Jan. 15, 2026

The Music of John Carpenter: Our Top 5 Favorite Scores

The Music of John Carpenter: Our Top 5 Favorite Scores
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Season 7

It's John Carpenter's birthday! Wayne, Jeff, and David are celebrating by sharing their Top 5 Favorite John Carpenter scores. Will all of your favorites make the list?

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Special shout-out to our friends at Def Dave's 1984, and the Accidental Legends Podcast!

WEBVTT

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When people talk about John Carpenter, they usually start with

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the images he have embedded into our pop culture. The

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white mask hiding in the shadows, a police station under siege,

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a city turned into a prison. These are the moments

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that have made director John Carpenter great, the moments that

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have remained in our memories and have haunted our dreams.

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But just as often, along with the visuals, they remember

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the sounds that accompany them. A simple piano line, a

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relentless bass pulse, a melody that seems to crawl under

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your skin and stay there. We all know and love

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the films that Carpenter has brought us Dark Star, Halloween, Christine,

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Big Trouble in Little China, just to name a few.

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But today we're exploring the musical career of John Carpenter,

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a director who didn't just score his films out of convenience,

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but helped redefine how electronic music could shape mood, tension,

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and fear in modern cinema. This is a film buy,

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or more correctly, the music by John Carpenter. I'm Wayne,

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Why didn't I'll be your host on this musical journey

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to one of film's most innovative composers. And I'm joined

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today by my two great friends and fellow soundtrack fans,

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David Burns and Jeff Johnson.

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I have quite an introduction. I gotta say that that

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was awesome.

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Wayne. Yeah, and hey, it's today, is the sixteenth, It

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is John Carpenter's birthday. What better day for us to

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talk about our favorite scores from this amazing director, this

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amazing composer.

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Yeah, and as we talked, this would be the year

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of John. We'll get into that a little bit later,

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but this is the year of John.

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This well, this is a special treat and a rather

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unusual turn of events for me. As many of you

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longtime listeners know, I've done two of these episodes exploring

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the works of great composers, first Jerry Goldsmith and then

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James Horner last summer, and I've been the one usually

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giving my choices for favorite scores, And of course I've

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been popping in and out of many of the films

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and TV podcasts to give you my reviews of the

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great scores that accompany those films that a film I

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have talked about. But today we're turning the tables and

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putting the spotlight on David and Jeff, two of the

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biggest horror movie fans I've ever known, and allowing them

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to present to you their top five favorite scores from

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the works of composer John Carpenter. So let's start at

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the beginning. When did YouTube first discover the works of

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John Carpenter?

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Jeff, I don't know about you, but obviously my introduction

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to Carpenter was Halloween. That was the one that gave

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me my introduction to not only him as a director,

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but also as a composer. And then once I learned that,

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then I started digging more into his filmography.

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I remember my older cousins telling me I had to

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be upstairs because I couldn't watch the movie they were watching.

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I snuck down the stairs just long enough to see

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that the shape explode through a closet, terrorizing Lorie Strode.

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I was never the same after that. I was terrified

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for a couple of weeks, But I was a John

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Carpenter fan a couple of years after that, when I

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was old enough to handle it. But you know, and

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then as far as the composer, John Carpenter, the composer,

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I'm pretty sure it was Escape from New York, where

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I was like this music sounds kind it's similar to

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did he compose Halloween?

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Oh? He did?

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And then I realized that this is the guy that

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writes his own music and directs his own films, and

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a lot of times he writes his own movies and

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loved him ever since.

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Oh oh.

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Before we get into the top five, let's take a

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look at the background in history of the musical site

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of John Carpenter. Carpenter's early years as a film composer

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grew directly out of his development as a low budget

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independent filmmaker the late nineteen sixties and nineteen seventies. He

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had stated that it was his father's work as a

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music teacher in Western Kentucky University that first brought an

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interest in music to him, and while studying film at USC,

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he absorbed the influence of composers like Bernard herrmann Ineo Morricone,

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Dimitri Twampkin, and the emerging minimalist and electronic artists of

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the era, but financial limitations forced him to work with

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simple melodies and synthesizers. Rather than being a drawback, these

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constraints shaped his signature approach, emphasizing repetition, rhythm and mood

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over orchestral complexity. His earliest work, the nineteen seventy four

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film Dark Star, showed how sparse and atmospheric music could

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enhanced tone and compensate for limited resources. From the start,

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Carpenter viewed music as an essential element to the storytelling,

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rather than just background accompaniment. His major breakthrough as a

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composer came with the nineteen seventy eight film Assault on

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preseinc thirteen, where a pulsing minimalist theme played on synthesizers

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drove the film's tension and established his recognizable sound. With

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some influence from Leilo Scheffrin's Urban Crime Course, Carpenter used

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repetition and base heavy rhythms to create a synth of

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relentless threat. This approach continued in what I'm sure you'll

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agree the most iconic and best known scores, the music

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for Halloween, where his simple piano motif in an unusual

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time signature became one of his most famous themes in

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cinema history. Carpenter often composed directly to the edited footage,

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allowing the music to dictate pacing and intensify its suspense.

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These scores proved that electronic minimalism could be both frightening

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and unforgettable. But by the turn of the nineteen eighties,

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Carpenter refined his musical style through films such as the

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nineteen eighties film Fog And Again the next year and

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Escape from New York, frequently collaborating with Alan Holworth to

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expand his technical range. Modern synthesizer technology allowed for richer

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textures while maintaining the stark, slimplicity that defined his early work. Now,

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what do you think about Alan Holworth and his work, Jeff?

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You know, the thing about Alan Howorth is and I

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think a lot of our listeners probably might not be

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familiar with that name, but he's responsible for special sound

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effects and sound design in some of Hollywood's biggest films.

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I'm talking about movies like Raiders of the Lost Ark, Grimlins, Poltergeist,

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Beetlejuice and guys. I'm sure you know, but this is

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the guy that was involved in the first six Star

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Trek films.

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Yeah, yep, yeah, his name was all over the eighties,

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nineteen eighties films everywhere.

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Well, as David likes to point out, it all comes

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back to Trek, right, it does, it does, indeed. Yeah,

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But you know, I kind of think it's kind of cool, like,

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you know, we're here, We're based in Cincinnati. We've got

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Carpenter beneath a you know, he's in Kentucky. We got

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Howorth in Cleveland, Ohio. You know he was born in Cleveland, Ohio.

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And a really fun fact about him growing up there,

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he played in a local rock band that once opened

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for the who Oh. I didn't know that.

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Well, he's all over the place, isn't he? He is

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good deal. Well.

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Carpenter helped legitimize electronic scoring in mainstream genre film, particularly

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horror and science fiction, when other composers attempted to duplicate

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in the years after his early musical scores not only

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to find the sound of his own films, but also

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influenced decade of filmmakers and composers who followed. How do

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the two you feel about Carpenter's musical body of work?

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What do you think makes his music stand out above

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the others in the era?

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I think for Carpenter because he is the old school

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style of director who was a minimalist of everything. He had,

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minimalist lighting, photography, you know those panoramic shots that he

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always give us. So he adapted that into his music

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as well as you know, talking about scores and stuff

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like that over the years, Wayne even on here in

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a film Buy. We love those big one hundred piece

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orchestras and hearing those choirs and you know, those big elaborate,

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you know, London orchestra and stuff like that, like John

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williams uth or James Horner used, or Jerry Goldsmith uses

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or John Debney whatever. But sometimes it's the simple themes

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that did not have much to them that makes them

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just as powerful as one hundred piece orchestra. And what

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I like about Carpenter is that is what he goes for.

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He wants those simple themes that matches the simplicity of

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his story and his characters, but yet are so so

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much in depth of what's going on that it pulls

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you into the story. It pulls you into the creepiness,

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the shadows for a better word, of that story of

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that film, and it works. He doesn't need of the

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big pieces, which I'm sure he probably would if he

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had the access to it back then, but maybe not.

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I'm kind of glad that he didn't have that, and

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he wanted to keep it low budget because of that

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happening and keeping putting the money on screen instead of

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the music. Because he was doing it himself. That made

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his stories more impactful. That's what I love about his

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body of work the most.

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Dave. You're absolutely right, and I think you know, to

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touch on what you're you were saying, it's all about

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keeping it keeping it simple, you know, That's that's what

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draws success sometimes. And Carpenter one of the things I

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always loved about him. He has a very specific style.

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And I know and Wayne kind of alluded to that

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a few minutes ago, but I know, like it's like

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when you're watching a John Carpenter movie, you know he

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has like certain shots. You know it's a it's a

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John Carpenter movie, right we We've talked about that. On

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a film buy. I I think I hear a score

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from John Carpenter. I know it's John Carpenter's music. I

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I immediately know it. And it's it's probably because it's that

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that simple, that almost like haunting effect that he you know,

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a lot of his films and and then given that's

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that's gonna go with the genre that he's responsible for,

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uh working in. But even when you talk about a

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movie like Big Trouble, little China where he gets to

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expand a little bit, or the Fog where he gets

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to expand a little little bit on what he typically does.

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It's just awesome to hear. And he's one of the

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guys that I think does a great job of defining

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a character in a film with their theme.

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Yep, yeah, you know. Touching on what you said, David too.

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You know, thinking back, if I look at Halloween, I

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look at Escape from New York, I can't see them

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with big budget, larger orchestra scores. It really can't. I

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just think Carpenter he composes the music to match the

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films perfectly. I just I think his music fits exactly

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what he has on screen. All right, Before we get

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to our top list, let's take a short break for

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these messages.

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Dearly beloved. We are gathered here today to celebrate death

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Dave's nineteen eighty four, a brand new show that will

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take thank you through the greatest pop culture year we

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have ever seen. Flax On, my fellow Americans, flacks o s.

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I am a candidate and we'll seek re election.

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On from movies, music, sports, comics, television, and more. This

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show will be a chronological journey through every aspect of

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the year. So who's gonna drive you home and not

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let the glory days pass you by death? Dave's nineteen

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eighty four. It's a hard habit to break. The time

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after time, I'll show you why nineteen eighty four was

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the best year ever. So who are you gonna call?

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Coming in twenty twenty six? Subscribe and follow now I'll

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be back. Welcome back. And I am with Jeff Johnson

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and David Burns, and we are talking about the man,

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the legend that is John Carpenter. So guys, let's start

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diving into his work and find out what your top

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five scores are from the music of John Carpenter. But

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before we do, I do want to mention that this

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is the first time we've talked about a composer that

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we've actually had the chance to meet in person.

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Oh yeah, that's right. Absolutely. I didn't even think about

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that as we were gearing up to talk about this.

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What a treat that was. I mean.

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I never told yeah, I never thought we'd meet that guy,

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and the fact that we were able to do it

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into how cool he was. Jeff, like, you just thought

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the guy was awesome.

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I think, well, if you would have told me even

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a couple of years ago that we would be standing

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in with John Carpenter chatting him up with the plymouth

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fury from Christine behind us. I would have said, that's impossible,

228
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but you know, it's not going to happen. But you know,

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it's a hell of a trip. And like I said,

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hell of a guy he was. He was a lot

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of fun to talk with.

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All Right, here we go our top five best musical

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scores from compos John Carpenter. Jeff, We're going to start

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with you. What's your pick for number five?

235
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Well, let's go back to nineteen eighty one, so we

236
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could go forward to the futuristic nineteen ninety seven. It's

237
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it's Escape from New York. For me, I feel like,

238
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and I you know, I know this is kind of

239
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silly to say right from the get go, but I

240
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feel like this is one of his more iconic scores.

241
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It's aggressive. I know the theme of that repeating baseline

242
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that you mentioned earlier, Wayne, I know that's gonna come

243
00:14:33.360 --> 00:14:36.879
up several times probably, but I mean, escape from New York.

244
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You can I can hear in my head right now

245
00:14:38.519 --> 00:14:42.600
that that slow building that it has, you know, it's

246
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it's a little it's electronic, it's icy, it's it's futuristic,

247
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but you know, it puts you in that mood where, yeah,

248
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this feels I know him in the future, but it's

249
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also a broken future. It's dystopian, it's a little a

250
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little grimy, and I absolutely love it from start to finish.

251
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It's a there's there's a little bit of repetition, but

252
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but not a lot because like when I think about

253
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like the scene like where they're on the bridge, the

254
00:15:08.559 --> 00:15:11.159
sixty sixth Bridge, and that's a that's an amazing track

255
00:15:12.200 --> 00:15:15.440
on the on the soundtrack where it's it really revs up.

256
00:15:15.440 --> 00:15:20.000
It's really action packed overall. You know that relentless you

257
00:15:20.039 --> 00:15:23.840
know rhythm that it has. It's I think it's perfect

258
00:15:23.879 --> 00:15:26.559
for Snake Pliskin, as I said, like he does a

259
00:15:26.600 --> 00:15:29.440
good thing where he he matches a theme to a character,

260
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and the music of Escape New York, I feel really

261
00:15:34.080 --> 00:15:37.159
tells you who's who SD Pliskin, what he's all about,

262
00:15:37.519 --> 00:15:39.480
and what he's all about as an anti hero, a

263
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classic anti hero.

264
00:15:41.039 --> 00:15:43.000
I'm really surprised that you put that at number five.

265
00:15:44.440 --> 00:15:47.840
This was listen. There are there are no losers on

266
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this list. There's Yeah, it's hard. I went back and forth,

267
00:15:51.279 --> 00:15:54.480
but but I've been I've been listening, listen. I wanted to.

268
00:15:54.519 --> 00:15:56.440
I knew we we might have a chance to talk

269
00:15:56.440 --> 00:15:59.440
about John Carpent on his birthday. I wanted to prepare

270
00:15:59.480 --> 00:16:03.799
myself and listen to as many of his film scores

271
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as possible because I knew, like, hey, I don't have

272
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the intelligence that Wayne has to really talk in detail about.

273
00:16:13.480 --> 00:16:15.240
You know, I'm not the musical guy. I never played

274
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an instrument, you know, So I was like, I might

275
00:16:17.120 --> 00:16:19.080
be in a little bit over my head, but you know,

276
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I'm at least gonna listen to every single one of

277
00:16:20.960 --> 00:16:23.639
these soundtracks as much as possible and soak up as

278
00:16:23.679 --> 00:16:25.240
much as I can as fast as I can.

279
00:16:25.519 --> 00:16:27.159
Well skip for New York gives on my list, but

280
00:16:27.200 --> 00:16:28.960
it's not number five, all right?

281
00:16:29.399 --> 00:16:31.360
Well, David, why don't you tell us what your number

282
00:16:31.360 --> 00:16:31.879
five is?

283
00:16:32.399 --> 00:16:35.200
Why don't I do that? Of course, my number five

284
00:16:35.320 --> 00:16:38.039
is a film that we have discussed on nineteen eighty

285
00:16:38.200 --> 00:16:41.600
six limited series at a Film Buy, and of course

286
00:16:41.600 --> 00:16:46.159
that is Big Trouble in Little China. So there are

287
00:16:46.200 --> 00:16:49.159
a couple tracks on here that I appreciate very very much.

288
00:16:49.639 --> 00:16:53.440
One is called Here Come the Storms. The score fuses

289
00:16:53.679 --> 00:16:58.639
vibrant synthesizer textures with bold rock and roll elements, creating

290
00:16:58.639 --> 00:17:03.759
an electric, upbeat and energetic sound. This blend gives the

291
00:17:03.879 --> 00:17:08.920
music a subtle Chinese inspired atmosphere that runs throughout the film.

292
00:17:09.319 --> 00:17:13.480
The result is a mysterious, strange and unusual sonic landscape,

293
00:17:13.480 --> 00:17:17.880
perfectly matching the film's offbeat and ignatic tone. And if

294
00:17:17.920 --> 00:17:20.000
you've seen this film and you know the character of

295
00:17:20.079 --> 00:17:24.640
Jack Burton, you will know offbeat fits that perfectly, and

296
00:17:24.920 --> 00:17:27.079
so does the story of Big Trouble Lower China, because

297
00:17:27.119 --> 00:17:30.960
it is very offbeat. There's another track on here called Hyde,

298
00:17:31.319 --> 00:17:34.319
which was not released on the soundtrack until I think

299
00:17:34.400 --> 00:17:36.640
two thousand and nine, I believe it was when they

300
00:17:36.680 --> 00:17:41.440
re released the soundtrack this one. Throughout you hear an upbeat,

301
00:17:41.480 --> 00:17:45.799
electric theme, reminiscence of Beverly Hills, cop bright sense, and

302
00:17:45.920 --> 00:17:50.480
quick punchy rhythms that drive the momentum forward. The rapid beats,

303
00:17:50.559 --> 00:17:54.799
signal action and fast paced movement perfectly underscoring urgency and

304
00:17:54.880 --> 00:17:59.359
slagger of our hero and the rest of the game. Honestly, guys,

305
00:17:59.480 --> 00:18:01.759
if you I've seen Big Trouble When China. You need

306
00:18:01.799 --> 00:18:04.039
to check it out. This is one of those movies

307
00:18:04.119 --> 00:18:07.079
that was very underrated. For one, it's got a cult

308
00:18:07.079 --> 00:18:11.480
following now, but it was not marketed correctly back then

309
00:18:11.519 --> 00:18:14.480
when this movie was released, and that's what hindered it.

310
00:18:14.799 --> 00:18:18.119
And it's quite a shame because it is a fantastic film.

311
00:18:18.519 --> 00:18:21.599
Has a very dark anti hero that John Carpenter loves

312
00:18:21.680 --> 00:18:25.440
to create, and of course using Kurt Russell, who's perfect

313
00:18:25.559 --> 00:18:29.160
in everything that he does. But the music in this

314
00:18:29.319 --> 00:18:34.160
throughout it just matches this oddball character of dark hero

315
00:18:34.359 --> 00:18:37.599
in this odd story that we get that set place

316
00:18:37.640 --> 00:18:40.799
in a very Asian environment. So that is definitely my

317
00:18:40.880 --> 00:18:41.319
number five.

318
00:18:44.079 --> 00:18:47.880
Well, David, I gotta tell you you know, I'm a

319
00:18:47.920 --> 00:18:50.240
big fan of Big Trouble Little China. It's the best

320
00:18:50.279 --> 00:18:53.279
movie of nineteen eighty six. I've said that on occasion.

321
00:18:54.200 --> 00:18:57.039
It is on my list, and I'm quite surprised that

322
00:18:57.039 --> 00:19:00.000
that is your number five. But again, there's no wrong answer.

323
00:19:00.359 --> 00:19:02.200
I don't even know if there's a wrong ranking. But

324
00:19:02.319 --> 00:19:04.400
I was just like, what number five.

325
00:19:04.359 --> 00:19:07.720
Meeting see Escape from New York, same thing? Number five? Yeah, really.

326
00:19:09.519 --> 00:19:13.680
This is get interesting, I think, Yeah, it is well

327
00:19:13.839 --> 00:19:16.880
moving along, let's hear your number four choice, David.

328
00:19:17.720 --> 00:19:20.240
Well, of course I have to give this one a nod,

329
00:19:20.400 --> 00:19:26.160
and that's nineteen eighties The Fog. So Carpenter actually considers

330
00:19:26.200 --> 00:19:30.160
this as one of his best scores. Almost agree with

331
00:19:30.240 --> 00:19:33.839
him because number one that I've got is obviously number one.

332
00:19:33.920 --> 00:19:35.400
I don't know why he wouldn't pick that one, but

333
00:19:35.519 --> 00:19:39.680
probably because it's so popular. So the theme in the Fog.

334
00:19:39.880 --> 00:19:45.200
The opening carries a distinctly vincent price like flare, eerie

335
00:19:45.279 --> 00:19:50.319
theatrical and steep and classic core atmosphere, before shifting into

336
00:19:50.359 --> 00:19:54.480
an Exorcist style rhythmic pulse. The theme is simple, as

337
00:19:54.519 --> 00:19:57.799
many of Carpenter's most effective scores are, yet it quietly

338
00:19:57.839 --> 00:20:00.359
prepares us for a chilling story set in a small

339
00:20:00.400 --> 00:20:05.640
coastal town. Its minimalist structure, punctuated by quick, nervous beats,

340
00:20:06.000 --> 00:20:08.680
suddenly elevates your own heartbeat, placing you directly in the

341
00:20:08.680 --> 00:20:11.000
shoes of the townspeople who are about to face a

342
00:20:11.079 --> 00:20:15.480
supernatural revenge rising from beyond the grave. Now to kick

343
00:20:15.559 --> 00:20:18.039
it in you with the theme, there's a one track

344
00:20:18.079 --> 00:20:23.119
called Main Theme Reprise. This score shifts into a more

345
00:20:23.279 --> 00:20:26.680
upbeat tone driven by a bright piano motifs and subtle

346
00:20:27.000 --> 00:20:30.880
clicking textures. Even with its lively rhythm, the theme continues

347
00:20:30.920 --> 00:20:33.480
to set the atmosphere for the film's setting, again, a

348
00:20:33.559 --> 00:20:37.279
quiet coastal town carrying a deep, dark legend waiting to surface.

349
00:20:38.000 --> 00:20:40.599
The music hints of the story's buried secrets, giving the

350
00:20:40.640 --> 00:20:44.519
sense that something long hidden is finally ready to be told.

351
00:20:45.279 --> 00:20:48.079
The last piece that I have is Tommy Tells of

352
00:20:48.160 --> 00:20:52.279
ghost Ships. The piano drifts into a gentle, nostalgic melody,

353
00:20:52.359 --> 00:20:55.640
evoking memories of old times and a long, whispered legend

354
00:20:55.640 --> 00:20:58.640
that hangs in the air, like the fog itself layered

355
00:20:58.680 --> 00:21:02.039
beneath it. The organ an It's a classic haunted health tension.

356
00:21:02.440 --> 00:21:05.240
It's tones unsettling enough to keep you perched on the

357
00:21:05.319 --> 00:21:08.079
edge of your seat. The combination creates a mood of

358
00:21:08.119 --> 00:21:11.599
creeping unease, making you feel as though something unknown is

359
00:21:11.680 --> 00:21:16.839
lurking just behind the next corner, hidden in the shadows. Now, listeners,

360
00:21:16.839 --> 00:21:19.720
if you've not seen the original Fog, please see the original.

361
00:21:19.799 --> 00:21:24.160
Do not watch the remake. It's nowhere near the classic

362
00:21:24.200 --> 00:21:27.000
that John Carpenter has given us. You need to watch

363
00:21:27.039 --> 00:21:32.200
the Fog just for Adrian Barbo for her smooth buttery

364
00:21:32.400 --> 00:21:35.359
voice that you hear as she is the DJ of

365
00:21:35.599 --> 00:21:39.319
the radio station. But there's so much goodness about this.

366
00:21:39.400 --> 00:21:41.920
Jamie Lee Curtis is in it. You've got Nancy Loomis,

367
00:21:42.160 --> 00:21:44.680
who's in a lot of Halloween people, not big roles,

368
00:21:44.680 --> 00:21:49.720
but they're in it. And yeah, it's definitely something that

369
00:21:49.839 --> 00:21:53.079
is very mystique, very on the edge of your seat.

370
00:21:53.200 --> 00:21:56.400
And just like the story, it rolls in, just like

371
00:21:56.440 --> 00:21:58.759
the title of the film, the Fog.

372
00:21:59.400 --> 00:22:02.039
All right, Jeff, give us your pick for number four.

373
00:22:03.000 --> 00:22:06.640
Well, my number four, we're going to again. We're going

374
00:22:06.680 --> 00:22:10.039
to go back to one of his earlier works. I'm

375
00:22:10.039 --> 00:22:13.519
talking pre Halloween, and we covered this film on our

376
00:22:13.599 --> 00:22:19.079
limited nineteen seventy six series Assault on Precinct thirteen. The

377
00:22:19.119 --> 00:22:22.680
thing I love about this one is, first off, it's

378
00:22:22.720 --> 00:22:26.880
it's it's really raw. It's you know, this is Carpenter

379
00:22:26.960 --> 00:22:30.720
before the hall of the iconic Halloween theme. So you know,

380
00:22:30.759 --> 00:22:33.799
I think he's he's taken some chances early on because

381
00:22:33.839 --> 00:22:38.759
he hasn't honed his craft just yet. And as much

382
00:22:38.799 --> 00:22:41.240
as I love it, you know, it's it's hypnotic. You know,

383
00:22:41.319 --> 00:22:45.680
it's got that that repeating main theme, and you know,

384
00:22:45.799 --> 00:22:49.240
I think sometimes it works against him because if you

385
00:22:49.279 --> 00:22:51.880
listen to the score from the beginning end, it's it

386
00:22:51.960 --> 00:22:54.559
kind of it kind of goes through the whole the

387
00:22:54.599 --> 00:22:57.400
whole soundtrack, you know, each each piece of music has

388
00:22:58.240 --> 00:23:02.519
that original that Dan Dan, you know, it's it. It

389
00:23:02.599 --> 00:23:06.400
never really leaves us, uh for long. But again it's

390
00:23:06.400 --> 00:23:09.799
back to it's simplicity. It's a little primal, and I

391
00:23:10.200 --> 00:23:14.000
feel like it does a great job of making you

392
00:23:14.039 --> 00:23:19.319
feel the the tension and the claustrophobia that that that

393
00:23:19.519 --> 00:23:21.960
is inside this police station that's under siege with these

394
00:23:22.279 --> 00:23:24.720
this small ragtag group of people where you got a

395
00:23:24.720 --> 00:23:27.599
couple of cops, you got a couple of criminals, and

396
00:23:27.640 --> 00:23:31.680
then you got some bystand innocent bystanders. Nancy loomis among them, Dave,

397
00:23:32.240 --> 00:23:35.279
as you pointed out with in the Fog. But I

398
00:23:35.480 --> 00:23:39.240
I like this one because I think Carpenter does a

399
00:23:39.279 --> 00:23:43.400
great job with with minimal resources, and and throughout the

400
00:23:43.519 --> 00:23:47.839
entire film, Uh, that theme, that continuing theme continues continues

401
00:23:47.839 --> 00:23:50.920
to amplify because it's a little relentless. It just never

402
00:23:51.240 --> 00:23:54.599
never lets you not feel like you're out, out of

403
00:23:54.640 --> 00:23:55.200
out of danger.

404
00:23:57.119 --> 00:23:59.279
And it should come as no surprise that that early

405
00:23:59.359 --> 00:24:01.880
in Carpenter's career there was no release of that score

406
00:24:01.920 --> 00:24:04.440
on CD back or on record back when the film

407
00:24:04.519 --> 00:24:07.799
came out for many many years. It wasn't until two

408
00:24:07.839 --> 00:24:10.519
thousand and three that we saw a release, but only

409
00:24:10.559 --> 00:24:14.319
in Europe on the Records Makers Record Makers label, containing

410
00:24:14.359 --> 00:24:17.359
a very brief twenty four minutes of music. It would

411
00:24:17.359 --> 00:24:21.759
see its US premiere release in twenty twelve from BSX Records,

412
00:24:22.160 --> 00:24:25.279
produced for the label by Alan Holworth, containing thirty six

413
00:24:25.319 --> 00:24:27.960
minutes of score and including Carpenter's score for the nineteen

414
00:24:28.039 --> 00:24:31.119
seventy four film Dark Star, which makes the CD a

415
00:24:31.119 --> 00:24:33.359
total of one hour and one minute of music. That

416
00:24:33.519 --> 00:24:38.119
soundtrack is still available for download through the BSX Records website.

417
00:24:38.319 --> 00:24:42.359
Wayne, I was actually listening to the Assault on Precinct

418
00:24:42.359 --> 00:24:47.599
thirteen album on Spotify, and I wasn't paying attention to

419
00:24:47.680 --> 00:24:51.640
your point. It's it's Assault on Precinct thirteen and Dark Star. Yeah,

420
00:24:51.680 --> 00:24:53.119
And I'm driving down the highway and all of a

421
00:24:53.119 --> 00:24:56.920
sudden I hear some music that is absolutely not Assault

422
00:24:57.000 --> 00:24:59.319
on precint thing. Yes, what the hell is? The Hell's this?

423
00:24:59.559 --> 00:25:01.720
What's going on? And but that I was like, but

424
00:25:01.759 --> 00:25:03.200
I kept listening. I was like, well, this is this

425
00:25:03.279 --> 00:25:05.200
is super cool. I didn't know as I get a

426
00:25:05.200 --> 00:25:08.319
little little bonustraight here with Dark Star. So definitely a great,

427
00:25:08.519 --> 00:25:10.279
great one to have physical media.

428
00:25:11.079 --> 00:25:13.279
All Right, we are at number three and let's begin

429
00:25:13.319 --> 00:25:14.759
with Jeff Well.

430
00:25:14.839 --> 00:25:18.400
I don't know what I can say that David didn't

431
00:25:18.680 --> 00:25:21.799
about nineteen eighties. The Fog. It's my number three pick.

432
00:25:23.279 --> 00:25:27.599
It is. I think it's probably his most atmospheric and

433
00:25:27.799 --> 00:25:32.559
uh it just I think he captures, you know, obviously,

434
00:25:32.559 --> 00:25:34.119
the fog. If you haven't seen it, I hope, I

435
00:25:34.160 --> 00:25:36.960
hope most people have. But it's a ghost story and

436
00:25:38.119 --> 00:25:40.160
I really feel like Dave, Dave, I love that you

437
00:25:40.160 --> 00:25:43.599
said it. It kind of gave you a Vincent Price vibe.

438
00:25:44.640 --> 00:25:45.119
It does.

439
00:25:45.440 --> 00:25:50.000
The music, it's it's mournful. It's it's a little foreboding,

440
00:25:50.039 --> 00:25:53.359
and you can feel that there's a there's tragedy on it,

441
00:25:53.400 --> 00:25:55.279
you know, and it kind of just kind of drifts

442
00:25:55.319 --> 00:25:58.319
into the scenes, it kind of drifts out. It's there's

443
00:25:58.319 --> 00:26:00.799
always there's that constant tension, kind of like with assault

444
00:26:00.839 --> 00:26:04.240
on presetc. Thirteen. But what the fog does? It just

445
00:26:04.359 --> 00:26:07.440
keeps you. It never lets you forget that you're in

446
00:26:07.680 --> 00:26:09.880
a haunted a haunted movie, You're you're in a scary

447
00:26:09.920 --> 00:26:13.319
ghost movie, because it's always there in the background, that

448
00:26:13.480 --> 00:26:16.119
threat is always there, and it's it's inescapable, it's and

449
00:26:16.160 --> 00:26:18.960
it's it's awesome. I should have it. I should probably

450
00:26:18.960 --> 00:26:20.720
have a little lot bit higher, truth be told, But

451
00:26:21.240 --> 00:26:22.759
you know, I've only got two picks above this, so

452
00:26:22.799 --> 00:26:23.680
i gotta gotta.

453
00:26:23.480 --> 00:26:26.079
Be careful exactly. And the music just creeps along like

454
00:26:26.079 --> 00:26:28.559
the fog itself. It's it's weird to say it, but

455
00:26:28.599 --> 00:26:32.640
it's true. It's almost like, you know when you mentioned it,

456
00:26:32.880 --> 00:26:34.920
when he edited the film and then he put the

457
00:26:35.519 --> 00:26:37.680
did the music after he already edited everything, which they

458
00:26:37.720 --> 00:26:40.880
all do, but I mean he purposely. It seems like

459
00:26:41.519 --> 00:26:44.200
he matched the music to the movement of the fog.

460
00:26:44.640 --> 00:26:46.839
It's crazy to say, but it looks like it feels

461
00:26:46.880 --> 00:26:47.240
like that.

462
00:26:48.000 --> 00:26:49.920
I think one of the things that makes the fog

463
00:26:50.000 --> 00:26:53.680
so so good is I mean, I get it. It's

464
00:26:53.720 --> 00:26:56.519
nineteen eighty, so we're not. He hasn't really established his

465
00:26:56.680 --> 00:26:59.640
sound yet, but looking back, we can. You know, when

466
00:26:59.640 --> 00:27:01.799
I think Carpeter, we think Carpenter. I'm sure we're all

467
00:27:01.799 --> 00:27:04.960
thinking like it's all about the synth stuff, right, Yep,

468
00:27:05.000 --> 00:27:08.079
that's it. That's where that's his that's his wheelhouse. But

469
00:27:08.119 --> 00:27:10.519
the fog has doesn't have a whole lot of that.

470
00:27:10.599 --> 00:27:13.480
You know, there's more piano and it's it's it's I

471
00:27:13.480 --> 00:27:16.119
don't know, it's it's it's it's spooky, I guess.

472
00:27:16.400 --> 00:27:18.759
And if you've never been out to that area, that

473
00:27:18.799 --> 00:27:21.160
fog really does look like that, Like it will roll

474
00:27:21.200 --> 00:27:23.920
over the hills looking just like it does in that movie.

475
00:27:23.960 --> 00:27:24.880
It is frightening.

476
00:27:25.599 --> 00:27:28.599
Yeah. And uh, one thing about the music of the

477
00:27:28.640 --> 00:27:32.160
fog if you if you've watched the film, uh, dave

478
00:27:32.200 --> 00:27:36.119
you mentioned Adrian Barbo and the sultry, lovely Adrian Barbroo.

479
00:27:36.319 --> 00:27:39.160
I had the opportunity to speak with her a couple

480
00:27:39.160 --> 00:27:41.559
of years ago. We actually interviewed her for one of

481
00:27:41.599 --> 00:27:45.079
our comment episodes. And the weird thing, you know, she's

482
00:27:45.119 --> 00:27:48.359
the DJ in this lighthouse, but she's just playing like

483
00:27:48.440 --> 00:27:52.240
bandstand music, which I always thought was weird. Come to

484
00:27:52.279 --> 00:27:56.119
find out Carpenter did. They didn't have the money to

485
00:27:56.119 --> 00:27:58.920
to buy, you know, to to sample actual rock music.

486
00:27:59.000 --> 00:28:02.079
So uh, when we talked, I know I asked her

487
00:28:02.079 --> 00:28:04.519
about Stevie Wayne. I said, you know, if you had

488
00:28:04.559 --> 00:28:06.480
the budget, if you could have got the music, who

489
00:28:06.559 --> 00:28:10.039
is Stevie Wayne listening to? Who's she playing? And she

490
00:28:10.119 --> 00:28:12.119
had some great answers. Listeners. You gotta go back and

491
00:28:12.160 --> 00:28:13.759
listen to the comment up. But I think it was

492
00:28:13.759 --> 00:28:17.799
a comment to Electric Boogaloo. It was Adrian Barbo interviewed.

493
00:28:17.880 --> 00:28:21.160
Go back, check that out, because she was just a delight.

494
00:28:21.200 --> 00:28:21.400
You know.

495
00:28:21.440 --> 00:28:23.759
She gave us a little bit of a SoundBite there

496
00:28:23.759 --> 00:28:25.519
to talk about Stevie Wayne, So check that out.

497
00:28:26.079 --> 00:28:28.759
I'll admit I'm no John Carpenter expert when it comes

498
00:28:28.759 --> 00:28:31.359
to his music. That's why I'm hosting this, but I

499
00:28:31.440 --> 00:28:34.000
listened to much of the music to familiarize myself with

500
00:28:34.039 --> 00:28:37.640
his scores, and the Fog is definitely my favorite of

501
00:28:37.680 --> 00:28:41.279
his very Serabon released his score back in nineteen eighty

502
00:28:41.319 --> 00:28:43.880
four on LP and then the next year on CD,

503
00:28:44.000 --> 00:28:47.000
but containing just a tiny fraction of music, barely over

504
00:28:47.039 --> 00:28:50.279
a half hour of it. Silver Screen Records and Great

505
00:28:50.039 --> 00:28:52.759
Britain did a little better in two thousand, release an

506
00:28:52.759 --> 00:28:56.160
expanded score with nearly an hour of the music. However,

507
00:28:56.599 --> 00:28:59.279
silver Screen would finally put things right in twenty twelve

508
00:28:59.279 --> 00:29:01.519
and release a two day complete score for the film,

509
00:29:01.599 --> 00:29:04.200
containing an hour and forty five minutes of music. Had

510
00:29:04.200 --> 00:29:07.079
a nice six minute interview with Jamie Lee Curtis. I

511
00:29:07.440 --> 00:29:09.440
like this score so much that I found one of

512
00:29:09.440 --> 00:29:11.880
the complete CDs on eBay and ordered it this week.

513
00:29:12.119 --> 00:29:12.640
That's how much.

514
00:29:14.319 --> 00:29:15.160
That's a very good one.

515
00:29:15.279 --> 00:29:17.720
Yeah, Wayne, I was actually gonna ask you what at

516
00:29:17.759 --> 00:29:18.960
the end of this. I was gonna ask you what

517
00:29:19.000 --> 00:29:21.160
your favorite John Carpenter score was.

518
00:29:21.960 --> 00:29:22.400
And there it is.

519
00:29:22.400 --> 00:29:26.160
Oh no, all right, it is all right, David, why

520
00:29:26.160 --> 00:29:28.160
don't you give us your number three choice?

521
00:29:28.720 --> 00:29:30.480
Well, here on the film by we all know we

522
00:29:30.640 --> 00:29:34.279
how much we love Stephen King, so clearly I'm going

523
00:29:34.319 --> 00:29:45.359
to go with nineteen eighty three's Chris teen. So the

524
00:29:45.440 --> 00:29:50.079
one track Mouchie's death in Christine Attacks, the score kicks

525
00:29:50.119 --> 00:29:53.759
into an upbeat rhythm that mirrors the action unfolding on screen.

526
00:29:53.920 --> 00:29:57.240
A long, drawn out stem builds beneath it, the beat

527
00:29:57.319 --> 00:30:01.839
accelerating faster and faster as the tension. Then, just as

528
00:30:01.920 --> 00:30:04.599
Christine closes in her kill, the tempo drops into a

529
00:30:04.640 --> 00:30:09.200
slower but steady pulse, Cold, deliberate, and relentless. The music

530
00:30:09.240 --> 00:30:12.880
becomes the car's heartbeat. Signaling that nothing is going to

531
00:30:12.920 --> 00:30:15.359
stop it. The other track that I would like to

532
00:30:15.359 --> 00:30:18.359
point out is show Me. The theme is simple, much

533
00:30:18.519 --> 00:30:22.759
like Halloween, yet every bit as haunting. Its sparse, steady

534
00:30:22.839 --> 00:30:27.079
rhythm unsettles the listener, mirroring the character's own slow discovery

535
00:30:27.119 --> 00:30:30.440
of what they're truly dealing with. The music places us

536
00:30:30.480 --> 00:30:32.559
right in the driver's seat of the car we've come

537
00:30:32.599 --> 00:30:36.519
to love and obsess over, letting its presence loom over

538
00:30:36.640 --> 00:30:41.160
every moment with quiet, relentless menace. Christine is one of

539
00:30:41.200 --> 00:30:44.559
those movies that if you've not seen it, you really

540
00:30:44.559 --> 00:30:47.440
should because a lot of carpet or stuff is like that.

541
00:30:47.480 --> 00:30:49.480
To be honest with you, a lot of this stuff

542
00:30:49.480 --> 00:30:52.160
has a major cult followings. But this is back in

543
00:30:52.200 --> 00:30:54.519
the day when you know, Stephen King movies were, you know,

544
00:30:54.599 --> 00:30:57.079
the books were of obviously very very popular, and things

545
00:30:57.079 --> 00:31:00.480
were starting to get turned into movies, and John Carpenter

546
00:31:00.680 --> 00:31:02.519
picked this one up and decided, you know, to go

547
00:31:02.559 --> 00:31:05.599
ahead and produce it and direct it into the music itself.

548
00:31:06.799 --> 00:31:08.720
But it's about a car that comes to life.

549
00:31:08.839 --> 00:31:09.079
Guys.

550
00:31:09.119 --> 00:31:12.000
You know I've talked about the movie The Car from

551
00:31:12.039 --> 00:31:14.599
the late seventies, which is a great film in itself.

552
00:31:15.039 --> 00:31:18.119
But this is another one of those movies that you know,

553
00:31:18.160 --> 00:31:21.440
the car comes to life and you know kind of

554
00:31:21.519 --> 00:31:25.319
I guess romances the guy who gets the car. They

555
00:31:25.359 --> 00:31:26.880
both kind of fall in love with it if you

556
00:31:26.960 --> 00:31:30.359
each other, if you think about it, and becomes they

557
00:31:30.359 --> 00:31:34.000
become ossessed with one another. And that the soundtrack itself

558
00:31:34.079 --> 00:31:36.920
just follows suit with that. You know, you get that

559
00:31:36.920 --> 00:31:40.519
that the car gets jealous and becomes it gets revengeful

560
00:31:40.559 --> 00:31:44.559
and goes after people. But the music matches that beautifully

561
00:31:44.599 --> 00:31:46.880
and perfectly, as Carpenter does with all of this stuff.

562
00:31:47.400 --> 00:31:50.039
You're right about the Car, that is James browln that

563
00:31:50.119 --> 00:31:53.279
is such a such a great uh pick what I

564
00:31:53.279 --> 00:31:55.640
think that nineteen seventy seven if if I remember right,

565
00:31:57.359 --> 00:31:59.480
I don't know. Now you talking about Christine like that,

566
00:31:59.599 --> 00:32:03.000
I'm kind of like, go do it like a little marathon.

567
00:32:03.000 --> 00:32:04.640
I want to watch The Car, I want to watch Cassine,

568
00:32:05.039 --> 00:32:06.920
and I'm definitely gonna watch The Wraith. You know nineteen

569
00:32:06.920 --> 00:32:07.880
eighty six is The Wraith.

570
00:32:07.920 --> 00:32:09.359
Oh yeah, we.

571
00:32:09.279 --> 00:32:13.160
Did an episode on that too, So yeah, maybe we

572
00:32:13.200 --> 00:32:15.839
can talk about the Car at some point, David, we

573
00:32:15.880 --> 00:32:16.160
need to.

574
00:32:16.279 --> 00:32:19.799
Absolutely, that's a great film. I saw that a couple

575
00:32:19.799 --> 00:32:22.759
of years ago loved it ye. At the time of

576
00:32:22.799 --> 00:32:26.599
the film's release, there was an LP release from Motown Records,

577
00:32:26.960 --> 00:32:29.559
but this contained only two minutes of Carpenter and Howorth's

578
00:32:29.599 --> 00:32:32.400
score on it. Most of it was filled with songs

579
00:32:32.400 --> 00:32:35.079
heard from the film. The only ever release of this

580
00:32:35.119 --> 00:32:37.440
score is back in nineteen eighty nine by Very Sarah

581
00:32:37.440 --> 00:32:40.359
Band on CD with eighteen tracks and only thirty three

582
00:32:40.400 --> 00:32:43.799
minutes of music. Faries did re release this on LP

583
00:32:44.519 --> 00:32:47.200
with the same music back in twenty seventeen, but this

584
00:32:47.279 --> 00:32:49.680
is very hard to find and very expensive on the

585
00:32:49.680 --> 00:32:52.920
secondary market. All Right, I think it's time for another

586
00:32:53.039 --> 00:32:55.880
short break. We'll be right back after these messages.

587
00:32:57.960 --> 00:33:00.240
Ever noticed how some of the most legendary movie, these

588
00:33:00.440 --> 00:33:03.519
TV shows and songs we're never supposed to work, box

589
00:33:03.559 --> 00:33:06.880
office flops on paper, network rejects, songs the artists didn't

590
00:33:06.880 --> 00:33:07.480
even want to.

591
00:33:07.440 --> 00:33:11.680
Record, and yet boom instant classic cultural obsession songs that

592
00:33:11.680 --> 00:33:14.480
have played everywhere NonStop for decades.

593
00:33:14.680 --> 00:33:16.920
We dig into the projects that were supposed to flop

594
00:33:16.960 --> 00:33:18.960
and accidentally became icons.

595
00:33:19.079 --> 00:33:22.799
Bad ideas, bad timing, somehow perfect results.

596
00:33:23.000 --> 00:33:26.200
This is the accident the legends, proving that failure is

597
00:33:26.279 --> 00:33:29.319
just a success that showed up late. We're available anywhere

598
00:33:29.319 --> 00:33:32.559
that you find podcasts, Spreaker, Apple or Spotify.

599
00:33:32.799 --> 00:33:35.680
We're back again, and if you're just joining us, then

600
00:33:35.839 --> 00:33:37.519
what are you doing? Go back and listen to the

601
00:33:37.519 --> 00:33:41.039
rest of it. But for the rest of you, we're

602
00:33:41.079 --> 00:33:43.960
here talking about the top five musical film scores of

603
00:33:44.000 --> 00:33:48.119
composer John Carpenter. We've heard number five, four and three,

604
00:33:49.039 --> 00:33:51.160
and now working our way down the countdown will be

605
00:33:51.279 --> 00:33:53.519
David Burns, who is going to give us his number two.

606
00:33:54.160 --> 00:33:57.119
Well, I got on Jeff about his number five because

607
00:33:57.920 --> 00:34:00.920
Escape from New York it's clearly a little bit higher

608
00:34:00.960 --> 00:34:02.799
in my opinion, which he's gonna get me with one.

609
00:34:02.839 --> 00:34:06.240
So nineteen eighty one's Escape from New York. Jeff talked

610
00:34:06.240 --> 00:34:08.519
about it, you know, a lot, and you know he

611
00:34:08.599 --> 00:34:11.719
nailed it on the head for sure. The score opens

612
00:34:11.760 --> 00:34:15.280
with a simple electric theme that amplifies the rugged heroism

613
00:34:15.400 --> 00:34:20.199
of our anti hero Snake. Its steady pulse immediately sets

614
00:34:20.199 --> 00:34:22.840
the tone for the mission ahead and firmly grounds us

615
00:34:22.840 --> 00:34:27.599
in the film's gritty, futuristic world. And Alan Hollworth crafted

616
00:34:27.599 --> 00:34:31.519
the sonic pailett using arp and profit Phi synthesizers, a

617
00:34:31.679 --> 00:34:35.360
Lynn lm One drum machine, acoustic piano, and Fender guitars.

618
00:34:35.639 --> 00:34:39.800
Building the textured foundation of the soundtrack. Carpenter layered his

619
00:34:39.880 --> 00:34:43.599
signature touch on top, composing the melodies on synthesizer keyboards

620
00:34:43.599 --> 00:34:48.800
to create a theme that's minimalist, moody, and unmistakably iconic.

621
00:34:50.679 --> 00:34:53.679
You know, the Escape from New York is just one

622
00:34:53.679 --> 00:34:56.280
of those movies. It's just like because when I got

623
00:34:56.280 --> 00:35:00.039
introduced to John Carpenter, it was obviously Halloween. So so

624
00:35:00.559 --> 00:35:02.800
as I was watching more and more Coppenter and diving

625
00:35:02.840 --> 00:35:05.760
into his filmography and stuff like that, I didn't know

626
00:35:05.880 --> 00:35:08.360
what Escape from New York was at the time, so

627
00:35:08.639 --> 00:35:10.960
I had already seen the fog, and when I dove

628
00:35:10.960 --> 00:35:14.440
into Escape from York, I was expecting something more horror

629
00:35:14.960 --> 00:35:16.559
than I got from escap From Your because I didn't

630
00:35:16.559 --> 00:35:18.199
watch trailer anything like that. I just dove right into

631
00:35:18.280 --> 00:35:20.719
it and I was like, whoa, this is completely different

632
00:35:20.719 --> 00:35:22.639
because I hadn't seen the thought. But I'm PERSEK thirteen

633
00:35:22.679 --> 00:35:25.599
at all to that point. So this is my introduction

634
00:35:25.639 --> 00:35:28.920
to John Carpenter of you know, this style of film

635
00:35:29.320 --> 00:35:33.280
and the music. As Carpenter does just matched it perfect well.

636
00:35:33.440 --> 00:35:35.480
There was a short release of the score back in

637
00:35:35.559 --> 00:35:38.480
nineteen eighty three on LP by Very Sarah Band with

638
00:35:38.519 --> 00:35:41.159
about thirty five minutes of music, and then a re

639
00:35:41.159 --> 00:35:44.599
release of it on CD and nineteen eighty nine. In

640
00:35:44.639 --> 00:35:48.440
the year two thousand, Silver Screen Records in England released

641
00:35:48.440 --> 00:35:51.719
a remastered and remixed CD of the score, expanding the

642
00:35:51.800 --> 00:35:55.320
music close to an hour but including tidbits of dialogue

643
00:35:55.320 --> 00:35:58.639
along with the music. There is a complete score release

644
00:35:58.679 --> 00:36:01.480
out there on vinyl by Waxworks Records or at least

645
00:36:01.519 --> 00:36:04.000
back in twenty twenty, but it is sold out already

646
00:36:04.039 --> 00:36:07.960
on their website. Mondo Records also released the complete score

647
00:36:08.039 --> 00:36:11.360
on a two LP San Diego Comic Con exclusive limited

648
00:36:11.360 --> 00:36:15.159
to five hundred copies. They're both sold out at but

649
00:36:15.239 --> 00:36:17.519
can be found on the secondary market quite easily if

650
00:36:17.519 --> 00:36:18.559
you're looking to buy one.

651
00:36:19.079 --> 00:36:23.119
Well, and you know you mentioned that the this this

652
00:36:23.119 --> 00:36:25.480
this soundtrack, it has a couple of those sound clips,

653
00:36:25.519 --> 00:36:29.199
those little interludes, and I love that, Like we listening

654
00:36:29.199 --> 00:36:31.320
to this one, I picked up on that immediately. I

655
00:36:31.719 --> 00:36:36.039
wish we had had not strewn away from that. You know,

656
00:36:36.199 --> 00:36:39.880
you don't hear that in today's soundtrack albums.

657
00:36:40.079 --> 00:36:41.920
I think, yeah, and I don't mind them. It's not

658
00:36:42.000 --> 00:36:44.639
it's not on top of the music. It's actually separate tracks,

659
00:36:44.639 --> 00:36:46.280
So it's not it's separate tracks.

660
00:36:46.480 --> 00:36:48.920
Yeah, it'd be nice if they could go back to that.

661
00:36:49.519 --> 00:36:50.840
There's a lot of things they need to go back

662
00:36:50.840 --> 00:36:52.239
to that they've gotten away from that.

663
00:36:52.280 --> 00:36:56.119
They Yeah, that's true, that's that's true. That's true.

664
00:36:57.159 --> 00:37:00.079
Now we'll hear from Jeff Johnson and his number two pick.

665
00:37:01.719 --> 00:37:05.760
Ah Wayne. It's all on the reflexes dat. You knew

666
00:37:05.760 --> 00:37:06.480
this was coming.

667
00:37:06.599 --> 00:37:07.360
I knew it was coming.

668
00:37:16.039 --> 00:37:18.880
I was so surprised when you you you launched with

669
00:37:18.960 --> 00:37:22.159
number five, Big Trouble Little China. It's it's my number two.

670
00:37:22.920 --> 00:37:29.159
And I know that it's not his most memorable or

671
00:37:29.199 --> 00:37:33.199
his absolute best, but it is my absolute favorite. I

672
00:37:33.280 --> 00:37:37.639
love this score for all the reasons that you you mentioned, Dave,

673
00:37:38.320 --> 00:37:40.840
because it is it's it's it's it's playful, and it's

674
00:37:40.880 --> 00:37:42.760
genre bending. We you know, we talked about this when

675
00:37:42.800 --> 00:37:45.880
we covered Big Trouble, Little China in our eighty six series.

676
00:37:46.360 --> 00:37:49.000
But you know, when you've got Carpenter since style and

677
00:37:49.000 --> 00:37:52.000
then you've got the rock element, you know, there's so

678
00:37:52.119 --> 00:37:54.480
much fun to be had because this movie is larger

679
00:37:54.519 --> 00:37:55.880
than life, and you know, you kind of like that

680
00:37:56.039 --> 00:37:57.599
they didn't really know what to make of it. You know,

681
00:37:58.679 --> 00:38:01.559
I was watching an inner you with Carpenter. It's actually

682
00:38:01.599 --> 00:38:04.800
Robert Riguez was interviewing John Carpenter and they're talking about

683
00:38:04.840 --> 00:38:05.719
Big Trouble on China.

684
00:38:05.800 --> 00:38:05.920
Now.

685
00:38:05.920 --> 00:38:08.559
Carpenter talked about how much funny he had on this set,

686
00:38:08.639 --> 00:38:11.519
how amazing the cast was to work with, the crew

687
00:38:11.639 --> 00:38:15.360
was to work with. But he also mentioned, like, you know,

688
00:38:15.400 --> 00:38:18.480
the studio thought they were getting an Indiana Jones movie,

689
00:38:18.760 --> 00:38:22.039
and they got a guy who is sort of like

690
00:38:22.079 --> 00:38:24.280
a third rate John Wayne who thinks he's the hero,

691
00:38:24.360 --> 00:38:28.719
but it's actually the sidekick. So I think it's it's

692
00:38:28.800 --> 00:38:30.639
sad that it missed the mark back in eighty six

693
00:38:30.639 --> 00:38:33.119
because it, you know, it should have been a much

694
00:38:33.199 --> 00:38:37.239
bigger film at the box office. But you know, not

695
00:38:37.280 --> 00:38:39.199
to step on what Dave has already said, but like

696
00:38:39.400 --> 00:38:42.079
you know, when you've got a movie where it's mixing

697
00:38:42.159 --> 00:38:44.880
martial arts and fantasy and comedy and action adventure and

698
00:38:44.880 --> 00:38:46.360
a little bit of a ghost story with you know,

699
00:38:46.519 --> 00:38:51.719
with low panned Carpenter is just he's throwing he's in

700
00:38:51.760 --> 00:38:53.639
the kitchen and he is cooking on this one because

701
00:38:53.639 --> 00:38:56.840
he's got all kinds of stuff happening. There's dark moments,

702
00:38:56.880 --> 00:39:01.599
there's there's light moments. Dave, have you mentioned the storms

703
00:39:02.639 --> 00:39:05.599
that that track one that I love, I absolutely love aside.

704
00:39:05.639 --> 00:39:07.599
You know we all love the Pork Shop Express. You

705
00:39:07.719 --> 00:39:10.119
have to love port Chop. That's one of the greatest,

706
00:39:10.960 --> 00:39:14.000
you know, opening themes of any any movie, I don't

707
00:39:14.000 --> 00:39:17.159
care who you are. But the Alley. There's a track

708
00:39:17.400 --> 00:39:21.719
this you know, called the Alley where you know, the

709
00:39:21.360 --> 00:39:24.280
the gang, the rival gangs about the meat and that music.

710
00:39:25.360 --> 00:39:28.519
It's quiet and it kind of builds the tension, you know,

711
00:39:28.800 --> 00:39:32.320
with those drum beats, that doom do you know it's

712
00:39:32.360 --> 00:39:35.599
I love it. I love it. And then when when

713
00:39:35.599 --> 00:39:41.119
Along screams, the music matches the intensity of these these

714
00:39:41.119 --> 00:39:44.119
two armies just running at each other with with weapons,

715
00:39:44.199 --> 00:39:47.880
colliding and shouting, and it is just a roller coaster

716
00:39:48.559 --> 00:39:50.320
of a piece of music. And I love it. I mean,

717
00:39:50.320 --> 00:39:52.719
I'm getting I'm getting pumped up just just thinking about

718
00:39:52.719 --> 00:39:58.320
it right now. But absolutely fantastic score. And uh you

719
00:39:58.360 --> 00:40:02.000
know it's my number two only because there's one other

720
00:40:02.079 --> 00:40:02.960
one out there.

721
00:40:04.119 --> 00:40:05.320
Oh yeah, we know what's coming.

722
00:40:05.639 --> 00:40:06.400
We know what's coming.

723
00:40:06.519 --> 00:40:09.199
Yeah, but that the alley leads me into one of

724
00:40:09.239 --> 00:40:11.280
my favorite lines of all The Big Trouble of China.

725
00:40:11.280 --> 00:40:14.039
It's so simple but yet so funny. Don't look too late.

726
00:40:14.079 --> 00:40:20.960
I did, I already did, all right, I won't. Yeah, yeah, man,

727
00:40:21.000 --> 00:40:24.239
I could quote John. I could quote Jack Burton all night.

728
00:40:25.039 --> 00:40:27.199
He's one of my I think he's I mean, when

729
00:40:27.239 --> 00:40:29.639
you think about Kurt Russell and John Carpenter and their

730
00:40:29.679 --> 00:40:32.920
collaboration over the years, Yeah, and all the great characters

731
00:40:32.920 --> 00:40:35.719
they've given us. You know, I'd love to have that

732
00:40:35.760 --> 00:40:39.920
conversation at some point, like a MacCready versus Plisken versus

733
00:40:39.920 --> 00:40:44.400
Burton conversation, and that'd be fun, Like you know, who's

734
00:40:44.440 --> 00:40:46.199
your favorite and why. That'd be a that'd be a

735
00:40:46.239 --> 00:40:48.960
fun one, But you know, not today.

736
00:40:49.880 --> 00:40:52.320
Well, back in nineteen eighty six, when the film was released,

737
00:40:52.519 --> 00:40:54.719
there was a short CD released the score, brought out

738
00:40:54.760 --> 00:40:58.239
by Enigma Records, containing nine tracks of score with forty

739
00:40:58.239 --> 00:41:01.480
five minutes of music. But this score has developed a

740
00:41:01.559 --> 00:41:05.280
cult following just like the film, and was released complete

741
00:41:05.360 --> 00:41:08.119
and remastered first in two thousand and eight and again

742
00:41:08.159 --> 00:41:11.400
in twenty sixteen by Lallaland Records on a two CD

743
00:41:11.559 --> 00:41:15.039
limited edition containing all one hour and thirty six minutes

744
00:41:15.239 --> 00:41:19.480
of score along with bonus tracks. Now, before we move on,

745
00:41:20.000 --> 00:41:22.039
I thought we'd take a sidestep here and talk a

746
00:41:22.079 --> 00:41:25.599
little bit about John Carpenter's other musical work. Over the

747
00:41:25.639 --> 00:41:28.360
last decade or so, John Carpenter's begun to move into

748
00:41:28.360 --> 00:41:31.119
a new phase of his career as a musical composer.

749
00:41:31.840 --> 00:41:35.639
Carpenter's non film musical output, released primary on CD in

750
00:41:35.639 --> 00:41:39.199
the twenty tens, reveals an artist freed from the narrative

751
00:41:39.239 --> 00:41:42.800
demands of cinema, while still deeply rooted in the sonic

752
00:41:42.880 --> 00:41:46.519
identity he helped create. To date, there have been three

753
00:41:46.599 --> 00:41:50.760
albums produced, Lost Themes, Lost Themes Two and The Anthology,

754
00:41:51.280 --> 00:41:56.199
and each reinterpret or reimagine music untethered from film, allowing

755
00:41:56.239 --> 00:42:00.440
Carpenter explore mood and structure for their own sake. Working

756
00:42:00.480 --> 00:42:04.360
closely with his son Cody Carpenter and God's son Daniel Davies,

757
00:42:04.840 --> 00:42:09.239
these releases modernize his classic analog synth sound without abandoning

758
00:42:09.280 --> 00:42:13.199
his minimalist style. The result is a musical trapestry that

759
00:42:13.280 --> 00:42:18.239
feels familiar yet new. His first album, Lost Themes in particular,

760
00:42:18.280 --> 00:42:21.840
stands as a creative statement rather than a novelty. It

761
00:42:21.920 --> 00:42:25.280
was released in twenty fifteen. Each track plays like the

762
00:42:25.320 --> 00:42:29.800
opening of an unseen film, unfolding slowly through pulsing basslines,

763
00:42:30.119 --> 00:42:35.400
restrained melodies, and repetition. Carpenter leans heavily on atmosphere intension,

764
00:42:35.960 --> 00:42:38.679
and unlike his film scores, which must follow the visuals

765
00:42:38.719 --> 00:42:42.480
on screen, this music breathes more freely, allowing the music

766
00:42:42.519 --> 00:42:46.239
to stretch and evolve. The album reveals one thing about

767
00:42:46.280 --> 00:42:49.800
the composer. Carpenter knows exactly how little he needs to

768
00:42:49.840 --> 00:42:53.719
do to keep the listener engaged. His second album, Lost

769
00:42:53.719 --> 00:42:57.039
Themes two, released a year later, sharpens this approach with

770
00:42:57.079 --> 00:43:00.559
a slightly more aggressive and rhythmic edge to it, which

771
00:43:00.679 --> 00:43:03.840
tracks that feel darker, heavier, and a little more overtly

772
00:43:03.840 --> 00:43:08.920
influenced by modern electronic and industrial music. It's still definitely Carpenter.

773
00:43:09.079 --> 00:43:12.679
The melodies remain simple, the structure's disciplined, and the mood

774
00:43:12.920 --> 00:43:17.800
unmistakably his, But Cody Carpenter's influence is especially noticeable in

775
00:43:17.840 --> 00:43:20.239
this album. It makes it feel less like an experiment

776
00:43:20.320 --> 00:43:26.199
more like a fully realized orchestral event. His third album Anthology,

777
00:43:26.840 --> 00:43:30.800
released in twenty seventeen, contains much of his familiar film music,

778
00:43:31.119 --> 00:43:33.840
but because of the concert oriented approach to the themes, it

779
00:43:33.880 --> 00:43:36.639
makes it feel more like a live performance than a soundtrack.

780
00:43:37.360 --> 00:43:39.960
These versions strip the music from their films and presents

781
00:43:40.000 --> 00:43:44.559
them in a standalone electronic composition, emphasizing rhythm and texture

782
00:43:44.599 --> 00:43:48.559
of the music itself. Hearing familiar themes reimagined in this

783
00:43:48.599 --> 00:43:52.960
way highlights just how strong Carpenter's musical ideas are now.

784
00:43:53.079 --> 00:43:55.599
Two further albums have been released by the composer in

785
00:43:55.639 --> 00:43:59.920
recent years, one titled Life After Death and the second Noir.

786
00:44:00.639 --> 00:44:03.119
Each of these albums were released by the indie labeled

787
00:44:03.280 --> 00:44:06.159
Sacred Bones Records and are available to purchase through either

788
00:44:06.199 --> 00:44:09.320
their website or through the composer's own website at the

789
00:44:09.360 --> 00:44:12.639
official John Carpenter dot com, where you can find samples

790
00:44:12.639 --> 00:44:14.440
of his work from many of his albums. I just

791
00:44:14.519 --> 00:44:17.920
mentioned it's it's a great listen and I suggest everyone

792
00:44:17.960 --> 00:44:18.559
to check it out.

793
00:44:19.360 --> 00:44:25.239
Anthology Wayne is fantastic, Yes, great, and it is it,

794
00:44:25.480 --> 00:44:27.960
you know, because I was like, wait, that's a that's

795
00:44:27.960 --> 00:44:30.440
a little bigger, that's a little bolder, you know, certain

796
00:44:30.480 --> 00:44:33.719
themes it definitely has a concert feel like you're like

797
00:44:33.760 --> 00:44:36.280
he's at the Hollywood Bowl, and it's if you're a

798
00:44:36.320 --> 00:44:39.000
Carpenter fan, you and you don't, you haven't listened to it,

799
00:44:39.039 --> 00:44:40.760
you would. I can't recommend it enough.

800
00:44:41.079 --> 00:44:43.000
I love what you said when you said he's not

801
00:44:43.079 --> 00:44:46.719
constrained to cinema because he can just go hog wild

802
00:44:46.800 --> 00:44:48.559
and go crazy, which is what he does with these

803
00:44:48.639 --> 00:44:51.719
and they are all fantastic, great work by Carpenter, and

804
00:44:51.760 --> 00:44:54.239
I'm glad he's moved into that part of his life

805
00:44:54.360 --> 00:44:56.840
that he's able to do that and get to explore

806
00:44:56.880 --> 00:44:58.400
that with his son. That's amazing.

807
00:44:58.960 --> 00:44:59.440
Yeah.

808
00:45:00.079 --> 00:45:02.639
All right, Before we move on to our number one pick,

809
00:45:03.039 --> 00:45:05.159
we're going to talk about a couple of the scores

810
00:45:05.239 --> 00:45:08.000
that didn't make the top five lists but came very close.

811
00:45:08.519 --> 00:45:12.360
These are our honorable mentions. Jeff, what have you got

812
00:45:12.360 --> 00:45:14.079
for us for your pick for honorable mention?

813
00:45:15.000 --> 00:45:19.039
Show me? Uh, let's go back to Christine one more time.

814
00:45:19.079 --> 00:45:21.039
It was it was it was tough to keep this

815
00:45:21.079 --> 00:45:24.199
out of my top five, but again I wrestled with

816
00:45:24.239 --> 00:45:25.719
this and I and as I said at the top

817
00:45:25.719 --> 00:45:27.559
of the hour, I don't think there's any bad there's

818
00:45:27.599 --> 00:45:29.800
no wrong answers here when you're when you're talking about

819
00:45:30.159 --> 00:45:32.159
any of these composers, you know, the two episodes that

820
00:45:32.159 --> 00:45:35.440
you guys did for Goldsmith and Horner. Uh. There, there's

821
00:45:35.480 --> 00:45:38.239
just no wrong answer. There's no wrong ranking as far

822
00:45:38.239 --> 00:45:40.280
as I'm concerned, because we're talking about some of the

823
00:45:40.320 --> 00:45:45.239
greatest music that we've heard in cinema history. But Christine

824
00:45:45.239 --> 00:45:48.400
would be my honorable mention. I like, I like that

825
00:45:48.480 --> 00:45:52.159
it's restrained. We're still early in his uh his filmography,

826
00:45:52.239 --> 00:45:55.920
so I think he's still learning, uh how and and

827
00:45:55.920 --> 00:45:58.280
and where to put the music. And let's let's go

828
00:45:58.400 --> 00:46:00.840
back to the theme of being simple. You know that

829
00:46:00.840 --> 00:46:04.760
the synthesizers are good, but they're also a little methodical,

830
00:46:05.000 --> 00:46:08.119
and I love that. Every now and then we get

831
00:46:08.119 --> 00:46:10.440
those those horre like I guess what would you call it,

832
00:46:10.440 --> 00:46:12.800
Like a horror sting, you know, like the music where

833
00:46:13.280 --> 00:46:15.400
you know, and Carpenter kind of had that, you know,

834
00:46:15.559 --> 00:46:18.920
and in some of his stuff. But I think that

835
00:46:19.119 --> 00:46:22.039
I think the the overall, I think the score kinda

836
00:46:22.880 --> 00:46:26.079
kind of gives you. This tells this story about obsession.

837
00:46:26.360 --> 00:46:29.119
You know, Dave talked about the car being a little jealous,

838
00:46:29.119 --> 00:46:33.119
the Plymouth fury being jealous of of aready, and it's there,

839
00:46:33.119 --> 00:46:35.320
it's there in the music, but it's like this persistent

840
00:46:36.199 --> 00:46:40.639
patient evil, you know, if that makes sense. And it's

841
00:46:40.639 --> 00:46:42.079
a fun it's a fun one because you know, we

842
00:46:42.159 --> 00:46:43.880
get you know, like Dave you talked about the Motown

843
00:46:43.920 --> 00:46:46.320
stuff and you know, hearing Hearing Bad to the Bone

844
00:46:46.360 --> 00:46:49.599
by George George Thorogood and the Destroyers. It's it's a

845
00:46:49.639 --> 00:46:51.559
cool one and it was hard to hard to keep

846
00:46:51.880 --> 00:46:53.760
off my list, but it is my honorable mention.

847
00:46:54.239 --> 00:46:55.320
David, let's hear yours.

848
00:46:56.199 --> 00:46:58.320
So this one didn't make my top five, but it's close.

849
00:46:58.639 --> 00:47:00.760
And of course, Jeff you are mentioned this one, and

850
00:47:00.800 --> 00:47:04.719
this is nineteen seventy six Assault on Precinct thirteen. The

851
00:47:04.719 --> 00:47:08.360
theme opens with a straightforward, almost underrated melody that immediately

852
00:47:08.400 --> 00:47:12.079
evokes the feel of police work, detectives on the beat, steady, alert,

853
00:47:12.079 --> 00:47:15.840
and committed. It's simplicity works in its favorite conjuring images

854
00:47:15.880 --> 00:47:18.000
of officers joined their best to protect the innocent and

855
00:47:18.079 --> 00:47:21.360
hold the line. The music mirrors the film's tone, grounding

856
00:47:21.400 --> 00:47:23.760
us in a world where only where duty, grit and

857
00:47:23.920 --> 00:47:28.360
quiet demonstration shapes every moment. You know, Jeff, you mentioned

858
00:47:28.400 --> 00:47:30.840
that and this is in his early days when he

859
00:47:30.880 --> 00:47:33.599
you know, he's first exploring doing his own music really

860
00:47:33.639 --> 00:47:36.960
for his movies at this caliber. And you can hear

861
00:47:36.960 --> 00:47:39.039
that in the music. You know, it's not as as

862
00:47:39.079 --> 00:47:43.079
powerful and as strong as the the other movies that

863
00:47:43.119 --> 00:47:45.039
come a little bit later and one we're gonna be

864
00:47:45.039 --> 00:47:49.440
talking about very shortly. But you know this is him learning,

865
00:47:49.559 --> 00:47:54.079
him getting to understand not only directing films, but you know,

866
00:47:54.320 --> 00:47:58.440
composing the music for that film, finding that beat, finding

867
00:47:58.440 --> 00:48:01.239
that tone that match is with what's going on screen.

868
00:48:01.320 --> 00:48:02.719
He did it good. He did it really good in

869
00:48:02.800 --> 00:48:05.239
the thought Pretfek thirteen. But he only gets better as

870
00:48:05.239 --> 00:48:07.159
you go, as we can tell in our top five.

871
00:48:07.480 --> 00:48:09.920
I also want to give an honorable mention shout out

872
00:48:09.960 --> 00:48:13.480
to the thing. We pretty much had to disqualify this

873
00:48:13.599 --> 00:48:16.440
score from the top five because it's a shared credit.

874
00:48:17.119 --> 00:48:20.920
Carpenter scored parts of it alongside the legendary composer Aomoorconi.

875
00:48:21.719 --> 00:48:23.920
First of all, let me stay that I am a

876
00:48:24.039 --> 00:48:27.519
huge Aneo Morricone fan. I think his scores for Richard

877
00:48:27.559 --> 00:48:30.800
the Third and The Untouchable was a brilliant plus. A

878
00:48:30.840 --> 00:48:34.079
little known fact when ITV was trying to Launch Space

879
00:48:34.159 --> 00:48:37.639
nineteen ninety nine. They had Morricone rescore the opening episodes

880
00:48:37.679 --> 00:48:40.559
and to replace the scores originally done and that was

881
00:48:40.599 --> 00:48:42.840
It just came out on CD and I absolutely love it.

882
00:48:43.679 --> 00:48:48.079
But the Thing is a great score. Both Morricone's and

883
00:48:48.119 --> 00:48:52.199
Carpenter's music fits it so perfectly. It's been really so

884
00:48:52.239 --> 00:48:57.360
many times on CD and LP and cassette. But recently

885
00:48:57.440 --> 00:49:00.599
in twenty eleven, BSX Records did a re recording of

886
00:49:00.599 --> 00:49:03.079
the complete score, over an hour of music, and it

887
00:49:03.159 --> 00:49:07.159
all contains the Carpenter music. Still available on their website.

888
00:49:07.239 --> 00:49:10.079
It's worth seeking out. You'll really enjoy the score. But

889
00:49:10.119 --> 00:49:11.719
it could not make our top five.

890
00:49:12.440 --> 00:49:16.800
Wayne, I am so happy you mentioned the Thing for

891
00:49:16.840 --> 00:49:19.400
an honorable mention because I know we probably had a

892
00:49:19.400 --> 00:49:21.719
lot of listeners going, the Hell's wrong with these guys?

893
00:49:21.719 --> 00:49:24.239
How come they're not talking about the thing. But you know,

894
00:49:24.599 --> 00:49:27.679
you can't. Technically, it's not a Carpenter's score, it's it's

895
00:49:27.760 --> 00:49:33.119
it's Morcony's. But when you think about collaboration, because Carpenter

896
00:49:33.119 --> 00:49:35.880
does such a great job, obviously, you know, look at you,

897
00:49:35.960 --> 00:49:39.000
Alan Haworth, but think about this when there, when they're

898
00:49:39.000 --> 00:49:42.079
doing the thing, and this was a studio decision. You know.

899
00:49:42.480 --> 00:49:45.760
Universal told Carpenter, you can direct it, but you're not

900
00:49:45.800 --> 00:49:49.039
doing the music. But he already written a bunch of stuff,

901
00:49:49.079 --> 00:49:53.920
so he's he's communicating with with Morcone about the score.

902
00:49:54.559 --> 00:50:00.599
Carpenter does not speak Italian and Inyo does not speak English,

903
00:50:00.639 --> 00:50:05.639
so uh, you know, the translator basically Carpenter's Carpenter's uh

904
00:50:06.800 --> 00:50:08.199
you know, well, all he could offer him was like

905
00:50:08.440 --> 00:50:11.760
he's fewer notes, That's that's what this, you know, and

906
00:50:12.239 --> 00:50:15.480
you get this, this amazing score and more. Coney, knowing

907
00:50:15.519 --> 00:50:18.559
Carpenter's work, tried to tried to mimic it a little bit.

908
00:50:18.599 --> 00:50:18.760
You know.

909
00:50:18.760 --> 00:50:22.000
That's I think that's why everyone here's the thing, uh

910
00:50:22.280 --> 00:50:24.719
film score and just assumes it's John Carpenter score I

911
00:50:24.719 --> 00:50:26.440
did for the longest time before I paid him.

912
00:50:27.159 --> 00:50:29.880
Yeah, it sounds just like a John Carpenter score. I mean,

913
00:50:29.880 --> 00:50:33.199
it's almost it's dead on. You would think Carpenter has

914
00:50:33.239 --> 00:50:36.440
composed that. But that's not true. Not the case, not

915
00:50:36.519 --> 00:50:38.480
the case, not the case at all. Now, if we

916
00:50:38.480 --> 00:50:41.840
were choosing movies and not just the score, yes, the

917
00:50:41.840 --> 00:50:43.519
thing is going to be towards the top. I'm gonna

918
00:50:43.519 --> 00:50:44.400
tell you that right now.

919
00:50:44.800 --> 00:50:47.920
I think listen, I'm not gonna I don't want to

920
00:50:47.960 --> 00:50:50.599
start a war, but you know, I think it's I

921
00:50:50.599 --> 00:50:53.320
think it's his best I would agree.

922
00:50:53.039 --> 00:50:55.800
With you, Jeff. Yeah, honestly as much as I like

923
00:50:56.679 --> 00:50:58.320
talking about the one to know what we're about.

924
00:50:58.119 --> 00:50:58.800
Ready to talk about.

925
00:50:58.880 --> 00:51:02.920
Yeah, though, the thing is is his best work, without question.

926
00:51:03.880 --> 00:51:05.840
Well give me a drum roll, because now it's time

927
00:51:05.880 --> 00:51:09.480
to reveal our number one pick for favorite John Carpenter

928
00:51:09.559 --> 00:51:12.719
musical score, Jeff, let's hear yours.

929
00:51:13.360 --> 00:51:15.360
Memoirs of an Invisible I'm kidding.

930
00:51:16.800 --> 00:51:18.639
John Carvers Vampires. I knew it.

931
00:51:18.920 --> 00:51:23.880
Yeah, yeah, uh, I don't think it's a secret here,

932
00:51:24.400 --> 00:51:26.719
it's Halloween has to be Halloween.

933
00:51:27.559 --> 00:51:30.639
Agree, it has to Yeah, there's no argument.

934
00:51:30.760 --> 00:51:33.639
No, there's no argument. Dave. I'll let you, I'll let

935
00:51:33.679 --> 00:51:35.239
you lead off hit here.

936
00:51:35.679 --> 00:51:41.320
I mean, Halloween is is to horror movies as I

937
00:51:41.360 --> 00:51:45.440
mean the music composed by John Carpenter for Halloween is

938
00:51:45.480 --> 00:51:48.840
the same to horror as John Williams music for Jaws.

939
00:51:49.199 --> 00:51:54.320
It stands out that much everybody, everybody on this goddamn

940
00:51:54.360 --> 00:51:57.519
earth has heard the Halloween theme and they immediately know

941
00:51:57.920 --> 00:52:02.280
what movie that goes to Jaws you know it, so

942
00:52:02.480 --> 00:52:06.280
it has to be his number one. But the thing

943
00:52:06.360 --> 00:52:09.559
for me is, there's a couple pieces of this score

944
00:52:09.559 --> 00:52:11.559
that I absolutely love. Well, actually there's a bunch of them,

945
00:52:11.599 --> 00:52:13.039
and I would be here all day talking about this

946
00:52:13.079 --> 00:52:16.880
score if I could. But the main title here is

947
00:52:17.039 --> 00:52:19.159
every bit. And as I said, as I knye is

948
00:52:19.199 --> 00:52:25.239
John Williamstein for Jaws is it's deceptively simple yet undeniably powerful.

949
00:52:25.960 --> 00:52:29.800
Nearly everyone recognizes the Halloween motif and it stands arguably

950
00:52:29.960 --> 00:52:32.320
as the greatest horror score ever composed. And I hope

951
00:52:32.360 --> 00:52:33.920
you guys would agree with me on that one. Yes,

952
00:52:34.599 --> 00:52:39.000
it's stalking. Repetitive patterns instantly evoked this sensation of being

953
00:52:39.079 --> 00:52:44.320
hunted by a killer who moves slowly, methodically, and without mercy.

954
00:52:44.480 --> 00:52:46.960
The music conjures the image of a quiet suburban town,

955
00:52:47.320 --> 00:52:50.280
the kind found anywhere in America, preparing for a night

956
00:52:50.320 --> 00:52:53.360
of trick or treating, except this time a silent predator

957
00:52:53.440 --> 00:52:57.119
is lurking in the shadows. Throughout the score, sharp shrieks

958
00:52:57.199 --> 00:53:01.599
and sudden tense stings the erupt without warning, mirroring Michael's

959
00:53:01.639 --> 00:53:07.000
own unpredictable appearances. It's a masterclass and musical suspense, turning

960
00:53:07.039 --> 00:53:13.880
simplicity into pure dread. Also, Laurie's theme uses simple, steady beats,

961
00:53:13.920 --> 00:53:17.119
reminiscent of the main Halloween mootif, but with a gentler,

962
00:53:17.320 --> 00:53:21.239
more hopeful tone. It reflects Laurie herself. The Canes are

963
00:53:21.360 --> 00:53:24.039
just trying to navigate everyday life, unaware of the darkness

964
00:53:24.079 --> 00:53:28.039
creeping toward her. Beneath the melody's softness, there's an undercurrent

965
00:53:28.039 --> 00:53:31.920
of dread, quietly lurking, hinting that this fragile sense of

966
00:53:31.960 --> 00:53:35.960
normalcy won't last. Sooner or later, that hidden care is

967
00:53:36.000 --> 00:53:39.800
going to surface. That is everything about this score. John

968
00:53:39.960 --> 00:53:42.440
Carpenter score is goddamn brodist.

969
00:53:43.519 --> 00:53:45.960
I almost thought you were looking at my notes when

970
00:53:46.000 --> 00:53:49.840
you're talking about Jaws there for a second, because you're

971
00:53:49.880 --> 00:53:53.400
absolutely right. I've talked to people that have never seen Jaws,

972
00:53:54.000 --> 00:53:57.599
but they hear the music and they know that means danger,

973
00:53:57.760 --> 00:54:01.000
it means sharp, right, and I think that can be

974
00:54:01.079 --> 00:54:03.519
That's definitely gonna because the same can be said for

975
00:54:03.519 --> 00:54:06.360
for Halloween, because even if you haven't seen Halloween, and Dave,

976
00:54:06.840 --> 00:54:08.559
you know, we've we've talked to people that have not

977
00:54:08.639 --> 00:54:11.119
seen this movie, yep, and we're hopefully going to try

978
00:54:11.159 --> 00:54:16.719
and change that. But you hear that music, you immediately

979
00:54:16.760 --> 00:54:22.199
know it's Halloween, the film that the score has basically

980
00:54:22.320 --> 00:54:24.039
like the how the holiday itself, not just the movie,

981
00:54:24.079 --> 00:54:27.760
the holiday itself has basically adopted that that that piece

982
00:54:27.760 --> 00:54:30.639
of music, right, you hear it, and it's one of

983
00:54:30.679 --> 00:54:32.480
those things like as soon as we get to like

984
00:54:32.519 --> 00:54:34.880
mid September and the haunted House to start opening up

985
00:54:34.920 --> 00:54:37.239
and the scary movie start, and you'll hear it on

986
00:54:37.280 --> 00:54:40.159
the radio, you'll hear it on TV. You know it,

987
00:54:40.199 --> 00:54:41.840
and you don't want to turn it off because you

988
00:54:41.920 --> 00:54:46.199
love it. It's it is. When I think of Halloween,

989
00:54:46.320 --> 00:54:50.360
I think the music. I think unstoppable dread. That's that's

990
00:54:50.400 --> 00:54:53.239
the phrase that comes to mind. You know, he stripped

991
00:54:53.280 --> 00:54:57.760
us down to the bear essentials. It's it's cold, it's terrifying,

992
00:54:58.159 --> 00:55:01.400
and I'm with you, Dave it. It is the greatest

993
00:55:02.239 --> 00:55:05.199
horror theme of all time bar Nune.

994
00:55:05.840 --> 00:55:08.000
You know, as soon as you put that in and

995
00:55:08.039 --> 00:55:10.199
you start to hear that music, I'm telling you, chills

996
00:55:10.280 --> 00:55:12.880
just go up your spine because you recognize it so

997
00:55:13.000 --> 00:55:16.880
quickly and you know what it's bringing, what's coming. It's

998
00:55:17.039 --> 00:55:20.800
just yeah, I mean it defines the generation. It defines

999
00:55:20.800 --> 00:55:22.480
the genre is what it does.

1000
00:55:26.079 --> 00:55:29.719
The fact that the main theme is terrifying in itself,

1001
00:55:29.760 --> 00:55:32.000
but when it slowed down, like think about like the

1002
00:55:32.039 --> 00:55:34.920
track like the Devil's Eyes where Lomis is giving the

1003
00:55:34.960 --> 00:55:40.239
origin story to Sheriff Bracket, that slower version of it

1004
00:55:40.280 --> 00:55:44.519
is also equally terrifying, because now it's like, well, now

1005
00:55:44.559 --> 00:55:46.599
I feel like I'm moving slow and he's gonna get me,

1006
00:55:46.840 --> 00:55:47.360
you know what I mean?

1007
00:55:47.800 --> 00:55:50.199
Yep, love this love this one. Well.

1008
00:55:50.400 --> 00:55:53.519
Surprisingly, there was no release of this score back in

1009
00:55:53.559 --> 00:55:56.400
the States when the film came out, but in nineteen

1010
00:55:56.440 --> 00:55:59.519
eighty three, Very Sarah Band released it on LP and

1011
00:55:59.559 --> 00:56:03.239
released the CD version in nineteen eighty five. Very Sara

1012
00:56:03.280 --> 00:56:06.199
Bend then again released it for its twentieth anniversary, this

1013
00:56:06.239 --> 00:56:09.239
time with the complete score of over fifty minutes of music.

1014
00:56:09.840 --> 00:56:12.599
Both of these releases have the score remixed and presented

1015
00:56:12.599 --> 00:56:16.480
in stereo. A deluxe vinyl release from Mondo Records came

1016
00:56:16.519 --> 00:56:19.599
out in twenty eighteen for the fortieth anniversary, but this

1017
00:56:19.679 --> 00:56:21.920
time it was taken from the film stems and presented

1018
00:56:21.920 --> 00:56:24.639
in mono. As the music was originally heard back in

1019
00:56:24.679 --> 00:56:27.639
nineteen seventy eight, I have to admit I think it's

1020
00:56:27.719 --> 00:56:30.679
time for another release of this score on CD, newly

1021
00:56:30.719 --> 00:56:35.559
remastered with today's techniques. It incredible picks from all of

1022
00:56:35.559 --> 00:56:38.000
the top five. I agree with every one of your choices.

1023
00:56:38.199 --> 00:56:41.280
They're all fantastic scores, all worthy of a re listen,

1024
00:56:41.360 --> 00:56:44.920
and deserving to be in anyone's top five soundtracks. I

1025
00:56:44.960 --> 00:56:47.880
hope that you, our listeners, go out and discover his

1026
00:56:48.000 --> 00:56:50.480
musical works and discover a new and different side of

1027
00:56:50.519 --> 00:56:54.840
his talent. John Carpenter didn't just change how horror looked,

1028
00:56:54.960 --> 00:56:58.559
he changed how it sounded. With a keyboard, a beat,

1029
00:56:58.639 --> 00:57:01.960
and an instinct for tension, he created a musical language

1030
00:57:02.000 --> 00:57:06.079
that still echoes throughout film, television, and electronic music today.

1031
00:57:06.679 --> 00:57:10.239
And as long as that pulse keeps playing, Carpenter's influence

1032
00:57:10.280 --> 00:57:13.920
will never truly fade into silence. What did you think

1033
00:57:13.960 --> 00:57:16.880
of John Carpenter's music? Did we mention all of your

1034
00:57:16.920 --> 00:57:19.440
favorites or did we forget any that you believe should

1035
00:57:19.440 --> 00:57:21.760
have been on our top five. We'd like to hear

1036
00:57:22.000 --> 00:57:25.000
just what you thought about our choices. You can email

1037
00:57:25.079 --> 00:57:27.840
us at a film By Podcasts at gmail dot com,

1038
00:57:28.239 --> 00:57:31.039
find us online at a film by podcast dot com,

1039
00:57:31.360 --> 00:57:34.840
follow us on Facebook, Instagram, and x and if you're

1040
00:57:34.880 --> 00:57:36.840
looking for more content or swag, you can join our

1041
00:57:36.840 --> 00:57:39.960
Patreon and find out what incredible surprises are hidden within.

1042
00:57:40.920 --> 00:57:42.840
I want to give a huge thank you to my

1043
00:57:42.920 --> 00:57:47.400
fellow film music fans David Burns and Jeff Johnson. You

1044
00:57:47.400 --> 00:57:49.800
can hear David and I, along with our fellow Trekky

1045
00:57:49.920 --> 00:57:53.039
Scott Hoffman on the regular Phaser Set to Stun podcast

1046
00:57:53.119 --> 00:57:56.599
right here on a film Buyas channel. It's the sixtieth

1047
00:57:56.639 --> 00:57:59.599
anniversary of Star Trek in twenty twenty six, and we

1048
00:57:59.679 --> 00:58:01.960
have a lot of incredible surprises coming up for you

1049
00:58:02.039 --> 00:58:04.880
throughout the year. And Jeff, what have you got in

1050
00:58:04.920 --> 00:58:07.199
store for our listeners these coming months.

1051
00:58:07.599 --> 00:58:11.400
Well, as you guys know, we have kind of flipped

1052
00:58:11.559 --> 00:58:14.639
the script here for one year only. We're not talking

1053
00:58:14.679 --> 00:58:19.599
about the underrated films of our favorite directors. We're celebrating

1054
00:58:19.800 --> 00:58:24.199
the bigger films of our favorite directors, specifically the films

1055
00:58:24.239 --> 00:58:26.400
of two thousand and one and two thousand and six.

1056
00:58:27.360 --> 00:58:29.400
We are just kicking this off. We have had a

1057
00:58:29.400 --> 00:58:33.760
lot of fun already. I believe this Monday, Amber Lewis,

1058
00:58:34.079 --> 00:58:37.760
the Voice of Reason herself, will be back in the studio.

1059
00:58:38.639 --> 00:58:42.559
We're gonna be talking about Ron Howard's the Da Vinci Code.

1060
00:58:43.079 --> 00:58:43.480
Good one.

1061
00:58:43.599 --> 00:58:43.920
Yeah.

1062
00:58:44.599 --> 00:58:46.719
I love anything Ron Howard. So we're good. Yeah.

1063
00:58:49.599 --> 00:58:52.840
Well, Wayne, you know, if I could real quick, I

1064
00:58:53.159 --> 00:58:56.840
just want to thank you. I know we've got some

1065
00:58:56.840 --> 00:59:01.280
some fun stuff. I'm hoping you're gonna tease tease us

1066
00:59:01.360 --> 00:59:03.639
up for our listeners with some some of the other

1067
00:59:03.639 --> 00:59:07.000
composer were going to do the Year of John, if

1068
00:59:07.000 --> 00:59:08.280
you'll elaborate on the Year of John.

1069
00:59:08.320 --> 00:59:08.880
But you're right.

1070
00:59:08.920 --> 00:59:11.679
I remember when we were talking about when we said

1071
00:59:11.679 --> 00:59:13.519
Carpenter and you're like, nah, I don't really, I'm not

1072
00:59:13.639 --> 00:59:15.360
I don't know, I'm not familiar with him all the way.

1073
00:59:15.400 --> 00:59:17.880
And I was like, well, we're still doing it. And

1074
00:59:17.920 --> 00:59:20.639
then you're like, I'll host it and you can be

1075
00:59:20.679 --> 00:59:22.719
the guy. I was like, oh, okay, So thank you

1076
00:59:22.719 --> 00:59:24.880
for giving me the chance to sit on the opposite

1077
00:59:24.920 --> 00:59:29.119
side of the table and share share some of my favorites.

1078
00:59:29.440 --> 00:59:32.400
It's a lot of fun. But I'm looking forward to

1079
00:59:32.400 --> 00:59:34.760
to switching switching seats with you because I know you

1080
00:59:34.800 --> 00:59:38.360
guys have got some awesome composers to talk about this year.

1081
00:59:38.400 --> 00:59:40.599
We you know, and they just happened, I'll be named John.

1082
00:59:41.079 --> 00:59:43.280
They do yeah well.

1083
00:59:43.320 --> 00:59:46.360
In the meantime, check out our past top five film

1084
00:59:46.400 --> 00:59:49.880
score podcasts, the Top five Jerry Goldsmith's scores and the

1085
00:59:49.920 --> 00:59:52.599
Top five James Horners scores. Both can be found on

1086
00:59:52.599 --> 00:59:55.480
our website, and as Jeff said, next month, we will

1087
00:59:55.480 --> 00:59:59.199
be celebrating one of Hollywood's greatest composers, our first John,

1088
00:59:59.360 --> 01:00:02.159
excuse me, our second John of the year, on his

1089
01:00:02.320 --> 01:00:05.679
ninety fourth birthday, with the top five favorite film scores

1090
01:00:05.719 --> 01:00:09.519
of John Williams, and I promise you they won't all

1091
01:00:09.519 --> 01:00:10.559
be Star Wars movies.

1092
01:00:11.280 --> 01:00:13.159
How are you gonna wait? How are you guys gonna

1093
01:00:13.199 --> 01:00:16.280
limit it to just five? It's not gonna be easy,

1094
01:00:16.400 --> 01:00:19.960
ye If you two are the big are John Williams fans?

1095
01:00:20.000 --> 01:00:23.159
I know in my life, and I feel like you're

1096
01:00:23.159 --> 01:00:25.639
gonna be fifteen honorable mentions.

1097
01:00:25.719 --> 01:00:29.679
Let's well, Jeff, we can't have a six hour podcast.

1098
01:00:30.400 --> 01:00:31.079
We can't. You know.

1099
01:00:31.880 --> 01:00:34.079
It's difficult, but we can do it and you'll be

1100
01:00:34.119 --> 01:00:37.960
surprised with some of our choices. To all of you

1101
01:00:38.039 --> 01:00:41.400
listening and following us, we couldn't do this without your support.

1102
01:00:41.760 --> 01:00:42.920
Thank you everybody.

1103
01:00:43.559 --> 01:00:45.519
Thanks Happy birthday, John,