Like Stallone, Conti was not a household name in 1976. The composer, considered with great affection by Stallone because of similar Italian heritage, was in his early 30's at the time and had scored films from Italy almost exclusively after graduating from Julliard in the late 1960's. Following moderate success in the early 1970's, Conti re-located back to America and wrote scores for a handful of lesser known projects. His assignment to Rocky immediately landed him Oscar, Golden Globe, and Grammy nominations, and although he failed to win any of those awards, his album for Rocky went platinum and the orchestral/vocal hybrid song "Gonna Fly Now" reached the top position on American charts. A prolific career resulted, one that spanned both the pop and orchestral realms (on the big and small screen) for its entirety, and the composer's mainstream status in the early 1980's landed him offers for countless blockbuster films (he would win his previously elusive Academy Award for The Right Stuff). Conti would return for all but one of the Rocky sequels (Rocky IV receiving a jarringly different score from Vince DiCola), and while he would add a few new thematic ideas to the narrative in the later films, these scores were largely re-hashes of the greatness that comprised the original Rocky soundtrack. Truth be told, most of the truly original material from the scores for this franchise can be heard when combining the first and second scores, though there is some dramatic character-driven material in Rocky III that deserves some consideration as well. For Rocky purists and collectors of orchestral film music, a compilation of recordings from the soundtracks for the first trilogy of these Conti scores will yield the most satisfying summary of music from the concept. An abysmal soundtrack for Rocky V in 1990, despite some interesting new material from Conti in his return to the franchise, solidifies this stance. Most casual collections will contain only the first Rocky score, and it is in this entry that Conti not only provides the character, his locale, and his determination with their famous musical identities, but also the best developed secondary themes. As dated as the score will sound to anyone born after 1970, it is at least consistent in its thematic development, so much so that these perpetual references ultimately become a detriment to the franchise later on. Regardless of the score's obvious merits in context, it will immediately be dismissed by younger listeners for one of two reasons: its aforementioned saturation with 1970's pop, funk, and disco styles, and its somewhat obnoxious omnipresence in pop culture.

Despite accumulating indifference or disdain with that younger generation, Rocky remains one of the most effective scores ever heard on screen. The title theme in "Gonna Fly Now" is about as catchy as any movie tune, using a combination of emboldened brass fanfare, contemporary rock elements, and group vocals to cheer on Rocky with unfettered major-key inspiration. Given the pseudo-song's balanced emphasis on the various groups within the brass section, it's no wonder that marching bands love playing it at sporting events. The electronic sound effects (a rising pitch) and corny "trying hard now" and "getting strong now" (truly awful) lyrics date the theme far more than the genuinely cool electric guitar performances in its midsection. Conti adapts the song into a purely brass fanfare, a rowdy interpretation that is so regal in its tone that it's quite irritating; such material (along with the "Conquest" theme from Rocky II) would seem to be a better fit for Conti's Masters of the Universe than the more down-to-earth Rocky franchise. The theme is omnipresent in the first score and continues to be of fragmentary influence in the second. In Rocky, either the full primary theme or one of its distinctive parts can be heard in situations ranging on the emotional scale from solo piano all the way up to reprises of the full symphonic and pop blend. Slight piano references are frequent in the franchise, highlighted in the first score by "Philadelphia Morning," "Alone in the Ring," and the start of "The Final Bell." Fans of the more hip variations will enjoy the extension of the training usage in "Butkus." It also serves as an interlude to the love theme for Rocky and Adrian, heard both in "First Date" and its song adaptation, "You Take My Heart Away." The love theme isn't featured on the soundtrack outside of these two tracks, though some noteworthy elaborations on the idea (with a few alterations) are heard in both of the subsequent sequel scores. Two additional themes are integral to Rocky, though neither is memorable enough to compete with the main one. The adversity and victory themes are utilized frequently enough to be very firmly represented throughout the film, and despite their striking stylistic differences in performances, they are often intertwined or presented in succession. In tune with the 1970's instrumentation is the victory theme, its swinging enthusiasm heard in the second half of "Going the Distance" with the boisterous orchestra and John Barry-like choir over stereotypical 70's percussion and guitar accents. The theme's explosion early in "The Final Bell" rips along at an even faster tempo and definitely shows its age, but its upbeat tone is undeniably infectious.

The final major theme in Rocky represents perseverance through adversity, and it is this idea that, despite reaching for the correct emotional response, is applied questionably in the film. Of no doubt is its effectiveness in the first half and closing seconds of "Going the Distance," its brass layers meandering in minor-key lines that clearly temper the title theme. The translation of this theme to only a string section for "Rocky's Reward" is a curious choice to close the film, taking a starkly humble stance rather than sticking with the other, far more inspirational themes to send off audiences. The recording of the string performances is so dry that this cue is difficult to appreciate after the merged orchestral and pop tone of the rest of the score. In retrospect, this adversity theme is a bit awkward because of its many coincidental similarities in progressions and brass usage to, strangely, Howard Shore's World of Men material for The Lord of the Rings. Elsewhere in Rocky, "Philadelphia Morning" explores some of Conti's usual melancholy horn work. "Reflections" is the heaviest of the ultra-cool 70's soul/jazz/funk instrumental performances of "Gonna Fly Now," unfortunately hindered by a synthetic pitch effect that rises through the octaves at about 2:00 and is painful to the ears. The remainder of the best-selling album is devoted to several of the songs or source pieces heard in the film. Outside of those connected directly to Conti's score is the throwback "Take You Back (Street Corner Song)," the first of Frank Stallone's contributions to the franchise (his brother sought to increase his role as the films progressed). The Conti recording of "Marines' Hymn/Yankee Doodle" to accompany Apollo Creed's flashy entry to the ring is adequate, but grating outside the context of the film. Vocalists DeEtta Little and Nelson Pigford (for the two Conti songs) would return for Rocky II, as would all of Conti's themes (some tracks are disappointingly reprised almost completely through several sequels). With the first Rocky lacking foreshadowing of the conquest and redemption themes from Rocky II, the latter would prove to be more interesting in its dramatic range. Also improved in the sequel was the recording quality; in cues like "Butkus," the balance of strings and brass is severely lacking in the mix. Despite remastered treatment for multiple CD releases of Rocky, the presentation of the score has never been complete, and especially for those for whom it is too outdated or overexposed, its 31 minutes will leave you unsatisfied. Despite the flaws in album presentation, though, Rocky remains one of the most memorable and effective film scores of all time.   @Amazon.com: CD or Download