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Neu von BSX/DD: Citadel Records, a division of BSX Records, presents THE GHOST AND MRS. MUIR composed by the legendary Bernard Herrmann (PSYCHO, VERTIGO, NORTH BY NORTHWEST), conducted on this release by the great Elmer Bernstein (THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD). Released in 1947, THE GHOST AND MRS. MUIR was directed by Joseph L. Mankiewicz, written by Philip Dunne, based on the novel by R.A. Dick, starring Gene Tierney, Rex Harrison, George Sanders, Edna Best, Vanessa Brown, Anna Lee, Robert Coote, Isobel Elsom, Victoria Horne and a very young Natalie Wood. THE GHOST AND MRS. MUIR takes place in turn-of-the-century England and finds Lucy Muir (Tierney), a young widow who moves to a seaside house with her young daughter to escape her in-laws. Lucy discovers that the place is haunted by the ghost of its former owner, Captain Daniel Gregg (Harrison). Finding that his attempts to scare Lucy away are failing, Gregg becomes Lucy’s ally and they begin to fall in love... THE GHOST AND MRS. MUIR was Bernard Herrmann’s seventh film score and the fourth of many assignments from Twentieth Century Fox. The composer considered his music for the film to have been his best work. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS Symphony Orchestra. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. From 1974 to 1979, composer Elmer Bernstein, a great believer in preserving the film music of the past, indulged an expensive whim: Re-recording excerpts from memorable scores by esteemed colleagues ranging from Alfred Newman and Miklos Rozsa to Alex North and Bernard Herrmann. This collection would span fourteen LPS and include many previously unreleased film scores, including the first recording of Herrmann’s lost score to TORN CURTAIN. Later, these historic recordings were released on compact disc by Film Score Monthly in 2006 in a limited edition box set that has continued to become scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from the composer’s estate with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Fred Steiner. THE GHOST AND MRS. MUIR features Bernard Herrmann’s music conducted by Elmer Bernstein, performed by the Royal Philharmonic Orchestra. THE GHOST AND MRS. MUIR is a limited edition soundtrack release. THE GHOST AND MRS. MUIR is expected to begin shipping the week of May 26, 2026 01. Prelude / Local Train / The Sea (3:57) 02. The Ghost / The Storm / The Apparition (4:42) 03. The Lights / Bedtime (2:50) 04. Poetry (2:19) 05. Lucia / Dictation / Boyhood's End / Pastoral (3:55) 06. Nocturne (2:23) 07. London / The Reading / Local Train (2:32) 08. The Spring Sea (4:49) 09. Romance / Love / Farewell (5:14) 10. The Home / Sorrow (3:16) 11. The Passing Years / The Late Sea (2:52) 12. Forever (2:39) Total Time: 41:56 Citadel Records, a division of BSX Records, presents music from the original score to THE PRIVATE FILES OF J. EDGAR HOOVER, composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1977 biography directed and written by Larry Cohen (IT’S ALIVE, Q, THE WINGED SERPENT, PHONE BOOTH), starring Broderic Crawford as Hoover, along with Michael Parks, Jose Ferrer, Celeste Holm, Rip Torn, Dan Dailey, Ronee Blakley, Howard Da Silva, John Marley, Michael Sacks, Raymond St. Jacques, Lloyd Nolan and James Wainwright. THE PRIVATE FILES OF J. EDGAR HOOVER tells the story of the late J. Edgar Hoover, who was the head of the FBI from 1924-1972 and follows Hoover from his racket-busting days through his reign under eight U.S. Presidents. Also included on the album is the composer’s BACKGROUND TO VIOLENCE suite. Assembled by the composer, the suite is consists of selections from THE KILLERS, BRUTE FORCE and THE NAKED CITY, powerful scores for film noir films from early in the composer’s career and featuring a classic style that he would return to later in his career both with THE PRIVATE FILES OF J. EDGAR HOOVER and DEAD MEN DON’T WEAR PLAID, among others. Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others. Citadel Records, a division of BSX Records, presents this new release of THE PRIVATE FILES OF J. EDGAR HOOVER, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Alain Silver and Tony Thomas, along with the composer’s notes for the BACKGROUND TO VIOLENCE suite. THE PRIVATE FILES OF J. EDGAR HOOVER is a limited edition release of 500 units. THE PRIVATE FILES OF J. EDGAR HOOVER will begin shipping the week of May 26, 2026 THE PRIVATE FILES OF J. EDGAR HOOVER 01. Main Title (3:03) 02. Suicide Trap (2:06) 03. Shadowing Nixon (1:32) 04. Suspicion (2:29) 05. Purse Snatcher (1:49) 06. “And Finally Purvis Broke” (1:14) 07. The Hijacker (1:55) 08. Hold On (1:02) 09. The Meeting (1:55) 10. Shredding (1:06) 11. Temptation (4:00) 12. The Bloodhound (1:54) 13. Wiretaps (1:02) 14. Mother’s Death (0:56) 15. Creepy Surprise (0:41) 16. Dr. King (2:05) 17. R.F.K. (0:34) 18. Death Of The Director (1:19) 19. Farewell To A President (1:51) 20. “There’s No Romance In A Dead Rat” (0:44) 21. Attorney General (1:23) 22. Courting (0:41) 23. End Titles (4:30) BACKGROUND TO VIOLENCE 24. Prelude To Murder (From “Brute Force”) (4:50) 25. Nocturno (From “Brute Force”) (5:13) 26. Scherzo (From “Brute Force”) (2:08) 27. Despair (From “The Killers”) (3:18) 28. Pursuit (From “The Naked City”) (2:30) 29. Epilogue: The Song Of A City (From “The Naked City”) (3:12) Total Time: 62:17 Dragon’s Domain Records presents THE GRISSOM GANG, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1971 dramatic film directed by Robert Aldrich (THE FLIGHT OF THE PHOENIX, THE DIRTY DOZEN, WHATEVER HAPPENED TO BABY JANE?), starring Scott Wilson, Kim Darby, Tony Musante, Robert Lansing, Connie Stevens, Irene Dailey, Wesley Addy, Michael Baseleon, Ralph Waite, Hal Baylor and Matt Clark. Released in 1971, THE GRISSOM GANG follows a group of small-time criminals as they attempt to rob a wealthy socialite’s jewelry. During the bungled robbery, they impulsively kidnap Barbara Blandish (Darby), the sheltered daughter of a powerful millionaire. Their poorly planned crime quickly spirals out of control when the ruthless Grissom family, an organized gang of criminals led by domineering matriarch Ma Grissom (Dailey), learns of the kidnapping. Seeing an opportunity for a large ransom, the Grissoms seize Barbara from the original kidnappers and take control of the operation... Director Robert Aldrich and composer Gerald Fried worked together several times, on films such as TOO LATE THE HERO and THE KILLING OF SISTER GEORGE. Rather than emphasizing traditional gangster-film excitement, Fried wrote a score for THE GRISSOM GANG that underscores the film’s disturbing psychological tone. The music frequently uses sparse orchestration, haunting melodies, and uneasy harmonic textures to evoke the emotional instability of the characters. Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. THE GRISSOM GANG is expected to begin shipping the week of May 26th, 2026. 01. Opening Titles (1:38) 02. Diner #1 (2:19) 03. Diner #2 (0:56) 04. Photo Frenzy (1:21) 05. Chase, Murder & Kidnap (3:22) 06. Gas Station #1 (3:04) 07. Gas Station #2 (1:07) 08. The Grissom Gang Arrives (2:55) 09. A Vision Of Beauty / Ma Grissom’s Fury (1:11) 10. Anna’s Place (2:18) 11. Slim’s Ultimatum (1:27) 12. Gas Station #3 (0:54) 13. Restaurant #1 (3:41) 14. Suspicious Slim (1:25) 15. Please Let Me Go (3:50) 16. I Really Can Be Nice To You (1:33) 17. The Morning After (3:27) 18. Drive To Town (1:53) 19. Our New Apartment (2:54) 20. Slim’s Theme (on chimes) (1:02) 21. Nightclub (1:42) 22. The Private Eye & Ambush (1:41) 23. Slim To The Rescue (3:18) 24. The Big Shootout (1:56) 25. Car & Motorcycle Chase (0:41) 26. Gas Station #4 (1:38) 27. Gas Station #5 (0:55) 28. They Killed Ma / Don’t Die For Me (2:20) 29. The Cops Close In / Slim’s Last Stand (2:56) 30. He Loved Me (2:14) 31. Finale & Closing Credits (2:13) Total Time: 65:13 Dragon’s Domain Records presents THE LALO SCHIFRIN COLLECTION: VOLUME 2, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for two films from his extensive filmography. Released in 1979, ESCAPE TO ATHENA is a World War II adventure film directed by George P. Cosmatos (THE CASSANDRA CROSSING, RAMBO II, TOMBSTONE), written by Edward Anhalt and Richard S. Lochte, starring Roger Moore, Telly Savalas, David Niven, Claudia Cardinale, Elliott Gould, Stephanie Powers, Sonny Bono, and Richard Roundtree. Beautifully photographed on the large Greek island of Rhodes, ESCAPE FROM ATHENA takes place during the later years of World War II, when the island was occupied by the German army. A group of Allied prisoners of war are forced to labor on archaeological excavations off the Aegean Sea that the occupying forces plan to transport ancient treasures back to Germany. The prisoners discover that the nearby monastery on top of Mount Athena may contain even greater treasures allegedly hidden by the monks. At the same time, Greek resistance fighters on the island are preparing their own operation to strike at the German garrison.As the prisoners’ treasure plot intersects with the resistance’s sabotage mission, the narrative builds toward a chaotic but entertaining climax involving deception, massive explosions, and a dramatic battle by the sea. A notable aspect of ESCAPE TO ATHENA is its musical score, which blends bold orchestration and Mediterranean color. For ESCAPE TO ATHENA, Schifrin created music that balances suspense and playfulness,reflecting the film’s mixture of wartime danger and comic adventure. The score incorporates lively percussion, brass flourishes, and melodic passages that evoke the Greek island setting. Released in 1984, TANK was directed by Marvin J. Chomsky, written by Dan Gordon, starring James Garner, Shirley Jones, C. Thomas Howell, Mark Herrier, Sandy Ward, Jenilee Harrison, James Cromwell, Dorian Harewood, John Hancock, Guy Boyd and G.D. Spradlin. TANK follows U.S. Army Sergeant Major Zack Carey (Garner), a career soldier transferred to a military base nearby a small town in Georgia. Carey is a disciplined and respected non-commissioned officer who takes pride in both his service and his family life, though he has promised his long-suffering wife (Shirley Jones) that this will be the last tour before he retires and buys a boat. Carey’s troubles begin when he goes to the town bar and stands up for a prostitute being beaten by a Deputy Sheriff. Unbeknownst to him, both the bar and girl are under the control of the town’s corrupt sheriff who runs the town like a personal kingdom. Carey attempts to resolve the matter through official channels but he quickly discovers that the sheriff’s influence extends throughout the local justice system. In retaliation, the sheriff frames Zack’s son Billy (Howell) on false charges and has him imprisoned under the harsh conditions of his brutal work camp. Carey decides to take matters into his own hands. Using his personal restored World War II Sherman tank, he launches a daring rescue mission. Carey drives the tank across rural Georgia, as he evades military police and local law enforcement to rescue Billy and flee out of the sheriff’s jurisdiction, creating a dramatic chase that mixes suspense with moments of dark humor. For TANK, Lalo Schifrin created music that underscores both the tension of the chase and the emotional stakes of a father fighting for his son. The score features bold orchestral writing combined with rhythmic motifs that mirror the relentless movement of the armored vehicle at the center of the story. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. TANK makes its premiere soundtrack release on THE LALO SCHIFRIN COLLECTION: VOLUME 2 and ESCAPE TO ATHENA makes its debut on compact disc. The music has been mastered by James Nelson at Digital Outland and include liner notes written by Scott Davis and David Hirsch. THE LALO SCHIFRIN COLLECTION VOL #2 is a limited edition release and is expected to begin shipping the week of May 26, 2026. ESCAPE TO ATHENA 01. Main Titles (2:22) 02. Water, Fire And Mines (4:24) 03. The Saints Go Greek (1:54) 04. Rat-Tat-Tat (3:10) 05. Thrends (2:06) 06. The Kite Over The Tower (2:24) 07. The Descent (2:31) 08. Battle Hymn Of Athena (1:35) 09. Rocket Gates (2:19) 10. The Monastery (3:01) 11. Dance Of Athena (3:37) 12. Treasure Chamber (5:17) 13. Keep Tomorrow For Me (2:56) TANK 14. Main Title / “Last Post, Tough It Out” (2:44) 15. Saturday Girl [In-Town Bar Source] (3:08) (Vocal: Gene Morford) 16. Retirement (2:05) 17. “You And Your Whore” / Introspection (1:56) 18. Go Get The Tank (2:39) 19. Tank Joyride (1:51) 20. “Can I Go With You?” / “Jump On” / Jail Break / “Coming To Get You” (2:01) 21. "You Assholes Better Move" (1:14) 22. Premature Okay - Crushed / “I Love You Dad, I Love You Son” (1:38) 23. “Let’s See That Cracker Try To Stop A Tank” / “Folk Heroes” (1:38) 24. “I Will Blow Him Away” [unused] / Festive Road Block (1:16) 25. Going Around / “Keep Going Son” / In Tank / “Enjoy The Afternoon Sun” (1:18) 26. Give Up Now / Biker Rescue Plan (2:51) 27. Mudbath / Finale (3:08) 28. End Credit (2:34) 29. Destroying The Police Station [Bonus M&E] (2:02) 30. Everybody Pull [Bonus M&E] (1:11) 31. NCO Disco [source] (2:59) Total Time: - 77:15 Artist: Louis And Bebe Barron Genre: Electronic, Stage & Screen Sub-Genre: Soundtrack, Score, Abstract, Experimental Tracklist: 1. Main Titles - Overture (2:21) 2. Deceleration (0:55) 3. Once Around Altair (1:10) 4. The Landing (0:50) 5. Flurry Of Dust - A Robot Approaches (1:10) 6. A Shangri-La In The Desert / Garden With Cuddly Tiger (1:33) 7. Graveyard - A Night With Two Moons (1:16) 8. "Robby, Make Me A Gown" (1:18) 9. An Invisible Monster Approaches (0:48) 10. Robby Arranges Flowers, Zaps Monkey (1:18) 11. Love At The Swimming Hole (3:12) 12. Morbius' Study (0:38) 13. Ancient Krell Music (1:48) 14. The Mind Booster - Creation Of Matter (0:58) 15. Krell Shuttle Ride And Power Station (2:34) 16. Giant Footprints In The Sand (0:45) 17. "Nothing Like This Claw Found In Nature!" (1:26) 18. Robby, The Cook, And 60 Gallons Of Booze (1:07) 19. Battle With Invisible Monster (2:55) 20. "Come Back To Earth With Me" (1:19) 21. The Monster Pursues - Morbius Is Overcome (5:49) 22. The Homecoming (1:59) 23. Overture - Reprise (2:15) Notes: Reissue, unknown year of release (post 1994 as indicated by the presence of mastering SID in matrix) This soundtrack accompanied the film "Forbidden Planet" in 1956 Nur digital: BSX DIGITAL presents a premiere release of music from the original score to A MATCH MADE IN HEAVEN, featuring music composed by Don Davis (THE MATRIX, JURASSIC PARK III, BEHIND ENEMY LINES), for the 1997 romantic drama directed by Paul Wendkos, written by Susan Rice, starring Olympia Dukakis, John Stamos, Della Reese, Kelly Rowan, Mitchell Whitfield, Stephanie Erb, Karen Ludwig, Reneé Taylor, Liz Sheridan and Estelle Getty. Airing on television in 1997, A MATCH MADE IN HEAVEN, also known as MOTHER’S WISH, was inspired by the true story of a dying widow who plays matchmaker to her unmarried son and a nurse. Tom (Stamos) is a successful divorce lawyer, but his unmarried state is the greatest sorrow of his elderly mother, Helen (Dukakis), who is in remission from cancer. While visiting the hospital for a check-up, Helen encounters her doctor's new nurse, Jane (Rowan), a single woman who is hesitant to meet someone new after getting out of a five-year relationship. Helen plays matchmaker between the two of them, much to the chagrin of her longtime caretaker, Katie (Reese). As Helen’s health deteriorates, she tries harder and harder to get the couple together... Emmy winning composer Don Davis began playing trumpet and piano at the age of nine and started writing music at twelve. As his affinity for music grew, so did his aspirations, and soon he was composing and arranging orchestral charts for local jazz ensembles that he also performed with. After graduation from high school, Davis furthered his study of music at UCLA, majoring in music theory and composition, playing trumpet in college jazz ensembles and orchestras. After graduation from UCLA, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced the young Davis to film and television composer Joe Harnell, best known for his work on TV shows such as V and THE INCREDIBLE HULK. He was immediately impressed by Davis' attention to orchestral detail, especially as evidenced by a chamber symphony Davis was writing at the time. Harnell became a mentor to Davis and introduced him to the professional world of film and television scoring. His early compositional work caught the attention of composer Lee Holdridge, who had penned the theme music for the television series BEAUTY AND THE BEAST and he helped Davis land the job composing weekly scores for the show. Davis' rich orchestral style meshed perfectly with the tone of the show, and he went on to win an Emmy for his work and achieve great acclaim as one of television's most gifted young composers. After BEAUTY AND THE BEAST, Davis found his career as a composer soaring and he was commissioned to compose scores for dozens of top television movies and series, including SEAQUEST DSV, HOUSE OF FRANKENSTEIN, Peter Benchley’s THE BEAST, TINY TOON ADVENTURES and STAR TREK: THE NEXT GENERATION. In 1997, Davis composed the score for Larry and Andy Wachowski's off-beat thriller BOUND, and the directing brothers immediately formed a close working relationship with Davis. The Wachowskis and Davis again collaborated on the MATRIX Trilogy. Davis' work for the three scores incorporated elements of popular music, electronic synthesizer effects, and even a touch of the avant-garde. BSX Digital presents the premiere release of A MATCH MADE IN HEAVEN, featuring music composed by Don Davis. The music has been remastered by James Nelson at Digital Outland. 01. Main Title (3:09) 02. The Sinister Minister / The Widow’s Lament (2:23) 03. Mom’s Salami / Dating In America (3:10) 04. Meet Mom / Butter Tub (3:11) 05. Borscht Belt Bozo / 20th Century Fool (2:26) 06. Dreams Should Be Lovely / Ditch Katie (2:34) 07. Bedside Putz / A Man In Disguise (4:01) 08. I Love You Forever (3:22) 09. Helen Rosner Memorial / The Hat From Hell (4:25) 10. Toxic Waste (2:57) 11. The Wedding Étude / End Credits (2:24) Total Time: 34:02 BSX DIGITAL presents a premiere release of music from the original score to DROP-OUT MOTHER, composed by the great Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1988 comedy directed by Charles S. Dubin, written by Bob Shanks, starring Valerie Harper, Wayne Rogers, Carol Kane, Kim Hunter and Bruce Gray. DROP-OUT MOTHER, also known as GOODBYE, SUPERMOM, follows Nora Cromwell (Harper) and her comical transition from a successful female executive to full-time housewife and mother. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked as there were no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY,where the young filmmaker first gained his reputation. After the success of THE KILLING in1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour mini-series. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. BSX Digital presents the premiere release of DROP-OUT MOTHER, featuring music composed by Gerald Fried. The music has been remastered by James Nelson at Digital Outland. 01. Main Titles (2:42) 02. Starting The Day (3:01) 03. I Quit / Career Funeral (1:09) 04. New Choices / New Home (2:11) 05. Circus Time (2:49) 06. Nora And Jack (1:28) 07. Shopping Day (2:40) 08. Family Struggles / The Right Choice (4:13) 09. A Happy Ending (3:13) 10. Walkman Rock (0:49) 11. MTV Rock (1:32) 12. Street Band (0:13) Total Time: 26:00 BSX DIGITAL presents the STU PHILLIPS TRIPLE FEATURE,featuring music from three movies from the lengthy filmography of composer Stu Phillips (BATTLESTAR GALACTICA, BUCK ROGERS IN THE 25th CENTURY, KNIGHT RIDER). STU PHILLIPS TRIPLE FEATURE includes music from his scores to PICK UP ON 101, THE NAME OF THE GAME IS KILL and THE MEAL. Released in 1972, PICK UP ON 101 was directed by John Florea, written by Anthony Blake and starred Martin Sheen, Lesley Ann Warren and Jack Albertson. PICKUP ON 101 revolves around three characters. Lester (Sheen) is a musician on his way from Northern California to LA to play a gig. Nicky (Warren) is a teenage runaway from a private boarding school who just wants to get away to anywhere. Lester also meets Jedidiah (Albertson), a drifter who wants to get to Lompoc and the ‘Valley of the Flowers’. Sheen picks up Nicky,then Jedidiah and the film follows their journey. Released in 1968, THE NAME OF THE GAME IS KILL was directed by Gunnar Hellstrom, written by Gary Crutcher and starring Jack Lord, Susan Strasberg, Colin Wilcox Paxton, Tisha Sterling, Mort Mills and Lou Lombardo. Symcha (Lord), a drifter from Hungary, is picked up by Mikki (Strasberg) while hitchhiking in Arizona. Mikki invites him to spend a few days and rest up ather family's gas station in a semi-deserted town in the Arizona desert. After meeting her family, Symcha realizes that they are slightly overcooked and hemight be in over his head... Released in 1975, THE MEAL also known as DEADLY ENCOUNTER was written and directed by R. John Hugh, starring Dina Merrill, Carl Betz, Leon Ames, Vicki Powers, Susan Logan, Mark Featherstone-Witty, Mike Rasmussen and Steve Potter. THE MEAL involves a gathering of old friends at a fashionable weekend party in Florida that comes to a tragic end when one of the guests is murdered. During the course of the weekend, there is lots of dining and playing cards. During those moments, many past secrets are revealed, causing tension to build among the guests... Composer and producer Stu Phillips has enjoyed one of the longest and most far-ranging careers of the rock & roll era, working not just in popular music but also in film and television on his way to amassing a body of work as eclectic as any of his contemporaries. Born September 9, 1929, Phillips studied at New York City's High School of Music and Art, followed by a stint at the Eastman School of Music, where he also moonlighted as an arranger for the Rochester Civic Orchestra. He entered show business proper as a copyist for television's legendary Milton Berle Texaco Hour before landing with Capitol Records and assisting composer Harry Revel and theremin virtuoso Dr. Samuel J. Hoffman on the space age pop landmark MUSIC FROM OUTER SPACE. In 1974 Phillips landed at Universal Studios, where in the years to follow he composed the music for television hits including THE SIX MILLION DOLLAR MAN, QUINCY, BATTLESTAR GALACTICA and KNIGHT RIDER. He published his autobiography, ‘Stu Who?’ in 2003. Originally released on compact disc in 2010, BSX Digital brings STU PHILLIPS TRIPLE FEATURES back to the marketplace, featuring music composed by Stu Phillips. The music has been newly mastered by James Nelson at Digital Outland and retains the original liner notes by producer Bruce Kimmel. PICK UP ON 101 (A TIME TO EVERY PURPOSE) 01 ON THE ROAD AGAIN 02 ECHOES OF THE ROAD (PERFORMED BY DON DUNN) 03 LEAP 04 FRIENDS 05 FRIENDS NO MORE 06 CLEAN-UP TIME 07 NIKI & LES / LOVE IN THE WOODS 08 VALLEY OF THE FLOWERS 09 FIND A DOCTOR/BRADLEY DIES 10 LONG JOURNEY HOME 11 LES’ IDEA 12 ECHOES OF THE ROAD / END CREDITS THE NAME OF THE GAME IS KILL! 13 MAIN TITLE 14 JULIO DIES / ALONG COMES SUN 15 WHERE'S MIKKI? 16 RATTLESNAKE 17 THEME FOR LOVE 18 SIM GETS HIT 19 SIM'S RETURN 20 SHADOWS (PERFORMED BY THE ELECTRIC PRUNES) 21 DIZ'S STORY 22 THE SEARCH 23 NAN'S STORY 24 THE FINAL BLOW 25 DIZ CONFESSES 26 SIM'S SURPRISE THE MEAL (DEADLY ENCOUNTER) 27 MAIN TITLE/ FLASHBACK 1/ KELLEY/ FLASHBACK 2 28 EATING 29 AT THE BAR 30 FOOD FOR THOUGHT 31 DEAD DOG 32 RACHMANINOFF PRELUDE #6 (ARRANGEMENT BY STU PHILLIPS) 33 SOMETHING PHYSICAL 34 NEED YOU / FLASHВАСК 3 35 BERTRON'S CONCERTO #5 36 FLASHBACK 4/ FLASHBACK 5 / KELLEY RUNS 37 RESOLUTION / END CREDITS Relive the high-octane excitement of one of television’s most iconic action series with Don Peake - The Best of Don Peake's Knight Rider: Vol. 1 (Original Television Soundtracks), featuring music by legendary composer Don Peake. This dynamic CD brings together thrilling cues and unforgettable themes that defined the adventures of Michael Knight and his extraordinary partner, KITT. From pulse-pounding action tracks to atmospheric suspense cues, Peake’s score captures the sleek, futuristic energy that made Knight Rider a global phenomenon. With driving synthesizers, bold orchestral textures, and the unmistakable 1980s soundscape, every track transports listeners straight back to the open highway and the world of high-tech crime fighting. Carefully remastered for exceptional sound quality, this collection highlights Peake’s masterful contributions to the series’ musical identity, showcasing both fan-favorite motifs and rare selections heard throughout the show’s unforgettable episodes. Whether you’re a lifelong fan of Knight Rider, a collector of classic television soundtracks, or a lover of vintage synth-driven scores, this CD is an essential addition to your library. Volume #1 features music from the episodes Let It Be Me, Scent Of Roses, White Bird, Junk Yard Dog, Halloween Knight, and Mouth Of The Snake Start your engine and let the music take the wheel. Volume #2 features music from the episodes Topaz Connection and Hearts Of Stone Plus. Bonus Tracks Volume #3 features music from the episodes Knight Of The Chameleon, Lost Knight , K.I.T.T. vs. K.A.R.R.and Knight In Retreat. BSX DIGITAL presents the premiere release of music composed and conducted by Dennis McCarthy (STAR TREK: THE NEXT GENERATION) from the original score to McHALE’S NAVY, the action comedy directed by Bryan Spicer (MIGHTY MORPHIN POWER RANGERS,FOR RICHER OR POORER), written by Peter Crabbe and Andy Rose, starring Tom Arnold, Dean Stockwell, Debra Messing, David Alan Greer, Ernest Borgnine, Tim Curry, Bruce Campbell, French Stewart and Danton Stone. Released in 1997, McHALE’S NAVY was based on the popular 1960’s television series about the misadventures of a misfit PT boat crew during World War II starring Ernest Borgnine, Joe Flynn, Tim Conway, Carl Ballantine, Gary Vinson, Billy Sands, Edson Stroll, John Wright, Yoshio Yoda, Bob Hastings and Gavin MacLeod. Attempting to update the concept for a modern audience. Director Bryan Spicer plays up the comedy of the conflict between the up-tight Captain Binghampton (Stockwell) and the laid-back McHale (Arnold) against the action sequences of McHale’s battles with Vladakov (Curry), ‘the second-best terrorist in the world’, allowing composer Dennis McCarthy to shift from the thrilling action music he had displayed on numerous episodes of four STAR TREK series with comedic motifs for military hi-jinks and ad-hoc talent shows, a typical event in the classic television series. Dennis McCarthy’s career has ranged from being a session keyboardist and musical director for Glen Campbell to composing Emmy award- winning scores for television’s STAR TREK franchise. For more than 40 years, McCarthy has been an in-demand composer for films and television, scoring such shows as V: THE TV SERIES, DYNASTY, MACGYVER, BIRDLAND, as well as made-for-TV movies such as V: THE FINAL BATTLE, OVERKILL: THE AILEEN WUORNOS STORY, IN HIS LIFE: THE JOHN LENNON STORY and A MODERN TWAIN STORY: THE PRINCE AND THE PAUPER. McCarthy gained prominence as one of the regular composers on STAR TREK: THE NEXT GENERATION beginning in 1987, and has continued in the same capacity for subsequent Trek series (DEEP SPACE NINE, VOYAGER and ENTERPRISE), as well as the seventh Star Trek feature film, GENERATIONS in 1994 and related media such as video games and shorts involving STAR TREK characters. McCarthy’s efforts have gained him six Emmy Award nominations – and two wins, first in 1991 for his dramatic score to the “Unification, Part 1” episode of STAR TREK: THE NEXT GENERATION, and again in 1993 for his Main Title to STAR TREK: DEEP SPACE NINE. McCarthy has also scored music for feature films, including LETTERS FROM A KILLER and DIE, MOMMY, DIE. McCarthy has also scored theatrical plays in Southern California. He continues scoring film projects but takes more time off to spend with his wife Patty and three children and nine grandchildren. BSX Digital presents the premiere release of McHALE’S NAVY, featuring music composed andd conducted by Dennis McCarthy. The music has been mastered by James Nelson at Digital Outland and includes liner notes by author David Hirsch. 0I. Prologue (3:33) 02. Main Title / McHale Comes Through (2:58) 03. Here Comes Binghampton (3:04) 04. Get Ready For Inspection / Packing Up / Vladakov Inspects Billford (3:06) 05. Vladakov And McHale Meet Again (5:24) 06. Come On Let's Go! / Vladakov Crashes The Party (3:45) 07. McHale Cleans Up (2:37) 08. New Home / Townspeople Arrive (2:18) 09. Stealing Vladakov's Vodka (3:58) 10. Shopping In Cuba (1:20) 11. Parker El President / Consoling Roberto (3:14) 12. Vladakov Prepares / Carpenter Gets The Details (2:32) 13. Carpenter & McHale Talk / Binghampton Blows Up The Base (2:54) 14. Mission Accomplished / The Shootout - Part 1 (3:43) 15. The Shootout - Part 2 (7:05) 16. The Celebration (1:16) Total Time: 53:28 Step into sweeping drama and rich musical storytelling with the original soundtrack to mini-series Danielle Steel's Zoya (1995)—now available on a newly remastered digital release from New Gold Music and distributed exclusively through BuySoundtrax.com. Composed by the acclaimed William Goldstein, Zoya delivers a deeply expressive and emotionally resonant score that captures the scope and intimacy of the beloved mini-series. Goldstein's music weaves together lush orchestral textures and evocative themes, perfectly underscoring the drama and romance at the heart of the story. Adding to the prestige of this release is the powerful title theme by the legendary Basil Poledouris, whose unmistakable musical voice brings grandeur and gravitas to the production. His contribution elevates the score into something truly special for collectors and film music enthusiasts alike. Carefully mastered for this new digital download version, this release offers fans the opportunity to experience the full musical journey of Zoya, many cues presented here for the first time outside the original broadcast. Now available—don't miss your chance to own this captivating piece of television scoring history. About The Composer William Goldstein has been a recording artist for Motown and CBS Masterworks. He has over 70 albums currently available, generating between 2,000,000 and 11,000,000 streams monthly. He has scored over 50 Movie and Television projects, including Fame & The Miracle Worker. He has written on the arts for The New York Times and The Los Angeles Times. He has been a pioneer in the use of computers and electronic instruments in music. Since 2011, he has received international recognition for his ability to create music in real time, continuing the tradition of the great 18th- and 19th-century composer-pianists through his Master Classes, recitals, and Albums. Track List 1. Main Titles / Firewalk 1 (2:03) ST. PETERSBURG 1917 2. Palace Dance Rehearsal, Palace Memories 1 (0:52) 3. St. Petersburg 2 (1:55) THE REVOLUTION 4. Nicolai's Death, The Egg 1, 4 (2:20) 5. Death & Revolution, Evgenia 1, 5 (4:50) PARIS ARRIVAL 1917 6. A New Home, A New Life, 1, 3 / Reprise: Evgenia 5 (2:08) 7. Zoya Finds Diaghilev 1 / Le Sylphides Ballet Excerpt / Chopin Arr. William Goldstein (2:45) 8. Ballet Reception, Vladimir 1 (1:45) CLAYTON 1918-1929 9. The Walk 1, 3 (3:10) 10. Death of the Czar 1, 4 (0:48) 11. Up the Stairs, Zoya Takes Clayton 3, 5 (4:33) 12. Evgenia Dies, Zoya Mourns 1, 4 (2:06) 13. Zoya Marries Clayton, Can We Stay Home? 1, 5 (3:02) 14. Kids Montage 1 (1:47) 15. Winter of Discontent / Reprise The Egg 1, 4 (2.24) 16. Clayton's Death & Funeral 1, 4 (3:11) SIMON 1938-1945 17. Zoya & Simon 1, 5 (1:17) 18. Christmas Montage 1 (1:05) 19. Paris Fashion Show 1938, Harlem Jazz Club 1 (1:33) 20. Sasha & Zoya 1 (1:16) 21. Simon Loves Zoya 1 (1:08) 22. Paris in Love 1 (2:50) 23. Proposal & Wedding Montage, Countess Zoya's Baby 1 (2:38) 24. Baby in a Troubled time, Simon & Nicky Off To War 1 (Time) 25. Missing You (1942) 1 (1:52) 26. Maybe We Could Talk 1 (0:44) 27. The Telegram, Zoe Sleeps 1 (2:23) ZOYA: THE LATER YEARS 1950-1970 28. Nicki Proposes 1 (0:44) 29. Sasha's Reconciliation, Sasha's Death, Reprise: Evgenia 5 (3:49) 30. Rose Adagio Excerpt / Tchaikovsky Arr. William Goldstein (1:28) 31. Zoya's Grand Exit & Return to Russia, Reprise: St. Petersburg 3, Reprise: Evgenia 5 (3:33) 32. Giselle Excerpt / Adolphe Adam Arr. William Goldstein, Reprise: The Egg 3 (1:26) TOTAL TIME: 69:48 SOUNDTRACK PRODUCED BY WILLIAM GOLDSTEIN COMPOSED BY WILLIAM GOLDSTEIN - 1 COMPOSED BY BASIL POLEDOURIS - 2 CONTAINS "ST. PETERSBURG" EXCERPT - 3 / CONTAINS "THE EGG" EXCERPT - 4 CONTAINS "EVGENIA" EXCERPT COMPOSED BY BASIL POLEDOURIS & WILLIAM GOLDSTEIN - 5

Sie erscheint! Das habe ich bestätigt bekommen.

Ja hoffentlich erscheint sie überhaupt. Auf SCREAM7 warten wir immer noch

Thomas Bergersen Live - Europa Tour 2027 Habe ich mir doch mal direkt in Düsseldorf gesichert...😀

Echt wahr, Young bei einem Blockbuster – damit hätte ich auch nicht mehr gerechnet! Was den Stil angeht: Er ist eigentlich zu sehr Vollblutmusiker für reines Sounddesign. Selbst wenn es Richtung Suspense geht, hat er dieses Händchen für orchestrale Texturen, die eine richtige erzählerische Tiefe erzeugen. Das gibt dem Ganzen oft eine viel stärkere thematische Autorität als bloßes digitales Gewaber. Ich hoffe echt auf einen wuchtigen Score mit echten Instrumenten, das wäre mal wieder was!

Snow Files of the Week: Suite aus „Shadows Of Desire" (1994). Ein weiterer TV-Film, den Mark vertonte, als er bereits an den X-Akten arbeitete. Obwohl seine Trademark-Sounds auch hier zu hören sind, besticht der Score durch ein recht folkiges Feeling. Dafür sorgt die Solo-Violine, die hier noch anders klingt als die zwei Jahre später von Snow gesampelte Violine für „MillenniuM". Dazu gesellen sich noch eine Akustikgitarre und Mundharmonika-Samples, die das Ganze abrunden. Dennoch erinnert das Hauptthema an das der „MillenniuM"-Folge „Luminary" aus der zweiten Staffel. Die Musik stammt von der Volume 3 der „Mark Snow Collection" von Dragon's Domain Records. Die CD ist auf 500 Exemplare limitiert. Viel Spaß beim Hören!

Sommer-Blockbuster? Ich hätte hier jetzt ein etwas besseres B-Movie als Piper und Offering vermutet. So oder so hoffe ich auch auf ein im Schwerpunkt orchestrales Werk. Bin gespannt, ob die Musik passend zum Filmstart erscheint (hoffentlich).

Bin gespannt. Film soll super sein. Dass Young auch noch einen Sommer-‚Blockbuster‘ vertonen würde wollt man ja schon lange nicht mehr glauben. Frage obs orchestral oder nur sound design wird. Der regisseur hat bisher immerhin immer Orchsterscores gehabt. Film sieht aber eher nach Suspense Score aus erstmal… freu mich so oder so!

Godzilla Minus Zero kriegt auch wieder einen Score von Naoki, ausserdem hat er grad ein Best Of Album seiner Scores zw 2020 und 2026 rausgebracht mit vielen Remixes:

Oh ja, vor allem NOSFERATU

Uuuuh, das könnte interessant sein.

Soundtrack wird demnächst erscheinen! Freue mich sehr, da die letzten drei Horrorscores (Piper, Offering und Nosferatu) überragend waren...

Ich muß sagen, die Ausführungen von Quartet Records überzeugen mich voll und ganz. Hätte nicht gedacht, dass da noch soviel fehlt.

Habe mich da auch mal eingetragen 😀

https://www.kritzerland.com/billy.htm Kritzerland is proud to present the CD release of two great film scores on one CD: THE GRASSHOPPER and THE DOMINO PRINCIPLE Music Composed by Billy Goldenberg The Grasshopper As Far as I’m Concerned (vocal by Bobby Russell) Bobby Russell • Traveling With a Star Billy Goldenberg/Bobby Russell Christine in Las Vegas Bonanza Paree/Return to Vegas Sunset with Christine Soft Music for Rosie Used to Be (vocal by Vicki Lawrence) Bobby Russell • Christine (Theme from The Grasshopper) La De Da (vocal by Sean and David) Billy Goldenberg/Al Kasha/Joel Hirschhorn • Tommy Doesn’t Like Rosie at All Tommy’s Gone Sonata for Eleanor Look Again (vocal by The Brooklyn Bridge) Billy Goldenberg/Al Kasha/Joel Hirschhorn Washington Post March The Domino Principle Some Day Soon (vocal by Shirley Eikhard) Billy Goldenberg/Harry Shannon • Tucker’s Escape Burst of Freedom • Ellie Into Position I’m Sorry No Puedo Olvidar Dominoes Falling Goodbye Ellie • They Some Day Soon (vocal by Shirley Eikhard) Billy Goldenberg/Harry Shannon)

One has to ask; who is this new release actually directed at? Barry afficiandos of every stripe? The occasional soundtrack listener? Fans of the film, or those struggling to find the orginal score from Silva Scree Records on CD or a Decca vinyl copy on the secondary market or from Film Music shops/online stores/Ebay? While the original score is one of my favourite Barry scores of the Espionage genre, I'm really not bowled over by the news or that motivated to own unlike the Séance on a Wet Afternoon and the three television films starring Katharine Hepburn - outstanding. The Ipcress File, of all Barry's 60's scores, is so distinctive, so highly original, that any replication 60+ years on, is never going to hit the mark. The instrumentation, in particular, the cymbalon, is not either a sound that is easy to replicate nor can compete with the orginal sound recording. I've given all the samples a one-time listen, and I have to say, I'm not blown away. Pacing is my first issue: there's a noticible hesitance in the opening track: the percussion and tempo simply not hitting the mark, and this filters through into the other samples - It all feels very dirge-like, which, lets face it, is not doing any great favours to a score that was already, in its original form, a dark, lugubrious work. While Quartet are to be applauded for continuing recording and producing such wonderful film music, on this occasion, with Ipcress, I'm unsure what this new presentation is adding to an already stunning OST? In truth the re-record offers significant reprisal material, which is apparent when viewing the film itself. There is repetition of the central theme through with multiple incorporations and interpolations of said theme. Are there new, younger Barry fans that are going to find this release an essential purchase? Are aged soundtrack-purchasing stalwarts like me, going to fork out £17 quid plus overseas P&P for a recording that will perhaps get a couple of spins and then end up on the collection shelf next two the two other Ipcress CD's I already own, and I'm going to be honest and admit, now rarely ever play. *I'm writing this, but at the same time, I'll still probably end up forking out for the damn thing! Others here may feel very different about this release news, many will be excited, overjoyed maybe. Personally, it all just feels like a record company scraping the bottom of the barrel; a barrel that now has very little unrecorded or unreleased John Barry material to offer film music fans and admirers of the late composer.

Ich hatte auch schon mal mit einer Wartrzeit von mehreren Monaten zu tun. Am Ende wurde alles geliefert. Andere Bestellungen gingen schneller.

Quartet Records presents its fifth newly recorded release of a classic film score, and its third devoted to the music of John Barry, following Séance on a Wet Afternoon and the three television films starring Katharine Hepburn. The unforgettable music of this five-time Oscar-winning composer continues to be celebrated around the world, and the impact of his innovative scores for dozens of films from the 1960s through the ’90s still reverberates today. THE IPCRESS FILE, directed by Sidney J. Furie in 1965, is an iconic film in British cinema. The first in the series centered on spy Harry Palmer (the anti-Bond), it marked Michael Caine’s first leading role, immediately catapulting him to stardom. The story is set entirely in London, where a small group of mundane civil servants quietly tracks an even smaller band of traitors. During one of the most prolific and successful periods of his career, when he was producing one masterpiece after another, John Barry composed a memorable score for THE IPCRESS FILE. He sought a unique sound specific to the story and characters, one that would distinguish the humdrum world of real-life British spies from the larger-than-life fantasy of James Bond. The score features an equally iconic main theme, jazz-flavored and highlighted by a cimbalom soloist. For Barry, the Cold War backdrop of the movie provided an ideal showcase for this instrument. Around the time of the film’s premiere, Barry assembled a lavish album for Decca, though it consisted mainly of wonderful variations, arrangements and jazz improvisations on the main theme. Barry wrote nearly 50 minutes of original music for IPCRESS, of which only 17 minutes were included on the album—edited, rearranged and presented alongside jazz variations for an optimal listening experience. This left around 35 minutes of previously unreleased material—more than enough to justify this new recording. We haven’t attempted to recreate the various jazz variations because no professional jazz musician would replicate another performer’s improvisations—nor should they. Transcribing them onto paper is ultimately a futile exercise that could never truly capture the spirit of the original performances. Even so, we have always viewed this album as a complement to, not a substitute for, the irreplaceable original release. Each represents a different yet equally fascinating world. In the bonus section, we have reconstructed—using our own recordings—the versions of the original score presented by Barry on the Decca album, including the edits and alterations he made. We have also included an alternate version of the main theme, featuring a slower tempo that gives our trumpeter, Miroslav Hloucal, the freedom to improvise; a version of “A Man Alone” based on the arrangement Barry created for a 45 rpm single at the time; and the themes from the television series Vendetta and The Persuaders!, both featuring the cimbalom, which conclude the program. Leigh Phillips has painstakingly reconstructed and orchestrated the score and produced the recording. Performed by the prestigious City of Prague Philharmonic Orchestra, conducted by Adam Klemens and recorded at Smecky Studios by Vítek Král, the album has been meticulously mixed and mastered by Chris Malone in the spirit of Barry’s original recording, delivering an authentic “Barry sound” reminiscent of his years at CTS. Elegant design by Nacho B. Govantes, with cover art by Jim Titus, graces a 20-page booklet featuring an in-depth essay by film music journalist, writer and renowned Barry connoisseur Jon Burlingame. 1. The Station / The Body 1:06 2. Main Title From “The Ipcress File” 4:15 3. The MoD :59 4. The Bureau 1:17 5. The Replacement :52 6. The Workshop 1:37 7. Scotland Yard 1:10 8. Meeting With Grantby 2:20 9. Fight On The Steps 1:22 10. Break-In 1:57 11. Codename Housemartin 1:11 12. Factory Raid / Ipcress 2:17 13. Do You Always Wear Your Glasses? 2:05 14. Friendly Fire 1:34 15. The Symposium 1:22 16. Radcliffe Triggered 1:52 17. The Book 1:12 18. The Death Of Carswell 3:52 19. Too Hot 1:23 20. Palmer Captured 1:07 21. Servitude 2:38 22. The Treatment 1:16 23. The Treatment Continues 1:45 24. Injured Hand :44 25. Palmer Escapes 1:34 26. Palmer Chooses :45 27. End Credits 1:17 BONUS TRACKS 28. Main Title From “The Ipcress File” (Alternate) 4:37 29. Meeting With Grantby And Fight (Album Version) 3:34 30. The Death Of Carswell (Album Version) 3:45 31. If You’re Not Clean – I’ll Kill You (Album Version) 2:27 32. Goodbye Harry (Album Version) 3:10 33. A Man Alone (Theme From “The Ipcress File”) 2:30 34. Theme From “Vendetta” 2:10 35. Theme From “The Persuaders!” 2:15

Meine letzte Bestellung war Anfang März die zwei Bad Boys von LLL. Geliefert wurden die dann Ende März. Überhaupt bestelle ich seit über 10 Jahren da und hatte noch nie Probleme. Auch auf Anfragen wurde stets reagiert. Nur ein mal hatte ich eine sehr lange Lieferzeit. Ich glaube bei der Ron Jones Box von FSM. Auf Anfrage stellte sich heraus das es Probleme mit der Lieferung aus den USA gab. Ich denke deine Anfrage ist irgendwie verschütt gegangen.

Es sind bis jetzt ja "nur" knapp fünf Monate. Klar, das ist eine lange Wartezeit, aber es gibt schlimmeres im Leben. Und wenn mal Sand im Getriebe ist, aus welchen Gründen auch immer, dann ist es halt so. Schwamm drüber. Was mich daran nur stört ist die mangelnde Kommunikation. Eine kurze Antwort, "tut uns leid, hat sich aus diesem und jenem Grund verzögert, wird voraussichtlich dann und dann verschickt", würde mir ja schon reichen. Aber so wirkt das alles schon recht unorganisiert und nicht sehr kundennah.

Habe den Film neulich auch noch einmal gesehen, witzig wie man das unterschiedlich wahrnimmt. Mir ist die Musik im Film gar nicht aufgefallen, nur die laut im Vordergrund abgemischten Songs. Auf dem Soundtrack mit den Songs war auch eine Suite aus Shapiros Score.

Ein Beinbruch ist das sicher nicht, aber du bist schon sehr geduldig, wenn dir bald sechs Monate Wartezeit auf bestellte CDs nicht zu lang sind. Ich habe es vor ein paar Jahren schon aufgegeben, dort zu bestellen.

Wie gesagt habe ich im April etwas bestellt und wenige Tage später auch die Lieferung erhalten. Das die Nachfragen nicht beantwortet werden, zumal eine Bestellung seit Monaten vorliegt, ist nicht in Ordnung. Ich hatte zwar in der Vergangenheit auch schon mal länger auf Antworten warten müssen, aber es kamen dann immerhin welche.