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Als Intrada den das erste Mal veröffentlichte, war ich noch in der Oberstufe und habe den bei Christian Krohn telefonisch bestellt. Insofern ist es schon okay, wenn der mal wieder kommt. Ich frage mich ein bisschen, wer da eigentlich die Zielgruppe ist. Wenn man den Beiträgen im anderen Thread glauben darf, dann interessieren sich die jüngeren Filmmusik-Fans ja anscheinend "nur noch für das moderne Blockbuster-Zeug", was ich ihnen - sollte es tatsächlich so sein - nicht verdenken kann. Weder lineares Fernsehen noch die ganzen Streaming-Anbieter machen einen mit dem prä-2000er-Kino vertraut, wie es in den 00er-Jahren nach normal war. Da konnte man ja auf Super-RTL noch Hitchcock-Schwarzweiß-Filme sehen (REBECCA & ICH KÄMPFE UM DICH). Wachsen also überhaupt noch Horner-Fans nach? Guckt die Gen-Z noch TITANIC oder BRAVEHEART? Oder rechnet man einfach mit den eingefleischten Boomer-, Gen-X- und Millenial-Filmmusikhörern, denen man die ganzen Expandierungen noch andrehen will? Intrada und Varèse haben ja auch früher Erweiterungen auf den Markt gebracht, ich glaube, warum uns das heute so trist scheint, liegt daran, dass einfach der gesamte CD-Output der Labels zurückgegangen ist und fast ausschließlich erweiterte Fassungen von bereits verfügbaren, auch bereits erweiterten Fassungen veröffentlicht werden. Intrada hat ja früher immer vier CDs pro Monat veröffentlicht, jede Woche 2. Da fielen die LP-Neuauflagen auf CD und Erweiterungen zwischen den Golden-Age-Western, Dramen und Noirs sowie den ganzen 70er-Sachen nicht so auf... Aber ich frage mich hier wirklich wieder, wer die Zielgruppe von so quirliger 80er-Filmmusik noch ist?

Zehn Jahre später, sind da genau die damals schon bekannten Namen, die weiterhin bekannten. Bei den anderen stieg die Bekanntheit wohl leider nicht. Oder täusche ich mich?

Allein die Tatsache, dass BSX veröffentlicht ist für mich ein Ausschlusskriterium....ein unzuverässiger Saftladen. Den Waxman kriegt man schneller über Ebay oder Discogs.

Gibts kurioserweise auf youtube hab ich gesehen. Is ca 5min länger, ein paar kurze schöne Variationen, aber langt dann eigentlich auch das Album.

Wenn die alten Alben OOP sind is ja nett wenn statt nur nem reissue noch die letzten Takte addiert werden. Ich kauf mir die aber nich nochmal. Hoffe schlicht die sind dann auch auf spotify mal. mir fällt eigentlich gar nichts mehr ein wo von Jerry noch irgendwas fehlt (das ich dann haben müsste)… freu mich auf Exorcist 3 irgendwann. wie wärs denn sonst auch mal mit ein paar Trevor Jones Expandierungen oder The Marine von Don Davis?

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. Franz Waxman: Legendary Hollywood Vol. 1 is a limited edition release of 500 units and is expected to begin shipping the week of May 3rd. 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 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, Morton 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. Dragon’s Domain Records presents the premiere release of BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens. 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 13th 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, to be distributed through buysoundtrax.com, presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for several projects in the Western genre from his extensive filmography appearing for the first time on compact disc. STORY OF A RODEO COWBOY was a 1963 two-reel television documentary produced by the David L. Wolper Production Company. The 24-minute black and white documentary was directed by Kent MacKenzie, filmed in Salinas, California, and narrated by John Willis. The short film follows the life and travels of a group of professional rodeo cowboys. WAGON TRAIN was a popular TV series that aired 284 episodes over eight seasons, first on NBC (1957–1962) and finally on ABC (1962–1965). Fried scored the second season episode, 'The Steve Campden Story,' directed by Christian Nyby (THE THING FROM ANOTHER WORLD, HELL ON DEVIL’S ISLAND). In this episode, Flint (Robert Horton) must find a way to get the wagon train around a snow-covered pass. On a scouting trek, he meets a father and son who are willing to help him, but they want to hike up the mountain… and the adventure ahead surprises them all. This episode was for Fried’s first Western film series and his only score for the show. TERROR IN A TEXAS TOWN was a 1958 Western film written by Dalton Trumbo and directed by Joseph Lewis, who had helmed 40 primarily action-oriented films from 1938 to 1958. TERROR IN A TEXAS TOWN is about a Swedish whaler (Sterling Hayden) who is out for revenge when he learns that a greedy oil man murdered his father for their land. It was Lewis’ last feature, after which he found a place in television work like many other Hollywood directors. Like other feature films by Lewis, such as GUN CRAZY, it has, over the years, acquired a cult following for Lewis’s stylistic flourishes, leading some to describe it as a Western film noir. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film well into his 90’s and passed away in February, 2023. Dragon’s Domain Records presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring the world premiere releases of music composed by Gerald Fried for these Western related projects. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson. GERALD FRIED: THE WESTERNS, VOLUME 1 is a limited edition release. GERALD FRIED: THE WESTERNS, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com . STORY OF A RODEO COWBOY 01. Pick Up Man (4:56) 02. Bronco Busting (5:20) 03. Barrell Man (5:24) WAGON TRAIN: THE STEVE CAMPDEN STORY 04. The Mountain (3:18) 05. Meet The Campdens (3:00) 06. Climbing The Mountain (6:29) 07. The Cave (7:02) 08. Top Of The World / Finale (5:41) TERROR IN A TEXAS TOWN 09. Prologue And Main Title (3:14) 10. The Saloon (2:27) 11. The Black Hat / A Father’s Death (2:02) 12. Hansen And The Boy (2:59) 13. End of Pepe (2:28) 14. Back To The Saloon (3:04) 15. Shootout And Finale (3:10) Total Time: 61:14 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley (WHEN A STRANGER CALLS, PUSHING DAISIES, THE LAST SHIP) for various projects from his filmography. THE JIM DOOLEY COLLECTION, VOLUME 1 opens with music from an industrial film Dooley was hired to score for Mercedes-Benz, entitled ‘The Mercedes-Benz Axor. The industrial film was meant to be used for promotional purposes and featured shots of the truck in question. The hit television series COSMOS based on the writings of author Carl Sagan was successfully rebooted in 2014 by Seth MacFarlane, Brannon Braga, Mitchell Cannold and Ann Druyan, featuring astrophysicist Neil deGrasse Tyson as the host. When COSMOS went into production, two composers were brought in to pen scores for each episode—one of them was Jim Dooley who was tasked to produce a series of themes that best demonstrated his proposed prescription to scoring the series. His demos were a huge hit with the producers. However, there was one alarming issue. The composer was already temporarily employed by the Ringling Bros. and Barnum & Baily Circus, preventing Dooley from accepting a role as composer for Cosmos. His demos for COSMOS are presented on this album for the very first time. Also included on this album are a smattering of rare tracks from obscure projects early in Dooley’s career. UNTITLED: 003-EMBRYO was a short film directed by Mike Goedecke. The plot centers around a certified agoraphobic who receives a wooden box with items inside and promise to fulfill his deepest fantasies if he feeds five dreams to a grotesque creature stored within the machine. The entire score is presented here. A collection of cues from the made-for-television sci-fi comedy AREA 52 appear next. AREA 52 was directed by Dooley’s college friend Adam Turner and starred Fred Savage. The plot revolved around a group of rag-tag government agents not good enough to guard Area 51 so they are assigned to the lesser Area 52. Hilarity ensues when they stumble into a legit mission requiring their services to help save the world. The final selection on the album is the entire orchestral score for Dreamworks’ animated short film FIRST FLIGHT about a fastidiously organized businessman whose perspective on life is forever changed through an unexpected encounter with a fledgling bird. Jim Dooley is an Emmy Award-winning composer/songwriter with a diverse repertoire spanning the film, television, video gaming and live theatrical industries.  He has earned accolades for his solo work as well as proud collaborations with many of the top names in music, from Hans Zimmer, Kristin Chenoweth to Babyface. Dooley is a graduate of New York University and upon completion of his degree moved to Los Angeles to study the art of film composing at USC in the SMPTV program with prolific scoring legends Christopher Young, Elmer Bernstein and Leonard Rosenman. He joined Media Ventures (now known as Remote Control Productions) in 1999 and collaborated with Hans Zimmer on THE DA VINCI CODE, PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, THE RING and many others. Dooley is currently the composer of the hit CW show WALKER Dragon’s Domain Records presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley, appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer. THE JIM DOOLEY COLLECTION, VOLUME 1 is presented as a disc-on-demand release. THE JIM DOOLEY COLLECTION, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com. The first 50 copies sold through the website will include a booklet autographed by composer Jim Dooley. 01. The Mercedes-Benz Axor (6:49) From The Promotional Video A SPACETIME ODYSSEY (Inspired by COSMOS) 02. Looking At The Stars (4:00) 03. Starscape (4:08) 04. Beyond The Solar System (1:51) 05. Solar Winds (3:25) 06. Europa (2:05) 07. The Void (2:12) 08. The Martian Landscape (2:38) 09. The Outer Planets (2:17) 10. The Asteroid Belt (2:13) 11. Suite From EMBRYO (12:39) AREA 52 12. Opening / Dante’s Friends / First Mission (3:55) 13. First Cable / Haps Discovered (3:30) 14. Chase Dropped Off / Haps Tire Yard / Return / Van Hangar (1:51) 15. Return / End Credits (3:52) 16. Suite From FIRST FLIGHT (8:31) Total Time - 66:40 BSX Records and Bukimisha the Weird Society are proud to present the a Capella recreation of Akira Ifukube’s unreleased score to the 1961 film spectacular BUDDHA. To chronicle the origin of Buddhism, Daiei Studios spared no expense to create large and elaborate sets that were filled with hundreds of extras, all captured in 70mm by VistaVision cameras. Ifukube utilized the skills of The Tokyo Symphony Orchestra and the result was one of the maestro’s most magnificent efforts, an emotionally moving assemblage of thoughtful and awe-inspiring motifs. Shockingly, an original soundtrack album has never been released, though an abbreviated suite was included on a compilation album (it was just audio lifted from the film). The original master tapes were shipped to England for mixing and apparently never returned to Japan. Plus, Ifukube was apparently dissatisfied with their work. Bukimisha the Weird Secret Society is a self-proclaimed ‘secret society’ (pronounced “Boo-key-may-sha” and roughly translating into “Creepy Company”) and have enthralled Japanese audiences over several decades. They have transformed their love of music into a unique art form, building an impressive catalog currently exceeding 170 albums! Many of these feature selections from Akira Ifukube’s vast output of classical compositions and complete film scores. Bukimisha was even given the opportunity to perform before the legendary composer at one of his final birthday celebrations. BSX Records is proud to once more offer the distinctive performance art of Bukimisha to movie music fans around the world. This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali, and comments from scholar Erik Homenick (akiraifukube.org) on the music featured. This CD set is a limited run of 500 units. 01. Opening 2:47 02. Above and Below Heaven, I Am Worthy 2:49 03. Martial Arts Tournament 4:33 04. Kapila Castle 5:17 05. The Tragedy of Princess Yashodhara 3:41 06. Bodhi Tree 8:33 07. Kishimojin 2:59 08. Hanako Castle 1:58 09. Enlightenment of Kunara 5:49 10. Devadathha’s Divine Power 10:49 11. Rajgir 4:39 12. Collapse of the Rasatta Temple 7:43 13. Closing 5:16 14. Return of Buddha, Devadathha (unused) 3:12

"13. Krieger" wäre schon toll. Auch eine erweiterte Fassung von "Timeline" wäre vorstellbar. Wünschen würde ich mir eine verbesserte und erweiterte Fassung von "Mephisto Waltz" und "The Other". Wenn ich es aber in der letzten Goldsmith Odyssee richtig verstanden, bringt Intrada demnächst die General Electric Theater Scores, welche unter Leigh Phillips mit de Prague Philharmonic Orchestra neu eingespielt wurden, als CD heraus. Da ich mir bislang den Download noch nicht gegönnt habe, freue ich mich auf was neues von Goldsmith ganz besonders....

Dann bau schon mal an für die nächsten Inchon-Ausgaben😇

Wenn man nach der Intrada-Lineup-Liste geht, dürfte eh in 1-2 Monaten wieder eine Goldsmith-Expandierung anstehen. Könnte unter Umständen sogar 13th WARRIOR sein.

Im Moment scheinen die Labels halt auf einem Horner-Zug zu sein - was da im letzten Jahr alles gekommen ist - schon krass Bei Goldsmith gehen langsam die Titel aus; könnte mir aber gut vorstellen, daß dieses Jahr noch eine Deluxe vom "13th Warrior" kommt Ein 75 min B**tl*g schwirrt ja schon seit Jahren im Netz und : ja, bei Goldsmith kaufe ich immer noch jeden neuen Schnipsel, @Stefan Schlegel 😉

Es gibt ja auch durchaus noch Horner Scores, die noch gar nicht expandiert wurde. Sein Score zu Radio zum Beispiel.

Ich glaube Du hast mich da etwas mißverstanden, Sebastian. Meine Formulierungen oben waren gar nicht speziell auf Dich gemünzt oder darauf, daß Du jetzt die neue Intrada-Edition kaufen willst, sondern eher auf das, was generell so abgeht und wie weltweit die Sammler, die ja eine Ausgabe bereits haben, heutzutage in der Regel reagieren. Außerdem habe ich selbst an 2009 sogar die damalige Intrada-CD von HONEY, I SHRUNK THE KIDS gekauft und zuvor auch die Bootleg-CD zumindest als Kopie gehabt. Ich mochte also die Musik schon immer ganz gern. Da liegst Du daher völlig falsch, daß ich generell eine Abneigung gegen US-Scores oder Horner hätte. So einfach ist das beileibe nicht. Mir geht hingegen nur die ewige Zweit- und Drittverwertung und das "immer noch mehr" von einem Score Haben-Müssen inzwischen ganz schön auf den Geist. Für mich wäre die 2009er-Veröffentlichung - wie auch anderes von Horner, was damals von Intrada kam wie etwa SOMETHING WICKED THIS WAY COMES - völlig ausreichend gewesen. Meine einzige Hoffnung auf eine mich ansprechende Erstveröffentlichung auf Intrada dieses Jahr wäre noch der angekündigte Tiomkin-Titel. Wäre schade, wenn das gar auch wieder ein Reinfall werden sollte.

Tia, sorry, für die gute Sache werde ich das hier nicht boykottieren, denn erstens habe ich den Score noch nicht, und es ist nun mal eine starke Musik (mit Blick auf einen anderen aktuellen Thread schreibe ich bewusst nicht "ich finde" die Musik stark, denn sie ist es). Hoffen wir, dass demnächst doch mal wieder etwas mehr passiert in Sachen Erstveröffentlichungen. Gegen Hollywood-Scores habe ich ja, im Gegensatz zu dir, grundsätzlich nichts.

"Faul" ist meiner Ansicht nach eigentlich der falsche Ausdruck für das, was da so abläuft. Viel eher ist das alles doch genau durchkalkuliert. Intrada kennt die Sammlerszene zumindest bezüglich US-Scores in und auswendig und weiß daher im Detail, was noch am gewinnbringendsten zu vermarkten ist. Und das sind halt eben leider Gottes immer die gleichen paar Namen (und auch Titel), während das Spektrum noch vor 10 oder 15 Jahren viel breiter angelegt war, auch nicht jede Veröffentlichung unbedingt Gewinn einbringen mußte. Denn wo sind die meisten Fans denn angesiedelt? Natürlich im Goldsmith, Horner oder Williams-Lager wie man es ja auch hier in diesem Forum ständig sieht. Also wird alles von den Komponisten gebracht, was nur möglich ist. Ändern kann sich an der Lage erst dann was, wenn ein Großteil der Sammler, die alles von einem der Komponisten unbedingt komplett haben müssen, irgendwann mal bei dem Spiel nicht mehr mitmachen, wenns ihnen zu dumm wird. Aber der Punkt scheint immer noch nicht erreicht zu sein, sondern es wird gekauft und gekauft. Also muß Intrada auch nicht umdenken und sich ganz neu orientieren, sondern kann genau so weitermachen wie bislang. Erst wenn sich die Flops in der Sparte mehren sollten, müßte sich Intrada wirklich was einfallen lassen, um zu überleben. In der Szene allerdings auf was komplett Anderes umzusteigen wie es Kollege Souchak hier mal vor ein, zwei Jahren vorgeschlagen hatte, dürfte wohl alles andere als einfach und kaum machbar sein.

Acht Tage noch und seit gefühlten Ewigkeiten ist auch kein Unterstützer mehr dazugekommen. Da es wohl kein Wunder geben wird, hoffe ich auf eine neue Kampagne, die besser kommuniziert wird und die dann finanziell auch realistisch ist...

Die habe ich damals verpasst. Die Neuauflage nehme ich deswegen nun mal mit. Super Score! Trotzdem schade, dass es "faul" weiter geht bei Intrada.

Auf dem Album war jedenfalls schon weit mehr als im Film verwendet wurde. Kann mir kaum vorstellen, dass auf der Oscar-Promo noch wesentlich mehr drauf ist.

Ohje... Auch MR. BASEBALL ist natürlich keine schlechte Musik. Und WARLOCK erst recht nicht. Allein das tolle, harmonisch ziemlich Goldsmith-untypische Choralthema im "Main Title", wow! Das war schon Vorbild für einige meiner eigenen Kompositionen. Unglaublich prägnant!

Ich wußte, daß Du darauf reagieren würdest...haha 😉

Nicht mal mehr bei Goldsmith-Expandierungen, die doch in derselben Art ablaufen? Das wäre mir ja ganz neu.

Sehe ich genauso - bei diesen ewigen Expandierungen mache ich nicht mehr mit

Ganz netter Score mit leichten Ermüdungserscheinungen so dass ich zusätzliche 10 Minuten nun definitiv nicht brauche.

FLYWAYS: THE UNTOLD JOURNEY OF MIGRATORY SHORE BIRDS, Cezary Skubiszewski ONE DAY, Anne Nikitin, Jessica Jones & Tim Morrish KUNG FU PANDA 4, Hans Zimmer & Steve Mazzaro THE PARADES, Yojiro Noda

Damals bei der ersten Veröffentlichung war von ca 10 fehlenden Minuten die Rede