Alexander Grodzinski

Quartet Records, in collaboration with Paramount Pictures, presents a remastered and expanded 2-CD deluxe edition of COP LAND, the cult soundtrack composed by Howard Shore in 1997 during one of the most creative periods of his career, following such classic scores as THE SILENCE OF THE LAMBS, SEVEN, M BUTTERFLY, ED WOOD, CRASH and LOOKING FOR RICHARD, among many others. Written and directed by James Mangold, the film features an impressive cast, including Sylvester Stallone, Robert De Niro, Harvey Keitel and Ray Liotta. Stallone plays a sheriff in a suburban New Jersey community populated by New York City police officers, who slowly discovers that the town is a front for mob connections and corruption. Howard Shore composed a dramatic and intense score with fatalistic, heroic and emotional elements, showcasing his ability to elevate human conflicts to epic proportions through music. The score for COP LAND was released on a 40-minute album by Milan Records in 1997, but it was far from complete. It strangely omitted the powerful and robust music composed for the end credits (“Back to Work” on our album), one of Shore’s most impressive compositions. The re-editing of the film and changes in the studio criteria led Shore to rewrite and adapt a large part of his score, of which an additional 30 minutes or so can be found in the bonus tracks section on the second disc. The original album included unique mixes and edits, so we have kept it intact and remastered. Performed by the London Philharmonic Orchestra under the composer’s baton, this album has been painstakingly produced by Dan Goldwasser, mixed and mastered by Chris Malone, and entirely supervised and approved by Mr. Shore. The package includes an in-depth essay by film music writer Jeff Bond. DISC 1. THE FILM SCORE Cop Land 1:14 Discovering Frankie 1:19 Tunnel to the Bridge / Across the River 2:35 George Washington Bridge 4:33 Interrogation / Ray Pulled Over / Cupcake 1:32 Turtle Ride 0:58 Garrison, NJ (Film Version) 1:35 Liz 1:09 Connecting With Liz 1:46 Figs in Bar 2:59 Dream and Death 3:05 Funeral 0:57 $64,000 Question 3:43 Mashed Potatoes Don’t Mean Gravy (Film Version) 2:06 Closed Case 1:33 I’m Ghandi 1:31 Pool of Crimson (Film Version) 4:02 Chasing After Babitch 1:49 Change of Heart 2:22 Offered a Chance 0:48 Stealing the Files 4:40 Five Out of Six 1:15 Lagonda in the Backseat 1:29 Check 0:49 Tracking the Bomb 1:22 Big Blue Pow Wow (Film Version) 4:20 Kidnapped 1:04 All Dressed Up in Blue (Film Version) 4:19 One Police Plaza (Film Version) 2:18 Back to Work 5:09 Total Disc Time: 68:33 DISC 2. THE ORIGINAL 1997 SOUNDTRACK ALBUM All Dressed Up in Blue 4:21 Garrison, NJ 1:47 Yellow Betray Blue 3:33 Local Boy Saves Drowning Teen 3:05 Mashed Potatoes Don’t Mean Gravy 2:25 The Sheriff of Cop Land 2:39 Pool of Crimson 4:40 The Diagonal Rule 4:27 Across the River 4:59 Big Blue Pow Wow 2:31 Without Looking at the Cards 4:07 One Police Plaza 2:07 Cop Land (Alternate) 1:11 Across the River (Early Version) 0:34 Across the River (Solo French Horn Alternate) 0:34 George Washington Bridge #1 2:15 George Washington Bridge #2 2:12 Ray Pulled Over (Alternate) 0:37 Turtle Ride (Alternte) 0:57 Funeral (Alternate) 0:39 Closed Case (Alternate) 1:35 Chasing After Babitch (Alternate) 1:48 Offered a Chance (Alternate) 0:48 Five Out of Six (Early Version) 1:09 Five Out of Six (Alternate) 1:14 Check (Early Version) 0:51 Check (Alternate) 0:48 One Police Plaza (Early Version) 1:49 One Police Plaza (Alternate) 1:49 Back to Work (Alternate) 1:07 Bagpipes 1:03 Cop Land Jazz Grouping 1:06 Freddy Directing Traffic (Bonus) 1:02 Total Disc Time: 66:28 Total Collection Time: 135:01

Müssen nicht immer die Rechte sein. Es können auch einfach noch nicht alle Freigaben da sein. Wie schon öfter erwähnt, müssen auch die verwendeten Fotos für das Artwork freigegeben werden. Dazu müssen unter Umständen auch die gezeigten Darsteller oder deren Vertretung kontaktiert werden. Und bis von da eine Antwort kommt, kann auch dauern.

Am 9. März:

Am 10. März von Intrada:

Music by Mark Mancina Limited Edition of 3000 Units STARTS SHIPPING MID-MARCH La-La Land Records and Sony Pictures celebrate the 30th Anniversary of the 1995 blockbuster big-screen action/comedy BAD BOYS, starring Will Smith and Martin Lawrence, and directed by Michael Bay, with this remixed, remastered and expanded limited edition 2-CD re-issue of acclaimed composer Mark Mancina’s iconic original motion picture score. Mark Mancina’s (SPEED, TWISTER, TARZAN) exhilarating action score to the film SPEED established the composer as a fresh and notable musical voice, making him the perfect choice for BAD BOYS, a bold and exciting new take on the battle-tested buddy-cop/action formula. Mancina expertly harnesses superstars Will Smith and Martin Lawrence’s explosive comedic and dramatic chemistry, along with Director Michael Bay’s high-octane action mayhem, creating a legendary work that helped change and influence action film scoring into the 21st century and one that still serves as the musical thematic foundation of the entire BAD BOYS franchise decades later. La-La Land’s original 2007 single disc CD release of BAD BOYS was compromised by the only available music elements at that time, resulting in some of that release’s program in mono. Now presented in full stereo for the first time, this all-new remastered and expanded 2-CD re-issue is a major upgrade in both sonic quality and content, finally allowing Mancina’s work to shine in all its brilliance! Produced by Stéphane Humez and mixed and mastered by Maxime Marion from newly discovered 32-track digital masters, this deluxe presentation of BAD BOYS features the film score presentation on Disc One and Bonus Tracks on Disc Two. Limited to 3000 Units, this release’s exclusive liner notes are by writer Kaya Savas and include new interviews with composer Mark Mancina and additional composer Nick Glennie-Smith. The sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Funky Logo – Car Jacking 3:39 2. Bad Boys Main Title – The Heist* 6:11 3. Funky Brothers To P.D. 0:38 4. Air Conditioning Inspection* 1:09 5. Jojo What You Know 0:41 6. Dead Guy 5:14 7. He’s The Person I’d Call* 0:55 8. Killing Max 4:18 9. The Boys Find Max 1:34 10. Into Lois’ Apartment 1:11 11. Max Logan’s Best Friend 0:53 12. Escape From Julie’s 2:48 13. You’re Going To Leave Me Alone? 0:54 14. Don’t “Honey Baby” Me 1:04 15. My Bologna Has A First Name* 3:59 16. Julie’s Got A Gun 0:42 17. Escape From Club Hell – Ether Chase* 4:36 18. We Don’t Want To Lose You 0:41 19. I Mean Like Funny 2:13 20. Stake Out – Interrogation 1:26 21. Tailing Lab Tech – Blown Cover 1:39 22. Busted* 1:00 23. Footchase 4:25 24. Fouchet Calling* 0:35 25. Hangar Shootout* 9:17 26. Cobra Chase 1:47 27. Fouchet’s Death 3:03 TOTAL DISC TIME 66:30 DISC 2 BONUS TRACKS 1. Theme From Bad Boys 4:15 2. Funky Brothers To P.D. (Demo Version) 0:29 3. Jojo What You Know (Film Version) 0:34 4. Dead Guy (Alternate) 3:35 5. The Boys Find Max (Alternate Version 1) 1:23 6. The Boys Find Max (Alternate Version 2) 1:24 7. Escape From Julie’s (Demo Version) 2:47 8. My Bologna Has A First Name (Alternate) 4:05 9. Escape From Club Hell (Demo Version)* 1:53 10. Escape From Club Hell (Film Version)* 2:01 11. Footchase (Demo Version) 4:24 12. Fouchet Calling (Alternate)* 0:35 13. Fouchet’s Death (Alternate) 3:03 14. Theme From Bad Boys (Funky Boys Remix) 5:38 TOTAL DISC TIME 36:08 TOTAL ALBUM TIME 1:42:38 * Written by Mark Mancina & Nick Glennie-Smith This is a CD format release

Music by Trevor Rabin Limited Edition of 2000 Units La-La Land Records and Sony Pictures proudly present the official world premiere 2-CD limited edition release of renowned composer Trevor Rabin’s (ARMAGGEDON, DEEP BLUE SEA, NATIONAL TREASURE) original motion picture score to the 2003 blockbuster big-screen action/comedy BAD BOYS II, the first sequel in the powerhouse BAD BOYS franchise, starring Will Smith and Martin Lawrence, and directed by Michael Bay. The long-awaited re-teaming of Will Smith, Martin Lawrence and Michael Bay for BAD BOYS II would notably up the scope, scale and action of the original film and composer Trevor Rabin rises to the challenge with a breathtaking behemoth of an action score. Teeming with propulsive original material and themes, Rabin unleashes all-new musical adrenaline, with subtle nods honoring BAD BOYS composer Mark Mancina’s original main theme. This 2-CD deluxe presentation marks the first official release of Rabin’s BAD BOYS II in any format! Produced by Stéphane Humez and edited and mastered by Maxime Marion from studio vault elements, this deluxe presentation of BAD BOYS II features the film score presentation, including additional score by Steve Jablonsky on both CDs, while a massive bounty of Bonus Tracks is featured on Disc Two, including Mark Mancina’s unused demo for this sequel – a rearrangement of his original, iconic BAD BOYS theme! Limited to 2000 Units, this release’s exclusive liner notes are by writer Kaya Savas and the sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Xtreme Machine*** 4:19 2. Swamp – KKK++ 5:29 3. Tapia 0:35 4. Money Counting* 1:11 5. Haitian Saddle Up+ 0:49 6. Syd Getaway – Muscle Car* 4:10 7. Shootout§§ 2:47 8. Causeway* 4:12 9. Syd And Mike** 1:33 10. Pressure Points* 0:29 11. Tapia Pissed Off 1:07 12. Ice Pick** 0:49 13. Haitian Shootout+ 3:45 14. Rat Porno°°° 0:25 15. Tapia Conversation – Escape Tapia’s 4:11 16. Tapia Threatens – Computer Lab* 0:34 17. Wiretap Results 1:01 18. Tapia And Syd Ocean 1:39 19. Stilt House* 2:17 20. Boat Dock – Follow The Cubans+++ 2:48 21. Cuban – Van Chase* 4:32 22. Train Fight 2:23 23. Bad Boys For Life 0:38 24. Mortuary Sneak 1:38 25. Escape Mortuary° 3:24 26. Syd’s Cover Is Blown 5:45 27. Tapia Has Syd°° 5:31 TOTAL DISC TIME 68:00 DISC 2 SCORE PRESENTATION CONTINUED 1. Prepare For Tapia*** 0:52 2. Tapia Attack§§ 9.03 3. Cuba Chase 3:23 4. Guantanamo 1:56 BONUS TRACKS 5. Theme From Bad Boys (Bad Boys II Demo Version)** 2:37 6. Xtreme Machine (Alternate)*** 2:45 7. Syd Getaway – Muscle Car (Alternate)* 4:10 8. Shootout (Alternate)§§ 3:05 9. Causeway (Alternate)* 4:23 10. Pressure Points (Alternate)* 0:29 11. Tapia Conversation (Alternate) 3:17 12. Bad Boys For Life (Alternate) 0:38 13. Mortuary Sneak (Alternate) 1:08 14. Tapia Has Syd (Alternate Version 1) 5:19 15. Tapia Has Syd (Alternate Version 2) 5:27 16. Tapia Has Syd (Alternate Version 3) 2:20 17. Tapia Has Syd (Helicopter Insert)* 1:19 18. Tapia Attack (Alternate Beginning) 3:33 19. Cuba Chase (Alternate) 3:22 20. Guantanamo (Alternate Version 1) 2:09 21. Guantanamo (Alternate Version 2) 2:11 22. Menina§ 4:05 TOTAL DISC TIME 67:29 TOTAL ALBUM TIME 2:15:29 * Written by Steve Jablonsky ** Written by Mark Mancina *** Written by Paul Linford + Written by Harry Gregson-Williams ++ Written by Trevor Rabin & Mark Mancina +++ Written by Mark Mancina, Steve Jablonsky & Trevor Rabin ° Written by Steve Jablonsky, Mark Mancina, Tim Heintz & Trevor Rabin °° Written by Trevor Rabin, Steve Jablonsky & Tim Heintz °°° Written by Trevor Rabin & Paul Linford § Written by Heitor Pereira §§ Contains an Interpolation of “Theme From Bad Boys” Written by Mark Mancina These are CD format releases.

Snow Files of the Week: "Damascus/The Subject", aus "MillenniuM", Episode "Owls" (1998). Als Mitglieder der MillenniuM-Gruppe in einer Moschee in Damaskus ein Stück Holz finden, welches zu dem Kreuz gehörte, an dem Jesus gestorben ist, entzweit sich die Gruppe in zwei Parteien: die "Eulen" und die "Hähne". Während die "Eulen" nicht an die Apokalypse mit dem Jahr 2000 glauben, sondern daran, dass das Jahr 2000 nur der Start von kosmischen Ereignissen ist, die erst knapp 60 Jahre später Auswirkungen haben werden, sind die "Hähne" davon überzeugt, dass das Ende nahe ist. Noch komplizierter wird es, als eine dritte Partei hinter dem Stück Holz her ist: das Projekt „Odessa", welches einst von den Nazis ins Leben gerufen wurde, um auf der ganzen Welt nach religiösen und machtvollen Objekten zu suchen. Marks Musik untermalt nicht nur die Szenen in Damaskus, als die Mitglieder der Gruppe sich wegen des Stück Holzes gegenseitig töten, sondern gibt der Folge auch eine religiöse Tonalität in dem Stück „The Subject". Diese Tracks stammen vom ersten Set mit MillenniuM-Musik von LLL, welches 2008 veröffentlicht wurde. Die erste Auflage war auf 2.000 Stück limitiert und war 2010 dann ausverkauft. 2015 wurde das Set wieder aufgelegt, dieses Mal limitiert auf nur noch 1.000 Stück. Auch diese Auflage ist ausverkauft. Viel Spaß beim Hören!

Und weg

Ich verkaufe die Intrada-CD von Donaggios CRAWLSPACE für 19 Euro inklusive Versand. Bei Interesse gerne melden.

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