Part V is the 2nd best introducing that new theme (that is similar to Silver Bullet) Part 3 has a fun title theme and Part IV has a great track (Hellicopter) but reuse too much of the first 2 scores.
Part VI is my 3rd favourite with all new material and the use of ‘dies irae’.
Mollin scores are ok, Part VII has a good theme, but Manfredini scores for the first 6 movies are superior.
Is it just me or do I hear pieces of Goldsmith's Mephisto Waltz in F13?
Definitely not just you. People tend to compare Manfredini's "Friday the 13th" to Herrmann's "Psycho," which I personally don't hear at all, but there is absolutely a very strong "Mephisto Waltz" influence throughout the entire score (Goldsmith's glissando string writing, for one), as well as a heavy influence from Giorgio Moroder's "Midnight Express" for the sensitive, synth-laden End Title theme.
I like the first "Friday the 13th" score. It's an ambitious low budget orchestral horror movie score of the ilk IMO we don't get at all anymore, and I enjoy where Manfredini took his influences. Personally, the sequel scores just strike me as pale imitations of the first, with the exception of a few outlier cues.
Is it just me or do I hear pieces of Goldsmith's Mephisto Waltz in F13?
Definitely not just you. People tend to compare Manfredini's "Friday the 13th" to Herrmann's "Psycho," which I personally don't hear at all, but there is absolutely a very strong "Mephisto Waltz" influence throughout the entire score (Goldsmith's glissando string writing, for one), as well as a heavy influence from Giorgio Moroder's "Midnight Express" for the sensitive, synth-laden End Title theme.
I like the first "Friday the 13th" score. It's an ambitious low budget orchestral horror movie score of the ilk IMO we don't get at all anymore, and I enjoy where Manfredini took his influences. Personally, the sequel scores just strike me as pale imitations of the first, with the exception of a few outlier cues.
The score definitely reminded of me Herrmann's Psycho when the killer was chasing after Annie.
Back Up To Annie Alone
It makes sense Herrmann's Psycho would be an influence because the parallel's of both slashers are reversed e.g.(mother killing for her son instead of vice versa) until Friday The 13th Part 2.
Despite parts III and IV containing mostly tracked in music from both parts I and II, the sequels' scores (particularly V and VI) are far from pale imitations of the original, imo. So agree to disagree.
Wow, I stand corrected, that cue is absolutely a "Psycho" homage, almost on the level of Richard Band's "Re-Animator." I guess it has been quite a while since I've listened to this score. Thanks for pointing that out.
Is it just me or do I hear pieces of Goldsmith's Mephisto Waltz in F13?
Definitely not just you. People tend to compare Manfredini's "Friday the 13th" to Herrmann's "Psycho," which I personally don't hear at all, but there is absolutely a very strong "Mephisto Waltz" influence throughout the entire score (Goldsmith's glissando string writing, for one), as well as a heavy influence from Giorgio Moroder's "Midnight Express" for the sensitive, synth-laden End Title theme.
I like the first "Friday the 13th" score. It's an ambitious low budget orchestral horror movie score of the ilk IMO we don't get at all anymore, and I enjoy where Manfredini took his influences. Personally, the sequel scores just strike me as pale imitations of the first, with the exception of a few outlier cues.
The score definitely reminded of me Herrmann's Psycho when the killer was chasing after Annie.
Back Up To Annie Alone
It makes sense Herrmann's Psycho would be an influence because the parallel's of both slashers are reversed e.g.(mother killing for her son instead of vice versa) until Friday The 13th Part 2.
Attack of tiny jaws
Despite parts III and IV containing mostly tracked in music from both parts I and II, the sequels' scores (particularly V and VI) are far from pale imitations of the original, imo. So agree to disagree.
I just wish someone would give us a definitive answer on why "Sail Away, Tiny Sparrow" is entirely the wrong speed on all releases of the first film. A friend pitch-corrected a copy of it a few years ago, but it's a drag when you're playing the CD and it sounds like a drawling male voice - the song is a fast country ditty with a female vocalist. And LLL has to date avoiding answering the question in any thread it's posed. Odd.
I just wish someone would give us a definitive answer on why "Sail Away, Tiny Sparrow" is entirely the wrong speed on all releases of the first film. A friend pitch-corrected a copy of it a few years ago, but it's a drag when you're playing the CD and it sounds like a drawling male voice - the song is a fast country ditty with a female vocalist. And LLL has to date avoiding answering the question in any thread it's posed. Odd.
I also never understood why this mistake, which was widely identified when the box was released, was not addressed when the score was re-released by LLL on the single CD or by Waxwork on the LP.
I just wish someone would give us a definitive answer on why "Sail Away, Tiny Sparrow" is entirely the wrong speed on all releases of the first film. A friend pitch-corrected a copy of it a few years ago, but it's a drag when you're playing the CD and it sounds like a drawling male voice - the song is a fast country ditty with a female vocalist. And LLL has to date avoiding answering the question in any thread it's posed. Odd.
I also never understood why this mistake, which was widely identified when the box was released, was not addressed when the score was re-released by LLL on the single CD or by Waxwork on the LP.
All of this keeps leading me to believe it's similar to when people post songs and movies sped up on YouTube - to allow for a release that might otherwise not be allowed? Is there some kind of grey area where Manfredini and LLL had to sit in order to include it? It just seems puzzling that after the original box set was released and this was brought to light, that the other releases would overlook this accidentally. But unless one of the parties actually answers to it (and that certainly seems unlikely all these years later and after many inquiries by different fans), it's all going to just be speculation about this very odd thing. It's a fun little country pastiche; a shame it's not ideally represented.
