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Es ging in diesem Thread ja nicht um die spätere Serie, sondern um den Spielfilm aus dem Jahr 1947: https://de.wikipedia.org/wiki/Ein_Gespenst_auf_Freiersfüßen

Ich hatte nur in die ersten paar Tracks auf iTunes reingehört. Die klangen eher nach Drone Score. Muss ich mal auf YouTube genauer reinhören.

Zum neuen Horrorfilm vom Evil Dead Rise Regisseur Lee Cronin hat wieder der Ire Stephen McKeon einen vollorchestralen Score abgeliefert, bei dem es nur so kracht. Wie schon bei Evil Dead Rise macht er keine Gefangenen und atonal geht's zur Sache. Mit 95min sicher lang, mit einigen Suspense-Tracks, aber ein Thema bleibt schon hängen. Erinnert mich irgendwie an Silvestri oder Elfman... Schwerpunkt liegt aber auf nervenzerrenden full on Horror. Sicher nicht für jeden was... aber in der heutigen Zeit, wo die meisten Horrorfilme substanzlose Drone-Scores kriegen ist das schon was wert wenn die beiden Showdown Stücke Unbinding und Final Confrontation allein zusammen 19 Minuten ergeben, bei dem orchestral kein Stein auf dem Anderen bleibt.

Das werde ich definitiv unterstützen!

Als ich das gelesen habe, habe ich gedacht, da ist bestimmt ein Americana-Score mit kleinem Ensemble und Harmonika dabei. Ist wirklich so. Gefühlt tausend Mal gehört sowas. Lukas hat jetzt die TV Movies A Few Days in Weasel Creek und indirekt Angel Dusted bestätigt. Der Score bringt wieder so ein typisches Horner Best-of.

Der Samstag startet mit der Musik aus dem Film Enemies Closer. Für die dritte Zusammenarbeit von Jean Claude van Damme und Regisseur Peter Hyams hat diesmal Tony Morales den Score komponiert. Der Score ist überwiegend elektronisch, wobei auch einiges nach Orchester klingt. Die Musik setzt auf Rhythmen und Motive. Themen geschweige denn einprägsame Melodien sind nicht vorhanden. Im Film funktioniert der Score ausgezeichnet und gibt den, für ein B-Movie, sehr ordentlichen Actionszenen die nötige Spannung und Dramatik. Die restliche Musik setzt eher auf Atmosphäre. Insgesamt aber auch ein völlig austauschbarer Score, den man auch unter zig ähnlich gelagerte Filme packen könnte. Die Musik könnte auch von nem RCPler aus der zweiten Reihe stammen. Im Film sehr ordentlich, als Höralbum aber definitiv kein Must Have.

Benno Hoffmann war und ist immer noch einer meiner deutschen Lieblingsschauspieler. Der obig genannte Filmtitel ist meiner Meinung nach seine absolute Paraderolle gewesen. Werner Enke mag dem einen oder anderen sicherlich noch ein Begriff sein, oder May Spils. Jedenfalls, der Film ist wohl soweit restauriert und wartet nun schon längere Zeit auf eine DVD-Veröffentlichung. Zuletzt hatten sich beide wohl um gesundheitliche Probleme zu kümmern. Die Sprüche sind jedenfalls nicht von schlechten Eltern. Man achte auf die Preistafel beim Flohzirkus 🤣 https://www.wernerenke.de/wehe-wenn-schwarzenbeck-kommt/

Ach, diese Serie kenne ich unter dem Titel 'Der Geist und Mrs. Muir'. Als Kind mochte ich sie, und in diese Zeit der TV-Ausstrahlung fielen auch 'Die Kinder von Bullerbü' und 'S.R.I. und die unheimlichen Fälle'. Ich erinnere mich noch genau daran, wie ich an einem Sonntag, als eine Serienfolge lief, mal wieder an einer Zuckermuschel zu ersticken drohte (ich verschluckte oft Bonbons in die Luftröhre, weil ich zu doof war, sie zu lutschen), weil ich - statt sie auszuspucken - herunterzuschlucken versuchte, obwohl sie viel zu groß war. Meine Mutter musste mich an den Füßen hochziehen und schütteln. Ich sehe gerade: TV-Ausstrahlung 1970. Da war ich 6. Ich hatte mir die Pidax-DVD besorgt, aber leider konnte nur ein Teil restauriert werden. Echt schade, denn die amerikanische DVD-Version würde ich mir heute nicht mehr anschaffen.

Ja, natürlich. Die Serie besaß eine Qualität, die heute undenkbar wäre. Damals eine von vielen Sternstunden deutschen Fernsehschaffens. Die LP mit Irmin Schmidts Filmmusik hatte ich vor längerer Zeit mal hier vorgestellt. Ungefähr die Hälfte der Tracks wurde innerhalb der Irmin-Schmidt-Filmmusik-Reihe mal auf CD herausgebracht. Das kraftvolle Hauptthema mit dem suggestiven Mundharmonika-Solo ist schon beeindruckend.

Das ist eine erfreuliche Entwicklung. Hiermit ist nun erstmals ein Viertel der alten Hexacord-CD in kompletter Form erschienen. Darf man sich etwa auch Hoffnung auf eine verlängerte KEOMA-Edition machen?

Ja - die Scores gefallen mir auch sehr gut - hatte mir mal vor Jahren die Mühe gemacht, die Musik aus den Filmen relativ dialogfrei als Suiten zusammenzustellen (besitze das AT Metalpak von XT Video mit allen 4 Teilen)

Die Atmosphäre, passend zu dem genialen Score dieser eigentlich billig produzierten Filmreihe, die macht das gewisse Etwas dieser Horrorfilme sicherlich aus. Zensur habe ich immer verabscheut, vor allem, wenn der vorgebliche 'Jugendschutz' in Wahrheit eine Erwachsenenzensur ist. Wieviel Mist war unter den zensierten Filmen, die nur deshalb interessant waren, weil sie beschlagnahmt oder indiziert und deshalb nur wegen ihrer Rarität begehrte Sammelobjekte waren.

Book of Wisdom - Monody

Michael Arthur Holloway - Empty Bridges

Owl Rave - Wellness at One Eyed Jack's

Bebopovsky And The Orkestry Podyezdov - Dead Souls

The Kilimanjaro Darkjazz Ensemble - Dark Night Of The Soul

Macelleria Mobile di Mezzanotte - Last Kiss by The Volga

Nun, ich streame ja nicht, sondern lade mir das, was mir gefällt, herunter, und das Zeug, was ich höre, ist dort meist auch nicht erhältlich. Lohnt für mich also nicht. Grüße aus Heckinghausen 😉 Einfachheit ist das, was mir gefällt. Sehe ich also generell positiv 🙂

Hallo, hier gibt es 2 fast identische Einspielungen. Auf dem Album Round-Up wurde das Stück von Christopher Palmer arrangiert. Auf dem Album ist die Suite nochmals in einer ca. 20 Sekunden längeren Fassung eingespielt ohne einen großen Unterschied. https://www.discogs.com/de/release/3892431-Erich-Kunzel-Cincinnati-Pops-Orchestra-Frankie-Laine-Round-Up https://www.discogs.com/de/release/7774776-Erich-Kunzel-Cincinnati-Pops-Orchestra-Epics

Ich habe mir die Musik aus den YouTube Links inzwischen angehört. Die Musik ist definitiv erstklassig. Jedoch trifft es meinen persönlichen Geschmack nicht wirklich. Handwerklich ist es erstklassig gemacht - aber es gehört für mich etwas mehr dazu, damit ich es mag (persönlicher Geschmack spielt da immer eine Rolle).

Hm, finde ich eher uninteressant. Horner hat m.E. keine spannende Anfangsphase (erst ab Battle Beyond the Stars). Man erkennt an Scores wie Humanoids from the deep , dass er sich seine Stilismen zu Beginn zusammengeklaut hat.

To celebrate our most recent release, David Shire's unused score for KRAMER VS. KRAMER, we have published a new episode of our series Behind the Scenes. Here we discuss how our relationship with David began and the tragic circumstances of our first meeting over a decade ago in New York. We hope you enjoy this personal anecdote: https://www.instagram.com/reel/DW82keUiD9z/?igsh=d3ZwY3Q3YzEwNGl3

Sehr schöner Score. Die EInfachheit der Komposition passt zur Einfachheit des Films. Nicht negativ gemeint. Selbst das CD Cover des Soundtrack ist einfach gehalten. Das hätte tatsächlich etwas hübscher sein können.

Eine Neu-/Wiederveröffentlichung von Beat auf LP und CD: Beat Records is proud to present the world premiere on CD of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe’s Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. In this movie, we have a lot of modern-day elements such as the struggle against authoritarianism, technology, bullying attitudes from the not-too-specific organization with which Mike was employed, and the search for a lost treasure hidden inside a plane 120 meters below the surface of the ocean which apparently can only be retrieved by the protagonist. To accomplish this feat, Mike seeks the collaboration of Acapulco (Jorge Luke) and faces a series of inconveniences and hostility, with everything playing out in the presence of the sea's most dangerous predator. Also notable is the remarkable performance by the director as a mysterious killer who is operating in the background while evil (or would-be evil) criminals such as Ramon (Werner Pochat), Donovan (Michael Forest), and Gomez (Eduardo Fajardo) pursue their agenda aided by their minions. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. We have plenty of orchestrations of this theme, literally everything. In one version, the rhythm section hits like Sylvester, another time with strings in the style of Sister Sledge, then here comes the brass as if it were a Bee Gees cue, but holy Mary, it's undeniably the De Angelis bros, and you recognize them in the details, accents, and overall orchestration. If only I had them here while writing these notes, I would hug them gratefully for the umpteenth fucking cool emotion popping up from this time capsule. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments. In December 2025, during Music Day Roma in the presence of Guido De Angelis and Enzo Castellari, we presented the soundtrack in a special vinyl release of only 50 copies featuring the signatures of the composers and the director. An the event, Enzo confirmed something he's never tried to hide, which is his enormous love for this movie, and it’s not difficult to understand the reasons: his (as always) notable and inspired direction, the performance of one of his most faithful collaborators, Franco Nero, the story itself, developed with great taste and skill, the Caribbean setting, the intrigue, the underwater adventures, and the presence of one of the ocean's most fascinating predators, the shark, directed like a true actor in many scenes, including the fights. I'm convinced that the main reason for the affection that Enzino (as my father used to call him) has for this movie lies in the epic scene where Franco Nero is knocked out by the character he was playing. I wonder how many times the director has pulled his friend's leg for that amazingly-filmed knockout punch he gave him on the set of Il cacciatore di squali. For all lovers of genre cinema, it's such a cult scene that crowns an amazing movie featuring a crazy score that reminds us, once again, why we still love genre movies and the music by Guido & Maurizio De Angelis. The LP is offered in a coloured (Blue) version. Graphic layout by Daniele De Gemini, mastering by Enrico De Gemini. Limited edtion to 450 copies. Tracklist A Side 1 Il cacciatore di squali - seq. 1 4:05 2 Il cacciatore di squali - seq. 2 2:18 3 Il cacciatore di squali - seq. 3 3:13 4 Il cacciatore di squali - seq. 4 1:34 5 Il cacciatore di squali - seq. 5 2:08 6 Il cacciatore di squali - seq. 6 2:35 7 Il cacciatore di squali - seq. 7 1:59 B side 1 Il cacciatore di squali - seq. 15 1:34 2 Il cacciatore di squali - seq. 16 4:39 3 Il cacciatore di squali - seq. 17 1:24 4 Il cacciatore di squali - seq. 18 1:30 5 Il cacciatore di squali - seq. 19 2:22 6 Il cacciatore di squali - seq. 20 3:13 7 Il cacciatore di squali - seq. 21 2:01 8 Il cacciatore di squali - seq. 22 0:54 Total Lenght: 36:03 Music composed, orchestrated and performed by Guido DE ANGELIS (SIAE), Maurizio DE ANGELIS (SIAE) ℗ & © 1979 EAR Edizioni Musicali (SIAE) Beat Records is proud to present the world premiere on CD of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe’s Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. In this movie, we have a lot of modern-day elements such as the struggle against authoritarianism, technology, bullying attitudes from the not-too-specific organization with which Mike was employed, and the search for a lost treasure hidden inside a plane 120 meters below the surface of the ocean which apparently can only be retrieved by the protagonist. To accomplish this feat, Mike seeks the collaboration of Acapulco (Jorge Luke) and faces a series of inconveniences and hostility, with everything playing out in the presence of the sea's most dangerous predator. Also notable is the remarkable performance by the director as a mysterious killer who is operating in the background while evil (or would-be evil) criminals such as Ramon (Werner Pochat), Donovan (Michael Forest), and Gomez (Eduardo Fajardo) pursue their agenda aided by their minions. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. We have plenty of orchestrations of this theme, literally everything. In one version, the rhythm section hits like Sylvester, another time with strings in the style of Sister Sledge, then here comes the brass as if it were a Bee Gees cue, but holy Mary, it's undeniably the De Angelis bros, and you recognize them in the details, accents, and overall orchestration. If only I had them here while writing these notes, I would hug them gratefully for the umpteenth fucking cool emotion popping up from this time capsule. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments. In December 2025, during Music Day Roma in the presence of Guido De Angelis and Enzo Castellari, we presented the soundtrack in a special vinyl release of only 50 copies featuring the signatures of the composers and the director. An the event, Enzo confirmed something he's never tried to hide, which is his enormous love for this movie, and it’s not difficult to understand the reasons: his (as always) notable and inspired direction, the performance of one of his most faithful collaborators, Franco Nero, the story itself, developed with great taste and skill, the Caribbean setting, the intrigue, the underwater adventures, and the presence of one of the ocean's most fascinating predators, the shark, directed like a true actor in many scenes, including the fights. I'm convinced that the main reason for the affection that Enzino (as my father used to call him) has for this movie lies in the epic scene where Franco Nero is knocked out by the character he was playing. I wonder how many times the director has pulled his friend's leg for that amazingly-filmed knockout punch he gave him on the set of Il cacciatore di squali. For all lovers of genre cinema, it's such a cult scene that crowns an amazing movie featuring a crazy score that reminds us, once again, why we still love genre movies and the music by Guido & Maurizio De Angelis. The CD is offered in a transaparent jewel case featuring a 12 pages booklet. Graphic layout and liner notes by Daniele De Gemini, mastering by Enrico De Gemini. Limited edtion to 500 copies. Tracklist 1 Il cacciatore di squali - seq. 1 4:05 2 Il cacciatore di squali - seq. 2 2:18 3 Il cacciatore di squali - seq. 3 3:13 4 Il cacciatore di squali - seq. 4 1:34 5 Il cacciatore di squali - seq. 5 2:08 6 Il cacciatore di squali - seq. 6 2:35 7 Il cacciatore di squali - seq. 7 1:59 8 Il cacciatore di squali - seq. 8 3:22 9 Il cacciatore di squali - seq. 9 3:26 10 Il cacciatore di squali - seq. 10 2:34 11 Il cacciatore di squali - seq. 11 1:11 12 Il cacciatore di squali - seq. 12 2:45 13 Il cacciatore di squali - seq. 13 2:51 14 Il cacciatore di squali - seq. 14 2:13 15 Il cacciatore di squali - seq. 15 1:34 16 Il cacciatore di squali - seq. 16 4:39 17 Il cacciatore di squali - seq. 17 1:24 18 Il cacciatore di squali - seq. 18 1:30 19 Il cacciatore di squali - seq. 19 2:22 20 Il cacciatore di squali - seq. 20 3:13 21 Il cacciatore di squali - seq. 21 2:01 22 Il cacciatore di squali - seq. 22 0:54 TT 54:50 - Music composed, orchestrated and performed by Guido & Maurizio De Angelis (SIAE) ℗ & © 1979 Ear Ed. Mus. (SIAE)