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  • Full Circle: Original Soundtrack, [SOUNDTRACK]
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Full Circle: Original Soundtrack, [SOUNDTRACK] Soundtrack

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Product details

  • Performer: Graham Ashton, Phil Todd
  • Orchestra: Original Soundtrack, Orchestra
  • Conductor: Allan Wilson
  • Composer: Colin Towns
  • Audio CD (24 Jan. 1995)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Screen
  • ASIN: B000006MQC
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 789,036 in Music (See Top 100 in Music)

1. Theme from Full Circle-The Park
2. Have You Got A Magnificent Problem?
3. Pretty Men Are Very Receptive
4. Kate
5. Olivia
6. Love Scene
7. Magnus-The Unwelcome Intrusion
8. Full Circle (Everything's Right Now)
9. Trumpet Con for Str Orch: Movt #1
10. Trumpet Con for Str Orch: Movt #2
11. Trumpet Con for Str Orch: Movt # 3 - Graham Ashton
12. 1930 Cityscape - Phil Todd

Customer Reviews

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Michael Bourne on 29 July 2010
Format: Audio CD
This soundtrack is as amazing as the film, the music is so haunting & beautiful, i remember going to the pictures in the 70s to see this film, it was only ever shown in one cinema at the Haymarket in west london, pity it did not go on general release as the music to me is still Colin's best work to date,it so matched the film perfectly,the one track with lyrics OLIVIA is not in the film but never the less is a great song proving that Colin can sing, just buy it if you can find it, you won't be dissapointed,
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6 of 7 people found the following review helpful By Natalie J Elliott on 28 Dec. 2000
Format: Audio CD
This CD seems to be disappearing from catalogues fast so get yours NOW!!! This really is an amazing body of work, with the haunting theme tune that stays with you for a long time. Unfortunately, there is also a suite of Colin's jazz work at the end of the soundtrack, not that that is a bad thing as they are quite good, the problem lies in that this type of soundtrack is the type that resonates and as such needs to fade out into nothing, instead it goes into some extra tracks, which I welcome as a big fan of Colin's, but not on the end of the soundtrack.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
6 of 6 people found the following review helpful
Hauntingly Beautiful Music 10 July 2008
By David Deley - Published on Amazon.com
Format: Audio CD
[liner notes]
The Music of Colin Towns

The port of entry to the world of film composing can often appear out of nowhere; for Colin Towns, that sudden opportunity presented itself one day in 1976. A young producer, Peter Fetterman, struggling to find finance for his low budget feature Full Circle hit on an intriguing idea. What if a composer was hired to record a demo of the soundtrack before the film was shot? The tape could be sent along with the screenplay to potential backers who could then "hear" the film as well as read it.

At this time, Colin was an established keyboardist and songwriter principally working in the rock milieu. He had been in bands since he was thirteen and was equally conversant with the medium of jazz. In the mid- 70s, Ian Gillan, former lead singer with progressive band Deep Purple founded his own self-named outfit and went on the road. Colin joined the team and became an indispensable member. The group was an immediate sensation in Japan and signed with Virgin Records, a relationship that spawned several gold albums. Gillan was to continue rolling into the 80s, but Colin was adapting his style and considerable talents; he sought a new outlet and film and television beckoned.

Full Circle (The Haunting of Julia) was eventually made and released in 1978. One of the reasons the film got off the ground was Colin's score. Somehow, instinctively, the young musician had captured exactly the right mood. His gentle synthesizer and keyboard-based textures, inflected with atmospheric voices and off-kilter sounds, subtly evoked the sad, scared longing of the lead character Julia Lofting (Mia Farrow). Based on the novel "Julia" by Peter Straub, the story is delicately harrowing. Julia is responsible for the accidental death of her daughter. Traumatized and dysfunctional, Julia is drawn to places where children congregate -- parks, playgrounds etc. Occasionally she watches a child who uncomfortably resembles her own. Soon, Julia's entire world begins to close in around her. She moves to a new home and believes it to be haunted. Gradually it appears the "ghost" may be a woman whose own child died in similar circumstances. Beyond the necessities of the horror genre, the music for Full Circle is a beautiful piece of work. Rarely has a synthesizer been employed more effectively. This is not just a question of a memorable theme. This score is shot-through with a melancholy that is positively disquieting. Everything from the theme's circular sense of resolution to the music's narrative linkage incorporating the mesmerizing song "Olivia" functions admirably. So effective was this music in the film that almost every review enthusiastically mentioned the score -- an almost unheard of feat for an art film in the 70s. Soundtrack aficionados quickly defined it as: "Seminal ... One of the finest genre scores ever." Virgin Records issued the album which became one of the top ten soundtracks that year. A single was also released which enjoyed considerable success (heard on this CD as the first half of track one).

After Gillan Colin turned his attention full-time to film composing. A plethora of British pictures followed: Shady, Knights and Emeralds, Rawhead Rex, Slayground, Bellman and True, Vampire's Kiss and The Wolves of Willoughby Chase. For American television there was: Fellow Traveler, Daughter of Darkness, Hands of a Murderer and Curacao. His work for British TV includes: The Fear, Blind Justice, Capital City, The Fifteen Streets, Black Heath Poisonings, Clarissa and The Wedding Gift. The fall of 1994 will see the release of Colin's first major American feature assignment Puppet Masters for Disney's Hollywood Pictures division, a genre film based on the original "Body Snatchers" concept.

Not content to limit himself to film, Colin has also expanded his efforts in the concert hall. He has received several commissions for classical works, and his stirring three movement Concerto for Trumpet and String Orchestra is also presented here. A world premiere recording, this concerto was expressly composed for soloist Graham Ashton. Other concert pieces include: Postcards from the Front for chamber ensembles and Still Life and Shaking, a horn trio. Earlier this year Colin Towns' Mask Orchestra, a fifteen piece ensemble issued its first CD which was nominated as one of the top three jazz albums of 1994. Concerto for Trumpet and String Orchestra is a vivid portrait of Britain both past and present. It evokes the determination of an island people slogging through a rain-drenched landscape. It is really the sound of the worker's spirit; the particularity of the trumpet so reminiscent of the northern collieries and the brutal hardships contained therein. But sometimes the "spirit" breaks free and is allowed to float deliriously across the moors, through acres of purple heather and marsh, curving around the sheer, unclimable cliffs and finally onwards and outwards to the cold grey arms of the North Atlantic ocean.

On the other side of the Atlantic lies New York, and the closing piece on this disc. Colin's widely-praised American Suite captured all the sights and sounds of the new world. With 1930 Cityscape Colin returns to the jazzy crispness of Manhattan. Whereas American Suite focused on the birth and death of a single day, Cityscape's short-but-sweet punchiness features a great workout for saxophonist Phil Todd. This is a hip, hugely enjoyable homage to Gershwin and Bernstein; the ineffable sound of the speakeasy melded with the giddy uniqueness of the city's unforgettable skyline. It's possible sometimes to imagine music as a ball of energy, bouncing from country to country and travelling backwards and forwards through time, gaining energy and acquiring density. Its sheer inertia irresistible. If music is the true nature of boundless communication, then Colin Towns is an artist who speaks volumes in a language clear enough for all to hear.

© 1994 Nick Redman
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