Rare David Whitaker SWORD & SORCEROR Film Soundtrack OST LP 1982 MacCorkindale

	£		20
	$		27

Here I have for sale the rare UK release of the soundtrack to 'The Sword And The Sorcerer' (1982), composed and conducted by David Whitaker.

David Whitaker / Graunke Symphony Orchestra – The Sword And The Sorcerer (Original Motion Picture Soundtrack) (1982)

Condition (refer also to notes at bottom):
Vinyl – VG-EX. Both sides look clean. No obvious signs of wear or scratches. Played just pre-listing and sound clarity is very good.
Cover - VG-EX. Moderate corner wear, notably on one; minor edge wear and some creasing. Disc showthrough outline is evident.
Sleeve – EX. Original. Clear plastic. Minor creasing and folding but intact.

Label: That's Entertainment – TER 1023
Year: 1982
Country: UK
Genre: Stage & Screen, Easy Listening, Classical, Theme
Style: Soundtrack, Score, Orchestral, Instrumental, Pop

Track listing
Side A
1.  The Sword and the Sorcerer-Overture (02:00)
2.  The Sword and the Sorcerer-Main Title (01:11)
3.  Alana's Theme (01:41)
4.  Tomb Island (04:58)
5.  Mikah and Rodrigo (01:55)
6.  Black Sorcery/Kingdom of Eh-Dan (03:32)
7.  The Rebellion Begins (03:14)


Side B
1.  Castle Chase (02:29)
2.  Young Talon's Fight (02:41)
3.  Elizabeth's Death (01:51)
4.  The Bordello (01:03)
5.  The Innkeeper (01:09)
6.  Red Dragons-Fire (02:42)
7.  Alana's Theme (reprise) (00:58)
8.  The Sword and the Sorcerer-End Title (03:12)

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Review:
When the age of sword and sorcery briefly dominated Hollywood in the early 1980's, studios saturated the market with similar films involving the ancient world, heroes with swords, sexy princesses, and villains with snakes.

Many of these projects were adequately funded by the studios, but the results, with the obvious exception of Conan the Barbarian, often looked second rate. Entries like Krull, Excalibur, Beastmaster, and The Sword and the Sorcerer all failed to achieve the same classic status, and of these movies, The Sword and the Sorcerer, despite earning a fair profit at the box office and gaining a moderate cult following in subsequent decades, is often the most ridiculed of the lot.

The crew and cast of the film consisted of names that would never amount to anything in the industry, though most of the blame for the lack of audience enthusiasm for The Sword and the Sorcerer was assigned to the lack of a major star in the lead and an abysmal, rushed plot that features horrendously paced action sequences.

One of the relatively unknown names attached to the film is David Whitaker, whose career was littered with B-level science-fiction and action scores.

This is the score that highlighted his career and that for which he will most likely be remembered.

At the time Whitaker scored The Sword and the Sorcerer, this particular genre of sci-fi/fantasy music was at its peak as well. Between 1981 and 1983, a variety of outstanding scores often blessed these films with massive (and sometimes overblown) orchestral action music. Whitaker's score takes listeners back on a nostalgic journey to the majestic and curiously appealing time in Hollywood when most of these schlocky films were undeserving of the music written for them.

Even more than his contemporaries, Whitaker wrote a score that absolutely must be separated from the trash that it accompanied on screen, though, for some listeners, even that won't be enough.

His work is relatively unique in that it bucked the trends of the genre's music and instead recreated the swashbuckling sound of industry legend Erich Wolfgang Korngold. So uncanny are the resemblances to Korngold's techniques that The Sword and the Sorcerer can, at times, sound bizarre to a learned film music collector.

For the most part, it's this rather innocently retro-noble, Golden Age style that defines the score for The Sword and the Sorcerer. Whitaker emphasizes the playful and jubilant aspects of the story while downplaying the interludes of dark, brooding, and mysterious material.

The majority of fully orchestral sequences, which make up a healthy portion of Whitaker's score, are fully equipped with the usual string and brass domination, a driving percussive force, and an occasional xylophone.

Melodic variations on woodwinds are utilized for the softer and source-related cues. Among the brightly optimistic thematic expressions, there are few moments of mundane filler passages, with some non-thematic instrumental development at work in most cues.

Not all of it is harmonious, however, which will cause some problems for listeners looking for an easy sci-fi thrill; with a plot that contains as much gore and blood as this (another common complaint about the picture), perhaps this less than tonal approach akin to Alex North's output of the era was necessary.

The lack of respite extends to "Alana's Theme" and its consistently rousing love interest variations throughout the latter half of the score.

The performing ensemble, the Graunke Symphony Orchestra, is that which also yielded the remarkable recording of John Scott's King Kong Lives not long after, though the balance of the group here is not always handled well and there are occasional, obvious flubs.

The mix of the flutes in particular seems unsynchronized with the rest of the ensemble. On the other hand, for concept enthusiasts, these very "personality" traits of the score lend the music very well to the often flawed characteristics of the film.

In the end, you can't elevate The Sword and the Sorcerer to the level of Conan the Barbarian or many of the other guilty pleasures in the genre. The dependency on old Korngold techniques and a muffled sound quality are both major detriments.

The LP release of the score offers better clarity than a later limited, promotional CDs.

The Sword and the Sorcerer serves its purpose, but the majority of film score collectors would likely be more satisfied with this work's superior peers from James Horner and Basil Poledouris.


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Postage and packaging FREE to UK. Will post worldwide. Europe standard £6.50; Europe tracked and signed £11; N and S America, USA, Canada £9; Asia, Australia, Japan £11.

Sorry but no returns accepted.

Payment by cheque (UK only) or Paypal please.

Please see my other soundtrack listings.

Thanks for looking and happy eBaying!



ITEM CONDITION - items are graded according to Record Collector definitions - see below:

MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.

EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and / or creasing.

VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc.

FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and / or defaced.

POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

BAD: The record is unplayable or might even be broken, and is only of use as a collection filler.