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I agree 100000000000000000 percent, although I'd be a bit more effusive about it than you, sir!
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I'll try hard to curb my enthusiasm!
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Yeah, I think his orchestral scores are amazing. The majority do incorporate electronics to some extent, but I prefer them to his PURELY electronic work too. Just as well I have to go now, coz I could bore you all to tears with this topic for the umpteenth time. But I'll be back!
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It's a shame no local or cable outlet seems to run YOU'LL LIKE MY MOTHER, another unsung minor gem directed by the late, great Lamont Johnson. Besides the wonderfully effective acoustic score by Melle, it sure was a change of pace for Richard Thomas of THE WALTONS, playing the psycho villain of the piece.
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I agree wholeheartedly with absolutely everything TTSPOOK has said in all the threads he has contributed to so far (I did a search).
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I am trying to remain on the down low, lest some people on this forum think I am part of a Melle cult.
"Cult?!! What cult?"  ))
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Effective score by Gil Melle, eschewing his electronic pallette for acoustic instruments. This score was on the Oscar shortlist in 1977, although with 20 entries it wasn't that short. This should see a legit release.
Robert! Imagine me, a film music collector and a theatre projectionist when THE SENTINEL was released in 1977. Melle's score knocked me for a loop, and I got to hear it twice a night and three times on the weekend. I wanted the movie to run forever just so I could hear that Main Title again and again.
I'm still waiting for the soundtrack. It has been one of my holy grails for 34 years. I love Melle and think THE SENTINEL is one of his very best works.
Last week I drove by the spooky Brooklyn house used in the movie and was again reminded of the music.
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That Main Title is indeed a masterpiece of scoring, KGordon. I love the way it's structured - the tranquil build-up to the momentous chords as "The Sentinel" appears on the screen, then the humungously complex string-and-choir work for the next part, which leads into another deceptively tranquil, lilting piece as Cristina Raines and Chris Sarandon do trivial things in a lovey-dovey way (like buying magazines and riding bikes), before it all collapses again amongst a huge downward glissando, pausing before picking up with a beautiful piano and low woodwind theme as they flick through pictures of her model-shoot in the office. I think it's all a marvelous example of how music can work behind Main Titles. It's basically a lenghty montage. And the rest of the score is chock-full of great stuff.
Lovely cover by the way. I wish we had a CD to go with it. Come on, folks - I'm not going to be here forever!
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No mentions of footwear, merlyn! I didn't know there was a DVD with Michael Winner commentary. Does he mention the score? I know he did in an interview I read (in Soundtrack perhaps) standing up in a London bookshop in 1988 (too poor to buy the mag).
And yes, THE ULTIMATE WARRIOR is just as good music-wise. Would love to see that released.
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That Main Title is indeed a masterpiece of scoring, KGordon. I love the way it's structured - the tranquil build-up to the momentous chords as "The Sentinel" appears on the screen, then the humungously complex string-and-choir work for the next part, which leads into another deceptively tranquil, lilting piece as Cristina Raines and Chris Sarandon do trivial things in a lovey-dovey way (like buying magazines and riding bikes), before it all collapses again amongst a huge downward glissando, pausing before picking up with a beautiful piano and low woodwind theme as they flick through pictures of her model-shoot in the office. I think it's all a marvelous example of how music can work behind Main Titles. It's basically a lenghty montage. And the rest of the score is chock-full of great stuff.
Lovely cover by the way. I wish we had a CD to go with it. Come on, folks - I'm not going to be here forever!
Graham, thanks for the fine descriptive text of the Main Title. It is, as you state, a montage. Small set pieces that both complement the images while setting the tonal table for all that will follow.
Merlyn, I also have that "placeholder" and while grateful for it, like you, I await the real deal.
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