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Naja. Nichts gegen die Scores, aber für mich jetzt keine lange erwarteten „Event-Titel“ in diesem Sinne. Schade, dass keine fünf Titel erscheinen, die man zwar nicht unbedingt auf dem Radar hätte, aber mal ein Feuerwerk gewesen wären: - THE MISSION Expanded (Ennio Morricone) - I LOVE YOU TO DEATH (James Horner) - NATIONAL LAMPOON‘S CHRISTMAS VACATION (Angelo Badalamenti) - MISSION TO MARS Expanded (Ennio Morricone) - FUNNY FARM Premiere Release (Elmer Bernstein) Klar, viele Warner Titel dabei. Aber da Warner jetzt von NETFLIX für 85 Millarden Dollar gekauft wurde, darf man ja noch träumen, dass eine Türe aufgeht. 😎

Habe mir das erste Drittel schon angehört. Ich finde es auch eher schwierig …. Die Musik ist recht generisch - hat zwar hin und wieder ein paar interessante Momente, die mich aufhorchen lassen, aber dann hauptsächlich, weil Franglen wie Horner klingen möchte.

Snow Files of the Week: "Santos Elves/The Way it was" aus "MillenniuM", Episode "Omerta" (1998). "Omerta" ist die Weihnachtsfolge der dritten Staffel von "MillenniuM". Darin geht es um zwei junge Frauen, die in den Wäldern leben, fernab der Zivilisation. Ihre Namen sind Lassa und Rose, Lassa hat heiliende Kräfte. Für seine Musik benutze Mark opernhafte Gesang-Samples, die der Musik einen magischen Touch verleihen. Mark kombiniert seine düsteren Klanglandschaften mit dem wundervollen Thema für Lassa und Rose, womit "Omerta" eine der "MillenniuM"-Folgen mit der aussergewöhnlichsten Musik ist. Die Tracks befinden sich auf dem ersten Volume mit "MillenniuM"-Musik von LLL, limitiert auf 1.000 Stück. Viel Spaß beim Hören!

Gefällt mir erstmal auch eher wenig.

Werde ich mir nach dem Film genauer vornehmen. Für Teil 2 fand ich damals seinen Beitrag eigentlich ganz gut bzw. ausreichend effektiv.

Seit heute online verfügbar - 131 min - nach dem ersten Durchgang eher enttäuschend

Shipping starts on 12/10 Quartet Records, in collaboration with Universal Music Enterprises and Paramount Pictures, presents the restored and remastered 2-CD reissue of Hans Zimmer’s iconic score for Ridley Scott’s 1989 action-suspense film BLACK RAIN, starring Michael Douglas and Andy Garcia as two New York City cops who arrest a Yakuza member and must escort him to Japan for extradition. BLACK RAIN was the first collaboration of Hans Zimmer with Ridley Scott, kicking off a creative partnership that would go on to produce some of the most thrilling film scores of the next two decades. For this new release of the BLACK RAIN score, we were fortunate to access archival studio materials that had been transferred within the last decade—sources that were unavailable for previous editions. These included the original 24″ and 32″ multitrack recordings. With these elements in hand, the score was carefully restored, cleaned and remixed to achieve vastly improved sonic fidelity. Among the discoveries in these transfers were several unexpected bonuses. This expanded edition has been a long time coming, and we’re thrilled that fans can finally experience Hans Zimmer’s early action score in its most complete and dynamic form to date. Painstakingly produced by Stéphane Humez and Dan Goldwasser, mixed and mastered by Maxime Marion with the supervision and approval of the composer, the package includes detailed liner notes by Kaya Savas, including an exclusive interview with Mr. Zimmer. DISC 1. THE FILM SCORE I’ll Be Holding On (Opening Titles Version) 2:39 Gregg Allman Scalari’s 6:09 One-Way Glass – Osaka 1:05 Phony Cops – You Gonna Be Nice? 1:40 Club Miyako 4:58 Sato Watching / Circling Motorbikes 2:01 Sugai’s Photo / Police Observers 4:01 Stealing Money 2:08 Charlie’s Death – Aftermath: Nick & Joyce 5:17 Charlie’s Things 3:18 Sequins 2:44 Masa’s Reprimand 1:55 Following Miyuki 3:51 The Steel Mill / Meeting In The Steel Mill 2:55 Steel Mill Chase / Airplane / Escape 6:20 Sugai Has Nick Over For A Chat 9:01 Arrival Of Oyabuns – Sato’s Arrival / Meeting 7:57 Bikes / Fight – Bullpen / Awards (Film Version) 5:20 Airport (Film Version) 1:48 I’ll Be Holding On (End Titles Version) 4:01 Gregg Allman DISC 2. THE ORIGINAL ALBUM 1. Livin’ On The Edge Of The Night 3:40 Iggy Pop 2. The Way You Do The Things You Do 3:15 UB40 3. Back To Life (Jam On The Groove Mix) 5:09 Soul II Soul & Caron Wheeler 4. Laseman 4:48 Ryuichi Sakamoto 5. Singing In The Shower 4:23 Les Rita Mitsouko & Sparks 6. I’ll Be Holding On 5:40 Gregg Allman 7. Black Rain Suite: Sato 4:45 8. Black Rain Suite: Charlie Loses His Head 7:03 9. Black Rain Suite: Sugai 6:55 10. Black Rain Suite: Nick And Masa 2:52 Bonus Tracks 11. Airplane Muzak (Source) 2:06 12. Art Of The Fugue (Source) 4:21 13. Charlie’s Death (Monks Wild) 2:12 14. Charlie’s Death – Aftermath: Nick & Joyce (Alternate) 5:17 15. Masa’s Reprimand (Alternate) 1:53 16. Bikes / Fight (Alternate) 3:21 17. Bikes / Fight – Bullpen / Awards / Airport (Alternate) 9:28 Total Disc Time 1: 79:20 Total Disc Time 2: 77:18 Total Album Time: 156:38

Shipping starts on 12/10 Quartet Records and Paramount Pictures present a revised, greatly expanded edition of Dave Grusin’s delightful score for Warren Beatty’s classic HEAVEN CAN WAIT (1978), a remake of the 1941 Columbia Pictures film HERE COMES MR. JORDAN. Co-directed by Beatty and Buck Henry, starring Beatty himself, along with Julie Christie, James Mason, Jack Warden, Dyan Cannon and Charles Grodin, the film was a huge box office success and received nine Oscar® nominations, including Best Picture and for Grusin’s original score. The film is about a Los Angeles Rams quarterback, who, accidentally taken away from his body by an overanxious angel before he was meant to die, returns to life in the body of a recently murdered millionaire. “One of the joys of working on soundtracks for old scores is discovering music that was never used in the film. This was especially true in the case of HEAVEN CAN WAIT. While Dave Grusin spotted over 22 minutes of score for the film, the final cue sheet shows that only about 13 minutes were ultimately used. “The decision to source this new album from new, hi-res transfers of the original 2″, 16-track recordings suddenly showed us that there was more music here than we knew about. A lot more: we discovered not just additional music and unused cues, but five times as much as we had anticipated based on the previous soundtrack release of this score. “The recording timeline shows that Grusin recorded the bulk of his original score in late April 1978, followed by revisions and alternates in mid-to-late May, with one recorded reel dated June 9; the film was released on June 28. While some of these revisions made it into the final film, most were unused, with the filmmakers often opting for source material or musically editing previously used score cues. “Given the brevity and variety of the cues, editing them all into score suites was impractical, though a few were combined. The resulting presentation, past the main score portion, feels more archival and fragmentary than a pure listening experience. Nonetheless, hearing how Grusin modified and reworked the cues—or what he originally intended—provides valuable insight into his creative process.” (Dan Goldwasser, producer) Patiently and carefully remixed and mastered by Chris Malone, and meticulously produced by Dan Goldwasser, this 80-minute album includes a package with new liner notes by film music writer Jeff Bond discussing the film and the score. The Film Score 1. Heaven Walk 1:46 2. I Understand / Walk to House 0:49 3. Betty’s Entrance / Decision to Farnworth 0:50 4. Dinner at 8 / Dinner at 9 1:34 5. Meeting of the Bored / Head Home 1:46 6. At the Drive-In 1:01 7. Training Montage 1:33 8. Garden Walk 2:15 9. Marry Me 1:12 10. Bad News 0:47 11. Goodbye 0:52 12. Last Walk 1:22 13. Butler to Betty / Stadium Transition 1:08 14. Jordan Exits 1:07 15. Max 1:16 16. End Titles 2:54 Bonus Tracks 17. Heaven Walk (Alternate 1) 2:25 18. Heaven Walk (Alternate 2) 1:44 19. Heaven Walk (Alternate 3) 2:34 20. I Understand (Alternate) 0:36 21. Walk to House (Original) 0:37 22. Walk to House (Original Alternate) 0:38 23. Betty’s Entrance (Alternate) / Decision to Farnsworth (Alternate) 0:49 24. Dinner at 9 (Alternate) 0:26 25. Meeting of the Bored (Original) / Head Home (Alternate) 1:22 26. At the Drive-In (Original) 1:32 27. At the Drive-In (Revised Alternate Mix) 0:59 28. At the Drive-In (Revised Alternate) 0:49 29. Garden Walk (Original) 2:03 30. Garden Walk (Original Alternate 1) 2:05 31. Garden Walk (Original Alternate 2) 1:53 32. Garden Walk (Original Alternate 3) 1:52 33. Garden Walk (Revised alt. With sax improvisation) 2:15 34. Garden Walk (Revised Alternate) 2:20 35. Marry Me (Three Revisions) 1:08 36. Goodbye (Original) 2:05 37. Goodbye (New Alternate) 0:53 38. Last Walk (Original) 1:11 39. Last Walk (Revised Alternate) / Last Walk Extension (Alternate) 1:24 40. Butler to Betty (Original) 0:45 41. Butler to Betty (New Alternate) / Stadium Transition (Original) 1:23 42. Jordan Exits (Original) 1:08 43. Max (Original) 1:43 44. Max (Revised Alternate 1) 0:52 45. Max (Revised Alternate 2) 0:55 46. Max Extension (Version 1) 1:37 47. Max Extension (Version 2) 0:54 48. End Titles (Original) 2:50 49. End Titles (Revised Alternate) 2:51 50. Drive-In Source 4:04 51. Heaven Loop FX 4:11 Total Disc Time: 79:26

Shipping starts on 12/10 Quartet Records, in collaboration with Universal Music Enterprises, Studiocanal and Calash Corporation, presents a 40th-anniversary, restored and remastered edition of Henry Mancini’s classic Christmas score for SANTA CLAUS: THE MOVIE. The film, directed by Jeannot Szwarc in 1985, starred Dudley Moore, David Huddleston and John Lithgow, was an ambitious and expensive project produced by Alexander and Ilya Salkind, and although it was not the box office hit it was expected to be, has gained fans over time to become a cult film. One of the most important aspects of the film was its score, for which Salkinds hired Henry Mancini. The composer was deeply involved in the production, composing more than 85 minutes of original music for the 109-minute film. This score is surely one of the biggest symphonic efforts of his career, beautiful, diverse and emotional, written during the same period as LIFEFORCE and THE GREAT MOUSE DETECTIVE. Recorded at CTS Studios in London with the National Philharmonic Orchestra, the score also features The Ambrosian Singers and The Ambrosian Children’s Choir performing several charming songs written by Mancini and Leslie Bricusse. For the original album, released in 1985 by EMI America, Mancini prepared a program of highlights lasting only 37 minutes. Some themes were modified for their album version—with different durations, slightly different mixes or the addition of pop elements. Almost all of Mancini’s underscore was missing. Quartet Records released Mancini’s score in its entirety in 2012 and reissued it in 2019 on a 3-CD set, mastered from ½̋″ 3-track. For this new edition, the recently discovered complete first-generation 2″ 24-track set has been transferred in high resolution, allowing engineer Chris Malone to offer a fully restored, remixed and remastered version from the scoring masters recorded by Dick Lewzey. Showcased in a 2-CD set, Disc 1 includes the complete score, while Disc 2 brings together the original songs by Mancini and Bricusse, as well as all the recorded versions intended for the 1985 original album and alternates, including two previously unreleased tracks. We have not included the two pop songs that had nothing to do with Mancini and were included in the film and the original album for commercial purposes. The package includes in-depth liner notes by film music writer John Takis, discussing the film and scores, and features art direction by Jim Titus. This deluxe presentation unleashes the Mancini Christmas magic sounding like never before. DISC 1. The Original Score Main Title – Every Christmas Eve / Santa’s Theme 4:32 North Star / Arrival of the Elves 4:09 Santa’s New Home 4:14 The Magic Workshop 1:46 Reindeer Stable 1:54 Making Toys (Film Version) 4:03 Season’s Greetings 1:40 The Ancient One 2:34 Santa Claus / First Sleigh Ride / Christmas Rhapsody 5:31 Naughty or Nice 1:01 Into the XXth Century 1:40 It’s Christmas Again (Film Version) 2:40 March of the Elves 2:58 Table Scraps 1:21 A New Sleigh Ride / Santa Meets Joe 1:47 Sleigh Ride Over Manhattan 4:18 Cornelia’s Home 1:32 Bad Toys 0:40 Sad Patch 3:12 Vanishing Elf 1:42 No Free Toys 1:11 Present for Joe 0:50 Patchmobile / Patch Versus Santa 5:18 Lollipop Flight 1:42 Stronger Formula 1:39 The World Is Different 1:07 A New Doll 0:49 Eavesdropping 2:31 Letter From Cornelia 2:34 Elf Portrait 1:48 Flight From Police 0:31 To the North Pole / Super Duper Looper / Reunited Again 6:10 DISC 2. Songs, Alternates, Outtakes and Other Gifts Thank You, Santa 4:47 Main Title – Every Christmas Eve / Santa’s Theme (Alternate Lyrics) 4:12 Making Toys (Album Version) 4:01 Christmas Rhapsody (Album Version) 3:53 It’s Christmas Again (Album Version) 2:30 Patch, Natch! 1:15 Sleigh Ride Over Manhattan (Album Version) 4:16 Patch Versus Santa (Album Version) 4:13 Thank You, Santa (Album Version) 3:11 Sleigh Ride Over Manhattan (Alternate) 4:18 Patch Versus Santa (Alternate) 4:35 The World Is Different (Alternate) 1:01 To the North Pole (Alternate) 3:50 Main Title – Every Christmas Eve / Santa’s Theme (Instrumental) 4:30 Making Toys (Children’s Choir) 4:01 Thank You, Santa (Alternate Vocal) 3:35 Making Toys (Men’s Choir) 4:02 It’s Christmas Again (Instrumental) 1:20 It’s Christmas Again (Christmas Bells) 1:18 Patch, Natch! (Instrumental) 1:15 Making Toys (Instrumental) 4:41 Thank You, Santa (Instrumental) 4:41 Making Toys (Little Band Overlay) 0:27 Making Toys (Percussion Overlay) 0:25 Making Toys (Choral Insert) 0:28 Chopin’s Waltz (Source) 0:30 Christmas Jingles (Rehearsal) 2:38 Total Disc Time 1: 79:41 Total Disc Time 2: 79:23 Total Collection Time: 159:04

Shipping starts on 12/10 Quartet Records proudly presents the premiere release of the brilliant, nostalgic score by renowned composer Carter Burwell (MILLER’S CROSSING, WATERLAND, FARGO, CAROL) for the 1995 iconic film THE CELLULOID CLOSET, celebrating its 30th anniversary. Directed by Rob Epstein and Jeffrey Friedman, this comprehensive documentary covers the history of gays and lesbians in cinema, from negative to positive portrayals of gay characters, as well as the challenges faced by actors and actresses. Carter Burwell provides a score that evokes the romanticism of Hollywood’s golden age, with a joyful and catchy main theme that radiates a sense of exuberant nostalgia, even when the score becomes more contemplative and dark. Burwell often plays with the narration’s ironic humor and the interviewees’ reflections, mirroring reality with melancholic orchestration. The score becomes a bridge between irony and sincerity, between memory, nostalgia, and desire. Recorded at the legendary MGM Recording Studios with a large orchestra conducted by the composer, the score also offers a touching arrangement of the song “Secret Love” (from the film CALAMITY JANE), emotionally performed by k.d.lang. The CD is rounded out with a selection of songs from films that were important in the development of the documentary. This album has been supervised by Carter Burwell, restored by Chris Malone, and mastered by Doug Schwartz. The package includes in-depth liner notes by film music writer Daniel Schweiger, including exclusive interviews with the composer and directors for this release. The design is by the creator of the original art for the film, Juan Gatti. Secret Love k.d.lang Titles Shades Give Me The Man Marlene Dietrich Will Hayes Raids I Wanna Be Loved by You Marilyn Monroe Silents The Code Of Liberation Ain’t There Anyone Here For Love? Jane Russell Gays Fight Back Men Where Men (Love Is Like A) Heat Wave Martha Reeves & The Vandellas Psychopaths Making Love Roberta Flack Kissing Finale Secret Love Doris Day

Shipping starts on 12/10 Quartet Records and Universal Pictures Film Music Classics Collection present the premiere release of THE DAY OF THE JACKAL (1973), celebrating the centenary of the renowned and much-missed composer Georges Delerue, born in 1925 in Roubaix (France) and who died suddenly in Los Angeles in 1992. THE DAY OF THE JACKAL was a brilliant, dynamic suspense thriller, masterfully directed by Fred Zinnemann, based on Frederick Forsyth’s bestseller. In the aftermath of France granting Algeria independence, a group of resentful military veterans hires a professional assassin, codenamed “Jackal,” to kill President Charles de Gaulle. Starring Edward Fox as the “Jackal,” along with Michael Lonsdale, Derek Jacobi, Alan Badel and Cyril Cusack, the film was a huge commercial and critical success. Georges Delerue had previously worked with Zinnemann on the historical drama A MAN FOR ALL SEASONS (1966), and they reunited again on JULIA (1977). For THE DAY OF THE JACKAL, the composer wrote a brief but energetic score with fatalistic overtones and dark textures. The score features suspense writing for strings in Delerue’s own style, with a hint of Bernard Herrmann in some of the repeating, minimalist suspense material. Delerue recorded about 30 minutes of music, about a third of which are source tunes, including pop music, Muzak-style pieces, accordion street music and a waltz. However, only about five minutes of dramatic underscore remain in the film, with no music in the second half. For this release, we have assembled Delerue’s score to include unused material and present what might have been and how the composer may have intended his score to play in the movie. For this premiere edition, painstakingly restored and mastered by Mike Matessino, we have used the surviving tapes courtesy of Universal Pictures and the Georges Delerue estate. The package includes an in-depth essay by film music writer Jeff Bond, discussing the film and the score. Jackal Opening 2:37 The Day of the Jackal – Main Title 0:45 Failed Assassination 1:10 New Identity 3:03 Assignment For Denise 3:06 Jackal Walking No. 1 2:16 Forger Dead / Love Theme 0:56 Leash Off Dog 1:46 Sexy 2:35 Street Sounds 2:33 Hotel Lobby Waltz 1:20 Lounge Coffee 1:57 Jackal Checks Into Hotel 0:46 Jackal Out Of Cab 0:56 Jackal Walking No. 2 1:40 The Jackal Gets It 2:45 Total Album Time: 30:15

Da passe ich auch. Die LLL reicht mir.

Bin eigentlich immer mit der Vö von LaLaLandRecords zufrieden gewesen. Sehe da keinen Update-Bedarf, aber so ist der Titel dann wohl auch wieder verfügbar.

Tatsächlich kein Gerücht. Ich war gestern zufällig auf der Seite und BLACK RAIN war dort (versehentlich) sichtbar. Deswegen gibt es bereits https://www.fmdb.net/releases/d04ef5d1-7ed7-416b-9d53-3756fac2d243

Reines Gerücht: Anscheinend bringt Quartet Records zu Weihnachten BLACK RAIN von Hans Zimmer als Doppel-CD.

Das ganze Album ist online.

Leviathan fehlt auch nichts weiter, erschien mir recutted zu sein im Film hier und da…

Bei Malice fehlt doch (so gut wie) gar nichts meine ich… hab den Film neulich gesehen (supergut!), und wirklich nichts festgestellt, das fehlt/mir fehlen würde. 13th Warrior wäre am Ehesten ein Kandidat für ne Expandierung

Geht mir genauso. Star Wars muß nicht zwingend einen Williams Sound haben, aber es muß schon einer ran, der SciFi-Action einfallsreich vertonen kann. Beim Mandalorianer und zuletzt bei Ahsoka hat das schon recht gut funktioniert. Ich hoffe ich irre mich was Thomas Newman angeht, aber ich erwarte hier musikalisch nix Besonderes.

Von "unreflektiertem, schlechtem Epigonentum" wie der FM-Dienst würde ich auch überhaupt nicht sprechen, im Gegenteil. Ich habe diese Texte damals schon nicht nur als "etwas zu arrogant" empfunden, mehr als bewusste Lust zur Provokation. Das zog sich dann ja über viele Jahre in diversen Filmmusikforen durch. Habe die Faszination dafür hier in deutschen Foren nie verstanden. Gab auch nicht nur bei FSM, sodern auch bei Cinemusic oder hier richtig Ärger. Heute sehe ich die FM-Texte nur noch als reine Folklore und habe auch keine Lust mehr das zu lesen. Wäre der junge Horner in seinem jugendlichen Enthusiasmus dann auch Epigontentum oder generell jemand wie Fielding mit seinen Anleihen bei Lustoslawski oder Bartok? Eidelman z.B. sollte auf Wunsch des Regisseurs bei Star Trek VI Strawinsky als Vorbild nehmen. Sein Zitat aus dem Feuervogel ist dann durchaus durch ihn elegant gelöst worden. Epigonen arbeiten anders.

Eine physische Veröffentlichung ist hier wohl leider weiterhin nicht geplant. Man kann ja nur hoffen, dass zumindest die Serie selbst, wie die erste Staffel, noch physisch als BD/UHD erscheint.

Er wurde ja hier schon genannt und, deswegen beispielsweise Nicholas Britell Beitrag zum Universum mit der ersten Staffel ANDOR, mag ich zum Beispiel nicht missen.

Ja das sehe ich genauso. Ich verneige mich vor John Williams und seinem Schaffen - aber ich finde nicht, dass JEDER Star Wars Film so klingen MUSS. Vor allem wenn wir nicht in den Episoden X….. sind.

Was wohl nicht nur negativ gesehen werden sollte, je nachdem, wo und wann man sich befindet, muss das Universum ja nicht immer gleich klingen.

oder Corey Wallace (Supercell)