In the 1950s, Hammer Film Productions, a small British filmmaking company, introduced the world to a new genre of motion picture. Referred to by some as "horror," by others as "fantasy," Hammer films had a unique look and feel that many other studios would later attempt and fail to capture. Hammer films also had a unique sound. For although the studio was small and the budgets limited, those involved in making the Hammer films recognized that the musical score was just as important as the set, the actors, and the script in telling the story. Consequently, Hammer Films Productions recruited the best musical talent to make its films come alive. Those artists and the work they did are chronicled here in careful detail by Randall D. Larson. From the studio's fledging days, through its great successes of the 60s and early 70s, Music from the House of Hammer offers an inside look at how the "Hammer sound" was developed and nurtured.

A Philip J. Riley's NightMare Series volume. Commentary and "About the Author" Henry Slesar by Randall D. Larson - edited by Philip J. Riley The clouds of yellow dust rolled and swirled and whistled in agonized motion, and their sound obscured the needle-thin cries of men in anguish. The pain had come upon them suddenly, pain that gripped their chests like the giant talons of some rapacious bird, pain that sent them scurrying, reeling, stumbling towards the silvery object that stood half-buried in the volatile sands. Some were to make the ship in time; others were to die later. One was to live to see the horror of the dust-shrouded planet transplanted to the world of his birth, twenty million miles away. The Ymir, as the creature was named by Forrest J Ackerman is one of Ray Harryhausen's best remembered stop motion creations. Originally published as an Amazing Stories special edition.