Alexander Grodzinski

Zur Fantasykomödie DEATH OF A UNICORN hat das Trio Carpenter/Carpenter/Davis den Score geschrieben. Quelle

John Carpenter beim Steel City Con Panel. Gleich zu Beginn spricht er über seine Musik und erwähnt dort auch, dass er wieder Musik für jemand anderen gemacht hat. Zusammen mit seinem Sohn Cody und Daniel Davis hat er den Score zu DEATH OF A UNICORN geschrieben. Das ist ein Film mit Jenna Ortega und Paul Rudd in den Hauptrollen. Kommt wohl noch dieses Jahr.

Es soll wohl die schlechteste Planeten-Einspielung überhaupt sein. Ich paraphrasiere hier die Eindrücke anderer: Herrmann, hier schon kurz vor seinem Tod, dirigierte alles sehr langsam, was bei „Mars" noch reizvoll ist, da das langsamere Tempo die Musik noch bedrohlicher wirken lässt. Aber bei allen anderen Stücken ist das kontraproduktiv, es kommt keine Spielfreude auf, zudem gibt es wohl noch massenhafte Spielfehler des Orchesters.

Quartet legt den Score leicht erweitert neu auf. Quartet Records, in collaboration with Paramount Pictures, presents a remastered, slightly expanded reissue of James Horner’s classic war score for UNCOMMON VALOR (1983), directed by Ted Kotcheff and starring Gene Hackman, Robert Stack and young up-and-comers Patrick Swayze and Fred Ward. The film is a dramatic action picture centered on retired U.S. Marine Colonel Jason Rhodes, who recruits a motley crew of soldiers and leads them on a clandestine operation in Laos. Their mission is the rescue of unacknowledged U.S. prisoners of war (POWs) left behind after the withdrawal from Vietnam, including Rhodes’ son, officially declared missing in action (MIA). The possible existence of such POWs was a topic of considerable interest during the late 1970s and early 1980s. The messy conclusion of the Vietnam War, coupled with the scandals of the Nixon era, had left many Americans alienated from their government and deeply skeptical of official claims that there was no evidence of living POWs in the former war zone. James Horner was only 30 years old when he was hired to compose UNCOMMON VALOR, but he was already a seasoned composer with such successful films in his career as STAR TREK II, KRULL, BRAINSTORM and SOMETHING WICKED THIS WAY COMES, and he was about to enter the A-list of composers in Hollywood with his upcoming hit scores for ALIENS, AN AMERICAN TAIL and COCOON. Horner provides an inventive and effective score, robustly orchestral while endowed with exciting electronic rhythms and Vietnamese textures. Intrada Records issued the premiere release of UNCOMMON VALOR in 2014 and it quickly sold out. This new, remastered edition adds about 10 minutes of alternate takes. Produced by Dan Goldwasser and mastered by Chris Malone, it features in-depth liner notes by film music writer John Takis. 1. Vietnamese Solo / Main Title (7:31) 2. Airport (2:21) 3. Tag (2:49) 4. A Lot of us Have Been Killed (1:26) 5. Steal the Sucker (1:44) 6. First trek / Yellow Rain (2:45) 7. Pan Over Hill / Wilkes in Tunnel (7:35) 8. Attack Airbase (3:14) 9. Escape Airbase (3:22) 10. Copters Over Hill (2:51) 11. Final Escape (2:21) 12. End Credits (3:42) 13. Brothers in the Night* (4:48) Bonus Tracks 14. Main Title (Alternate Mix) (7:15) 15. Main Title Extension (Expanded) (3:08) 16. Parade Ground (3:58) 17. Main Title Extension Vietnamese Overlay (Alternate) (3:15) Total Disc Time: 64:14 *Performed by Ray Kennedy • Written by Ray Kennedy, Kevin Dukes and David Ritz

Quartet Records, in collaboration with Decca Classics and Universal Music Enterprises, presents a remastered CD edition of the unique, fascinating and controversial Bernard Herrmann recording of Gustav Holst’s THE PLANETS. Recorded during his post-Hollywood period when he was based in London, it was one of several albums he conducted for Decca Records’ Phase Four series, featuring both his own music and that of other composers. THE PLANETS has always been considered something of a cursed album, yet it is loved by his fans for an interpretation that is more Herrmann than Holst. The recording was not universally acclaimed when it was released. This was in part because several recordings of the work already on the market were considered classics, thus setting a very high bar for new entries. Some listeners, however, found the heavy tread of Herrmann’s “Mars” an actual plus, its mechanistic bombast far more threatening and imposing than the composer’s own recorded performance. Herrmann’s slow trek through the “big tune” in “Jupiter” was more widely criticized, but Herrmann was far from the only conductor who favored slower tempi in the later stages of their career—including in some of the Phase Four recordings of his own music. Nevertheless, Herrmann’s THE PLANETS sold well. Although reissued several times on LP in the 1970s, Herrmann’s recording of THE PLANETS was only released on CD in Australia in 2011 as part of a Holst compilation on Decca Eloquence. This new, first-ever solo CD edition has been restored and mastered by Chris Malone from the original master tapes transferred by UME in the UK, and features brilliant, extensive liner notes by classical and film music writer Frank K. DeWald alongside the original LP liner notes by renowned musicologist Harry Halbreich. Mars, The Bringer of War (8:43) Venus, The Bringer of Peace (10:04) Mercury, The Winged Messenger (4:34) Jupiter, The Bringer of Jollity (9:06) Saturn, The Bringer of Old Age (9:31) Uranus, The Magician (6:54) Neptune, The Mystic (8:11) Total Disc Time: 57:06

Music Composed by Alexeï Aïgui In collaboration with SBS Productions, Music Box Records presents the original motion picture soundtrack of Le Tableau volé (Auction), composed by Alexei Aigui (The Truth, I Am Not Your Negro). The film is directed by Pascal Bonitzer (Small Cuts). André Masson (Alex Lutz), an auctioneer at the famous Scottie’s auction house, receives a letter one day stating that a painting by Egon Schiele has been discovered in Mulhouse at the home of a young worker Martin (Arcadi Radeff). Very skeptical, he makes the trip and has to face the truth: the painting is authentic, a masterpiece gone missing since 1939, confiscated by the Nazis. André sees this discovery as the pinnacle of his career, but also the beginning of a struggle that could jeopardize it. Fortunately, he will be assisted by his ex-wife and colleague Bertina (Léa Drucker), and by his eccentric intern Aurore (Louise Chevillotte). For this art-world thriller and a study in human nature, Alexei Aigui provides a short delicate and dramatic score with his regular unrivalled style. Le Tableau volé is released in French theaters on May 1, 2024. The album is available on CD and digital version. This present edition also features the three other original motion picture soundtracks composed by Alexei Aigui for Pascal Bonitzer's films Je pense à vous, Le Grand Alibi and Cherchez Hortense (previously released on Music Box Records in 2014) with some previously unreleased tracks. LE TABLEAU VOLÉ 1. Le Tableau volé (0:57) 2. Aurore (1:42) 3. Arrivée à Paris (2:23) 4. Aurore et son père (0:53) 5. Les appels (1:08) 6. Dispute (1:25) 7. L’arnaque (1:08) 8. Conversations (1:30) 9. Martin (1:09) 10. Lettre de Martin (2:20) JE PENSE À VOUS 11. Générique début (1:48) 12. Anne sort du métro (1:08) 13. Anne seule (2:08) 14. La nuit (1:33) 15. Générique de fin (3:02) LE GRAND ALIBI 16. Le Grand Alibi (1:53) 17. Générique début (2:31) 18. Soupçons (1:32) 19. Révélations (1:44) 20. Le lieu du crime (2:02) 21. Dénouement (3:33) 22. Générique de fin (3:36) CHERCHEZ HORTENSE 23. Zoritsa et Damien (3:00) 24. Damien va voir son père (3:12) 25. Cherchez Hortense (Nuit) (1:19) 26. La tristesse de Damien (3:55) 27. Zoritsa part (2:21) 28. Générique de fin (3:27)

Varèse hat noch ein paar CDs gefunden.

Das war vielleicht eine Kombi aus "Ist günstig für uns zu machen" und "Irgendwie noch halbwegs populäres Videospiel".

Ich finde das Album ganz ok. Wenigstens nicht dreimal hintereinander das gleiche Stück, nur in unterschiedlicher Länge. Klar, die Songs kennt man alle schon von diversen Samplern und auch der instrumentale Rock-Track ist nach dem dritten Mal eher dröge. Aber ein großes Plus für mich ist, endlich das als "Walking down the street" bekannt gewordene Stück, wenn Bud mit den anderen zum großen Kampf mit den Außerirdischen läuft, zu haben (Track 18 auf der CD).

Neues aus der „Rob Zombie presents" Reihe. Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks. “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie In collaboration with Rob Zombie, Waxwork Records is thrilled to release Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack by Von Dexter. Starring Vincent Price, HOUSE ON HAUNTED HILL is a 1959 American Horror film produced and directed by William Castle. Vincent Price plays an eccentric millionaire, Frederick Loren, who, along with his wife Annabelle, has invited five people to a house for a "haunted house" party. Whoever stays in the house for one night will earn $10,000. As the night progresses, the guests are trapped within the house with an assortment of terrors. The film uses many props used in carnival haunted houses to generate fear and terror. The film is also known for its promotional gimmick, Emergo, which included a "flying skeleton" that would appear over the audience as they enjoyed the film in a movie theater. Waxwork worked with the rights holders of the original film elements which have been restored, allowing for the best source material of this never-before-released soundtrack album. In addition to the original music by composer Von Dexter, this release features segments of the film's dialogue and sound effects appealingly included and sourced from the restored original soundtrack. Included in this very special release is the first part of an exclusive two-part interview conducted by Rob Zombie with Vincent Price's daughter, Victoria Price. Part two will be included with Waxwork's upcoming release of Rob Zombie Presents The Last Man On Earth! Von Dexter (1912-1996) was an American composer born in Aurora, Illinois. He later moved to Chicago where his professional music career began playing in bars and nightclubs. After gaining a music degree at USC, he moved to California where he became the West Coast MD for NBC. In addition to House On Haunted Hill, Dexter composed the scores for other William Castle films including 13 Ghosts and The Tingler. Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack Features: The Original Motion Picture Soundtrack by Von Dexter 150 Gram Pink & Black Hand Poured Color Vinyl Exclusive Interview Conducted by Rob Zombie with Victoria Price Artwork By Graham Humphreys Deluxe Gatefold Packaging with Matte Satin Coating Four Page Booklet Select Dialogue & Sound Effects from the film included

What Lies Beneath (2000) was a first for filmmaker Robert Zemeckis: a serious, adult-minded ghost story starring Michelle Pfeiffer and, in a rare turn (and twist) as the villain, Harrison Ford. Originally developed for Steven Spielberg, the film was a Hitchcockian throwback of slow-burn suspense, with gorgeous Vermont locations supporting the A-list talent. Scoring What Lies Beneath was, as always for Zemeckis, his long-time collaborator, Alan Silvestri (Back to the Future, Forrest Gump). Silvestri conjured up a dark, moody soundscape of suspense, orchestral violence and eerie beauty for the supernatural hauntings and real-life threat that is closer than the heroine realizes—ably recalling the spirit of the classic Hitchcock–Herrmann partnership, with Silvestri’s own vernacular and modern dramatic sense. Varèse Sarabande released What Lies Beneath as a 9-track, 30-minute program at the time of the film. This long-awaited Deluxe Edition premieres the complete score in a 25-track, 60-minute program, with new liner notes by Daniel Schweiger interviewing screenwriter Clark Gregg. Produced by: Alan Silvestri and David Bifano Recorded and Mixed by: Dennis Sands Music Editor: Dan DiPrima, Jacqueline Tager and Lee Scott Mastered by: Chas Ferry and Melinda Hurley Track List: 1. ImageMovers Logo 2. Main Title 3. Panic Attack 4. Sobbing Neighbor 5. Claire Visits Feur House / I Thought I Saw / Watery What? 6. Broken Photo 7. Binocular Spy 8. Discover Key / Full Bath 9. Ouija Board 10. You Know 11. Newspaper Clipping 12. Madison’s Room 13. Forbidden Fruit 14. Jody Fesses Up / Electrocuted 15. I Opened The Door 16. Claire's Drive 17. Key Decision 18. Norman Attacks 19. Passive Aggressive Masterpiece / Norman Falls / Bloody Hand 20. Norman's Gone / Claire Steps In Blood / Hand Moves Sting 21. The Getaway 22. Reunited / Peace At Last 23. End Credits 24. Restaurant Source 25. The Four Seasons: Autumn

Doom (2005) was a big-budget feature film adaptation of the hit game from id Software, starring Karl Urban, Rosamund Pike and Dwayne Johnson (billed as The Rock). A team of marines are sent through a portal to a research facility on Mars, where they must battle demonic creatures which are revealed to be mutated humans from genetic experiments. Doom was an action-packed romp noted for its nods to videogame culture, creature design by Stan Winston Studios, and lengthy first-person shooter sequence. One of its most successful elements is its forward-thinking score by Clint Mansell, blending orchestra and electronics with authentic “alt. rock” elements, including a remix of the Nine Inch Nails song “You Know What You Are.” Mansell’s score smartly evolves from haunted-house spookiness to balls-out action, all impeccably produced. “I wanted to sort of capture the adrenaline and that sort of metal thrash that goes with the game and world in my opinion. It’s like it needed something edgy,” Mansell said at the time. “The original thought was to do a big orchestral score, and there is some orchestra in it, but it’s a very contemporary-type movie and the score needed to be contemporary, too.” Doom was released as a 22-track, hour-long by Varèse Sarabande at the time of the film. This new Deluxe Edition expands the content to two discs, with 41 tracks and over 140 minutes. The 20-page booklet features liner notes by Daniel Schweiger and two double-page interior spreads of newly commissioned artwork by Micha Huigen. Produced and Programmed by: Clint Mansell Orchestra Recorded and Mixed by: Geoff Foster Mastered by: Chas Ferry and Melinda Hurley Track List: CD 1: 1. Doom (Main Title) 2. Pray For War 3. Facing Demons 4. Olduvai 5. Into Action 6. Stealth 7. Searching 8. Access Denied 9. Sibling Rivalry 10. A Discovery 11. Goat's Demons 12. Nano Wall / Carmack 13. Zombie-Blood Gone 14. Down In The Sewer 15. Man Down 16. Taking Control 17. Carmack's Return 18. Childhood Memories 19. Mac Attacked 20. Resurrection 21. BFG 22. Bathroom Break 23. Destroyed 24. Clip Drop 25. Death From Above CD 2: 1. Infirmaray 2. Experimental Stahl 3. UAC Data 4. Containment Breach 5. It's Choosing 6. Kill Em All (A) 7. Kill Em All (B) 8. Mass Onslaught 9. C 24 10. First Person Shooter 11. Last Man Standing 12. Semper Fi 13. Fight Scene 14. Almost Home 15. You Know What You Are? (For E.C. Pt. 1) (Clint Mansell Remix) 16. Doom (For E.C. Pt. 2)

Oder er hat sich diese Rechte für seine Musik gesichert. Stammen die Sachen nicht auch aus seinem privaten Archiv?

Ich natürlich auch Er hat zwar nicht gesagt, von wem die Anfrage kam, aber bestimmt von LLL. Es passt in ihr Programm und mit Snow arbeiten sie nun schon auch länger zusammen. Daher gehe ich auch davon aus, dass von den älteren Sachen eher nichts kommt, wenn nicht ein Label wie LLL da hinterher ist. Die Studios selbst haben wohl eher kein Interesse, kein Geld dafür und/oder kein Personal für die entsprechende Recherche.

Klar, ich wollte es nur mit erwähnen.

Er hat zu dem Thema zwar schon länger kein Interview mehr gegeben, aber prinzipiell war der Tenor bei ihm eigentlich immer positiv, wenn es um Veröffentlichungen ging. In einem Interview zur Musik von MillenniuM meinte er mal, das war viele Jahre bevor es die CDs gab, dass er selbst gern mehr seiner Musiken veröffentlichen würde, aber die Studios eben die entsprechenden Rechte haben und in den meisten Fällen kein Interesse an solchen Veröffentlichungen. Daran scheitert es dann wie so oft. Vor einigen Jahren war laut Snow wohl auch eine Anfrage da zur Veröffentlichung einer oder mehrerer CDs mit seiner Musik aus GHOST WHISPERER. Aber hier scheiterte es wohl daran, dass da zwei Studios involviert sind. Und eines davon ist auch noch Touchstone, also Disney.

Ich hoffe ja immer noch, dass LLL auch die alten Snow-Sachen mal auf so einem Sampler wie der Quinn-Martin-Collection veröffentlicht. Einzelveröffentlichungen von HART TO HART oder T.J. HOOKER halte ich fast schon für ausgeschlossen.

Snow Files of the Week: „Woke up hungry/Not an option" aus „The X-Files", Episode „Darkness Falls" (1994). Classic X-Files at its best. Wieder eine Folge außerhalb der Alien-Mythologie, aber nicht weniger erinnerungswürdig. Als in einem großen Waldgebiet Holzfäller scheinbar spurlos verschwinden, machen sich Mulder und Scully auf, die Vorkommnisse zu untersuchen. Bereits seit den 30er Jahren verschwinden in diesem Gebiet immer wieder Menschen spurlos. Die Agenten finden schnell heraus, dass sich scheinbar eine bisher unbekannte Insektenart dort heimisch ist. Diese grün leuchtenden Insekten stürzen sich auf ihre Opfer, sobald die Dunkelheit herein bricht. Mark war zu diesem Zeitpunkt noch in der frühen Phase seiner X-Files-Musik. Was bedeutet, dass sie weniger melodisch daher kommt, aber dennoch nichts an Intensität vermissen lässt. Dafür sorgt schon ein hoher, sich als Echo wiederholender Klang, der die Nähe der Insekten heraufbeschwört. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

Thomas hatte sich vor ein paar Jahren übrigens hier noch mal im Board angemeldet. Natürlich unter einem anderen Benutzernamen, aber es war recht offensichtlich, wer dahintersteckte. Das ist dann ja auch so ein kleines Phänomen dieses Boards, denn er war nicht der einzige, der wegen seiner Art gesperrt wurde und es dann mit einem neuen Account nochmal versucht hat. Meist waren die, die sich dann auch am lautesten über das Board beschwert haben, diejenigen, die scheinbar nicht ohne das Board leben konnten und sich immer wieder neu angemeldet haben.

Dachte ich mir auch. Quasi passend zu unserer aktuellen Diskussion.

Intrada announces the premiere release of Christopher Young's stunning score for The Piper. Writer/Director Erlingur Thoroddsen sought out the veteran composer not only for the task of scoring The Piper, but to compose the three-movement Concerto for Children, which is rehearsed and performed in several pivotal scenes in the movie and whose motifs haunt the soundtrack of the movie and its characters. The filmmaker tasked Young with creating a work that was sophisticated enough to convince as a concert hall composition, maddening enough to compel characters to stab their ears as it unfolds, dynamic and dramatic enough to work as underscore during some of the film’s most frightening and powerful moments, and so compelling in its unearthly beauty that it seems capable of holding characters—from unscrupulous conductors to innocent children—in its spectral grip. “It turned out to be a 30-minute, three movement concerto that I had to write in advance,” Young says. “Erlingur basically told me that he needed one movement that was going to be crazy, because it was going to be played toward the end of the movie when the whole theater is going to pot. But beyond that, it was pretty open ended." The concerto employs standard flutes with the performer providing more exotic timbres through his playing. “I used piccolos through the lower C flute, alto flute, into the bass flute range, for these lower chords. For the Piper himself, when we see him play, it’s a normal flute that has been completely altered through electronic modification.” As Young notes, all these factors add up to one problem: “My flute concerto can never be performed as written. I’d have to make changes because the performer is required to move from the alto flute to the C flute to piccolo all within a handful of bars. It was easy to punch in and record them, but I’m going to have to make some revisions if I ever want to have this performed live.” The result is a powerful and sophisticated work that would stand up well in the concert hall ... if only it could be performed as written! Thoroddsen’s supernatural horror film follows Melanie Walker (Charlotte Hope), an ambitious young flautist, composer and single mom working under the auspices of imperious conductor Gustafson (Julian Sands), who leads the orchestra at the fabled but financially troubled Virgil Hall. Struggling to maintain her first-chair position in the orchestra, Melanie hopes to impress Gustafson with a flute concerto she’s composed, but she’s being undercut by the equally ambitious flautist and composer Franklin (Philipp Christopher), who has his own concerto in front of the demanding conductor. Gustafson also has a connection to another troubled composer—the late Katherine Fleischer, whose Concerto for Children No. 1 was given but a single, disastrous performance in 1975. That uncompleted rendition resulted in the Virgil Hall Tragedy, a fire that killed over 100 children. Katherine had been Melanie’s mentor before the elder composer took her own life by burning herself to death—after Gustafson tried to browbeat her into another performance of the concerto. Struggling to maintain her position with the conductor, Melanie Walker insists that she can find Katherine Fleischer’s written music so that Gustafson can conduct it at a crucial upcoming fundraiser for the hall and orchestra. FLUTE CONCERTO 01. Movement 1 (11:12) 02. Movement 2 (07:33) 03. Movement 3 (11:24) Concerto Time : 30:11 THE SCORE 04. Suite (21:11) CD Total Time: 51:13

Intrada announces an expanded reissue of Christopher Young's sci-fi/horror score to the 1995 MGM film Species. The album features the program Young put together in 2008, where he chose to present the score not in strict chronological sequence but rather in an intricately edited re-imagining of the cues to create the strongest musical listening experience. Several cues were dropped, and many others were trimmed to facilitate the new sequence. As is customary for this most creative and talented composer, Young judiciously married several otherwise-unrelated cues into longer pieces that were musically satisfying while still retaining the overall shape and architecture of the film itself. In some cases, he pulled bars from one take and inserted them into other takes as well as remixing everything to obtain the specific sound he desired. This release features that magnificent program. Additionally, for the collector who wants everything, we've also included the complete unedited score in chronological sequence, making this the last word on Young's brilliant work. The music for Species is written for large orchestra plus synthesizers and choir. Christopher Young scored some 90 minutes of music using these forces both in full and in part, and his compositional gifts are on full display. In the film, a seemingly human child is held in a government facility, yet the girl is actually the product of an alien transmission that enabled Earth scientists to combine extraterrestrial and human DNA. The head of the project, Xavier Fitch (Ben Kingsley) orders the destruction of the young creature, Sil. But Sil escapes before the execution can take place, quickly grows to adulthood and begins a rampage in Los Angeles. Fitch gathers a team of unlikely experts to track down and kill the creature. The personnel include an “empath” who can read others’ thoughts and feelings (Forest Whitaker), a sociologist (Alfred Molina), a biologist (Marg Helgenberger), and a government contract killer (Michael Madsen). The twist in Species is that Sil is by all appearances a beautiful human female, played as a young girl by Michelle Williams and as an adult by actress and model Natasha Henstridge. CD 1 Original Score 01. Main Title (Revised) (3:43) 02. Sil Escapes Part 1 (2:57) 03. Sil Escapes Part 2 (1:28) 04. Sil’s Dream, Number 1 (0:26) 05. Sil Gets Off Train (1:14) 06. Track And Hunt Her Down #1 (1:06) 07. Sil’s Dream, Number 4 (0:29) 08. Young Sil Transforms (0:57) 09. Dan The Psychic (Alternate) (1:27) 10. Sil Grows Up (0:35) 11. The Experiment (3:55) 12. Battlefield L.A. (3:47) 13. Sil In L.A. (1:20) 14. Bad Experiment (Revised) (4:31) 15. Manhunt Begins (0:55) 16. Sil Stalks Her Prey/Ladies Room Killing (0:47) 17. Sil Kills Robbie (2:58) 18. More Docile (1:12) 19. Sil’s Dream, Number 3 (0:41) 20. Track And Hunt Her Down #2 (0:41) 21. She’s So Lonely/Body Repair (2:27) 22. Hospital Report (0:52) 23. Dangerous Sex (5:42) 24. Sil Follows Team (2:37) 25. Sil’s Dream, Number 2 (0:38) 26. The Set Up (Revised) (2:53) 27. Sil Stages Her Death (3:57) 28. Sil’s Disguise (4:02) 29. Wrong Blond (0:34) 30. Sil Follows Laura (0:42) 31. Hole To Hell/Feminine Intuition (3:23) 32. Fitch Gets It (0:54) 33. Creature Watches Team (2:38) 34. Baby Alien (1:28) 35. The Baby’s Demise (4:16) 36. Sil’s Demise (1:53) 37. End Credits (5:07) CD 1 Total Time: 79:13 CD 2 THE EXTRAS 01. Main Title (Original) (2:29 02. Dan The Psychic (Original) (1:25 03. Bad Experiment (Original) (4:29 04. The Set Up (Original) (3:01 Total Extras Time: 11:24 2008 Composer Assembly 05. Species (3:38) 06. A Vibrant Slime (3:29) 07. Protostar (2:52<) 08. Ring Nebula (5:28) 09. Fever (2:27) 10. Are You Out There Somewhere? (5:17) 11. Species Feces (4:24) 12. Bax Max (3:40) 13. Milky Way Breasts (4:52) 14. Safe Sex (2:32) 15. Fever’s Fever (3:40) 16. The Alien Underground (3:57) 17. Worm Hole (2:20) 18. Son Of Sil (1:50) 19. Star Bright (5:01) 20. Aetherian Universe (4:30) 21. How To Defend Yourself Against Alien Abduction (3:07) 22. Angel Hair (3:06) Composer Assembly Time: 67:15 CD 2 Total Time: 78:39

Die Label-Diskussion gibt es nun hier.

Genau, das mit der Aussteuerung ist mir auch aufgefallen. Leider wird im Booklet nicht erwähnt, mit welchen Quellen die CDs produziert wurden. Vielleicht aus gutem Grund. Kann schon sein, dass ein Teil davon aus Faltermeyers Archiv stammt und ein anderer Teil tatsächlich von Filmstems oder so gezogen wurde. Letztens habe ich erst was drüber gelesen, weiß aber leider nicht mehr, welcher Komponist das war, dass dort auch im Privatarchiv nach der Musik gesucht wurde. Der Komponist hatte die Musik auch in seinem Archiv, aber diese war auf Bändern gespeichert (war wohl auch aus den 80ern). Und diese Bänder waren leider im Laufe der Zeit so unbrauchbar geworden, dass man davon kein Master für eine Albumveröffentlichung mehr machen konnte. Vielleicht ist hier ja was Ähnliches passiert. Eventuell musste man bei manchen Tracks auf schlechtere Kopien zurückgreifen, weil Faltermeyer und/oder das Studio keine vollständigen Master mehr haben.

Scream Factory haben gerade die frühen Horner BATTLE BEYOND THE STARS und HUMANOIDS FROM THE DEEP auf Vinyl veröffentlicht. War aber im Zuge ihrer Roger-Corman-Veröffentlichungen. Vielleicht kommt da ja trotzdem was zu THE HAND.