Customer Reviews

Conan The Barbarian: Original Motion Picture Soundtrack

5 star:		(114)
4 star:		(7)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Basil Poledouris' score to Conan the Barbarian is one of the great powerhouses of film music and remains as one of my favorite film scores to this date.

The score is a perfect blend of melodic beauty and raw power with a huge orchestral sound and lots of wonderful choral passages that range from haunting and slow to in-your-face and over-the-top. I could go on forever on this score, but suffice it to say that I really can't think of a more perfect score than this.

As for the CD's sound quality...

The sound quality is definitely dated and isn't quite as crisp and clean as one would hope. However, what it lacks in sound quality, it more than makes up for in musical quality. I've purchased a number of albums containing re-recordings of Conan music and while the sound quality has been better, NOTHING has matched the emotion and power of the original film soundtrack.

Differences between the editions...

The 12-track Milan edition was released first, followed later by an expanded 16-track edition by Varese Sarabande.

The Milan CD runs around 49 minutes, while the Varese edition runs about 67 minutes. The Varese edition includes pretty much all the same music as the Milan release, with one exception:
The first track of the Milan edition opens up with Mako's opening prologue speech which then immediately segues into the "Anvil of Crom" opening. The Varese track opens up directly with "Anvil of Crom".

The Varese edition adds the following four tracks:
- Mountain of Power Procession (3:21)
- The Tree of Woe (3:31)
- Recovery (2:11)
- Death of Rexor (5:34)

and expands the following two tracks:
- The Leaving/The Search (5:59)
- The Kitchen/The Orgy (6:30)

Compared to the original Milan tracks:
- The Search (3:09)
- The Orgy (4:14)

All in all, the Milan edition is missing about 19 minutes worth of music.

In my opinion, the Varese edition is definitely worth seeking out, but even if you decide to get the 12-track Milan edition, the music is worth getting in whatever form you can.

For any fan of film music and for any fan of the film, this score is definitely a must have!

However, if you're an audiophile, you may want to think twice.

NOTE: I noticed that Amazon lists the Milan edition twice and the Varese edition once... yet the reviews for both the Varese and one of the Milan editions appear on both pages, so beware of which page you are looking at, especially if you are ordering the title.

You can easily tell which edition it is by checking the Label information under "Product Details" or simply looking at the cover image: The Varese cover has a black area on the right side of the containing the title and credits, while the Milan edition has the Conan cover image centered in a box with the title centered at the top.

[ASIN B00008O89K] Milan
[ASIN B0000261NH] Milan
[ASIN B0000014T1] Varese

The musical score to "Conan the Barbarian" is truly one of the great achievements in fantasy/adventure film music. Basil Poledouris, who composed and conducted the music, brings a tremendous amount of passion and skill to his task. Equally passionate are the performances by the Orchestra and Chorus of Santa Cecilia and the Radio Symphony of Rome. This is big, bold, richly colored music with a lusty, savage vibe.

The film follows the adventures of Conan, a well-muscled warrior played by Arnold Schwarzeneggar, as he battles his way through a mythic fantasy landscape. Poledouris brilliantly combines choral voices with a full orchestra to evoke Conan's world, with all of its beauty and danger. Particularly good is the percussion that spices many of the best tracks.

As you might expect, there is a lot of chest-pounding, martial-sounding music on this CD. But there are also passages of sweetness and delicacy. Every track is excellent, but my particular favorites include the relentlessly pounding "Anvil of Crom"; the tender, yet joyful "Theology/Civilization"; and the sensuous second part of "The Kitchen/The Orgy." "Conan the Barbarian" is a classic of the art of film scoring.

Basil Poledouris died on Wednesday? Wow. No more music from this phenominal composer. Conan the Barbarian is the one soundtrack that I just automatically pick out if I start thumbing through my CDs and I can't quite figure out what I want to listen to. It's just, well, always right. Powerful. Mournful. Hopeful. Playful. Soul-stirring. This soundtrack simply has everything anyone could want. I bought my first copy back in the mid 80's, and I wore it out. Yep, you can be as careful as you want, but nearly twenty years of playing a disc takes its toll. When I went to get another copy a couple of years ago, I discovered that they started at about fifty bucks, used, because they'd been out of print for so long. I don't think that I hesitated for more than about five seconds fore I bought the next one. Ahhhhh. Much better. The twelve songs on the Milan release (plus the intro by Mako) are nice (and cheaper), but the Varese Sarabande release, with the full 16 songs, was the one that I needed. Yes, needed. This is a fantastic piece of music that is, as I mentioned, Always Right.

This is the most powerful CD that you will ever buy. The amount of raw emotion and power that it conveys are simply amazing. This isn't light fare, but heavy stuff. The only other CD that comes even close to comparing in power and size is Williams' Summon the Heroes. This CD is an excellent investment; don't be shied away simply because it's Conan -- this is the real stuff, and it would be a shame to miss it.

This is a terrific soundtrack, probably Basil Poledouris' best work ever.

The music tells the story so well, from the opening "Anvil of Crom", with thunderous drums and triumphal trumpet calls, which was later recycled for the trailer for "Gladiator".

There is the subtle, delicate build up to the upcoming battle followed by the roar of the chorus and drums and trumpets to match the charge of Thulsa Doom's henchmen in "The Battle of the Mounds", with the gentle momentary final pause before the battle for Conan's prayer to Crom. This one piece more than any other easily brings out the matching visuals from the movie.

"Riddle of Steel/Riders of Doom" also has a beautiful buildup to the violent choral climax at the end.

There are the gentle, almost sad themes from "Wifeing" which just about make you want to cry when you hear the music by itself (this one doesn't quite match the visuals, since what's going on in the movie, Arnold making love to a lusty Sandahl Bergman, doesn't exactly make you want to cry).

The Varese Sarabande version of the soundtrack has 16 tracks, and if you are going to get the soundtrack to Conan the Barbarian, this is the one to get. It's just really, really too bad that it's out of print right now - used copies are getting expensive.

The extra four tracks in this version, "Mountain of Power Procession", "Tree of Woe", "Recovery", and "Death of Rexnor" are important pieces from the movie. "Tree of Woe" has that sad beginning and ends with the hopeful and joyous notes signaling the arrival of Conan's rescuers. "Mountain of Power" is a lusty processional piece. "Recovery" is an introspective presentation of several of the main themes from the rest of the soundtrack - they match the introspective look on Conan's face so well as he contemplates his comeback for revenge. "Death of Rexnor" starts with the trumphal music of Conan slaying Thulsa Doom's chief thug, and then moves into the undulating themes of Conan sneaking up on Thulsa Doom back at the temple.

"Gift of Fury", "Atlantean Sword", "Funeral Pyre" all stand out for their mix of delicate themes and buildups.

"Wheel of Pain" is the only track that I can't quite stand to listen to - the first half anyway. Poledouris used real screeching metal in the first half, and it really sounds like, ugh, fingernails on a blackboard. But then this has a really nice buildup to the thrilling part where Arnold as the now grown-up Conan looks up from the Wheel of Pain.

Get this soundtrack - you won't regret it!

Distinctive, innovative, exotic and memorable. I remember first watching this movie in an old, neo-medieval-styled theatre, and just sitting there, transfixed. 'This isn't just any movie,' I thought, 'It's a barbaric ballet set to music! And the music is incredible!!' I continued to sit there, enraptured, as a full orchestra, vibrant brass, exotic and driving percussion, and a full choir singing in Latin performed an almost continuous score that was perfectly suited to the story. This evocative music was partially inspired by Carl Orff's "Carmina Burana", and was brought to fruition by the fertile imagination of composer Basil Poledouris (who, having been a film major, could also write, direct and edit film, and had an intimate understanding of the genre). According to the CD insert, "Conan" director John Milius asked Poledouris "to write the score before and during principle photography, and gave him plenty of time to complete it. Because Milius wanted the film to be marinated in music, Poledouris was asked to produce the equivalent of a continuous musical drama." And indeed, if you've seen the movie, you can see each shot, each movement, replayed in your mind's eye as you listen to a particular scene's themes and motifs on the recording; the correlation is that clear. Now THAT's a soundtrack, as well as a piece of cinematic history! As an added bonus, the CD includes music not released on the original LP.

This is one of the best scores of all time. The only thing that really aggravates me is that this hasn't been released as a 2CD set with the complete score. Throughout this review I will be posting times after song titles. If you have the collector's edition of this movie these numbers will correspond to where the music cues start and end.
Intro (0.17- 1.25) This is not featured on the soundtrack I have. There is a version of this score that does feature this music but it has the wizard talking over it.
Anvil of Crom (1.25- 3.56) is the great main theme for this film. It is powerful and forceful without being overbearing. In the film this is played over scenes of a sword being forged, along with the credits.

Riddle of Steel/Riders of Doom (3.56- 9.28) is by far my favorite. The first half of this is very lyrical and soft and is played over the scene where Conan's father tell him of the Riddle of Steel. The second half is a great piece of work. For the first two minutes of this track there are quiet passages intermixed with louder and more threatening sections. A wordless choral chant starts and only adds to the eeriness and fear. In the middle of this a nice rising cymbal leads into more forceful chanting. This is played over the destruction of Conan's village.

Gift of Fury (9.28- 13.16) is another quiet track as Thulsa Doom confronts Conan and his mother. There is not one word spoken in this entire scene (making the music that much more important) and it ends with an urgent few chords that underscore his mother's beheading.

Wheel of Pain (13.16- 17.25) has a great circular progression in the music. The same themes are played and re-orchestrated in ever stronger variations as Conan grows to a young adult and gets stronger. This tracks ends quietly as Conan is sold to a master.
A few of you may note that these first cues all merge together. One ends and starts at the same time.

There is another track here in the film that's not present on the score and it's a real shame. The Pit Fighter (18.18- 20.56) plays over the pit fighting scenes that are very gory and visceral. Another missing cue is something I have called Discipline of Steel (22.41- 24.00) and features Conan showing off his moves with a sword. It's a short cue by very effective.

Atlantean Sword (25.45- 29.40) plays after his master lets him go, realizing he was too strong to be caged. The narration in the film hits this on the nail: "It has been surmised that my master was like an animal that had been caged too long." Conan runs away at this point, with wolves in pursuit, and drops into a tomb where he finds his sword. This music then starts and features a bit of the main title played softly and ends with a final chord that sounds like the wolves will catch hell for chasing him.

There is another great scene in the film here that features a cue once again not on the score. I simply call it The Witch (29.58- 33.53), and it features low brass and soft drums in an interesting and very strange pattern.

Conan meets his companion, Subotai, here. It is this scene that features some lyrical and almost forlorn music. Theology/Civilization (35.29- 38.40) is one of the better cues. It is during this cue that they talk of what gods they pray to along with images of them traveling. This part of the film features some great wide panoramas and great location filming which was done in Spain. They also enter a city here.

They both meet Valeria here and there is a great long sequence here with over 8 minutes of music. Tower of The Serpent (40.22- 48.29) is a great cue that, unfortunately, is not here. :( This is some of the best music there is in the film.
There is also some source music here played at a tavern which I have simply called Tavern Music (48.29- 46.36). A cue called Wifeing (49.36- 51.43) is here. This is a love theme and features Conan and Valeria consummating there love. After this scene there is another piece of tavern music (51.43- 52.48) with a bit of comic relief.

They are all captured at this point by King Osric's guards and taken before him. His daughter has been taken by Thulsa Doom and he offers them riches to go and steal his daughter back. There is a quiet cue in the film here which I have called King Osric (53.02- 54.22) but not on the soundtrack here. Again. It is played so softly that it's barely noticeable and might not even be an original cue.

Anyway, Conan's obsession with finding Thulsa Doom forces him to leave Valeria and the next cue, The Leaving/The Search (56.40- 1.02.48), features quiet sad music followed by Conan riding in search of his quest. There is more great scenery in the film here that looks even better on DVD.

Mountain of Power Procession (1.08.14- 1.11.34) is a great powerful cue that underscores Conan's passage into Thulsa Doom's ranks. This cue is really a march. A short unreleased cue after this, which I call Infidel (1.11.45- 1.12.33), is played as he gets caught.

After Thulsa Doom confronts Conan (and demonstrates the power he has over those in his snake cult) he orders Conan crucified on the Tree of Woe (1.15.40- 1.19.20). This next cue is very quiet with sustained strings as Conan bakes under the hot sun for nearly three days. In the middle of this cue there is a short passage featured in the earlier cue, Theology/Civilization. It is at this point that Subotai returns and rescues him.

They try now to revive Conan and bring him back from the brink of death. Valeria and the wizard (who has been narrating the story up to the point) also reappear. Recovery (1.23.10- 1.25.20) starts after his awakening. This features more music from the Wifeing cue heard earlier.

Once again, there is a small cue here which i have called In The Gorge (1.26.33- 1.27.37) which features the same strange drum patterns heard in an earlier cue, The Witch. In the movie this is segued into a great song called The Kitchen/The Orgy (1.27.37- 1.33.57). This is where they realize that the Cult of Set are really cannibals. This cue brings back a different take of the Riders of Doom cue at the beginning of the film with more wordless choral chanting. The second half the cue has the same rhythm repeated in its four minutes so that it almost become hypnotic. This is another great cue and one of the best.

The battle in the orgy chamber itself, which I have simply called The Battle Cue (1.33.57- 1.37.55) is scored with parts of Riders of Doom and the Anvil of Crom. Unfortunately, this cue is not here either. :(

As they try to escape here, Valeria gets shot with a snake. Thats right folks. LOL. You have to watch the movie to see what I mean. Anyway, the cue here, Funeral Pyre (1.39.53- 1.44.21), starts to play before Valeria is even dead. I found this dark and interesting. This is clearly the saddest cue of the film and another of my favorites.

Battle of the Mounds (1.45.56- 1.50.46) is a nice battle cue that matches perfectly with every action in the entire scene. The first five minutes of this track is included here. The other two minutes (1.50.46- 1.53.00) are not.

At this point one of Thulsa Doom's cronies, Rexor, fights Conan. Rexor loses of course as the title of the cue is Death of Rexor (1.53.18- 1.56.09) At this point they have the King's daughter back and the last half of this cue (1.56.09- 1.58.55) features Thulsa Doom talking to his followers intercut with the Kings daughter leading Conan into the compound. The music is great here and another of my favorite tracks.

Conan confronts his mother's killer here and beheads him (in front of all his followers) and tosses his head away. This cue, which I have called Thulsa Doom's End (1.59.45- 2.00.38) is very short, but completely effective. This cue is not here either but is very strong and should have been included.

Immediately after this Conan drops his sword so the followers can here the ringing of the sword as it landed. Their master had been killed by steel. Orphans of Doom/The Awakening (2.01.00- 2.05.49), besides being a great title, is also great because of the running of Conan's theme played quietly throughout the entire track.

The End Credits (2.05.50- 2.10.13)are not featured here, but is a mixture of many other cues, mostly the main title. So this is a great score! This is an amazing score! If you are into soundtrack music at all, you MUST HAVE THIS!

OK, this review was a bit too long. But it hope it has urged you to buy this score (along with the movie). You will not be disappointed in either of them.

It seems that Basil's makes many average-rated scores but every so often he makes an extremely great score. This is definately a great score he made, the one that also catapulted him into the elite league of composers. His score for Conan the Barbarian is very original and adds some medieval music styles to his modern composing style just like Alex North with The Agony And The Ecstasy. The main theme for Conan doesn't sound primitive or primal but noble and rightous, reminiscent of the main theme from The Agony And The Ecstasy (both scores seem to sound similar, don't they?). Just like in the theme from The Hunt For The Red October, Basil shows his talent for scoring with chorus. His two chorus themes for the villain are exciting and ultimately evil, however, they are usually played when Conan is fighting. Both using Latin lyrics, the first sounds like a triumphant battle fanfare, but his second theme sounds like Carmina Buramina and sounds powerful and furious, like a massive battle between two powerful forces. The love theme is great and sounds like a medieval version of the Han And Princess Leia theme from The Empire Strikes Back, though it sounds for some reason Scottish or Celtic. The final theme, also associated with Conan's companion, is the Theology/Civilization theme. I cannot tell you how great this theme is. It is a very moving village theme reminiscent of the Ludlow's theme from Legends Of The Falls, and Jupiter from The Planets. It only appears on one track in its entirety and that's a shame but it is great. The rest of the music is not boring at all, in fact, none of the tracks are bad at all. I highly recommend this highly original score. It's old medieval style music mixed with modern style music makes for a great score that sounds like it was from the far past.

All I can say is the music is fantastic! Listening to the cd transports you to a long-forgotten time of savage heroes and mighty kingdoms. This is the best soundtrack! Anvil of Crom, Riders of Doom, Atlantean Sword, Wheel of Pain, Civilization (just to mention a few), all of the soundtracks on this cd were good. The songs all have their place in the movie (ex. Battle of the Mounds actually sounded like getting ready for war and at one part of the track, there was a hopeful tune playing at the scene when Conan prayed to Crom. Very dramatic and sicere!). This is a once in a lifetime composition that I don't think Basil can ever duplicate again or surpass. It sounds so authentically ancient that I wouldn't be surprised if Basil travelled 14,000 years back in time to an era similiar to Conan's and came back to the present to write the music (well, I almost wouldn't be surprised!):P

While I cannot quite put Conan the Barbarian in the league of Ben Hur, Empire, or Superman... it is close. But without any doubt, it the most impressive premiere soundtrack by any film composer. A very good case can be made for The Wrath of Kahn by Horner, but in the end, there is no comparison. Basil Poledouris' magnum opus is full of powerful themes- Mountain of Power Procession, Anvil of Crom- yet is not without moments of the most touching beauty. I have actually wept in listening to some of the tracks on this, such as Theology/Civilization and the Wifeing. It's unfortunate that this Varese version is out of print, it is by far superior. The Kitchen/Orgy is extended and the Mountain of Power Procession is an awesome track, not available on the Milan version.

For all lovers of great music, this is indispensable.