I tend to classify the work of Mellé in three categories: the jazz or funk style: THEN CAME BRONSON, STARSHIP INVASIONS the classical music style: FRANKENSTEIN the music concrète and avant garde style: THE ANDROMEDA STRAIN
Some scores can blend these three styles like BORDERLINE and else.
I think that's why BORDERLINE seems so unexpectedly popular, Thomas ("unexpectedly" because it was on few people's Holy Grail lists). It covers all bases, but luckily Mellé's voice was still so unique that he didn't "sell out" on anyone. Best of all worlds really. All-embracing, accessible yet totally the work of the old innovator, still at the height of his powers. That's BORDERLINE.
I tend to classify the work of Mellé in three categories: the jazz or funk style: THEN CAME BRONSON, STARSHIP INVASIONS the classical music style: FRANKENSTEIN the music concrète and avant garde style: THE ANDROMEDA STRAIN
Some scores can blend these three styles like BORDERLINE and else.
The scores for "Columbo" and Kolchak" also blend these three leanings.
