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Double Indemnity... ❤️. Atemberaubend intensive Musik

Hätte präziser schreiben sollen, dass ich mich darüber freue, dass bei der Neuauflage der Kubik und der Roemheld ausgewählt wurde.

Wenn ich das so lese, meint man ja geradezu, all die Musiken auf dieser jetzigen LLL-CD hätte es noch nie zuvor gegeben. Dabei ist das alles doch bloß ein um drei Scores - und gleich auch noch um eine ganze CD- abgespecktes Reissue der Intrada Doppel-CD "Double Indemnity: Film Noir at Paramount" von 2015. Was soll also das Besondere an der jetzigen Veröffentlichung sein? Als Golden Age-Interessierter hat man sich das normalerweise schon vor rund 10 Jahren zugelegt: https://www.discogs.com/release/8372614-Miklós-Rózsa-Hugo-Friedhofer-Franz-Waxman-Gail-Kubik-Leith-Stevens-Heinz-Eric-Roemheld-Victor-Youn?srsltid=AfmBOopgtT4flWbBwWWuJ5y9BKB1dVcqQJXrGxVLI8ojutVZe6Hjp32V

Ist ja leider nichts Neues, dass die EU sich Unmengen unserer erpressten Gelder (genannt Steuern) einverleibt und unser aller Leben schlimmer macht - oder im besten Fall nicht weiter verschlimmert.

Freue mich hier vor allem über den Kubik und den Roemheld. Desperate Hours ist ein starker Film, kann mich auch noch nach Jahrzehnten an die beeindruckende Musik von Kubik erinnern. Wenn ich mich recht entsinne, war gar nicht so viel Score im Film.

Allein wegen den wenigen Heinz Roemheld Tracks sollte ich mir die CD eigentlich kaufen. Lieber wären mir seine Western Musiken, aber immerhin kommt was von ihm auf CD raus.

Kommt am Freitag digital. https://filmmusicreporter.com/2026/09/01/release-of-james-horners-skyward-spirit-announced/

Varsity Blues ist ein netter Score. Gefiel mir sehr gut im Film. Auch der Film selbst ist gut.

LLLCD 1692 Music by Hugo Friedhofer, Miklós Rózsa, Gail Kubik and Heinz Roemheld Limited edition of 1000 units La-La Land Records and Paramount Pictures present a remastered limited edition CD release of music from four brilliant scores to four classic, big-screen Paramount Pictures film noirs - 1951’s ACE IN THE HOLE, marking the film’s 75th Anniversary, 1944’s DOUBLE INDEMNITY, 1955’s THE DESPERATE HOURS and 1950’s UNION STATION. Two landmark Billy Wilder films are represented on this remastered presentation - ACE IN THE HOLE featuring composer Hugo Friedhofer’s blistering masterwork of clever scoring touches and DOUBLE INDEMNITY showcasing Miklós Rózsa’s expert musical chronicling of that film’s sensuous, dangerous duplicity. THE DESPERATE HOURS crackles with composer Gail Kubik’s purposefully unpredictable musical maneuvering and UNION STATION’s striking underscore is the impressive work of composer Heinz Roemheld. Produced by Dan Goldwasser and Lukas Kendall, restored by Chris Malone and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes exclusive, in-depth liner notes by writer John Takis and art direction by Goldwasser, featuring a reversible front cover. TRACK LISTING: ACE IN THE HOLE (1951) / HUGO FRIEDHOFER 1. Prelude 2:48 2. Sand Trickle 1:23 3. The Dirty Work Begins 2:10 4. Platinum Blonde 1:22 5. Pneumonia 1:10 6. Grand Finale 2:32 7. Tatum’s Death and End Title / End Cast 4:02 TOTAL SCORE TIME 15:27 THE DESPERATE HOURS (1955) / GAIL KUBIK 8. Paramount Seal / Prelude 1:42 9. Kobish Toccata (Unused) 2:06 10. Open Conflict (Unused) 0:52 11. Retribution 2:44 12. Last Chance (Unused) 1:43 TOTAL SCORE TIME 9:07 UNION STATION (1950) / HEINZ ROEMHELD 13. Prelude 1:15 14. The Stockyard 3:05 15. Trapped / End Title 2:53 TOTAL SCORE TIME 7:13 DOUBLE INDEMNITY (1944) / MIKLÓS RÓZSA 16. Prelude (Film Version) / First Scene 4:51 17. The Meeting 2:35 18. In the Cab 0:52 19. The Anklet 0:56 20. Inner Struggle 1:18 21. The Conspiracy (Partial) 0:57 22. The Policy 1:49 23. The Market 1:05 24. Reading His Mail 0:29 25. Preparation / The Murder (Partial) 3:07 26. Railroad Tracks 3:10 27. Relief 1:22 28. The Hallway 2:16 29. The Daughter 0:57 30. Warnings 3:02 31. The Appointment 1:25 32. Punishment / So Long, Keyes / Finale 8:04 TOTAL SCORE TIME 38:15 BONUS TRACKS 33. Double Indemnity: Prelude (Stereo Re-Recording) 1:24 34. Ace In the Hole: Prelude (Film Version) 2:32 TOTAL BONUS TIME 3:56 TOTAL DISC TIME 73:58

LLLCD 1699 Music by Mark Isham Limited edition of 1000 units ORDER NOW and get your CD booklet autographed by composer Mark Isham at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records and Paramount Pictures present the world premiere limited edition CD release of renowned composer Mark Isham’s original motion picture scores to 1996’s big-screen legal drama NIGHT FALLS ON MANHATTAN, starring Andy Garcia and Richard Dreyfuss, and directed by Sydney Lumet, and 1999’s big-screen sports drama VARSITY BLUES, starring James Van Der Beek and Jon Voight, and directed by Brian Robbins. Acclaimed composer Mark Isham (POINT BREAK, THE HITCHER, ROMEO IS BLEEDING) has been a major, continuous and dynamic voice in film music for decades. His impact on the 1990s is undeniable and vividly demonstrated in this debut CD presentation of two of his exceptionally effective scores for two vastly different films - NIGHT FALLS ON MANHATTAN and VARSITY BLUES. In both films, Isham displays an uncanny knack for burrowing into the character and heart of each story. From the legal drama of NIGHT to the gridiron excitement of VARSITY, the composer expertly mines the human drama at the foundation of each tale - and even places his own signature in the music by incorporating solo trumpet, performed by Isham himself. Produced by Dan Goldwasser and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes in-depth liner notes by author Jeff Bond, with new interview comments from the composer, and sharp art direction (featuring a reversible front cover) by Goldwasser. TRACK LISTING: NIGHT FALLS ON MANHATTAN 1. Opening Credits 2:13 2. Night Before Trial 0:45 3. Steam Room / Joey At Pier / Cemetery / Internal Affairs Questioning 4:48 4. Original Warrant / Joey’s Death 2:30 5. Phone Call* 1:49 6. Classroom / End Titles 3:44 TOTAL SCORE TIME 15:49 NIGHT FALLS ON MANHATTAN BONUS TRACK 7. Car Radio (Source) 4:42 VARSITY BLUES 8. Opening 2:02 9. Problems / Billy Bob Down / Love On Car* 1:51 10. Challenge / Miss 1:19 11. Billy Bob 0:40 12. Lance Is Down 2:21 13. Kiss (2 Ways) 0:45 14. Open The Door 0:55 15. Bus Driving Transition / I Do 2:11 16. I’ll Bury You 0:59 17. What If I Lose? 1:07 18. Wendell’s Victory* / Wendell Goes Down / Get Out There 2:41 19. Let’s Go / 24 Minutes / Kilmer Packs 3:09 20. The End 3:49 TOTAL SCORE TIME 23:49 VARSITY BLUES BONUS TRACKS 21. Lance Is Down (Alternate Take) 2:20 22. What If I Lose? (Alternate Take) 1:05 TOTAL BONUS TIME 3:25 TOTAL ALBUM TIME: 47:45 *not used in film This is a CD format release

Mutiny - Marcus Trumpp The Dog Stars - Harry Gregson-Williams Prehistoric Planet: Ice Age - Rozman, Talve & Zimmer Lion - Zimmer, Pacella & Hutson Warren

Wie auch schon das erste LOST THEMES bekommt nun auch LOST THEMES II eine neue Auflage zum 10-jährigen. Es gibt neues Artwork und einen Bonustrack. To celebrate the 10th anniversary of Lost Themes II, Sacred Bones is proud to present a new expanded art edition of John Carpenter's acclaimed second album of non-soundtrack compositions. Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album with a bonus 7" containing "Real Xeno”, now available on vinyl outside its original, limited Sacred Bones Society release for the first time. The B-side features an exclusive etched design created especially for this edition. The Lost Themes series has grown into one of the defining chapters of Carpenter's career. Free from the constraints of the screen, these compositions have taken on lives of their own, expanding Carpenter's legacy beyond film scores. Released in 2016, Lost Themes II broadened the sonic world of its predecessor, pairing Carpenter's unmistakable gift for atmosphere and suspense with his trademark minimal synth, richer arrangements, and electric and acoustic guitars. A decade on, Lost Themes II remains a landmark in a series that has grown far beyond imagined soundtracks, standing as essential works in Carpenter's catalog and a testament to his musical vision and remarkable ability to create worlds that extend far beyond film. Track List: 1. Distant Dream 2. White Pulse 3. Persia Rising 4. Angel's Asylum 5. Hofner Dawn 6. Windy Death 7. Dark Blues 8. Virtual Survivor 9. Bela Lugosi 10. Last Sunrise 11. Utopian Façade 12. Real Xeno (Bonus Track)

Gibt wohl tatsächlich keine Score-CD, aber wie wäre es hiermit: (Playlist mit 38 Tracks)

Quartet Records proudly presents the premiere release of Robert Folk’s deliciously energetic and stylish score for YOU’RE DEAD, a 1999 British crime comedy directed by Andy Hurst that starred John Hurt, Rhys Ifans, Claire Skinner and David Schneider. A darkly comic tale of crime, greed and spectacularly bad decisions, YOU’RE DEAD offered composer Folk an ideal playground for a score that combines suspense, eccentricity and unabashed orchestral excitement. Best known for his memorable music for the POLICE ACADEMY series, TOY SOLDIERS, TREMORS, THE NEVERENDING STORY II and MILES FROM HOME, Folk has always brought a strong melodic personality and superb orchestral craftsmanship to his film work, and YOU’RE DEAD is no exception. Performed by the Munich Symphony Orchestra under the composer’s baton, Folk’s music moves effortlessly between suspenseful textures, mischievous character writing and vigorous action set pieces, with rhythmic energy and bold orchestral gestures driving the narrative forward. Beneath the score’s playful surface is the polished dramatic architecture that distinguishes Folk’s best work: memorable themes, carefully developed motifs and an instinctive understanding of how to balance melody, tension and cinematic spectacle. Previously unreleased, YOU’RE DEAD represents another fascinating entry in Robert Folk’s rich and varied filmography and a particularly enjoyable example of his late-1990s scoring style. This album has been carefully mastered by Chris Malone, and the booklet includes an in-depth essay by film music writer Daniel Schweiger. 1. Main title 3:03 2. Opening / Maitland’s Dead / Professor Corner Leaves 2:57 3. Matland’s Belongings / The Interrogation Begins / Badger transition 1:19 4. The Envelope / Broken Picture 1:5 5. Robbery continued 1:43 6. Rob the Bank, sah’b / What’s jo playing? 2:01 7. Photo montage / Hostages leave 1:24 8. Police Attack 2:25 9. Jo Saves Maitland / Eddie’s Proud 2:37 10. Jo confesses to Maitland / George murdered / Locked in with murderer 2:43 11. Ian is the murderer 2:44 12. Jo tells Maitland 2:32 13. Doctor Dies / Ian is dead 2:18 14. Badger enter room / Badger interrogates jo 5:51 15. Badger leaves cyclops / Where the fuck’s the manager? 1:48 16. Manager / Video monitor / Manager Madness 1:36 17. The chase / Maitland and manager / Jo saves Maitland 5:52 18. More chase / Cigarette theme / The Money Bag 2:41 Bonus track: 19. You’re Dead demo 6:04 Total Disc Time: 53:35

John Carpenter im Gespräch mit Claudio Simonetti von Goblin. Fand ich sehr interessant. Sie reden viel über Musik und ihre Herangehensweise an Filme.

Intrada presents an expanded edition of Robert Rodriguez's Spy Kids (2001). Across Rodriquez's body of work his name appears as writer, director, producer, cinematographer, editor and composer, among others. Since his mind is working in all those places, he enjoys starting the scoring process as early as possible. The musical journey for Spy Kids was more unconventional, yet the result was a cohesive score that brought the film’s crazy world to vivid life. Rodriguez needed a song for the main antagonist and wanted something in the realm of Danny Elfman’s style, so he reached out to Elfman himself. Unfortunately, Elfman could only write one song due to his schedule—“Floop’s Song (Cruel World)." Next, Hans Zimmer and Harry Gregson-Williams screened and loved the film, but ultimately Zimmer could not take on the project. Gregson-Williams was available, however, and came up with some cues and ideas based on a guitar tune he wrote. This became known as the “Cortez Family” theme. Then Gregson-Williams had to leave the project, so Rodriquez himself took over some of the scoring duties. A few months later, Gavin Greenaway and Heitor Pereira adapted Rodriguez's melodies. By then Elfman was free and able to compose additional music for the film, including the score's prominent action theme. With all these hands involved, Rodriguez needed one composer to come in and orchestrate, conduct and expand on the Elfman material as well as provide additional scoring to tie everything together. Enter composer John Debney who masterfully assembled everything into a coherent work in just two weeks. For this new release done with the generous cooperation of Paramount Pictures, CD producer Stéphane Humez scoured through all the recordings and pulled together a 2-CD set featuring all the music. CD 1 is the complete score as it appears in the film. Disc 2 features a wealth of alternates, including the Gregson-Williams scoring that was largely updated after he left the project. The disc concludes with Robert Rodriguez's Sketchbook, a suite of demos of his original themes. The album was mastered by Maxime Marion with liner notes by Kaya Savas. Spy Kids follows siblings Carmen and Juni Cortez, who discover that their seemingly ordinary parents are actually retired secret agents. When their parents are kidnapped by an evil scientist, the children must become spies themselves, using high-tech gadgets and their own courage to rescue their mom and dad. What follows is an energetic colorful adventure that launched a franchise. DISC ONE – THE SCORE 01. Cortez Family (1:43) 02. My Parents Are Spies (2:10) 03. Spy Wedding (2:13) 04. Secrets & Jungle Gym (2:27) 05. Juni At School (1:04) 06. Floop's Castle (1:18) 07. Sky Kids Demonstration (2:00) 08. You're Taking A Mission (1:29) 09. Parents On Mission (1:17) 10. Kids Escape House (4:34) 11. Pod Chase (1:41) 12. Life In The Sub (1:38) 13. The Safehouse (2:13) 14. Mom & Dad At Floop's (2:30) 15. Floop's Dinner (1:48) 16. Spy Kids Getting Dressed (1:16) 17. The Good Spy Book (1:16) 18. The Third Brain (1:21) 19. Buddy Pack Escape (1:41) 20. Oye Como Spy (3:07) 21. Floop's Song (Cruel World) (Performed by Alan Cumming) (1:00) 22. San Diablo (1:20) 23. Spy Go Round (3:30) 24. Third Brain Story (2:00) 25. Depressed Floop (2:10) 26. Sneaking Around Machete's (2:18) 27. The Spy Plane (1:33) 28. Spy Plane Crash (0:58) 29. Fooglies & Robot Army Parades (2:53) 30. Minion Transforms Dad (2:00) 31. Juni & Floop (1:30) 32. Spy Kids Final Confrontation (8:33) 33. A Family Again (1:44) 34. Spy Kids (Save The World) (Performed by Fonda) (2:22) TOTAL DISC ONE TIME: 72:35 DISC TWO – THE EXTRAS 01. Cortez Family (Alternate) (1:47) 02. My Parents Are Spies (Alternate) (2:57) 03. Secrets & Jungle Gym (Alternate) (1:39) 04. Floop's Castle (Alternate) (1:16) 05. Spy Kids Demonstration (Alternate) (1:06) 06. You're Taking A Mission (Alternate) (0:52) 07. Parents On Mission (Alternate Version 1) (2:32) 08. Pod Chase (Alternate) (1:26) 09. Life In The Sub (Alternate) (0:51) 10. Mom & Dad At Floop's (Alternate) (1:27) 11. The Third Brain (Alternate) (1:57) 12. Buddy Pack Escape (Alternate) (2:09) 13. Oye Como Spy (Alternate) (3:07) 14. Floop's Song (Cruel World) (Instrumental) (1:00) 15. San Diablo (Alternate) (0:44) 16. Third Brain Story (Alternate) (2:15) 17. Depressed Floop (Alternate) (1:03) 18. Sneaking Around Machete's (Alternate) (0:53) 19. The Spy Plane (Alternate) (1:48) 20. Fooglies & Robot Army Parades (Alternate) (2:34) 21. Minion Transforms Dad (Alternate) (2:01) 22. Spy Kids Final Confrontation (Alternate) (7:37) 23. Parents On Mission (Alternate Version 2) (1:19) ROBERT RODRIGUEZ'S SKETCHBOOK 24. Spy Kids Theme (Demo) (1:36) 25. Parents’ Theme (Piano Demo) (0:53) 26. Robot Kids Theme (Demo) (0:21) 27. Parents’ Theme (Piano & Guitar Demo) (1:55) 28. Oye Como Spy (Demo) (2:03) 29. Parents’ Theme (All Mixed Up) (0:23) TOTAL DISC TWO TIME 51:30 TOTAL ALBUM TIME 124:05

Wenn ich mich so zurück erinnere muss ich sagen: Damals kam gefühlt immer beim Einschalten des Fernsehers entweder EIN COLT FÜR ALLE FÄLLE, KNIGHT RIDER, EIN TRIO MIT VIER FÄUSTEN oder was anderes. KAMPFSTERN GALACTICA kam mir immer nur sporadisch und selten ins Bild. Von daher hat sie auch bei mir nicht den Kultstatus. Zwar lieh ich mir viele CIC VHS-Kassetten in der Videothek, auch war GALACTICA mit dabei, aber "aufgehoben" als Kult fühlte ich mich auf VHS immer bei HULK, MAC GYVER, EQUALIZER, KNIGHT RIDER, 6-MILLIONEN DOLLAR MANN und AIRWOLF.

https://www.discogs.com/de/release/27511431-Boni-Pueri-Quattro-Krtek-Zpívá-Písničky Leider nur die Gesangs-CD mit dem tschechischen Knabenchor "Boni Pueri", wo der kleine Maulwurf Liedchen singt. Soviel ich weiß kein Score, sondern nur für ein Streichquintett arrangiert.

Danke für den Tip - direkt mal probehören

Der beste Action Score seit Jahren!!!. Ich war etwas enttaeuscht von seinem Indiana Jones Score oder besser gesagt dessen Veroeffentlichung die die meiste Actionmusik weggelassen hat.Hier aber geht dermassen die Post ab wie selten zuvor in Star Wars mit ner Prise Medal of Honor.Und qualitativ deutlich allem was er bisher gemacht hat vorraus.Mehr als 130min gigantisches Spektakel mit ueberraschenden Verbindungen zu anderen Star Wars Spielen.Ersetzt Lair als meinen Go to nicht asia Gamescore und gleichauf mit Chads leider immer noch unveroeffentlichten Star Trek The Videogame.

Daß diese Serie so einen enormen Kultstatus hat, werde ich nie begreifen.

Halli, hallo, meine Nichte findet den kleinen Maulwurf toll und ist auch von den eingängigen Melodien begeistert. Gibt es eine reine Soundtrack-CD mit der tollen Musik? Im Netz finde ich leider nur CDs mit Musik und Gequassel.

Video mit Mike Matessino und dem Komponisten

Ich habe den Film nun auch geschaut und ich muss zugeben ich war enttäuscht. Von "Höchstleistung" bei den schauspielerischen Leistungen kann ich weder bei Snipes noch deNiro etwas sehen. Ja der Tony Scott Look passt gut aber in vielen Momenten wirkte das Ganze eher wie eine Aneinanderreihung von wahllosen Momenten. Auch das "Vehikel" mit dem Sohn wirkt für mich überhaupt nicht. Ich fand die Charaktere bleiben blass bzw teilweise sogar comichaft überzeichnet und irritierend, berührten mich keine Sekunde und das "Finale" war absolut haarsträubend und an den Haaren herbeigezogen. Musikalisch ist bei mir auch nichts wirklich hängenbleiben. Ich freue mich für jeden dem der Score gefällt aber mir persönlich gefällt weder der Film noch die Musik.

Irgendwie habe ich immer Vorurteile, wenn mehrere Komponisten an einem Werk beteiligt sind. Nur bei THE DARK KNIGHT von Hans Zimmer und James Newotn Howard fand ich es passend, da man trennte zwischen den Actionszenen und den emotionalen Passagen / Seiten der Charaktere.