Don't make me call it Shocktober: vol. V

Edward Lionheart (Vincent Price) considers himself one of the finest thespians ever to do justice to the works of the Bard. This opinion is not shared by a group of critics, so Lionheart decides to get them more acquainted with Shakespeare's plays than they ever imagined. Think of this as the unofficial third Dr. Phibes movie; a delightful bit of camp, anchored by Price's masterful performance.

Rather than focus on the gruesome killings or the black comedy, Michael J. Lewis's score is a lush, dramatic work. The "Main Title" begins with the main theme: a few chords teased out from a mandolin before strings and flute carry us through the rest of the track.

"Ides of March" starts off innocuously with percussive beats and occasional string hits, before building with twinkling piano, tympani rolls and nervous horns as a seemingly harmless group of dissidents rises up and kills. "Oh, Pardon Me, Thou Bleeding Piece of Earth" begins with strings, harpsichord and a mock-funereal trumpet before the strings take the lead, eulogizing one of the critics.

"The Dragon Wing of the Night" goes from brooding strings and quavering xylophone to a sprightly, fife-led march, while "Sexy Lips and Swinging Hips" is a light piece for flute and trumpet. "Partitia of Blood" recapitulates the main theme for solo harpsichord, effectively summoning a centuries-ago drawing room feel.

"The Trojan Trail" introduces amongst its snare drums a galloping, 'here comes the cavalry' melody that will dominate the climactic "Come Fire, Consume this Petty World" (may I just say that I love these Shakespearean track titles?). "Where Are My Doggy-Woggies?" starts with a quirky mix of harpsichord licks and woodwinds, though things get darker with xylophone hits and unsettling piano work.

Another fine piece of music is "Edwina's Theme", an unabashedly romantic melody for Lionheart's daughter (Diana Rigg) and possible partner-in-crime. The theme's juxtaposition for an impromptu decapitation in "Cymbeline" makes for an absurd delight.

"Alive in Triumph" and "Fugato" are a pair of full-bodied action cues. Racing strings, tweeting flutes and noble horns unite as Lionheart engages critic Peregrine Devlin (Ian Hendry) in a most unusual duel.

Even though the La La Land Records release (still readily available) combines some of the tracks, the CD is well worth having, especially since the promo that Lewis put out some years ago is that much harder to find.