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Battle Beyond the Stars/ |
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oday he's one of the most in-demand composers in the motion-picture industry, but back in the late 1970s and early 1980s, James Horner—like many current Hollywood hotshots—toiled in obscurity for B-movie mastermind Roger Corman. Among the handful of low-budget productions scored by the at-the-time-unknown musician were a pair of science-fiction films: Battle Beyond the Stars and Humanoids From the Deep. Fans of these cut-rate adventures will be delighted to discover that SF-soundtrack powerhouse GNP/Crescendo Records has recently reissued spirited melodies from the two flicks on a single CD.
The first 16 cues, all culled from Battle Beyond the Stars, exhibit a remarkably broad emotional range. Bellicose drums and jittery violins energize numbers like "The Maze Battle" and "Shad's Pursuit," just as springy, sonorous noises—clearly inspired by the "blaster beam" effect used by Jerry Goldsmith in Star Trek: The Motion Picture—enliven such cuts as "The Battle Begins," "Cowboy's Attack" and "Heading for Sador." At the same time, "Nanelia and Shad," "Love Theme" and "Gelt's Death" spotlight gentle, pensive motifs, while "The Hunter" and "Destruction of Hammerhead" engender a deeply foreboding feel.
Overall, the 15 selections from Humanoids From the Deep reveal a slower, more threatening ambiance. Tunes like "Unwelcome Visitor" and "The Grotto" impart an exceedingly anxious air via intensely resonant and, on occasion, rather discordant orchestration. The suspense is further magnified through screeching strings and obtrusive percussion on works such as "The Humanoids Attack" and "Final Confrontation," with "The Buck-O" and "Jerry and Peggy" offering relatively relaxed—though still portentous—interludes.
Early glimpse of a genuine genius
When listening to Battle Beyond the Stars and Humanoids From the Deep, it is admittedly easy to hear similarities between these cues and the composer's subsequent contributions to pictures such as Star Trek II: The Wrath of Kahn, Wolfen and, to a limited extent, Aliens. However, it's vital to remember that the tunes here were crafted well before these other efforts. The CD therefore presents an invaluable opportunity to explore early, comparatively original compositions from one of the true stars of contemporary movie music.
Despite incorporating, as the liner notes accurately attest, "the deep, rasping electronic tonalities and driving rhythms that Goldsmith deployed so well in Star Trek," the selections from Battle Beyond the Stars remain inspiring. Following an eerie, echoic introduction, the triumphant brass of the "Main Title" serves as a genuinely exciting preamble for the adventure. This passion is readily evident on other tracks, too, particularly "Malmori Rear Guard," which intertwines nervous horns with sparkling strings, and the odd artificial noises and intimidating instrumentation of "Nanelia's Capture." The Humanoids From the Deep cuts are also memorable, with a haunting harp creating a suspenseful mood during "Night Swim" and skittering violins—slightly reminiscent of Bernard Herrmann's infamous Psycho accompaniment—adding to the creepy atmosphere of compositions like "Night Prowlers."
Unfortunately, the melodies aren't entirely flawless. Performance mistakes are apparent on some numbers—especially "Cowboy and the Jackers," where the horns noticeably falter—and the orchestra as a whole, albeit enthusiastic, sporadically sounds meager. Still, the themes from Battle Beyond the Stars and Humanoids From the Deep provide die-hard Horner-philes with a rare chance to hear some of the earliest professional efforts of a bona fide film-score wunderkind.
Pablo Picasso once said, "It's a poor artist who borrows—a good artist steals." It's obvious from these youthful and imperfect scores that, even at the initial stages of his career, Horner was already a good—although plainly not yet great—artist. — Jeff
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