Here’s another infectious Killer, especially if you liked the movie – and I did – the soundtrack and film both only got better the more I saw and listened to them – and I loved them both immediately!

I’m pretty much a fan of all involved; Willis, Jovovich, Oldman, Tucker, Serra and a big fan of Luc Besson, that guy is the Bomb, a true creative genius and human machine that cranks out esoteric hit after hit: “Nikita”,  “Leon: the Professional”, “The Messenger: The Story of Joan of Arc”, “The Transporter 1-6”, the parkour film “District 13”, “Hitman”, “Taken 1-3”, “Columbiana”, “Lockout” and many others.

What we have here with the Fifth Element is a whacked-out Rock ‘n’ Roll “Blade Runner-esque” soundtrack created by the very talented Eric Serra that is chaotic while cohesive. This is one of those albums that create a cool vibe that mixes all of the esoteric interstitial music and the upbeat music that surrounds Tucker’s “Ruby Red” character into a soundtrack extravaganza.

The thrill for me was Lucia Di Lammermoor and the the Diva Dance sequence. I was so enamored by that sequence that when the opera that contained the actual aria, “Il Dolce Suono” from the third act of “Lucia di Lammermoor” (Gaetano Donizetti/Salvadore Cammarano) was performed at the Los Angeles Music Center Dorothy Chandler Pavilion, I attended just to hear the actual aria sung live. Brava!


I have an extra special love for this film and soundtrack as the first time I saw it I was halfway around the world while in Hong Kong in 1997 and being in a foreign land watching an alien movie made a cool impression on me that makes the experience of the film and soundtrack that much more special every time I hear it – this soundtrack just kicks ass!


1. “Little Light of Love” 4:50
2. “Mondoshawan” 4:01
3. “Timecrash” 1:49
4. “Korben Dallas” 1:43
5. “Koolen” 1:55
6. “Akta” 1:51
7. “Leeloo” 4:56
8. “Five Millenia Later” 3:13
9. “Plavalaguna” 1:47
10. “Ruby Rap” (Lyrics performed by Chris Tucker and Bruce Wilis) Éric Serra (music) Luc Besson and Robert Kamen (Lyrics) 1:55
11. “Heat” Éric Serra and Sebastien Cortella 2:54
12. “Badaboom” 1:12
13. “Mangalores” 1:06
14. “Lucia di Lammermoor” (Performed by Inva Mula and the London Symphony Orchestra) Gaetano Donizetti and Salvadore Cammarano 3:10
15. “The Diva Dance” 1:31
16. “Leeloominai” 1:41
17. “A Bomb in the Hotel” 2:14
18. “Mina Hinoo” 0:54
20. “Radiowaves” 2:32
21. “Human Nature” 2:03
23. “Lakta Ligunai” 4:14
24. “Protect Life” Éric Serra and Sebastien Cortella 2:33
25. “Little Light of Love (end titles version)” (Performed by RXRA) 3:29
26. “Aknot! Wot?” (Bonus track) Éric Serra (Music) Luc Besson and Robert Kamen (Lyrics) 3:35

This is one of my personal Top 20 Soundtracks as I have and will continue to listen to it over and over again.
Every track is Future Exotic blending various genres into one just like a city to make a world beyond Blade Runner, where flying cars are the norm – and the music reflects this perfectly, I mean perfectly!

Every one, two or three minute track is a mini-masterpiece with some of the most gorgeous symphonic/Vangelis-esque music mixed with Reggae, Rock, and late night spacey sax. Even the “Little Light of Love” bookends fit and then Serra treats us to a kick ass end track, “Aknot! Wot?”, a mix of highlights from the movie dialogue and of the music itself – trippy!.

A true Ultimate Killer Soundtrack!





Outlaws; filthy, greasy, sweaty, unshaven, stained dirty clothes, bad teeth and flies a buzzin’, all early images that made Sergio Leone’s “A Fistful of Dollars” hyper-realistic and immediately made every John Wayne western look sanitized to the point of appearing surreal.
Sergio Leone took a genre and revitalized and changed the way that westerns would look forevermore. And what made Leone’s trilogy doubly iconic were the soundtracks provided by Ennio Morricone.

I want to stay on track, so let’s just say that this man can do no wrong, he’s the Jimi Hendrix of the film score world; he has extended notes and sounds into symphonies. But with “The Good, the Bad and the Ugly” Morricone was able to create iconic musical passages that not only melded with the film but placed an indelible stamp on an era.

The Drive-Ins were still going strong and I distinctly remember going to see “The Good, the Bad and the Ugly” and being probably the only time I wanted to watch the movie than hop in the back seat with my girlfriend. Morricone’s soundtrack to that film was so good that it was heaven – even coming through the raspy monaural drive-in speaker. Since then this has easily been the most-watched movie of my life – at least a dozen times – two dozen, maybe?

The world is hip to the main theme, it’s iconic, but its the rest of the album that is spiritual at times deeply touching in others – and I’m sure that its that primal feeling that is stirred which is why “The Good, the Bad and the Ugly soundtrack has become to be regarded as one of the most original and surely one of the greatest film scores ever. There is a definite melancholy that  pervades but it only serves as the guide for a time in U.S. history when brother fought brother in a Civil War where there were no winners. A definite reflection of the waste and death of America’s young men once again in the escalating Vietnam war taking place right then in 1966.

The originality of this music is incredible and Morricone went on to literally “brand” many of his film scores with iconic sounds that became a part of the films he scored; with donkey hee-haws, clocks ticking, music boxes chiming, lone harmonica cries and many other natural sounds that create a memorable association with the film.  Obviously the opening thumping that gives way to the yodeling wail proves this point.

I urge everyone to listen to this soundtrack as it is downright surreal in it’s emotion: gorgeous, rough, tough, heart-breaking and totally cool.

The full complete nearly one hour version:


rack 1 the good the bad and the ugly theme 00:00 track 2 the sundown 2:43 track 3 sentence 4:01 track 4 the good the bad and the ugly theme 2 5:45 track 5 the rope bridge 6:54 track 6 il forte 8:50 track 7 chase 11:15 track 8 the desert 13:43 track 9 the carriage 19:00 track 10 saint anthony 21:13 track 11 father ramirez 23:32 track 12 marcia 26:11 track 13 the story of a soldier 29:04 track 14 the military train 34:37 track 15 the end of a spy 36:03 track 16 the bandit with missing hand 37:20 track 17 two against five 40:06 track 18 marcia without hope 43:54 track 19 morte di un soldato 45:44 track 20 the ecstacy of gold 48:54 track 21 the trio 52:17




Where do I begin? Here we have an album soundtrack and film that possiibly are both individually and combined the beginning of not only a whole new genre, but the genesis of a creative industry that continues today!

First off we have Michael Mann, fresh off of “Manhunter” (“Hannibal” precursor with William Peterson of William Friedkin’s “To Live in Die in L.A.” and then the CSI genre) and then on to “Miami Vice” perfection with his patented music themed scenes.

Michael Mann rivets us to our chairs from the opening seconds of the perfect heist/character-driven action film with the use of German Electronica wizards, Tangerine Dream, whose music matched the metallic sparks and drilling sequence of James Caan’s “safe-cracking” expertise.

Although no words are spoken, the entire opening sequence sets the mood for the rest of the movie with the precision music / jewel thief technique and professional attitude of James Caan and James Belushi as his close partner.  These are world-class professionals and as such, they are pursued by both the law and a crime lord.

Michael Mann’s choice of Tangerine Dream for this film was genius as TD’s entire canon of music up to this point was serious stuff – no fluff.
TD’s musical landscapes were unheard in film prior to this and as such added an ominous yet stylistic feel to the whole movie.
Other than the Final Confrontation Pink Floydian guitar track at the end, TD was treated as a pivotal unseen actor in this film and matched perfectly with James Caan’s character.
I read where Caan said of all of his roles this was his favorite and that his dialogue with actress Tuesday Weld in the diner was his favorite of all.

Anyone who wants to see the birth of Michael Mann’s film-making technique and style that would influence “Miami Vice” right up through “Heat” be absolutely sure to experience the height of the awe and the mystery that will take you from the inner mind to the outer limits of hard core story, acting, film-making and soundtrack pleasure and see “THIEF”!


0:00:00 .. Main Titles / The Heist
0:10:47 .. Sam’s Forge
0:13:56 .. Chicago Courtroom
0:18:34 .. Tailed / The Break-In
0:28:34 .. San Diego Beach / Love Scene
0:32:19 .. Frank Is Set Up
0:36:49 .. Destruction
0:40:08 .. Final Confrontation / End Credits
0:45:58 .. Trap Feeling
0:48:55 .. Chicago Courtroom (alternate)
0:54:17 .. Tailed/ The Break-In (alternate)
0:59:00 …Beach Theme #1
1:05:12 .. Beach Theme #2
1:12:00 .. Destruction (alternate)
1:16:12 .. Final Confrontation (alternate)



A sadly unheard soundtrack and unseen movie!  But a true Cult Classic!
A terrific story-line with a terrific soundtrack that plays out like the movie with some of the BEST reggae music collected in one place!
Bob Marley and the Wailers, Wally Badarou, Steel Pulse, Aswad, Lee Perry, Toots and the Maytals, Rebop Kwakabah, Rico, Jah Lion, Human Cargo, Dennis Brown and Fabulous Five – with eight of the twenty-two tracks by Bob Marley!

The story deals with a couple’s unfortunate small plane crash in a tropical swamp in Jamaica but they are rescued by Countryman, a fisherman so in tune with nature that he has supernatural powers.
The crash is used and staged as a political incident to use against the opposition – but to make charges stick on the arrested opposition the pilot must be captured. Thus unfolds a mystical thriller filmed independent-style which makes it that much more intriguing.

As the corrupt police, henchman and even an their own Obeahman close in, Countryman uses his powers to protect and prevail over seemingly insurmountable odds.

With actual dialogue interjected between songs the whole soundtrack comes alive, like the original “Taxi Driver” soundtrack and really adds to the conceptual flow.

If you love Reggae music then this is an irressitable LP, if not, this LP is a perfect choice as an introduction – it is hot, it is solid, it is a classic gem, not only as a righteous Reggae album but as a Killer Soundtrack!

1. Natural Mystic – Bob Marley & The Wailers
2. Rastaman Chant – Bob Marley & The Wailers
3. Theme From Countryman – Wally Badarou
4. Rat Race – Bob Marley & The Wailers
5. Jah Live – Bob Marley & The Wailers
6. Ramble – Bob Marley & The Wailers
7. Rebel Music (3 O’Clock Roadblock) – Rico
8. Sound System – Steel Pulse
9. Mosman Skank – Aswad
10. Small Axe – Bob Marley & The Wailers
11. Sitting & Watching – Dennis Brown
12. Bam Bam – Toots & His Mayals
13. Ooh! Aah! – Fabulous Five
14. Wisdom – Jah Lion
15. Carry Us Beyond – Human Cargo
16. Dreadlocks In Moonlight – Lee Perry
17. Time Will Tell – Bob Marley & The Wailers
18. Theme From Countryman – Wally Badarou
19. Pass It On – Bob Marley & The Wailers
20. Guidance – Wally Badarou
21. Obeah Man Dub – Wally Badarou
22. Theme From Countryman – Wally Badarou

This has always been a Big Time Favorite of mine – a must see – check it out!





Another iconic film and soundtrack about Los Angeles, “Chinatown” was perfect. Made from the hottest script of the decade by Robert Towne, Chinatown was a world-class act with Nicholson and Dunaway performing magic on screen with Polanski doing the same behind the camera and Goldsmith matching them all delivering every scene with exquisite music to create the best movie Hollywood and the world had seen in years.

This historic story of how the Los Angeles valley was created has the best incidental music that is at once seamless for the period and timeless in its sound. Throw in Bunny Berrigan and his Orchestra and some sexy, late night trumpet solos and you’re transported to a place in time when the cars, clubs and clothes were cool, smoking and carrying a gun was normal and corruption within the Government, the county, the police, and business was an apparent necessity.

Jerry Goldsmith was a prolific and successful film composer and did some of his best work in the ’70s and his Chinatown score was nominated for an Academy Award for Best Music Score.  Now it is widely considered by just about everyone as one of the greatest film scores ever; one of my favorite film makers, David Lynch, cites Chinatown as his favorite film score of all time. I won’t go that far, but it is easily in my Top Ten.

So, sit back and enjoy a truly gorgeous and Killer Soundtrack;



TO LIVE AND DIE IN L.A. – September 30, 1985 – WANG CHUNG

The fate of my life: To Live and Die in L.A.
I was born and raised and will probably die in the City of  the Angels – and I couldn’t be happier, it’s been an absolute trip.

William Friedkin is the Man!  Period!
Friedkin is Hard Core AND he has his pulse on Rock ‘n’ Roll.  Friedkin and Michael Mann are two of the coolest film makers, directors and mavericks who focus on extremely intense subject matter and set the highest standards for iconic imagery and sound – they’re the best in the business.

This soundtrack and film are one.  Everyone involved are performing to the max: William Peterson, Willem DeFoe, Friedkin and Wang Chung.
Friedkin, as he did with “The Sorcerer” and “The Exorcist”, personally chose Tangerine Dream” and “Michael Oldfield” respectively, and he did the same for this film with “Wang Chung”.

I was hip to Wang Chung and like “the Fixx”; they had carved-out a distinct niche in the ‘80s pop-rocker atmosphere as they both had the advantage of good writing and hard rockin’ talent.
Plus I always like it when musicians in good bands strive to realize a cinematic vision – Wang Chung proved that they had the chops and were up for it!

While the TLADILA  soundtrack has immediate stand-out tracks; it’s upon repeated plays that the lesser tracks rise and become strong compliments that are also infectious – I find these tracks playin’ in ma own head from outta tha blue – and it’s a pleasant experience.

The instrumentals are all very good in reflecting L.A. with seething, raucous, laid-back, hustling, throbbing waves of rockin’ emotion and freeway-driving beats with searing soaring guitar riffs and synth beach sunsets of violence and murder.  Gotta love it!

This is the underside of L.A., from the richest to the poorest,  a city of back-stabbing, undermining, scheming, plotting, devious, double-dealing, mysterious, paranoid, bright lights, lavish, entertaining, over-the-top, drug-dealing, car-chasing, lovemaking, law-breaking, fist-fighting, bullets-flying, suspenseful, exciting experiences – and all on one LP!

To Live And Die In L.A. opening credits.

Side One (vocals)
1.  “To Live and Die in L.A.”           4:53
2.  “Lullaby”                                         4:43
3.  “Wake Up, Stop Dreaming”      4:35
4.  “Wait”                                               4:26

Side Two (instrumentals)
1.  “City of the Angels”                    9:17
2.  “The Red Stare”                            3:11
3.  “Black-Blue-White”                     2:23
4.  “Every Big City”                           5:09

This film holds back nothing – it’s balls-to-the-wall all the way – easily one of the most realistic (in the World of William Friedkin) and fearless films ever.
If you want to see TV’s CSI Grissom as a true bad-ass motherfucker (and he’s a cop) and Willem DeFoe equally as whacked, in a hard core plot in the mean streets of L.A. – dig this film (and soundtrack).




 TROUBLE MAN – December 8, 1972 – MARVIN GAYE

Seen as another blaxplotation film upon its release; “Trouble Man” the LP, shines brilliantly and soars above all others as a solid, righteous, classic contribution to hip, cool, soul, rock, blues and jazz!

Marvin Gaye is the Man!
This is the crème de la crème of hipster cool!

I posted this KILLER SOUNDTRACK to follow the “Three Days of the Condor” soundtrack post as they flow perfectly together and I’ve listened to them that way for so long that it satisfied my desire for a longer 3DC LP and this does grant that wish as they’re both just tooo coool together!

All songs written by Marvin Gaye (except side two, track two)
Check out these hip tracks:

Side one:
“Main Theme From Trouble Man (2)” – 2:30
“‘T’ Plays It Cool” – 4:27
“Poor Abbey Walsh” – 4:13
“The Break In (Police Shoot Big)” – 1:57
“Cleo’s Apartment” – 2:10
“Trouble Man” – 3:49  – – This is the shit!
“Theme From Trouble Man” – 2:01

Side two:
“‘T’ Stands For Trouble” – 4:48
“Main Theme From Trouble Man (1)” (Gaye/Dale Oehler) – 3:52
“Life is a Gamble” – 2:32
“Deep in It” – 1:25
“Don’t Mess with Mister ‘T'” – 3:04
“There Goes Mister ‘T’” – 1:37

The Talent:
Marvin Gaye: vocals, drums, keyboards, piano
Trevor Lawrence: alto, tenor and baritone saxophone
Dale Oehler: horns
Eli Fountain: alto saxophone
Marty Montgomery: soprano saxophone
Gene Page: strings
Bob Ragland: piano, strings
James Anthony Carmichael: horns

The music ebbs and flows like a good thriller would, so it creates its own nightlife atmosphere of danger and cool intrigue.

The only song with lyrics amongst all the fine instrumentals, “Trouble Man”, sung by Marvin Gaye is riveting – I love this cut, the Marvin Gaye croon gives way to a seriously cool rap about “T”, … and life.

With satisfying sax throughout and the best mixture of funk/jazz/blues; this KILLER SOUNDTRACK comes highly recommended by 00individual.

“Trouble Man” film intro and alternate take sung over the opening credits by Marvin Gaye:    Dig it!




Some albums literally have me under their spell and this is definitely one of them.

I have tried to discern what magic this music has that creates the total affinity I have for it.
Certainly the sophisticated ‘70s Blaxploitation and Porn Wah-Wah has much to do with it – I LOVE that shit! – but it is also the timing and the direct association with this classic film it scores that creates this love for this music.
Still, like with Angelo Badalamenti’s David Lynch film scores, it was music I was waiting for all my life – and knew it when I heard it!

Also, it is music from my Homeland, my place of origin, wherever that may have been. I feel good, comfortable, mysterious and groovy when I hear this score.  It all comes together as a cool, hip, dangerous, trippy, jazzy, rock, emotional, seductive gotta-love-it, exciting experience – every time.

My only grievance with this LP is that it is waaay too short – approximately 30 minutes – total!
The tracklist:
Side One
1             Condor! (Theme From “3 Days Of The Condor”)   3:33
2             Yellow Panic      2:14
3             Flight Of The Condor      2:28
4             We’ll Bring You Home    2:22
5             Out To Lunch     2:00
6             Goodbye For Kathy (Love Theme From “3 Days Of The Condor”)    2:15
Side Two
1             I’ve Got You Where I Want You  Vocals – Jim Gilstrap 3:10
2             Flashback To Terror        2:22
3             Sing Along With The C.I.A.            1:31
4             Spies Of A Feather, Flocking Together (Love Theme) 1:54
5             Silver Bells  Vocals – Marti McCall 2:36
6             Medley: Condor! (Theme) / I’ve Got You Where I Want You            1:56

Three Days of the Condor, the Film, is an easy personal Top 20  fave, as is the Soundtrack – and that speaks volumes for this Combo!

Redford and Dunaway can speak more dialog with their facial expressions that most others can barely do with words, as does Max Von Sydow; the plot is priceless and super heavy for the times and still extremely impressive today – (just now it’s all well-known fact) – and Grusin is in world-class top form to bring all the screen’s elements together to make this a classic Killer Soundtrack!

Do yourself a sublime favor, give yourself a visual, mental and aural orgasm: see this excellent, excellent true thriller of a movie and then listen to the equally excellent soundtrack!  But be aware; 3DC can be addicting!
I’ve been hooked for over 35 years!

To fully appreciate the true quality of this recording; analog vinyl is highly recommended.  –  00individual