new pressing of her albums, which resulted in a considerable amount of suggestions from the public regarding the subject of her future releases. The ideas received were divided; some asked for more classical adaptations, while others wanted more of Carlos's original compositions. Carlos decided, "If I was going to spend months for mere minutes of music, I certainly wasn't going to be pigeonholed into only retreading existing music", and so began a process of "re-directing new ideas, reworking old ones". By mid-1974, Carlos and Elkind had selected tracks of varying styles to record on the Moog synthesizer, which Carlos found liberating, as it demonstrated the flexibility of the instrument. Released as By Request in 1975, the album includes pieces from Bach, Wagner, Tchaikovsky, two of Carlos's compositions from the 1960s, and renditions of "Eleanor Rigby" by The Beatles and "What's New Pussycat?", originally sung by Tom Jones. -- the latter track, featuring some 40 tracks of overdubbed synthesiser, was one of the pieces that Carlos had unsuccessfully presented to Elkind in 1967 when they were planning what became Switched-On Bach. The final track, entitled "Pompous Circumstances," a "witty and serious" set of variations based on themes by Edward Elgar, was replaced by CBS with tracks from The Well-Tempered Synthesizer on UK pressings after members of Elgar's estate refused to have his music presented in this style, which "devastated" Carlos. Between 1974 and 1980 she scored several short films for producer Dick Young for UNICEF (seven of which were released in 2005 on Rediscovering Lost Scores, Vol.1). By Request was followed by Switched-On Brandenburgs, a double album containing all six of Bach's Brandenburg Concertos played on a synthesizer, in 1980. 1980s Carlos reunited with Kubrick to compose the score for his psychological horror film The Shining (1980). Before filming began, Carlos and Elkind read the book, as per Kubrick's suggestion, for musical inspiration. Carlos recorded a complete electronic score for the film, but Kubrick ended up using mostly existing recordings by several avant-garde composers, tracks that he had used as guide tracks during editing. Carlos and Elkind did not discover this until they were invited to a screening of the film in May 1980, and they were reportedly furious about Kubrick's actions. Their experience closely mirrored that of composer Alex North, who had written and recorded a complete orchestral soundtrack for Kubrick's 2001: A Space Odyssey, but discovered at the film's