***Orhan Gencebay - Leyla ile Mecnun (1983) -outrageously fantastic Turkish film OST!***

From Wikipedia:

Orhan Gencebay (born August 4, 1944 in Samsun, Turkey as Orhan Kencebay) is a Turkish musician, bağlama virtuoso, composer, singer, arranger, music producer, music director, and actor.

Gencebay was born in the coastal town of Samsun on August 4, 1944, to Crimean Tatar and Balkan Turkish parents.[citation needed] He started learning music at the age of six, taking violin and mandolin lessons from Emin Tarakçı who was an old Classical Musician from the Ukraine Conservatoire. At the age of seven, he started playing the bağlama (a traditional Turkish instrument), and continued taking traditional Turkish folk music lessons. At ten, he created his first composition. At thirteen, he started playing the tambur, an instrument often used in Turkish classical music to improve himself in the theoretical and practical details of Turkish classical music.

During his high school years, he performed in Classical and Traditional Turkish Folk Music groups playing the tambur and baglama, taught music lessons in his own music courses, and took part in organizing community music centers in Istanbul and Samsun.

When he was sixteen, he became interested in jazz and rock music, and started playing tenor saxophone in wind orchestras. He enrolled in the Turkish conservatory in Istanbul, and studied there for four years. During his military service, he played saxophone in the military brass band.

In 1968, he released his first "free-style" single "Sensiz Bahar Gecmiyor/Basa Gelen Cekilirmis", and was rewarded. During the 1970s he released many singles in a new genre that is a fusion of traditional Turkish Folk music, Turkish classical music, Western classical music, jazz, rock, country, progressive, psychedelic, Indian, Arabic, Spanish, and Greek music styles. Even though some musical societies such as TRT named that kind of World fusion music recordings Arabesque music, Orhan Gencebay refused the term arabesque, saying it was inadequate to define his style.[3][4][5] In 1972, he founded the Kervan Record Company, which became very successful, attracting many other talented musicians such as Erkin Koray, Ajda Pekkan, Muazzez Abaci, Mustafa Sagyasar, Ahmet Ozhan, Kamuran Akkor, Semiha Yanki, Samime Sanay, Nese Karabocek, Bedia Akarturk, Nil Burak, Ziya Taskent, Semiramis Pekkan and Ferdi Ozbegen.

Throughout his career Orhan has performed leading roles in 36 movies, has been a composer almost in 90 movies, composed of about a thousand[6] works, released almost 35 singles, 15 albums, and dozens of MC's. His albums sold out over 65 million legal copies.

As a composer, film musician, and as a person interested in other musical cultures, Orhan Gencebay is one of the major exponents of Turkish music in the 20th century.

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***Philip Glass - The Quatsi Trilogy - from unmissable & legendary 'image' time-lapse documentary films***

When Godfrey Reggio and Philip Glass released in the 1982 movie about the technology and the silent mutation of the landscape, they hardly knew 'Koyaanisqatsi' and its two sequels, "Powaqqatsi" and "Naqoyqatsi" would become a cultural landmark. The film titles are Hopi language words, where the word 'qatsi' means life. The Hopi language belongs to the Uto-Azteca and is spoken by the Hopi, an Indian nation that lives in the U.S. northwestern state of Arizona. 'The qatsi Trilogy' is the informal name given to films directed by Godfrey Reggio, with soundtrack by Philip Glass and Francis Ford Coppola executive producing. All the films consist of images of nature and images of man and his creations, all stimulated by the minimalist music of Philip Glass. The films are structured on a tripod: the conceptual chain, the heavy load of images and the rhythm of music. It is difficult to judge each film, as they are not movies in the conventional sense. It is an experience of sounds and images to evoke feelings harmonized. Their role is to provoke, to raise questions. The first covers primarily the northern hemisphere, the second and the South Asian countries, and the third deals with the planet as a whole. Godfrey Reggio is often able to find poetry in even disturbing images, enhanced by the haunting music of Philip Glass.

Philip Glass is a North American composer, born in Baltimore, and is one of the most influential songwriters of the late twentieth century. His music is renowned for minimalist, though he did not appreciate this expression. The term Minimalism was used to refer to the musical production that has the following characteristics: repetition of small portions over vast periods of time and almost hypnotic rhythms. It is often associated with and inseparable from electronic music, psychedelic music or even punk rock. Philip Glass has produced operas, symphonies, concertos and soundtracks. Tibetian and advocates. 'Satyagraha' is an opera based on the life of Mahatma Gandhi which includes several mantras. The soundtrack of 'Koyaanisqatsi' is among the most influential. In addition to symphonic works, Glass also has strong connections with rock and electronic music. Several artists were influenced by his work and received among the influences that is the music of Ravi Shankar that changed your perception of Indian music.

"Koyaanisqatsi: Life Out of Balance "


was released in 1983. It is the first and best known of the trilogy. It's an apocalyptic vision of the collision between two distinct worlds: urban life and technology versus the environment. We are shown scenes of natural and urban landscapes, many with the speed changed. Some scenes are slow and some more rapid than normal, like everyday modern life increasingly faster due to technological innovations. Images of the time with majestic minimalist music. The title comes from the Hopi language and means "life out of balance '. The meaning is revealed at the end of the documentary are also sung when three prophecies of the Hopi people in their own language, translated, of course. It was a movie with no story, no dialogue and no narrative structure of any kind. There was little debate about the importance of 'Koyaanisqatsi' as a warning to humanity. Instead, there was only the cult of beauty of the images at high speed that have become cliches used in other films and television programs. Some see it as a film strongly pro-environment, while others say it is more spiritual. Others conclude that it celebrates the beauty and power of the things that man has with nature. To me it is painful proof of how humanity's greatest successes have led us to major flaws too, and maybe in the end, we will have created something totally contrary to life than Earth originally gave us.

Tracklist:
01. Koyaanisqatsi
02. Organic
03. Cloudscape
04. Resource
05. Vessels
06. Pruit Igoe
07 Prophecies

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'Powaqqatsi: Life in Transformation'

was released in 1988 and as in other movies, there are narratives or dialogues. Also at the end is revealed the meaning of the name Powaqqatsi: Life in transformation. Using the deceleration of the images 'Powaqqatsi' denounces violence against nature. It follows an entirely different concept of 'Koyaanisqatsi', which focuses on inanimate structures built by mankind. This is a film about people and lifestyles in the developing world. Godfrey Reggio chose not to use visual techniques and high-speed photography and contented himself with a more discreet approach. Although the film can not match the impact of images of 'Koyaanisqatsi', considered the best by the opinion of the public and critics 'Powaqqatsi' theme has greater depth, it makes the public and critics think. The film is the better film portrait of the effects of modernity upon the natives of the Third World, emerging cultures of Asia, India, Africa, Middle East and South America, partly filmed in Brazil, who still live in the same way they did hundreds of years ago and how they express themselves through work and traditions. The scenes of people working, carrying baskets on their heads, show the enormous effort required to make these people an industrial revolution and in a very short period of time. The images show the tremendous work and sacrifice necessary to build a modern society. The structure of the film is the same as that of 'Koyaanisqatsi': early life, industrial life, and finally to modern existence. 'Powaqqatsi' conveys a humanist philosophy about the earth. The advancement of technology on nature and ancient cultures, and splendor as a result. The film focuses on the modern way of life and the concept of Global Village. 'Koyaanisqatsi' is the imbalance between nature and modern society, 'Powaqqatsi' is a celebration. To Godfrey Reggio is an analysis of how life is changing in a fascinating mixture of different backgrounds. It is a record of diversity and transformation. Cultures dying and prospering. With music by Philip Glass, the traditional instruments and electronics fused with tribal rhythms on a single theme.

Tracklist:

01. Serra Pelada
02. The Title
03. Anthem-Part 1
04. That Place
05. Anthem-Part 2
06. Mosque And Temple
07. Anthem-Part 3
08. Train To Sao Paulo
09. Video Dream
10. New Cities In Ancient Lands, China
11. New Cities In Ancient Lands, Africa
12. New Cities In Ancient Lands, India
13. The unutterable
14. Caught!
15. Mr. Suso # 1
16. From Egypt
17. Mr. Suso # 2 With Reflection
18 Powaqqatsi

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'Naqoyqatsi: Life as War'

ends the trilogy by Godfrey Reggio and Philip Glass, with excerpts performed by Yo-Yo Ma, French cellist of Chinese origin. Fifteen years later, in 2002, Godfrey Reggio and Philip Glass come back to the post-industrial society, marked by scientific advances and globalization of information. Of the three films, this is the most pessimistic. The film begins with the painting 'Tower of Babel, by Pieter Brueghel the Elder. Tower built by mankind to reach for the sky at a time when the world spoke the same language with the same words. God did not like the project and confounded the language of all. The tower, allegorically explains the origin of many languages spoken in the world. The film ends with a man lost in space quoting '2001: A Space Odyssey 'of Kubrick. The film is structured by humans, the Earth, space and violence. Political leaders like Bush Jr., Lincoln and Arafat are present. Bin Laden appears briefly, walking among followers. 'Naqoyqatsi' shows the grandeur of the world connected, globalized world, immersed in technology that shortens distances and speeds up procedures for destruction because of their misuse. Unlike the other two films, we used films and digitally manipulated images, mixed with scenes produced by computer graphics. It is a succession of images, some from nature such as clouds and ocean waves, other human as buildings and bridges, and others are computer-generated fantasies. Thus, Godfrey Reggio also demonstrates that the presence of technology is essential and prevalent in film production. 'Naqoyqatsi' does reflect on our relationship with nature, the influence of technology in our lives and new unhealthy ways of relating to people because of the ease of connectivity technology. Humanity does not use technology as a tool, but the technology lives as a way of life. It is a necessity, we can not live without it. At the end of the film we are told that 'Naqoyqatsi' is a word that essentially means, war and violence. But Godfrey Reggio does not include pictures of mushroom clouds, street riots, violent video games. Godfrey Reggio examines a world where nature has been largely eclipsed by the computer. A chaotic world, which often have no time to stop and really look at all the beautiful things that go unnoticed. 'Naqoyqatsi' is the clash between nature and technology. 'Naqoyqatsi' takes us on an epic journey where the real gives way to an amazing virtual tide of digital imagery and music.

Tracklist:

01. Naqoyqatsi
02. Primacy of Number
03.Mass Man
04. New World
05. Religion
06. Media Weather
07. Old World
08. Intensive Time
09. Point Blank
10. Vivid Unknown
11. Definition
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*** Philip Glass -The Music of Candyman -UNMISSABLE GOTHIC, MESMERIC, SPOOKY ORGAN & CHOIR MASTERPIECE! ***

Amazon.co.uk Review

Philip Glass has never been what you'd call a prolific composer for film, but when the horror genre called, he answered immediately and in style. Although behind-the-scenes politics turned the first Candyman into something of a stalk-'n'-slash flick, the music does wonders for its faux mythological premise. The delicate "Music Box" motif which is in fact "Helen's Theme", is the central pivot of what is a cyclic tale of destiny. Revolving around upon itself, it perfectly characterises a legend foretold. Almost every other cue is dominated by chorus, who in chanting repetitively add weight to the sense of inescapable doom. Several other motifs swim around, such as the gorgeous "Floating Candyman", and then they're given resolution in "It Was Always You, Helen". It doesn't end there however, since the album then seamlessly blends into the few additional cues Glass was talked into providing for the inevitable sequel. Apart from some bold use of church organ, the best cue is "All Falls Apart" with its sit-up-and-take-notice beeping effect. Ending on a remix of "Helen's Theme", this is an extremely well-conceptualised album. Just don't look at the disc and say the name aloud five times... --Paul Tonks

Customer review: (1 of 4 x 5 star ratings)

The Music of Candyman is a welcome release from the Glass back catalogue and is an example of one of the finest musical scores of the las 20 years. The film Candyman has a cult following and is a highly regarded work of filmic horror, much of this being down to the superb Glass score. Haunting piano melodies, ghostly choirs and some very gothic organs combine to create an intense sound once heard, never forgotten. This music has not been available previously and I would thoroughly recommend that you buy this, just don't listen alone!

01. Music Box
02. Cabrini Green
03. Helen's Theme
04. Face to Razor
05. Floating Candyman
06. Return to Cabrini
07. It Was Always You, Helen 08. Daniel's Flashback
09. The Slave Quarters
10. Annie's Theme
11. All Falls Apart
12. The Demise of Candyman 13. Reverend's Walk

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***Philip Glass with the Kronos Quartet- Dracula Soundtrack - Completely manic & strung out stuff! RECOMMENDED!!***

Amazon.com

It's no surprise that some of Philip Glass's most inspiring projects have been multimedia. The composer's minimalist tendencies lend themselves to the accompaniment of vast landscapes, silent films, and--now--Tod Browning's 1931 horror classic, Dracula. With longstanding collaborators the Kronos Quartet performing the score, Glass has created a soundtrack that moves with rapid-fire momentum and a timeless chamber-music feel. Dracula never sounds sinister or ironic, just ominous--the perfect companion to a film with plenty of dialogue but no pre-existing score. So what if we've already heard Glass's stylistic trademarks--striking arpeggios, repeated motifs, and the like--on any number of albums (for example, the Kronos/Glass soundtrack to Mishima or Uakti's 1999 release, Aguas de Amazonia)? Unlike the epic three and a half hours of Music in Twelve Parts, this enjoyable disc takes just over an hour and it's well worth hearing. In the new video release of Dracula, accompanied by Glass's score, you'll never see Bela Lugosi's mug the same way again. --Jason Verlinde

Tracklist:

01. (1:15) Dracula
02. (0:43) Journey to the Inn 03. (3:24) The Inn
04. (1:17) The Crypt
05. (2:13) Carriage Without a Driver
06. (3:12) The Castle
07. (1:08) The Drawing Room 08. (2:48) "Excellent, Mr. Renfield"
09. (1:30) The Three Consorts of Dracula
10. (1:34) The Storm
11. (1:22) Horrible Tragedy
12. (1:17) London Fog
13. (2:50) In the Theatre
14. (2:23) Lucy's Bitten
15. (2:57) Seward Sanatorium 16. (2:56) Renfield
17. (1:31) In His Cell
18. (2:09) When the Dream Comes
19. (4:01) Dracula Enters
20. (4:40) Or a Wolf
21. (3:12) Women in White
22. (3:26) Renfield in the Drawing Room
23. (2:22) Dr. Van Helsing and Dracula
24. (4:41) Mina on the Terrace 25. (3:52) Mina's Bedroom / The Abbey
26. (4:06) The End of Dracula

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