It's hard to stop the Blastfighter when he's got music like this to back him up – an assortment of sounds served up by Fabio Frizzi – in a style that uses some of the instrumentation of his better-known horror work, but in a very different way! The buzzword here is "action" – and the best cuts have a throbbing rhythm driven by drum machines, and washes of 80s keyboards over the top – then guitars, basslines, and whatever touches are needed to move things forward – with an occasional rest on a cut that's a bit more mellow, but never sleepy at all! If you dig 80s action scores, you'll find plenty to love here – and there's a lean, compact vibe that gives the whole record a very unified feel. CD

It's hard to stop the Blastfighter when he's got music like this to back him up – an assortment of sounds served up by Fabio Frizzi – in a style that uses some of the instrumentation of his better-known horror work, but in a very different way! The buzzword here is "action" – and the best cuts have a throbbing rhythm driven by drum machines, and washes of 80s keyboards over the top – then guitars, basslines, and whatever touches are needed to move things forward – with an occasional rest on a cut that's a bit more mellow, but never sleepy at all! If you dig 80s action scores, you'll find plenty to love here – and there's a lean, compact vibe that gives the whole record a very unified feel. LP, Vinyl record album

Tomas Milian's the scruffy guy on the cover, and the light style of illustration lets you know that you're not in the spooky territory you might expect from Fabio Frizzi – but instead the kind of quickly-done comedy that was big business on the Italian scene of the 80s! With those films, the music was often the main glue holding the narrative together – and that's definitely the case here, as Frizzi's music is filled with catchy numbers that use electro rhythms and plenty of keyboards – playful and poppy, but with maybe a bit more thought than some of the dialogue on the screen! Back in the day, the original music was only issued as two tracks on a 7" single – but this package marks the full release of other tracks from the film, along with the cuts "Jolly Sax" and "You & I" – the latter with vocals by Tommie Babie! LP, Vinyl record album

An early 80s score for Italian horror maven Lucio Fulci by composer Fabio Frizzi – pretty chilling, but also in a bit of a post disco groove – appropriate for the time period and especially so given the NYC setting! The flick sounds like it owes more than a little bit to Rosemary's Baby and The Omen, and the soundtrack has some nice, spacey synth and rubbery bass grooves to go along with the necessary eerie moments. Includes 12 variations on the theme "Baby Sequenza". CD

Three Italian horror classics – packaged here in a single set! First up is Fabio Frizzi's score for Nella Citta Dei Morti Viventi/City Of The Living Dead – exactly the kind of set that shows why he was one of the true masters of Italian horror! The sounds here are a mix of electric and acoustic elements – but the latter are often played in offbeat ways that they really sound electric – making for a moody mix of music that goes way beyond the usual spare slasher keyboards! A few numbers use wordless vocals, while others have nicely stepping strings – and a beefier bassline comes into play on a few standout funk tracks as well. Titles include "Toward Dawn", "Fatti Misteriosi", "Apoteosi Del Mistero", "Occhi Di Brace", and "Verso L'Alba". Next is Frizzi's Beyond/E Tu Vivrai Nel Terrore L'Aldila – a very spooky soundtrack – and one that stands out as one of the best-remembered from this important second generation of Italian horror! The record's got less of the atonal orchestrations and funk/thriller modes of a few years before – and moves into the spare, eerie quality that John Carpenter helped usher in – with lots of crashing piano lines, atonal guitar parts, and weird descending chords that feel like they're going to suck you into the deep! There's some very nice and sparing use of synthesizer within the score – just the right bit to add a creepy edge, but maybe not as much as on other synth-heavy soundtracks from the time – and titles include "Voci Dal Nulla", "Oltre La Soglia", "Suono Aperto", "Verso L'Ignoto", and "Giro Di Blues". Walter Rizzati's score for Quella Villa Accanto Al Cimitero/House By The Cemetery has lots of keyboards – in a spare, spooky soundtrack from the early 80s Italian horror scene – a blood-dripping masterpiece from director Lucio Fulcio! Walter Rizzati's music here is heavy on the kinds of electric touches you'd hear from both Goblin or John Carpenter – and often paced at a level that's somewhere between the pair – not as jamming as Goblin, but a bit fuzzier than Carpenter – a blend that makes for some really wonderful numbers that are plenty creepy here on their own – even away from the images on the screen! There's plenty of great bits that creep up on you slowly – and others that jump mercilessly from dark corners – on titles that include "Quella Villa", "I Remember", "Incontro", "Blonk Monster", "Verso Il Terrore", "Voci Dal Terrore", "Tema Bambino", and "Chi Sta Arrivando". CD

One of the weirder soundtracks from Fabio Frizzi – a record that's spooky one minute, cheery the next – but in a way that really makes the schizophrenia appealing! The sunnier tunes have a bit of an island vibe – but are served up on relatively thin instrumentation, which then shifts quickly into some of the moodier, murkier sounds you'd expect from a zombie film like this – sometimes with some great early 80s-styled electronics! This version of the score is served up in a really lovely package – with a total of 13 different numbered tunes from the soundtrack – most around the three minute range. LP, Vinyl record album