When Roger Donaldson set sail with his crew for 1984's version of the famous story of the mutiny on “The Bounty”, he had more than stocked up his hull with goodies for the epic voyage. A fabulous screenplay from Richard Hough and Robert Bolt that was based not on the usual historical tomes that tended to embrace the mythology of the tale but rather the truth at the heart of the genuine clash of wills that led to the uprising and mutiny, and would delve far more deeply into the poisoned psyches that drove two firm friends into deadly confrontation. A life-size, fully working recreation of HMS Bounty would bring the sort of authenticity that sailing yarns had lacked since the silent days of Douglass Fairbanks. Breathtaking cinematography from Arthur Ibbetson and idyllic locations in and around the islands of French Polynesia would exquisitely transport the audience as well as his crew to the type of tropical haven that seems born of a dream. He also provisioned for the trip a stand-out cast. Not only did he have one of the most enigmatic and intensely internal actors from his generation in Anthony Hopkins, who brings humanity and courage to the difficult role of the tortured Captain Bligh, but one of Hollywood's then rising superstars in the talented and charismatic Mel Gibson who, mixing up the clichéd image of the character with the reality of the man himself into one turbulent broth, delivered a vigorous and near-schizophrenic performance as the loyalty-bereft Fletcher Christian. And, going further below decks and higher up the rigging, we would also find that Donaldson had secured a terrific ensemble of up-and-coming character actors with the likes of Bernard Hill (who would move up the ranks to play the captain of the Titanic for James Cameron, and then King Theoden in LOTR), Liam Neeson (Hollywood's filmic mentor of choice), Daniel Day-Lewis in a remarkably priggish early role, the rat-faced Phil Davies, a very young Dexter Fletcher and even Neil Morrissey, who would go on to behave badly on the Beeb and supply the voice of Bob the Builder. Honestly, would you sail into the great unknown with this motley crew?
Of course you would.
But despite all this adherence to truth and authenticity, Donaldson would then do something utterly radical and anachronistic - he would recruit synth-god composer Vangelis to score his film. Despite his Oscar-winning score for Colin Welland's equally gong-catching Chariots Of Fire helping to open up the possibilities for electronic film music in the mainstream, as opposed to cult genre items such as Assault On Precinct 13, Halloween, Escape From New York (all for John Carpenter) and Logan's Run and Star Trek: The Motion Picture (for which Jerry Goldsmith extensively experimented with electronica), his work on Ridley Scott's phenomenal and fan-cherished Blade Runner became the instantly iconic sound of the future, which could only leave the jury holding its breath in anticipation of a right royal cock-up of huge proportions, and for The Bounty to sink with egg on its sails. Most critics didn't seem to realise that the first composer who has been attached to the project throughout its troubled gestation was, in fact, Maurice Jarre, another composer, very highly renowned and revered and laden with awards, who was profoundly forward-thinking and comprehensive in his use of electronic orchestrations. Therefore, The Bounty was almost certainly always intended to be scored in such a mood and ambient based manner. David Lean had actually been the initial director of the film, which is why Jarre was on-board right from the word go – the two had a very close and extensive working relationship - but once the esteemed Lean jumped over the side and Donaldson was promoted to full captain of the production, Jarre was quick to follow. But ideas must have already been in place for this sort of synthetic, dreamy harmonising to have voiced the brooding conflict between the two huge personalities of the story … so in came Vangelis.
The score that he composed was to divide the critics and the audiences alike. Yet, at the same time, this division between love and scorn was only appropriate for the tale of mutiny and split allegiances. It worked on the emotions less than a full symphony orchestra would, perhaps, but it preyed on mood, on the twisted psychology of the doomed men, on the growing pain of broken vows and lost trust, and predominantly upon the haunting quality of the sea and the mind-warping beauty of Tahiti, the island that would take the sailors to breaking point. Vangelis, against the odds it seemed, found the ebb and flow of the story and the heart and soul of its characters. He created one of the most eloquent and trippily ambient scores of his career to date and one that, far from being the anachronistic disaster that many foretold, has become one of the most effective and certainly memorable assets of Donaldson's marvellous interpretation of the oft-told yarn.
Sadly, his full score has never been released. For reasons known only to himself, Vangelis who, by the way, regards his work on The Bounty as amongst his very best, has not permitted it to leave port, much to the chagrin of his armada of fans. Which is why this release from BSX Records, when it suddenly appeared on the horizon, sparked the same sort of hope that Captain Bligh and his loyal crewmen, set adrift in the Bounty's diminutive launch after the infamous mutiny, must have felt when they finally spied civilisation after such a traumatic ordeal at sea. But such hopes are often set to be dashed against the rocks … as we shall see.
Two pretty major things fly against this release. Firstly, and most importantly, what you hear on this disc is not the original recordings from Vangelis. Now this is not quite the sacrilege that many may immediately assume. I mean, lots of fantastic scores have been re-recorded by other composers and boasting new orchestral treatments. You only have to listen to James Fitzpatrick conducting the City Of Prague Philharmonic Orchestra for Tadlow's release of Elmer Bernstein's True Grit, or Nic Raine conducting the same mammoth ensemble for the astonishing complete score of Basil Poledouris' Conan The Barbarian for Prometheus to understand how good and even how improved some of these new recordings can be.(In the case of Conan, Poledouris never actually had the full orchestra that his writing demanded, and the new release follows his orchestrations in a way that he would be truly proud of.) However, Dominik Hauser, Swiss-born multi-media composer for films and videogames, who arranges, produces and performs Vangelis' glittering, often metronomic, but powerfully brooding score for The Bounty does not achieve quite the same level of audio authenticity and integrity that the aforementioned examples, as well as many others, manage to do. This sounds great, don't get me wrong, but it sure doesn't sound as though Vangelis is at the wheel. Although some complaints that it comes over as though someone is playing about on a vintage Casio keyboard in their bedroom are, frankly, quite shamefully off the mark, you can't help but get the impression at times that this your big brother, who is in a band, concocting his own version … just for you.
We will explore this crucial facet further, of course, but moving on to the second obstacle in the way of the ship's course, we find that this long-awaited release does not even feature the complete score that Vangelis composed. In this day and age of incredible soundtrack editions that contain not only the full original score as composed for the film, but also numerous alternate cues, their original album presentations and bonus material that had never been released before, or wasn't even heard in the finished film, this sort of smacks of a let-down. But we cannot blame BSX for this state of affairs, and it is commendable that they, at least, attempted to bring this fascinating score to us in a more complete form than has been officially available previously.
In short, it means that true fans will have to continue to wait for the synth-maestro to dust off his original masters and finally give in to the pressure of their blockade and release the full original score himself. And we won't be holding our breath for that eventuality.
Now, if these little flies in the ointment sound like I am about to pour nothing but scorn on what Hauser and BSX Records have accomplished with this release, then you'd best think again. Personally speaking, this is a tremendously ambitious “take” on the haunting Vangelis score. But remember that a “take” is all that it is. Album Producer Ford A. Thaxton, from BSX, assures us that having heard the full score, this type of highlights variation was the best way to go. We will have to take his word for it, but this is certainly the fullest that we have ever heard the music outside of the film. To my knowledge the only way of hearing any of Vangelis' original score is on his compilation album entitled Themes, which has just the “Opening Titles” and the “Closing Titles” from the film, and on his more recent album, Odyssey, which only offers us the “Opening Titles”. So, straight away, we have the best all-round option of savouring more of that unique atmosphere of intense character implosion, ghostly, ethereal travelogue and scintillating, paradisical dream-weaving. What Hauser delivers is just as luxuriously hypnotic on its own terms … and until Vangelis allows his original music to reach our ears, we'll just have to make do. Won't we, Mr. Christian?
So, let's get this musical voyage underway, then.
Inarguably, the score for Roger Donaldson's intensely psychological evocation of the mutiny on The Bounty, revolves around the pulsing, doom-laden beat that signifies the increasing frustration and potentially homoerotic jealousy felt by Captain Bligh at, and for, his Master's Mate and former close friend, Fletcher Christian as events since leaving Portsmouth spiral increasingly out of control and into the uncharted waters of despair and hatred. This threatening and ominous beat reappears many times throughout the film, usually accompanied by shots of Hopkins suffering from his own emotional turmoil and psychological impotence, perhaps headed-up by the following exchange between himself and Fletcher after the spell of Tahiti has wrought spiritual havoc amongst the crew -
“It always makes me laugh that whenever men lose their self-restraint, they always say they are natural.”
“They are more natural than men who have nothing to restrain.”
Ouch! Nice one, Mr. Christian.
But there are many moments of gleaming, synthetic tranquillity signifying the soul ensnaring qualities of Tahiti as well. None more so than when the Bounty first arrives at the island, which is only touched upon briefly on this album in Track 8, entitled Sailing On. A heart-aching synthesised harp flutters, bells and chimes rattle out a gentle cadence. There is a truly magical moment when, in the film, as the Bounty drops anchor in the gorgeous bay of the island paradise, we hear a resplendent and gleaming flourish, almost as though a cascade of diamonds has filtered through the sea. Hauser pulls off this spellbinding effect very well, and the flourish shivers, Eden-like, from out of the depths of his surrounding textures. There is also splendour and pride to be found in Track 2's Bounty Leaving England, which so beautifully evokes the hope and optimism of an adventure just beginning with coruscating tones that shimmer and shine like caves of ice. Track 4, Bligh In His Cabin, follows on from this with a quieter, more subdued timbre. Young Midshipman Heywood speaks to John Adams, who is at the wheel, during their first twilight at sea. “Homesick, Mr. Heywood, sir?” asks Adams, to which the maritime novice prophetically replies that he is afraid he shall never see England again. The music is lilting and beautific, capturing the climb-down of the exhilaration of leaving home and the beginning of realisation that many, many months of hardship await. Vangelis, and Hauser, are careful not to allow the marvel of the undertaking to slip away just yet. Even Bligh, writing his first entry in the Captain's Log, stares wistfully at a picture of his wife, and Hopkins conveys so much of the inner hopes and fears that the man has about the days to come. The music really taps into this.
Most famously, the film is bookended by two amazingly potent and haunting, yet ironically very leisurely pieces. Track 1, The Bounty Main Title is a classic composition from Vangelis. Highly distinctive and resounding, its repetitive nature becomes hypnotic and warmly menacing. You can feel the hot winds of the Great South Seas, and almost taste the salt in the air. With a slow, deep and remorseless rhythm, Vangelis' main theme ploughs onward as though pushing through the sea, driving forward under the command of Bligh's sternly determined, but not tyrannical rule. Whilst the insistent beat embodies the ship and Bligh's will, Vangelis decorates the theme with exotic synth calls and wails, provocative distractions that represent the personality clashes to come like squalls gathering across the distant waves. The main beat, albeit dressed up with native sounds, bird-calls and ethnic percussion effects is actually something of a lift from John Carpenter's and Alan Howarth's unstoppable theme for the sinister fog in the film of the same name, which came out five years before The Bounty. I'm sorry to Vangelis acolytes out there, but it is true.
As good as this rendition is, just throwing in Vangelis' original track from one his own compilations reveals a major difference in tone, depth and gravity. Hauser's lacks that epic sweep, his glimmering percussion strike, suggestive of a ship's bell, sounding tinny and slight, and his pounding main beat lacking the same force of fathoms. As enjoyable and as faithful he tries to be, the limitations of his media and what could be the remixing of the bass leave his adaptation trailing in the wake of the Vangelis original.
Far less brooding and ominous is the End Credit, Track 16. Here, Dominik Hauser goes a little bit overboard and supplies us with what amounts to an 80's style megamix that goes on for the best part of fifteen minutes. Wistful, elegiac and slow-paced, this is a softer, more reflective theme that is also quintessential Vangelis. A central theme rolls and rolls and rolls, churning steadily onwards whilst cloud-like effects float and shimmer all around it. Of course, this is evocative of a small ship at sea, beset by the vastness of the glassy surface it rides upon and at the mercy of the winds and the tides that eddy endlessly around it. It is beautiful and as relentless as a slow voyage chasing the horizon. But the electronic percussion, once again, sounds too clean and too light. It lacks the sombre rhythmic punch of the original. Where you can imagine Vangelis' keyboards singing out across a huge expanse, Hauser's does seem rather landlocked and restricted. It is a shame and something that can't help but take the shine of such an, otherwise, effective and lucid piece.
Even so, these two tracks are the high points of the score. The beat is addictive and catchy, the mood evoked trance-inducing and sonorous.
Darkness is smothered over the score in the gloomy Bligh To Boat (Track 12), which brings in the Captain's pulsing theme amidst a more distant, dour and slower variation on the main title. In the background, a tone we weren't originally aware of begins to ascend and descend, and then phantom chimes clamour softly like the musical equivalent of flares igniting in the far off night sky. There is pain here, a cold and lonely agony that feels like an old wound worked at by the numbing sea-breeze.
“It doesn't look much, does it?”
“No … no, sir, it doesn't. But I've seen the Horn when the waves were as high as three houses, one on top of the other. I once saw six men washed overboard on one wave. Someone on this ship is very lucky.”
Where Hauser's version comes completely adrift is in Track 5, the epic Cape Horn. For the bravura sequence when Bligh compels the ship to round the tempest-tossed and ferocious stretch of Devil's Water at the bottom of the world, and therefore attain his goal of circumnavigating the globe, the score begins very calmly, but uneasily, literally assuming the role of the lull before the storm. Hauser's hovering tones replicate the feeling of dread and the lapping waves of apprehension as the crew look out across a grey and placid, but mischievous sea. So far so good … for both The Bounty and the music. But then, just at the point when in Vangelis' skilful hands all hell breaks loose and the full might of a raging sea is unleashed upon the tiny vessel, Hauser drops the ball quite spectacularly with an utterly hollow sounding semi-cacophony of synth wails, screams and clashes that, sadly, destroys the mood completely. There is simply no weight to any of this. No fury. The effects struggle to glitter and sizzle in the way that Vangelis was able to harness the crackling power and energy of the vicious lightning strikes that carve the night, and the roaring vengeance of the white-caps that pummel the ship.
Unlike Bligh's futile thirty-one day attempt to round the Horn, this track isn't completely catastrophic, but it reveals the lack of pedigree in the performer.
Failure At Cape Horn folds forlorn tones of despair around Bligh as he writes a letter to his wife recounting the dismal progress that the ship has made and the mood of the exhausted crew. Without a doubt, this was the first point at which dissension in the ranks was to be felt – yet, even here, Bligh admitted defeat and gave in to popular opinion and had the Bounty take a different route to Tahiti.
What this presentation lacks is the remorseless descent into both Bligh's and Christian's contempt for one another, the slow, pounding build up of pressure that will ultimately drive a wedge between them. Now, admittedly, this takes the musical form of the repetitious Bligh theme, along with coils and swirls of increasing paranoia threaded through it, but it would have been great to have heard this growing thematic angst on the album. Instead of these intervening cues that take up the bulk of the time spent on Tahiti and the various incidents there that lead irrevocably towards mutiny, BSX and Hauser incorporate freshly recorded string and vocal versions of the various sea shanties and period ditties that pepper life for the crew of the Bounty in the film. Aiding him in this not unwelcome roster of asides are the fantastic solo violinist Elizabeth Hedman, who performs the traditionals Bonny Kate (Track 3) for when the Tahitian girls cavort with the crew on the Bounty, and Drowsy Maggie (Track 7), for when Bligh has his crew exercise by dancing on deck, and classical singer Katie Campbell, who provides lilting, dockside vocals for She Moved Through The Fair (Track 10) with swooning accompaniment from Hauser.
Leaving Tahiti, Track 11, offers us a depressing slant on Fletcher Christian's theme, which is the main theme, of course, only minus Bligh's driving beat to propel it, meaning that it is left to meander, just as the character's loyalty is beginning to. We've heard this variation many times throughout the film, especially once things begin to fall apart in the relationship between the two men, but this album does not present most of these more gentle and lyrical moments. Earlier, when Fletcher is informed by the Tahitian King Tynah (Wi Kuki Ka) that he has gotten his daughter, Mauatua, pregnant, Track 9, the score has taken on this more solemn and star-crossed direction. More and more, the music, overall, has become two sides of the same coin. Belligerent and percussive for Bligh, and more interesting as a result. Melancholy for Christian and more suggestive of impending tragedy. This naturally plays up the angle of Mel Gibson being the romantic lead, but also provides for him a dark and resentful vein of Montgomery Clift-style sulky brooding. Once again, Vangelis' compositions brilliantly segue into this chip-on-the-shoulder mindset. At this point, I would like to state that both Hopkins and Gibson are superb in the film, although there is never any doubt that it is Hopkins who steals the show.
The anguished tones and stingers that Vangelis used for the actual mutiny are missing, and we only get the despondent Bligh To Boat, Track 12, in which the ousted Captain and those few that remain loyal to him, are bundled into the Bounty's launch and set adrift to a dirge-like rendition of the main theme. It is a shame that we don't get to hear the electrifying musical psychosis that crystallises Christian's agonised decision to take the ship. “Why are you being so damned reasonable now?” Gibson demands of his pleading captive, clearly in the throes of emotional breakdown. “Goddamn you blood, to hell with mine!” Vangelis' cue sizzles with anger and violence but, sadly, it is not here.
Return To Tahiti, the first of two cues in Track 13, is almost as though we have stumbled into the neon and rain-soaked Los Angeles from Blade Runner. Muffled explosions of effects, like fireworks sound amidst the glittering array of a musical star-field. Christian and the mutineers are initially welcomed back to the island, until he explains to the Chief just what they have done. The tone is almost victorious and jubilant, but there is a bittersweet undercurrent that stamps the cue with the hallmark of further strife. Christian and Mauatua (Tevaitte Vernette), along with several of his men, and their respective brides, cannot stay there and opt to find sanctuary somewhere else from the British Navy, who they know will be coming after them. The second cue, Purcell Confronts Bligh, was another chance to supply some of that sizzling mania with which Vangelis had aided Christian's mutiny. As tempers fray on the beleaguered launch over division of the pitiful rations that the fugitives have, the ship's carpenter, Purcell, played by Pete Lee-Wilson, rises up to challenge the now straggly-haired and bearded Bigh about his decision-making. Hauser copies the intense ascending note and its subsequent descent into paralysed trauma, but it sounds horribly tame compared to the original music as heard in the film. The following track, Christian And Young, covers the tense moment when the mutineers threaten to turn on Fletcher for his perceived inability to locate the uncharted Pitcairn's Island, where they had intended to hide themselves away. A dramatic bell-like flourish ignites as Christian puts a pistol to Ned Young's head and holds the ship at bay until he gets his own way. Young (Phil Davies) is forced to steer the Bounty until, as luck would have it, they eventually come into sight of the mysterious rocky stub of land that will become their home. The cue ends, however, in a cold and implacable stand-off of little piano-like discordant harmonies playing out softly beneath the fuzzing wall of dark electronica.
Three cues comprise Track 15. Pensive, troubled notes from the keyboard reflect the ongoing mistrust of the Bounty's crew until they arrive at Pitcairn's Island. Once there, Fletcher and the men know that there can be no turning back, and they set fire to the Bounty, and watch it sink beneath the waves. Bligh and his contingent of loyal crewman, starved almost to death and suffering dreadfully from exposure finally make it to port and Dutch allies. The score throughout this piece is gentle, wistful and elegiac. There is a sense of foreboding to the phrase as the Bounty burns, a tone that informs us that although the mutineers have found their sanctuary they have not find the peace, or the freedom they craved. For Bligh's moving return to civilisation, the score becomes bright and shining and full of heart-rending admiration for the Captain and his magnificent nautical skills at piloting the open-boat across the oceans without charts and navigating by the stars. Hopkins, it should be noted, is simply tremendous during this sequence as he struggles to compose himself and report “an act of piracy” with all the battered dignity that he can muster. Hauser does a decent job with this glimmering section of awe and heroism.
This has been a very strange musical experience, but one that is still worth having, in my opinion. For every moment that he gets right, there is another that leaves Dominik Hauser foundering on the rocks. But … at least he tried.
The best seafaring movie score, for me, is the wonderful music for Peter Weir's magisterial adaptation of Master And Commander from Iva Davies, Christopher Gordon and Richard Tognetti, which is also a much better movie all round. Now there was an example of stirring orchestral work with incredible thematic resonance, powerful action cues, an intrinsically authentic period tone and terrific use of classical pieces and medleys from Vaughan Williams, Mozart, Bach and Boccherini. There have been other more rousing and possibly more colourful historical maritime scores – John Debney's Cutthroat Island, Korngold's The Sea Hawk, James Horner's The Perfect Storm and especially Bronislau Kaper's score for the 1962 version of Mutiny On The Bounty, to name but four – but the trio of Davies, Gordon and Tognetti created a definitive musical account of life, death, adventure and all the forms of character that the sea brings out, all strung together with passion, originality and a sure-fire capacity to move. As far as the sea goes, Vangelis painted a textural umbrella that fitted the complex ideals of the men involved in this doomed expedition, and their tormented morals in the face of extreme temptation. It is not, therefore, a conventional maritime movie score in any way, totally eschewing the typical swashbuckling bombast that many had originally expected.
I mentioned the plethora of releases coming out these days with expanded track listings and a slew of bonus material. Well, BSX's The Bounty actually does yield some extra value in the form of a small flotilla of previously unreleased cues from other Vangelis scores, as well as a final track that presents The Bounty End Credit in its film version Single Edit. We get to hear medleys from Roman Polanski's Bitter Moon and Liliana Cavani's docudrama about St Francis, Francesco, as well as getting to listen to Katie Campbell's interpretation of the solo boy's voice against Hauser's synthesiser for the main theme from Luis Puenzo's La Peste (The Plague).
I cannot gauge how well this release will go down with fans. They are bound to pick up on the things that don’t sound quite right and this could seriously incite some animosity towards what is, when all said and done, a very loving and painstakingly recreated recording. I must confess that the first time I played this disc, I didn't like it at all. Tantalisingly, I could hear so many familiar themes that I had longed to experience again, in full, but like a pod-person from Invasion Of The Body Snatchers, there was something not right about them. Something was missing. They were merely imposters – glassy, vacant and soulless. But I played the disc again. And again. And then, before I knew it, some of that magic from the film score was beginning to seep into me. So, I suppose what I am really saying is that for the casual listener who enjoyed the music of The Bounty, Dominik Hauser's adaptation of the Vangelis score will be eminently satisfying. But for the more discerning score disciple, what he has done here will take a lot of getting used to, perhaps more than some are willing to undergo. It does sound good … but it is most definitely not what we had been hoping for and, all things considered, falls far short of that exuberant lushness, and the psychological detail of the original in many respects. I cannot award this more than 6 out of 10.
This edition is limited to 2000 copies and comes with a 12-page booklet of notes on the original score and upon this interpretation from Randall Larson.
Full Track Listing
The Bounty – Main Title 4.20
Bounty Leaving England 2.36
Bonny Kate (Trad. Performed by Elizabeth Hedman) 3.12
Bligh In His Cabin 1.41
Cape Horn 3.14
Failure At Cape Horn 1.14
Drowsy Maggie (Trad. Performed by Elizabeth Hedman) 1.46
Sailing On 2.21
Mautua Is Pregnant 0.55
She Moved Through The Fair (trad. Performed by Katie Campbell) 5.48
Leaving Tahiti 2.12
Bligh To Boat 3.14
Return To Tahiti/Purcell Confronts Bligh 1.37
Christian And Young 1.54
Finding Pitcairn/Burning The Bounty/Bligh Exonerated 1.54
The Bounty – End Credit 14.37
Medley from Bitter Moon 3.13
Medley from Francesco 2.43
Theme from La Peste (The Plague) with soloist Katie Campbell 3.58
The Bounty – End Credit (Single Edit) 5.04
Total Time 68.03
Like The Bounty's original voyage, this CD sails into troubled and possibly mutinous waters. There will be those devoted and loyal to Vangelis who will not abide what Dominik Hauser has attempted to do, and there will be those quite happy, almost eager in fact, to jump ship and follow a new captain who can, at least, provide the temptation of that intoxicating escape that this mesmerising score quite guarantees.
The main themes are all present and correct … well, more or less. A few choice tracks that have never made it to anything other than that 2-disc bootleg that was once doing the rounds can now be enjoyed, which is great. But a few other tracks stumble overboard in rough seas and don't really make it back, which isn't so great. Hauser's sound is often considerably less able-bodied than the demands this score makes of it require, to his treatment's detriment. And yet there is still power and beauty to be found here. Like I said in the main review, this can often come across as though someone with not inconsiderable talent has merely delivered their “take” on the score, almost as a temporary hobby before moving on to what they really want to do. There is passion here, but it is fleeting. There is skill and nuance, but they aren't enough to tackle the grace and depth of Vangelis.
Loyal crewmen still await the master's original score to hove into view. But, quite frankly, they stand more chance of circumnavigating the globe in a saucepan than this happening.
It is a tough call, really, but if you want to hear more of The Bounty's mysterious score, then this limited release is definitely worth getting hold of from the usual suppliers like Intrada or FSM. I fear that I can only grant Dominik Hauser's ambitious attempt to recreate Vangelis with a 6 out of 10, though.
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