James Horner's score in this film is magnificent. Like much of his work during the early/mid-80's in the horror and sci-fi genre...it was easy to see then what a master craftsman he was at creating tension, suspense, and terror. The score adds enormous gravitas and class to what many rightfully believe is Wes Craven's most underrated horror film.
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Horner did a lot of his best work on the early 1980's. This was before he started rehashing whole cues for subsequent scores he composed later in the decade.
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You can really hear the Aliens soundtrack in this film. Particularly in a few parts near the beginning.
For a film that feels pretty dated, the score really provides a few scares. Pretty tense stuff!
Yes it is. I've always considered this to be one of his most original works, despite the fact that he himself borrowed, as he so usually did in those days, from Goldsmith.
It's hard to separate styles from a master like Goldsmith, to create something that matches the critical, and commercial acclaim for horror pictures dealing with occult happenings, and one mustn't condemn Horner for not doing so, as Maestro Goldsmith's Opus that was "The Omen" was a major trend setter in that arena, it was only natural that Horner would take on the latin chanting and chorale for his score to "Blessing". That being said, he enriches the picture with his own style of motifs and bridging emotion that he later set aside for his bigger scores that came later such as "Krull" - a great score, fantasy and fairy-tale like, "Star TrekII: The Wrath of KAHN" - which was at the time his most ambitious effort, but actually pales in comparison to "Star Trek III: The Search for Spock" - which is the early score of his that truly foreshadowed the greatness of his career to come.
I have on record that there will be a complete official release of this magnificent early score for Horner, though when it arrives is still under wraps. I'm certainly pleased to find that I am not the only individual who feels this way about Horner's early score. Another great (I believe it was his first) effort from him that showed originality was his score to Lewis Teague's Roger Corman produced feminist crackdown "The Lady in Red" - brimming with clever adaptations of 20s sources and his own stylized action cues and a nice love theme. It suited the picture, and Pamela Sue Martin in it, quite effectively.