Tangerine Dream to perform Sorcerer score.


Screen shot 2013-12-02 at 1.52.12 PMThis is a good time to be a Sorcerer fan. 1977 shoulda been like this.

About Toby

I'm a writer. And a dad. And a husband. And a record collector. And a movie geek (if the movies are old). And I really wish I had a hot rod.
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6 Responses to Tangerine Dream to perform Sorcerer score.

  1. amamansa says:

    Someone will record it for sure! 🙂

  2. thezest1967 says:

    it’s confirmed and you can buy tickets now – btw the promoter had the wrong date on the blurb I c&ped into my blog post – it should read 2014

  3. Mark F says:

    When it comes to the soundtrack for the film, one of the more interesting aspects (IMO) is that the Tangerine Dream stuff is better (and more predominantly) used in the international print, while Keith Jarrett’s church organ kind of dominates the original US version.

    Although I’ve had a copy of the MCA TD soundtrack sitting in my album collection for almost 30 years, I’ve always thought side one of Rubicon would have been a better fit for the film.

  4. thezest1967 says:

    ticket bought – I’m mad!

  5. thezest1967 says:

    NTERVIEW WITH PETER BAUMANN Backbeat (KNAC-FM) USA, SEPT 8TH 1977…..(extract only -sorry I don’t know who the female interviewer was): I: “Pulsating relentless like a recurring nightmare. Centaurs throb within blood crossing arties of storming cavalries that crash through the top of your head. Recycle and recur. Again and again. Reminding of white suns eclipsing oceans of stars shrieking through the midnight dawn. Never ending, Without warning’…that’s on the back of the album, (laughs) I think it’s really incredible”

    PB: “Yeah it is”

    I: “Tell us about how the music fits in with that? I felt when I listened to the music, I felt the poem were the lyrics that might have gone with it, and that’s why I read it”

    PB: “Yes, I like it also very much and I think does suit the music very well. We didn’t write it on the record, it was William Friedkin. We met him, I think it must be three years ago, when we were recording Rubycon and he visited us in the studio and we had talks together, he talked about his new projects and he wanted to have music for his new film and we really had the feeling that he got into the music and that he liked it very much, and this might very well understood in America but if you have poems like this in Europe but then…um…then the people are not so very sure whether you want to sell the album or not, it’s very, very dangerous to do a something like that.”

    I-“Really, why is that?”

    PB: “Well the people, they are not that open in Europe, they would think that this is just absolutely superficial and they just want to show-off or something like this.”


    PB: “It’s really true”

    I-“I got the feeling that, probably because I don’t live there (laughs) I thought that Europe was more open minded, more arty”

    PB: “Well ‘Arty’ is something else, and open minded in the ‘common sense’, I mean if you think to many people this album does go, you get a certain type of image with a poem like that, it really has to have long explanation, or the image of a group needs to be very set, until you can do something like that. That’s why we haven’t done it up to now. I’m very happy that’s on there, as it’s on the right place and it’s by the right person”

    I-“William Friedkin, wrote on here that your music was a major inspiration for the film the Sorcerer and that he felt the film and the score are inseparable, you didn’t even see the movie even when you’d written it . How did it work, how did you do it?

    PB: “Yeah, As I said before, we talked to William Friedkin and we thought he got very much into the music and he sent us the script and we read it, well our imaginations started very fast (laughs), the film was finished for us in a very short time, and so we did the music to the film had seen…”

    I: “In our minds .

    PB: “Yes”

    I: “It was obviously the film he saw in his mind to”

    PB: “Oh yes definitely, but that was not our problem at that time (laughs), I think the difficulty is that the film business is even more limited because of commercial reasons than music is. Especially with the kind background of the companies and so on and so forth, so William Friedkin was more forced even to go commercially than we would have done, when we read the script and did the music and that’s why we are not absolutely happy with how the music turned out to the film, um….but this is because we had our own film in mind, and of course it couldn’t be the same as he did, and maybe for some parts had to do for commercial reasons”

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