Alexander Grodzinski

Dann auch noch mal hier. Leider nur digital, aber besser als gar nicht. Wie schon hier auf dem Cover zu sehen und dann fortgeführt im digitalen Booklet, wurden Fotos von Mark mit KI bearbeitet. Sein Aussehen wurde leicht verändert. Vermutlich, um das Copyright für die Fotos zu umgehen. Hier das Original:

Hab ich gar nicht mitbekommen. Danke für den Tipp!

Neu von Dragon's Domain: DDR818 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 8: FILM NOIR THRILLERS II. The 1950s were Albert Glasser’s busiest as a film composer, scoring many films across multiple genres. With this eighth collection of the composer’s music, we are pleased to explore two films focusing on film noir that Glasser scored in the1950s: 1954’s DRAGON’S GOLD and 1956’s FLIGHT TO HONG KONG. Released in 1956, FLIGHT TO HONG KONG was directed by Joseph M. Newman, written by George Callahan, Gustave Field and Leo Townsend, starring Rory Calhoun, Barbara Rush, Dolores Donlon, Pat Conway, Werner Klemperer, Mel Welles and Paul Picerni. A trans-Pacific airplane carrying a shipment of industrial diamonds is hijacked and forced to land at a remote airstrip. The passengers include a famous novelist, Pamela (Rush), and her handsome seatmate, Tony (Calhoun). He turns out to be in charge of the Macau-based arm of the international crime syndicate responsible for staging the theft. The passengers eventually arrive in Hong Kong, where Pamela is swarmed by the press, and Tony is reunited with his girlfriend, Jean (Donlon), who works at the nightclub owned by his adopted mother, Mama Lin (Soo Young). Albert Glasser scores the film with his usual vigor, peppering several orchestrations with an exotic-sounding instrument,which seems to be equally at home in both the Far East or outer space. Glasser was also responsible for the background music in the club sequences. Released in 1954, DRAGON’S GOLD was directed by Jack Pollexfen and Aubrey Wisberg, written by Wisberg and Pollexfen, starring John Archer, Hillary Brooke, Noel Cravat, Philip Van Zandt, Marvin Press and Dayton Lummis. DRAGON’S GOLD follows Mack Rossiter (Archer), an investigator for a bonding company sent to Hong Kong tofind out if one of their clients actually stole $7,000,000 worth of gold. No sooner does he arrive than he becomes entangled in a web of murders, intrigues and double-crosses that include the client's wife, Vivian (Brooke), another man posing as the client and someone else claiming that he’s the legitimate owner of the gold. Born January 25,1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television,he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN. Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 8: FILM NOIR THRILLERS II, featuring the premiere release of original music composed by Albert Glasser for DRAGON’S GOLD and FLIGHT TO HONG KONG, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author David Hirsch. THE ALBERT GLASSER COLLECTION VOLUME 8: FILM NOIR THRILLERS II is a limited edition release and is expected to begin shipping the week of April 27th, 2026. FLIGHT TO HONG KONG 01. Logo (1:05) 02. Prologue (With Narration) (0:49) 03. Main Title (1:05) 04. Terminal and Boarding (1:58) 05. Flares Can Be Dangerous (2:34) 06. Welcome Home Mr. Tony (4:32) 07. “Happiness Is Where You Are, Mama Lin“ (2:35) 08. Tony’s Story (2:27) 09. The Upjohn Job (1:46) 10. It’s Our Lucky Night (2:05) 11. ”His World and Yours Are Not The Same” (2:54) 12. Still Owe Me A Hong Kong Goodbye (2:00) 13. ”When A Man Makes A Mistake, All Of His Friends Suffer” (2:57) 14. Tony Betrays Minnow Bait / Thought You Were His Friend (3:03) 15. Running Into Pamela (2:32) 16. Everything Changes (1:19) 17. Planning The Heist (2:05) 18. “His Last Thoughts Were Of You” (1:53) 19. Badmouthing Pamela / Fight / Can't Get Any Deader (3:00) 20. Tramp Steamer To Philippines (1:15) 21. Tiger Balm Gardens (3:59) 22. Flight To Hong Kong (2:34) (Vocal: Rory Calhoun) 23. Sweetener (0:52) 24. Al’s Tribute to Calvin Jackson M55 tk1 (unused) (3:19) DRAGON’S GOLD 25. Prelude (1:04) 26. Welcome To Hong Kong (3:21) 27. General Wong Kai Hai (3:35) 28. The Search (3:34) 29. Alley Attack (3:22) 30. Mack and Vivian / Taxi Ride (2:57) 31. Finding the Gold (2:31) 32. The Journey Home / Finale (2:30) Total Time: 78:59 DDR859 Dragon’s Domain Records presents THE KILLING OF SISTER GEORGE, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1968 dramatic film directed by Robert Aldrich (THE FLIGHT OF THE PHOENIX, THE DIRTY DOZEN, WHATEVER HAPPENED TO BABY JANE?), written by Frank Marcus and Lukas Heller, starring Beryl Reid, Susannah York, Coral Browne, Patricia Medina, Hugh Paddick, Cyril Delevanti, Sivi Aberg, William Beckley, Elaine Church, Brendan Dillon and Mike Freeman. Released in 1968, THE KILLING OF SISTER GEORGE is based on the play by Frank Marcus and includes Beryl Reid reprising her original stage performance as June Buckridge. The film is notable for its frank exploration of sexuality, identity, and psychological dependence, topics that were still considered controversial in mainstream cinema at the time. THE KILLING OF SISTER GEORGE centers on June Buckridge (Reid), a middle-aged actress best known for playing the beloved character “Sister George,” a district nurse in a popular BBC radio soap opera “Applehurst.” However, her professional life is in jeopardy as she suspects the producers are planning to kill off her character due to declining ratings and concerns over her off-screen behavior. Off-set, June is a frequently drunk,outspoken, cigar-chomping rabble-rouser in a turbulent and often abusive relationship with the much younger and immature Alice McNaught (York), who plays with dolls and has a minor job in the fashion industry. Life spirals out of control after an inebriated Joan sexually assaults two young Catholic nuns in a taxi, causing the vehicle to crash. A complaint is filed with the TV network by the diocese that places her in direct conflict with producer Mercy Croft (Browne), who also has an interest in Alice. This impending loss of identity for June, both as an actress and as the persona she has come to embody, forms the emotional core of the film. Director Robert Aldrich and composer Gerald Fried worked together several times, on films such as TOO LATE THE HERO and THE GRISSOM GANG.THE KILLING OF SISTER GEORGE was their first collaboration. 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 theyoung 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 the1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series,movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered asa key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of THE KILLING OF SISTER GEORGE, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis. THE KILLING OF SISTER GEORGE is a limited edition release. THE KILLING OF SISTER GEORGE is expected to begin shipping the week of April 27th, 2026. 01. Main Title / Making A Drink (4:21) 02. TV Funeral (1:36) 03. Drunken Taxi Ride (1:01) 04. Sister George On Her Motorcycle / Eating A Cigar (2:28) 05. George And Childie / Going Home (3:46) 06. Bar Scene (1:25) 07. “I’ll Be Nice” (0:45) 08. TV Wedding / Reassurance / George’s Show Dreams (1:41) 09. The Letter / George And Childie (3:22) 10. Spat / Thinking Of Sister George (2:28) 11. Back To Dancing (Party Source) (1:11) 12. I Can Do Anything (Party Source) (4:39) 13. Slow Dance (Party Source) (3:41) 14. “Isn’t Your Name Ruth?” (Party Source) (5:24) 15. The Lorry / The Crash (2:36) 16. I Met Mrs. Croft (3:30) 17. Wrap Party (Party Source) / George Drunk / Farewell To “Applehurst” (Party Source) (4:33) 18. Bitter Feelings (Party Source) (2:58) 19. Sad Memories (Party Source) (5:13) 20. George Hides Them (3:39) 21. Bedroom (5:41) 22. Alone (2:41) 23. Credits / Postlude (3:06) 24. By The Light Of The Silvery Moon (Party Source) (0:32) Total Time: 73:18 DDR855 Dragon’s Domain Records presents POPE JOAN, featuring music composed by Maurice Jarre (LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, WITNESS) for the 1972 historical drama directed by Michael Anderson (AROUND THE WORLD IN 80 DAYS, THE DAM BUSTERS, THE SHOES OF THE FISHERMAN), written by John Briley, starring Liv Ullmann, Jeremy Kemp, Natasha Nicolescu, Peter Arne, Leslie-Anne Down, Franco Nero, Maximilian Schell, Patrick Magee, Trevor Howard and Olivia de Havilland. Released in 1972, POPE JOAN follows Joan (Ullmann), a pious young woman in medieval Europe who becomes a scholar of theology,disguises herself as a man, rises through the hierarchy of the Catholic Church, and is eventually elected Pope. French composer Maurice Jarre was best known for his sweeping musical canvases for the epic films of director David Lean, including LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, and A PASSAGE TO INDIA, all of which won Academy Awards for the composer. Jarre collaborated with many of the other great directors of the ’60s and ’70s, including William Wyler, Richard Brooks, René Clément, John Frankenheimer, Alfred Hitchcock, Luchino Visconti, John Huston, Elia Kazan, and others. He scored more than 150 films and television projects during his long career. His filmography includes projects such as THE COLLECTOR, RYAN’S DAUGHTER, THE PROFESSIONALS, IS PARIS BURNING?, GRAND PRIX,TOPAZ, THE DAMNED, THE MAN WHO WOULD BE KING, THE LAST TYCOON, VILLA RIDES,JESUS OF NAZARETH, THE LIFE AND TIMES OF JUDGE ROY BEAN, SHOGUN, LION OF THE DESERT, THE MESSAGE, FATAL ATTRACTION, GORILLAS IN THE MIST, GHOST, DEAD POETS SOCIETY, and many more. Originally released on compact disc in 2009 and very scarce, Dragon’s Domain Records brings POPE JOAN back to the marketplace, featuring music composed and conducted by Maurice Jarre. The music has been newly mastered by James Nelson at Digital Outland, and the liner notes written for the previous release by James Fitzpatrick have been reprised. POPE JOAN is a limited edition release and is expected to begin shipping the week of April 27th, 2026. 01. Main Titles (4:02) 02. Young Joan (2:56) 03. Young Joan Given A Crucifix (3:27) 04. Prelude To Rape (1:19) 05. Joan’s Rape / Joan As A Nun (7:27) 06. Cecilia’s Song (1:20) 07. Joan And Brother Adrian (1:32) 08. The Nunnery (4:39) 09. Joan’s Masturbation (5:05) 10. Saxon Menace (1:41) 11. Saxon Raid On The Nunnery (6:22) 12. Joan As A Monk (3:11) 13. Army Camp / Athens Monastery (5:42) 14. Journey To Rome (1:39) 15. Pope Leo III (3:19) 16. Pope Joan (2:41) 17. Finale / Joan’s Death (5:06) BONUS TRACKS 18. Pope Joan Original Main Title (The Devil’s Impostor) (4:44) 19. Rock Music (Slow) (3:28) 20. Rock Music (Fast) (2:21) Total Time: 72:10 STC77150 Citadel Records, a division of BSX Records, presents ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE composed by the legendary Bernard Herrmann (PSYCHO, VERTIGO, NORTH BY NORTHWEST), conducted on this release by the great Elmer Bernstein (THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD). Released in 1966, TORN CURTAIN was to be the ninth in a momentous series of collaborations between director Alfred Hitchcock and composer Bernard Herrmann. Written by Brian Moore, Willis Hall and Keith Waterhouse, starring Paul Newman, Julie Andrews, Lila Kedrova and Wolfgang Kieling, the film follows Michael Armstrong (Newman), an American scientist who publicly defects to East Germany as part of a secret mission to steal a formula before planning his escape back to the West. In all of their previous collaborations, Herrmann had been given a free hand to compose his music without any concern for the commercial exploitation of the music for financial gain. But the market for soundtrack albums had started to change and one of these changes included accounting for the inclusion of a theme or a hit song on the album designed to boost sales and would not necessarily serve the film in a practical way. Herrmann resisted these inclinations as long as he could but it would be TORN CURTAIN that would end their creative collaboration. After Herrmann had gone through the process of creating his score in the usual manner and began to record it, he was interrupted by the director on the recording stage, who expressed his misgivings about what he was hearing and that was the end of their relationship... 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 Symphony Orchestra. 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. From 1974 to 1979, composer Elmer Bernstein, a great believer in preserving the film music of the past, indulged an expensive whim: Re-recording excerpts from memorable scores by esteemed colleagues ranging from Alfred Newman and Miklos Rozsa to Alex North and Bernard Herrmann. This collection would span fourteen LPs and include many previously unreleased film scores, including the first recording of Herrmann’s lost score to TORN CURTAIN. Later, these historic recordings were released on compact disc by Film Score Monthly in 2006 in a limited edition box set that has continued to become scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from the composer’s estate with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer. ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE features Bernard Herrmann’s music conducted by Elmer Bernstein, performed by the Royal Philharmonic Orchestra. ALFRED HITCHCOCK’S TORN CURTAIN - THE LOST SCORE is a limited edition soundtrack release. ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE is expected to begin shipping the week of April 27th, 2026. 01. Torn Curtain Prelude (2:24) 02. The Radiogram / The Hotel (2:46) 03. The Phone / The Bookstore (5:24) 04. Valse Lente (3:06) 05. The Travel Desk / Gromek (3:18) 06. The Farmhouse (2:18) 07. The Body (2:34) 08. The Killing (1:58) 09. The Toast / The Photos (3:00) 10. The Cab Driver / The Hill (3:44) 11. Discovery / The Blackboard (2:55) 12. The Formula / The Corridor (2:53) 13. The Bicycles / The Bus (3:04) 14. Torn Curtain Prelude (Reprise) (2:23) Total Time: 41:47 BSXDG0225 BSX DIGITAL presents the premiere release of music from the several television movies composed by the great Mark Snow (THE X FILES, MILLENNIUM). Few composers have shaped the sound of modern television as profoundly as Mark Snow. Over a career spanning more than four decades, Snow created an unmistakable musical language, one built from haunting textures, subtle electronic pulses, and evocative melodic fragments. His scores have accompanied mysteries, thrillers, supernatural dramas, and human stories alike, making him one of the most prolific and respected composers in the medium. Although much of his reputation rests on his mastery of supernatural and science-fiction storytelling, Snow’s talents were equally at home in dramatic narratives and character-driven stories. While many listeners immediately associate Mark Snow with his celebrated television themes, his catalog contains a wealth of lesser-known scores that reveal the full breadth of his musical imagination. MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES brings together selections from several of those projects — television films and series episodes that allowed Snow to explore a variety of dramatic moods and storytelling styles. MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES includes music from PROJECT ALF, THE DANGER OF LOVE, WITNESS TO THE EXECUTION, PERVERSIONS OF SCIENCE, THE BIGAMIST, AMERICAN STORY, CHILDREN OF THE DUST, A PLACE FOR ANNIE and ROYAL MATCH. From 1996, PROJECT ALF was a continuation of the beloved television series in which the mischievous extraterrestrial finds himself in government custody. Snow’s score balances humor, warmth, and gentle science-fiction adventure. Released in 1992, THE DANGER OF LOVE: THE CAROLYN WARMUS STORY (1992) offers a darker tone. Based on a notorious real-life case, the film examines obsession, betrayal, and murder. Snow underscores the psychological tension with restrained but unsettling musical textures. From 1994, In WITNESS FOR THE EXECUTION, the composer confronts a chilling premise: a near-future television network planning to broadcast a live execution for ratings. Snow’s music heightens the moral unease of the story while maintaining the suspense of a high-concept thriller. Science fiction returns in PERVERSIONS OF SCIENCE. “Dreams of Doom” is an episode from the short-lived anthology series inspired by Tales from the Crypt. The story of a professor trapped in a labyrinth of dreams gave Snow an opportunity to craft an eerie and surreal musical atmosphere. More human dramas appear with THE BIGAMIST and AMERICAN STORY. In these films, Snow explores complex emotional landscapes, shifting from irony and deception to the lingering emotional scars of wartime. CHILDREN OF THE DUST tells a sweeping historical story set against the violent conflicts of the American frontier, while the poignant A PLACE FOR ANNIE centers on the relationship between a nurse and her HIV-positive foster daughter. Finally, ROYAL MATCH presents a lighter romantic tale of an American woman entering the rigid world of European royalty. BSX Digital presents MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES, featuring the premiere release of music from PROJECT ALF, THE DANGER OF LOVE, WITNESS TO THE EXECUTION, PERVERSIONS OF SCIENCE, THE BIGAMIST, AMERICAN STORY, CHILDREN OF THE DUST, A PLACE FOR ANNIE, and ROYAL MATCH, featuring music composed by Mark Snow. The music has been remastered by James Nelson at Digital Outland and includes liner notes by G.B. Kemner and Scott Davis. I. Suite from PROJECT ALF (1996) (4:43) 2. Suite from THE DANGER OF LOVE (THE CAROLYN WARMUS STORY) (1992) (5:07) 3. Suite from WITNESS FOR THE EXECUTION (1994) (4:44) 4. Dreams of Doom suite (From PERVERSIONS OF SCIENCE) (1997) (12:49) 5. Suite from MAN WITH THREE WIVES (aka THE BIGAMIST) (1993) (5:21) 6. Suite from AMERICAN STORY (1992) (4:37) 7. Suite from CHILDREN OF THE DUST (1994) (9:50) 8. Suite from A PLACE FOR ANNIE (1994) (6:14) 9. Suite from ROYAL MATCH (1985) (9:56) Total Time: 63:21

Auch einer der Scores von Snow, die ruhig mal eine Veröffentlichung bekommen dürften.

Snow Files of the Week: "Suite from Pearl Harbor II: Pearlmageddon" (2001). Wer schon immer mal wissen wollte, wie Mark Snow im Hans Zimmer/Trevor Rabin Modus klingt, der ist hier genau richtig. Die Musik zu diesem Kurzfilm machte Mark viel Spaß. Wie unschwer zu erkennen, ist er eine Parodie auf die Bay/Bruckheimer-Actionfilme und brauchte natürlich auch genau diesen Sound. Die Tracks von Mark sind relativ kurz, da der Film auch nur 11 Minuten lang dauert, aber dennoch ein großer Spaß. Viel Vergnügen!

Nun auch auf Vinyl: Music composed, arranged and conducted by John Barry Title Song sung by Lulu Lyrics by Don Black Limited Edition of 700 Units “GLITTERING END GOLD” Variant – EXCLUSIVE to La-La Land Records La-La Land Records, Metro-Goldwyn-Mayer and Universal Music Enterprises proudly present a remastered and expanded limited edition vinyl LP re-issue of composer John Barry's original motion picture score to the ninth 007 film THE MAN WITH THE GOLDEN GUN. Produced by Albert R. Broccoli and Harry Saltzman, the 1974 film stars Roger Moore as James Bond with Christopher Lee as Francisco Scaramanga, and is directed by Bond veteran Guy Hamilton. Hot off a stellar debut in Live And Let Die, Moore returns in The Man With The Golden Gun, a film that would also mark the return of Oscar® winning composer John Barry to the franchise, providing his first score for Moore’s 007. The composer accompanies the globe-trotting adventure with yet another accomplished work – with 007 motifs, familiar and new, blended within an irresistible meld of classic orchestra, rock and jazz. With lyrics by Don Black, the bombastic title song is brought to life by iconic Scottish singer Lulu. Expanded beyond previous vinyl editions and with highly enhanced audio quality, The Man With The Golden Gun is unleashed like never before within this deluxe presentation. Produced by Neil S. Bulk, remixed by Chris Malone from high-resolution digital transfers of 2" tapes provided by MGM and mastered by Doug Schwartz, this remastered 2XLP score presentation, pressed on 180 Gram colored vinyl, showcases the music of The Man With The Golden Gun in thrilling fashion. The liner notes are by journalist and author Jon Burlingame, and the sharp art design is by Jim Titus. TRACK LISTING: SIDE A 17:34 Gun Barrel / The Island 1:36 Scaramanga's Fun House 4:37 Main Title: The Man With The Golden Gun (Performed by Lulu) 2:35 Getting The Bullet 2:43 Macau / Forever Hold Your Piece 2:04 Following Andrea 1:43 Scaramanga Strikes 2:05 SIDE B 16:41 Hip's Trip 3:19 Chew Me 2:03 Quite Titillating 1:02 Grisly Land 2:12 Take Mr. Bond To School / Chula / Escape 1:30 Kung Fu Fight 1:54 20,000 Baht 1:22 J.W. Pepper / Bond Rides Off :39 The Death Of Hai Fat / New Chairman 1:22 Moments 1:01 SIDE C 16:28 Goodnight Goodnight 5:22 You Must Be Good / In The Boot / Car Keys 2:07 Let's Go Get 'Em 3:48 Flying Car :58 In Search Of Scaramanga's Island (Film Version) 2:33 Bond's Arrival / The Solex Agitator / The Sun / Solar Power 1:32 SIDE D 15:05 Return To Scaramanga's Fun House 6:26 Absolute Zero :59 Retrieving The Solex Agitator 2:45 Slow Boat From China 1:38 End Title: The Man With The Golden Gun–Reprise (Performed by Lulu) 3:06 Total Album Time: 65:49 This is a vinyl LP release.

Laut dem Intrada-Zoom-Meeting von letzter Woche sind die Master Tapes von ROCKY V immer noch verschollen. Und scheinbar war es ein Wunder, dass Intrada von ROCKY II überhaupt irgendwas in den Archiven von MGM gefunden hat. Und das auch nur nach sehr langer und intensiver Suche. Es steht ja auch im Ankündigungstext, dass sie nach dieser langen und intensiven Suche nur zwei Viertelzoll-Bänder gefunden haben, die zwar auch Cues enthalten, die nicht im Film verwendet wurden, aber es fehlen die Tracks, die aus dem ersten Film übernommen und für den zweiten neu aufgenommen wurden. Daher ist es eben ein Expanded Release und kein Complete. Ob sie also auch Bänder von ROCKY und ROCKY III gefunden haben, ist fraglich.

Snow Files of the Week: "Main Title/Phil Checks Out/Memories of Caroline/Graveyard" aus dem TV-Thriller "Caroline at Midnight" (1994). Mark zeigt mit diesem Score seinen Film-Noir-Stil. Das Main Theme, welches Mark auch in der X-Files-Folge "3" aus der zweiten Staffel benutzte, taucht auch hier wieder auf. Victorias Geständnis begleitet Mark mit seinem mysteriösen Piano. Insgesamt hat Marks Score einige Jazz-Elemente, sowie seine typischen dunklen und brodelnden Klanglandschaften. Der Score wurde von Dragon's Domain auf "The Mark Snow Collection Volume 2" veröffentlicht, zusammen mit dem Score zu "Seduced and Betrayed". Die CD ist auf 2.000 Exemplare limitiert. Viel Spaß beim Hören!

Eine Neu-/Wiederveröffentlichung von Beat auf LP und CD: Beat Records is proud to present the world premiere on CD of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe’s Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. In this movie, we have a lot of modern-day elements such as the struggle against authoritarianism, technology, bullying attitudes from the not-too-specific organization with which Mike was employed, and the search for a lost treasure hidden inside a plane 120 meters below the surface of the ocean which apparently can only be retrieved by the protagonist. To accomplish this feat, Mike seeks the collaboration of Acapulco (Jorge Luke) and faces a series of inconveniences and hostility, with everything playing out in the presence of the sea's most dangerous predator. Also notable is the remarkable performance by the director as a mysterious killer who is operating in the background while evil (or would-be evil) criminals such as Ramon (Werner Pochat), Donovan (Michael Forest), and Gomez (Eduardo Fajardo) pursue their agenda aided by their minions. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. We have plenty of orchestrations of this theme, literally everything. In one version, the rhythm section hits like Sylvester, another time with strings in the style of Sister Sledge, then here comes the brass as if it were a Bee Gees cue, but holy Mary, it's undeniably the De Angelis bros, and you recognize them in the details, accents, and overall orchestration. If only I had them here while writing these notes, I would hug them gratefully for the umpteenth fucking cool emotion popping up from this time capsule. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments. In December 2025, during Music Day Roma in the presence of Guido De Angelis and Enzo Castellari, we presented the soundtrack in a special vinyl release of only 50 copies featuring the signatures of the composers and the director. An the event, Enzo confirmed something he's never tried to hide, which is his enormous love for this movie, and it’s not difficult to understand the reasons: his (as always) notable and inspired direction, the performance of one of his most faithful collaborators, Franco Nero, the story itself, developed with great taste and skill, the Caribbean setting, the intrigue, the underwater adventures, and the presence of one of the ocean's most fascinating predators, the shark, directed like a true actor in many scenes, including the fights. I'm convinced that the main reason for the affection that Enzino (as my father used to call him) has for this movie lies in the epic scene where Franco Nero is knocked out by the character he was playing. I wonder how many times the director has pulled his friend's leg for that amazingly-filmed knockout punch he gave him on the set of Il cacciatore di squali. For all lovers of genre cinema, it's such a cult scene that crowns an amazing movie featuring a crazy score that reminds us, once again, why we still love genre movies and the music by Guido & Maurizio De Angelis. The LP is offered in a coloured (Blue) version. Graphic layout by Daniele De Gemini, mastering by Enrico De Gemini. Limited edtion to 450 copies. Tracklist A Side 1 Il cacciatore di squali - seq. 1 4:05 2 Il cacciatore di squali - seq. 2 2:18 3 Il cacciatore di squali - seq. 3 3:13 4 Il cacciatore di squali - seq. 4 1:34 5 Il cacciatore di squali - seq. 5 2:08 6 Il cacciatore di squali - seq. 6 2:35 7 Il cacciatore di squali - seq. 7 1:59 B side 1 Il cacciatore di squali - seq. 15 1:34 2 Il cacciatore di squali - seq. 16 4:39 3 Il cacciatore di squali - seq. 17 1:24 4 Il cacciatore di squali - seq. 18 1:30 5 Il cacciatore di squali - seq. 19 2:22 6 Il cacciatore di squali - seq. 20 3:13 7 Il cacciatore di squali - seq. 21 2:01 8 Il cacciatore di squali - seq. 22 0:54 Total Lenght: 36:03 Music composed, orchestrated and performed by Guido DE ANGELIS (SIAE), Maurizio DE ANGELIS (SIAE) ℗ & © 1979 EAR Edizioni Musicali (SIAE) Beat Records is proud to present the world premiere on CD of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe’s Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. In this movie, we have a lot of modern-day elements such as the struggle against authoritarianism, technology, bullying attitudes from the not-too-specific organization with which Mike was employed, and the search for a lost treasure hidden inside a plane 120 meters below the surface of the ocean which apparently can only be retrieved by the protagonist. To accomplish this feat, Mike seeks the collaboration of Acapulco (Jorge Luke) and faces a series of inconveniences and hostility, with everything playing out in the presence of the sea's most dangerous predator. Also notable is the remarkable performance by the director as a mysterious killer who is operating in the background while evil (or would-be evil) criminals such as Ramon (Werner Pochat), Donovan (Michael Forest), and Gomez (Eduardo Fajardo) pursue their agenda aided by their minions. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. We have plenty of orchestrations of this theme, literally everything. In one version, the rhythm section hits like Sylvester, another time with strings in the style of Sister Sledge, then here comes the brass as if it were a Bee Gees cue, but holy Mary, it's undeniably the De Angelis bros, and you recognize them in the details, accents, and overall orchestration. If only I had them here while writing these notes, I would hug them gratefully for the umpteenth fucking cool emotion popping up from this time capsule. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments. In December 2025, during Music Day Roma in the presence of Guido De Angelis and Enzo Castellari, we presented the soundtrack in a special vinyl release of only 50 copies featuring the signatures of the composers and the director. An the event, Enzo confirmed something he's never tried to hide, which is his enormous love for this movie, and it’s not difficult to understand the reasons: his (as always) notable and inspired direction, the performance of one of his most faithful collaborators, Franco Nero, the story itself, developed with great taste and skill, the Caribbean setting, the intrigue, the underwater adventures, and the presence of one of the ocean's most fascinating predators, the shark, directed like a true actor in many scenes, including the fights. I'm convinced that the main reason for the affection that Enzino (as my father used to call him) has for this movie lies in the epic scene where Franco Nero is knocked out by the character he was playing. I wonder how many times the director has pulled his friend's leg for that amazingly-filmed knockout punch he gave him on the set of Il cacciatore di squali. For all lovers of genre cinema, it's such a cult scene that crowns an amazing movie featuring a crazy score that reminds us, once again, why we still love genre movies and the music by Guido & Maurizio De Angelis. The CD is offered in a transaparent jewel case featuring a 12 pages booklet. Graphic layout and liner notes by Daniele De Gemini, mastering by Enrico De Gemini. Limited edtion to 500 copies. Tracklist 1 Il cacciatore di squali - seq. 1 4:05 2 Il cacciatore di squali - seq. 2 2:18 3 Il cacciatore di squali - seq. 3 3:13 4 Il cacciatore di squali - seq. 4 1:34 5 Il cacciatore di squali - seq. 5 2:08 6 Il cacciatore di squali - seq. 6 2:35 7 Il cacciatore di squali - seq. 7 1:59 8 Il cacciatore di squali - seq. 8 3:22 9 Il cacciatore di squali - seq. 9 3:26 10 Il cacciatore di squali - seq. 10 2:34 11 Il cacciatore di squali - seq. 11 1:11 12 Il cacciatore di squali - seq. 12 2:45 13 Il cacciatore di squali - seq. 13 2:51 14 Il cacciatore di squali - seq. 14 2:13 15 Il cacciatore di squali - seq. 15 1:34 16 Il cacciatore di squali - seq. 16 4:39 17 Il cacciatore di squali - seq. 17 1:24 18 Il cacciatore di squali - seq. 18 1:30 19 Il cacciatore di squali - seq. 19 2:22 20 Il cacciatore di squali - seq. 20 3:13 21 Il cacciatore di squali - seq. 21 2:01 22 Il cacciatore di squali - seq. 22 0:54 TT 54:50 - Music composed, orchestrated and performed by Guido & Maurizio De Angelis (SIAE) ℗ & © 1979 Ear Ed. Mus. (SIAE)

EARLY JAMES HORNER SCORES TO BE RECORDED From Lukas Kendall Time to commit ourselves to our next Kickstarter, which I am planning now: A recording of previously unreleased James Horner TV movie scores from the early 1980s! That’s right, it’s FSM’s first recording project, in conjunction with Leigh Phillips, whose work I admire so much, and the fine folks at Neumation Music who are invaluable with the music research and prep. Can you guess the three scores we’re looking at? I am building the campaign now. https://www.lukaskendall.com/post/pre-announcing-our-next-kickstarter

Von Quartet auf CD und LP: Quartet Records, in collaboration with GDM and EMI General Music, presents a CD reissue of Ennio Morricone’s iconic album COLORI, celebrating its 55th anniversary. In the summer of 1971, Morricone entered the legendary Orthophonic Studios in Rome alongside his longtime collaborators Bruno Nicolai, Alessandro Alessandroni and Edda Dell’Orso, and recorded a selection of ten tracks drawn from some of his recent film scores, many of which had not yet been released. He remixed some cues and re-recorded others, always with fascinating results. Morricone unveils his most experimental side in COLORI, an LP that brings together some of his most evocative compositions for early 1970s Italian cinema. Far from the sweeping western soundscapes that made him internationally renowned, this work ventures into more daring territory, where psychedelia, suspense and orchestral sophistication converge. Featuring pieces drawn from soundtracks such as VERUSCHKA, MADDALENA, A LIZARD IN A WOMAN’S SKIN, THE FIFTH CHORD, SENZA MOVENTE and THE CAT O’NINE TAILS, COLORI unfolds a rich sonic universe: ethereal vocals, innovative arrangements and a distinctive cinematic sensibility that anticipates new ways of storytelling through sound. More than a simple compilation, COLORI stands as a testament to Morricone’s creative genius and his ability to transform film music into an autonomous artistic experience. The album was released in 1971 by General Music in Italy and was only reissued on CD in Japan in the early 1990s, making it a coveted collector’s item. This new CD edition has been remastered by Chris Malone from the original sources and retains the original cover featuring a painting by Alessandra Morricone—the composer’s daughter—as well as the original liner notes by Fabrizio Zampa. An essential work for discovering Morricone at his most adventurous and unconventional. Senza motivo apparente 4:04 (Sans mobile apparent) Poesia di una donna 3:13 (Veruschka, poesia di una donna) La lucertola 6:20 (Una lucertola con la pelle di donna) Veruschka 4:12 (Veruschka, poesia di una donna) Una donna da ricordare 4:16 (Maddalena) Giornata nera per l’ariete 2:35 (Giornata nera per l’ariete) Sole sulla pelle 4:20 (Una lucertola con la pelle di donna) Immagini del passato 8:08 (Veruschka, poesia di una donna) Ninna nanna in blu 2:36 (Il gatto a nove code) Idiota 3:34 (Maddalena) Quartet Records, in collaboration with GDM and EMI General Music, presents the first vinyl reissue of Ennio Morricone’s iconic album COLORI, celebrating its 55th anniversary. In the summer of 1971, Morricone entered the legendary Orthophonic Studios in Rome alongside his longtime collaborators Bruno Nicolai, Alessandro Alessandroni and Edda Dell’Orso, and recorded a selection of ten tracks drawn from some of his recent film scores, many of which had not yet been released. He remixed some cues and re-recorded others, always with fascinating results. Morricone unveils his most experimental side in COLORI, an LP that brings together some of his most evocative compositions for early 1970s Italian cinema. Far from the sweeping western soundscapes that made him internationally renowned, this work ventures into more daring territory, where psychedelia, suspense and orchestral sophistication converge. Featuring pieces drawn from soundtracks such as VERUSCHKA, MADDALENA, A LIZARD IN A WOMAN’S SKIN, THE FIFTH CHORD, SENZA MOVENTE and THE CAT O’NINE TAILS, COLORI unfolds a rich sonic universe: ethereal vocals, innovative arrangements and a distinctive cinematic sensibility that anticipates new ways of storytelling through sound. More than a simple compilation, COLORI stands as a testament to Morricone’s creative genius and his ability to transform film music into an autonomous artistic experience. The album was released in 1971 by General Music in Italy and was only reissued on CD in Japan in the early 1990s, making it a coveted collector’s item. This new vinyl edition has been remastered by Chris Malone from the original sources and retains the original cover featuring a painting by Alessandra Morricone—the composer’s daughter—as well as the original liner notes by Fabrizio Zampa. An essential work for discovering Morricone at his most adventurous and unconventional. SIDE A Senza motivo apparente 4:04 (Sans mobile apparent) Poesia di una donna 3:13 (Veruschka, poesia di una donna) La lucertola 6:20 (Una lucertola con la pelle di donna) Veruschka 4:12 (Veruschka, poesia di una donna) Una donna da ricordare 4:16 (Maddalena) SIDE B Giornata nera per l’ariete 2:35 (Giornata nera per l’ariete) Sole sulla pelle 4:20 (Una lucertola con la pelle di donna) Immagini del passato 8:08 (Veruschka, poesia di una donna) Ninna nanna in blu 2:36 (Il gatto a nove code) Idiota 3:34 (Maddalena)

Jetzt auch auf Vinyl: Quartet Records, in collaboration with Paramount Pictures, presents a 2-LP edition of the complete, iconic score by Hans Zimmer for Ridley Scott’s 1989 action-suspense film BLACK RAIN, starring Michael Douglas and Andy Garcia as two New York City cops who arrest a Yakuza member and must escort him to Japan for extradition. BLACK RAIN was the first collaboration of Hans Zimmer with Ridley Scott, kicking off a creative partnership that would go on to produce some of the most thrilling film scores of the next two decades. Pressed on audiophile 140 GM transparent blue-neon vinyl, and packaged in a deluxe gatefold sleeve, this limited 2-LP edition has been painstakingly produced by Stéphane Humez and Dan Goldwasser; it was mixed and mastered by Maxime Marion with the supervision and approval of the composer. The package includes a four-page insert with detailed liner notes by Kaya Savas, including an exclusive interview with Mr. Zimmer. SIDE A I’ll Be Holding On (Opening Titles Version) Vocal Gregg Allman 2:39 One-Way Glass – Osaka 1:05 Phony Cops – You Gonna Be Nice? 1:40 Club Miyako 4:58 Sato Watching / Circling Motorbikes 2:01 Sugai’s Photo / Police Observers 4:01 Stealing Money 2:08 SIDE B Charlie’s Death – Aftermath: Nick & Joyce 5:17 Charlie’s Things 3:18 Sequins 2:44 Masa’s Reprimand 1:55 Following Miyuki 3:51 SIDE C Steel Mill Chase / Airplane / Escape 6:20 Sugai Has Nick Over For A Chat 9:01 SIDE D Arrival Of Oyabuns – Sato’s Arrival / Meeting 7:57 Bikes / Fight – Bullpen / Awards / Airport 9:28

Intrada announces an expanded edition of composer Bill Conti's sequel score to the Oscar®-winning Rocky. With Rocky II, Conti takes his original material from the first film and expands its scope as Rocky's world itself continues to expand. Though its themes were strikingly memorable and now legendary, Conti had scored Rocky sparsely, the film featuring just 30 minutes of score. For Rocky II, planned as a summer blockbuster, Conti wrote considerably more music, broadening its original themes and varying its melodies in a way that wasn’t immediately apparent, even as they echoed the original’s emotional heart. As album producer Neil S. Bulk notes in his Tech Talk, "Releasing an expanded CD for Bill Conti’s score to Rocky II has been a unique challenge. Extensive searches for the score in the MGM vaults only turned up two ¼″ reels. Luckily, these tapes were in stereo and contained final print takes and final mixes." While these tapes contained the most of the score, including cues not used in the final film, several cues are still missing (all of which are simply new recordings of cues from the original film). The album presents the expanded score presentation first, a nearly 42-minute program, followed by a bonus track and then the original LP program. The packaging is further adorned with liner notes by Daniel Schweiger. This new edition of Rocky II comes just in time to celebrate Bill Conti's 84th birthday! Check out the soundtrack trailer here! This sequel continues the story of Rocky Balboa after his brutal fight with Apollo Creed. Although Rocky gains fame from going the distance, he struggles to adjust to a comfortable life and faces financial difficulties. Meanwhile, Apollo becomes obsessed with proving he can decisively beat Rocky and pushes for a rematch. A reluctant Rocky agrees, returning to intense training despite personal challenges, including his wife Adrian falling into a coma. After Adrian recovers and encourages him, Rocky regains his determination and ultimately defeats Apollo in a dramatic rematch, becoming the new heavyweight champion. SCORE PRESENTATION 01. Opening (From Rocky II) (2:00) 02. Final Bell (1:45) 03. Ambulance Ride (2:08) 04. Hospital (1:30) 05. Take Her To The Zoo (1:35) 06. Wedding Night (2:10) 07. Rocky’s Accolades (1:24) 08. Apollo’s Fury (1:31) 09. Stickball And Adrian, You Did It!! (2:10) 10. You Lie Nice (0:54) 11. To See Mickey (1:30) 12. Your Wife Is Sick (2:17) 13. Vigil (Film Version) (4:39) 14. What Are We Waiting For? (2:40) 15. Gonna Fly Now (Rocky II Version) (2:39) 16. Conquest (4:40) 17. Get Up!! (1:14) 18. Another Final Bell (1:44) 19. Redemption (Theme From Rocky II) (2:37) Total Score Presentation Time: 41:40 THE EXTRA 20. Jewelry Store (1:50) ORIGINAL SOUNDTRACK ALBUM 21. Redemption (Theme From Rocky II) (2:37) 22. Gonna Fly Now (2:33) 23. Conquest (4:40) 24. Vigil (6:30) 25. All Of My Life (3:59) 26. Overture (8:38) 27. Two Kinds Of Love (2:36) 28. All Of My Life (Instrumental) (2:27) Total Original Soundtrack Time: 34:12 Total Album Time: 77:52

Die Antwort von Intrada in der Facebook-Gruppe auf die Frage, ob das ein Aprilscherz ist: „April First is just another day around here." Kommenden Dienstag werden wir es sehen.

Den Roman des Horrorautors Sutter Cane aus IN THE MOUTH OF MADNESS gibt es nun tatsächlich als Buch zu kaufen. Es ist im Grunde der Film als Roman, wie jeder weiß, der den Film gesehen hat. Gibt es als gebundenes Buch und als Taschenbuch. Unabhängig davon hat Carpenter vor einiger Zeit die anderen Bücher Sutter Canes aus dem Film, die dort als Props verwendet wurden, zum Kauf angeboten.