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Thread: Ladyhawke (Andrew Powell/Alan Parsons soundtrack)

  1. #1

    Ladyhawke (Andrew Powell/Alan Parsons soundtrack)

    So I tune into HBO last night to watch the 80s sword & sorcery movie Ladyhawke, and the credits come up that the music is by Alan Parsons! Turns out it was actually written by his long term collaborator Andy Powell, but Alan produced and engineered and it has Alan Parsons Project members Ian Bairnson on guitar, David Paton on bass and Stuart Elliot on drums.

    Sure sounded a lot like an APP album to me , albeit all instrumental and with lots of orchestral scoring. I really liked it. I recognized various reworked bits of APP songs too, from The Raven on up. It had lots of stereo imaging and added a lot to the movie. Any other fans of this one?

  2. #2
    Member Paulrus's Avatar
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    Michelle Pfeifer... mmmmmm....
    I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.

  3. #3
    Though it's a little cheesy in places (which I think you can forgive considering its age), I like it. I like the film as well, and actually downloaded the full soundtrack a month or so back.

    The opening theme is still pretty cool, as is the love theme.

  4. #4
    I've seen some complaints on the net that the score does not fit the movie - meaning, that it doesn't suit the medieval style of it. I haven't seen the film for a while but if I'm not mistaken the score is mostly synthesyzer style.
    I don't care what the music is (classic or synth) if it is interesting and adds something to the film.

  5. #5
    Quote Originally Posted by selmer View Post
    I've seen some complaints on the net that the score does not fit the movie - meaning, that it doesn't suit the medieval style of it. I haven't seen the film for a while but if I'm not mistaken the score is mostly synthesyzer style.
    I don't care what the music is (classic or synth) if it is interesting and adds something to the film.
    Not exclusively synth based, more of a synth/orchestral mix.

    But then a lot of 80's movie soundtracks were synth or partly synth based.

    However, I get that some people thought that was not quite appropriate for a period drama.

  6. #6
    The main title is a bit cheesy for me but the rest is generally pretty good. It is a pretty decent movie. It makes a good fantasy chick flic for date night.

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    Member dropforge's Avatar
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    I owned this soundtrack on cassette. Okay score but it reeks of '85 — not in a good Tangerine Dream-esque way.

  8. #8
    I've seen this movie more than most other movies.
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    Member Paulrus's Avatar
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    Quote Originally Posted by dropforge View Post
    I owned this soundtrack on cassette. Okay score but it reeks of '85 — not in a good Tangerine Dream-esque way.
    Yeah, they seeemed to be going for a "pop-Tangerine Dream" type thing. And it WAS the mid 80s when synth-pop/orchestral soundtracks were all the rage.

    Not a bad movie. But with Rutger Hauer, a very young Matthew Broderick, and Ms. Luscious herself it's hard to go too wrong. It's the kind of thing the missus can watch over and over.
    I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.

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    Member Jerjo's Avatar
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    The soundtrack hasn't aged too well but the movie still works. The three leads were right on the money. Ms Pfeifer was so stunning it hurt. The plot works pretty well and the old priest got some of the best lines. Textbook example on how to make a fantasy story work on the big screen.
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    Estimated Prophet notallwhowander's Avatar
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    Quote Originally Posted by selmer View Post
    I've seen some complaints on the net that the score does not fit the movie - meaning, that it doesn't suit the medieval style of it. I haven't seen the film for a while but if I'm not mistaken the score is mostly synthesyzer style.
    I don't care what the music is (classic or synth) if it is interesting and adds something to the film.
    I'm in the camp that the music doesn't fit the film. There are a few key points where the synths kick in, and it totally kicks me out of my suspension of disbelief.

    You're right about the kind of music doesn't matter if it adds to the film. A great example is the synth music in Wener Herzog's Nosferatu. The film is set in a time before electricity, but it doesn't matter. They lay down the synth beds on the opening credits, with nothing but long shots of corpses in catacombs in various states of decay. It can tax a modern film-goer's sensibility because there is no action for a while, but it thoroughly fixes the association of the synths to the images of death, without the audience even being aware of it. When those synth beds kick in again later in the movie, it is with that visceral memory trigger. Masterful.

    Ladyhawke, on the other hand, is not so much pedestrian by comparison but inept.

    I should say that when I first saw it at the time, as a child in the early '80s, I didn't have this reaction. Revisiting it as an adult the disparity made a deep and instant impression.
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    I thought this was going to be about the NZ artist who calls herself Ladyhawke. I did blink in surprise at the idea of her performing something by Alan Parsons!

  13. #13
    Quote Originally Posted by notallwhowander View Post
    I'm in the camp that the music doesn't fit the film. There are a few key points where the synths kick in, and it totally kicks me out of my suspension of disbelief.

    You're right about the kind of music doesn't matter if it adds to the film. A great example is the synth music in Wener Herzog's Nosferatu. The film is set in a time before electricity, but it doesn't matter. They lay down the synth beds on the opening credits, with nothing but long shots of corpses in catacombs in various states of decay. It can tax a modern film-goer's sensibility because there is no action for a while, but it thoroughly fixes the association of the synths to the images of death, without the audience even being aware of it. When those synth beds kick in again later in the movie, it is with that visceral memory trigger. Masterful.

    Ladyhawke, on the other hand, is not so much pedestrian by comparison but inept.

    I should say that when I first saw it at the time, as a child in the early '80s, I didn't have this reaction. Revisiting it as an adult the disparity made a deep and instant impression.
    I saw some fragments from Nosferatu a while ago. I presume you mean the '79 version of it which is what I mean. There were those scenes with the main character walking around the castle which were by far the most interesting ones. I went quickly through it without sound so I can't comment on the soundtrack.
    Btw, when you mention corpses and catacombs and no action for a while, I somehow remeber the first half of Francesco Rosi's "Cadaveri Eccellenti" where there were similar scenes and style at the beginning.
    Another interesting comparison from the time could be Highlander. There were some medieval scenes too, when recounting the history of Lambert's character. I don't remember what kind of score they used for all those scenes with and without Connery but the modern stuff was filled with stylish MTV-style filmmaking and 80's synthesizers. I think that director Mulcahy made some music videos so his bacgraound (like Ridley Scott's in commercials) was pretty evident. I thought that the first 10 minutes of Highlander with him being at the arena and the fight in the parking lot were great. It went downhill from there.
    I was also thinking what other fantasy films I've seen from that time. I'm not a fan of this genre, but I like The Golden Child, mainly because of Colombier's score (I'm glad that they didn't use The John Barry one). Of course, there's Big Trouble In Little China and the really groovy Carpenter's music. I haven't seen The Neverending Story for a while, but saw Labyrinth a couple of years ago. That one was alright, but don't remember what the score was like. David Bowie did some singing there, though.

  14. #14
    What some people may not know and is quite amazing, considering, is that Andrew Powell actually started his career as the bassist/drummer for Henry Cow (before John Greaves joined), played in some pretty avant stuff with Stomu Yamash'ta, Morris Pert etc., before he forged a career in a much more mainstream "orchestration" vein - although his contributions to the very first APP album still had this "contemporary classical" feel to them.

    Apparently he even auditioned to join Soft Machine as a drummer. The closest he got to playing with them was sitting in for Robert Wyatt at the soundcheck for their Proms concert in '70 - that's the moment, famously described by Wyatt in the liner notes, when he was blocked from re-entering the building after going out for a cigarette, because the guys at the door wouldn't believe a guy looking like him could possibly perform at the Proms at the Royal Albert Hall ! So while he was arguing to be let back in, Powell sat at the drums.
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    Saw the movie twice. Rather nice. I had the CD in my hands once in a time I hadn't much to spent.

    LaLaLand Records, specialized in re-releasing soundtracks, announced a new version for 2014, but it didn't happen.

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    I always thought the contrast between the music and the subject matter in this film was part of the design. I am glad all films don't do it, but I am also glad for the contrast on this one. Great movie. Never get tired of it. For me, it has aged well. We often watch this one as a double feature with Princess-Bride.

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    I think in this scene the soundtrack worked pretty well, that theme is haunting

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    Member interbellum's Avatar
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    Quote Originally Posted by interbellum View Post
    Saw the movie twice. Rather nice. I had the CD in my hands once in a time I hadn't much to spent.

    LaLaLand Records, specialized in re-releasing soundtracks, announced a new version for 2014, but it didn't happen.
    But now it did:

    LADYHAWKE: LIMITED EDITION (2-CD SET) LLLCD 1318
    Music by Andrew Powell
    Produced and Engineered by Alan Parsons
    Limited Edition of 3000 Units
    RETAIL PRICE: $24.98

    STARTS SHIPPING FEB 17th

    Order LADYHAWKE: LIMITED EDITION (2-CD SET) at www.lalalandrecords.com starting Feb 10th at12pm (PST) and get your copy autographed by composer Andrew Powell at no additional charge. Autographs are available while supplies last and are NOT guaranteed.

    La-La Land Records, WEA and Warner Bros. present the latest title in its Expanded Archival Collection, the 2-CD remastered and expanded set of the original score to the beloved 1985 action/fantasy/romance LADYHAWKE, starring Matthew Broderick, Rutger Hauer and Michelle Pfeiffer, and directed by Richard Donner. Composer Andrew Powell (ROCKET GIBRALTAR) fashions a breathtakingly bold orchestral film score in the classic tradition, complimented with propulsive rock performances produced and engineered by Alan Parsons (of the acclaimed Alan Parson’s Project). This groundbreaking score, which perfectly captures the tone of Richard Donner’s delightful romantic fantasy/adventure, remains distinctive today and finally receives the deluxe presentation it has always deserved -- clocking in with a running time of over two full hours. Produced by Ford A. Thaxton, Mark Banning and James Nelson, with input and supervision by Powell, and mastered by Nelson, this 2-CD limited edition contains previously unreleased music, including bonus tracks. Writer Tim Greiving provides exclusive, in depth liner notes which feature new interview quotes from Richard Donner, Rutger Hauer, Andrew Powell and Alan Parsons. Fantastic art direction by Mark Banning showcases a striking front cover image by legendary illustrator Drew Struzan.

    TRACK LISTING:

    CD ONE
    01. Main Title 3:00
    02. Phillipe's Escape From Dungeon* 1:49
    03. Phillipe's Escape Through Sewer 1:43
    04. The Search for Phillipe 3:26
    05. Navarre at Sunset* 0:21
    06. Tavern Fight (Phillipe) 2:09
    07. Tavern Fight (Navarre) 2:40
    08. Navarre's Saddlebag* 0:37
    09. Navarre Dreams of Isabeau* 0:54
    10. Pitou's Woods* 4:05
    11. Marquet's Return to Aquila Part 1* 0:58
    12. Phillipe Describes Isabeau 1:13
    13. Marquet's Return to Aquila Part 2* 1:15
    14. Bishop's Garden* 0:44
    15. “Navarre Has Returned”* 0:27
    16. Monks' Chant in Bishop's Garden* 1:57
    17. Isabeau Chases a Rabbit* 0:25
    18. Navarre's Sunrise* / Phillipe's Capture* 0:35
    19. Navarre Is Ambushed / Hawk Injured 4:55
    20. Phillipe and Imperius Enter Abbey* 1:16
    21. Phillipe Discovers Isabeau's Secret*† 1:27
    22. Imperius Removes Arrow From Isabeau*† 1:35
    23. The Bishop Interviews Cezar** 1:31
    24. “You Must Save This Hawk”* 1:06
    25. Chase Up the Turret / Isabeau's Fall Part 2***† 2:48
    26. Isabeau's Transformation* 0:37
    27. Isabeau Flies Free** 1:12
    28. Navarre and Imperius* 0:40
    29. Navarre and Phillipe Leave the Abbey*† 1:43
    30. Wedding Party* 1:42
    31 Navarre's Transformation*† 0:42
    32. Wedding Dance* 2:35
    33. Cezar's Woods* 5:29
    34. “She Was Sad at First” 2:08
    35. Navarre Rides to Aquila 1:38
    36. Phillipe and Imperius* 0:26
    37. Wolf Trapped in Ice Pool*† 2:35
    38. Navarre and Isabeau's Dual Transformation* 3:24
    TOTAL TIME CD ONE: 68:23

    CD TWO
    01. Navarre Sees Phillipe's Wounds* 0:43
    02. Return to Aquila* 2:44
    03. Phillipe's Return Through Sewer* 1:02
    04. Bishop's Procession Chant 1* 1:31
    05. Bishop's Procession Chant 2* 1:48
    06. The Service Begins (Part 1)* 0:49
    07. Navarre's Instruction to Kill Isabeau* 0:48
    08. The Service Begins (Part 2)* 0:39
    09. Navarre Enters the Cathedral* 1:35
    10. Navarre and Marquet Cathedral Fight 4:25
    11. Marquet's Death 2:01
    12. Isabeau Appears* 0:48
    13. Bishop's Death 2:28
    14. The Final Reunion / End Titles 6:00

    Bonus Tracks
    15. Chase Up The Turret/Isabeau's Fall Part 1 0:51
    16. Chase / Fall / Transformation (album version) 2:08
    17. Phillipe Discovers Isabeau's Secret*/*** 1:43
    18. Imperius Removes Arrow From Isabeau*/*** 1:33
    19. Navarre and Phillipe Leave the Abbey (alt. mix)* 1:44
    20. Navarre's Transformation (alt. mix)* 0:42
    21. Wolf Trapped in Ice Pool*/*** 2:33
    22. Phillipe's Jewel** 0:49
    23. End Titles (standalone) 4:57
    24. (Spot 01)–Radio Bed A–30* 0:33
    25. (Spot 02)–Radio Bed A–30* 0:33
    26. (Spot 03)–Radio Bed B–60* 1:03
    27. (Spot 04)–Radio Bed C–60* 0:54
    28. (Spot 05)–Radio Bed A–60* 1:01
    29. (Spot 06)–Radio Bed B–60* 1:07
    30. (Spot 07)–Radio Bed C–75* 1:13
    31. (Spot 08)–Radio Bed A–90* 1:29
    32. (Spot 10)–Radio Bed B–90* 1:36
    33. (Spot 09)–Radio Bed A–Full* 3:29
    34. Ladyhawke Theme (single) 3:36
    TOTAL TIME CD TWO: 61:38
    *Previously unreleased
    **Contains material not used in the final film
    ***Early version • †Film version

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