Rarely before can a soundtrack album have been marketed quite like this one.  Laserblast was the first score composed by Richard Band and Joel Goldsmith, both of whom went on to score several pretty famous projects (and the latter is still very active in television, most notably with Stargate and its spinoffs); in the liner notes, Band is quick to admit that neither of them had a clue what they were doing, so they just made things up as they went along.  They got the gig because the film was produced by Band's brother Charles; it's one of those micro-budget science fiction movies released in the immediate aftermath of Star Wars that are frequently described as "cult" (perhaps because so few people have seen them) and have very over-protective followings.  I've never seen it - this should come as little surprise, since I rarely see anything.

The liner notes explain that the film follows the exploits of a teenage vigilante who finds a laser weapon lying around before turning into a "half-alien".  No matter who composed the music for a film about that, it's pretty much a foregone conclusion that the music will be somewhat silly - the fact that it's by first-time composers only increases the likelihood of that.  Indeed, there are times when the music sounds like a high school music project or something - but there's a really satisfying sense of fun pervading the whole thing.  At times it's unbelievably cheesy (the source music of the "Billy's Radio" and "Chuck's Radio" cues is just hilarious) but then at other times it is genuinely pretty impressive - there's a delicate love theme, some excellent action music with low-end piano recalling the famous action music of one of the composers' fathers; and that sense of fun keeps driving the thing along.

It's almost impossible to reach a conclusion or give a rating to a score like Laserblast.  My two-star rating should be taken with a real pinch of salt because I don't want to be unfair here.  Laserblast is what it is: a vageuly amateurish sounding piece of music which is surprisingly entertaining, for all its obvious flaws.  Fans of the film are likely to love it; indeed, fans of either composer will probably like it a lot as well, since the score's best moments are very similar to music they would go on to write as their careers went on.