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Und wieder mal Dragon's Domain: SPECIAL NOTE: The First 50 copies purchased from buysoundtrax.com will be autographed by the Composer Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for three short films from his extensive filmography. A defining trait of composer Christopher Young’s early career has been his unwavering engagement with the experimental musical languages of the postwar avant-garde. Few composers brought these idioms into the Hollywood system as boldly or as consistently as he did. As he began to earn recognition as a mainstream composer capable of delivering accomplished and influential large-scale scores, he also looked for opportunities to experiment, which he found in more obscure and independent projects. Many of these smaller projects offered a rare opportunity to explore new facets of his writing, without any pressure from producers, studios, etc. CHRISTOPHER YOUNG: THE SHORTS includes suites from three such highly diverse scores that were composed either for a television series such as VIETNAM WAR STORY or short student films such as THE MINSTREL’S SONG and THE TOWER. All three showcase his distinctive voice, though each emphasizes a different dimension of his style. From the merging of electronics with acoustic Japanese instruments and the development of polyrhythmic structures, to a taste for colorful instrumentation and semi-stylized historical pastiche, to the dissection and transformation of waltz-like melodic material. VIETNAM WAR STORY originally aired on HBO between 1987 and 1988 and was an anthology series based on short stories written by U.S. veterans of the Vietnam conflict. Young contributed scores to two of the series’ nine episodes. His music for VIETNAM WAR STORY is a hybrid work in which he used electronics along with a wide range of acoustic instruments of Japanese origin. Originally released in 1993 by Intrada Records as part of a collection, the composer has returned to VIETNAM WAR STORY to revisit his work. THE MINSTREL’S SONG was a graduation short film directed by Chris C. Hopkins, an aspiring filmmaker who would later become a noted prop artist and set designer. The music was composed and recorded by Young during his UCLA years. Also released on the same collection as VIETNAM WAR STORY, his music for THE MINSTREL’S SONG draws it’s influences from the Renaissance era, with the music played by a small ensemble. THE TOWER was a short film marking the directorial debut of music editor E. Gedney Webb and holds a special place in Young’s heart. Webb is the composer’s nephew and they had collaborated on scores such as THE DARK HALF and DREAM LOVER. The film tells the story of a burned-out forty-year old man who encounters the ghost of a woman imprisoned in the tower of his summer home by Lake Michigan. Released by Intrada in 2002, THE TOWER was initially presented as forty-minute chamber symphony in five movements. Years later, the composer would return to the material and revise it into the current suite, inviting guitarist, songwriter and longtime friend Mark Hanson to provide lyrics for the principal melodic ideas. The orchestration includes string quartet, piano, harp, solo female voice and electronics. Golden Globe-nominated composer Christopher Young has scored over 100 films, including films such as HELLRAISER, JENNIFER 8, MURDER IN THE FIRST, COPYCAT, SPECIES, THE HURRICANE, SWORDFISH, THE SHIPPING NEWS, THE HURRICANE, THE CORE, THE GRUDGE, THE EXORCISM OF EMILY ROSE, SPIDER-MAN 3, UNTRACEABLE and the forthcoming films, THE UNINVITED and DRAG ME TO HELL. Born in Red Bank, New Jersey, Young graduated from Massachusetts Hampshire College with a BA in music and did post-graduate work at North Texas State University, studying big band writing and classical composition before moving to Los Angeles in 1980. While enrolled at UCLA, he studied with famed film composer David Raksin. In addition to his career as a film composer, he has also taught composition at UCLA. Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for VIETNAM WAR STORY, THE MINSTREL’S SONG and THE TOWER. The music has been newly remastered by Digital Outland. The liner notes have been written by Andrea Bruno and provide important information about each project, with the composer’s participation. 1. Vietnam War Story Opening (2:55) 2. Vietnam War Story Part 1 (2:00) 3. Vietnam War Story Part 2 (3:53) 4. Vietnam War Story Part 3 (2:08) 5. Vietnam War Story Part 4 (1:21) 6. Vietnam War Story Part 5 (3:11) 7. Vietnam War Story Closing (3:46) 8. The Minstrel's Song Part 1 (3:10) 9. The Minstrel's Song Part 2 (1:41) 10. The Minstrel's Song Part 3 (2:41) 11. The Minstrel's Song Part 4 (1:19) 12. The Minstrel's Song Part 5 (2:05) 13. The Minstrel's Song Part 6 (0:57) 14. The Tower (18:42) Total Time: 51:27 Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography, CRY BABY KILLER and MACHINE-GUN KELLY, two early crime dramas produced by Roger Corman and released in 1958. Released in 1958, CRY BABY KILLER was directed by Justus Addiss, starring Jack Nicholson in his film debut, along with Brett Halsey, Carolyn Mitchell, Harry Lauter, Lynn Cartwright, Ralph Reed, John Shay, Barbara Knudson, William A. Forester, John Weed and an uncredited Roger Corman. CRY BABY KILLER follows Jimmy Wallace (Nicholson) as he confronts Manny (Halsey) and his friends after being beaten up by them over a girl named Carole (Mitchell). Jimmy challenges Manny to a fight outside a café but during the struggle, Jimmy grabs a gun from one of Manny’s friends. After firing off some shots, a nearby police officer corners Jimmy and he is forced to take hostages. A tense standoff ensues... Also released in 1958, MACHINE-GUN KELLY was directed by Roger Corman, starring Charles Bronson, Susan Cabot, Morey Amsterdam, Richard Devon, Jack Devon, Jack Lambert, Frank De Kova, Connie Gilchrist, Wally Campo, Barbara Morris, Lori Martin, Michael Fox and Larry Thor. MACHINE-GUN KELLY chronicles the criminal activities of the real-life gangster George ‘Machine-Gun' Kelly and features Charles Bronson in his first lead in a feature film. In the film, George Kelly, nicknamed ‘Machine-Gun’ by his partner in crime, Flo Becker (Cabot), robs a bank and then achieves status as a public enemy. Tensions soon rise among his inner circle, and Kelly becomes easily manipulated by Flo. After a botched robbery leaves their partner, Michael Fandango (Amsterdam) without an arm, Kelly is influenced by Flo to kidnap the daughter of a wealthy businessman for ransom. Fandango reveals Kelly's identity to the police only to be killed by one of Kelly's other associates as the house is surrounded. Ultimately, Kelly intends to surrender to receive a more lenient sentence and avoid execution. However, Flo questions his courage, leading to a final confrontation. Fried’s scores for these projects were masterfully composed for jazz ensembles, featuring some of Hollywood’s most accomplished studio musicians of that era. In CRY BABY KILLER, the title song stands out, written and performed by the talented Dick Kallman, who, alongside Fried, brought the piece to life through intricate arrangements and production that resonated with the film's edgy themes. The scores themselves utilize Jazz not only as a rhythmic and propulsive force but also as a dynamic backdrop that enhances the film’s action sequences, along with rich, sensual interludes that highlight the performances of the female leads. 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 fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. 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. Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried for CRY BABY KILLER and MACHINE-GUN KELLY for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kenmer and Scott Davis. GERALD FRIED: THE CRIME DRAMAS is a limited edition release. GERALD FRIED: THE CRIME DRAMAS is expected to begin shipping the week of Aug 25th, 2025 CRY BABY KILLER 1. Main Title – Cry, Baby Cry (2:12) 2. Fugue (1:32) 3. Rock, Baby Rock (3:34) 4. Calypso Girlfriend (1:52) 5. Come in Out of the Rain (3:39) 6. The Shack and the Boy (1:45) 7. Lonely Rhapsody (2:21) 8. Tender (2:22) 9. Still Lonely and Waiting (1:29) 10. Love Me Awhile (2:16) 11. Violence (1:28) 12. Cry Baby Mambo (3:53) 13. Last Chance (1:00) 14. End Title – Cry, Baby, Cry (1:33) MACHINE GUN KELLY 15. Main Title (1:49) 16. Robbery (1:39) 17. Escape (2:46) 18. Lion (1:59) 19. Tiptoe (3:13) 20. Charleston (2:50) 21. God of Death Fandango (2:23) 22. Blues (2:59) 23. Convertible Bank (4:47) 24. Crossbones (:51) 25. Hot (2:37) 26. Kidnapping (2:12) 27. Butterfly Waltz (4:07) 28. Good Man Rhumba (4:17) 29. Bar (2:28) 30. Flight (1:60) 31. Pick-Up (1:57) 32. Sleeping – End Title (2:48) Total Time: 78:47 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE. The years 1957-58 were Albert Glasser’s busiest as a film composer, scoring fifteen films that saw release in 1957 and ten in 1958. With this sixth collection of the composer’s music, we are pleased to explore two films that Glasser scored in the 1950s: 1953’s THE NEANDERTHAL MAN, and 1958’s TEENAGE CAVEMAN. Released in 1953, THE NEANDERTHAL MAN tells the tale of Professor Groves, a modern expert in prehistoric life, who seeks to prove his bizarre theories with an extract that will first regress a cat to a saber-tooth tiger and then, a man – himself – into a Neanderthal. Robert Shayne stars in the title role as Clifford Groves, a manifestly belligerent and unlikable scientist who finds himself ridiculed for his bizarre theories on evolution. Glasser’s score for THE NEANDERTHAL MAN includes a compelling melody induced by unrestrained brass over thunderous drumming, matching the primitivity of the title character when Groves reverses evolution and turns himself into a Neanderthal troglodyte. Released in 1958, TEENAGE CAVEMAN, was originally filmed as PREHISTORIC WORLD and also known as OUT OF THE DARKNESS in the UK. TEENAGE CAVEMAN stars Robert Vaughn as a young man who defies his tribal laws and searches for answers about the history of his people and what lies in the uncharted jungles beyond his tribe’s campsite and beyond. Glasser’s music for TEENAGE CAVEMAN has a little more finesse in its support of the mild-mannered young caveman and his search to experience wisdom beyond the horizon. Horns and strings interact gracefully and set up a romantic flavoring. In contrast, sturdy brass strengthens the cut-on footage of costumed lizards imported from ONE MILLION B.C. and UNKNOWN WORLD the dinosaur fights. This is a Roger Corman film after all... Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE, featuring original music composed by Albert Glasser for THE NEANDERTHAL MAN and TEENAGE CAVEMAN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson. THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE is a limited edition release and is expected to begin shipping the week of Aug 25, 2025. 1. The Neanderthal Man Credits (1:04) 2. Panorama Narrator / Lab Mayhem (1:43) 3. Coffee And The Cat / Close Encounter / Sabre Tooth On Prowl (1:45) 4. Strange Noises / Discouraged Scientist (2:25) 5. Ross And Oakes Go Hunting (2:06) 6. Ruth Confronts Cliff (3:56) 7. Primitive Man Emerges (3:00) 8. Guilt, Diary Entry (3:41) 9. The Finale (1:45) 10. AIP Emblem / Prologue (0:58) 11. Teenage Caveman Main Title / The Caveman / Return To The Cave (4:35) 12. The Symbol Makers / The Great Hunt (4:57) 13. Across The River / Pan Whistle / Sinking Earth (4:48) 14. Squirrel Hunt / Bow And Arrow (4:46) 15. Bathing / Symbol Of God (4:16) 16. A Place To Lie Down / A Time To Act (3:30) 17. Pursuit (2:23) 18. The Book / Atom Narration / End Title (4:34) 19. Wild Vibes (0:47) 20. Bathing Tim Whistle (0:50) 21. Teenage Caveman (1958) Theatrical Trailer (1:59) Total Time: 60:46 Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, including music from four films in the composer’s extensive filmography, JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and the world premiere release of music from HONKY TONK. Airing in 1974, HONKY TONK was directed by Don Taylor, written by Douglas Heyes, starring Richard Crenna, John Dehner, Will Geer, Margot Kidder, Geoffrey Lewis, James Luisi, Gregory Sierra, Dennis Fimple, Richard Evans and Stella Stevens as Gold Dust. HONKY TONK was a pilot film for a potential series starring Richard Crenna as ‘Candy’ Johnson, an Old West con artist who was out to fleece as many gullible cowboys as possible before moving on to the next town. Released in 1971, JOHNNY GOT HIS GUN was written and directed by Dalton Trumbo, based on his own book, starring Timothy Bottoms, Kathy Fields, Marsha Hunt, Jason Robards, Charles McGraw, Sandy Brown Wyeth, Don ‘Red’ Barry and Donald Sutherland as Christ. From a pacifistic point of view, the film tells the story of a young soldier horribly maimed in the First World War. Joe Bonham (Bottoms) has lost his legs, arms and face after being hit by an exploding shell. The doctors, convinced that nothing can be done and that the unknown soldier has no capacity left to think or feel, decide to keep him alive in an isolated part of a military hospital. Slowly, incredibly, we come to realize that the soldier's brain is fully functional and that he's trying to work out where he is and what has happened... With JOHNNY GOT HIS GUN, Fielding was able to repay the debt of faith he owed to Trumbo for recommending him years back to Otto Preminger for ADVISE AND CONSENT. Aired in 1972, A WAR OF CHILDREN is set in the Northern Ireland city of Belfast, where it dramatized the turmoil between Catholics and Protestants in that very bitter time. Directed by George Schaefer, written by James Costigan and starring Vivien Merchant, Jenny Agutter, John Ronane, Anthony Andrews, Oliver Maguire, Aideen O’Kelly, David Meredith and Danny Figgis. Fielding's music for A WAR OF CHILDREN hints at the Irish locale and the British military presence but also focuses on the personal side of the story. Airing in 1979, MR. HORN was a two-part, four-hour mini-series directed by Jack Starrett, written by William Goldman, starring David Carradine, Richard Widmark, Karen Black, Richard Masur, Clay Tanner, Pat McCormick, Jack Starrett, John Durren, Jeremy Slate, Enrique Lucero, Stafford Morgan, Don Collier and James Oliver. MR. HORN was the first of two competing biographies of the legendary Indian scout and gunfighter Tom Horn, played again later by Steve McQueen in the feature film TOM HORN. David Carradine plays Horn, Widmark as his mentor and friend, Al Sieber and Karen Black as Ernestina, Horn's sometime lover, whom he encounters again years later after his celebrated career as a Pinkerton detective. Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, featuring music composed by Jerry Fielding for JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and HONKY TONK. Originally released in the early 1990s by Bay Cities as limited edition compact discs, Dragon’s Domain Records is excited to bring these scores back to the marketplace, remastered by James Nelson at Digital Outland and THE JERRY FIELDING COLLECTION: VOLUME 1 also includes the world premiere release of Fielding’s music for HONKY TONK. The album includes liner notes written by noted author Jon Burlingame and reprises original album notes by Nick Redman. THE JERRY FIELDING COLLECTION: VOLUME 1 is a limited edition release and is expected to begin shipping the week of August 25th. HONKY TONK 01. Main Title / Escape To New Town (3:01) 02. Into Brazo’s Place / You Had A Winner / Dud / Grand Opening (1:25) 03. The Judge Loses / Shoots Self / The Letter (2:52) 04. She Faints / Breakfast At Fred Harvey’s (1:08) 05. The Hard Ride / Stage Driver Killed (2:41) 06. We Better Get Out / Unless What? / Piggy Back / Money Is Hid (4:05) 07. She Cuts Him Loose / I’m Fightin’ It (2:21) 08. Gone At Dawn / Merry Chase to Bank Robbers (1:50) 09. Bank Hold Up / Money Gone Again / Lucy The Pitchman (2:33) 10. So, Goodbye (1:22) JOHNNY GOT HIS GUN 11. Battlefield (2:35) 12. Nightmare Train / Don’t Take My Legs (3:30) 13. The Nurse (3:14) 14. S.O.S. / Help Me (4:17) A WAR OF CHILDREN 15. Opening Titles (3:38) 16. The Troubles (2:17) 17. I Want the World to See This (2:08) 18. Finale (2:55) MR. HORN 19. Opening Credits (2:14) 20. The Indian Wars (2:52) 21. Tom (3:41) 22. The Indians (4:34) 23. Horn’s End (1:28) Total Time - 63:44 Downloads include choice of MP3, WAV, or FLAC BSXDG0186 Includes Digital Booklet BSX DIGITAL presents music from the first original motion picture soundtrack for THE BIRTH OF A NATION, the 1915 period epic directed by the legendary D.W. Griffith, written by Thomas Dixon, Jr., Frank E. Woods and Griffith, starring Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph Henabery, Elmer Clifton, Josephine Crowell, Spottiswoode Aitken, George Beranger, Maxfield Stanley, Jennie Lee and Donald Crisp. THE BIRTH OF A NATION is a landmark in film history, lauded for its technical virtuosity. It was the first non-serial American 12-reel film ever made. The plot of the film, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years, the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. THE BIRTH OF A NATION was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. Joseph Carl Breil Joseph was the first of four children born to Joseph and Margaret Breil of Pittsburgh. Breil graduated from Duquesne University (then the Pittsburgh Catholic College of the Holy Ghost) in 1888. He later composed the alma mater for the university, which was first performed in October 1920. He also pursued studies at St Fidelis College and Curry Commercial College in Pittsburgh before being sent by his family to the University of Leipzig to study law. While in Leipzig, he began to study music composition and singing at the Leipzig Conservatory. These were followed by singing lessons in Milan and Philadelphia. Breil toured as principal tenor of the Emma Juch Opera Company before returning to Pittsburgh to teach singing and to direct the choir of St Paul's Cathedral. From 1897 to 1903, he was music director for several theatre companies. Breil was one of the earliest American composers to compose specific music for motion pictures. His first film was LES AMOURS DE LA REINE ÉLISABETH, starring Sarah Bernhardt. He later composed and arranged scores for several other early motion pictures, including INTOLERANCE and THE PRISONER OF ZENDA, as well as scoring the preview version of THE PHANTOM OF THE OPERA. Clyde Allen was born in Los Angeles, California and is an internationally recognized authority on music for silent films. He began his musical training privately with piano lessons at the age of three. At the age of seven, he commenced classes at the former Los Angeles Conservatory, subsequently studying violin, harpsichord and harp. Allen was composing early and, by the age of 14, had not only authored piano and choral works, but had also begun writing an opera. At 15, he performed solo piano parts in the world premieres of several works by Peter Schickele (also know as "P.D.Q. Bach"). At 16, while still in high school, he was simultaneously admitted to UCLA. Privately, Allen studied composition with Eugene Zador, electronic synthesis with Paul Beaver, and conducting with Fritz Zweig. For many years, he was music director and conductor for the Los Angeles Ballet, as well as music director for classical music stations KFAC AM/FM in Los Angeles. He also served as music director for the Los Angeles International Film Exposition (FILMEX). Allen is a trustee of the Ballet of Los Angeles, the Native American Ballet (of which he is the founder), and the Society for the Preservation of Film Music. He received the Golden Halo Award in recognition of his contribution to the performing arts with the release of this recording of the original 1915 score for THE BIRTH OF A NATION. BSX Digital presents THE BIRTH OF A NATION, featuring music composed by Joseph Carl Breil, performed by the New Zealand Symphony Orchestra, conducted by Clyde Allen. Originally released on vinyl in 1985 by Fifth Continent Music and later in the early days of compact discs by Label X, this recording of Joseph Breil’s music marked the first time that an American orchestral score for a silent film had ever been released commercially. This recording also marked the first time a digital recording was ever made in New Zealand. The music for this new release has been remastered by James Nelson at Digital Outland and carries over the original liner notes by conductor Clyde Allen. Downloads include choice of MP3, WAV, or FLAC FJDG005 Includes Digital Booklet Five Jays Records is proud to present music composed by Joe Harnell (THE INCREDIBLE HULK) for the television series HOT PURSUIT, created by Kenneth Johnson (THE BIONIC WOMAN, V, ALIEN NATION) and starring Kerrie Keane, Eric Pierpoint, Dina Merrill and Michael Preston. Originally airing on NBC in 1984 and 1985, HOT PURSUIT follows Kate Wyler (Keane), a highly successful engineer, and Jim (Pierpoint), her devoted veterinarian husband, as they are forced to go on the run to track down a mysterious woman who bears a striking resemblance to Kate and was hired to frame her for a murder she did not commit. To make things even more dire, they not only have to avoid local and federal law enforcement, but Alec Shaw (Preston), a hired assassin, is on their trail as well. Joe Harnell frequently teamed up with producer/creator Kenneth Johnson on several memorable TV projects that included THE INCREDIBLE HULK, CLIFFHANGERS!, the original “V” mini-series and the pilot for ALIEN NATION and HOT PURSUIT was a continuation of their collaboration. Born in The Bronx, New York, Joe Harnell was the son of a vaudeville performer. His professional career began early at age 14 playing piano with his father’s jazz and klezmer (traditional Ashkenazi Jewish music) groups. Upon completion of a music scholarship at the University of Miami, he entered military service in 1943, joining the United States Army Air Forces where he frequently performed as a member of Glenn Miller’s Army Air Force Band. During the 1950s, Harnell was as a “pianist for hire” for several major artists including Judy Garland, Marlene Dietrich, and Peggy Lee, with whom he became her full-time accompanist. He joined ASCAP in 1959, scoring pop hits with “Cinderella Twist” and “Funny Bunny.” His arrangement of “Fly Me to the Moon” in 1963 became a major hit, winning a Grammy Award for “Best Pop Instrumental Performance.” As in-house pianist on THE DINAH SHORE CHEVY SHOW, Harnell would frequently appear on-screen during sing-along segments. After a turn as Musical Director for THE MIKE DOUGLAS SHOW, Harnell relocated to Hollywood for new opportunities. He soon teamed up with writer/producer Kenneth Johnson on several memorable TV projects including THE BIONIC WOMAN, THE INCREDIBLE HULK, CLIFFHANGERS!, the original V mini-series, HOT PURSUIT and the pilot for ALIEN NATION (1989). Harnell also composed music for the soap opera SANTA BARBARA. Five Jays Records presents the premiere release of HOT PURSUIT, featuring over two hours of music composed and conducted by Joe Harnell. The music has been mastered by James Nelson at Digital Outland and includes liner notes by author David Hirsch. Hot Pursuit Main Title Jim And Kate's Love Theme _From Pilot_ Breakout _ Shaw In Hot Pursuit _From Pilot_ The Joy Of Birth _From Pilot_ Finale _ End Credits _From Pilot_ Life On The Run _From Dead Game_ Investigation _From Dead Game_ In Custody And Escape _From Dead Game_ Back On The Road _From Dead Game_ Lost Love In Ballard _From Gillian_ Dodging Shaw In Federal Way _From Gillian_ Aurora Avenue Interlude _From Gillian_ Pike Place Pursuit _From Gillian_ Departure On I-5 _From Gillian_ Jim Arrested _From Steel Trap_ Kate And The Kid Save Jim _From Steel Trap_ On The Ranch _From Riding High_ Avoiding The Cops _From Riding High_ Eluding Shaw Again And Finale _From Riding High_ The Journey Home _From Home Is The Heart_ The Feds Give Chase _From Home Is The Heart_ Family Reunion _From Home Is The Heart_ I Love You _ Final Visit _From Home Is The Heart_ Bumpers _From Dead Game_ Bumpers _From Steel Trap_ Manhunt And Captured _From Home Is The Heart_ Family Ties _From Home Is The Heart_ Shaw’s Pursuit _From Home Is The Heart_ Rescuing Jim _From Home Is The Heart_ Conclusion _From Home Is The Heart_ A Very Bad Girl _From Portrait Of A Lady Killer_ Interrogating Estelle _From Portrait Of A Lady Killer_ Shaw Rescues Estelle _ Private Time _From Portrait Of A Lady Killer_ Two Couples _From The Okay Chorale_ Time To Hit The Road _From The Okay Chorale_ Army Buddies _From Goodbye I Love You_ Wartime Flashbacks _From Goodbye I Love You_ Take Care Of Yourself _From Goodbye I Love You_ Narrow Escape _From Identity Crisis_ Princess Lilly _From Identity Crisis_ Reading The Cards _From Identity Crisis_ Following The Clues _From Identity Crisis_ Carnival Chaos _From Identity Crisis_ New Jobs _From Twilight Home_ Shaw In Town _From Twilight Home_ Good Deeds _From Twilight Home_ The Wyler’s Head Into The Sunset _From Twilight Home_ Hot Pursuit Demo Theme Dance (Source) Visitor's Disco

Sehr nette Überraschung zum Wochenende, da ich vor kurzem auch erstmalig die Serie gesehen habe und die Musik schmerzlich vermisst habe: WaterTower bringt heute die (leider nur digitale) Expanded Edition zu Jeff Beals ROME - ab sofort zu hören beim Musik-Streamer seines Vertrauens: 1. Rome (Main Title Theme) (1:37) 2. The Forum (1:43) 3. Niobe’s Theme (3:25) 4. Caesar Returns to Rome (2:37) 5. Octavian (2:38) 6. Riot in the Senate (1:14) 7. Farewells (3:32) 8. Servilia’s Curse (5:46) 9. Hell Hath No Fury (2:26) 10. Martial Law (3:03) 11. All I’ve Got (2:10) 12. Bravery and Battle (1:54) 13. Crossing the Rubicon (3:31) 14. Death of Pompey (3:32) 15. The Raft (2:58) 16. Cleopatra’s Opium Pipe (2:47) 17. Caesar and Cleopatra (3:16) 18. Triumph (3:58) 19. Erastes (1:07) 20. The Evening Is Over (2:10) 21. Pullo Addresses the Gods (1:54) 22. Vorenus Saves Pullo (3:49) 23. Anthony and Atia (2:25) 24. Eirene and Pullo (1:37) 25. Brutus (2:20) 26. Secrets and Lies (2:45) 27. The Murder of Julius Caesar (1:24) 28. Vorenus Holds Niobe (3:52) 29. War on Philippi (5:40) 30. Servilia Is Punished (1:21) 31. The Battlefield (2:43) 32. Octavian Leaves (2:58) 33. The Kiss (2:16) 34. Ritual Blood and Orgies (3:25) 35. End It Tomorrow (1:37) 36. Anthony and Cleopatra (3:37) 37. Children by Vorenus (0:58) 38. About Your Father (1:50)

Caldera Records proudly presents Zbigniew Preisner's score for Hector Babenco’s “Foolish Heart.” The director, in 1998, put his personal experiences in a cloak of magical realism. The plot device for his film is daring: Juan is a young man who is drawn into the circle of Jacobo and Ana. Jacobo is a photographer who claims he can photograph people and capture their souls. When Juan agrees to participate in his unusual experiment, he is astonished at what he sees: while everybody’s souls are clearly discernible, Ana’s is a blur. Who is this mysterious, seductive woman? Juan embarks on a dangerous journey to find out. For “Foolish Heart,” Zbigniew Preisner wrote a deeply emotional, sensitive composition for small orchestra and solo instruments such as piano and recorder. The former introduces the main theme, a brief phrase that is repeated throughout the score in various iterations and that is both wistful, melancholic, and mysterious. Rather than develop motifs for each character and thus follow a leitmotif method, the composer found a musical voice for Juan’s inner life as the young man is struggling with an impossible relationship and finding his true nature as an inspired artist. There is an ominous tension running throughout the pensive compositions even as individual instruments, such as the saxophone, get their chance to stand out and shine. Although the soundtrack forms a delectable, harmonious and consistent entity, Preisner reassembled the different short cues to form a new work that stands on its own, outside the images. The 66th 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 Leszek Kaminski and produced by Stephan Eicke and Zbigniew Preisner. C6066 Music Composed and Produced by Zbigniew Preisner CD Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Part I Beginning of the Story (2:06) Part II Ana and Juan (4:14) Part III Fascination (6:27) Part IV Love (3:16) Part V Drug Rush (5:31) Part VI Juan and Father (4:03) Part VII Ana in Psychiatric Hospital (5:56) Part VIII Twenty Years Later (5:32) Part IX Foolish Heart (4:29) For more information and sound clips, visit our website: https://www.caldera-records.com/foolish-heart

Netflix Music will release a soundtrack album for the streamer’s original film The Thursday Murder Club. The album features the movie’s original music composed by Academy Award nominee Thomas Newman (American Beauty, The Shawshank Redemption, 1917, Finding Nemo, Road to Perdition, Skyfall, Wall-E, Bridge of Spies). The soundtrack will be released digitally tomorrow, August 28 and will be available to stream/download on Amazon and any other major digital music services. Also listen to the composer’s title track below. The Thursday Murder Club is co-written and directed by Chris Columbus and stars Helen Mirren, Pierce Brosnan, Ben Kingsley, Naomi Ackie, Celia Imrie, Daniel Mays, Tom Ellis, Henry Lloyd-Hughes, Jonathan Pryce and Paul Freeman. The crime comedy is based on Richard Osman’s bestselling novel of the same title and follows a group of senior sleuths passionate about solving cold cases who get plunged into a real-life murder mystery. The film will premiere tomorrow on Netflix and is also being released in select theaters on the same day following an exclusive run at New York’s Paris Theater over the last week. ‘The Thursday Murder Club’ Soundtrack Album Details | Film Music Reporter

Nein, also von Donaggios AMANTIDE - SCIROCCO gab es meines Wissens bislang nie was auf LP oder CD.

Zu bedenken gilt auch noch was ganz Anderes: Einige der Salter und Skinner-Musiken aus den 50ern laufen nämlich kurioserweise gar nicht unter dem gewohnten hauseigenen Universal Music Publishing-Verlag. BEND OF THE RIVER etwa allein unter "Salter Music Publishing", womit Universal selbst nichts am Hut hat. Insofern stellt sich natürlich hierbei zusätzlich noch die Frage, ob es sich für Universal überhaupt groß lohnen würde, so was herauszusuchen und zu lizenzieren, wenn damit dann für sie weitaus geringere Einnahmen generiert würden als über hauseigene Produktionen. Titel wie NIGHT PASSAGE, LAST SUNSET oder jetzt THE OUTSIDER laufen dagegen selbstverständlich alle unter Universal als "Music Publisher". Insofern kein Problem für die. Schecter hat vor ein paar Jahren darauf schon mal hingewiesen und es ist ein wirklich interessanter Fakt. Bei Skinner wäre es z.B. so: MIDNIGHT LACE hätte Universal Music Publishing als Musikverlag, sein ALL THAT HEAVEN ALLOWS gehört dagegen eigentlich "Skinner Music", also nicht Universal. Das darf man auch nicht ganz unterschätzen und kann man auf der ASCAP-Seite alles schön nachprüfen.

Bei diesem Rosenman hatte ich schon lange auf eine Veröffentlichung gehofft... tolle Veröffentlichung, die ich mir auf jeden Fall zulegen werde!

Eine Frage an @Stefan Schlegel und die anderen Italo-Filmmusik-Experten: wisst ihr, ob es von Pino Donaggios Musik zu Aldo Lados Softerotikdrama AMANTIDE - SCIROCCO (1987) irgendeine Art der Veröffentlichung gibt, eventuell sogar nur als Promo o.ä? Der Film lief vergangenen Freitag auf dem diesjährigen Terza Visione - Festival des italienischen Genrefilms in Frankfurt am Main, und ich war ziemlich begeistert von der feingliedrigen Faktur der Komposition. Ist allerdings ein rein elektronischer Score, und daher sicher niemandes Fall hier. Terza Visione – 11. Festival des italienischen Genrefilms - DFF.FILM

Bei NIGHT PASSAGE war es aber ohnehin schon seit Jahren klar, daß da eigentlich irgendwo noch was erhalten sein muß, denn es gab ja schon Ende 70er - wenn auch klanglich eher mau - eine Viertelstunde von der Originalaufnahme auf einer Cinema-Bootleg-LP, die ich selbst habe. Ende 50er ist halt doch noch ein wenig was Anderes als frühe 50er. Man sieht es doch auch z.B. bei Warner, daß vor 1954 dort so gut wie nichts mehr erhalten ist, danach aber schon. Und durch die für die Archive bei Universal verantwortliche Alexia Baum wissen wir ja auch seit ein paar Jahren, daß Universal aus den 30ern und 40ern wohl eh kein Musikmaterial mehr hat. Insofern halte ich es durchaus für möglich, daß erst mit dem Aufkommen der Magnettonbänder ab Mitte der 50er Scores dort auch für längere Zeit aufbewahrt wurden. Denn es wurde ja außer BRIDE OF FRANKENSTEIN - und das Material kam bekanntermaßen eh fast nur aus dem Waxman-Nachlaß der Syracuse University - bislang nichts vor 1957 in der Universal Classics-Reihe auf CD veröffentlicht. 1952 wäre von daher ein absolutes Novum. Bin da selbst auch gespannt, aber habe wie gesagt meine Zweifel.

Nur wer weiß eben, was sich mittlerweile im Archiv von Universal getan hat und ob ein Schecter die Informationen darüber bekommt. Der Tiomkin war von 1957 und stammte aus dem Bestand von Universal, keinem Nachlass in einer Uni: "The CD was produced using the original mono session masters stored in pristine condition at Universal."

Nach all dem, was David Schecter an 2019 so alles über die University of California erzählt hat, wo das ganze Salter-Musikmaterial längst lagert, sieht es mir nicht gerade danach aus, als ob da gar groß was zu machen wäre: "I tried to get access to some of the Salter recordings long ago, as a legal representative of Salter's writing and publishing estate, and it was such a nightmare that I gave up. Just trying to hear some of the music was an exercise in futility. UCLA was great at accepting or going after composers' collections -- not so much about caring for them properly or allowing access to them... I have untold reels of tapes that should probably have a home in some of their collections, but I've been hesitant to hand them over, because UCLA wouldn't even give me the right to access some of the material at a future date, even though I once again represent the composer/publisher of the material... There were also reels and reels of film music tapes from various composers that were unlabled and if you were blindly trying to find something specific, you essentially would have had to hire UCLA's vendors to transfer tape after tape until you (perhaps) found what you were looking for. That would have cost tens of thousands of dollars if not more." https://www.filmscoremonthly.com/board/posts.cfm?threadID=135022 Und ob Universal selbst überhaupt noch was von BEND OF THE RIVER von 1952 hat, ist ja ebenfalls äußerst fraglich.

Und letztes Jahr gab es Night Passage von Tiomkin, den ich neben Last Sunset weit oben auf der Wunschliste hatte. Bei den beiden war ich auch ziemlich sicher, dass die früher oder später auf CD kommen werden. Der Rosenman ist jetzt wirklich unerwartet, so eine Überraschung hat auch mal wieder was. Ich will jetzt nicht gleich wieder in die alte Unsitte verfallen, gleich in einem Neuheiten Thread nach dem nächsten Score zu schreien. Aber ich hoffe doch, dass wir Salters starken Westernscore zu Bend of the River auch noch bekommen werden. Selbst wenn es nur das Material ist, das Tony Thomas damals zur Verfügung hatte.

Das stimmt sicher. Ich meinte neu in dem Sinne, dass es nicht nur ein paar alternative Versionen mit ein wenig geänderten Noten oder andere Takes sind. Das kennt man ja .

Es sind schon ein paar mehr als nur Track 2 auf CD 3 Im Vergleich zu meiner 2 CD Version ist der komplette Block 50th Anniversary Extras ALBUM AND FILM SCORE RECORDING (5 Tracks) neu und im Block FILM SCORE RECORDING unter den ganzen Alternates auch fast die Hälfte der Tracks neu. Ich gestehe, daß meine Jagd- und Sammlerinstinkte schon getriggert sind 😁 und ich fürchte, daß ich zuschlagen würde. Allein schon um mein Kompletisten-Fetisch zu befriedigen.

Das war auch mein Gedanke. Zum 50. spendiert man eben eine schöne, dicke Box (und kann noch ein paar Dollar mehr verlangen). Vielleicht ist ja auch das Booklet dafür entsprechend dicker, sodass es nicht in eine normale CD-Hülle gepasst hätte.

Hier noch das Cover für noch mehr Klicks Dann ist das hier wohl auch so ein Fall. Die populäre Veröffentlichung (JAWS) finanziert die obskure Veröffentlichung mit.

DAS KANU DES MANITU (2025) Ja, da ist es endlich! Das langersehnte Sequel zum Schuh. Freudig wie ein Zipfeklatscha bin ich ins Kino gehüpft und habe mir den Film angeschaut. Zuerst war ich ein wenig skeptisch, ob die Witze nach all den Jahren noch zünden würden – aber Bully hat es einfach immer noch drauf. So zufällig wie die Pointen und Seitenhiebe platziert wirken, so treffsicher ist der Humor, der einfach nicht alt wird. Man merkt, dass hier viel Liebe zum Detail steckt: kleine Anspielungen und hier und da ein Running Gag mit Anspielungen auf den ersten Teil (die Gesamtsituation ), die einen direkt wieder in die gute alte Manitu-Welt zurück katapultieren. Lange habe ich nicht mehr in einem Film so oft gegrinst, geschmunzelt und dieses „Cozy“-Gefühl gehabt. Der Film vergeht wie im Flug, und ich habe tatsächlich 1-2x nervös auf die Uhr geschaut – nicht, weil es langweilig wurde, sondern weil ich Angst hatte, dass er schon bald vorbei sein könnte. Klar, die Story ist kein Meisterwerk, aber darum geht es auch gar nicht. Dieser Film lebt von seinen Figuren, dem Timing und dem ganz speziellen Bully-Humor. Besonders hervorheben muss man, dass die Chemie im Cast nach all den Jahren immer noch stimmt. Man merkt, wie viel Spass die Beteiligten hatten. Auch Sky du Mont spielt nach wie vor super und gewohnt elegant. Umso mehr würde es mich freuen, wenn tatsächlich noch ein dritter Teil kommen sollte, wenn auch leider ohne Sky (sein letzter Film). Fazit: Das Kanu des Manitu ist kein Film, der die Filmwelt revolutioniert – aber er bringt genau das, was man sich erhofft: Nostalgie, Humor und ein rundum gutes Gefühl. Zu lange mussten wir darauf warten. Wer den ersten Teil mochte, wird auch hier seinen Spass haben. Und: unbedingt bis nach dem Abspann sitzen bleiben, es lohnt sich!

Zwar schon etwas her seit der Veröffentlichung (März 2025), aber ich muss mal wieder hervorheben, wie gut dieser Score zu "Severance" von Theodore Shapiro einfach ist. Macht echt Spass und die intensiven Beats die zwar simpel klingen, aber so eine Dichte und Spannung vermitteln, dass sie einen fasst nicht mehr loslässt. Natürlich nochmal besser wenn man die Serie selbst kennt oder selber mal länger am Abend im Büro gearbeitet hat (haha). Das Hauptthema ist sehr eingängig und der 1. Track mit den Brooklyn United (übrigens auch in der Serie eine total schräge Folge) ist einfach genial. Ich finde das Album zu Season 2 bietet einiges was man in der 1. Staffel noch nicht so gehört hat. Lohnt sich. Theodore kann was! Für die, die Serie oder den Soundtrack nicht kennen verlinke ich hier auch noch das Album zur 1. Staffel:

Also ich werde sie mir ungehört und "ungesehen" bestellen - solche Projekte unterstütze ich gerne und ich bin mir sicher, dass es sich die CD als solche auch für mich lohnt.

Es war natürlich von vornherein klar, daß es hierzu im Gegensatz zu JAWS kaum eine Wortmeldung geben wird. Wie sollte es auch anders sein? Ein absolut obskurer Film, den in Deutschland sowieso noch weniger jemand kennen kann als in den USA, da früher total gefloppt und im Kino oder TV kaum präsent. Dazu ein Komponist, der die Massen mit seiner eher sperrigen Musik noch nie angezogen hat. Umso erstaunlicher, daß Intrada den Score sich jetzt tatsächlich noch geangelt hat, denn groß Kasse machen läßt sich damit nun ganz bestimmt nicht. Auf alle Fälle eine weitere starke CD so kurz nach Golds LAST SUNSET. Ausgehend von den Hörclips dürfte es sich schon um eine ziemlich kraftvolle und intensive Musik handeln, die Rosenman für dieses Tony Curtis-Kriegsdrama abgeliefert hat. Und wegen mir darf Intrada betreffs des alten Universal-Katalogs ruhig so weitermachen.

Ich hatte vorhin vergessen, all die stillen Mitleser zu grüßen. Das hole ich hiermit nach!

https://store.intrada.com/s.nl/it.A/id.13221/.f?sc=13&category=-113 Fand lange nicht die Hörproben zu einer CD eines bisher unveröffentlichten Scores dermaßen ansprechend! Ein sehr guter Score aus Rosenmans stärkster Phase. Anklänge an seine berühmten James Dean Scores oder Edge of the City von John Cassavetes.

Gab früher öfter die Erklärung, das alte Album müsse auf eine Solo CD wegen "contractual obligations", vielleicht sieht aber auch eine 3CD-Box einfach schmucker aus. Was ist hier jetzt wirklich neu? Wohl Track 2 auf der dritten CD.

Ich habe den Score noch überhaupt nicht, weil er mich nie interessiert hat. Liegt eventuell auch am Film, den ich eher nur solide finde. Da hatte mich Teil 2 etwas mehr überzeugt.