Alexander Grodzinski

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

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

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

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

Von Music Box: In collaboration with Axel Films Production, Music Box Records presents a limited edition CD release of acclaimed composer Philippe Rombi’s (Black Box, The Crime Is Mine) original motion picture score to the wartime family adventure Les Enfants de la Résistance (The Children of the Resistance, 2026), directed by Christophe Barratier (The Chorus, War of the Buttons). Adapted by Christophe Barratier and Stéphane Keller from the bestselling comic book series by Vincent Dugomier and Benoît Ers, the film tells the story of François, Eusèbe, and Lisa - three brave children who resolve to oppose the German occupiers during World War II. Sabotage operations, hidden messages, and perilous escapes: they carry out clandestine actions right under the enemy’s nose. Daring and friendship are their only weapons in the fight against injustice. Philippe Rombi, the director’s longtime collaborator, delivers a poignant and deeply moving symphonic score, featuring a magnificent main theme for orchestra and choir. The album also reveals a darker theme driven by vibrant strings and percussion to evoke the presence of the Nazis, as well as playful adventure motifs underscoring the clever tricks of the three courageous children. Dive into the heart of heroism and unbreakable friendship with the masterful original soundtrack of Les Enfants de la Résistance, released in French theaters on February 11, 2026. The cast includes Artus, Gérard Jugnot, Pierre Deladonchamps, Leslie Medina, Julien Pestel, and the young actors Lucas Hector, Nina Filbrandt, and Octave Gerbi. The album is available on CD and digital platforms. LES ENFANTS DE LA RÉSISTANCE 1. Les Enfants de la Résistance (Thème) (2:46) 2. Ouverture (3:30) 3. Martin (2:47) 4. Les Réfugiés (1:01) 5. Lisa (3:00) 6. Mort de Martin / Arrivée des Allemands (2:20) 7. Sabotage (2:46) 8. François et Lisa (1:57) 9. On Passe à l'Action ! (2:00) 10. La Révélation de Lisa (1:19) 11. Les Tracts du Lynx / Les Pluies (3:02) 12. Éboulement (2:24) 13. La Péniche Mystérieuse (3:24) 14. Une Belle Complicité (1:30) 15. L'Enquête de la Gestapo (4:56) 16. Le Match de Foot (1:47) 17. Marcel Fait Passer le Prisonnier (2:38) 18. In Memoriam (1:40) 19. L'Attaque du Train (4:05) 20. Abandonné (1:11) 21. L'Exécution (2:37) 22. Final et Générique de Fin (Version film) (6:53)

Neu von Quartet: Quartet Records, in collaboration with Solisterrae Music, present the score by renowned composer Pascal Gaigne (EL SOL DEL MEMBRILLO, PIEDRAS, EL OTRO BARRIO, HANDIA) for the film DANTZA, directed by Telmo Esnal in 2018, which has become a cult movie. DANTZA is a musical film that, through Basque dances and all the symbolism they embody, tells a story about the cycle of life and the evolution of man. A story of effort, mastery of nature, myths, the struggle for survival, celebration, love and death, where gestures, songs, rhythms and the whole wide range of nonverbal language envelop the central discourse woven by the dances. Composing the music for this film was a challenge. Adapting several folk dances and adding his own compositions, Gaigne weaves a common thread through the musical history of the Basque Country with his original arrangements and approaches, drawing on an unusual ensemble of musicians, percussionists and string and woodwind sections. It is one of his most daring and captivating works, which deserved to be released as an album. Tracklist Cueva 3:15 Zinta 4:19 Desierto Negro 2:21 La Reina Oscura 4:38 Erregelak 6:17 Almute 6:45 Irradaka 10:38 Sagar 2:48 Soka 5:45 Gaiarena 4:08 Godelet 3:55 Arratia 3:15 Danças suite 12:27 Nara / Urzo Xuria 3:48 Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a completely revised, remastered edition of the catchy Ennio Morricone score for AD OGNI COSTO (aka GRAND SLAM), a 1967 comedy-caper movie directed by Giuliano Montaldo, starring Janet Leight, Edward G. Robinson, Klaus Kinski, Robert Hoffmann and Adolfo Celi. The story is about Professor James Anders, who, upon retiring, presents a famous criminal with an elaborate plan to rob a diamond company in Brazil with a team of professionals. The men meet in Rio de Janeiro and encounter an unexpected problem: a new alarm system called Grand Slam 70. The original score by Ennio Morricone adds atmosphere and sophistication, helping to balance the mix of intrigue, action and glamour that defines the tone of the film. His work is based on a hybrid architecture that combines modal jazz, Brazilian bossa nova and Italian pop music from the 1960s. Far from being an eclectic sum or a simple collage of styles, Morricone works with these influences as overlapping layers that construct an autonomous musical discourse. The album was released in a short promotional run by RCA in Italy in 1967 and reissued on LP in the 1980s by the Intermezzo label. In the 1990s, the same program appeared for the first time on CD, also by RCA. In 2010, an expanded edition, featuring virtually the entire score, was released on CD by GDM. This new edition, supervised by Claudio Fuiano and restored and mastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez that discusses both film and score. Punto e basta (Titoli di testa) 2:56 Vai Via Malinconia 1:30 Ad ogni costo 2:43 Vai Via Malinconia (#2) 1:37 In Chiesa 2:27 Dirgli solo no 2:12 Tudo e nada 2:43 Voce 2:30 Ai, Morena 2:22 Samba do desprezo 1:59 Eu fiz mal em dizer 2:03 Samba bamba (versione coro) 3:20 Ai, Morena (#2) 2:05 Punto e basta (#2) 2:56 Dirgli solo no (#2) 1:59 Samba bamba (ver. strum. con tromba) 3:20 Ad ogni costo (#2) 1:59 Vai Via Malinconia (#3) 1:41 Ai, Morena (#3) 3:22 Dirgli solo no (#3) 3:07 Tudo e nada (#2) 2:07 Vai Via Malinconia (#4) 2:29 Total Disc Time: 55:19 Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a completely revised, remastered edition of the dynamic, classic score by Ennio Morricone for the 1970 Charles Bronson action vehicle CITTA’ VIOLENTA (aka VIOLENT CITY), directed by Sergio Sollima and co-starring Telly Savalas and Jill Ireland. The film is about a hit man who, after being double-crossed by his mistress and barely escaping a murder attempt, sets out to take revenge on the woman and the mob boss who put her up to it. Ennio Morricone’s score is nervous, insistent, sometimes ironic. Far from using music as a simple environmental resource, the music constructs a sonic architecture that is closely aligned with the subjectivity of the protagonist, adopting his point of view, transforming the perception of the environment into an auditory texture. Thus, the music does not merely follow his emotional arc but amplifies it as a resource for introspection and narrative complexity. The result is a musical device that revolves around three structural cores: the city as a violent labyrinth, the killer’s split consciousness, and love as a betrayed promise. The soundtrack album was released in both Italy and Japan in 1970 with different cover art. The same program was first reissued on CD in Japan in the early nineties. An expanded edition of the score was issued by GDM in 2006, later reissued with two additional bonus tracks in 2012 by the Intermezzo label. This is a reissue of that program produced by Claudio Fuiano and Dániel Winkler, remastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez, discussing the film and score. Città Violenta 2:24 Rito Finale 3:05 Mille Volte un Grido 2:31 Città Violenta (#2) 1:17 Momento Estremo 3:18 Con Estrema Dolcezza 2:41 Svolta Definitiva 4:37 Norme con Ironie 3:55 Riflessione 1:27 Disperatamente 2:53 Rito finale (#2) 1:29 Con Estrema Dolcezza (#2) 3:08 Rito Finale (#3) 2:34 Città Violenta (#3) 2:40 Dolcemente Acre 3:15 Città Violenta (#4) 4:52 Sospensione Sovrapposta 1:40 A Caissa 2:24 Città Violenta (#5) 5:01 Con Estrema Dolcezza (#3) 1:09 Riassunto 3:07 Total Disc Time: 60:35 Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a remastered reissue—for the first time in full stereo—of the 1966 classic, propulsive and exciting Ennio Morricone cult score for the thriller movie SVEGLIATI E UCCIDI, a successful Italian production directed by Carlo Lizzani and starring Robert Hoffmann, Lisa Gastoni and Gian Maria Volontè. The film is about a dangerous fugitive who meets a nightclub singer with whom he falls in love. They both get caught up in a spiral of increasingly reckless jewelry store robberies, leading to a tragic end when the police finally catch them. Although Morricone was not the most prolific composer in the poliziesco genre—that role was more actively filled by Stelvio Cipriani and Franco Micalizzi—he did influence its early stylistic development by consolidating the use of music as an active narrative element: syncopated rhythms, marked bass lines, urban percussion, dissonant sounds to heighten tension, paranoia and urban chaos, or a fusion of jazz, funk and experimental music, are some of the resources that composers associated with the new genre would later use extensively. All these elements form the core of the score of SVEGLIATI E UCCIDI, which is narratively structured around its two protagonists. Morricone also provides the beautiful song “Una stanza vuota,” performed by Lisa Gastoni, that also serves as the film’s love theme. The album was released in a short promotional run by RCA in Italy in 1966 and reissued on LP in the 1980s by the Intermezzo label, both in monaural sound. In the 1990s, the same program appeared for the first time on CD—paired with the score of CITTA’ VIOLENTA, also by RCA and in mono. In 2012, an expanded edition, featuring virtually the entire score, was released on CD by GDM, in hybrid sound with some tracks in stereo and others in mono. This new edition, supervised by Claudio Fuiano and restored and mastered by Chris Malone, includes the same program in full stereo. The booklet includes an essay by Miguel Angel Ordóñez that discusses both film and score. Una Stanza Vuota 2:39 Un Uomo Solo 1:58 Colpo Alla Gioielleria 1:26 Una Stanza Vuota (2ª versione) 1:51 La prima vittima 2:22 Sul Lago Di Lugano 1:45 Svegliati e Uccidi 2:29 La Donna di un Fuorilegge 0:37 Una Stanza Vuota (3ª versione) 1:43 Una Tromba a Dallas 2:49 Svegliati e Uccidi (#2) 2:08 Svegliati e Uccidi (#3) 1:48 Una Stanza Vuota (4ª versione) 2:32 Svegliati e Uccidi (#4) 2:20 La Donna di un Fuorilegge (#2) 2:01 Una Stanza Vuota (5ª versione) 1:45 Svegliati e Uccidi (#5) 1:21 Colpo Alla Gioielleria (#2) 1:10 Svegliati e Uccidi (#6) 1:59 Una Stanza Vuota (6ª versione) 0:54 Svegliati e Uccidi (#7) 1:24 Una Stanza Vuota (6ª versione) 1:07 Svegliati e Uccidi (#8 – shake) 1:33 Svegliati e Uccidi (#9) 1:07 Una Tromba a Dallas (#2) 1:56 Una Stanza Vuota (versione singolo) 2:38 Total Disc Time: 48:37 Quartet Records, in collaboration with GDM, Universal Music Publishing Ricordi and EMI General Music Publishing, presents a CD focused on two WWII soundtracks by Ennio Morricone, pairing his dramatic scores for MASSACRE IN ROME (1973) and GOTT MIT UNS (1970) MASSACRE IN ROME was directed by George Pan Cosmatos and starred Marcello Mastroianni, Richard Burton and Leo McKern. The story takes place in Nazi-occupied Rome, where an assault on an SS brigade draws retaliation from the military governorship. The film tells the true story of how this partisan attack led to the mass execution of Italian nationals under the orders of SS Lieutenant Colonel Kappler. Morricone’ score avoids traditional forms or classical thematic development. Instead, the composer built short motifs, ostinatos, hypnotic repetitions and descending harmonic progressions that reinforce the sense of fatalism and inevitability. GOTT MIT UNS, directed by Giuliano Montaldo, and starring Franco Nero, Richard Johnson and Bud Spencer, takes place at the end of World War II, when German deserters are tried for desertion by their fellow prisoners of war inside a prisoner-of-war camp for Germans. Morricone constructs a soundscape that reflects the absurdity, emptiness and dehumanizing logic of military machinery. The composition follows a logic of expressive restraint in which the instruments do not emit conventional sounds, but rather generate audible textures—whimpering, friction, pulsations, breathing—creating a soundtrack in the form of unstructured chamber music in which the dramatic tension gradually intensifies. The only emotional foothold in the score is found in “Lontano,” a piece that refers to nostalgia, to the ordinary life that deserting soldiers long for. Its title—which means “far away”—already anticipates a poetics of distance, of waiting, of emotional echo. Although the film had some success, the music from MASSACRE IN ROME was not released until the early 1990s, when ten tracks were included on a CD by RCA Italy, paired with the soundtrack album of LA BATTAGLIA D’ALGERI. In 2009, it was reissued by GDM in a program that included three bonus tracks, virtually everything Morricone recorded for one of his shortest scores. GOTT MIT UNS, on the other hand, was only released on a 45 RPM disc with the cues “Lontano” and the main theme. In 1998, part of his score was rescued by the Screen Trax label and paired with another score from a film set in WWII: L’AGNESE VA A MORIRE. An expanded program was released by the Dagored label in 2003. This 70-minute Quartet CD, supervised by Claudio Fuiano, includes all the available music from both films, painstakingly restored and mastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez, discussing the film and score. MASSACRE IN ROME 1. Reprisal 2:31 2. Deadly News 2:36 3. Before the Reprisal 2:51 4. March Through the Open City 1:27 5. Second Reprisal 2:04 6. Night Alarm 3:36 7. Thrid Reprisal 0:45 8. The Killing 2:31 9. Via Rasella 5:22 10. Open City 2:07 11. Second Reprisal (#2) 1:25 12. The Killing (#2) 1:18 13. Deadly News (#2) 1:10 GOTT MIT UNS 14. Lontano (versione Disco) 4:30 15. Gott Mit Uns (Titoli di testa) 1:11 16. Prigioneri 1:54 17. Gott Mit Uns (Corsa Disperata) 1:21 18. Gott Mit Uns (All’erta-torrente d’osservazione) 0:55 19. Lontano (Nostalgia di casa) 1:18 20. Gott Mit Uns (Erika) 0:52 21. Lontano (Versione Film) 4:46 22. La Mitraglia (Incarcerati) 1:42 23. Nella garitta (Il capitano Miller) 0:28 24. Nella garitta (Riunione degli ufficiali) 1:13 25. La Mitraglia (Incarcerati secondo) 1:42 26. Nella garitta (Un cielo senza aerei) 1:35 27. Nella garitta (Corte marziale) 0:49 28. Gott Mit Uns (La guerra è finita!) 1:10 29. Nella garitta (Discussione col Generale) 0:33 30. Gott Mit Uns (In cella) 0:30 31. Lontano (Nostalgia delle donne) 0:44 32. La Mitraglia (Una questione di principio) 2:48 33. Gott Mit Uns (La promozione) 0:18 34. La Mitraglia (La decisione) 1:02 35. Gott Mit Uns (All’alba del quinto giorno) 2:16 36. Percussioni e Marcia (Titoli di coda) 2:03 37. Lontano (Arrangiamento 1974) 3:51 Total Disc Time: 70:18

Snow Files of the Week: "Prayer/Suicide Exam" aus der Akte-X-Episode "Die Hand Die Verletzt". Ein herausragender Score in der Serie von Snow. Die Geschichte um satanische Rituale, Glaube und Besessenheit inspirierte Mark zu diesem düsteren Gothic-Score. Die brodelnde Ambient-Musik erschafft die passende Atmosphäre für die unheimlichen Ereignisse an einer High School. Mark benutzt sogar düstere Chorgesänge in seiner Musik und verleiht dem Score damit einen hohen Wiedererkennungswert innerhalb der Serie. Die Zeile "Die Hand Die Verletzt" ist in der Episode gleich am Anfang zu hören in dem satanischen Gebet, welches die Lehrer sprechen. Obwohl der Original-Titel der Episode mit "Die Hand Die Verletzt" schon deutsch ist, bekam die Folge hierzulande einen anderen Titel. Bei uns heißt sie "Satan". Musik aus "Die Hand Die Verletzt" befindet sich auf dem zweiten 4-CD-Set mit Akte-X-Musik von LLL, limitiert auf 3.000 Stück. Das Set ist ausverkauft. Viel Spaß beim Hören!

Und weg

Ich möchte die Doppel-CD zu FLAGS OF OUR FATHERS & LETTERS FROM IWO JIMA verschenken. Nur das Porto wäre zu zahlen. Interessierte können sich gerne bei mir melden.

Anscheinend wurde ein Track von Greenwood aus PHANTOM THREAD im MELANIA-Film verwendet, ohne die Zustimmung von Greenwood und Anderson. Die möchten jetzt, dass der Track aus dem Film entfernt wird. Melania Trump hat jetzt Jonny Greenwood und P.T. Anderson als Gegner

Intrada announces a new compilation of music by Dimitri Tiomkin, featuring his dance music and early film work. A citizen of the world, Tiomkin was born in Ukraine, educated in Russia, triumphed in Berlin and Paris before coming to New York. "The transition from the concert halls of the Big Apple to the studios of Hollywood was an incremental one, but in retrospect it seems inevitable. Where else could such a generous, bighearted, all-encompassing spirit find a home for his music than on the world stage of cinema?" say liner note writers Warren Sherk and Frank K. DeWald. This is the third volume in a series of recordings produced by Patrick K. Russ. Prior releases include The Great American Ballet and Paris Under the Stars. It is Russ' singular vision that pulls together seemingly disparate works separated by 1000s of miles into a brilliant compilation showcasing the breadth and diverse passion of Tiomkin. Both the Fashion and Swan Ballets appear here along with selections from numerous other films and works including Mexique, Lost Horizon and The Great Waltz, It's a Wonderful Life; and the program concludes with a jazz-noir excerpt from D.O.A. All performed brilliantly by the Royal Scottish National Orchestra. 01. Fashion Ballet (From Our Blushing Brides) (3:25) 02. Swan Ballet (From Rogue Song) (5:59) 03. Flight Of The Bumble-bee (1:52) (Rimsky-Korsakov, arr. Tiomkin) Lynda Cochrane, piano 04. Chopiniana (5:22) Lynda Cochrane, piano 05. Gitana (From Mexique) (3:06) 06. Fandango (From Mexique) (3:15) 07. Moon Ballet (From March Of Time) (3:34) 08. Gypsy Song (From Resurrection) (1:11) 09. Main Title (From More Than A Secretary) (1:09) 10. Suite From Lost Horizon: I. Arrival/II. Shangri-La/III. Procession And Return (12:42) 11. Love Theme (From Lost Horizon) Shlomy Dobrinsky, violin (2:46) 12. Suite From The Great Waltz: I. Main Title And Wiener Blut Waltzes (3:07) 13. Suite From The Great Waltz: II. Dommayer’s Casino (4:52) Shlomy Dobrinsky, violin 14. Suite From The Great Waltz: III. Blue Danube And Finale (6:50) 15. Suite From It’s A Wonderful Life: I. Prologue/ II. Theme / III. Christmas Eve Finale (9:03) 16. Fisherman’s Jive (From D.O.A.) (3:37) Lewis Banks (saxophone) Christopher Hart (trumpet) Dávur Juul Magnussen (trombone) Christian Geldsetzer (bass) Lynda Cochrane (piano) Tom Gordon (drums) Total CD Time: 72:09

Läuft wohl außerhalb der Reihe. Es gab zumindest einen Teaser, in dem der Club nicht erwähnt wurde. Eine Limitierung ist nicht angegeben, aber das war sie bei den letzten Club-Veröffentlichungen auch nicht mehr. Weder im Text, noch auf den CDs selbst. Wobei bei den Club-Veröffentlichungen ja auch nur noch "Deluxe Edition" auf dem Cover steht, wie eben hier bei SIN CITY auch. Die Vinyl-Varianten sind auf je 500 Stück limitiert. Vielleicht läuft er deshalb außerhalb der Reihe, weil man als Kooperation mit anderen Labeln mehrere Vinyl-Varianten anbietet.

Ab dem 20.03. auf CD und Vinyl.

Snow Files of the Week: „Smoking Telegram", aus „The X-Files: Fight The Future" (1998). Zu diesem Track gibt es eine faszinierende Geschichte, fast schon eine X-Akte, denn der Track war ursprünglich unauffindbar und schien verloren zu sein. Er untermalt die letzte Szene des ersten Films, als der Raucher das riesige Feld mit dem manipulierten Mais in der Wüste Tunesiens aufsucht, um Strughold mitzuteilen, dass die X-Akten wieder geöffnet sind. Diese Szene sollte ursprünglich eigentlich keine Musik haben. Doch in letzter Sekunde entschied sich Chris Carter dann doch für einen Musikeinsatz. Die finale Abmischung des Films lief bereits, also musste Mark schnell in sein Studio, um die Musik für die letzte Szene zu komponieren. Das fertige Stück schickte er als DAT ins Tonstudio. Es war so wenig Zeit, dass Mark, entgegen seiner sonstigen Gewohnheiten, keine Kopie für sein Archiv davon anfertigen konnte. Als La-La Land Records dann vor einigen Jahren das expandierte Album zu „Fight The Future" produzierte, suchten sie überall nach diesem letzten Track. Mark hatte ihn nicht mehr, da die DAT mit der Aufnahme wohl im allgemeinen Chaos verschwunden ist und auch das Studio schien keine Kopie davon bei sich im Archiv zu haben. Daher fehlte dieses Stück auf dem Album. Doch kurz nach Veröffentlichung des erweiterten Albums tauchte der Track wieder auf. Laut Neil S. Bulk, der die Box-Sets mitproduziert hat, tauchte der Track wieder auf, weil das Studio Musik-Restaurationen betrieb. Er wurde zwar nicht konkret, was das Ausmaß dieser Restaurationen betraf, also ob es nur den Akte-X-Film betraf, das Akte-X-Franchise oder ihr Filmmusik-Archiv allgemein, aber das ist doch eine recht interessante Info. Vielleicht bereitete man die Musik sogar für zukünftige Veröffentlichungen vor, wer weiß? Aber wie Mulder es einmal ausgedrückt hat: „Maybe there is hope." Daher ist dieser Track nun als einziger Track aus dem Film auf dem vierten Box-Set gelandet und nicht auf dem expandierten Album zum Film. Die vierte Box von LLL ist auf 2.000 Stück limitiert. Viel Spaß beim Hören!

Marking 20 years of Robert Rodriguez and Frank Miller’s visionary Sin City, Varèse Sarabande is excited to present a Deluxe Edition CD of the film’s brooding, noir-drenched soundtrack by Rodriguez, John Debney, and Graeme Revell, executive produced by Rodriguez and loaded with never-before-released cues being made available for the first time ever. Features: • Brand-new Deluxe Edition CD featuring previously unreleased material. • Executive produced by Robert Rodriguez Tracklist: CD1 – Original Motion Picture Score 1. Sin City (Robert Rodriguez) 2. One Hour To Go (Rodriguez) 3. Goldie’s Dead (Graeme Revell) 4. Marv (Revell & Rodriguez) 5. Bury The Hatchet (Revell) 6. Old Town Girls (Revell & Rodriguez) 7. The Hard Goodbye (Revell) 8. Cardinal Sin (Revell & Rodriguez) 9. Her Name Is Goldie (Revell) 10. Dwight (John Debney) 11. Old Town (Debney & Rodriguez) 12. Deadly Little Miho (Debney & Rodriguez) 13. Warrior Woman (Debney) 14. Tar Pit (Debney) 15. Jackie Boy’s Head (Debney) 16. The Big Fat Kill (Debney) 17. Nancy (Rodriguez) 18. Prison Cell (Rodriguez) 19. Kiss Of Death (Rodriguez) 20. That Yellow Bastard (Rodriguez) 21. Hartigan (Rodriguez) 22. Sin City End Titles (Rodriguez) CD2 – Complete Original Film Mixes 1. Descent Love Theme (Rodriguez/Johnny Reno) 2. Helluva Way To End A Partnership (Rodriguez) 3. Fair Trade (Rodriguez) 4. The Perfect Woman (Revell) 5. Lucille (Revell) 6. All Or Nothing Days (Revell) 7. Aimed Too High (Revell) 8. Worth Dying For (Revell) 9. That Cold Thing (Revell) 10. A Face And A Name (Revell) 11. He Made Me Watch (Revell) 12. Marv Unleashed (Revell) 13. Dwight & Shelley (Debney) 14. Jackie Boy & Beckie (Rodriguez) 15. Pez Dispenser (Debney) 16. Dwight’s Theme (Debney) 17. Jackie Boy Rides Shotgun / Warning (Debney & Rodriguez) 18. Shattered Truce (Debney) 19. Silence Now (Rodriguez & George Oldziey) 20. Yeesh (Debney & Rodriguez & Oldziey) 21. Miho (Debney) 22. Bigger Fatter Kill (Debney & Rodriguez) 23. Liebowitz (Rodriguez) 24. Kiss Me Deadly (Rodriguez & Oldziey) 25. Recognize My Voice? (Rodriguez) 26. Latin Gypsy Princess (Rodriguez) 27. Death Of A Bastard (Rodriguez) 28. An Old Man Dies (Rodriguez) In celebration of the 20th anniversary of Robert Rodriguez and Frank Miller’s groundbreaking film adaptation of Sin City, Varèse Sarabande presents the film’s iconic, noir-soaked soundtrack with music by Rodriguez, John Debney, and Graeme Revell. Executive produced by Robert Rodriguez, this Translucent Red LP pressing marks the first-ever release of the soundtrack on vinyl. Features: • First ever vinyl release of the Sin City soundtrack. • Executive produced by Robert Rodriguez Tracklist: Side A: 1. Sin City 2. One Hour To Go 3. Goldie’s Dead 4. Marv 5. Bury The Hatchet 6. Old Town Girls 7. The Hard Goodbye 8. Cardinal Sin 9. Her Name Is Goldie 10. Dwight 11. Old Town Side B: 1. Deadly Little Miso 2. Warrior Woman 3. Tar Pit 4. Jackie Boy’s Head 5. The Big Fat Kill 6. Nancy 7. Prison Cell 8. Kiss Of Death 9. That Yellow Bastard 10. Hartigan 11. Sin City End Titles * Please note: due to the nature of vinyl manufacturing, actual vinyl color may differ slightly from the product image shown.