From the release of his debut EP PSEUDO EROTICA in 1988, David E. Williams was often lauded for the “cinematic quality” of his music.  Armed with his electronic keyboard machines, he would set off on his Quixotic journeys for orchestral grandeur.  With mixed results.

His first excursion into pure soundtrack composition was a minimal organ cue for BEN FRANKLIN(S), a clever/ surreal quasi-documentary (directed by Keith Fulton and Lou Pepe) in which Ben Franklin is hypnotized by Franz Mesmer and meets the actual Ben Franklin imitators of contemporary Philadelphia, who are interviewed on camera (one of them demonstrates a Pizza recipe).

Williams was next contacted by director Dean Galanis, who used the song “Vaginal Interior Decorator” as the closing theme for SEMICOLON, a film about some guy who is instructed by a tumor in his colon to murder beef industry executives.  Ultimately, David recorded two new pieces for the movie as well, including the tone poem, “Beaten to Death with His Own Severed Arm.”

But it wasn’t until David met producer/director/writer/actor Norman Macera that he got the chance to score an entire film, THE STRIKE ZONE, a horror/comedy curiously rife with baseball references in its depiction of a murderous transvestite.  Taking their direction from the script itself, the character motifs in THE STRIKE ZONE are often slowed down and “drearified” versions of “Take Me Out to the Ballgame,” “Caspar, The Friendly Ghost” and a certain song by Whitney Houston.  

In 2005, Williams began composing music for Macera’s film MURDER BELOW THE LINE.  He finished about half the job, until work was interrupted by the tragic illness of a loved one.   When Williams began recording again, it was back to song and dance.  As of early 2014, he had never composed for film again.

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