Silva Screen Records releases the Hammer Films soundtrack to The Devil Rides Out (1968), by James Bernard. Based on the popular novel of black magic, devil worship and cultism by Dennis Wheatley. The film, considered by many to be among the strongest examples of the Hammer horror vault, was scripted by wordsmith Richard Matheson, whose novels included I Am Legend, Hell House, The Shrinking Man, Duel (the one with the terrifying truck), What Dreams May Come, A Stir of Echoes, and lots more. He wrote many of his own adaptations, and wrote many other screenplays; for example, The Pit and the Pendulum, House of Usher, The Raven, and this one. The Devil Rides Out – in which the Duc de Richleau and Rex VanRyn seek to rescue an innocent individual from the clutches of a devil worshipping cult – starred such luminaries as Christopher Lee, Charles Gray, Nike Arrighi, Leon Greene, Paul Eddington, Sarah Lawson, and Patrick Mower. The director was none other than Terrence Fisher, who handled countless horror films for Hammer, and was always considered a joy. With this incredible pedigree in place, it was only fitting that Hammer would request the services of their main go-to feature composer, James Bernard, who had contributed the scores for The Curse of Frankenstein, Dracula, and many others. It has been said this is his best soundtrack offering and who am I to argue. Certainly, it was a favourite of his. His music was conducted by Philip Martell and recorded by Len Abbot at Elstree Studios. An example of Bernard’s music was played at his funeral in 2001; a fitting epitaph.

Track List:

'The Devil Rides Out Opening Credits'; 'Concerned Friends/Investigating the Observatory/Hidden Sacrifice'; 'Protecting Simon'; 'Balance of Power'; 'The Duc and Rex Follow Simon'; 'Uninvited Guests'; 'The Spirit in the Observatory'; 'The Eve of Mayday/Mocata’s Presence'; 'Pursuing the Truth'; 'The Baptism Begins'; 'Orgy of Evil'; 'The Goat of Mendes – The Devil Himself!'; 'Rescuing Simon and Tanith'; 'Mocata Visits the Eatons'; 'Tanith Controls Rex/Inside the Circle'; 'Visions of Terror'; 'The Angel of Death'; 'The Battle is Lost/The Power of Mocata'; 'An Unstained Child'; 'Finale and End Credits'.

It is said that the best film score music is that which largely goes unnoticed in the film. The Devil Rides Out is a prime example; you hear the music but you’re concentrating on the events in the film, not quite fully aware that the soundtrack is tweaking your brain and telling it how to act in terms of emotion. Sound is extremely important in horror films, not because of the cheap trick thrills of slamming doors but dictating the mood of each scene and enhancing your reactions to them. Straight from the opening track the screw begins to turn, ramping-up the atmosphere with trepidation, dark menace, and impending doom. The quieter moments incorporate almost Pagan themes and melodies – taken from ritualistic scenes and demon rites – rather than the then contemporary setting. There is plenty of underlying anxiety which comes across in the music and it aids the already excellent film considerably. There is an increasing sense of pace throughout, as if you’re running away but can feel a light touch on your shoulder, nevertheless. Tribal beats enter the fray during the moments prior to the appearance of the goat devil.

None of these 20 tracks operate as stand-alone pieces, but when listened to in its entirety you soon realise that James Bernard contributed an outstanding film score. I have selfishly removed a point because I prefer to hear at least one decent-length suite of music on a soundtrack.

9

Ty Power