Rob Daniels

Blade Runner radio, tonight!

edit: I cannot attend this show due to illness.

 

LIVE at 12:00 AM (ET) Saturday morning!  It’s Robert Daniels and Jason Drury on VISIONS IN SOUND with music from BLADE RUNNER!  Tune in on your dial to 98.5 or internet to CKWR.  You folks in the UK can tune in as you enjoy some morning java!

As to my own involvement, I’ve come down with a mystery cold-like illness.  Whether I can make it to the station or not remains a question mark at this point in time.  I’d certainly like to.  Even if I’m “well enough” to go, I can’t risk passing this on to anyone else.  But you should still listen, if I’m there or not!  Rob and Jason always do an entertaining show with great music.

I’d love to share my own stories of this movie.  Seeing the comic book in a convenience store.  Thinking the title was cool if ambiguous.  But wishing Harrison Ford would get back to playing Han Solo or Indiana Jones already!  (As kids, we really did think it was that simple.)  I didn’t see the movie for many years later, when it was showing on one of the new pay TV channels.  Family friends the Lazbys were over, and it didn’t make sense to anybody!  The thing I remember the most about that viewing was the guy selling eyeballs.  I think that’s the moment all of us pretty much gave up trying to enjoy it.

But times and perspectives change.

Blade Runner’s visual impact came later.  The first and most obvious example was Iron Maiden’s Somewhere In Time album.  The front and back cover art are smorgasbords of Blade Runner visuals.  Numerous films have attempted to rip off Ridley Scott’s remarkable cityscapes, notably George Lucas in Attack of the Clones.

Listen in THIS Saturday 12:00-2:00am (ET).

Sunday Chuckle: Radio Mission Accomplished Face

RECAP:  Visions In Sound – The Black Hole on 98.5 CKWR

To those of you who tuned in:  thank you!  Sorry to Holen MaGroin for not reading your email on the air.  I couldn’t quite figure out how to work “I wish I could ask about The Black Hole, but I’ve never seen it, Disney sucks ass, Fuck ’em,” into the discussion.

Thanks Rob Daniels for having me, and to Jason Drury for awesome insight and comedy relief. (Ernest Borg-ninny.)

I was doing research all week, including watching lectures from Neil DeGrasse Tyson and other scientists about black holes.  Neil DeGrasse Tyson is a harsh critic of the film, incidentally.  I was glad to have worked this into the discussion.  Due to the sheer amount of research I did, I was overprepared and hyped to go.

I always take a nap before the show, which used to air at 12:30 am.  Well, I hadn’t been on Visions In Sound for a while.  I woke up at 11:50 to have my coffee and a bite to eat.  Then my phone rang.  It was Rob and they were about to go live!  Turns out the show was back to the 12:00 am slot.  Whoops!  I hopped in the car and drove down to CKWR which happens to be only 10 minutes away anyway.  I made it in just in time for my introduction, and that’s including having to stop for a R.I.D.E. check on my way!  Thank you to the local boys in blue, always doing a fantastic job keeping us safe on the road.

Among the myriad subjects discussed, one of the most interesting to me included Rob’s topic, the blaster beam.  I’d never even heard of it before, but I have absolutely heard it before.  It’s an integral part of the soundtrack to Star Trek: The Motion Picture, which I am intimately familiar with.  I thought that what I was hearing was a guitar.  Turns out it’s a bizarre 15-foot long beam of stainless steel with strings and pickups.  You can hear it readily in The Black Hole (music by John Barry), and now I know what it really is.

We also talked a bit about the toyline (available by mailing in UPC codes found on cereal boxes).  We couldn’t ignore the elephant in the room, which is the bizarre ending to a so-called “children’s film”.  In this visually stunning abstract sequence, the villain Dr. Reinhart (Maximilian Schell) embraces and merges with his robot minion called Maximilian (no relation).  Reinhart finds himself trapped in Maximilian’s shell (pun intended) ruling over a hellish landscape.  Wild-eyed and helpless, Reinhart is punished for the evil he inflicted.  Meanwhile our surviving heroes, including robot V.I.N.CENT. (Roddy McDowell) experience a wild ride including visions of a heavenly cathedral and a floating angel.  They then emerge in a brand new universe, to triumphant swells of Barry’s score.  This raises numerous questions about the film’s message on heaven, hell, morality, mortality, the soul, artificial intelligence, and more.

Thanks again to Rob for having me.  I am currently planning to be there for his 1000th episode a few weeks from now, and his Rise of Skywalker special the following week.

This episode can now be streamed at Visions in Sound, just click the link right here.

 

 

The Black Hole radio, tonight!

I will be LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels and Jason Drury on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).

What a bizarre Disney film The Black Hole was.  Marketed to kids with funny looking robots from the House of Mouse, instead of a swashbuckling adventure, kids got a strange treatise on life, death, morality, mortality, God, the soul, isolation, artificial intelligence, good, evil, heaven, hell, and eternity.  It attempted to be Star Wars, 20,000 Leagues Under the Sea and 2001: A Space Odyssey.

Rob, Jason and I will be playing the soundtrack by John Barry, and dissecting this interesting and puzzling film piece by piece.

For my DVD review of the The Black Hole, just click here.

 

 

#769: Twenty-Three

GETTING MORE TALE #769: Twenty-Three

July 1995 was a very complex month, at least for a young 22 year old guy living in Canada, not yet named LeBrain.

The girl I really liked had just broken up with her boyfriend — a guy in our circle of friends named Nick.  Just about everybody in the world knew I had a crush on her.  She dumped him one weekend when I was at the cottage.  My buddy Aaron called me long distance just to tell me!  Nick was a bit of a cock sometimes, but I tried to be reasonably respectful to him.  I thought I should wait three weeks until I made any move.

By mid-July I still hadn’t done anything, although I talked to the girl just about every day.  My 23rd birthday was coming up, and a small group of friends decided to throw a party.  It was a joint birthday party — another girl with the same mutual friends had a birthday the same week as me.  We combined everything into one party, in my parents’ basement.  Aaron was there, my wingman.  He was good at making people laugh, so that was always helpful when I didn’t know what to say around girls.  And of course, the girl I liked was coming too!

We decided on a murder mystery party, and we were supposed to be dressed somewhat in character.  I think I was a race car driver.  Crush-girl dressed as a gypsy.  Oh my God.  I was well on my way to bonertown.  She even did an accent for her character.  Schwing!

One of my friends that came gave me my first copy of Rush’s 2112.  That alone would have made it a memorable birthday.  The most memorable thing to me, however, was the final guest to arrive.

Craig arrived late.  I didn’t know him, not really.  He was there at the invite of the girl who also had a birthday to celebrate.  But I certainly knew of him!  As soon as he came to the door, I recognized him immediately and with total surprise.  Though he was two years older, Craig and I went to the same highschool.  We even hung out in the same circles, although we’d never officially met before.  He was friends with guys like Bob Schipper and Rob Daniels.  In fact, one reason I knew Craig’s face so well was that he was actually on one of the tapes in my VHS Archives!  Back in 1989, Rob Daniels was just beginning his career in broadcasting and media.  He did a public service ad for Rogers cable.  He wrote and directed “One More For the Road”, an anti-drinking and driving ad.  Bob Schipper played the victim.  Craig played the drunk driver.  I had a copy.  I knew every line of dialogue in that ad.  It was actually really well made with a killer soundtrack.  Bon Jovi’s “Bad Medicine” is playing from the car stereo when Bob is struck down in his prime.

Some great acting from Bob

I excitedly greeted Craig at the door and told him of our mutual highschool friends.  He looked exactly the same except for the hair, which was now long and in a ponytail.  He was a short fella, funny and well read.  How cool was it that we happened to have all these connections, and then just run into each other at my own birthday party?

I was having the best time!

As the day wore on and guests began to leave, I was looking forward to spending a little more time with the girl I liked.  The only issue:  Craig didn’t seem to want to leave.  Worse, he was really making conversation with my crush.  A little too much conversation.

I sat there smiling, helplessly thinking of something to do.  I suggested that I wanted to eat, and I think he helped himself to stay for pizza or whatever we ordered.  I didn’t want to be rude.  I was on my best behaviour in front of my crush.  She was a strong independent woman and there was no way I was going to hint that I was jealous.  Inside, I was Hulk-green.

I whispered to Aaron, “Is this guy ever going to leave?”  He shrugged.  He didn’t know what to do either.

Craig clearly didn’t know about or appreciate the hard work I had been laying these last few weeks.  Hell, I was waiting for something to happen with crush girl for months!  I knew she was not going to last with Nick.  She called me to complain about him often enough.  He was too clingy.  I was playing a long game.  I’d been a sympathetic ear a long time.  She flat out told me that if she met me before him, it would have been different.  And Craig was sticking his nose in all my patience!

I know that I said earlier that I was trying to give it time out of respect for the other guy, before I made a move.  I know that sounds contradictory to the idea of a long game I had been playing for months.  It’s not really.  There’s a certain code of conduct you had to respect.  It was all very complex and mathematical.  Having discussed it with Aaron, I was convinced three weeks was the minimum amount of time I had to wait before I asked her on a date.  There was also the small matter of stumbling over my words and not knowing at all how to ask her out.  I had a serious inhibition there, stuttering and fumbling and turning back.

Extreme had a single called “Tragic Comic” that, ironically, I made a cassette tape of for the birthday girl sharing the party with me that exact dame day.  And that song has the line I really identified with:  “I’m a stut-tut-terring p-poet.”

It was dark out before Craig finally left, having failed in his quest to sway my crush his way.  I decided that was to be our first and last meeting!  My day began on such a high, and ended with me tense and frustrated.  We all headed our separate ways, and I went to bed brooding.

Time was up.  She wasn’t going to wait forever.  (In fact, she didn’t — little did I know, she banged some other guy a couple weeks earlier.  I think he rode a motorcycle, or something.  But I didn’t know.)  I finally worked myself up, said something stupid, she said yes, and I danced around the house playing air guitar.

It was so simple in hindsight.  All I had to do was be myself.  She already liked me, pimples and all.  So we dated that summer and it was awesome!  On one of my first lunch dates with my new girl, we were at an outdoor patio in Elora, and that was the first time I ever heard “Sign of the Southern Cross” by Black Sabbath.  Yes, on an outdoor patio on a lunch date in Elora.  Who else can make that claim?  It was a good summer; nay a great summer.  The year I turned 23 will always be burned into my memory.  The birthday I got 2112, and met Craig the attempted-wicked-woman-stealer.  Pretty summer-defining events!

 

Mockumentary radio, tonight!

Turn it up to 11!  I will be LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).  Check out what Rob has planned this time:

This Week On Visions In Sound – The Mockumentary

This week we look at some mock documentary soundtracks. Featured music is from The Rutles, A Mighty Wind, FUBAR, Series 7 (Girls Against Boys) and This Is Spinal Tap. Join us THIS Saturday 12:30-2:30am (ET) Friday 9:30-11:30 (PT) on FM 98.5 CKWR. www.ckwr.com

We will also be live on Facebook to chat and talk about the music and films off air.
Be sure to listen in!  Don’t be like Tron, not show up, and funkin’ blow.

GUEST REVIEW: Rock and Rule (1983) by Robert Daniels

Please welcome guest writer Robert Daniels, from radio’s Visions In Sound 

ROCK AND RULE (1983 Nelvana)

“Oh what will the signal be for your eyes to see me…”

Back in about 1984 or 85 I remember watching TV one afternoon and stumbling on an animated movie. Interested, I stopped to watch. It had weird, trippy images and some scantily clad cartoon woman singing and a strange creature growling. My 14 year old mind was intrigued and then was completely blown when one of the animated characters said “Shit!” Cartoon characters were not supposed to swear!! Clearly this was a mistake. No, it was not a mistake, it was Rock and Rule. Although at the time I didn’t know the title and didn’t see the movie on TV again for a while.
Rock and Rule was set in a post apocalyptic future where the street animals evolved into a human like society. MOK is an aging rock star trying to find a specific voice in the guise of a worldwide talent search. MOK hopes to unleash a powerful demon from another dimension, his dwindling popularity driving him to destroy the world in vengeance and immortalize himself in the process. After returning to Ohmtown he finds the voice he’s looking for in Angel, a singer in a local band along with friends Omar, Dizzy and Stretch. MOK invites her to join him and when she refuses he kidnaps Angel and forces her to sing to raise the demon.

This was the era of the edgy “adult” cartoon, Heavy Metal, American Pop, Wizards, Starchaser: The Legend Of Orin and others. I do remember getting into an argument with my Mom back in 1981 about not being able to see Heavy Metal. “It’s a Cartoon…it HAS to be for kids!!!”.

It would be several years later when I was in high school that I described the ending scene to someone and they said “Oh yeah, that’s Rock and Rule…” Bingo, I had a title and looked high and low for a copy on VHS. Nothing. I was obsessed to find Rock and Rule. Of course, in the late 80s early 90s there was no internet so the only thing I could do was continue to bug the people at Steve’s TV to try and find a copy. Again, nothing. Then one day out of the blue I got a call from Steve’s. They said they found a copy and would order it for me. “Great” I said, “How much.” “$129.99”. My heart sank, that was far too expensive for my blood. So the film continued to sit in the back of my mind for years.

“My Name Is MOK, thanks a lot”

Then one day in (about) 2003, I heard of a showing at the former Hyland theatre. A local Anime expert and film buff rented the then-empty theatre to show the a cut of the film.

Also Don Francks, the voice of MOK, was going to be there. I jumped at the opportunity.

The film was nothing like I thought it was going to be. First, it was produced by Nelvana Studios that I only knew for Care Bears, Strawberry Shortcake, Droids and Ewoks, etc. All kids’ cartoons. It was also one of the first films I ever saw that listed “Songs by…” first above the main cast. This list included Cheap Trick, Debbie Harry, Lou Reed and Iggy Pop, with a special performance by Earth, Wind and Fire. After the movie there was a Q & A with Don Francks, who I later found out provided the voices for such characters as Dr. Claw from Inspector Gadget, Lackki from Captain Power and the un-credited voice of Boba Fett from the Star Wars: Holiday Special. I asked him if he based his performance of MOK on David Bowie. He said that he didn’t have any particular person in mind when he voiced MOK. I later found out that MOK’s full name was MOK SWAGGER a spin on Mick Jagger. However, the talent representation of The Rolling Stones’ lead singer objected and forced the producers to drop the character’s surname. It’s also interesting to note that David Bowie, Tim Curry, Michael Jackson, Mick Jagger and Sting were all considered for MOK but the budget of the film couldn’t afford them.

“I dunno about this, nobody seems to be buying these ‘I survived the MOK concert’ T-shirts.”

This year (2018) is the 35th anniversary of this masterpiece of Canadian animation. Rock and Rule is the first English speaking Canadian animated feature film entirely produced in Canada itself. Unfortunately the film sat in near obscurity for years after being shelved by distributor MGM and never got released in North America. The film did develop a cult following after being shown on CBC (who held the Canadian TV Rights), HBO and Showtime. Bootleg copies would show up at comic book conventions oddly enough with Ralph Bakshi being credited as director.

“She can sing, or she can scream!!!”

Much like Heavy Metal from 1981 music was a huge part of the film and also much like Heavy Metal the music got tied up in rights issues.

Back in about 2005 just before the release of the Rock and Rule DVD, I was actually in contact with someone from Nelvana Studios who told me that director Clive A. Smith, whose wife Patricia Cullen had also written the score, had the tape masters for the soundtrack in his garage and that he might be willing to let me have them for mastering. Unfortunately nothing came of this as I lost contact but it was the closest I came to producing a soundtrack release. In 2010 the film was released on Blu-ray and unfortunately has become quite expensive on the used market.
It was previously believed that no official soundtrack album had ever been issued for Rock and Rule. In fact, Deborah Harry mentions on a “Making Of…” documentary that she hopes the music gets a soundtrack release.  However, as it turns out, a handful of film critics received a cassette tape featuring nine songs (“Hot Dogs and Sushi” and “Send Love Through” were omitted). All songs are extended from how they appear in the film and in familiar copies. “Born to Raise Hell,” “I’m the Man,” “Dance Dance Dance,” and “Ohm Sweet Ohm” have been officially issued on CD, along with an alternate version of “Pain and Suffering,” and “Maybe For Sure” (an alternate version of “Angel’s Song”).

Though a deliberate Google search will turn up a couple of versions of the soundtrack, this is the most common track list:

[2:46] 01. Born To Raise Hell (Cheap Trick – Album Version)
[5:14] 02 Angel’s Song (Deborah Harry)
[4:22] 03 My Name Is Mok (Lou Reed)
[2:11] 04. I’m The Man (Cheap Trick – Album Version)
[3:12] 05. Earth Wind And Fire – Dance Dance Dance
[2:49] 06. Ohm Sweet Ohm (Cheap Trick – Album Version)
[3:15] 07. Triumph (Lou Reed)
[1:28] 08. Hot Dogs & Sushi (Melleny Brown)
[3:28] 09. Invocation Song (Deborah Harry)
[3:41] 10. Pain & Suffering (Iggy Pop)
[5:56] 11. Send Love Through (Deborah Harry and Robin Zander)
[4:30] 12. Maybe For Sure (Deborah Harry)
[5:22] 13. Angel’s Song (Cassette Mix)
[3:29] 14. Invocation Song (Mono Cassette Mix)
[4:35] 15. My Name is Mok (Cassette Mix)
[3:42] 16. Pain And Suffering (Iggy Pop)
[0:52] 17. Triumph (Movie Mix)
[2:35] 18. Angel’s Song (Movie Mix)
[1:38] 19. Invocation Song (Movie Mix)
[1:49] 20. Pain & Suffering (Movie Mix)
[2:06] 21. My Name is Mok (Movie Mix)
[3:36] 22. Triumph (Mono Cassette Mix)

Rock and Rule falls into the category of “…what could have been”. Had MGM had more faith in the project and released it in North America it may have been a hit rather than the cult classic it would eventually become. If you haven’t seen it or are interested in a look at a piece of Canadian animation history check it out, you will not be disappointed.

A solid 4/5 stars.  Dark, and yet at the same time fun.

 

 

Robert Daniels

 

 

Deep Space Nine radio, tonight!

 

Do you like soundtracks?  Do you like Star Trek?  Well then!  I will be LIVE tonight at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).

This Week On Visions In Sound – “The 25th Anniversary Of Star Trek – Deep Space Nine” – This week we celebrate the 25th Anniversary of the third Star Trek series, Deep Space Nine. Also joining me this week is Treks-pert Bob Puersten and special guest Michael Ladano as we discuss this highly popular series. Featured music will be from series composers Dennis McCarthy, Jay Chattaway, John Debney, David Bell and Paul Baillargeon.

 

#567.5: Thanks Rob! (Visions in Sound)

Regular readers know that for the past five weeks (except one!) I’ve been appearing with Rob Daniels on his radio show Visions in Sound at 98.5 CKWR, talking about movie soundtracks.  Also appearing were Erik Woods and Jason Drury live from the UK.  May was Star Wars month, and we did four shows dedicated to the 40th anniversary of that franchise:


May 6: Star Wars for a New Generation (Rogue One, Rebels)

May 13: Alternate Forces (Star Wars video game soundtracks – I missed this one due to prior commitment)

May 20:  The Prequels (Music from Episodes I, II, and III)

May 27:  Where it All Began (Music from the original trilogy)

And there was also the June 3 show, the celebration of The 30th Anniversary of Spaceballs, a classic Mel Brooks parody of Star Wars (and other classic sci-fi).


All these shows and more can be accessed on the Visions in Sound archives.

So thanks Rob for asking me to be on the show, and to new friends Erik and Jason.

Not to toot our own horns too much, but these were great shows.  It’s hard to listen live at 12:30 in the morning, but if you take the time to listen to one of these shows in the archives, I know I’d appreciate it.  Great music was played, much geeking-out was had, but you’ll also hear a ton of knowledge that you probably never knew before, from four guys who live and breathe this stuff.

Hoping to do this again soon!

Mike “LeBrain”

Star Wars radio tonight! The original trilogy on Visions In Sound

I will be going LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!

Rob says:  “May is Star Wars month on Visions In Sound and we will be celebrating the 40th Anniversary with a slew of special shows. Joining me this week will be special guests Jason Drury, Michael Ladano & Erik Woods to help with the celebration. Featured music will be from the original Star Wars trilogy (John Williams). Join Us THIS Saturday 12:30-2:30am (ET)”

REVIEW: Raiders of the Lost Ark – Original Motion Picture Soundtrack (2008 CD reissue)

scan_20170116RAIDERS OF THE LOST ARK – Original Motion Picture Soundtrack (Originally 1981, 2008 CD reissue)

When it comes to sci-fi nerds, movie geeks, and Speilberg buffs, there is one name that we all salute:  composer John Williams.

In 1981, Williams was given the task of composing yet another soundtrack for his buddy Steven:  Raiders of the Lost Ark.  Like Star Wars and The Empire Strikes Back before it, it needed identifiable themes to accompany our characters:  the heroic school teacher (!) Indiana Jones, his one true love Marion, and a whole slew of evil Nazis.  This time Williams needed to come up with appropriate music not for epic space battles, but to inspire awe in the wrath of God and the Ark of the Covenant.

To go with the 2008 theatrical release of (the atrocious) Kingdom of the Crystal Skull, Lucasfilm remixed and reissued the original Raiders soundtrack with 30 minutes of bonus tracks.  (Unfortunately, both the LP and box set have music not on this CD, but we don’t get this stuff for free, so a review of this CD is all you get.)  Virtually every note will be familiar to fans both casual and die-hard.

Indy begins his adventure “In the Jungle” and immediately you can picture the spiders and creepy-crawlies that Indy had to step through.  “The Idol Temple” has even more creepy-crawlies, and Williams expertly finds the musical effects to go with the eight-legged chills.  Just like the movie, be ready to jump startled at certain cues.  Serious action begins on “Escape from the Temple”, the kind of track that is a benchmark for such scenes.  The “Flight From Peru” is the very first appearance of the famous Indiana Jones theme, as he escapes death…barely!

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In America, Indy is paid a visit at the school by two “Washington Men” who want him to find something.  This is the eerie, understated debut of the Ark’s theme, though Indy’s own theme plays around with it, indicating the two will eventually collide.  “A Thought for Marion” introduces her theme, and then back to the Ark’s music once again.  The ominous overtones indicate that Indy’s mission to find the Ark will not be easy.  He is then off to Nepal with music that hints at the dangers ahead.  In Nepal he finds both Marion and the medallion, which has its own dark music.  The military drums foreshadow the involvement of the Nazi forces also searching for the Ark.

The score takes a slight middle eastern turn with “Flight to Cairo”, also augmented with Indy and Marion’s themes.  The two must find the Ark before the Nazis do with the help of Indy’s old Egyptian friend Sallah.  Marion finds herself in trouble almost immediately.  “The Basket Game” is one of the most memorable cues from the movie, though it ended badly for Marion and Indy.  Williams uses articulate melodies in a cartoon-like style to hint at the motion happening on screen.  With Marion gone, Indy must continue his quest with Sallah.  Together they visit a wise man, and discover that someone is trying to poison them with “Bad Dates”.

“The Map Room” is the setting for the next piece, building tension back with the Ark theme.  This incredible cue ends with Indy discovering the location of the Well of the Souls.   What I always assumed were sound effects in the scene is actually music (chimes).  Soon he finds Marion alive and well.  Her theme and that of the Ark return for another go-round as the heroes finally find the treasure.  The music when the Ark is found is similar to that in the Star Wars scene where the first Death Star explodes.   More creepy-crawlies (“Snakes…why’d it have to be snakes?”) infest “The Well of the Souls”, surely the creepiest scene in the movie.

Another great Indy action cue is “Indy Rides the Statue”, a piece of music that recurs when our hero is in great danger.  Escaping the Well of the Souls, Indy must battle a massive German henchman in “The Fist Fight”.  The tension is turned up again, and fans will recall this piece from one of the most punishing action scenes in the film.  “The Desert Chase” is the longest piece on the album, to suit a roller-coaster scene of thrills and chills.  The music delivers the same thrills, as you can picture Indy on that horse chasing down those Nazis.  It’s among Williams’ finest music.

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A tender moment (“Marion’s Theme”) is short lived as the Nazis return.  The action-packed music takes Indy to a secret Nazi island in the Mediterranean (“The German Sub” and “Ride to the Nazi Hideout”).  The horrifying finale reveals “The Miracle of the Ark”, and again some of Williams’ best music.  The end credits music “Raiders March” is some of most memorable music in film history.  It revisits the most exciting music from the score.  It is similar in style and equal in quality to what John Williams did with the Star Wars saga end credits.  This single track should be in any serious music lover’s collection.

For a more knowledgeable take on the Raiders soundtrack, we spoke to Rob Daniels from the Visions In Sound radio programme.  He had this to add:

When I first heard John Williams’ score to Raiders I immediately fell in love with the theme. In fact it has been my ring tone on my phone for several years over at least three phones. That being said the score to Raiders is much more than its theme. By the way, the theme is actually two separate pieces that Williams had written to be the title theme for the film.  Speilberg loved them both and asked them to be combined.

John Williams is the master of memorable themes and Raiders is no exception. There are several wonderful themes such as the aforementioned “Raiders March” but also to be commended is “Marion’s Theme” and the “Ark Theme”. Though I have to admit that my favourite comes in the cue “Desert Chase” as Indy is going after the Ark as it is on its way to Cairo. As the cues play you can see the Nazi soldiers being thrown from the truck and Indy’s fight in the cab with one of them as he eventually gets dragged behind the truck to his final victory and escape. It’s an amazing piece of audio gymnastics in an 8:18 cue.

Williams is known for his broad themes (See Star Wars & Superman) but he also plays the smaller moments just as well. (See “The Medallion” & “To Cairo” cue). In the hands of another composer this could have been just another score but Williams elevated the film to a fun and epic adventure that can be playful, sad and triumphant, sometimes all in the same cue.

The remixing renders an awesome sounding CD with the depth and clarity you expect.  A nice looking booklet has the images to go with it.  Remember listening to a soundtrack while leafing through the photos in the LP?  Relive that with the reissued Raiders of the Lost Ark.

5/5 stars