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Brigham Young University Film Music Archive Production. All proceeds from this limited edition compact disc go towards the acquisition, preservation of film music elements and public future releases. Produced by David O. Selznick in 1937, A STAR IS BORN is the story, remade many times, of a young girl with dreams of fame who falls in love with a star whose talent and popularity are on the wane. Max Steiner’s score beautifully accompanies the on-screen romance and heartbreak of this classic Technicolor drama. But the story of the score is a drama in itself and this CD, taken from the composer’s personal acetates which are preserved in the Max Steiner Collection at Brigham Young University, presents, in comprehensive fashion, multiple versions of cues that were written and re-written for the film. In large part, the discs were in excellent condition, while a few had obviously been played numerous times over the years. The package includes a 40 page book with an introduction by Steiner biographer Steven C. Smith and notes by Ray Faiola, who also restored the score and produced the CD master. Package design by Jim Titus. Produced with the cooperation of Warner Bros. Entertainment. 01. Main Title 1:46 02. Advice from Granny (replaced) 3:47 03. Advice from Granny (film version) 3:44 04. Farewell at Depot (replaced) 1:13 05. Arrival at Hollywood 1:55 06. Job Search (replaced) 2:04 07. Job Search (film version) 2:05 08. A Drink With Danny 1:12 09. Finally a Job 2:08 10. Impressionable Waitress (unused) 1:59 11. Contemplations Waltz (unused) 1:27 12. Good For Amusement Only (unused) 6:24 13. Driving Esther Home (partially unused) 2:41 14. The Enchanted Hour Preview 1:32 15. Trocadero Terrace 2:23 16. Boxing Arena Exit Music 1:01 17. Honeymoon Trailer 0:44 18. Gossip Column / The Maine Mansion 1:48 19. A Star is Born / Box Office Poison 2:22 20. Home From the Studio (replaced) 0:57 21. Home From the Studio (film version) 0:57 22. Dressing Table (replaced) 2:48 23. Dressing Table (film version) 2:22 24. Sign Here Mr. Lester (replaced) 1:33 25. Sign Here Mr. Lester (film version) 1:33 26. Academy Award Foxtrot (replaced) 1:14 27. Academy Award Foxtrot (film version) 1:13 28. Oliver Offers to Help (replaced) 1:28 29. Bailed Out / Vicki’s Sacrifice 2:34 30. Norman Commits Suicide 4:03 31. Funeral Mob 1:34 32. Mrs. Norman Maine / Finale 1:03 33. Trailer Score Part Two 1:44

Mutant is proud to announce a distribution partnership with Sparks & Shadows Records, an independent record label formed by Emmy and BAFTA Award-winning composer Bear McCreary. Last year, Mutant was the physical media home for McCreary’s debut rock record, The Singularity, a concept album featuring legendary rock talent including Slash, Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and many more. Mutant will now be the home and co-distributor of Sparks & Shadows’ back catalog on physical media, including McCreary’s scores for films, TV shows, and video games such as Black Sails, Da Vinci’s Demons, 10 Cloverfield Lane, Call of Duty, and much more. To celebrate this collaboration, Mutant is excited to premiere The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) This 10xCD box set features the complete episodic scores for all eight episodes of Season Two of the hit series, as well as the original soundtrack album. The limited-edition, numbered set also contains a 130-page booklet featuring liner notes by composer Bear McCreary. The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) is now available for pre-order at madebymutant.com

Flatliners ist in der Tat auch für mich ein Highlight von Newton Howard. Sehr schöner Score.

Das neue Album von SABATON ist erschienen...WOW - bereits der erste Track haut mächtig rein!!!

Ich hatte immer eine Mail geschickt und bekam auch immer eine Antwort, wenn auch nicht immer zeitnah.

Sorry, dass ich das hier aus der Versenkung hole: Gibt es wieder oder noch das ein oder andere Problemchen? Ich habe aktuell Schwierigkeiten, da jemanden zu erreichen?

Neu von Quartet: Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli. The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama. The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Barbablù (Titoli) 4:04 Caccia 2:22 Preludio alla prima moglie 1:19 Una macabra scoperta 2:09 1928 2:56 Interludio alla seconda moglie 2:22 Barbablù romantico 3:31 Postludio alla terza moglie 2:45 Dedicato alla quarta 2:39 Il violinista 2:51 La quinta è in coma 2:26 Barbablù al crepuscolo 2:25 Povera sesta 2:46 Brutta fanfara 1:31 Requiem per la settima 3:14 Barbablù 2:23 Preludio alla prima moglie (#2) 0:45 Una macabra scoperta (#2) 3:25 1928 (#2) 2:50 Interludio alla seconda moglie (#2) 1:51 Barbablù romantico (#2) 4:14 Postludio alla terza moglie (#2) 2:31 La quinta è in coma (#2) 2:20 Barbablù al crepuscolo (#2) 2:34 Povera sesta (#2) 3:26 Barbablù romantico (#3) 4:11 Barbablù (Titoli – Versione Film) 2:58 Total Disc Time: 73:01 Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska. The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity. The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Acido e Charme 3:52 Rag Nuziale (primo matrimonio) 3:27 Trio Infernale 6:03 Rag Nuziale (secondo matrimonio) 3:27 Acido e Charme (#2) 3:51 Sinfonietta – Requiem All’Acido Solforico 5:23 Rag Nuziale (ultimo matrimonio) 1:18 Trio Infernale (#2) 1:57 Acido e Charme (#3) 1:55 Rag Nuziale (primo matrimonio #2) 2:44 Trio Infernale (#3) 1:47 Acido e Charme (#4) 2:17 Rag Nuziale (ultimo matrimonio #2) 4:16 Trio Infernale (#4) 1:34 Acido e Charme (#5) 2:35 Trio Infernale (#5) 1:43 Rag Nuziale (secondo matrimonio #2) 2:24 Trio Infernale (#6) 4:52 Acido e Charme (#6) 2:48 Trio Infernale (#7) 3:51 Trio Infernale (#8) 2:29 Total Disc Time: 64:42 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian. The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist, works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum. PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Per le antiche scale (Preludio) 3:25 Passato remoto 7:02 I Interludio 2:18 Sospiri e Rantoli 6:56 II Interludio 2:59 Rimani 5:36 Interludio 2:59 Seconda invasione 2:31 Postludio 3:19 Follia e morte 7:56 Rimanenze 6:07 Per le antiche scale (#2) 3:00 Carnevale 6:23 Sospiri e Rantoli (#2) 2:39 Postludio (#2) 1:26 Follia e morte (#2) 6:06 Per le antiche scale (#3) 2:57 Total Disc Time: 79:19 Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf. Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end. Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics. The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Morire e viverti 5:13 Oboi sommersi 4:30 Al Teatro Goldoni 3:23 La Disubbidienza (source #1) 2:38 Morire e viverti (#2) 5:10 Repressione 2:02 Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47 La Disubbidienza 4:17 Il colore dei suoi occhi 4:32 Ritorsione 1:11 Morire e viverti (#3) 5:11 La Disubbidienza (source #2) 2:49 Ritorsione (#2) 0:47 Dietro la tenda 5:07 Total Disc Time: 48:44

Der ist gekauft. Ein toller Score von ihm aus seiner frühen Phase.

Juhuu, endlich!

Kommt am 21. Oktober.

Oktober 2026 stand da schon immer. Roger Feigelson von Intrada wurde mal darauf angesprochen und meinte, dass es nur ein ungefähres Datum war, was seinerzeit angegeben wurde. Man hoffte und rechnete aber damit, früher mit der Produktion fertig zu werden. Was sich mit dem Dezember Termin wohl bewahrheiten sollte...

Schau mal unter Belohnungen. Dort steht es. Und ich meine, dass da zuvor Dezember stand...

Wie kommst du darauf? Habe gerade auf der Kickstarter Seite nachgeschaut - dort steht nichts von Oktober 2026 (zumindest konnte ich nichts finden) 🙈

Wenn ich es richtig verstanden habe, sind ja fast alle 'Arbeiten' an der Produktion abgeschlossen. Und wenn ich mich recht erinnere, sollten die CDs im Dezember verschickt werden!? Warum ist es jetzt so weit nach hinten geschoben worden (Oktober 2026)?

Kann man sagen was man will, mit den Harry Potter Soundtracks hat John Williams schon was tolles hingelegt.

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

LLL hat wohl nochmal nachgepresst LAST BATCH (104,98$) https://lalalandrecords.com/harry-potter-the-john-williams-soundtrack-collection-limited-edition-7-cd-box-set/

Der dritte RAMBO ist nun wahrlich kein Schrott, eher langweiliges und tristes Mittelmaß. Wenn der Film wenigstens für sich stehen würde, aber gerade im Vergleich mit dem starken FIRST BLOOD und dem zumindest soliden zweiten Teil ist das schon ein deprimierender Abstieg (der sich ja dann noch fortsetzen sollte mit den grauenhaften Teilen 4 und 5).

Ich finde den Score auch echt gut. Ich höre auch einige Anlehnungen an Kilars Dracula heraus. Die Chorpassagen sind sehr schön (erinnern mich an Edward Scissorhands) und ich kann @TheRealNeo zustimmen. Ist ein bisschen ein "Best of Elfman".

Caldera Records proudly presents Ernst Reijseger’s scores for Werner Herzog’s “Family Romance, LLC,” “Fireball,” and “Nomad.” In “Family Romance, LLC”, shot within just two weeks without professional actors and without a permit in Japan, Herzog tells the story of Ishii, a man who is contacted by a single mother. She wants him to pretend to be the father to her daughter Mahiro. Ishii consents. But before long, Ishii develops a real connection to the young girl and must question the morality of his actions. “Family Romance, LLC” is like a summation of Ernst Reijseger and Werner Herzog’s work: it was recorded by the composer’s beloved ensemble featuring pianist Harmen Fraanje and vocalist Mola Sylla with Reijseger on the cello. It includes one of Herzog’s favorite pieces of music, Notturno by Franz Schubert, with Reijseger improvising an extra voice. A Gaga Muen Bwebwe had been written originally for the director’s documentary “Cave of Forgotten Dreams,” before it was recorded live in a concert in Krakow and subsequently used by Herzog in his new feature. The piece opens the film. For Herzog’s subsequent film, “Nomad: In the Footsteps of Bruce Chatwin,” Reijseger exclusively wrote new pieces. The heart of Reijseger’s work is undeniably Ombra, a piece inspired by his previous recording Shadow (featured in “Cave of Forgotten Dreams”). Reijseger took the same chords and the same rhythm but arranged it for a large ensemble: piano, four cellos, two violins, two recorders, and two voices (Mola Sylla and Monica Akihari). “Fireball,” a documentary about meteors and comets, was a project Reijseger was particularly passionate about and started developing, writing and even recording the music before the film was finished. All three scores are perfect examples for Reijseger and Herzog’s fruitful, inspired collaboration. While we previously released “Chronicle” as a compilation of Reijseger’s work, we are delighted to now present excerpts from three specific, recent films that underline the composer’s depth and versatility for three projects vastly different to each other. The 67th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Niels Brrouwer and produced by Stephan Eicke and Ernst Reijseger. C6067 All Music Composed by Ernst Reijseger
* arranged by Ernst Reijseger CD produced by Ernst Reijseger and Stephan Eicke
 Executive Producers: Stephan Eicke and John Elborg
 Album Art Direction and Design by Luis Miguel Rojas Family Romance, LLC
 1. A Gaga Muen Bwebwe (3:39)
 2. Biruta (8:17)
 3. Limonaia (1:55)
 4. Notturno (Franz Schubert) (3:32)* Nomad 
5. Ombra (5:12) 
6. Bruce (5:56)
 7. Coda for Mola (4:46) 
8. Landscape A (4:36) 
9. Landscape C (1:07)
 10. Landscape D (2:17)
 11. Landscape E (6:29) Fireball
 12. Ave Maria (5:38)*
 13. Night Watch (7:21) 
14. Portal to the Netherworld (2:54) 
15. Stabat Mater (5:08)*
 16. Tunguska (5:50) For more information, please visit: https://www.caldera-records.com/family-romance

Kommt am 19.10.2025 um 23:15h erneut

Eine Neueinspielung von Hugo Fiedhofers "Joan of Arc" (1948) wäre schon und steht bei einigen Golden Age Fans auf der Wunschliste. Die Originale gelten als verschollen. Bei Youtube findet man eine aus dem Filmaterial zusammengeschnittene Suite.

Das Buch erscheint diesen Donnerstag und wird auch von jeder Buchhandlung in Deutschland bestellbar sein (eventuell sogar vorrätig). Zur Feier des Tages teile ich hier einen exklusiven Auszug aus dem Vorwort: “[David] has that artist mind,” says John Wentworth. “His roots are in painting and abstraction and association. He can make associations that you can put on a piece of paper and that make sense. But it’s intuitive. You simply have to trust it.”1 Having made his point, he leans back in his chair. Wentworth worked with David Lynch on several projects, starting with Blue Velvet as the filmmaker’s assistant. He was sound effects recordist for Wild at Heart, associate producer and post-production supervisor on Twin Peaks, and co-producer on Twin Peaks: Fire Walk with Me and on Mulholland Drive. Our interview has led us, inadvertently, to Lynch’s werdegang, his progression and development as an artist, his mindset and philosophy. Ever since Eraserhead premiered, scholars and fans have tried to make sense of his work, to decode it. Reading academic papers and internet forums, my impression has always been that disparate factions have established themselves—individuals or groups that claim to be the holders of the only valid interpretation of Lynch’s works. For their analysis it is, of course, irrelevant that Lynch operated from the subconscious and was often not able to explain the meaning behind his images. It is essential to point out this fact when ascribing a “definitive” meaning to his films, shows, songs, and paintings. The subconscious is an essential part of David Lynch the artist. He was fishing in the dark, experimenting until the final cut was locked. In the process, everything could change, long after shooting had wrapped. New possibilities opened up that Lynch reacted to intuitively. Nothing is definitive, nothing is set in stone. Wentworth nods. “It’s very sad to engage with people who want to approach this kind of work with that kind of mindset. You are right, it’s about intuition and association. That’s a whole other conversation and it’s very particular to David’s era and the connection between art, the twentieth-century modernism, film, media,” Wentworth explains. After a brief pause, he continues: “He is right in this bridge that is just so interesting. It’s about using the tools of abstraction combined with a whole series of technical innovations that make it possible for him to maximize his talents with the tools he is using. It’s just phenomenal to watch it.”2 There are various ways to investigate Lynch’s creative approach. One is by examining music and its use in his films. This subject was the starting point of the conversation between John Wentworth and myself. Although David Lynch and Angelo Badalamenti’s collaboration lasted close to forty years and brought us popular themes such as “Falling” from Twin Peaks, no book had been written about their work and their approach to it. It’s especially curious since Lynch became an active, performing musician himself, and is one of the most-discussed American filmmakers of the twentieth and twenty-first centuries. I felt eager to explore the works of Angelo Badalamenti and David Lynch, who in interviews often called themselves brothers. https://www.amazon.de/-/en/Dream-Come-True-Collaboration-Badalamenti/dp/B0DQG82DKM/

Schon erstaunlich, daß das da immer noch verfügbar ist... Zeigt aber auch wieder, daß es YT sch...egal ist, was da hochgeladen wird BTW: Höre ich (mit einem kleinem Schmunzeln aufgrund bekannter Töne) sehr gerne

Zwei Wochen später - keine Reaktion auf meine Anfrage...