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Für mich Folter für die Ohren....Kann ich nix mit anfangen...wie schon bei Teil 1 🙄

Wirklich nicht? Dann gib doch mal einen Teil der bisherigen Erkenntnisse bei Google ein Film - 2011 - Surfbrett 😎

...und hat ihn gar zum ehemaligen US-Präsidenten gemacht...

Vorfreude ist die schönste Freude 🙂

Oh dann ging’s aber flott bei dir. Bei mir kam bisher nichts an.

Auf mich braucht hier niemand zu warten. Komme ich sowieso nicht drauf. Gefällt mir allerdings auch nicht sonderlich.

Heute sind meine CDs eingetroffen: sehr schöne Aufmachung in Anlehnung an Part One. Greg Ruth ist ne Wucht. Gepresste CDs und nach erstem Hördurchgang gefällts.

Zum Musik-Hören: nicht zwingend... 😉 ... würde aber bis zur Auflösung noch bis Donnerstag warten, falls noch jemand am Grübeln ist. Was ich schade finde als noch klassischer CD-Hörer, ist die Art der Veröffentlichung, leider nur eine "halbe Lösung"...

Der Regisseur des Films scheint zumindest gerne mit Dennis Quaid zusammen zu arbeiten 😉

Ennio Morricone - GUNS FOR SAN SEBASTIAN So sehr ich Morricones Musik für die Leone-Western auch schätze, erfreue ich mich in den letzten Jahren immer mehr an anderen Genrebeiträgen, insbesondere IL GRANDE SILENCIO, der in seiner zarten lyrischen Klanglichkeit für mich noch interessanter ist als die mit breitem Pinsel ausgemalten Melodienbögen aus SPIEL MIR DAS LIED VOM TOD. Auch GUNS FOR SAN SEBASTIAN hatte ich schnell lieb gewonnen, als ich das FSM-Album zum ersten Mal gehört habe, zumal Morricone hier nicht sparsam zu Werke gegangen ist. Rein vom Setting her handelt es sich bei diesem Film zwar nicht um einen Western, aber Morricone verwendet diverse Stilelemente seiner berühmten Genrebeiträge. Mit gleich drei einprägsamen Themen (wobei das "Religionsthema" handlunsgbedingt schnell verstummt), furiosem Actionmaterial und einem Schuss "mexikanischer" Folklore kreiert Morricone hier eine überaus abwechslungsreiche Musik, die über die die gsamte Laufzeit zu unterhalten weiß - zumal sich der Anteil von Spannungspassagen in Grenzen hält. Besonderes Schmankerl: Morricone verwendet hier gleich zwei Sängerinnen, deren charakteristische Stimmen diverse seiner Musiken veredelt haben: Edda Dell'Orso steuerte die Vokalisen für das wunderschöne Liebesthema bei, während Gianna Spagnulo weitaus zupackender noch einmal auf ähnliche Art und Weise ihre Stimmgewalt unter Beweis stellen konnte wie in NAJAVO JOE.

Interessant. Na, dann schlage ich demnächst vielleicht mal zu.

Danke. An anderer Stelle habe ich gelesen, wie irritiert Young war, da niemand ihm gesagt hat, wie die Musik klingen soll. Natürlich gab es keine Anweisungen des Regisseurs, auch keine Temp Tracks oder Sonstiges. So viel künstlerische Freiheit ist natürlich für jeden Komponisten ein Traum. Ich hoffe, dass die CD vor Dezember kommt und wir nicht mehr ganz so lange warten müssen. Übrigens habe ich Rückmeldung von der Europäischen Filmphilharmonie bekommen, die mir schreiben, dass es mehrere Anfragen gäbe und man davon ausgehen kann, dass die Musik bald wieder live gespielt wird! 😀

Die bisherigen CD Veröffentlichungen waren für mich immer sehr zwiespältig. Auf der Promo und besonders auch auf der 2008iger CD ermüden mich die Themen sehr schnell und nach 10 bis 15 Minuten habe ich genung. Selten habe ich den Score durchgehend gehört. Die Zusammenstellungen waren sehr einseitig und repräsentierten nicht den gesamten Score. Besonders das Finale kommt in keiner Version so richtig "rüber". Auch die neue Filmversion macht da keine Ausnahme. Das ist nicht wie im Film. Trotzdem ist The Baby´s Demise toll und dann kann man auch ruhig wieder das bekannte Thema im Endtitle hören. Es bringt dann die körpereigenen Säfte wieder in Einklang. Trotz aller Einwände ist die Doppel CD ihr Geld wert und rückt den Score und den Fokus mehr in Richtung Horror.

Bei Spotify sind die beiden CDs schon einige Zeit gelistet. Mich sprechen das Coverdesign und die Verlockung nach einem verbesserten Klang an. Seit Tagen bin ich angefixt und überlege einen Kauf, obwohl ich die 4-teilige Varese CD Serie mit der Richard Mills/The Queensland Symphony Orchestra besitze. Der Klang auf Spotify überzeugt, doch ist der Sound auf CD identisch und rechtfertig sich somit ein Kauf? Die Varese Einspielungen sind recht gelungen, der Sound etwas muffig, aber im Großen und Ganzen nach über 30 Jahren ganz okay. Somit spare ich mir das Geld. Wer die Varese CDs nicht hat, ist mit den Citadel CDs mehr als gut bedient. Sie beeinhalten einen tollen Überblick über einen der ganz Großen der Filmmusik. Stellenweise finde ich Waxman im Vergleich zu Steiner oder auch Korngold zu den interessanteren und innovativsten Komponisten des Golden Age. Die Suiten zu Demetrius and the Gladiators, Huckelberry Finn, The Nun´s Story, The Bride of Frankenstein, Night &The City, Night unto Night, The Silver Chalice und besonders die 4.Varerse CD sind eine Empfehlung wert!

Noch mehr von BSX: Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1, featuring music from several films from the composer’s lengthy filmography, focusing on Westerns and World War II centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills. FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1 includes music from RED MOUNTAIN, CIMARRON, THE INDIAN FIGHTER, THE ADVENTURES OF HUCKLEBERRY FINN, UNTAMED, THE FURIES, TASK FORCE, DESTINATION TOKYO, HOTEL BERLIN, MISTER ROBERTS and OBJECTIVE, BURMA!. Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more. Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA. Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year. This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson. WESTERNS 1. THE PIONEER SUITE 10:23 Music From Red Mountain, Cimarron and The Indian Fighter 2. THE ADVENTURES OF HUCKLEBERRY FINN Overture 6:18 3. UNTAMED 7:18 Suite: Prelude; Capetown Street; By the River; Vorwarts & Finale 4. THE FURIES 7:01 Suite: Prelude; Juan & Vance; The Mark Of The Furies; The Romance Revived & The King Of The Furies WORLD WAR II 5. TASK FORCE Liberty Fanfare 0:50 6. DESTINATION TOKYO 6:22 A Montage For Orchestra 7. HOTEL BERLIN Cafe Waltzes 8:32 8. MISTER ROBERTS 3:19 Suite: Prelude; Main Title; Final Scene; End Cast 9. OBJECTIVE, BURMA! 12:06 Suite: Prelude; Take-Off; In the Plane; Jumping; The Patrol; Stop Firing; No Landing; Up the Hill; Invasion; Retreat; Finale Total Time: 62:33 Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2, featuring music from several films from the composer’s lengthy filmography, focusing on Comedy and Thriller centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills. FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2 includes music from THE HORN BLOWS AT MIDNIGHT, ON BORROWED TIME, THE PARADINE CASE, THE DEVIL DOLL, SORRY, WRONG NUMBER, DARK CITY, NIGHT UNTO NIGHT and NIGHT AND THE CITY. Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more. Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA. Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year. This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson. COMEDIES 1. THE HORN BLOWS AT MIDNIGHT 6:46 Athaneal The Trumpeter; Overture For Trumpet And Orchestra 2. ON BORROWED TIME Suite: Prelude; Miss Nellie, Pud, & Mr. Brink; Where the Woodbine Twineth 10:44 THRILLERS 3. THE PARADINE CASE Rhapsody for Piano and Orchestra12:20 4. THE DEVIL DOLL Souvenir de Paris Waltzes 6:21 5. SORRY, WRONG NUMBER Passacaglia For Orchestra 7:01 6. DARK CITY Suite: Prelude; Stroll in the Dark; Finale 12:36 7. NIGHT UNTO NIGHT Dusk: A Setting For Orchestra 8:29 8. NIGHT AND THE CITY Nightride For Orchestra 8:05 Total Time: 72:42 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens for the 1979 television miniseries directed by Michael O’Herlihy, developed for television by Gwen Bagni and Paul Dubov. The cast included Leslie Uggams, Olivia Cole, Louis Gossett Jr., Robert Hooks, Bill Overton, David Downing Celeste Holm, Lee Grant, Larry Gates, Jan Sterling, Eileen Heckart, John Anderson, Harry Morgan, Estelle Parsons, Barbara Barrie, Andrew Duggan, Leslie Nielsen, Hari Rhodes, George Kennedy, Ed Flanders, Victor Buono, Barry Sullivan, Paul Winfield and Robert Vaughn. BACKSTAIRS AT THE WHITE HOUSE was a 1979 NBC television miniseries presented in four parts and based on the 1961 book ‘My Thirty Years Backstairs At The White House’ by Lillian Rogers Parks (with Frances Spatz Leighton). The series, produced by Ed Friendly Productions, was the story of behind-the-scenes workings of the White House and the relationship between the staff and the First Families. BACKSTAIRS AT THE WHITE HOUSE was nominated for 11 Emmy Awards at the 31st Primetime Emmy Awards, winning for Outstanding Achievement in Make-up. At its heart, BACKSTAIRS AT THE WHITE HOUSE is a story about resilience, self-sacrifice, and the enduring human spirit. Through its diverse cast of historical characters, the series celebrates the unsung heroes whose contributions often go unnoticed in the annals of American history. Whether it's the dedicated housemaids, the skilled chefs, or the loyal butlers, each member of the White House staff plays a vital role in upholding the traditions and dignity of the presidential residence. The music for BACKSTAIRS AT THE WHITE HOUSE was crafted by composer extraordinaire Morton Stevens. Stevens gained industry-wide recognition for his work as the composer for the mega-hit television series HAWAII FIVE-O, which boasted one of the most recognizable themes in the history of television. Stevens’ music for BACKSTAIRS AT THE WHITE HOUSE is a veritable journey through six decades of period-accurate American folk music, with a European romantic twist. The modest-sized orchestra helps to create a close intimacy between the characters on screen and the audience. The main theme, often expressed in the upper strings, is peppered throughout the entirety of the series. The individual presidential administrations are scored as if each were its own “episode” within the larger framework of the narrative. There are individual themes and motifs representing the Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower families. Along the way, Stevens’ music evolves throughout the various administrations, mirroring the ongoing maturation of the United States as a nation. Born In Newark, New Jersey in 1929, Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICE WOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981 miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he both received Emmy nominations. The liner notes are written by author and composer Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland. The music is presented on two CDs. When the score for BACKSTAIRS AT THE WHITE HOUSE was recorded , it was common for studios or networks to house the master tapes wherever storage space was available, even if proven detrimental to the materials over time. There was no foresight in preserving these reels for posterity. Many recordings during this period (especially for television) have not survived the passage of time. Magnetic tape warps and will eventually disintegrate if not properly stored in precise conditions. Several tracks of BACKSTAIRS AT THE WHITE HOUSE weathered significant damage which can be heard in the final transfer. Effort was taken to mend the damaged reels and digitally remove as much of the unwanted artifacts as possible. However, a handful of tracks were scarred beyond repair and are properly labeled as “Damaged” on this album presentation. BACKSTAIRS AT THE WHITE HOUSE is a limited edition release and is expected to begin shipping the week of May 20th and can be ordered at www.buysoundtrax.com. CD 1 EPISODE 1 (Taft, Wilson, Harding) 1. Main Theme (2:12) 2. The Story Begins / Getting To Work /Montage (4:48) 3. The Fan / Sneaking Food / Lillian in Catholic School (2:25) 4. Maggie’s Fine Dress / The Tafts Leave /Enter The Wilsons (4:19) 5. May 1914 / The Death of Mrs. Wilson / Hardly Dignified (2:17) 6. War Is Imminent / A Letter / War Is Over / Wilson Collapses (4:06) 7. Lincoln’s Bed / Fooling Senators / Meet The Prince Of Wales (7:03) 8. Wilsons Leave White House / Preparing For The Hardings / End Credit Theme (2:48) 9. Forgotten Coat / Contaminated Blood / Harding Walks Out / The Suicide / Goodbye (5:19) EPISODE 2 (Harding, Coolidge, Hoover) 10. Annie’s Farewell / Efficient Coolidge / Bowl Of Peanuts (3:38) 11. Coolidge To The Dress Shop / Miss Jaffrey Resigns (4:11) 12. Repo Men Take Freezer / Lillian Goes To Work / First Day On The Job / Coming Up (5:26) SOURCE CUES 13. Marching Band (Source) (3:57) 14. Party (Source) (3:24) 15. Piano A (Source) (2:00) 16. Victrola (Source) (0:24) 17. The Charleston (Source) (0:45) 18. Music Box (Source) (0:16) DAMAGED TRACKS 19. Spring 1912* / Mrs. Taft’s Stroke* / Lillian’s Surgery* / Lillian’s Crutches* (4:34) 20. Recap Episode 1 / Illegal Booze / Teapot Dome* / Mrs. Harding and Maggie (3:31) 21. Spring 1912* (Alternate) (0:22) 22. Main Theme* (Alternate) (2:06) Total Time - Disc One: 70:51 CD 2 EPISODE 3 (Hoover, Roosevelt) 1. Main Theme (Long Version) (2:25) 2. Roosevelts Take Over / Lillian and FDR Bond / First Maid / Cleaning Frenzy (3:28) 3. I Am Never Going To Leave You / Salary Cut / Louis Howe Is Dead / Maggie Retires (5:50) 4. Miss LeHand Has A Stroke / Fraser Says Goodbye / FDR Talks of War (6:09) EPISODE 4 (Roosevelt, Truman, Eisenhower) 5. Recap Episode 3 (3:46) 6. 1942 / Nothing But A Towel / Maggie Returns / Tea Tasting / No Excuse For Slovenliness (2:32) 7. Take Me Home / Fraser’s Death (3:20) 8. Lillian and FDR / The Trumans Take Over (4:15) 9. Mushroom Cloud / The Scrapbook / Blair House / Shootout / Surprise Birthday Party (5:22) 10. The Mays Funeral / Maggie’s Last Breath (5:01) 11. Lillian’s Last Day / I Am Going To Write A Book (3:40) 12. End Credit (1:05) SOURCE CUES 13. Happy Days Are Here Again (Source) (2:14) 14. Newsreel (Source) (0:38) 15. Radio Play (Source) (0:56) 16. Big Band (Source) (0:45) 17. Piano B (Source) (0:42) 18. Party A / B (Source) (3:16) 19. Piano C (Source) (0:27) DAMAGED TRACKS 20. Recap Episode 2 / Money’s Gone* / Secret Service (5:33) 21. Face To Face With Hoover / Henry Loses His Job* / Maggie Collapses (6:47) 22. Main Theme* (Short Version) (1:29) Total Time - Disc Two: 70:38 Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring music composed by David Michael Frank ( ABOVE THE LAW, THE STAIRCASE, THE MOLE). This fourth collection of David Michael Frank’s film music includes music from four projects from the composer’s extensive filmography that show off two sides of the composer’s incredible talent. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 includes music from POISON IVY, CALL ME, SUBURBAN COMMANDO and GOING UNDER. The music is presented on two CDs. Released in 1992, POISON IVY is an erotic thriller directed by Katt Shea, starring Drew Barrymore, Sara Gilbert, Tom Skerritt and Cheryl Ladd. It tells the tale of Ivy (Barrymore), a teenage temptress who befriends an introverted high school student named Sylvie (Gilbert). Ivy weaponizes her seductive charm to worm her way into the sanctity of Sylvie’s affluent family. For POISON IVY, Frank composed a delicious main theme for Ivy, a quarter-note melody played by the violins with violas doubling an octave below supported by an eighth-note ostinato in the harp. Released in 1988, CALL ME, written by Karyn Kay and directed by Sollace Mitchell, starring Patricia Charbonneau, Stephen McHattie, David Strathairn, and Steve Buscemi is about a young journalist named Anna (Charbonneau) who strikes up a relationship with an obscene phone caller whom she mistakes for her boyfriend and in the process becomes entangled in a mysterious murder. Frank’s rhythm-heavy electronic score for Call Me was recorded live using three synthesizer players, Simmons electronic drums, fretless bass, and an EWI or electronic wind instrument. Released in 1991, SUBURBAN COMMANDO was written by Frank A. Cappello, directed by veteran Burt Kennedy, starring Hulk Hogan, Christopher Lloyd and Shelley Duvall. Hogan plays Shep Ramsey, an interstellar warrior hellbent on a mission to capture intergalactic despot General Suitor (William Ball). Ramsey fails miserably at his objective and is subsequently ordered by his superiors to 'take a vacation’. Infuriated, Ramsey smashes the control systems of his spacecraft and crash-lands on Earth. He befriends a weak-willed architect named Charlie (Christopher Lloyd) and is marooned with Charlie’s family until his spacecraft can be repaired. Frank’s rousing orchestral score for SUBURBAN COMMANDO is brimming with colloquial riffs, familiar spoofs, and heart-felt homages to a variety of musical masterpieces. Finally, also released in 1991, GOING UNDER was written by Darryl Zarubica and Randolph Davis, directed by Mark W. Travis, starring Bill Pullman, Wendy Schaal, Chris Demetral, Ned Beatty, Robert Vaughn, Roddy McDowall, Richard Masur, Joe Namath and Michael Winslow. The plot revolves around the submarine USS Sub Standard and its mission to recover a nuclear weapon ahead of the Russian navy in the aftermath of an international disaster. Frank’s pun-filled orchestral score is chock-full of quotes, quips, and musical chortles. David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition. Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring the world premiere releases of POISON IVY, CALL ME, SUBURBAN COMMANDO and GOING UNDER, digitally mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is presented on two CDs and is a limited edition release of 500 units. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is expected to begin shipping the week of June 19th, 2024. The first 100 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge. CD 1 POISON IVY 01. Ivy’s Theme (3:38) 02. A Merciful Murder (3:07) 03. Ivy and Georgie (2:58) 04. Balcony Blues (2:28) 05. Mother and Child (2:01) 06. Dances With Nymphs (2:20) 07. Seduction (3:20) 08. Damn Dog (1:57) 09. Sex On The Hood (2:43) 10. Unhappy Birthday (2:22) 11. Funerals and Forlorn Friends (3:19) 12. Road Curves / The Switch (3:10) 13. From IV to Ivy (3:34) 14. Sylvie’s Discovery (5:34) 15. End Credit Suite (4:00) 16. Sex On The Hood (Alternate) (2:21) CALL ME 17. Anna’s Theme (2:58) 18. Witness To A Murder (1:23) 19. Erotic Fantasies (4:30) 20. Web Of Deception (3:41) 21. A Taste Of Forbidden Fruit (2:18) 22. Desperate Escape (1:38) 23. Fatal Finale (3:58) Total Time, Disc 1 - 70:16 CD 2 SUBURBAN COMMANDO 01. Main Title (4:27) 02. Dashing Through (3:44) 03. Earthlings Suck (5:04) 04. The Big Apple (1:13) 05. Zoot Suitor (3:00) 06. Guns and Toes (3:50) 07. Rabbit Punch (4:28) 08. Repo Man (5:04) 09. Mighty Marsha (1:48) 10. E.T. and She (2:23) GOING UNDER 11. Main Title (2:54) 12. Water Musik (1:30) 13. Cracked Crew (2:24) 14. Sub Trek (1:45) 15. Dutch Treat (2:42) 16. Loop The Loop (3:12) 17. A Biscuit, A Basket (3:01) 18. The Hunt (3:38) 19. The World Watches (1:19) 20. Time Out (1:42) 21. Cap’n Biff (2:46) 22. Sub Sushi (2:44) 23. End Credits (4:13) Total Time, Disc 2 - 69:49 Dragon’s Domain Records presents the world premiere release of the original motion picture soundtrack for DEATH HUNT, featuring music composed by Jerrold Immel (HOW THE WEST WAS WON, DALLAS, MEGAFORCE) for the 1981 action adventure film directed by Peter R. Hunt ( ON HER MAJESTY’S SECRET SERVICE), written by Michael Grais and Mark Victor, starring Charles Bronson, Lee Marvin, Angie Dickinson, Andrew Stevens, Carl Weathers, Ed Lauter, Scott Hylands, Jon Cedar, William Sanderson, Maury Chaykin, August Schellenberg, Len Lesser and Henry Beckman. Yukon Territory, November 1931... On his way to Rat River, trapper Albert Johnson (Bronson) comes across an organized dog fight. Johnson breaks up the fight as one of the dogs is fatally injured. Johnson offers the dog’s owner, Hazel (Lauter), money to buy it but Hazel takes offense to Johnson’s intrusion and vows to catch up to him. Later, Hazel takes several of his men and follows Johnson to an isolated cabin where he has been keeping to himself and allowing the dog time to heal from its wounds. After an unsuccessful attempt to ambush Johnson, the dog is killed and while Johnson is trying to defend himself from Hazel’s mob, he kills one of the men. Hazel returns to the nearest town at Rat River to report what’s happened to Sergeant Edgar Millen (Marvin), the officer in charge of the local Royal Canadian Mounted Police outpost. Millen is suspicious of Hazel’s interpretation of the events that have occurred. He reluctantly agrees to investigate Hazel’s story and forms a posse and sets out for the cabin. Arriving at the cabin, Millen attempts to parlay with Johnson, expressing his suspicions about Hazel’s claims and offering Johnson his protection if he will return to the outpost until his case can be heard by a judge. The parlay is disrupted by one of Hazel’s men opening fire on Johnson and in the course of defending himself, Johnson kills more of Hazel’s men. Johnson is now well fortified inside the cabin while the posse is outside, with the disadvantage of having to deal with night falling and the temperature dropping. Later in the evening, Millen has one of his men prepare some dynamite to use on the cabin. After the dynamite goes off, some of the men approach the cabin and Johnson suddenly appears, opening fire and killing one of Millen’s men. Johnson disappears in the aftermath, setting off one of the largest manhunts in the history of the region... DEATH HUNT was produced by Raymond Chow, along with veteran producer Albert S. Ruddy and Canadian producer Murray Shostak. Ruddy had achieved great success producing films such as THE GODFATHER and THE LONGEST YARD and many hours of television on shows such as HOW THE WEST WAS WON and was one of the creators of HOGAN’S HEROES. To score DEATH HUNT, Albert S. Ruddy turned to composer Jerrold Immel, with whom he had a relationship based on employing him for the television series of HOW THE WEST WAS WON, which eventually evolved into THE MACAHANS, starring James Arness of GUNSMOKE fame. Jerrold Immel was born in September, 1936 in Los Angeles, California, in the middle of the Great Depression. His father was a fine musician and taught band, orchestra and chorus for many years. In 1951, he joined the American Federation of Musicians and played baritone sax. Immel signed on with Four Star Television in 1959, where he was trained thoroughly as a copyist and librarian. In 1964, he followed composer Herschel Gilbert to CBS Television, where he continued to work until 1973. He was sponsored by composer Jerry Fielding into the Composers and Lyricists Guild Of America. Immel had a successful career composing music for television projects such as GUNSMOKE, HOW THE WEST WAS WON, HAWAII FIVE-O, LOGAN’S RUN, WALKER, KNOTS LANDING, THE TWILIGHT ZONE, GUNS OF PARADISE and WALKER, TEXAS RANGER and many television films. His most famous work is the theme music for the night time soap opera DALLAS. Immel has also scored many theatrical films including SOURDOUGH, MEGAFORCE and PROGRAMMED TO KILL. 01. Main Title / Dog Fight (6:07) 02. Man’s Best Friend / The Cabin (5:00) 03. Millen’s Posse / Shoot Low(5:44) 04. Thawing Out / Dynamite / He’s Gone (2:44) 05. Would It Make Any Difference? / In Pursuit (3:00) 06. Millen and Johnson Spot Each Other (1:52) 07. Hazel and Alvin Fight / Running With The Caribou (3:10) 08. Aerial Pursuit (4:22) 09. Another Hard Choice / Across The Ice Peaks (2:02) 10. One Last Chance / Now You’re In Charge (5:06) 11. End Credits From Death Hunt (3:35) 12. Rat River (Source) (2:55) 13. Outpost (Source) (3:15) 14. Trading Post (Source) (2:04) 15. My Darling Clementine (Source) (2:37) Total Time: 54:11 Dragon’s Domain Records proudly presents the fourth volume in our ongoing series of music from classic science-fiction films. It’s only the end of the world . . . again as we salute the late, great Roger Corman’s third outing as director, THE DAY THE WORLD ENDED (1955 THE DAY THE WORLD ENDED (1955), scored by Ronald Stein. The film begins just after a nuclear attack, described as “Total Destruction Day,” and much of humanity is apparently wiped out. A rag-tag collection of survivors gather at the home of a doomsday prepper and his daughter. They struggle with the threat of radiation, limited food and water, and a three-eyed mutant creature lurking outside! The second film in this collection features music from the criminally under represented composer Elisabeth Lutyens, who became Britain’s first female feature film composer when she began accepting commissions to write scores for both Hammer and Amicus studios. THE EARTH DIES SCREAMING (1964) has another group of survivors huddling down in a small English village inn, only be confronted by two space-suited figures that have the touch of death! Terence Fisher (HORROR OF DRACULA, 1958) directed this alien invasion film making good use of his limited resources with atmospheric lighting, imaginative camera work and well-chosen location shooting. This fourth volume in this Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland. Exclusive liner notes by author David Hirsch explore these classic films from the sci-fi craze of the 1950s and 60s. This CD set is a limited run. The Golden Age Of Science Fiction Volume 3 is expected to begin shipping the week of June 19th, 2024. 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. DAY THE WORLD ENDED (1955 - Ronald Stein) 01. Opening and Main Titles (4:42) 02. The Big Event (3:44) 03. The Survivors Gather (2:57) 04. Strange Shadows (2:46) 05. The Watcher / Fight (2:27) 06. Love, Suffering and Loneliness (5:00) 07. Heavy Pressure (4:17) 08. Stalking and Chase (3:57) 09. Signal and Invasion (3:04) 10. Kidnapping in the Rain / Finale (5:03) 11. The S.F. Blues (Jazz Source) (1:56) 12. Day the World Ended (1955) Theatrical Trailer (2:36) THE EARTH DIES SCREAMING (1964 - Elisabeth Lutyens) 13. Main Title from “The Earth Dies Screaming” (2:34) 14. Investigating a Dead Town (2:11) 15. Suspicions / Be Careful (3:23) 16. They Are Here (1:40) 17. Danger (2:51) 18. Extermination Everywhere (3:47) 19. Finale / End Titles (4:42) 20. The Earth Dies Screaming (1964) Theatrical Trailer (2:04) Total Time 66:37

Das Intrada-Album ist eine 1:1-Wiederveröffentlichung des ursprünglichen Albums. Hat man auch nicht so oft. Selbst am Mastering wurde wohl nichts geändert. Auf dem Album war aber sowieso schon mehr Musik drauf, als im Film zu hören ist. Und jetzt gibt es eben ein Booklet mit Infos dazu. Intrada announces a reissue of Angelo Badalementi's charming and bittersweet score to The Straight Story. Directed by David Lynch, The Straight Story furthered their partnership that had previously included Blue Velvet, Mulholland Drive and the acclaimed Twin Peaks. The score focuses on two primary themes. At the core of the score is one of his most poignant melodies, "Rose's Theme," reflecting a deeply caring daughter mischaracterized as "slow,” a tender guitar and strings expressing the unbearable loss of a woman who’s had her children taken from her after being unfairly blamed for a kitchen accident. For the character of Alvin, Badalamenti keenly tunes in on his earnest, sagebrush appeal with a theme that features a sly fiddle-and-guitar rhythm that goes from a leisurely stride to a gentle canter. It's all part of a lovely work for a lovely and earnest story. This latest CD release of the score features the same contents as previous releases (which already ran longer than the score in the film proper), but with the addition of in-depth liner notes by Daniel Schweiger as well as updated packaging including newly created key art. The album will also be available digitally. The story involves 73-year-old Alvin Straight (Richard Farnsworth). Though poor eyesight had prevented him from getting a driver’s license, nothing would stop him from seeing his estranged brother, Henry, who’d suffered a stroke. Setting out on a lawnmower strong enough to tow a trailer, Straight determinedly rode 240 miles at a top speed of five mph over the course of six weeks, traveling from his hometown of Laurens, Iowa, over the Mississippi to Henry’s residence in Mount Zion, Wisconsin. Play all clips 01. Laurens, Iowa (2:45) 02. Rose’s Theme (2:55) 03. Laurens Walking (4:11) 04. Sprinkler (2:56) 05. Alvin’s Theme (4:24) 06. Final Miles (4:06) 07. Country Waltz (2:45) 08. Rose’s Theme (Variation) (3:07) 09. Country Theme (3:37) 10. Crystal (4:07) 11. Nostalgia (6:51) 12. Farmland Tour (3:08) 13. Montage (7:24) TOTAL CD TIME: 52:24

Bisschen lieblos isses aber gemacht… elendig lange Ausklänge… track 21 und 24 sind im Prinzip derselbe Track, wurde im Film auch wiederholt, da allerdings mit nem anderen Schluss versehen (wahrscheinlich vom Music Editor), the setup revised is ein 44-48hz Fehler unterlaufen… im Film wurde der Score eh sehr zerschnippselt, also ne direkte Filmversion kann man eh kaum haben (wollen). Finde in dieser Version jetzt fallen die ganzen Temp Tracks allerdings kolossal auf: aliens, alien3, sneakers, patriot games… mindert nicht mein Vergnügen am Score, Young baute die Sachen gut ein ohne dass es ZU frappierend ist und er hatte ja auch erstmal seine eigenen Versionen. Ich finds geradezu erschreckend, daß den Machern gar nichts Besseres einfiel als diese Scores als Temp zu nehmen und die auch noch so kopiert wollten.

Habe mir heute Abend den Film angeschaut und bin hin und her gerissen. Zum Einen ist es ein schön unaufgeregter, aber gleichzeitig auch wieder "unerbittlicher" Hill-Western, in dem sich die Lage der Figuren als immer auswegloser erweist - und natürlich ist die Konsequenz gewaltvoll. Das Finale hat mich ein bisschen an den Schluss von OPEN RANGE erinnert, der ja auch mit einem spektakulären Feuergefecht in einer kleinen Westernstadt aufwartet. Allerdings störten mich einige visuelle Aspekte. Man hat sich an den reichhaltig abgestuften sepia-artigen Brauntönen irgendwann satt gesehen. Ich verstehe ja, das es ein Farbkonzept gibt und das passt auch gut zum Stoff, aber irgendwann ertrinken die Bilder in der immergleichen mattbraunen Soße. Ärgerlich auch, dass wieder sämtliche Blutspritzer animiert waren - dann soll man es lieber gleich lassen. Ich finde es sehr bedauerlich, dass selbst die ganzen Haudegen, die ja früher noch literweise Kunstblut mit Bloodsquibs versprüht haben, hier die "saubere", aber eben auch unecht aussehende Variante nehmen. Besonders geärgert hat mich die Kameraführung. Ich dachte, wir hätten die orientierungslos wackelnde und schwenkende Kameras der 2010er mal endlich mal hinter uns gelassen. Hill reiht hier leicht schwankende Nahaufnahmen einzelner Figuren aneinander mit teils kruden und unbeholfen wirkenden Schnitten, ohne dass man ein Gefühl dafür bekommt, wie die Figuren in Räumen oder auf dem weiten Feld positioniert sind. Das wirkt alles wahnsinnig schlampig und bin ich von Hill weitaus besser gewohnt. Insofern war DEAD FOR A DOLLAR eine halb verpasste Chance. Im großen und ganzen macht der Film noch Spaß, aber da wäre rein von der filmischen Umsetzung mehr dringewesen. Die Musik hätte ich bei vielen anderen Regisseuren als belanglos abgestempelt, allerdings muss ich sagen, dass sie für Walter Hill überraschend melodisch war. Bei EXTREME PREJUDICE hat er ja verlangt, dass Goldsmith die größeren Bögen zurückschraubt und Ry Cooder hat ja eher atmosphärisches geliefert. Xander Rodzinski hat sich hier passenderweise an der gut abgestanden Italowesternklischeekiste bedient. Nicht schlecht, aber eben auch kein großer Wurf.

Okay. Score fehlt mir noch aber triggert mich noch nicht ausreichend.

Ok, scheint ja gelöst worden zu sein… Bis zu den Vocals hätte ich auf Cliff Eidelman getippt, aber dann war es nicht mehr der Fall. Aber M.B. haut hin.

Ok. Jetzt habe ich es auch. 😇

Ich glaub ich habe ihn😁Stammt der Film aus dem Jahr 2011 und braucht man ein Surfbrett?

Basiert auf einer wahren Geschichte.

Zwar nicht Martial Arts, aber einen gewissen Sportbezug hat der Film...

Nein @TheRealNeo war da schon auf dem richtigen Weg...