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Na dann kommen halt irgendwann die Alben (egal von wem) remastered ohne neues Material heraus. Schauen wir mal, was die Zukunft bringt.

Morricone-Festwochen bei Quartet: Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Luciano Salce, with whom Morricone maintained a loyal collaboration at the beginning of his career, from IL FEDERALE, his very first film score, through LA CUCCAGNA, SLALOM and COME IMPARAI AD AMARE LE DONNE. EL GRECO (1966) is a romantic drama set in 16th-century Spain, where the famed Greek painter El Greco journeys to Toledo to paint an altarpiece. Trouble ensues when he falls in love with a beautiful local girl. The film stars Mel Ferrer, Rosanna Schiafino, Adolfo Celi and Fernando Rey. Ennio Morricone’s score is characterized by a suggestion of Renaissance and Baroque music, although reformulated from a deeply contemporary sensibility, generating an atmosphere of spiritual tension and unfinished quest, in full harmony with the visionary spirit of the painter. In terms of orchestration, Morricone employs resources that evoke liturgical music. The organ and choir—associated in the film with the clergy, the Inquisition and places of worship—become key sound elements in establishing a solemn ambience. The inclusion of voices, treated more as instruments than as carriers of text, adds an ethereal, almost mystical component. The score for EL GRECO was not released until 1986, when it appeared on LP on the Intermezzo label, on a vinyl record produced and supervised by Morricone himself, as it was a score of which he always had fond memories. The same 16-track program was reissued on CD by RCA paired with his sister-score for GIORDANO BRUNO. In 2007, GDM released an expanded edition that included virtually all the music recorded for the film. This is a reissue of the same program, mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer. Exultate Deo 2:20 Invocazione 3:12 Festa 3:26 Angoscia e ricerca 2:40 Nascondersi 1:22 Festa (#2) 0:13 Rituale 1:35 Angoscia e ricerca (#2) 1:49 Un suono lontano 0:56 Angoscia e ricerca II 2:38 Festa (#3) 1:17 Invocazione seconda 1:53 Alleluia alleluia 1:47 Per archi 1:20 Asperges me 1:12 Nascondersi (#2) 0:51 Angoscia e ricerca (#3) 1:03 El Greco (quartetto) 1:22 Canti (1º parte) 3:37 Canti (2º parte) 2:43 Unus et trinus (conclusione) 3:18 Un suono lontano (#2) 1:20 Angoscia e ricerca (#4) 3:58 Follia e amore (2:38) Discesa (1:18) Total Disc Time: 51:54 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Giuliano Montaldo (SACCO E VANZETTI, GLI INTOCCABILI, AD OGNI COSTO, IL GIOCATTOLO, TEMPO DI UCCIDERE). The 1973 historical drama GIORDANO BRUNO is about the free-thinking philosopher, poet and scientist Giordano Bruno (Gian Maria Volontè), who, fleeing from his enemies in the Catholic Church, has found some protection in Venice. But the Roman Inquisition, fearing his influence in Europe, wants to put him on trial for heresy. The minimalist, cerebral and spiritually unsettling soundtrack adds additional layers of interpretation to the protagonist’s ideological drama. Morricone doesn’t seek to illustrate scenes directly, but rather to provoke an intellectual and sensory interpretation of what is happening on screen. GIORDANO BRUNO was originally released on vinyl in Italy by RCA. The same program was reissued on CD in the 1990s, paired with its sister-score EL GRECO. An expanded 66-minute edition including virtually all the music recorded by Morricone for the film appeared on GDM in 2009, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer. Giordano Bruno 3:24 Super Flumina Babilonis 4:41 Domine Quando Veneris 5:01 Alleluja, Alleluja 1:47 Conclusione 3:12 Tema di Giordano Bruno 2:55 Magia 1:25 Discorsi di un viaggio 3:12 Giordano Bruno (#2) 2:42 Colloquio 2:46 Verso Roma 1:47 Processione 4:40 Giordano Bruno (#3) 1:23 Magia (#2) 5:13 Domine Quando Veneris (#2) 2:01 Giordano Bruno (#4) 2:04 Discorsi di un viaggio (#2) 4:02 Processione (#2) 4:25 Colloquio (#2) 2:58 Discorsi di un viaggio (#3) 2:04 Giordano Bruno (#5 – Finale) 2:27 Total Disc Time: 65:32 Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of the 1968 classic, propulsive and exciting Ennio Morricone cult score for the gangster movie GLI INTOCCABILI (aka MACHINE GUN McCAIN), a successful Italian-US coproduction, directed by Giuliano Montaldo and starring John Cassavetes, Britt Ekland, Peter Falk, Gena Rowlands and Gabrielle Ferzetti. The film is about a paroled gangster and his son who plan to rob a Las Vegas gambling house, unaware that the casino is bitterly contested by the West Coast and East Coast mobs. Ennio Morricone’s score creates an elegant and distant—almost abstract—atmosphere. “Hank McCain’s Ballad,” performed by Jackie Lynton, anchors the musical narrative. It is a melancholic, nostalgic theme that deliberately contrasts with the character’s violence. The film’s musical discourse oscillates between two opposing universes: one of elegance and artifice, and the other syncopated, dissonant, urgent. Morricone resorts to atonal structures, employing radical sound resources: metallic clusters, industrial noises, abrupt staccatos of metal or struck piano. Traditional melody disappears; instead, tension is built from texture and unconventional instrumentation. The score also includes two different and beautiful love themes. An album with a selection of 11 tracks was released in Italy and France in 1969, becoming one of Morricone’s most sought-after albums over the following decades. In early 1990, Alhambra released the first CD edition with the same program. Over the following years, GLI INTOCCABILI has been released several times on CD and LP (even on cassette!) with different programs, some more expanded than others. The most complete edition, 74 minutes long, appeared in 1990 on GDM, supervised by the composer and produced by Claudio Fuiano and Dániel Winkler. This CD quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer. La ballata di Hank McCain 2:08 Irene 3:35 Gli Intoccabili (Titoli) 1:38 Defilée 1:52 Come quando fuori piove 2:40 La ballata di Hank McCain (Pt. 2) 1:55 Come lei 4:08 Sogno dopo sogno 2:43 Senza parole 3:27 Rosemary 2:04 La ballata di Hank McCain (Pt. 3) 2:46 Gli Intoccabili (Las Vegas) 1:35 La ballata di Hank McCain (Off Vocal) 2:09 Gli Intoccabili (Sad Waltz) 1:54 Gli Intoccabili (Party Music) 3:40 Gli Intoccabili (Dramatic Music #1) 2:15 Gli Intoccabili (Music For Evening) 2:54 La ballata di Hank McCain (Off Vocal, Pt. 2) 1:56 Gli Intoccabili (Funny Waltz) 1:27 Gli Intoccabili (Striptease) 4:51 Gli Intoccabili (Dramatic Music #2) 5:16 Gli Intoccabili (Lounge Fox-Trot) 2:33 Rosemary (Alternate Version) 3:05 La ballata di Hank McCain (Off Vocal, Pt. 3) 2:47 Gli Intoccabili (Epic Waltz) 1:32 La ballata di Hank McCain (Single – Alternate Version) 4:26 Total Disc Time: 73:59 Quartet Records presents a remastered reissue of one of the most celebrated collaborations between Ennio Morricone and Giuseppe Tornatore, the composer’s most important partner during the last twenty years of his career. Together they achieved great success in Italian and international cinema with films such as CINEMA PARADISO, STANNO TUTTI BENE, THE LEGEND OF 1900, MALENA and THE BEST OFFER, among others. A PURE FORMALITY (1994) is an intense Kafkaesque noir drama (starring Gérard Depardieu and Roman Polanski at his best as an actor) about a famous writer who hasn’t published any new books for quite some time and has become a recluse. When he is picked up by the police one stormy night, without any identification, out of breath from running madly and with no clear memory of recent events, the Inspector is suspicious. Ennio Morricone offers one of his best efforts for a Tornatore film, with a haunting main theme, a very nostalgic song performed by Depardieu (“Ricordare”), dramatic tension cues and introspective violent music. The score is mainly dark and fatalistic, in a style that the Italian maestro was experimenting with at the time (in scores such as IN THE LINE OF FIRE, WOLF, DISCLOSURE and THE STENDHAL SYNDROME). The original album of A PURE FORMALITY was released at the time by Sony Classical and reissued by GDM in 2013. This is a remastered reissue of the generous 50-minute album program, remastered by Chris Malone. The booklet includes an in-depth essay by film music writer John Takis discussing the film and score. Breathlessly (A perdifiato) 3:04 Remembering (Ricordare) 4:14 The Palace of Nine Frontiers (Il palazzo delle nove frontiere) 3:29 The Bum (Il barbone) 3:41 A Troublesome Clue (Ingombrante indizio) 2:14 Waiting for the Police Inspector (Aspettando il Commissario) 1:11 In Search of Onoff (Alla ricerca di Onoff) 2:46 An Odd Diary (Diario bizzarro) 2:40 Photos (Fotografie) 1:21 Mosaic (Mosaico) 1:09 Leonardo da Vinci 3:13 Contradictions (Contraddizioni) 2:21 The Trap and the Mouse (La trappola e il topo) 1:29 Escape from Onoff (Fuga da Onoff) 1:37 Bloodstains (Macchie di sangue) 2:40 After the Nightmare (Dopo l’incubo) 1:06 A Mere Memory Lapse (Un banale vuoto di memoria) 2:02 Repressed Memories (Rimozioni) 2:01 Revelation (Rivelazione) 1:46 A Night in February (Notte in Febbraio) 2:16 To Obliterate the Past (Effacer le passé) 4:11 Quartet Records presents the premiere complete vinyl release of Ennio Morricone’s iconic poliziesco score for Sergio Sollima’s REVOLVER (1973), a violent Italian-French thriller starring Oliver Reed and Fabio Testi. In the film, a prison warden is forced to exchange a French criminal for his kidnapped wife, but the couple soon find themselves on the trail of a larger conspiracy. For REVOLVER, Morricone created the original song “Un Amico,” performed by Daniel Beretta, which is possibly one of the most beautiful melodies written by the Roman maestro (it was included by Tarantino in a key sequence of INGLOURIOUS BASTERDS). Morricone also provides a wistful and playful love theme (“Anna”) and several background source cues in his inimitable style. Another major ingredient of the score is a cue titled “Revolver” or “Inseguimento e Fuga (Chase and Escape).” Morricone composed a 12-minute version of this dynamic piece as well as other varied arrangements to fit different moments in the film. “Revolver” is a driving, staccato piece of music for piano and orchestra that repeats and builds, creating a dark, propulsive atmosphere in the style that became Morricone’s shorthand for crime and gangster action. He took very similar approaches in the American gangster films STATE OF GRACE, THE UNTOUCHABLES and BUGSY. The original 10-track LP of REVOLVER was released in 1973 by General Music and reissued lately in Italy and Japan. Subsequently, the same program was reissued on CD several times. Quartet Records recently released a CD featuring the complete 65-minute score. This is the first release of the same program on vinyl, presented as a black 2XLP, mastered by Chris Malone, and packaged in a deluxe gatefold sleeve. SIDE A Un amico 2:40 Revolver 12:44 Anna 2:09 SIDE B Quasi un Vivaldi 1:59 Pericolo per Anna 1:50 Un amico (Titoli) 2:39 Inseguimento e fuga 3:42 In un bar 2:26 Rapimento 2:31 In un altro bar 2:12 SIDE C Un amico (Versione con chitarra 12 corde) 1:16 Revolver (Suspense) 1:47 Quasi un Vivaldi (#2) 3:09 Inseguimento e fuga (#2) 3:29 In un altro bar (#2) 2:08 Anna (#2) 2:31 SIDE D Un amico (Versione synth) 2:48 In un altro bar (#3) 2:54 Rapimento (#2) 7:23 Un amico (Versione tromba) 2:34 Inseguimento e fuga (#3) 3:39 Quartet Records presents the premiere complete vinyl release of Ennio Morricone’s fascinating score for Folco Quilici’s OCEANO (1971), a pseudo-documentary film about a young Polynesian, Tanai, who goes in search of the island of his dreams. On an epic sea voyage from Polynesia to Alaska aboard a tiny fragile raft, he is guided by the voices of his ancestors. Morricone’ score for OCEANO seeks to merge nature with mythology. It breathes, vibrates, transmits, and is characterized by its episodic and atmospheric structure, taking the form of an evocative soundscape. The composer draws on resources that recall a primitive, spiritual component: tribal percussion (tablas and bongos), solo woodwinds (flutes and clarinets), guitar, sitar, clanging metal and harp. The fusion of timbres in this instrumentation is unconventional. He expressively sets to music ideas associated with wind or nature, sound textures that construct Tanai’s intimate journey: we hear the sea, we feel the air roaring over the sail of his canoe, the danger lurking in the ocean, his loneliness. The music is another character that gives the film a lyrical dimension and complements the visual element, transcending its narrative function to become a gateway to meditation on the mystery of the sea and existence. Through his unmistakable style, Morricone invites us to immerse ourselves in a world of introspection, beauty and silent emotion. The original 40-minute program was released on vinyl in 1971 in Italy and Japan, and both those LPs quickly became collector’s items. Quartet Records recently released a CD featuring the complete 70-minute score. This is the first release of the same program on vinyl, presented as a transparent blue-ocean 2XLP, mastered by Chris Malone, and packaged in a deluxe gatefold sleeve. SIDE A Oceano 4:09 Isola di Pasqua 2:05 Vulcano 1:06 Speranza per una Terra Amica 1:40 Le Maschere Morte 2:47 Il Vento è il Vento e Soffia Dove Vuole 4:52 SIDE B Tanai 2:22 Odissea 2:02 Notte 1:45 Piccola Ouverture 1:51 Viaggio 3:09 Il Sole è il Sole e Brucia Ciò Che Vuole 3:33 Partenza 2:18 SIDE C Oceano (#3) 6:23 Il Vento è il Vento e Soffia Dove Vuole (#2) 10:44 SIDE D Partenza (#2) 1:18 Isola di Pasqua (#2) 4:13 Oceano (#2) 2:05 Notte (#2) 4:26 Odissea (#2) 3:37 Viaggio (#2) 1:26

The Oval Portrait - Andrew Morgan Smith Wow. Die Musik könnte glatt von einem Horrorscore der 40er Jahre sein.

Ganz so einfach ist es dann doch nicht, denn an LEVIATHAN hat Varèse bekanntermaßen längst keine "perpetuity rights" mehr und außerdem fanden die Aufnahmen für den Score in Italien statt, wo als Rechteinhaber noch De Laurentiis hinzukommt. Also nicht so leicht, davon eine Expandierung zu bringen, weshalb bislang weder in den USA noch in Europa etwas passiert ist. Und bei FIERCE CREATURES wird schon deshalb sicher keine Verlängerung mehr kommen, weil der Film weitaus weniger Musik hatte als die CD und Goldsmith speziell für das 90er-Album noch rund 10 Minuten hinzu komponiert hatte. Ist also daher wenn man so will bereits in "expandierter Form" offiziell veröffentlicht worden.

Die CD hatte ich 2016 bei SAE für 0,50$ (!!!) mitbestellt...😉

Es lässt sich bei Autorenfilmen halt schlecht objektivieren, was "gut" oder "schlecht" eingesetzte Filmmusik ist. Bei Genrefilmen wie AIR FORCE ONE ist das einfacher (siehe der Vergleich Newman/Goldsmith), aber bei derart sonderbar-auteuristischen Visionen wie denen von Yorgos Lanthimos (oder von Ari Aster) ist das schlicht unmöglich, weil bereits die Filme nicht eindeutig sind in dem, was sie musikalisch "verlangen". Was "verlangt" ein Film wie BUGONIA? Gibt es da überhaupt irgendwelche Genre-Konventionen, auf die ein erprobtes filmmusikalisches Konzept "passen" könnte?

Ich bin tatsächlich Jack-Nitzsche-Fan, aber ich habe noch die alte CD. Aber schön, dass auch von ihm noch Sachen erscheinen, wenn auch nur Neuauflagen. Ich hoffe ja immer noch auf seine Musik aus 9 1/2 WEEKS, alleine schon wegen des schön-traurigen Love Themes. Aber da scheinen auch die Bänder nicht mehr auffindbar zu sein.

Eigentlich muss man nur in die CD-Sammlung schauen um zu wissen, welche Goldsmiths noch das alte Varese Drucksachen-Layout besitzt und in Zukunft als Deluxe Version erscheinen werden: ANGIE FIERCE CREATURES LEVIATHAN MALICE MOM AND DAD SAVE THE WORLD MR. BASEBALL THE 13TH WARRIOR Und wenn wir schon dabei sind, wären es bei Alan Silvestri folgende Titel: FATHER OF THE BRIDE THE QUICK AND THE DEAD RICHIE RICH Bei Danny Elfman: INSTINCT PEE-WEE´S BIG ADVENTURE Bei John Barry: MERCURY RISING sowie die beiden Hot Shots, Driving Miss Daisy, Green Card, Renaissance Man, Something to talk about, Junior, City Slickers, Addams Family Values, Free Willy 3, Maximum Risk, The Cemetery Club, Airport, Memoirs of an invisible man, You´ve got mail, Crossing the Line, und viele andere....

Bin zwar kein Jack Nitzsche Fan, aber mit The Razor´s Edge hat er ein sehr schönes Werk hingelegt. Und das LSO hat die Musik super eingespielt. Ist gekauft. Sophie´s Choise von Marvin Hamlisch ist mir zwar etwas "intim", aber trotzdem ein typischer, romantischer Hamlisch. Ist auch gekauft. Ich muss wieder einmal erwähnen: Die Schlagzahlen von Dragon´s Domain sind mittlerweile sehr zuverlässig und die veröffentlichten Titel werden immer interessanter. Auch erhalten die Händler die CDs mittlerweile sehr zügig, was früher ja eine Katastrophe war. Und nie war ein Pressfehler, oder Kanäle vertauscht, oder ein digitales Knacksen, oder fehlerhafte Drucksachen im Spiel. Auch habe ich nie Probleme mit meinem Ripping-Programm. Sprich: AccurateRip springt bei mir sehr häufig bei LLL und Varese Publikationen an und bringt Warnmeldungen. Bei Dragon´s Domain nie ein Problem. Auch vergessen die großen Label, insbesondere LLL und Deutsche Grammophon hin und wieder die Tracks zu betiteln. Bei DDR noch nie gewesen. Da sind in den tags alle Namen der Beteiligten und Titel immer sauber hinterlegt.

Also "gute" Musik, aber "schlechte" Filmmusik. Dann hat der Komponist ja versagt.

ach Black Christmas von Shirley... dass sowas noch rauskam? Leider ist der Score jetzt nicht sonderlich gut. Angeblich ja nur Synth, aber finde das klang erstaunlich echt soweit ich mich erinnere... sollten sie mal lieber die Final Destination Scores rausbringen... mir ein Rätsel warum das nie passiert...

den Film fand ich jetzt leider furchtbar, furchtbar langweilig und furchtbar fehlgescored wieder. Keine Ahnung was diese pompöse Musik sollte und dazu an den Stellen, an denen sie eingesetzt wird. DAS glaube ich, dass der Komponist ohne Skript einfach irgendwas komponiert hat. Kann man sich immerhin ohne Bild an der Musik erfreuen, aber was das immer soll musikalisch bei dem Regisseur ist mir echt schleierhaft... und selbst wenn man jetzt denkt "Die Musik spiegelt das Innere der Figuren wieder!" (was mir der eheste Ansatz sein soll meiner Meinung nach), dann ist da immer noch das Problem, dass das auf diese minimalistischen, meist statischen Bilder auch einfach überhaupt nicht passt. Ich hatte auch das Gefühl, es nervte die Zuschauer bloß wieder.

is mir auch zu wenig subtil und nur Sosse... dass Tyler jegliches Feingefühl fehlt ist ja keine Überraschung...

find ausser THE TREES den Score auch eher dünn und langweilig... bei Goldsmith kommt schon mal vor, dass ein paar Highlights fehlten auf seinem ersten Album... aber bezweifle das bei diesem Score...

Von BSX/Dragon's Domain: BLACK CHRISTMAS: Music From The Original Score Shirley Walker BSXDG0188 Includes Digital Booklet BSX DIGITAL presents music composed by Shirley Walker (FINAL DESTINATION, SPACE: ABOVE AND BEYOND, WILLARD) from the original score to BLACK CHRISTMAS, the 2006 remake of the cult classic horror film from 1974, directed by Glen Morgan (THE X FILES, SPACE: ABOVE AND BEYOND, FINAL DESTINATION), written by Morgan and Roy Moore, starring Michelle Trachtenberg, Mary Elizabeth Winstead, Lacey Chabert, Katie Cassidy, Kristen Cloke, Yan-Kay Crystal Lowe, Oliver Hudson, Karin Konoval, Robert Mann and Andrea Martin as Ms. Mac. Released in 2006, BLACK CHRISTMAS is a loose remake of the 1974 cult horror film of the same name, which was directed by Bob Clark (A CHRISTMAS STORY, MURDER BY DECREE) and written by Roy Moore. Set days before Christmas, the film follows sorority sisters who are stalked and murdered during a winter storm. The score for the 2006 version of BLACK CHRISTMAS marks the final collaboration between composer Shirley Walker, director Glenn Morgan, and producer James Wong, who had previously worked with her on the short-lived TV series SPACE: ABOVE AND BEYOND. This project also represents Shirley Walker's last original composition for a feature film. Shirley Walker (April 10, 1945 – November 30, 2006) was an influential American film and television composer and conductor, recognized as a pioneer for women in Hollywood. She was one of the first female composers to gain solo score credit on a major film. Walker won two Emmy Awards, and the ASCAP Shirley Walker Award was established in her honor in 2014. Walker's film career began in 1979 with APOCALYPSE NOW, where she played synthesizers and later orchestrated scores for films like THE BLACK STALLION. She excelled as an orchestrator, conductor and composer, working with notable figures like Danny Elfman and Hans Zimmer. Walker scored various productions, including WILLARD and the first three FINAL DESTINATION films, and TV series like FALCON CREST and THE FLASH. While working with Danny Elfman, she mentored Hans Zimmer and orchestrated several of his film scores. Walker was a prominent composer for several animated series in the DC Animated Universe, including BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, THE NEW BATMAN ADVENTURES and BATMAN BEYOND. She worked closely with Danny Elfman, served as the conductor for the film BATMAN, and composed much of the music for BATMAN: THE ANIMATED SERIES, creating a recognizable musical tone for the franchise. Her themes continued to be used in JUSTICE LEAGUE and JUSTICE LEAGUE UNLIMITED. BSX Digital presents the world premiere release of BLACK CHRISTMAS, featuring music composed by Shirley Walker. The music has been mastered by James Nelson at Digital Outland and includes liner notes by noted author Randall Larson. Dragon’s Domain Records presents THE LALO SCHIFRIN COLLECTION, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for four films from his extensive filmography. Released in 1976, VOYAGE OF THE DAMNED tells the tragic 1939 story of the SS St. Louis, carrying hundred of German Jewish refugees from Nazi Germany, a ship that seemingly no nation is willing to save from certain doom. Produced by Lord Lew Grade, directed by Stuart Rosenberg, written by Steve Shagan, David Butler and Gordon Thomas, featuring an all-star cast that included Faye Dunaway, Ben Gazzara, Lee Grant, Wendy Hiller, Malcolm McDowell, Katharine Ross, Max Von Sydow, and Orson Welles. Released in 1974, THE FOUR MUSKETEERS was a direct sequel to THE THREE MUSKETEERS, directed by Richard Lester, written by George McDonald Fraser, based on the writings of Alexandre Dumas, starring MIchael York, Oliver Reed, Richard Chamberlain, Frank Finlay, Raquel Welch, Faye Dunaway, Christopher Lee, Geraldine Chaplin, Jean-Pierre Cassel, Simon Ward, Roy Kinnear, Michael Gothard and Charlton Heston as Cardinal Richelieu. The composer for the first film, Michel Legrand, was not available to return for the sequel and the producers turned to composer Lalo Schifrin for the music and he embraced the opportunity. THE LALO SCHIFRIN COLLECTION also includes ‘Continuum’, which was composed in 1970. The music was commissioned by the American Harp Society and premiered that year at their convention in Houston, Texas, by Anne Stockton, who would later record it for Avant Records. It has also been performed elsewhere in the United States and France, in a concert broadcast from Radio France. Released in 1977, DAY OF THE ANIMALS, directed by William Girdler, written by William W. Norton, Eleanor E. Norton and Edward L. Montoro, starring Christopher George, Lynda Day George, Leslie Nielsen, Richard Jaeckel, Michael Ansara, Ruth Roman, Jon Cedar, Paul Mantee, Walter Barnes, Andrew Stevens and Susan Backlinie. DAY OF THE ANIMALS was another entry in the ‘animals attack’ genre, triggered by JAWS and following the success of GRIZZLY, which had also been directed by Girdler and produced by Montoro. DAY OF THE ANIMALS tells the story of mass wildlife attacks on humans caused by the effects of increased UV radiation due to the depletion of the ozone layer above 5,000 feet. DAY OF THE ANIMALS makes its world premiere soundtrack release on THE LALO SCHIFRIN COLLECTION. Released in 1976, THE EAGLE HAS LANDED was directed by John Sturges (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE), written by Tom Mankiewicz and Jack Higgins, starring Michael Caine, Donald Sutherland, Robert Duvall, Donald Pleasence, Anthony Quayle, Jenny Agutter, Jean Marsh, Judy Geeson, Larry Hagman, Treat Williams and Michael Byrne. THE EAGLE HAS LANDED tells the story of a daring German plot to kidnap Prime Minister Winston Churchill at the height of World War II... In his approach to this adventure, the composer created a one-note motif, always the same, although in different intensity, repeated several times throughout several of the cues, sometimes individually or together, by a cymbalom, the drums, even the entire orchestra in a fortissimo statement. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s,studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. DAY OF THE ANIMALS makes its world premiere soundtrack release on THE LALO SCHIFRIN COLLECTION, which also includes music from VOYAGE OF THE DAMNED, THE FOUR MUSKETEERS and THE EAGLE HAS LANDED released on compact disc previously by John Steven Lasher on his Label X, featuring music composed by Lalo Schifrin. The music has been newly mastered by James Nelson at Digital Outland and the liner notes written for the previous releases by Didier Delaunoy and John Steven Lasher have been reprised, along with new notes by author David Hirsch. THE LALO SCHIFRIN COLLECTION is a limited edition release and is expected to begin shipping the week of November 24th, 2025. CD 1 VOYAGE OF THE DAMNED 01. Main Title (2:23) 02. House Painter March (1:52) 03. Hotel Nacionale (2:22) 04. What's Past Is Past / Affirmation of Love (2:53) 05. Lament (2:34) 06. The Arrival / Theme of Hope (3:22) 07. The Captain / Goodbye Aunt Jenny / We Need Help (3:12) 08. So Many Things I Wanted to Say (2:10) 09. To Be a Woman (Max and Anna) (2:10) 10. Tragedy / Time Pulse (4:03) 11. Our Prayers Have Been Answered (2:20) 12. End Credits (2:33) THE FOUR MUSKETEERS 13. Overture (3:46) 14. Athos’ Story (2:25) 15. Chase To The Convent (2:48) 16. The Musketeers Rescue Constance (1:57) 17. Breakfast At The Bastion (2:50) 18. A Lovely Adventure (1:12) 19. Chased From The Louvre (1:53) 20. Frozen Pond Fight (4:55) 21. Milady’s Theme (3:02) 22. End Credits (1:54) CONTINUUM 23. Continuum For Solo Harp (4:28) Total Time: CD 1 - 63:14 CD 2 DAY OF THE ANIMALS 01. Main Title / The Bird Watcher I (2:51) 02. Helicopter Flight & Hike Up The Mountain / The Bird Watcher II (3:28) 03. Animals Track The Hikers (2:52) 04. Restless Night / Wolf Attack (2:50) 06. Stalking II / No Food / Gnawing / Rats! (2:36) 07. Martial Law Evacuation / Mountain Lion Attack (4:12) 08. Splitting Up / Animal Army / Jensen Kills (3:03) 09. Cave Talk (1:09) 10. Jensen Gets A Bear Hug / Vacant Town / Dead Driver / Mad Dog (2:47) 11. Don’t Follow / Frank Attacked / Pack Attacks Copter / Dogs Surround Cabin / Attack / Get In The Water (6:51) 12. Dead Animals / Rescue / Survivors / End Titles (3:50) BONUS TRACK 13. Campfire Harmonica Source (Streets of Laredo) (2:03) THE EAGLE HAS LANDED 14. Main Title (2:30) 15. The Eagle Grows, Pt 1 (3:00) 16. The Eagle Grows, Pt 2 (2:39) 17. Flight Of The Eagles (3:11) 18. Eagle Versus Fox (4:37) 19. End Credits (March) (2:26) Total Time: CD 2 - 62:19 Dragon’s Domain Records presents the original motion picture soundtrack to SOPHIE’S CHOICE, featuring music composed and conducted by Marvin Hamlisch for the 1982 romantic drama directed by Alan J. Pakula, written by William Styron and Pakula, starring Meryl Streep, Kevin Kline and Peter MacNicol. Released in 1982, SOPHIE’S CHOICE follows Stingo (MacNicol),a young writer from the South who travels to post-World War II Brooklyn and is befriended by Sophie (Streep), a beautiful Polish immigrant and her lover, Nathan (Kline). As Stingo gets to know them better, he learns that Sophie is a Holocaust survivor and the film reveals her harrowing story, from pre-war prosperity to Auschwitz. As Sophie recounts her story, her relationship with Nathan begins to slowly unravel and Nathan’s fragile mental state becomes more apparent... As a composer, Marvin Hamlisch won virtually every major award that exists: three Oscars, four Grammys, four Emmys, a Tony, three Golden Globe Awards, and the Pulitzer Prize. For Broadway, Hamlisch wrote the music for his groundbreaking show A CHORUS LINE, as well as THEY’RE PLAYING OUR SONG,THE GOODBYE GIRL and SWEET SMELL OF SUCCESS. Additional theatrical scores include JEAN SEBERG and THE NUTTY PROFESSOR. He was the composer of more than 40 motion picture scores, including his Oscar-winning score and song for THE WAY WE WERE and his adaptation of Scott Joplin’s music for THE STING, for which he received a third Oscar. His prolific output of scores for films includes original compositions and/or musical adaptations for SOPHIE’S CHOICE, ORDINARY PEOPLE, THE SWIMMER,THREE MEN AND A BABY, ICE CASTLES, TAKE THE MONEY AND RUN, BANANAS, SAVE THE TIGER and THE INFORMANT!, starring Matt Damon and directed by Steven Soderbergh. Hamlisch held the position of principal pops conductor for the Pittsburgh Symphony Orchestra, Milwaukee Symphony Orchestra, Dallas Symphony Orchestra, Pasadena Symphony and Pops, Seattle Symphony, San Diego Symphony, The Buffalo Philharmonic and The National Symphony Orchestra in Washington, D.C. At the time of his death in 2012, he was preparing to assume responsibilities as principal pops conductor for The Philadelphia Orchestra. Hamlisch was a graduate of the Juilliard School of Music and Queens College, where he earned a Bachelor of Arts degree. Originally released in the early days of the compact disc format by Southern Cross Records, Dragon’s Domain Records is excited to bring SOPHIE'S CHOICE back to the marketplace, with the music remastered by James Nelson at Digital Outland, retaining liner notes that include a note from director Alan J. Pakula. SOPHIE’S CHOICE is a limited edition release. SOPHIE’S CHOICE is expected to begin shipping the week of November 24th, 2025. 01. Love Theme (1:58) 02. Train Ride To Brooklyn (2:48) 03. Returning The Tray (2:36) 04. Coney Island Fun (1:04) 05. Songs Without Words, Op. 30, No. 1 (1:45) Mendelssohn (Piano: Ralph Grierson) 06. Emily Dickinson (2:02) 07. Aren’t All Women Like You? (1:57) 08. Rite On The Brooklyn Bridge (2:49) 09. Stingo, Polish Lullaby (1:43) 10. Nathan Returns (1:26) 11. Southern Plantation (1:58) 12. I’ll Never Leave You (1:27) 13. Stingo And Sophie Together (3:07) 14. Ample Make This Bed (2:13) 15. End Credits (2:53) Total Time: 31:46 Dragon’s Domain Records presents the original motion picture soundtrack to THE RAZOR’S EDGE, featuring music composed by Jack Nitzsche for the 1984 period drama directed by John Byrum, written by W. Somerset Maugham, Byrum and Bill Murray, starring Bill Murray, Theresa Russell, Catherine Hicks, James Keach, Brian Doyle-Murray, Peter Vaughan, Stephen Davies and Denholm Elliott. Released in 1984, THE RAZOR’S EDGE was a remake of the 1946 classic directed by Edmund Goulding, starring Tyrone Power, Gene Tierney and John Payne. Both film versions were based on the 1944 novel by W. Somerset Maugham, which tells the story of Larry Darrell, an American soldier who is traumatized by his experiences in World War I and sets off in search of a transcendent meaning in his life. It is a journey that takes him from Chicago to France, inspiring him to visit India and on to Nepal, where Larry finds spiritual help from a lama. When he returns to Paris, Larry finds his old friends and discovers that everyone has changed in his absence. Considered a misfire in its day, the film features an early dramatic performance by Murray that anticipates the kind of work he would be respected for more in his later career. The music for THE RAZOR’S EDGE was composed by Jack Nitzsche. Born Bernard Nitzsche on April 22nd, 1937 in Chicago, Illinois, Nitzsche was an American musician, arranger, songwriter, composer and record producer who came to prominence in the early 1960s as the right-hand-man of producer Phil Spector, and went on to work with the Rolling Stones, Neil Young, and others. Nitzsche began to concentrate more on film music rather than pop music in the mid-1970s, becoming one of the more prolific film orchestrators in Hollywood during the period. Nitzsche worked on film scores throughout his career, such as his contributions to the Monkees movie HEAD, the theme music from VILLAGE OF THE GIANTS and the soundtracks for PERFORMANCE, THE EXORCIST, ONE FLEW OVER THE CUCKOO'S NEST, HARDCORE, STARMAN and REVENGE. Nitzsche’s score for THE RAZOR’S EDGE features the Glass Harmonica, one of the most unusual instruments to find its way into a motion picture soundtrack, an instrument which Nitzsche alone utilized in several of his most famous scores. Modern composers who have written for the Glass Harmonica include Richard Strauss and the American George Crumb (b. 1926). Previously released by Southern Cross in the early days of the compact disc format, Dragon’s Domain Records is excited to bring THE RAZOR'S EDGE back to the marketplace, with music composed by Jack Nitzsche, performed by the London Symphony Orchestra, conducted by Stanley Black. The music has been remastered by James Nelson at Digital Outland, retaining the liner notes by John Steven Lasher. THE RAZOR’S EDGE is a limited edition release. THE RAZOR’S EDGE is expected to begin shipping the week of November 24th, 2025. ORCHESTRA SUITE: 1. Main Title (2:26) 2. Night Picnic (1:06) 3. Trenches (2:03) 4. Fireworks / World War I (1:27) 5. Motorcycle / Climbing the Stairs (1:52) 6. Maturin’s Funeral (2:00) 7. Larry Leaves the Monastery (0:47) 8. Opium Den (3:20) 9. Piedmont Hit (1:22) 10. Piedmont’s Death (1:02) 11. End Title & End Credits (4:04) LARRY’S JOURNEY: 12. Arrival in India (2:22) 13. The Monastery (1:20) (Bruno Hoffmann, glass harmonica) 14. Larry’s Journey (3:21) 15. “Can’t Stop Dancing” (1:56) (P. Murray) 16. “A Toda Vela” (3:23) (F. Frank & A. Ladriere) 17. Organ Grinder (1:38) Total Time: 35:36 Dragon’s Domain Records proudly presents the ninth volume in our ongoing series of music from classic science-fiction films, this time focusing on the world premiere release of Milton DeLugg’s music for the 1964 holiday adventure comedy SANTA CLAUS CONQUERS THE MARTIANS, directed by Nicholas Webster, written by Glenville Mareth and Paul L. Jacobson, starring John Call, Leonard Hicks, Vincent Beck, Bill McCutcheon, Victor Stiles, Donna Conforti, Chris Month, Leila Martin, Charles Renn, James Cahill, Ned Wertimer, Doris Rich and Pia Zadora. Released in 1964, SANTA CLAUS CONQUERS THE MARTIANS begins with the season of Christmas fast approaching and children are anxiously awaiting that night when Santa Claus will bring presents to all the good little girls and boys. Unfortunately, that’s not the case on the planet Mars, where a crisis has erupted among their children, educated from birth by machines and treated as adults. Captivated by television signals from Earth, these young Martians have become listless insomniacs. Concerned for the welfare of not only his children, but all of those on Mars, the supreme leader Lord Kimar (Hicks) seeks council from their ancient sage, Chochem (Don). The elderly Martian laments that their youngsters are made to suffer the burden of early adulthood. They crave the freedom to have fun and simply be kids. Chochem proclaims that what Mars desperately needs is a Santa Claus of its own, so Lord Kimar and his compatriots blast off for Earth with the intent to abduct Santa himself (Call) ... The bouncy score and its ear worm title theme came from the musical pen of Milton DeLugg. Simultaneously while working on this film, he was also engaged by the NBC television network as musical director for their annual telecast of the Macy’s Thanksgiving Day Parade. Delugg would hold that position for the next half-century, finally stepping down in 2013. He also spent a year and a half as leader of Johnny Carson’s THE TONIGHT SHOW orchestra. This ninth volume in Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch and Sam Scali. THE GOLDEN AGE OF SCIENCE FICTION VOL. 9 is a limited edition release and is expected to begin shipping the week of November 24th, 2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. 01. Main Title: Hooray For Santa Claus (2:02) Milton DeLugg & The Little Eskimos 02. Santa’s Workshop / Mars Needs Santa (3:24) 03. Martians vs Air Force / Kidnap Earth Kids (4:09) 04. lnvasion of the North Pole (2:55) 05. Kidnap Santa (1:27) 06. Return to Mars / Martian Children Laugh (2:42) 07. Sabotage and Subterfuge (2:16) 08. Plots and Counterplots (1:55) 09. Martian Mayhem (2:26) 10. End Titles (2:02) 11. Santa Claus Conquers The Martians (1964) Theatrical Trailer (2:26) 12. Hooray For Santa Claus (Extended Version) (2:46) Milton DeLugg & The Little Eskimos 13. Read-A-Long Book Part 1* (8:12) 14. Read-A-Long Book Part 2* (8:52) 15. Read-A-Long Book Part 3* (8:25) 16. Read-A-Long Book Part 4* (8:14) * (Narrator: Dan Ocko / Voices: Ann DeLugg & Ralph Bell) Total Time: 64:29

Auch ein großer Name zieht nur bedingt. Wenn es kein populärer Score ist, kann auch bei einem Goldsmith der Verkauf schleppend sein. Gab es bei Williams oder Elfman auch schon. ROSEWOOD von Williams hat LLL beispielsweise auch später in einem Sale unter die Leute bringen müssen. Sogar SCROOGED von Elfman, und das war immerhin eine Premierenveröffentlichung, ging durch verschiedene Sales, weil sie die CDs nicht los wurden. MEDICINE MAN würde ich zwar zu den populäreren Goldsmiths aus seiner 90er-Phase zählen, aber gab es da wirklich so eine große Nachfrage nach einer erweiterten Veröffentlichung? Ich glaube, die meisten hätten lieber THE 13TH WARRIOR als Deluxe gesehen. Mal sehen, ob nicht irgendwann auch noch MR BASEBALL als Deluxe kommt. Wenn es selbst NOT WITHOUT MY DAUGHTER erweitert geschafft hat. Und das war auch ein Titel, der eher schleppend lief, wenn ich mich richtig erinnere.

Ja vor allem wenn selbst beim wichtigsten Filmkomponisten aller Zeiten solche Mittel beim CD Verkauf Anwendung finden .. 🤔

Es ist natürlich ein adäquates Mittel für ein Nischenprodukt wie Filmmusik. Besonders, wenn sie nicht von einem Major Label kommt. So kann man besser planen und bleibt nicht auf zu vielen CDs sitzen. Wenn es so ist. Das ist von uns ja nur Spekulation. Vielleicht wollten sie die Titel auch einfach nur dieses Jahr noch ankündigen, auch wenn sie wussten, dass die CDs nicht vor Ende Dezember/Anfang Januar gepresst werden können. Die Presswerke sind doch dem Vernehmen nach immer gut ausgelastet und vielleicht ging es nicht eher. Somit kann man zumindest das Weihnachtsgeschäft noch durch Vorbestellungen mitnehmen. Wir werden ja sehen, wie schnell das Album dann ausverkauft ist. Intrada hat die Limitierungszahlen ja schon vor Jahren abgeschafft. Auch, um den Kaufdruck etwas rauszunehmen. Aber die kündigen normalerweise auch nur Sachen an, die dann die Woche drauf verschickt werden, also wenn die CDs schon auf Lager sind.

Dann wohl nicht mehr als 500 Stück 😁. Im Ernst: wenn das jetzt mit Hordenfinanzierung losgeht, dann wird das noch lustig, weil u.a. die Plattenfirmen dann wohl fast nur noch auf Nummer sicher gehen, um die gewünschte Finanzierung zu erreichen. Eventuell kann es aber doch andersherum auch funktionieren und die Firmen würden sich an Projekte wagen, die sie ohne Finanzierung nie versuchen würden, in die Wege zu leiten.

Seit gestern auf Spotify, wie lustig:

Was ebenfalls dafür spricht: Es wird keine Auflagenhöhe mehr angegeben. Keine Ahnung, wie lange Varese das schon nicht mehr macht. Die letzten Deluxe Editions, die ich gekauft habe, Carpenters VILLAGE OF THE DAMNED und Goldsmiths THE OTHER, hatten noch eine angegebene Auflagenhöhe. Hier steht jetzt nur noch "Limited Collector's Edition". Dann wird wohl nach Vorbestellungen gepresst, plus wohl noch einige Exemplare auf Halde und das war es dann.

Diese Frage stellt sich doch bei fast jeder Expandierung...

Vermutlich Letzteres: Eine Art Crowdfunding. Nicht „wieviele“, sondern „dass“ bezahlte Vorbestellungen eintreffen, wird des Rätsels Lösung sein. Danach gehen die CDs dann in Produktion. Machen diverse Verlage im Comic-Bereich auch, wenn das Geld knapp ist. Je länger die Vorlaufzeit, desto mehr Geld kann man einsammeln.

Tatsächlich freue ich mich auf diese Veröffentlichung. Damals war Brian Tyler noch wirklich gut.

Ja das stimmt 🤔