Prisoner Without A Name, Cell Without A Number or Compromising Positions.
I'm glad to see someone mention Compromising Positions, which if my memory of the film from 34 years ago is accurate is his best score by far -- and comedy-mystery is not an easy genre to find the right musical tone for (Addisons and Mancinis are few and far between).
No soundtrack release, of course, and not a particularly well-remembered film, but at the time it seemed surprisingly charming (especially since it was burdened with an unpromising trailer). It was also one of a handful of films shot by Barry Sonnenfeld before he became a director (and I won't mention Nine Lives if you won't).
Besides of the obvious ones (such as Terminator 1 & 2) I do love his scores to such films as:
The Accused The Baron and The Kid The Big Easy Cold Sassy Tree Hostage (TV-movie starring Annette Bening) Immediate Family Let`s Get Harry The Real McCoy The Serpent and the Rainbow Striking Distance (this really deserves to be released on CD)
but on the other side of the coin, my least favorite Fiedel scores are:
Blue Steel and Teamster Boss: The Jackie Presser Story These are in my ears his worst scores.
Any chance Intrada ever re-releases the score for Fright Night? They printed way too few in my opinion and now it sells for big bucks. It really deserves another release.
Definitely the first TERMINATOR (prefer the film to T2 as well). Really like TRUE LIES as well. "Causeway/Helicopter Rescue" is a helluva cue.
When Varese announced their LP to CD series, I remember someone saying something along the lines of "What are they gonna release? LET'S GET HARRY?!" but I find that album listenable as fuck.
Yep its cool, FN or Terminator.. The only FN snag I don't really dig pop 80s lyrics much.. its bearable on Intrada just one track its not a bad vocal either quite like it..
I can never choose between The Terminator and Terminator 2. Both are endlessly listenable and unique. I'd love if he would score the new movie (that way it would have one reason I'd want to see it), but he's not interested and I'm sure the studio would saddle him with a more "hip" composer (as is happening with Top Gun: Maverick).
Gotta cast my vote for Striking Distance. I remember taking note of the score in the theater and then being really disappointed in a lack of album. The end credits music is great.
Saxophone is very hit/miss for me. Can be utterly cheeseball, or quite beautiful. A recent score that features this beautifully (but sparingly) is Laurent Eyquem's NOSTALGIA (2018): http://celluloidtunes.no/nostalgia-laurent-eyquem/
I don't think anyone mentioned his score for the movie PURGATORY. I did a separate thread on this movie and score. Below is the final gunfight scene. There is a bit of music at 1:49, but the real themes kick in at about 4:50, and the end credits also use his themes. I don't believe this score was ever released. Too bad. Also, it is a good movie.
Gotta cast my vote for Striking Distance. I remember taking note of the score in the theater and then being really disappointed in a lack of album. The end credits music is great.
