In his liner notes for this 'Signature Edition' writer-director Don Coscarelli (one of the edition's signees) shares how, at the premiere of the film, star Bruce Campbell leaned over to tell him, "Great soundtrack." I agree, it is.
Brian Tyler (the other signee) also chimes in with some notes of his own. He shares his desire to "compose a score that integrated the Elvis music of the 1950s, 60s, and 70s against a celebration of horror film music and Egyptian overtones." He also states the importance of having "a strong aspect of emotion while leaving room for the comedy."
Understanding the film's need for a music underscore emphasizing its emotion, not the broad, bawdy, and pitch-black comedy being splashed and splattered across the screen, is what makes it great. Tyler's score blends strains of aching sadness and loss with time-worn tatters of dignity and the final vestiges of inner strength. There are also dashes of playful nostalgia for the energy of vanished youth. This is a score that offers an incredible and colorful tapestry of complicated emotional color.
I am also thankful that Tyler's music does not ever utilize cartoonishly broad or overtly comedic musical stylings or stingers. No sad trombones, kazoos, or keyboard tickling. Because the movie was not in need of that style of music. What it needed was something that made its aching heart audible to the audience. Which is what Brian Tyler's music does so incredibly well.
"All is well," indeed.
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