{"id":5433,"date":"2022-05-23T13:43:04","date_gmt":"2022-05-23T12:43:04","guid":{"rendered":"https:\/\/www.shindig-magazine.com\/?p=5433"},"modified":"2022-05-23T13:43:04","modified_gmt":"2022-05-23T12:43:04","slug":"the-quest-for-holy-mountain","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=5433","title":{"rendered":"The Quest For Holy Mountain"},"content":{"rendered":"

Soundtrack obsessive JONNY TRUNK<\/a> marvels at the length of time it has taken for\u00a0Alejandro Jodorowsky\u2019s 1973 cult classic THE HOLY MOUNTAIN to gain a vinyl release \u2013 as featured in issue #46<\/a><\/strong><\/p>\n

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In 1997, after several years of obsessive\u00a0phoning, faxing, badgering, detective\u00a0work, determination and more, I finally\u00a0got permission to issue the music from \u00a0The\u00a0<\/em>Wicker Man<\/em>. As a soundtrack collector I had\u00a0nearly run out of soundtracks to collect and realised\u00a0that the ones I really, really wanted I\u00a0couldn\u2019t get, because they simply hadn\u2019t ever\u00a0been issued at the time. There were no logical\u00a0reasons for them not being pressed up when\u00a0the fims came out, it was just overlooked or not\u00a0really considered as a commercially viable thing\u00a0to do back in the \u201960s or \u201970s. So, if I wanted it,\u00a0I\u2019d have to issue it myself, and so I\u00a0did. \u00a0The \u201997 limited vinyl release\u00a0of this tripped-out folk oddity\u00a0struck a chord with many,\u00a0and the LP sold out instantly.<\/p>\n

From that moment on, small ripples spread out\u00a0and like-minded collectors and labels started\u00a0spotting important gaps in film music releases. Th\u00a0e next big one to fall was Get Carter<\/i>, a score\u00a0that, apart from a single, a Japanese oddity and\u00a0a couple of cues on a comp, had never been\u00a0given the full soundtrack release it deserved.\u00a0Slowly, over the following years, other missing\u00a0soundtrack links were issued: \u00a0The Hired Hand<\/i>,\u00a0Valerie And Her Week Of Wonders<\/i>, Dawn Of \u00a0The\u00a0Dead<\/i>, La Piscine <\/i>(to name a few). And here we\u00a0now sit, [which at the time of writing was] in 2015, with a lively little soundtrack\u00a0market, a growing niche filled with fresh vinyl\u00a0issues of soundtracks that have never been\u00a0issued on wax, or expanded double albums\u00a0of newly discovered lost cues. And it is all\u00a0about the vinyl. Yes, many unreleased scores\u00a0(especially to\u00a0stranger\u00a0continental films and\u00a0horrors) have\u00a0come out on CD\u00a0over the last 20\u00a0years, but we are a\u00a0generation that\u00a0has never really\u00a0committed to\u00a0or got along\u00a0with this evil\u00a0little plastic\u00a0horror. For us\u00a0it\u2019s all about\u00a0the vinyl\u00a0LP, it\u2019s the\u00a0definitive\u00a0article, the true connection with not just the film but the music \u2013 for us the LP is the genuine\u00a0and most important artefact. So if a soundtrack\u00a0never came out on vinyl, there will be someone\u00a0out there right now trying to make it happen.<\/p>\n

See the recent Invada successes, with massive\u00a0vinyl pressings of Solaris<\/i> and Drive<\/i>, soundtracks\u00a0on wax that outsell the soundtracks on CD.\u00a0Same as Death Waltz<\/i>\u2019s multiple represses of The\u00a0Fog <\/i>expanded CD. His double LP easily outsold\u00a0the little plastic digital release.\u00a0But even now, with this all this activity and\u00a0interest, gaps still remain \u2013 there are unreleased\u00a0scores still yet to surface; the music by Brian\u00a0Jones for A Degree Of Murder<\/i>, The Texas\u00a0Chainsaw Massacre<\/i>, Morricone\u2019s score to Danger\u00a0Diabolique<\/i> to name a few. But the one major\u00a0missing one, the big fat elephant in the room (or\u00a0rather not in the room) has been the soundtrack\u00a0from Jodorowsky\u2019s The Holy Mount<\/i>ain<\/em>.<\/p>\n