Alle Aktivitäten

Wer eine CD davon will (ich auf alle Fälle): Diese kommt in Kürze von LLL.

LLLCD1680 Music by John Morris Limited Edition of 1000 Units Back by popular demand and in celebration of CLUE: THE MOVIE’s 40th Anniversary! La-La Land Records and Paramount Pictures present a limited edition re-issue of renowned composer John Morris’ (YOUNG FRANKENSTEIN, BLAZING SADDLES, SPACEBALLS, THE ELEPHANT MAN) original orchestral score to the beloved 1985 Paramount Pictures comedy CLUE: THE MOVIE, based on the famous board game and starring Tim Curry, Madeline Kahn, Christopher Lloyd, Eileen Brennan, Martin Mull and Michael McKean and written and directed by Jonathan Lynn. Having gathered a notable, devoted cult following since its initial theatrical release, CLUE: THE MOVIE sports a wonderful score by composer John Morris – one that deftly weaves wit, slapstick, mystery and suspense with a masterful touch. Previously out of print, our acclaimed CD score release of CLUE: THE MOVIE has been re-issued for anyone who may have missed out on all the murderous fun – limited to 1000 units. Produced by Dan Goldwasser and mastered from ½ inch, 3-track Paramount vault elements by Mike Matessino, this special limited edition re-issue features new art design by Goldwasser, along with a new note from director Jonathan Lynn. The liner notes are by film music writer Daniel Schweiger. The audio presentation is the same as our initial CD release. TRACK LISTING: 1. Main Title / Trees to Dogs 3:10 2. Mrs. White 0:44 3. Miss Scarlet* / Car In Progress 1:48 4. May I Present Mr. Boddy 1:48 5. I Suggest We All Leave / Fight, You Bastard / Hallway Screaming Next Door 1:15 6. Bag In Hall 2:44 7. The Cook Chase / Boddy’s Fall / We’ll Throw It Away** 0:51 8. Stranger At Front Door / Match Cutting* / People In Hall** 2:37 9. Mrs. Peacock And Plum / Death Bridge / Bridge, White & Wadsworth / Billiard Cue Grab / Go Together 1:53 10. I’ll Search The Kitchen / Desk, Fire, Weapons / Let’s Try The Conservatory / I’ve Had A Good Life 2:02 11. Door Pounding to Chandelier Fall 1:31 12. Gun, Cupboard, Doorbell / Cop Panics 1:12 13. Yvette Upstairs to Bell 1:31 14. Step by Step 2:08 15. Remember What Happened Next / Don’t You See? Look! 1:57 16. I’ll Get To That / Beatnik 1:13 17. Ending A: Your Fatal Mistake / I Shot Her / Cavalry** 2:32 18. Ending B: Yvette to We All Ran to Her / To Check That Mr. Boddy Was Dead / Who, Who, Who / Cavalry 1:34 19. Ending A Top to You Were / Peacock At Door 1:06 20. End Title* 3:02 BONUS CUES 21. Main Title (Alternate 1) 1:30 22. Miss Scarlet / Car in Progress (Alternate) 1:46 23. Main Title (Alternate 2) 1:31 24. Peacock at Door (Alternate) 0:31 25. Main Title (Alternate 3) 1:42 26. End Title (Shorter Version) 1:39 27. Main Title (Alternate 4) 1:48 TOTAL ALBUM TIME 47:58 *not used in film ** contains material not used in film This is a CD format release

LLLCD 1678 Music by Maurice Jarre Limited Edition of 1000 Units La-La Land Records and StudioCanal proudly present a 35th Anniversary reissue of Oscar®-winning composer Maurice Jarre’s (LAWRENCE OF ARABIA, WITNESS, TOP SECRET!) original motion picture score to the 1990 psychological thriller JACOB’S LADDER, starring Tim Robbins and Danny Aiello, and directed by Adrian Lyne. A reality and genre bender of a film with serious cult status, JACOB’S LADDER is a wild, thrilling and thoughtful trip that charts Tim Robbins’s Vietnam veteran title character on a perilous and unpredictable journey through his war-torn past and grief-stricken present. Composer Maurice Jarre tackles the challenge of scoring this unique film with inventive vigor, creating a fully immersive sonic experience that expertly melds electronics and orchestra in fascinating fashion. Haunting and enthralling, this is a notable work by a legendary artist. Produced by Neil S. Bulk and mastered by Doug Schwartz, this special limited edition 2-CD reissue features the original 1990 soundtrack album on Disc One, with the Score Presentation showcased on Disc Two. Limited to 1000 units, this release features new liner notes by writer Jeff Bond and new art design by Dan Goldwasser. TRACK LISTING: DISC 1 ORIGINAL SOUNDTRACK ALBUM 1. Jacob’s Ladder 4:18 2. High Fever 7:43 3. Descent To Inferno 8:20 4. Sarah 7:18 5. The Ladder 7:15 6. Sonny Boy (perf. Al Jolson) 3:06 TOTAL DISC 1 TIME 38:00 DISC 2 SCORE PRESENTATION 1. Copter’s In 1:20 2. Convulsions / Stomach Ache 2:14 3. Train Trauma 1:41 4. Baby Pictures 0:59 5. Burning Pictures 1:29 6. Who Are You? / No File / Doctor’s Dead 1:47 7. Not Human 0:40 8. Ice Cold 2:16 9. Fever’s Gone 2:47 10. Am I Dead? 2:07 11. I See ’Em Too / Car Attack 3:10 12. Funeral 0:57 13. Spilled Beer / Surveillance 1:10 14. We’ve Been Watching You 1:05 15. What X-Ray? 1:59 16. You Okay? 2:03 17. Walk Again 1:13 18. Memorabilia 2:24 19. The Mirror 1:09 20. Aggressive Tendencies 2:05 21. Antidote 0:59 22. Pleasant Dreams 2:24 23. Demons 0:56 24. Demons Are Gone 1:19 25. Floor Play 1:31 26. Transformation 1:46 27. Happy Memories 1:51 28. Gabe Leads The Way 2:17 29. Sonny Boy (End Credits) 2:08 TOTAL DISC 2 TIME 49:48 TOTAL ALBUM TIME 87:48 This is a CD format release.

Meines Erachtens ist das alte Album perfekt zusammengestellt. Ich habe nie Musik vermisst. Mal sehen, wie das Tracklisting aussieht.

Najaaa....

Post aus Frankreich - wenn der Komplettistenwahn wieder zuschlägt...😎

Fehlt denn da Essentielles? Wär mir point of no return und bird on a wire ja lieber…

Da zähl ich jetzt ma Bourne zu… 🤪

Long Distance - Steven Price zur SF Comedy, die irgendwie struggled released zu werden, hat Price eine nette Musik geschrieben... flotter Eröffnungstrack mit gutem Thema!

Na da war ja Alan mal wieder inspiriert! Sehr schöner Action/Suspense Score zu Shane Blacks neuester Actioncomedy (hoffentlich hat er sich von dem PREDATOR Disaster erholt und wieder Gutes abgeliefert)... voller Elan, flottem Thema, Jazz, Beats, grosses Orchester... auf den ersten Eindruck das Unterhaltsamste, was er lange geschrieben hat!

Bisher wurden 24 Scores nominiert: 28 YEARS LATER, Young Fathers AMERICANA, David Fleming ASTÉRIX & OBÉLIX: LE COMBAT DES CHEFS, Mathieu Alvado CAPTAIN AMERICA: BRAVE NEW WORLD, Laura Karpman CLAIR OBSCUR: EXPEDITION 33, Lorien Testard DONGJI RESCUE, Atli Örvarsson DORA AND THE SEARCH FOR SOL DORADO, Kenny Wood DRACULA, Danny Elfman F1, Hans Zimmer THE FANTASTIC FOUR: FIRST STEPS, Michael Giacchino FOUNTAIN OF YOUTH, Chris Benstead HOLLAND, Alex Somers HOLLOW KNIGHT: SILKSONG, Christopher Larkin HOW TO TRAIN YOUR DRAGON, John Powell JURASSIC WORLD: REBIRTH, Alexandre Desplat DAS KANU DES MANITU, Ralf Wengenmayr THE KING OF KINGS, Kim Tae-seong LITTLE SIBERIA, Panu Aaltio ONE BATTLE AFTER ANOTHER, Jonny Greenwood THE SHROUDS, Howard Shore SINNERS, Ludwig Göransson SUPERMAN, John Murphy, David Fleming SWORD OF THE SEA, Austin Wintory THUNDERBOLTS*, Son Lux -------------------------------------------------------------------- Die Nominierungsphase endet am 31. Januar 2026. Bitte immer folgendermaßen nominieren: FILMTITEL, Komponist Also Filmtitel in Großbuchstaben, dann ein Komma und dann den Namen des Komponisten in normaler Schrift.

Da hier mehr als zwei Jahre zwischen regulärem Kinostart (laut IMDb) und Albumveröffentlichung liegen, würde ich diese Nominierung in der Tat nicht zählen wollen. Das passt!

Die Goldenthal-Anklänge höre ich auch, vor allem in "Like Tom Fkn Cruise". Das auf- und absteigende Motiv am Anfang hat diesen hysterischen Goldenthal-Vibe, und auch die Solo-Violine ab 1:10 erinnert ziemlich deutlich an INTERVIEW WITH THE VAMPIRE...

Ach ja, streckenweise erinnerte mich die Actionmusik an Demolition Man…

Grad gesehenY Fand die Musik im Film super und bizarr bisweilen. Dieses endlose Gehämmer-Stück fand ich geil. Das muss man erstmal hinbekommen auf die Länge. Brachte die Nervosität Aller gut rüber. auf dem Album kann ich allerdings wenig mit der Musik anfangen… erscheint mir eher schlecht zusammengestellt… oder is halt doch zu bildgebunden…

Wurde für 7. Oktober (USA) angekündigt:

Ersteres. Ist ausgebessert.

Was mir immer wieder negativ auffällt, ist der rechte Block auf der Startseite ("New Posts") Hier wird zum letzten Beitrag navigiert, anstatt zum ersten ungelesenen Beitrag Vielleicht kann @Marcus Stöhr den Übergabe-Parameter im Quelltext ändern von ?do=GetLastComment zu ?do=GetNewComment

Wann hat er denn überhaupt mal Synth Drone Scores gemacht?

Interessant, dass sich an dem Katalog von Lasher jetzt nicht nur Buysoundtrax, sondern auch Quartet Records abarbeitet (Music Box oben ist ein Tippfehler oder bezieht sich auf den Shop). Empfehlen würde ich von den drei Alben den Friedhofer, allerdings habe ich alle drei immer als flach und distanziert im Klang empfunden. Das ist vielleicht auch ein Grund, weshalb ich persönlich zu dieser Einspielung von Magnificent Ambersons niemals einen Zugang gefunden habe. Citizen Kane gibt es ja auch in der Neuaufnahme auf Varese und noch aktueller vor allem mit Rumon Gamba auf Chandos, zwar nicht vollständig, aber vollkommen in Ordnung von der Zusammenstellung.

Snow Files of the Week: "Grow Up Superboy/Ferris Wheel" aus der Serie "Smallville" (2001). Die Serie lief zehn Staffeln lang, aber nach der sechsten Staffel verliess Snow die Serie und Louis Febre, der bis dahin Snows Music Editor war, übernahm das Komponieren für die restlichen Staffeln. Snow wollte einfach mehr Zeit für seine Familie haben, komponierte er zur gleichen Zeit doch die Musik für die Serie "Ghost Whisperer", sowie für diverse Filme noch dazwischen (wie den zweiten X-Files-Film 2008). Für "Smallville" komponierte Snow einen sehr melodiösen Score, der natürlich auch seine etwas düsteren Klangcollagen beinhaltet. Die Musik ist etwas wärmer als die der X-Akten beispielsweise. Ein Album wurde digital veröffentlicht, mit einem Querschnitt aller zehn Staffeln und beiden Komponisten. Kurze Zeit später veröffentlichte LLL ein Doppel-Album mit der Musik, das neben dem digitalen Album natürlich noch mehr Musik aus der Serie enthält. Die CD war auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

Von Quartet: This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ CITIZEN KANE (1941), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. Considered one of the best films in the history of cinema, if not the best, this immortal classic was the first film directed by Orson Welles, when he was only 26 years old, and it was also the first film score by Bernard Herrmann, who was 29 at the time. His unique sound and his understanding of the art of music in film immediately made him the “new kid on the block,” and his influence continues to this day. The score for CITIZEN KANE was never released, except for a terrific suite conducted by Charles Gerhardt in the 1970s for an album devoted to Herrmann, and another, very different suite, arranged and recorded by the composer himself for his series of albums with Decca. In 1991, producer John Lasher undertook a re-recording of the original score of the film, working directly from the original manuscripts. Although it is not the complete score (another later recording, also excellent, conducted by Joel McNeely and produced by Robert Townson for Varèse Sarabande, was more complete), it was celebrated for its fidelity, sound quality and rendition. It is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish, 24-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Prelude 2:23 Susan In Night Club (Rain Sequence) 0:57 Thatcher Library (Litany): Ms. Reading & Snow Picture; Mother’s Sacrifice; Charlie Meets Thatcher 3:25 Galop 1:01 Dissolve To Thatcher; Second Ms.; Bernstein’s Narration 1:42 Kane’s News Office; Carter’s Exit; Chronicle Scherzo 3:01 Bernstein’s Presto 0:41 Kane’s Return; Valse Presentation 1:41 Sunset Narrative 2:20 Theme And Variations (Breakfast Montage) 3:20 Kane Meets Susan; Susan’s Room; Mother Memory 3:10 The Trip To Susan’s; Getty’s Departure; Kane Marries 2:10 Salaambo’s Aria 4:24 Leland’s Dismissal 1:01 Susan In Night Club (New Dawn Sequence) 0:54 Opera Montage 0:48 Xanadu; Jigsaw Puzzles (Perpetual Motion); Second Xanadu 3:52 Kane’s Picnic; Susan Leaves 2:02 El Rancho (Second Dawn Sequence) 0:39 The Glass Ball 1:24 Finale 2:27 Total Disc Time: 43:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ THE MAGNIFICENT AMBERSONS (1942), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. It was Herrmann’s second collaboration with Orson Welles, but the music was highly modified in the finished film (partly due to abrupt, last-minute re-editing), which meant that both artists were very disappointed. Much of Herrmann’s work does not appear in the film. Producer John Lasher was determined to rescue this cursed score from oblivion, and thanks to the recovery of the well-preserved original manuscripts, the score was re-recorded in its entirety as Herrmann had conceived it. The album was a revelation when it was released and a gift for any film music lover, and it is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 20-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Theme & Variations; George’s Homecoming 7:20 Snow Ride 3:05 The Door; Death & Youth 0:56 Toccata 1:12 Pleasure Trip 1:06 Prelude 1:30 First Nocturne 4:08 Garden Scene 1:14 Fantasia 2:07 Scene Pathetique 2:19 Waiting 1 and 2 1:31 Ostinato 1:52 First Letter Scene 3:25 Second Letter Scene; Romanza 2:12 Second Nocturne 3:22 Departure; Isabel’s Death 1:47 First Reverie; Second Reverie 2:40 The Walk Home 2:49 Garden Music 2:59 Elegy 1:23 End Title 2:23 Total Disc Time: 51:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1978 recording of Hugo Friedhofer’s classic, Academy-Award-winning score for William Wyler’s THE BEST YEARS OF OUR LIVES (1946), performed by the London Philharmonic Orchestra under the baton of Maestro Frank Collura. Considered one of the best film scores ever composed, Hugo Friedhofer’s music was revolutionary at the time. Far from the prevailing influence in Hollywood in the 1940s with the sound brought by European composers, Friedhofer opted for music with a profound American influence, especially Aaron Copland. In addition to economy of means, he preferred an orchestral color palette closer to chamber music than to the grand symphonic sound that prevailed at the time. He was also economical in the amount of music he wrote for the film. Instead of wall-to-wall music, as was the norm in huge productions, he chose to write around 50 minutes for a three-hour film, which was tremendously effective and opened a new way forward where music could contribute a psychological factor beyond the merely descriptive. In the 1970s, producer John Lasher attempted to release the original score, which he considered his personal favorite, but the tapes had disappeared. A new recording using modern technology, in stereo, was the only solution. Tony Bremner reconstructed the score with Friedhofer’s approval, and the result was one of the best re-recordings ever made of a classic film score, which had the blessing of the composer and the entire film music industry. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 24-page booklet features detailed liner notes by film music writer John Takis, discussing the film and the score. Main Title 1:35 Homecoming 6:29 The Elevator; Boone City; Peggy 4:23 Fred & Peggy 2:31 The Nightmare 6:18 Fred Asleep 2:26 Neighbors; Wilma; Homer’s Anger 7:42 Homer Goes Upstairs 5:56 The Citation; Graveyard & Bomber 4:28 End Title & End Cast (Wilma) 2:04 Exit Music 1:59 Total Disc Time: 45:57

Film lief nach ner Woche schon nicht mehr, also verpasst. Aber scheint auch kaum wem zu gefallen… reicht wohl im Stream dann mal. Musik gefällt mir aber nach wie vor.

Oscar Nominierung schon mal sicher, sag ich ohne Film gesehen und Musik gehört zu haben… begrüssenswert finde ich das ja immer, wenn ein grosser Film mal anders gescored wird als sonst. Egal, ob mir die Musik dann gefällt oder nicht. Das Wagnis gibts heute ja viel zu selten…

John Powell macht doch schon länger solche Synth Drone Score nicht mehr, oder? der sucht sich seine Projekte ja genau aus, erschien ihm vielleicht auch nicht interessant genug seine Zeit dafür zu opfern. Kein Mann, der sich totarbeiten möchte und daher lieber nur macht, was ihm Freude macht. Vielleicht sind die Actionszenen auch alle ohne Score… aber was reizt dann auch einen wie JNH an so einem Film?