from her incestuous father Martin, played well and creepy by Tony Lee.

Gabe is more educated than the thugs she throws herself in with but she falls under the spell of Hando and is even excited by the violence and vandalism the gang dishes out on anybody anything that crosses them. This becomes not more apparent than when it is discovered the local Vietnamese are going to buy the pool hall they hangout in and turn it into a restaurant. The skinheads become immediately enraged and their racial loathing becomes utterly apparent. They go and beat a couple teenagers nearly to death and perhaps would have, if not for the fact one boy who escaped the beating returns with carloads of Vietnamese youth, already fed up with the skinheads, who soon begin to outnumber and over power Hando and his gang. A really great chase and fight sequence develops with great sound effects and film score. In the end the skinheads are driven back to their warehouse hangout and are driven out and it is sacked and burned.

Seeking refuge the gang boot out some squatters from another warehouse and during their time there it is found out that Gabe is an epileptic after she has a seizure. The uncultured and crass skinheds mock her and call her a “spazz” and imitate her seizures and only Davey has any sympathy. It is this incident that drives a wedge between Davy and Hando. Hando kicks Gabe out, both because he is put off by her epilepsy, but also because of her sarcasms about him and the gang botching an easy job the night before, that of robbing her father’s house. Davey tells her to seek him out as soon as she can. She is totally pissed and in the heat of anger calls the cops and tells them where Hando and the gang are hiding and they are the ones responsible for the attack on the Asians and the robbery and assault on her father. The cops show up and the youngest member who waves a fake gun at the cops. Gabe spends the night with Davey (and there as a couple really wild sex scenes in this flick) and when Hando shows up the next day they all flee the police search. Hando kills a convenient store clerk who looks Indian or Pakistani with his bare hands and the three are fugitives for murder now. The film ends with Davey fighting Hando on the beach after Hando tried to choke the life out of her when he finds out she was the one who called the cops. Hando dies violently with the Nazi dagger he loaned Davy the money for earlier in the film.

The movie is brutally powerful and Crowe is chilling as the sociopathic Hando. The acting and direction is excellent from start to finish. The film was shot on 16mm and has a look much older than 1992. Actors Daniel Pollack and Jacqueline McKenzie had an off screen relationship during the filming of the movie. Problem with the relationship as well as Pollock’s attempts to manage his heroin addiction may led to his suicide by jumping in front of a train, shortly before the film was released. The incident was made into a song by Crowe’s rock band at the time 30 Odd feet of Grunts called The Night That Davey Hit the Train.
Below is an MP3 sample of one the catchy Aryan pop classics from the film.


Posted in Comedy, Don Knotts, Soundtrack Samples, Vic Mizzy on September 23, 2011 by Bill Courtney
The Ghost and Mr. Chicken

1966/ Director: Alan Rafkin/Writers: James Fritzell, Everett Greenbaum

Cast: Don Knotts, Joan Staley, Liam Redmond, Dick Sargent, Skip Homeier, Reta Shaw

Sometimes we all have a certain movie in our lives that holds a special place. A link to fond memories and long forgotten times. When it comes down to it I am a sentimental sap. For me The Ghost and Mr. Chicken with the fidget king Don Knotts is one of those films. The 1966 Universal film had already been out for some time before I began catching it late night on old network TV. If you’re too young that means no cable or VCR. The image was adjusted by “rabbit ear” antennae that usually had strips of tin foil at the top to secure a slightly better image. The film, as I recall, played annually as part of a Halloween program and I had to stay up past midnight usually to catch it. No problem for me as I seem to be nocturnal by design. Knotts of course is best remembered for his role as the quirky and nervous though tough talking and big hearted Barney Fife from the Andy Griffith show. He won some Emmy’s for his performance on the show and after five successful seasons he went on to continue making “big pictures” after the successful The amazing Mr. Limpit in 1964. The story here, from an interview with Knotts, seems to be that he was under the impression that The Andy Grittith show was to end after five seasons and Griffith seemed to be of the same idea. Knotts secured a contract with Universal only to find Griffith had decided to continue on with the show and offered Knotts to continue. Of course it was too late and he would return now and then to reprise his role as the shaky Barney. The Ghost and Mr. chicken is supposed to built, at Knotts suggestion, on an episode of The Andy Griffith Show called the Haunted House where Barney and Gomer go to retrieve Opie’s lost ball on the grounds of a haunted house in Mayberry.

There is some disagreement about whether or not the Universal back lot studio house (located on used in the film is the same one made and used for the creepy mansion in 1960’s Psycho. Wikipedia says yes and IMDB says no. IMBD claims the credits roll over the house used for the TV show The Munsters but the Simmon’s House in the film is actually situated next door to The Munster’s House. The house, of course, plays an important role in the film as any haunted house does in a haunted house movie. Knotts plays Luther Heggs, a basement confined typesetter with aspirations of moving upstairs and being a real reporter (he’s been studying that and karate for years through the mail). He works for a small town paper in Rachel Kansas run by George Beckett (Dick Sargent, the 2nd Darren of Bewitched) who is a decent guy and likes Luther. He is harassed by the jockish bully Ollie who called him “scoop” and patronizes his dreams. Seems too that Luther and Ollie live in the same boarding house and Luther must endure Ollie’s taunts over the meal table. Luther also has a big crush on Ollie’s “girl” Alma (sexy in that All American girl way Joan Staley) and tries his best to get her attention and soon has the chance of his lifetime when he is offered the chance to stay a night in the Simmon’s murder mansion to capitalize on the 2oth anniversary of the infamous murder-suicide of “old man” Simmons and his wife.

The night in the mansion soon turns into a terror fest for poor Luther as he is soon haunted by loud noises, secret passageways, blood stained, self playing pipe organs and a portrait of Mrs. Simmons with a pair of garden shears in her throat, blood gushing from the wound. Luther passes out but following the news story the next day he becomes a town hero. A picnic is held in his honor and he delivers a nervous speech and later receives a summons to appear in court in a libel suit. Seems the surviving heir of the Simmons estate, Nicholas Simmons (Philip Ober), does not take kindly to new plans to save from the house from destruction. Seems the banker’s wife (Halcyon Maxwell played by Reta Shaw), who owns 51% of the banks shares, feels the house is a bone fide conduit to the spiritual world and one she and her little sisterhood of small town “occultists” want to preserve. Nick Simmon’s crafty lawyer makes mince meat of neurotic and shaky Luther in court and all seems lost until the judge decides the best way to settle the matter is for the jury to go to the Simmon’s mansion at 11:30 that evening and wait until the stroke of midnight to see just what happens. And what happens is nothing and Luther is further made to look like a fool in front of the towns people and the people who believed in him like George Beckett. As a dejected Luther walks away from the house the organ music resumes and he finds the paper’s janitor, and his friend, Mr. Kelsey (Liam Redmond) at the keyboard. Seems the whole affair was staged by Kelsey to draw out the real murderer, Nicholas Simmons, and to clear himself of suspicion since his garden shears were the murder weapon. The film ends with Luther marrying the robust Alma and all in all this is a great movie.

The direction by classic TV sitcom director Alan Rafkin is nearly flawless and it is too bad he did nto do more big screen projects as he handled this one just fine. The music score my Vic Mizzy suits the film perfectly and the theme song was ripped by your humble editor here and is posted below for your pleasure, as are some pictures of lovely Joan Staley from her Playboy shoot. She would all but stop making films after this film when she suffered a near broken back from a fall from a horse. She would make TV appearances and it seems great to me that she even got this role considering she was a Playmate model. Things weren’t as uptight as I thought they were. The on-running gag in the movie of yelling “Atta boy Luther” (or another name) started a bit of a trend for a while. The gag was supposed to be the idea of Andy Grittith and I recently saw a newer film that had a person in the background yell “Atta boy Luther” though I cannot find the film now. If someday I do I will return here and edit this post. A scene from the film appears in the Jim Carrey movie Yes Man and it was possibly Knott’s best film. He has spoken highly of it and some of his other Universal films, including The Shakiest Gun in the West and The reluctant Astronaut though he seems to harbor some regrets for the more risque film The Love God?. Included he opening music by Vic Mizzy and a little audio sampling from the film’s intro here as well.


Posted in American Horror, Science Fiction-Fantasy, Soundtrack Samples on September 13, 2011 by Bill Courtney


1958/ Director: Irvin S. Yeaworth Jr./ Writers: Kay Linaker (writer), Irvine Millgate (story)
Cast: Steve McQueen, Aneta Corsaut, Earl Rowe, Olin Howland, Alden ‘Stephen’ Chase, John Benson, Lee Paton, Vincent Barbi
The Blob is a successful combining of the horror and teenage delinquent film genres. While the teens in the film are not really ‘delinquents” in my opinion they are still teenagers and therefore what they say and do is always suspect to the local adults. The film was a success for the time at the box office, which must have really irked new leading man “Steven” McQueen who opted for a one lump payment of $2,500 to $3,000 (depending where you read) rather than 10% of the profits, which went over $4 million. Also it seems the young McQueen appeared promising enough to be offered a three film contract from the film’s producers, but he was so difficult to work with he was released from the contract. He would of course go on to become a film legend in Hollywood. The movie was made outside Hollywood by an independent film company and it is nicely shot film and well acted.

First I want to say that this film, along with the Hammer film X-The Unknown, were two movies that terrorized me as a boy of about 12 or 13. Both movies are about an amorphous substance that is slimy and oozy and can slither, creep and crawl under things or get though ventilator grills easily. This posed a real problem for me at night trying to sleep and I remember covering the heating vents on my floor with encyclopedias to prevent entry, but knowing that if the Blob (or X) wanted in there was no way I was going to stop them.

The movie opens up with young Steven Andrews (McQueen) putting the moves on the classic “I’m not that kind of girl”  tease Jane Martin (Aneta Corsaut) up on the local lover’s lane. While Steven assures her his intentions are honorable and she in not just another girl a meteorite (The movie’s working title was The Meteorite Monster and The Molten Meteorite) crashes to earth over the nearby hills. An old man played by veteran actor Olin Howland , in his last role, finds the smoldering space rocks and stars poking at it with a stick and soon has his arm covered with a flesh consuming “blob”. Steven and Jane rush him into to town, to Doc Hallen, who in turn, along with his nurse, are consumed and soon the havoc in on. Of course Steven and his teenage friends must contend with the local adults and police who all think kids are up to no good (especially when the said high school student, like McQueen, is actually 28 years old!).

People begin disappearing though we really only see about four people get eaten, or adsorbed if you will. This is my one real complaint about the film. At one point Lt. Dave (Earl Rowe) estimates maybe forty people have died during the night. The movie would have been more exhilarating if we had seen some of these deaths. Luckily the acting, dialog, nicely photographed scenes and cool looking monster help things move along without the visible death scenes. After lots of futile attempts at convincing parents and cops the truth is revealed when the patrons of the local theater, who were there to see a horror movie of course, come screaming out onto the streets with the ever growing blob on their tails. Steven and Jane seek shelter in a diner after grabbing Jane’s doofy little brother who in one of the best scenes in the movies hurls his “empty” cap pistol at the creature. The blob surrounds the diner and seeks out the five people inside the diner while the rest of the town stands about fifty feet away and watches in horror. I never understood as a kid  why the blob did not just turn on the crowd and absorb all of them. Well, the weakness (all old movie monsters had one special weakness that the hero had to discover by the last ten or fifteen minutes of the movie) is soon discovered… C02 fire extinguishers. The blob is frozen and sent to the North Pole, never to be heard from again until Larry Hagman revived it in his more comical version Beware the Blob in 1972, with stoned hippies like Robert Walker, rather than hot rodding 28 year old teenagers, on the menu.

The movie is very well made and while it is a B-movie it is not what I would call a bad movie, either in a good sense or bad. The catchy title song was co-written by Burt Bacharach and was a hit song on the radio at the time. A link to a Blob site is given below and this is a true cult classic. A remake was made in with Kevin Dillon in 1988 where the Blob is the product of yet another secret government/military agency with nothing but security and profit on its always evil agenda. Well, I like the space Blob myself and all the mystery it brought with it. The film just looks rich and nice and one can see that McQueen is a real talent in his first film role. Not to be missed.



Posted in Jimmy Page, John Paul Jones, Michael Winner, Music and MP3s, Rapidshare Link, Soundtrack Samples on August 26, 2011 by Bill Courtney
This is the 1985 soundtrack -sans incidental music- from the Michael Winner film Scream for Help. Winner had asked neighbor Jimmy Page to score the film for him but Page had commitments with other projects, including The Firm, and suggested to Winner that Zeppelin bass player and keyboardist John Paul Jones score the film with his newly installed 24-track digital recording studio. I have never seen the film actually and am not sure how the music works in with what is going on in the movie. It is on my list of films to see one day. Helping out on the album is former bandmate Jimmy Page, Yes frontman Jon Anderson, Swan Song Records recording artist Maggie Bell and folk guitarist John Renbourn. The album sounds more like a solo rock album than a soundtrack album. Unlike the Page album there are no examples of incidental -or background- music o the album -though Winner had an orchestra perform much of the score used in the film as well-and that is too bad. The album when on vinyl was a rarity and I was lucky enough it have found it and owned it (as I did the equally rare Death Wish II soundtrack- back when I collected and owned vinyl. Two samples, both featuring Jimmy Page on guitar- are presented here and if you like what you hear you can follow the link to my Rapidshare account and get the entire album and check it out for yourselves.



Track listing
Side One
1. “Spaghetti Junction”   Jones  5:01
2. “Bad Child”   Jones, Jacinda Baldwin  5:46
3. “Silver Train”   Jones, Anderson     3:48
4. “Crackback”   Jones, Page 4:16
Side Two
1. “Chilli Sauce”   Jones 4:59
2. “Take It or Leave It”   Jones, Madeline Bell     4:28
3. “Christie”   Jones     3:08
4. “When You Fall in Love”   Jones, Jacinda Baldwin 3:36
5. “Here I Am”   Jones, Simon Bell     4:43

 John Paul Jones – Keyboards, synthesiser, bass guitar, guitars, vocals
Jimmy Page – Electric guitars (1 & 4)
Jon Anderson – Vocals (3, 7)
Madeline Bell – Vocals (6, 9)
John Renbourn – Acoustic guitars (8)
Graham Ward – Drums and percussion (4,7,8,9)
Colin Green – Guitars (7,9)


Posted in Camp-Cheese, Science Fiction-Fantasy, Soundtrack Samples on August 23, 2011 by Bill Courtney

1969/Director: Kinji Fukasaku/ Writers: Bill Finger, Ivan Reiner

Cast: Robert Horton, Luciana Paluzzi, Richard Jaeckel, Bud Widom, Ted Gunther, David Yorston, Robert Dunham

This is one of the cheesiest and most thoroughly enjoyable B movies ever made in my opinion. I have seen the film several times and it seems to work in similar ways as an anti-depressant. Sadly it seems there is no really good DVD version available yet and the one I got online is a VHS rip that appears to the one every one is unhappy. Hopefully it will be released on a nice wide-screen version here shortly. It is a co-production between the US, Japan and Italy, headed by Japan’s Toei and America’s MGM. There seems to be real and borderline talent involved with the film. Director Kinji Fukasaku is more widely known for his human drama and crime films than rubber monster movies. The completely freaked out theme song was composed by Charles Fox who scored Barbarella and the Incident. The supporting cast is made of foreigners living in Japan at the time, for example, stationed military personal. There is not an Asian face to be found in the entire crew. Ivan Reiner wrote the story and I will be doing a post soon on his Wild Wild Planet, a strange sci-fi adventure made in 1965.

TV actor Robert Horton (Wagon Train) heads the cast with reliable character actor Richard Jaekel sharing in the heroics. Bond girl (assassin Fiona Volpe in Thunderball) Luciana Paluzzi,  as Dr. Lisa Benson,  is the female lead and point of constant friction between Commander Jack Rankin (Horton) and Commander Vince Elliot (Jaekel). Horton’s character is so totally cocky and arrogant as to defy words. The only thing more difficult to describe is his flawless hair that never loses its shape. He assumes command of Gamma 3 space station as he is the only man for the job, and the job is one that Bruce Willis would have to reinact in 1998’s Armageddon and that is to advert or destroy a huge asteroid that in on a collision course with earth. The difference is that the asteroid Rankin must contend with looks like a moldy meat ball. The real dynamite occurs between Rankin and Elliot since Rankin and Dr. Lisa Benson used to be lovers (this love triangle was actually cut from some version since the target audience of kid matinee goers who lose interest, but it is included in most version for those of us who want human interest and romance along with our rubber monsters) and Rankin basically sees Elliot as a pussy who has no business commanding a space station and basically has every intention of getting back under the covers with Benson. But first things first.

He blows the asteroid up of course but the crew accidentally bring back a sample of a slimy green  substance-as in the green slime-  that covered the rock.s on the asteroid. In no time the thing is absorbing electricity and multiplying and frying the crew to pieces. Lasers have no effect other than to help the thing reproduce, but for some reason throwing your laser gun into the thing’s single eyeball seems to stop them in their tracks. Problems for guilt ridden Lisa Benson and prick Rankin are solved easily enough when Elliot gets his face baked by a monster tentacle. Ain’t it great how love triangles are so neatly resolved in movies sometimes? The monsters are really a blast to look at and make the weirdest -and at times really annoying- sounds you are apt to ever hear from a movie monster.

There are lots of unintended but great laughs at the action and dialog as everyone plays it straight faced and serious. Sure the effects and miniatures are really silly but I defy you to not watch this movie and enjoy it. My brothers and I saw this as kids and we used run around the house as the Green Slime -covered in a green quilt and using it for flaying arms- when we all played hooky from our miserable school in San Antonio Tx. I just wish there were a better version to watch and that a DVD version with extras gets released in the States eventually.  Why not? So, are you ready to face the terror of The Green Slime? The horror of a giant asteroid on collision course with Earth? The site of a man’s immovable hair? Then hurry out and get this uranium packed classic right now.


Posted in Charles Bronson, Jimmy Page, Led Zeppelin, Michael Winner, Music and MP3s, Rapidshare Link, Soundtrack Samples on August 18, 2011 by Bill Courtney
Jimmy Page was asked by neighbor and film director Michael Winner if he would be interested in scoring his 1982’s Death Wish II and Page accepted the project, being as Led Zeppelin was now history following the death of drummer John Bonham. 1974’s original, and pretty good,  Death Wish was scored by jazz keyboardist Herbie Hancock. Page does not try to top the versatile Hancock and instead does a  Zeppeliesque rock/blues solo album with a few tracks of incidental music. The album was recorded in his SOL studios and features a collection of musician friends. The album is a strange piece of music overall but not in a negative way. Page uses ample Roland guitar synthesizers as well as actual synths. Reputedly some of the score was revisions of Page’s Lucifer Rising soundtrack which was never used for the Kenneth Anger film due to personal conflicts. I have that soundtrack and there are similarities in pieces like Hotel Rats and Photostats and A Shadow in the City, but I would say not really all that much. The incidental music is droning and eerie while the rock parts are straight ahead jams and classic Page riffing. The album went nowhere as far as the charts are concerned and only Page aficionados seem to even know the album was ever made. Too bad.

I once had the album back when I owned vinyl and after that I could never find it on CD though it was released in 1999, but soon went out of print. I found this copy someone made on a BT from their vinyl and you can hear a few pops though really it is a clean sound. Page would shortly form The Firm with Paul Rodgers and go through a long period of doing pretty good rock albums but nothing near the power of his Led Zeppelin material. Death Wish II was his first solo outing and an album sadly forgotten really by one of the great guitar players and composers in rock history. If you are a Page fan you want this. I am and I think it is a good album with some things Page had never done before in Zeppelin. For example, check out Carol’s Theme, a nice acoustic guitar with lush strings (synthed I am sure). You should be able to download the tracks if you want. I found the movie to be a little forgettable – but there were some good scenes of punks getting wasted by a more seasoned Paul Kersey (Charels Bronson) – as well as the subsequent sequels. I still enjoy the first movie. Zeppelin bassist/keyboardist John Paul Johns scored a Michael Winner film called  after Page decided not to do another soundtrack and was joined by Jimmy and Yes vocalist Jon Anderson for a couple good tracks. I have never seen the film but would like to and that soundtrack will be available here shortly.

Here are two choice samples from the album with a few seconds trimmed off the end so they qualify as samples as my hosting service (though I am working on figuring out out some sort of workaround so that I can host full length songs there with less fear of them being removed). Jam Sandwich is a Zeppelin style riff oriented rocker while Hotel Rats and Photostats is more of an incidental music style piece featuring Page on synthesizers. If you like what you hear then follow the Rapidshare link and download the entire album and enjoy. So mote be it.