Carlos, still in the initial flush of the Switched On phenomenon, provides suitable menace and black humour to Stanley Kubrick’s adaptation of Anthony Burgess’s dystopian horrorshow. Alternating between pippy Moog versions of the classics and orchestral versions of other classics, the soundtrack accurately sums up the perversity at the heart of the film culminating in an unsettling (and very fast) version of the William Tell Overture. Things go all Daft Punk on the reworking of Beethoven’s Ninth Symphony (listed as “March from A Clockwork Orange”) wherein Rachel Elkind’s “articulations” are synthesised in a very “One More Time” way.
The album was edited by John Wood and supervised by producer/Zelig-figure Joe Boyd, a fact which didn’t merit mention in Boyd’s entertaining and warm-hearted 60’s autobiography White Bicycles.
The book and movie were influential to my teenage self, giving me and my friends both vocabulary words to baffle elders and justification, on literary grounds, for our loutish anti-social behaviour (tho’ we were sensible enough to do it when no-one was watching).