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NORTH BY NORTHWEST wäre zwar nicht nötig, aber da dies einer meiner Langzeit Lieblingsfilme ist, werde ich mir diese Einspielung holen.

Steigerung: - Terminator 1 -> Terminator 2 - Dr. No -> From Russia with love - Home alone -> Home alone 2: Lost in NY Schwächung (Abfall klingt zu hart): - Airplane -> Airplane II - King Solomon‘s Mines -> AQ and the lost City… - Ghostbusters -> Ghostbusters 2 - Predator -> Predator 2 - Speed -> Speed 2: Cruise Control - Blade Runner -> Blade Runner 2049 Ebenbürtig: - Back to the Future 1 -> Back to the Future 2 - Downton Abbey 1 -> Downton Abbey 2 - Alien -> Aliens - Jurassic Park -> The lost world: Jurassic Park - Die hard-> Die Hard 2: Die harder …um mal ein paar zu nennen. Handwerklich können manche Scores raffinierter und sonstiges sein. Ich bewerte nur Anhand der Emotionen, ob mich ein Score mehr oder weniger als der Vorgänger / Nachfolger anspricht und bewegt.

Average Joe scheint mir auch ein sehr interessantes Projekt zu sein. Ich glaube, ein Sport-Film...

Das erinnert doch etwas an die early days des Christopher Young, oder? Vielleicht bekommt er ja auch bald die Chance für eine größere Produktion zu komponieren. The Oval Portrait ist dafür sicherlich die perfekte calling card. 😏

Neu von Dragon's Domain: Dragon’s Domain Records presents NORTH BY NORTHWEST, featuring music from the original motion picture score composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1959 thriller directed by Alfred Hitchcock, written by Ernest Lehman, starring Cary Grant, Eva Marie Saint, James Mason, Martin Landau, Jessie Royce Landis, Leo G. Carroll, Philip Ober, Adam Williams, Edward Platt and Robert Ellenstein. Released on vinyl by Starlog Records in association with Varese Sarabande and also by Unicorn-Kanchana in Europe, later an early compact disc when the format was new, this recording featured a selection of music from the original motion picture score conducted by Laurie Johnson, performed by the London Studio Symphony Orchestra. At the time of the album’s inception in 1979, it was decided not to use the original 1959 tapes from the movie and to instead create a new stereo recording using the latest state-of-the-art technology of the day. The Sony PCM-1600 digital recording system and the Calrec Soundfield microphone were used together for the first time with a full orchestra for this recording. NORTH BY NORTHWEST was recorded direct to Sony digital in London on November 20, 1979. In addition to this recording, Laurie Johnson’s talents are represented on several other discs. As a tribute to Bernard Herrmann, Laurie adapted Herrmann’s original score to the horror film IT’S ALIVE and conducted it for the sequels, IT’S ALIVE 2 and IT’S ALIVE III: ISLAND OF THE ALIVE. Together with his partners Albert Fennell and Brian Clemens, Johnson owned the companies which produced the enormously successful TV series, THE NEW AVENGERS and THE PROFESSIONALS. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. Dragon’s Domain Records is excited to bring this recording of NORTH BY NORTHWEST back to the marketplace, under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. NORTH BY NORTHWEST presents, for the first time together, the 1979 original remastered stereo recording, followed by the one stereo microphone performance. NORTH BY NORTHWEST Is a limited edition release. NORTH BY NORTHWEST will begin shipping the week of March 2nd, 2026 Analog Multi-Track Stereo Remix 01. Main Title (3:20) 02. Kidnapped (1:59) 03. The Elevator (1:27) 04. Murder At The U.N. (3:17) 05. Conversation Piece (4:25) 06. The Crash (2:06) 07. The Auction & The Airport (2:13) 08. The Cafeteria / The Shooting (2:14) 09. Duo (1:28) 10. The Ledge / The House (4:25) 11. The Match Book (1:51) 12. The Airplane / The Stone Faces / The Ridge / On The Rocks / The Cliff / Finale (9:09) Original Calrec Soundfield - Stereo Microphone Mix 13. Main Title (3:18) 14. Kidnapped (2:00) 15. The Elevator (1:28) 16. Murder At The U.N. (3:19) 17. Conversation Piece (4:27) 18. The Crash (2:07) 19. The Auction & The Airport (2:14) 20. The Cafeteria / The Shooting (2:06) 21. DUO (1:31) 22. The Ledge / The House (4:27) 23. The Match Book (1:50) 24. The Airplane / The Stone Faces / The Ridge / On The Rocks / The Cliff / Finale (9:09) Total Time: 76:02 Dragon’s Domain Records presents the world premiere release of the soundtrack for THE COWBOY AND THE BALLERINA, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE ) for the 1984 television film directed by Jerry Jameson, written by Denne Bart Petitclerc and starring Lee Majors, Leslie Wing, Christopher Lloyd, James Booth, Antoinette Bower, George De La Pena, Steven Ford, Anjelica Huston, John McIntire and Severn Darden. Airing on television in October 1984, THE COWBOY AND THE BALLERINA offered actor Lee Majors the chance to take a break from his second hit television series, THE FALL GUY, to star in this romantic film. THE COWBOY AND THE BALLERINA follows Clay Clayton (Majors), a former world champion bronco rider as he becomes involved with Natalia (Wing), a Russian ballerina who is desperate to flee her Soviet touring company and reunite with her mother who is living in New York City. On their journey, Clay and Natalia must outwit two agents (Booth, Huston) who are determined to see that she doesn’t defect. As the principle theme of the film is a romance born of a clash between people from extremely different cultures, composer Bruce Broughton had to expertly weave their two thematic motifs together. While the music representing Clay’s down-to-earth Western life and persona is played with atypical instruments, piano, guitar and fiddle, Natalia's music has a more sophisticated orchestral sound. Bruce Broughton, who has won ten Emmy Awards and been nominated for an Oscar, began his journey into film music in 1973, scoring episodes of television shows from GUNSMOKE, HAWAII FIVE-0, and DALLAS to JAG and THE ORVILLE, miniseries like THE BLUE AND THE GREY and THE OLD MAN AND THE SEA, and feature films such as SILVERADO, YOUNG SHERLOCK HOLMES, HARRY AND THE HENDERSONS, TOMBSTONE, and HONEY, I BLEW UP THE KID. Broughton has more than 130 scores to his credit. Throughout his career, Broughton has amassed ten Emmy Awards (from twenty-three nominations) and an Academy Award nomination (SILVERADO). In addition to being a composer and an accomplished conductor, Broughton is also a tireless educator having taught classes at the UCLA Herb Alpert School of Music, the Department of Screen Scoring at the USC Thornton School of Music, and is currently serving as Media Composer-in-Residence at the University of North Texas. Dragon’s Domain Records presents the world premiere release of THE COWBOY AND THE BALLERINA, featuring music composed and conducted by Bruce Broughton. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch. THE COWBOY AND THE BALLERINA is a limited edition release. The first 50 copies will be autographed by the composer. THE COWBOY AND THE BALLERINA is expected to begin shipping the week of March 2nd, 2026. 01. Opening Titles (2:40) 02. Natalia At Airport / Switching Outfits (3:06) 03. Hiding In Clay's Bronco (2:45) 04. Avoiding Security / Driving Montage A / Clay Tames The Horse (4:14) 05. Remembering Victoria / Horseback Riding (3:13) 06. Natalia’s Story / Love In The Haystacks (3:23) 07. Leaving Doc’s Ranch / Driving Montage B / Caviar Picnic (2:19) 08. Arriving In New York / Woody and Natalia In Alley (3:41) 09. Advice From Woody / Natalia Calls Her Mother / Tailed Again / Good Night / Natalia Returns / Love Scene (4:54) 10. Clay and Natalia Are Followed / The Beach House / Natalia Leaves Rodeo (3:28) 11. The Finale and End Credits (4:38) 12. Bumpers (0:19) 13. Country Bar Source (2:03) 14. Bar Source (4:01) 15. Rodeo Sources (1:52) 16. Ballet Sources (2:46) 17. Reception Source (2:17) Total Time: 51:47 Dragon’s Domain Records presents THE LEE HOLDRIDGE COLLECTION, VOLUME 4, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for two romantic scores from his extensive filmography. Airing in 1999, SEALED WITH A KISS is a romantic comedy directed by Ron Lagomarsino, written by Jeff Arch (SLEEPLESS IN SEATTLE, IRON WILL) and stars John Stamos, Annabeth Gish, Jane Sibbett, Mitchell Whitfield, Robert Stack, Nell Carter, Barry Corbin and Angie Dickinson. SEALED WITH A KISS, also released under the titles LOVE COMES FIRST and LONGFELLOW BRIDGE, follows Boston financial consultant Bennett Blake (Stamos), who is on the fast track to make partner while engaged to his equally career-driven boss’s daughter, Christina (Sibbet). Asked to travel to North Dakota to play golf with an oddball wealthy client, he’s warned that he must let the client win. Despite his best attempts to fail, he still achieves a hole-in-one, and the angry client pulls his business from the firm. When a letter meant for someone else is accidentally mailed to Bennett’s home, Christina urges Bennett to return the letter to Robbie (Gish). She’s a curator of a museum for the poet Longfellow and desperate for funding. At first, she mistakes Bennett for a Washington official bent on shutting the facility down. He finds himself drawn to the down-to-earth Robbie and decides to help save the museum by assembling a financial plan. Working with her, he discovers the need to reevaluate his own soul-less life. For SEALED WITH A KISS, Holdridge wrote a bubbly score featuring lush orchestrations, allowing the orchestra to boldly project the humorous undertones of Bennett and Robbie’s unplanned road to true love. Released in 1973, JEREMY is a teen romance written and directed by Arthur Barron, starring Robbie Benson, Glynnis O’Connor, Len Bari, Leonardo Cimino, Ned Wilson, Chris Bohn, Patricia Wheel and Ted Sorel. JEREMY follows Jeremy Jones (Benson), a shy, bespectacled, fifteen-year-old living in New York City who is studying cello at a private performing arts high school. One day, he meets Susan (O'Connor) as she is practicing ballet. Despite the fact that she is older and in a higher grade, he is instantly attracted to her. Jeremy attempts to talk to her, but he is too shy to do so. At a school recital where Jeremy plays as a featured soloist, she is impressed by his playing and congratulates him afterwards. This interaction motivates him to finally ask her out. On their first date, Jeremy finds out that Susan and her father have just moved to New York from Detroit so her father could take a new job. Over the next three weeks, their romance quickly intensifies as they spend a lot of time together. One rainy afternoon while playing chess in Jeremy’s room, the teens profess their feelings for each other and then make love for the first time. When she returns home, Susan’s father announces that he's been offered a better job back in Detroit, which means they have to leave New York immediately. By happenstance, Jeremy finds himself alone again... JEREMY is one of Lee Holdridge’s earliest film scores. The film won the prize for Best First Work at the 1973 Cannes Film Festival, and Benson was also nominated for a Golden Globe Award for his performance. Holdridge’s tender and powerful score for JEREMY is built partially around the film’s theme song but features several original emotional cues underscoring the teens’ attraction and eventual heartbreak. The cello, Jeremy’s chosen musical instrument, features prominently in several cues. Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others. Dragon’s Domain Records is excited to bring SEALED WITH A KISS and JEREMY to compact disc for the first time as part of THE LEE HOLDRIDGE COLLECTION, VOLUME 4, mastered by James Nelson at Digital Outland. The booklet includes liner notes written by author David Hirsch. THE LEE HOLDRIDGE COLLECTION, VOLUME 4 is a limited edition release of 500 units. The first 50 copies will be autographed by the composer. THE LEE HOLDRIDGE COLLECTION, VOLUME 4 will begin shipping the week of March 2nd, 2026. SEALED WITH A KISS 1. Opening Title (2:17) 2. Going To Work / Let’s Play Golf / It’s Greek To Me / Make A Wish / Hole In One / State of Shock (4:12) 3. Two Seagulls / No Sex Tonight / Save Longfellow’s Home / Go Back To Washington (3:19) 4. Cocktail Party A (2:49) 5. Cocktail Party B / Out On The Balcony / Vodka Gimlet (2:27) 6. Wink’s Realization / Shrimp / Bennet's Jog / Starting Over / Late Night / Woman In The Rain (4:08) 7. Stop Pretending / Pet Rock / Twilight’s Coming / So Stay / Good Night (5:12) 8. A Second Chance / Robbie Leaves / Thinking of Her (4:38) 9. The Lowest Ebb / What I Want (2:19) 10. No Jerry Maguire / Cosmic Connection (2:08) 11. Duck L’Orange (Source) (1:38) JEREMY 12. Blue Balloon (The Hourglass Song) (4:23) Vocal: Robby Benson 13. Dating Montage (1:45) 14. Three Vignettes: (A) Jeremy’s Reflection, (B) Blue Balloon (The Hourglass Song) (Reprise), (C) The First Kiss (2:37) 15. Jeremy Follows Susan (2:03) 16. Jeremy’s Concert (2:42) 17. Jeremy (2:09) Vocal: Glynnis O'Connor 18. Jeremy (Reprise) (0:56) 19. Blue Balloon (The Hourglass Song Instrumental) (4:22) 20. Lessons and Long Walks (1:57) 21. Theme for Jeremy and His Cello (1st Movement of the Concertino for Cello and Strings) (3:56) Total Time: 62:06 Dragon’s Domain Records presents THE DON DAVIS COLLECTION, VOLUME 2 featuring the world premiere releases of VALENTINE and BLACKOUT, two horror films from the composer's extensive filmography. Released in 2001, VALENTINE is a dark comedy/horror film directed by Jamie Blanks, written by Tom Savage, Donna Powers and Wayne Powers, starring Denise Richards, David Boreanaz, Marley Shelton, Jessica Capshaw, Jessica Cauffiel, Katherine Heigl, Hedy Burress, Fulvio Cecere, Daniel Cosgrove, Johnny Whitworth, Woody Jeffreys and Adam Harrington. Based on the novel by Tom Savage, VALENTINE begins during a St. Valentine’s Day dance at a San Francisco junior high school, where socially outcast Jeremy is repeatedly rejected by four popular girls. When he meets Dorothy and gets a chance to kiss her behind the bleachers, they are caught by the school bully and his friends. Embarrassed, Dorothy makes a false claim that she was attacked. The other boys beat up Jeremy, who is then expelled, tried for the alleged assault, and committed to a mental institution. Thirteen years later, one of the popular girls, Shelly (Heigl), receives a threatening Valentine’s Day card simply signed “J.M.”. Shortly after, she is attacked and killed by a figure wearing a trench coat and a Cupid mask. At her funeral, the other girls, Kate (Shelton), Lily (Cauffiel), Paige (Richards) and Dorothy (Capshaw) discover they’ve all received mysterious cards. One by one, the women fall victim to the masked killer... The score for VALENTINE is a very dark effort, largely non-melodic, but nevertheless, quite colorful in its sonic palette. This presentation is made up from the composer’s original demos, which are virtually identical to what ended up in the finished film. Released in 1988, BLACKOUT is a thriller directed by Doug Adams, written by Joseph Stefano and Laura Ferguson, starring Gail O’Grady, Carol Lynley, Michael Keys Hall, Joseph Gian, Deena Freeman, Joanna Miles and Scott Lincoln. BLACKOUT follows Caroline (O’Grady), a young woman estranged from her family who returns to her childhood home after receiving a cryptic letter from her long absent father who abandoned her and her mother years earlier. Upon arrival, Caroline navigates strained interactions with her mother, Esther (Lynley) and her stepfather, Richard (Lincoln), who has a more welcoming demeanor. These encounters set the stage for Caroline’s exploration of the familiar yet unsettling house, where everyday objects and spaces begin to stir vague, disorienting sensations from her past... Emmy winning composer Don Davis began playing trumpet and piano at the age of nine and started writing music at twelve. As his affinity for music grew, so did his aspirations, and soon he was composing and arranging orchestral charts for local jazz ensembles that he also performed with. After graduation from high school, Davis furthered his study of music at UCLA, majoring in music theory and composition, playing trumpet in college jazz ensembles and orchestras. After graduation from UCLA, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced the young Davis to film and television composer Joe Harnell, best known for his work on TV shows such as V and THE INCREDIBLE HULK. He was immediately impressed by Davis' attention to orchestral detail, especially as evidenced by a chamber symphony Davis was writing at the time. Harnell became a mentor to Davis and introduced him to the professional world of film and television scoring. His early compositional work caught the attention of composer Lee Holdridge, who had penned the theme music for the television series BEAUTY AND THE BEAST and he helped Davis land the job composing weekly scores for the show. Davis' rich orchestral style meshed perfectly with the tone of the show, and he went on to win an Emmy for his work and achieve great acclaim as one of television's most gifted young composers. After BEAUTY AND THE BEAST, Davis found his career as a composer soaring and he was commissioned to compose scores for dozens of top television movies and series, including SEAQUEST DSV, HOUSE OF FRANKENSTEIN, Peter Benchley’s THE BEAST, TINY TOON ADVENTURES and STAR TREK: THE NEXT GENERATION. In 1997, Davis composed the score for Larry and Andy Wachowski's off-beat thriller BOUND, and the directing brothers immediately formed a close working relationship with Davis. The Wachowskis and Davis again collaborated on the MATRIX Trilogy. Davis' work for the three scores incorporated elements of popular music, electronic synthesizer effects, and even a touch of the avant-garde. Dragon’s Domain Records presents THE DON DAVIS COLLECTION, VOLUME 2, featuring the world premiere releases for VALENTINE and BLACKOUT, with liner notes written by author David Hirsch and G.B. Kemner. The music has been mastered by James Nelson at Digital Outland. The digital release for THE DON DAVIS COLLECTION, VOLUME 2 includes a bonus track, a suite for VALENTINE that would not fit on the physical release. THE DON DAVIS COLLECTION, VOLUME 2 is a limited edition release. The first 50 copies will be autographed by the composer. THE DON DAVIS COLLECTION, VOLUME 2 is expected to begin shipping the week of March 2nd, 2026. VALENTINE 01. Opening Titles (3:20) 02. The Scalpel Of Fate / Cupid Is As Cupid Does (3:00) 03. Sadness For Sally (3:54) 04. Wait For Kate (2:37) 05. Sweets For The Sweet / Lily Eats It (4:51) 06. Late With Kate / Let’s Berate Kate (3:08) 07. Campbell In The Closet (3:34) 08. Ruthie’s Remorse (3:37) 09. A Rose For Paige / Dorothy Distraught (4:04) 10. Vaughn On The Lawn (2:07) 11. Dorothy Deceased (8:07) 12. Wherefore Art Thou? / Closing Credits (4:07) 13. Exhibition Music (1:08) BLACKOUT 14. Opening Titles (3:46) 15. The House Enigma / Bruises of Misery (4:21) 16. Buck Naked (3:44) 17. Uncle Sleazebag (2:32) 18. The Body Drop / Gland Reaction (4:03) 19. The Uncle from Hell / Blondie in Bondage (5:11) 20. Finale (5:07) Total Time - 76:30

Ich kannte Andrew Morgan Smith bisher garnicht aber ich finde diesen Score wirklich sehr gelungen. Danke nochmal an @Osthunter für die Hinweise. Für mich sehr gute 8 von 10 Punkten. https://metalhead.club/@drmusic/116057987869696294

Ich habe mir den Score jetzt im Rahmen der Abstimmung zum beliebtesten Score 2025 angehört. Er ist okay, auch weil die Veröffentlichung Mal nicht die 60 Minuten überschreitet. In Gänze gut zu hören auch wenn viel Ambient und Rhythmuspassagen dabei sind und die Tracks meist ziemlich kurz mit im Schnitt 1-2 Minuten. Wird aber in meiner Top 10 des Jahres nicht auftauchen. 6 von 10 Punkte https://metalhead.club/@drmusic/116104491517903437

Hallo zusammen ich möchte gerne ein neues Thema aufmachen. Mir ist aufgefallen, dass manche musikalischen Fortsetzungen eine Steigerung der Qualität mit sich bringen und andere wiederum eher einen Abfall. Hier mal meine Beispiele: - musikalische Steigerung von Teil 1 zu Teil 2: Basil Poledouris konnte mit „Under Siege 2“ eine musikalische Steigerung im Vergleich zum Vorgänger “Under Siege 1“ von Gary Chang hinlegen. - musikalischer Abfall von Teil 1 zu Teil 2: Hier gibt es ein sehr markantes Beispiel. „Captain America“ von Alan Silvestri ist m.E. bedeutend besser als die Fortsetzung, die dann Henry Jackman vertont hat - musikalische Ebenbürtigkeit: Goldsmith‘s „Star Trek 1“ ist Horner‘s „Star Trek 2“ ziemlich ebenbürtig, finde ich. Nennt mir bitte eure drei Beispiele ich bin gespannt

Wie ist denn das allgemeine Stimmungsbild hier bezüglich dieses Scores? Würdet ihr euch auch eine Erweiterung wünschen?

Creation Of The Gods II: Demon Force Ab Minute 9:17 beginnt der Score. Little Siberia Invisible Nation Americana Anaconda

Auch bei den Hörspielserien habe ich weitere Entscheidungen gefällt. Neu dabei sind hier: MACABROS 1-10 (Rückkehr der Klassiker) HUI BUH 1-23 (Rückkehr der Klassiker) SCHUBIDUU...UH 1-13 (CD) GOLDAGENGARDEN 1-9 COMMANDER PERKINS 1-9 (Rückkehr der Klassiker) FAITH VAN HELSING 1-56 inkl. der White-Edition 56 Nur als komplette Serienpakete abzugeben.

Ich habe heute ein paar weitere CDs aussortiert, die ich hier grob aufliste, teilweise mit VÖ-Datum zur Transparenz: A little Princess - Doyle - 2025 Agora 2009 Anna Karenina - Marianelli Boys on the run - Conti - 2023 Buffalo Kids Christmas with a Capital C The Claus Family 2 Death Hunt Joker Interview with the Vampire TV Hot Fuzz - 2023 Highlander The original Scores - edelton ein Score von Bill Conti zum Film mit Demi Moore Frank and Jesse Fanny Lye Deliver´d de Sade - 2024 Timeline - 2025 Into the storm Battle:LA Summer in February Space Age Shadowlands My dog Skip Mary Queen of Scots - Richter Lost Souls Lily´s bewitched Christmas ein Feuerwehr Score von William Ross Jumanji Welcome to the Jungle Waterland - 2026 The Egyptian - FSM King Solomon´s Mines - Prometheus Holmies aka Holmes & Watson 22 Jump Street Preislich orientiere ich mich in den Vorstellungen auf Discogs bei vergleichbaren Angeboten.

Angebot ist ist leider weg.

Das mit Williams steht dort nicht, das habe ich woanders einst aufgeschnappt. Eben weil die Musik doch recht repetitiv ist, wollte Williams angeblich nicht mehr veröffentlichen als das, was schon für das Album zusammengestellt war. Deswegen schrieb ich auch "eventuell".

Das war aber auch nur ein einziger Sammler, der das dort postete mit äußerst diffusen, anscheinend damals bereits schon mehr als 5 Jahre alten Infos - und davon, daß Williams was dagegen hätte, stand auch nichts dabei. Von daher also alles sehr mit Vorsicht zu genießen: "One of the major soundtrack producers (can’t remember if it was Intrada, Varese, or Lala Land) once asked for suggestions and I suggested Born on the Fourth especially since there was a boot leg out. The actually wrote me back and said just wait it’s coming. That was over 5 years ago so I’ve always been curious what held it up. Maybe legal? Who knows."

Es befindet sich wohl etwas in Arbeit. Zumindest gab es 2024 auf der Intrada-Facebook-Seite Infos, dass wohl daran gearbeitet wird. Probleme waren wohl lizenzrechtlicher Natur und eventuell auch Williams selbst, der, ähnlich wie bei SUGARLAND EXPRESS, einer erweiterten Veröffentlichung im Weg stand. Ob das Album schon fertig ist und nur noch auf „approval" wartet, ist wohl nicht bekannt. Auch hier kann sich das über Jahre hinziehen, bis wirklich jedes der verwendeten Bilder im Artwork abgenommen ist. Und Tom Cruise ist ein beschäftigter Mann. Da können auch schon mal Jahre vergehen, bevor da ein OK kommt. Ähnliches ist passiert bei den X-Files-Boxen von LLL, die auch schon fertig waren und auf die Freigabe der Schauspieler für die verwendeten Fotos warten mussten. Oder bei LLLs WYATT EARP, wo Kevin Costner ewig nicht greifbar war.

Hallo zusammen, ich habe mir in den letzten Tagen das Stiefelchen zu John Williams‘ Score BORN ON THE FOURTH OF JULY angehört. Auch wenn die musikalischen Themen ein wenig repetitiv sind, ist es m.E. einer der besten Williams Scores aus dieser Schaffensperiode. Die emotionale Tiefe, die Johnny hier erreicht, bewegt mich sehr und beschäftigt mich seit ein paar Tagen (dies übertrifft er für mich nur mit seiner Musik zu ANGELA‘S ASHES). Meine Frage ist nun: Wieso gibt es keine offizielle erweiterte Veröffentlichung? Weiß darüber jemand etwas? Der Name ‚John Williams‘ müsste, wie sonst auch, für die Labels (Intrada, etc.) doch ein gefundenes Fressen sein und die CD würde sich gewiss stark verkaufen. Ich bin auf euer Feedback gespannt 🙂

Snow Files of the Week: "Journey North/Northern Lights" aus "MillenniuM", Episode "Luminary" (1997). Eine weitere sehr beliebte Folge unter Fans. Dieses Mal verschlägt es Frank Black nach Alaska auf der Suche nach einem vermissten jungen Mann. Eine Leiche wurde bereits gefunden, die vermeintlich der vermisste Mann ist, aber Frank spürt, dass da mehr dahinter steckt und dass der Mann noch lebt. Also macht er sich alleine auf, um die Wildnis Alaskas nach dem Mann zu durchsuchen. Mark komponierte für die Episode einen seiner herausragensten Scores der Serie. Die Musik reicht von eher folkigen Einschlägen mit Flöten- und Gitarren-Samples, bis hin zu sphärischen Klängen mit Chor, die die Szenen in der Nacht untermalen, in der Frank Zeuge des nördlichen Wetterleuchtens wird. Die Musik wurde auf dem zweiten Set von LLL veröffentlicht. Das Set ist auf 2.000 Exemplare limitiert und mittlerweile ausverkauft. Viel Spaß beim Hören!

Aber es besitzt nichts Heroisches, keinen Pathos, es ist nicht bombastisch genug. Das ist glaube ich der Punkt.

Und selbst das verstehe ich nicht. Das erste Stück des Films ist das ultra-fette und laute "One Battle After Another", das direkt einen Power-Akzent im Film setzt (und später noch zwei weitere Male an wichtigen Stellen im Film erklingt). Das ist doch Filmmusik, wie man sie sich wünscht: groß, laut, emotional direkt.

Wobei ich diesen 10-Minuten-Loop auch etwas enervierend fand (nicht das Stück an sich). Es liegt, glaube ich, auch an der grundsätzlichen Musikkonzeption. Wenn nicht das große Orchester spielt und sich nicht sofort ein Hauptthema einprägt, sind viele Hörer/Kritiker raus.

Dabei lief FRANKENSTEIN ja nicht mal im Kino... ONE BATTLE AFTER ANOTHER war immerhin ein echter Kinohit des Spätsommers und Herbstes, also gehört haben den Score sicher irgendwie alle. Glaube, die Leute reiben sich halt tatsächlich eher am "Geklimpere" - wie ich es öfter gelesen habe -, also am modernen Einsatz des Solo-Klaviers. Unfassbar, wie unbeliebt dieses bürgerlichste aller Instrumente doch ist...

Naja, bei den IFMCA-Nominierungen sieht es ja auch nicht groß anders aus. Bei "Beste Musik" des Jahres findet man da eben auch nur die beliebtesten Mainstream-Scores des Jahres. Die Nominierungen sind deshalb nicht per se falsch oder schlecht, aber es ist eben ein Problem der Mehrheitsfähigkeit und auch davon, was die Abstimmenden wirklich gehört haben. Bei Frankenstein hat jeder mal zumindest reingehört, bei Bugonia wäre ich da nicht so sicher.

Mag Andrew Morgan Smith. Irgendwie erstaunlich und schade, dass der nur so B-Filme abkriegt. Aber immerhin Budgets für Orchester bekommt.

Vielen Dank, das checke ich in Ruhe!