May was able to switch from hi-octane heroism to neo-gothic chills on a dime. His score for the first story of wrathful future cop Max Rockatansky was diverse, thrilling and rousing in all the right places, but also evocative of the romance between the hero and his doomed wife, and yet actually quite scary for the sequences when the biker gang led by the Toecutter are stalking their prey. The sadly late composer Brian May had already chalked up a few successful films, though, and covered a range of material, from the psychic thriller Patrick and the weirdly Rasputin-esque Harlequin to the hard-edged vehicular road-rage in George Miller’s original Mad Max, the very film that put Australian Cinema well and truly on the map. The Oz Film Industry wasn’t exactly prolific and, barring a few of the artier titles like Picnic At Hanging Rock and The Chant of Jimmy Blacksmith, its produce wasn’t known for travelling far beyond its own shores. Without sounding conceited, it wouldn’t have taken much to become Australia’s premier film composer during the late seventies and early eighties. So gather up your shotgun and whatever shells you can find, fasten your seatbelt and take a deep breath … ‘cause we’re going for the ride of our lives! I know that we blitzed the Mad Max Trilogy on Blu-ray, but the post-apocalyptic white-line nightmare isn’t over yet … we’ve still got a helluva lot of road to cover … and how better to do it than with Brian May’s dynamic and pulverizing score to Mad Max 2 The Road Warrior revving-up alongside us? Just walk away and I promise you safe passage through the wasteland.”