Alexander Grodzinski

LLLCD 1694 Music Composed and Conducted By John Williams Limited edition of 3000 units La-La Land Records, Paramount Pictures, DreamWorks Pictures, Amblin Entertainment and Decca Records present an expanded and remastered limited edition CD reissue of Academy Award-Winning composer John Williams’ original motion picture score to the 2004 big-screen comedy/drama THE TERMINAL, starring Tom Hanks and Catherine Zeta-Jones, and directed by Steven Spielberg. Renowned composer John Williams’ (JAWS, SCHINDLER’S LIST, DISCLOSURE DAY) collaborations with Steven Spielberg have resulted in decades of legendary film scores and THE TERMINAL, a jazz-infused wonder chronicling the heartwarming and thoughtful tale of Eastern European, Viktor Navorski, who undergoes the American Immigrant experience while stranded for months at JFK airport, is no exception. Joy, drama, love and heartbreak abound as the Maestro once again puts nothing less than the human experience to music in beautiful thematic fashion. Expanded and remastered, with 14 minutes of previously unreleased material, this deluxe CD presentation allows the score to shine in its brilliance. Produced, edited and mastered by Mike Matessino, and approved by the composer, this limited-edition re-issue of 3000 units features the Expanded Score Presentation in chronological order, as well as a selection of Additional Music tracks. The exclusive, in-depth liner notes are by writer John Takis and the sharp art design is by Jim Titus. This release marks La-La Land’s fourteenth Spielberg/Williams collaborative soundtrack title! TRACK LISTING: SCORE PRESENTATION 1. Krakozhia National Anthem :51 2. War In Krakozhia * 3:50 3. Introducing Viktor * 1:06 4. Refusing To Escape 3:05 5. Finding Coins 2:41 6. Learning To Read ** 1:40 7. A Stallion 4:25 8. Viktor To Dixon’s Office * :47 9. Looking For Work 3:20 10. Napoleon And A Lunch Offer ** 1:56 11. Medicine For Goat * 1:08 12. A Legend Is Born / Viktor Buys Clothes ** 3:32 13. Dinner With Amelia 8:07 14. Engagement And Wedding ** 2:53 15. The Fountain Scene 5:37 16. The Old Boyfriend * 1:10 17. Gupta And The Plane ** 1:28 18. Viktor And His Friends 4:47 19. Jazz Autographs 3:49 20. Destiny 1:38 21. The Tale Of Viktor Navorski 4:14 22. End Credits (“The Terminal”) 1:35 Total Score Time: 63:38 ADDITIONAL MUSIC 23. Dinner With Amelia (Alternate Segment) ** 2:40 24. The Old Boyfriend (Alternate) * 1:11 25. Viktor And His Friends (Film Version) ** 4:49 26. The Fountain Scene (Film Version) ** 5:42 Total Additional Music: 14:25 Total Album Time: 78:04 * Previously unreleased ** Contains previously unreleased material

Music by Franz Waxman Limited edition of 1000 units La-La Land Records and Paramount Pictures present a 75th Anniversary remastered and expanded limited edition CD re-issue of legendary composer Franz Waxman’s Academy Award-winning original motion picture score to the 1951 big-screen drama A PLACE IN THE SUN, starring Montgomery Clift, Elizabeth Taylor and Shelley Winters and directed by George Stevens. Renowned composer Franz Waxman (SORRY, WRONG NUMBER, THE FURIES, SUNSET BOULEVARD) unleashes a magnificent score that powers this classic and tragic story of a man irreversibly corrupted in his struggle to trade his working-class existence for one among the wealthy elite, complicated further by his relationships with two women, one from each of his separate worlds. Anchored by its towering love theme, Waxman’s orchestral score surges with emotion, weaving the romantic and the optimistic while countering with the sinister and tragic. Marking the 75th anniversary of the film and its score, La-La Land has been able to expand the previously existing soundtrack presentation with newly restored material, including music salvaged from a lacquer disc housed in the Waxman Collection at Syracuse University. The label then worked in consultation with the composer’s son, John Waxman, to create an assembly that showcases the original vision for the score to the fullest extent possible, with dramatically improved sound quality. Listeners can now hear Waxman’s musical vision with unprecedented clarity and impact. Produced by Dan Goldwasser, restored by Chris Malone, and mastered by Doug Schwartz, this limited edition CD of 1000 units features The Franz Waxman Score tracks, along with additional music and source music. The exclusive, in-depth liner notes are by writer John Takis, and the sharp art design by Dan Goldwasser includes rare behind-the-scenes images. TRACK LISTING: THE FRANZ WAXMAN SCORE 1. Prelude And First Scene (Stem Restoration) 2:50 2. The First Mile 3:00 3. Dance And Angela 3:15 4. Not Married (Stem Restoration) 1:28 5. Evil Plans 3:29 6. Loon Lake – Part 1 (Stem Restoration) 2:40 7. Loon Lake – Part 2 2:03 8. Buildup To Murder 3:22 9. The Drowning – Part 1 3:14 10. The Drowning – Part 2 3:13 11. Despair – Part 2 (Stem Restoration) 0:58 12. Exhaustion (Stem Restoration) 1:06 13. Farewell And Frenzy (Stem Restoration) 3:05 14. Angela Collapses 1:15 15. Witness Montage 1:44 16. The Last Mile (Finale Soft Ending) 1:47 TOTAL WAXMAN SCORE TIME: 38:29 ADDITIONAL MUSIC 17. Theme From A Place In The Sun 3:57 18. The President’s Office (Stem Restoration) 0:35 19. Love’s Meeting 2:16 20. Dance And Angela (Rescored Version) 3:07 21. Dance And Angela (Alternate Version) 3:07 22. Ophelia (Stem Restoration) 2:11 23. To The Lake 1:43 24. Farewell And Frenzy (Rescored Version) 2:15 25. Anguish (Stem Restoration) 0:29 26. Finale (Rescored Version) 0:49 TOTAL ADDITIONAL MUSIC TIME: 20:29 SOURCE MUSIC 27. Movie End Title / Paramount On Parade 0:26 28. Rhumba (Unused) 2:07 29. Out Of Nowhere (Rhumba) 2:34 30. Alice’s Radio 1:16 31. Why Fight The Feeling? (Stem Restoration) 0:56 32. Girl’s School – Alma Mater 1:05 TOTAL SOURCE MUSIC TIME: 8:24 TOTAL ALBUM TIME: 67:22

Music by Jared Michael Fry Limited edition of 2000 units ORDER NOW and get your CD booklet autographed by composer Jared Michael Fry at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records, Paramount Pictures, Lakeshore Records and Cutting Edge Group present a limited edition CD release of acclaimed composer Jared Michael Fry’s original motion picture score to the big-screen survival drama HEART OF THE BEAST, starring Brad Pitt and J.K. Simmons, and directed by David Ayer. Composer Jared Michael Fry (THE BEEKEEPER, A WORKING MAN) unleashes a bold orchestral score that expertly drives the action while mining the emotional core of this remarkable tale of a military veteran and his dog pitted against the wild in all its majesty and peril. Majestic and wondrous, dangerous and suspenseful, yet also joyful and uplifting, Fry’s powerhouse score is as emotionally resonant as it is thrilling. Produced by Brian McNelis, Tara Finegan and Philip Moross, and mastered by Reuben Cohen, this limited edition CD release of 2000 units features art direction by Dan Goldwasser and includes a note from the composer. TRACK LISTING: 1. Ella 2:03 2. Two Weeks Earlier 4:19 3. Just A Bad Dream 0:58 4. Ak’a Tamaani 2:48 5. A Storm Is Coming 9:09 6. Saving Odin (Edited Version) 7:00 7. Losing Daylight 2:09 8. Fifty-Eight Miles 4:24 9. Ayagluni (The Journey) 2:33 10. Walking The Broken Spine 2:08 11. The River 5:35 12. Against The Current 5:27 13. We’re Being Stalked 3:07 14. Blood And Water 6:40 15. Final Ascent 3:19 16. The Final Mission 2:08 17. Because You Gave Everything 2:49 18. The Letter 3:53 19. Heart Of The Beast 3:44 20. From Here, Forward 3:00 TOTAL ALBUM TIME: 77:17

Music by Joe Kraemer Limited edition of 2000 units ORDER NOW and get your CD booklet autographed by composer Joe Kraemer at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records presents a limited-edition CD release of acclaimed composer Joe Kraemer’s (THE WAY OF THE GUN, JACK REACHER, MISSION: IMPOSSIBLE ROGUE NATION) original motion picture score to big-screen theatrical event, THE SIXTY-YEAR MISSION: HOW STAR TREK CHANGED TELEVISION AND THE WORLD, written and directed by Mark A. Altman (Pandora, Free Enterprise) and Executive Produced by William Shatner. THE SIXTY-YEAR MISSION charts the original STAR TREK’s remarkable voyage of a cultural phenomenon that transformed popular culture and the world at large. Through rare archival material and intimate conversations with the people who shaped its universe, including all three living members of the original cast; William Shatner, George Takei and Walter Koenig, this critically acclaimed film explores how Star Trek challenged the conventions of television—and gave millions of viewers a new vocabulary for talking about humanity, technology, and what comes next. Composer Joe Kraemer unleashes an all-new musical universe worthy of this comprehensive, emotional and historical voyage, expertly paying thoughtful homage to the franchise’s classic past while teeming with original thematic material that soars with hope, drama and wonder. Produced by Joe Kraemer and mastered by Doug Schwartz, this limited-edition CD release of 2000 units includes brief notes from the composer and director, with art direction by Dan Goldwasser. TRACK LISTING: 1. Main Title 2:10 2. Vision of the Future 2:13 3. A Wagon Train to the Stars 1:53 4. To Serve and Protect 2:00 5. That’s Showbiz… 1:54 6. Writing for Television 2:07 7. The Swinging Sixties 2:26 8. Sky Force 1:55 9. No War 4:29 10. To Boldy Go 3:29 11. A Modern Myth 2:05 12. Triumph and Turmoil 2:10 13. A Commander’s Duty 2:23 14. An Imperfect World 3:42 15. A Second Chance 2:58 16. Vietnam and the Nuclear Age 3:29 17. Casting 2:14 18. Captain and Cassanova 2:43 19. The Great Bird 2:28 20. Thematic Menagerie 3:04 21. Live Long 1:58 22. Finale 4:40 23. End Credits 1:32 TOTAL ALBUM TIME: 60:45

Es gibt eine Doku über die Scores zu HALLOWEEN (1978) und HALLOWEEN (2018). Die komplette Doku kann man hier sehen, allerdings nicht kostenlos.

Quartet Records, in collaboration with GDM and EMI Music Publishing, proudly presents a remastered 50th-anniversary edition of Ennio Morricone’s magnificent score for NOVECENTO, Bernardo Bertolucci’s monumental 1976 historical epic, starring Robert De Niro, Gérard Depardieu, Dominique Sanda, Donald Sutherland and Burt Lancaster. NOVECENTO chronicles half a century of Italian history through the intertwined lives of two men born on the same day but into opposing social classes. Against a sweeping backdrop of political upheaval, class struggle and the rise of fascism, Bertolucci creates an unforgettable portrait of friendship, betrayal and the changing face of twentieth-century Italy. Morricone’s extraordinary score is one of the most accomplished and deeply moving works of his career. Richly symphonic, intensely lyrical and profoundly evocative, the music perfectly captures the epic scale and emotional complexity of Bertolucci’s vision. From the unforgettable main theme to the delicate, nostalgic melodies and powerful dramatic passages, Morricone weaves a magnificent musical tapestry that reflects both the intimacy of the characters’ lives and the grandeur of the historical events surrounding them. For this special 50th-anniversary release, the original soundtrack album has been entirely restored and remastered by Chris Malone, bringing renewed clarity, warmth and detail to Morricone’s beautiful orchestral writing. The 20-page lavishly designed package includes detailed liner notes by film music writer Miguel Ángel Ordóñez. Romanzo 4:05 Estate – 1908 5:01 Autunno – 1922 4:43 Regalo di Nozze 2:45 Testamento 2:25 La polenta 1:07 Il Primo Sciopero 2:48 Padre e Figlia 1:27 Tema di Ada 4:50 Apertura della Caccia 5:44 Verdi e’ Morto 2:30 Nuovi Crociati 3:32 Il Quarto Stato 1:33 Inverno – 1935 2:45 Primavera – 1945 2:06 Olmo e Alfredo 2:18 Total Disc Time: 50:59 Quartet Records, in collaboration with MoviScore Media, presents a limited-edition CD featuring two exciting sci-fi action and horror scores by Christopher L. Stone: GALAXIS (1995) and DNA (1996), both directed by William Mesa. GALAXIS, starring Brigitte Nielsen, Richard Moll and Cindy Morgan, is a science fiction adventure about a sacred crystal believed to be the source of all life, and a warrior who travels to Earth to prevent it from falling into evil hands. DNA, starring Jürgen Prochnow, Mark Dacascos and Robin McKee, follows a terrifying genetic experiment that brings a deadly jungle creature to life. Both films offered Stone the opportunity to unleash his energetic, rhythmically driven orchestral writing, combining relentless action, suspense and spectacular musical set pieces. Working with relatively small orchestras, the composer achieved remarkable clarity and precision in the intricate, lightning-fast passages that characterize his exciting action music. Stone particularly enjoyed the creative freedom afforded by these projects, recalling: “I love fast cars and fast music. It’s all Rock ‘ n’ Roll!” Christopher L. Stone is an accomplished composer for film, television and video games whose credits include PHANTASM II, TICKS, TREASURE ISLAND, THE STUPIDS, WALKER: TEXAS RANGER and TALESPIN, as well as the groundbreaking orchestral score for the video game DRAGON’S LAIR. Bringing together two entertaining examples of mid-1990s genre film scoring, GALAXIS / DNA is a thrilling showcase of Stone’s exuberant orchestral style, now available together on one limited-edition CD. GALAXIS 1 Main Title from Galaxis 2:33 2 Gylon Captures the Crystal 3:03 3 Plotting Galactic Salvation 2:39 4 The Evil of Gylon 2:06 5 Trouble Arrives on Earth 2:17 6 Ladera Arrives to Ssave Earth 3:30 7 Fight Against Evil 2:22 8 Bad Street 2:56 9 Ladera Fights Gylon 2:26 10 More Than They Bargained For 3:30 11 The Final Battle 7:27 12 End Title 2:04 DNA 13 Main Title from DNA 1:41 14 Down the Amazon Into Danger 1:28 15 The Alien Stalks 0:51 16 The Curse 2:27 17 Hunting the Alien 4:14 18 Secret of the Amazon 7:03 19 It’s Out There! 3:00 20 Fighting For Their Lives 0:55 21 On the Hunt Down the Mysterious Amazon 6:29 22 Boy Becomes a Man and Final Battle 7:25 23 The Battle is Finally Won 2:32 Total Disc Time: 75:07 Digital von BSX: BSX DIGITAL presents a premiere release of music written by the great Gerald Fried (STAR TREK, THE MAN FROM U.NC.L.E., ROOTS), a jazz/baroque cantata composed at the height of his composing career in 1966. At a time when he was at his most prolific, he began putting increasing energy into his own creative work, which would include this cantata and other concert works based on themes he had written for popular television shows. OMNIA AD DEI GLORIAM, also known as LES THE LEAST STRAIGHTENS THE LORD brings the legend of the wise fool to life as never before in the form of a jazzy comic oratorio originally conceived for the Los Angeles Music Festival in 1966. OMNIA AD DEI GLORIAM follows Les the Least, considered the least of the lesser angels, who can’t seem to do anything properly, not even the simple heavenly task of greasing the Lord’s lightning bolts. But when the Lord gets fed up with humanity and turns Earth over to Satan, it’s up to Les to save the day. Horrified, Les goes down to earth to prove to the Lord that there truly is value down there. Of course, he totally messes up but somehow his innocence gets the better of Satan and he earns the respect of the Lord. Structured like Bach's perennial favorite, the St. Matthew Passion, OMNIA AD DEI GLORIAM is a comic, musically inventive alternative to the traditional holiday oratorio repertoire. Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. BSX Digital presents the premiere release of OMNIA AD DEI GLORIAM, featuring music and text by Gerald Fried. The music has been mastered by James Nelson at Digital Outland. Part One: Heaven and Earth / Part Two: The Cafe Total time: 59:21 Special Note: This release features the original LP and CD mixes of these recordings. These differ from the remixes released by Quartet Records in 2025. For those interested in the remixed edition, please visit Quartet Records. BSX DIGITAL presents ORSON WELLES AT THE MOVIES: THE FILM MUSIC OF BERNARD HERRMANN, featuring music written by legendary composer Bernard Herrmann for the first two feature films of the equally legendary director, Orson Welles, performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner. Orson Welles and Bernard Herrmann shared a legendary creative partnership that revolutionized radio and film sound design. Herrmann and Orson Welles collaborated on several very famous radio broadcasts, including THE WAR OF THE WORLDS and series such THE MERCURY THEATRE ON THE AIR. Welles brought Herrmann to Hollywood to score CITIZEN KANE, his debut feature film, and they collaborated again on THE MAGNIFICENT AMBERSONS, although much of Herrmann’s music was not used because of the extensive re-editing done on the film by RKO. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS Symphony Orchestra. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. These recordings performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner and produced by John Steven Lasher originally debuted on compact disc in the early 1990s on Preamble Records. BSX Digital brings CITIZEN KANE and THE MAGNIFICENT AMBERSONS together for ORSON WELLES AT THE MOVIES: THE FILM MUSIC OF BERNARD HERRMANN, featuring music composed by Bernard Herrmann. These recordings have been newly mastered by James Nelson at Digital Outland and reprise original liner notes written by Tony Bremner, John Steven Lasher and Christopher Husted for the respective recordings. CITIZEN KANE 01. Prelude (2:20) 02. Susan In Night Club (Rain Sequence) (0:53) 03. Thatcher Library (Litany) (3:23) 04. Galop (0:58) 05. Dissolve To Thatcher / Second Ms. / Bernstein's Narration (1:41) 06. Kane’s News Office / Carter's Exit / Chronicle Scherzo (2:58) 07. Bernstein's Presto (0:40) 08. Kane’s Return / Valse Presentation (1:40) 09. Sunset Narrative (2:19) 10. Theme And Variations (Breakfast Montage) (3:20) 11. Kane Meets Susan / Susan’s Room / Mother Memory (3:04) 12. The Trip To Susan’s / Getty’s Departure / Kane Marries (2:09) 13. Salaambo's Aria (4:23) Rosamund llling, Soprano 14. Leland’s Dismissal (0:58) 15. Susan In Night Club (New Dawn Sequence) (0:52) 16. Opera Montage (0:47) Rosamund llling, Soprano 17. Xanadu / Jigsaw Puzzles (Perpetual Motion) / Second Xanadu (3:50) 18. Kane’s Picnic / Susan Leaves (1:59) 19. El Rancho (Second Dawn Sequence) (0:38) 20. The Glass Ball (1:23) 21. Finale (2:26) 22. Opera Montage Etendu (1:28) Rosamund llling, Soprano THE MAGNIFICENT AMBERSONS 23 Theme And Variations / George’s Homecoming (7:13) 24. Snow Ride (3:01) 25. The Door / Death And Youth (0:51) 26. Tocatta (1:07) 27. Pleasure Trip (1:01) 28. Prelude (1:25) 29. First Nocturne (4:04) 30. Garden Scene (1:10) 31. Fantasia (2:06) 32. Scene Pathetique (2:16) 33. Waiting 1 And 2 (1:27) 34. Ostinato (1:48) 35. First Letter Scene (3:22) 36. Second Letter Scene / Romanza (2:08) 37. Second Nocturne (3:18) 38. Departure / Isabel’s Death (1:44) 39. First And Second Reverie (2:35) 40. The Walk Home (2:46) 41. Garden Music (2:56) 42. Elegy (1:19) 43. End Title (2:21) Total Time: 95:52

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde. Auch die Zweitauflage ist mittlerweile ausverkauft. Happy Halloween!

Zum bevorstehenden 30. Geburtstag von MillenniuM. Snow Files of the Week: "Big Yellow House/Exterminated" aus "MillenniuM", Episode "Pilot" (1996). Als die X-Akten in die vierte Staffel gingen, startete Chris Carters zweite Serie "MillenniuM". Die erste Folge erreichte die höchste Einschaltquote, die der Sender FOX je bei einer Pilot-Folge einer Serie verzeichnen konnte. Die Folge wurde sogar in ausgewählten Kinos gezeigt. Das Zuhause der Familie Black, das große gelbe Haus, ist ein Ort der Sicherheit für Frank Black. Hier kann er seiner Familie ein normales Leben bieten, abgeschirmt von der düsteren Welt da draußen, zumindest glaubt er das. Wenn man die Serie genau verfolgt, wird man feststellen, dass alle Szenen, die in oder um das gelbe Haus herum spielen, einen goldenen Schimmer haben, während der Rest in der "echten" Welt eher in ausgewaschene, düstere Farben getaucht ist. Mark benutzt eine Variation des Hauptthemas, um die Einführung des gelben Hauses zu untermalen. Seine sanften Streicher, kombiniert mit der Solo-Violine, erzeugen einen Ort des Friedens, aber spiegeln auch die Schrecken, die außerhalb warten, wieder. Die Stücke stammen vom ersten Set von LLL. Dieses wurde 2008 veröffentlicht und war zwei Jahre später ausverkauft. 2015 veröffentlichte LLL das Set noch einmal, limitiert auf 1.000 Stück. Viel Spaß beim Hören!

Music by Lorne Balfe Limited edition of 1000 units ORDER NOW and get your CD booklet autographed by composer Lorne Balfe at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records and Paramount Pictures present an expanded and remastered 2-CD set of acclaimed composer Lorne Balfe’s (MISSION: IMPOSSIBLE FALLOUT, BEVERLY HILLS COP AXEL F), original motion picture score to the 2015 sci-fi/action thriller TERMINATOR GENISYS, starring Arnold Schwarzenegger, Jason Clarke and Emilia Clarke, and directed by Alan Taylor. The anticipated fifth installment of the famed TERMINATOR franchise called for a powerhouse score and composer Lorne Balfe charges forward with an expert, propulsive mix of electronics and orchestra, paying homage to Brad Fiedel’s original themes where it counts, while bringing in all-new thematic material that is notably emotional and optimistic. This expanded, remastered presentation allows Balfe’s work to shine in full, showcasing the composer’s versatility and unique voice. Produced by Stéphane Humez and mastered by Maxime Marion, this special CD release, limited to 1000 units, features the film score presentation over Two Discs, with an additional selection of “Suites and Themes” on the Second Disc. The exclusive, in-depth liner notes by writer Kaya Savas, with new comments from the composer. The art design is by Dan Goldwasser, featuring a reversible front cover. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Better Days* 3:06 2. Meet John Connor 4:02 3. Work Camp 3:38 4. I Volunteer* 2:06 5. Reese Going Back 3:50 6. Griffith Park* 2:56 7. Alley Confrontation (Extended Version) 3:52 8. Meet Sarah Connor & Pops* 1:40 9. T-1000 On The Prowl* 3:59 10. Still After Us (Extended Version) 5:08 11. 1997 Or 2017* 3:53 12. Alcove 2:18 13. Sarah & Reese Into TDD 2:04 14. Sarah’s Story 2:58 15. Time Travelers 1:23 16. John & Guardian Show Up 2:13 17. It’s Really Me* 2:37 18. Family (Extended Version) 2:22 19. I Am More (Extended Version) 4:29 TOTAL DISC ONE TIME 58:32 DISC 2 SCORE PRESENTATION CONTINUED 1. Cyberdyne 3:41 2. If You Love Me You Die (Extended Version) 6:31 3. Bus Ride (Extended Version) 4:03 4. Interrogation 2:03 5. Judgment Day (Extended Version)* 3:28 6. Cyberdyne Lobby 1:52 7. Come With Me 3:43 8. Fight (Extended Version) 3:29 9. Sacrifice (Extended Version)* 4:25 10. What If I Can’t? (Extended Version) 4:36 11. Terminated* 2:00 12. System Online 0:48 SUITES AND THEMES 13. John Connor 2:56 14. Sarah & Kyle 4:36 15. Guardianship 3:26 16. Sarah Kicks Ass 1:54 17. Fate And Hope 3:57 TOTAL DISC TWO TIME 57:29 TOTAL ALBUM TIME 116:04 * Contains an Interpolation of “The Terminator Theme” (From the Motion Picture The Terminator) Written by Brad Fiedel.

LLLCD 1705 Music by Colin Stetson Limited edition of 1500 units ORDER NOW and get your CD booklet autographed by composer Colin Stetson at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records, Skydance and Apple Original Films present a limited-edition CD release of renowned composer Colin Stetson’s (HEREDITY, THE MENU), original motion picture score to the feature film action/comedy MAYDAY, starring Ryan Reynolds and Kenneth Branagh, and directed by Jonathan Goldstein and John Francis Daley. MAYDAY is a big, wildly entertaining Cold War 80s-era canvas of an action/comedy, with dynamic leads Ryan Reynolds and Kenneth Branagh radiating star-powered chemistry throughout. Composer Colin Stetson, who also performs most of the instruments heard here, fashions a wonderful and eclectic score that embodies and empowers all the film’s laughs, action, and character drama in surprising and effective ways. Propulsive where needed, but also subtle and emotional throughout, the score is an unconventional treat! Produced by Colin Stetson, this special CD release is limited to 1000 units. The art design is by Dan Goldwasser. TRACK LISTING: 1. Saving Boomer 1:56 2. The Mission 1:06 3. Blackbird 0:57 4. Liftoff 2:38 5. The view from up here 1:19 6. The Stranger 0:40 7. Moonshine 1:08 8. Making an escape 1:06 9. Do we have a deal? 2:13 10. Stakeout 1:15 11. The Heist 1:13 12. Soldiers on a train pt. 1 1:47 13. Soldiers on a train pt. 2 1:39 14. Anna 1:51 15. The Maz 2:19 16. Shaking the tail 1:21 17. Interrogation 3:33 18. Catching a flight 0:39 19. I must break you 2:51 20. Who’s flying the plane? 5:57 21. Wingman 2:05 TOTAL ALBUM TIME: 39:35

Intrada announces the premiere release of Charles Fox's score to the 1980 Paramount film Little Darlings. Fox wrote a lyrical score featuring solo harmonica, harpsichord, guitar and orchestra. “It was a sweet picture,” Fox recalls today. “Two young girls, younger women going to camp and getting involved in love affairs and romance and all that. I was really proud of that score, frankly." Fox worked on two songs for the movie with lyricist Carole Bayer Sager—a main title theme, “Little Darlings,” and a romantic song, “You and Me and Summer.” Ultimately neither song made it past the demo stage, but the melodies became foundational for the score. “Little Darlings” is an upbeat number that establishes the mood and energy of light summer fun. “You and Me and Summer,” on the other hand, is a wistful, low-key tune with a classic hook, intended as love music for Ferris’ relationship with the camp counselor. The opening piano figure expands on an opening riff from the “Little Darlings” song and forms the basis and mood for a lot of the underscore in the film. Vocal demos of the two songs are included as well among The Extras to give listeners a sense of what could have been. The album was sourced from multi-track elements stored at Paramount, but they were showing their age. Co-producer Chris Malone did extensive restoration in creating this album along with co-producer Dan Goldwasser. The result is a perfect-sounding album in crisp stereo to a charming and bittersweet score that has been often overlooked. Jeff Bond's liner notes adorn the package along with cover design by Stéphane Coëdel and overall design by Kay Marshall. Check out the soundtrack trailer here. The film stars Tatum O’Neal, Kristy McNichol Matt Dillon, and Armand Assante and follows two teenage girls from different backgrounds who meet at summer camp and make a bet to see who can lose their virginity first. As they navigate peer pressure, friendship and growing up, they discover that love and relationships are more complicated than they expected. The film takes a more mature and sophisticated approach than what one might initially expect. THE SCORE 01. Little Darlings Main Title* (2:19) 02. Little Darlings* (2:32) 03. Bus Leaves/Bus Pulls Out After Fight (0:56) 04. Arrival At Camp* (1:13) 05. By The Lake (2:43) 06. Girls Spy On Boys Camp (0:28) 07. Girls Steal Bus (0:58) 08. Angel Looking At Randy (1:39) 09. Penelope Steals Machine (0:56) 10. Food Fight** (1:31) 11. Used To Think About Kissing* (1:45) 12. Make It Look Good (1:03) 13. Ferris And Callahan In Pool (1:06) 14. Ferris And Father On Bridge** (1:18) 15. Get In, Sucker* (3:05) 16. If I Were 21* (0:30) 17. Randy And Angel In Boathouse (3:36) 18. I’m Not A Woman (5:39) 19. Ferris And Angel On Swings (3:19) 20. Little Darlings End Titles* (2:18) Total Score Time: 38:54 THE EXTRAS 21. “You And Me And Summer” (Demo) (3:10) 22. Bathroom Source (1:47) 23. Ferris And Callahan In Pool (Alternate) (1:03) 24. Get In, Sucker (Alternate) (3:05) 25. Randy And Angel In Boathouse (Alternate) (1:44) 26. I’m Not A Woman (Alternate) (5:38) 27. Ferris And Angel On Swings (Alternate) (2:00) 28. “Little Darlings” (Demo) (2:54) Total Extras Time: 18:11 Total CD Time: 60:31 *not used in film **contains material not used in film

Dragon’s Domain Records presents FRIDAY THE 13th: THE SERIES, featuring music composed and performed by Fred Mollin (FAST COMPANY, FOREVER KNIGHT, TEKWAR) for the supernatural horror fantasy television series, starring Louise Robey, Chris Wiggins, John D. LeMay and Steve Monarque. Created by Frank Mancuso Jr. and Larry B. Williams, the series ran for three seasons and 72 episodes, concluding on May 26, 1990. Originally conceived as THE 13TH HOUR, the program adopted the FRIDAY THE 13TH name to evoke its recurring themes of bad luck, evil and ancient curses. Despite its title and several behind-the-scenes creative connections, the series had no direct narrative relationship to the Jason Voorhees film franchise. Filmed in Toronto, FRIDAY THE 13th: THE SERIES developed a darker edge than much of contemporary television, combining a brooding Gothic atmosphere with unusually intense horror. Its anthology-like cursed-object stories allowed the series to move freely among psychological terror, monsters, witchcraft, revenge and the occult while maintaining the ongoing story of Curious Goods and its guardians. An essential part of the show’s atmosphere was the music of composer Fred Mollin, whose scores gave the series much of its ominous and haunting identity. Moving effortlessly between suspense, melancholy, supernatural dread and outright terror, Mollin’s music became an integral part of the strange and shadowy world behind the doors of Curious Goods. An early compact disc release from GNP Crescendo Records, Dragon’s Domain Records is excited to bring FRIDAY THE 13th : THE SERIES back to the marketplace in a 2 CD presentation, newly mastered by James Nelson at Digital Outland, reprising the liner notes from the original album release, along with a new afterward from the composer. Disc One contains the original soundtrack album released by GNP Crescendo Records. The program draws upon music from 13 episodes spanning the first two seasons of the series. Rather than presenting any single score in its entirety, the album was conceived as a musical overview of the program, bringing together many of the finest and most memorable moments Mollin selected from his work on the show. Disc Two expands the collection with substantial presentations from two especially significant episodes: “Coven of Darkness”, the second season finale and the two-part third season premiere, “The Prophecies.” Fred Mollin is an award-winning composer, record producer, songwriter, arranger, and multi-instrumentalist whose remarkably diverse career has encompassed popular music, film, television, and children’s recordings. Born in New York and raised musically in Toronto, Mollin first achieved international recognition when he co-produced Dan Hill’s 1977 hit “Sometimes When We Touch.” The recording earned him the Juno Award for Producer of the Year and launched an extensive production career that has included acclaimed projects with Jimmy Webb, America, Johnny Mathis, Kris Kristofferson, Lamont Dozier, Billy Ray Cyrus, Rita Wilson, and many others. A gifted multi-instrumentalist, Mollin frequently performs on his own productions, playing guitar, keyboards, bass, drums, and percussion while also contributing vocals and arrangements. His ability to move naturally among orchestral scoring, electronic textures, rock, country, pop, and intimate acoustic music has given his work a distinctive, highly personal voice. FRIDAY THE 13th: THE SERIES is a limited edition release. FRIDAY THE 13th: THE SERIES is expected to begin shipping the week of October 28th, 2026. CD 1 1. Friday The 13th: The Series Opening Titles (0:52) 2. The Inheritance" / “Tails I Live, Heads You Die” / “Wax Magic” (6:12) 3. Suite (From “The Baron’s Bride”) (8:39) 4. Suite (From “Badge Of Honor”) (11:23) 5. The Death Of Micki (From “Tails I Live, Heads You Die”) (2:19) 6. Suite (From “Symphony In B Sharp”) (5:32) 7. Suite (From “Brain Drain”) (3:53) 8. Suite (From “Eye Of Death”) (4:35) 9. Suite (From “What A Mother Wouldn't Do”) (4:47) 10. In The Basement (From “The Electrocutioner”) (2:16) 11. Suite (From “The Playhouse”) (9:25) 12. Suite (From “Wedding In Black” And “Bottle Of Dreams”) (6:39) 13. The End Of A Year (From “Bottle Of Dreams”) (1:51) 14. Friday The 13th: The Series Closing Credits (0:54) Total Time 72:38 CD 2 1. Friday The 13th: The Series Season 3 Opening Titles (0:47) 2. Suite (From “Coven Of Darkness”) (13:29) 3. Suite (Album Edit) (From “Symphony In B Sharp”) (4:10) THE PROPHECIES PARTS 1 – 2 04. Welcome to France / The First Murder (5:26) 05. Jack Stalks / The Beasts (6:06) 06. Blind Man / Ryan And Christine (1:44) 07. The Asylum Goes Crazy / Jack’s Fall (7:18) 08. Asteroth Takes A Dip / Ryan Possessed (8:58) 09. Ryan Sees the Nun / Ryan And Adele (5:06) 10. After the Murder / Asteroth And Ryan (4:54) 11. The Funeral (2:34) 12. Ryan, Christine And Asteroth (2:22) 13. Ryan’s Metamorphosis (8:15) 14. Good Triumphs Over Evil (4:32) 15. Ryan And Mom (A New Beginning) (1:08) 16. Friday The 13th: The Series Season 3 Closing Credits (0:59) Total Time 78:32 Dragon’s Domain Records presents LES BAXTER: THE HORROR COLLECTION, a compilation of music from several horror films from the composer’s extensive filmography. LES BAXTER: THE HORROR COLLECTION includes music composed by Les Baxter for CRY OF THE BANSHEE, BARON BLOOD and a suite of music from the AIP television special AN EVENING WITH EDGAR ALLAN POE. Airing on television in 1970, AN EVENING WITH EDGAR ALLAN POE featured the legendary Vincent Price reciting four classic stories from Poe, directed by Kenneth Johnson (THE BIONIC WOMAN, THE INCREDIBLE HULK) and music composed by Les Baxter. The suite includes music for The Tell-Tale Heart, The Sphinx, The Cask Of Amontillado and The Pit And The Pendulum. Released in 1970, CRY OF THE BANSHEE was directed by Gordon Hessler, written by Tim Kelly and Christopher Wicking, starring Vincent Price, Elizabeth Bergner, Essy Persson, Hugh Griffith, Sally Geeson, Robert Hutton, Patrick Mower, Hillary Heath, Carl Rigg, Stephan Chase and Marshall Jones. Price portrays Lord Edward Whitman, a ruthless Elizabethan witch hunter whose persecution of a coven unleashes a terrible supernatural vengeance. CRY OF THE BANSHEE received a new score from Baxter for its American theatrical release after AIP rejected the original music by Wilfred Josephs. Strings, percussion, and piano combine in jagged rhythmic patterns, violent accents, and unsettling repetitions, creating a musical atmosphere that is as unpredictable as the supernatural forces stalking Whitman and his family. Released in 1972, BARON BLOOD was directed by Mario Bava, written by Bava, Willibald Eser and Vincent Fotre, starring Joseph Cotten, Elke Sommer, Massimo Girotti , Rada Rassimov, Anotnio Cantafora, Umberto Raho, Luciano Pigozzi, Dieter Tressler, Nicoletta Elmi, Gustavo De Nardo and Valeria Sabel. Also known as GLI ORRORI DEL CASTELLO DI NORIMBERGA, BARON BLOOD follows Joseph Cotten as the sinister Baron Otto von Kleist, a sadistic nobleman whose murderous legacy is awakened when his descendant returns to the family castle and an ancient incantation is read aloud. For the American market, AIP shortened the film, altered some scenes, redubbed the dialogue and substituted Les Baxter’s music for Stelvio Cipriani’s score. Baxter’s score is one of the most distinctive aspects of the AIP version. Rather than simply preserving Cipriani’s music, AIP gave American audiences a more overtly ominous, traditional horror-movie sound. Born in Mexia, Texas, Les Baxter studied piano at the Detroit Conservatory of Music and later at Pepperdine College in Los Angeles. He began his professional career as a musician with the Freddie Slack big band and later sang with Mel Tormé’s Mel-Tones. Baxter established himself as an arranger and conductor at Capitol Records, working with major artists including Nat King Cole. In the late 1940s, he pioneered the emerging “space age” sound with MUSIC OUT OF THE MOON, an innovative recording featuring the theremin. During the 1950s, he became one of the principal architects of exotica, creating lush, highly orchestrated fantasies inspired by Polynesian, African, Asian, and Latin American musical colors. At the same time, Baxter was an extraordinarily prolific composer for the screen. He ultimately wrote music for more than 250 radio, television, and motion-picture projects, with a particularly large body of work in horror and science-fiction films. His association with American International Pictures produced scores for such films as THE PIT AND THE PENDULUM, THE DUNWICH HORROR, THE MAN WITH THE X-RAY EYES and numerous other genre productions. LES BAXTER: THE HORROR COLLECTION includes music that has previously been released but has been remastered by James Nelson at Digital Outland, including liner notes by G.B. Kemner. LES BAXTER: THE HORROR COLLECTION is a limited edition release and is expected to begin shipping the week of October 26th, 2026. AN EVENING WITH EDGAR ALLAN POE (1970) 01. The Pit And The Pendulum (7:07) 02. The Sphinx (5:05) 03. The Cask Of Amontillado (4:48) 04. The Tell-Tale Heart (7:09) CRY OF THE BANSHEE (1970) 05. Lord Edward Whitman (2:12) 06. Witches’ Black Sabbath / Summoning The Demon (8:03) 07. What Is Born In Fire, Dies In Fire (7:16) 08. Carriage Ride To Hell (2:06) BARON BLOOD (1972) 09. The Legend Of Baron Blood (4:41) 10. The Incantation (5:32) 11. Peter And Eva Go To The Castle / The Summoning (4:35) 12. Spirits From The Netherworld / The Amulet (4:19) 13. The Undead Destroy The Baron / Finale (6:27) Total Time: 69:57 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the premiere release of EXTREMITIES, featuring music from the original score composed by J.A.C. Redford (ST. ELSEWHERE, A TRIP TO BOUNTIFUL, CONAGHER) for the 1986 psychological thriller directed by Robert M. Young, written by William Mastrosimone, starring Farrah Fawcett, James Russo, Alfre Woodard, Diana Scarwid, Sandy Martin, Eddie Velez, Tom Everett and James Avery. Released in 1986, EXTREMITIES was adapted from the acclaimed stage play by William Mastrosimone, who also wrote the screenplay. The original play generated enormous controversy because of its disturbing themes and graphic depiction of violence against women. Yet beneath its shocking surface was a serious examination of fear, empowerment, and the moral consequences of revenge. The motion picture retained much of the claustrophobic intensity of the stage production. Fawcett plays Marjorie, a young woman living in Los Angeles with two roommates (Alfre Woodard and Diana Scarwid). She survives a terrifying attempted sexual assault at the beginning of the story. The attacker, Joe (Russo) abducts and nearly murders her before she manages to escape. Marjorie is left emotionally shattered, consumed by paranoia and fear that the man may return. Her roommates try to support her, but they cannot fully grasp the depth of the psychological damage she has suffered. Joe is able to track Marjorie to her home and assault her again because she had left her purse behind during her escape. This time, however, she manages to gain the upper hand by blinding him with wasp repellent and turns the tables on him. She imprisons him within her fireplace and begins psychologically and physically tormenting him while debating whether to castrate him... Fawcett’s performance has been widely praised for its courage and intensity — earning her a Golden Globe nomination. The score by J. A. C. Redford plays a subtle but highly effective role in shaping the film’s oppressive atmosphere. Rather than overwhelming the drama with aggressive thriller music, Redford composed a restrained and unsettling score that emphasizes psychological tension and emotional fragility. J.A.C. Redford is a composer, arranger, orchestrator and conductor of concert, chamber and choral music, film, television and theater scores, and music for recordings. Redford has written the scores for more than three dozen feature films, TV movies or miniseries, including THE TRIP TO BOUNTIFUL, ONE NIGHT WITH THE KING, WHAT THE DEAF MAN HEARD, MAMA FLORA’S FAMILY and Disney’s OLIVER & COMPANY, NEWSIES and THE MIGHTY DUCKS II and III. He has composed the music for nearly 500 episodes of series television, including multiple seasons of COACH and ST. ELSEWHERE (for which he received two Emmy nominations). Collaborating with other artists, Redford has orchestrated, arranged or conducted for Academy Award-winning composers, James Horner, Alan Menken, Randy Newman and Rachel Portman and John Williams, as well as for Terence Blanchard, Danny Elfman, Simon Franglen, Mark Isham, Thomas Newman, Marc Shaiman, and Cirque du Soleil’s Benoit Jutras, on projects including , and m THE LITTLE MERMAID, THE NIGHTMARE BEFORE CHRISTMAS, THE PERFECT STORM, WALL-E, AVATAR, SKYFALL, BRIDGE OF SPIES, 1917 and most recently AVATAR: THE WAY OF WATER, A MAN CALLED OTTO, and ELEMENTAL. He orchestrated and conducted Adele’s Oscar-winning title song for SKYFALL, wrote arrangements for Joshua Bell’s VOICE OF THE VIOLIN, AT HOME WITH FRIENDS and MUSICAL GIFTS recordings, Anne Akiko Meyers’ SERENADE: THE LOVE ALBUM and has written for and recorded with other Grammy Award-winning artists Steven Curtis Chapman, Bonnie Raitt and Sting. Dragon’s Domain Records presents EXTREMITIES, featuring music composed by J.A.C. Redford for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis. EXTREMITIES is a limited edition release. EXTREMITIES is expected to begin shipping the week of October 28th, 2026. 01. The Stalking Man (2:07) 02. Descent Into Darkness (2:04) 03. Pluto Denied / Night (1:52) 04. Marjorie’s Morning Song (2:58) 05. Honey / Invite Me In (2:54) 06. The Bed (4:19) 07. The Bathroom / The Refrigerator / Popcorn (3:23) 08. It Doesn’t Have To Be This Way / Turning The Tables (5:46) 09. I Get Out, I Get You / Choose (4:17) 10. Cherry Cheesecake / One Slice / Waiting For Teri (4:19) 11. The Knife (3:37) 12. Thank You (4:28) 13. End Credits (3:06) 14. Show Me The Way (Original Demo) (2:56) Total Time: 48:43 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 9: HORROR. The 1950s were Albert Glasser’s busiest as a film composer, scoring many films across multiple genres. With this ninth collection of the composer’s music, we are pleased to explore two films focusing on horror that Glasser scored in the late 1950s: ATTACK OF THE PUPPET PEOPLE and GIANT FROM THE UNKNOWN. Released in 1958, GIANT FROM THE UNKNOWN was directed by Richard E. Cunha, written by Frank Hart Taussig and Ralph Brooke, starring Ed Kemmer, Sally Fraser, Bob Steele, Morris Ankrum, Oliver Blake, Jolene Brand, Billy Dix, Gary Crutcher and Buddy Baer as the Diablo Giant. Set in a rural California community overshadowed by local superstition and fear, GIANT FROM THE UNKNOWN begins with a string of mysterious livestock killings blamed on an ancient Native American curse. Local resident “Indian” Joe (Dix) warns the townspeople that the region is haunted by the spirit of a murderous giant executed generations earlier for crimes against Native Americans during the Spanish colonial era. Skeptical archaeologist Dr. Cleveland (Kemmer) and his daughter Janet (Fraser) investigate the legend while researching the historical presence of conquistadors in the area. Their discoveries eventually uncover the terrifying truth: the so-called “Diablo Giant” is a gigantic armored Spaniard who has somehow survived for centuries and now stalks the countryside killing anyone who crosses his path... Also released in 1958, ATTACK OF THE PUPPET PEOPLE was directed by Bert I. Gordon, written by George Worthing Yates and Gordon, starring John Agar, John Hoyt, June Kenney, Michael Mark, Jack Kosslyn, Marlene Willis, Ken Miller, Laurie Mitchell, Scott Peters, Susan Gordon, Jean Moorhead and Hal Bogart. ATTACK OF THE PUPPET PEOPLE follows Sally Reynolds (Kenney) as she accepts employment as secretary to the soft-spoken but unnervingly possessive Franz (Hoyt), whose office and private quarters are filled with eerily realistic dolls displayed in glass cases. When Sally’s fiancé Bob Westley (Agar) mysteriously disappears, she begins to suspect Franz after noticing that one of the figurines bears an uncanny resemblance to Bob himself. Her fears deepen when she learns that Franz’s former secretary (Moorhead) vanished under similarly suspicious circumstances. The police initially dismiss Sally’s increasingly frantic claims, believing stress and imagination are clouding her judgment. But Franz’s horrifying secret is eventually revealed: using a shrinking device of his own invention, he miniaturizes people and keeps them imprisoned in suspended animation as permanent companions who can never leave him. When Sally threatens to resign, Franz subjects her to the same fate. Believing his tiny captives helpless, Franz revives Bob and several others to keep Sally company. Unfortunately for him, the miniature prisoners soon realize that their combined intelligence and determination may finally allow them to escape and turn the tables on their gigantic captor... Born January 25, 1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television, he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN. Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 9: HORROR, featuring the premiere release of original music composed by Albert Glasser for ATTACK OF THE PUPPET PEOPLE and GIANT FROM THE UNKNOWN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author David Hirsch. THE ALBERT GLASSER COLLECTION VOLUME 9: HORROR is a limited edition release and is expected to begin shipping the week of October 28th, 2026. 01. Main Title (From “Giant From The Unknown”) (1:39) 02. Eavesdropping / Devil’s Crag / Trip To The Burial Grounds (1:45) 03. Early Risers / Joe Takes A Shot / Fruitless Searching (2:53) 04. Very Strong Reading / Finding The Site / Waking The Sleeping Giant (3:04) 05. Romantic Moonlight Stroll, Peeping Vargas (2:56) 06. Intruder / Anne Can’t Take Care Of Herself (2:52) 07. Indian Joe Is Dead / Janet Abducted (3:47) 08. Taking The Sheriff’s Car / Vigilantes (1:56) 09. Wayne Rescues Janet (2:26) 10. Shootout / Boxed In / Back To Camp (4:39) 11. “Tracking The Giant, Is A Man’s Job” (3:23) 12. Giant Fight / Finale (2:59) 13. Main Title Alternate (From “Giant From The Unknown”) (1:36) 14. Lodge Restaurant Source (Unused) (2:42) 15. Giant From The Unknown (1958) Theatrical Trailer (1:41) 16. Overture / Janet (3:01) 17. Mail Bag / The Torn Letter (1:05) 18. Puppet Dance / Shrunken Beau (2:35) 19. Burning A Doll (2:15) 20. Party #1 Source (2:16) 21. You're My Living Doll (Instrumental) (1:02) 22. Party #2 Source (3:27) 23. Celeste Dolly / Goodbye, Emil / Going To A Theatre Party (4:18) 24. Mr. Hyde / Escape / “Don’t Run From Me” (1:58) 25. 2nd And Main / Freight Entrance (2:53) 26. Finale (1:13) 27. You’re My Living Doll (1:02) (Vocal: Marlene Willis) 28. Escape (Alternate) (0:32) 29. Burning A Doll (Theremin) (1:07) 30. Doll Maker Machine F/X (0:31) 31. Party #3 Source (M51 Unused) (3:43) 32. The Tuning Fork (1:03) 33. Attack Of The Puppet People (1958) Theatrical Trailer (2:06) Total Time: 77:52

Für mich bräuchte es kein Reboot. Lasst die X-Akten in Frieden ruhen Einer der Gründe, warum es so etwas Besonderes war und wir auch 30 Jahre später noch darüber sprechen, ist, dass es damals in den 90ern eine Revolution im TV war. Die Art der Geschichten, wie es erzählt wurde, die Charaktere, die Musik, all das war wie eine Initialzündung. Das kann man nicht einfach kopieren. Damals waren die X-Akten ein Ereignis. Ein Reboot ist nur eine weitere Serie unter unzählig neuen, die gefühlt jede Woche veröffentlicht werden. Ryan Coogler hätte eine neue Serie mit neuem Titel machen können, die im Geiste der X-Akten funktioniert. J.J. Abrams hat das im Grunde mit FRINGE schon gemacht. Aber klar, für Disney zählt natürlich der Franchise-Charakter, weshalb der Titel sein muss. Aber es ist ja schon klar, dass es neue Hauptcharaktere geben wird. Wobei es scheinbar durchaus Pläne gibt, Mulder und Scully doch irgendwie zu involvieren und sei es nur als Cameo. Ansonsten ist aber wohl niemand von der Ur-Serie hinter der Kamera dabei, auch Chris Carter nicht. Es sind also neue Produzenten und neue Autoren. Ein Neustart ist hier auch das einzig sinnvolle. Ich bin gespannt, ob sie die Titelmelodie behalten und Göransson die nur modernisieren darf oder ob man auch musikalisch ganz andere Wege geht.

Das X-Files-Reboot von Ryan Coogler schleppt sich zwar weiter dahin (es wurde bisher nichts gedreht), aber nun wurde mit Ludwig Göransson zumindest der Komponist für den Piloten bekanntgegeben.

Snow Files of the Week: "Bloody Jacuzzi/Old Files/Blood/Blood In The Loaf/Just Ashes And Bones" aus The X-Files, Episode "3" (1994). Der Vater, der Sohn und der Unheilige Geist. Drei dunkle Gestalten, vielleicht Vampire, machen die Nächte unsicher. Die Episode beginnt mit einem älteren Geschäftsmann, der in seinem Haus in den Hollywood Hills von einer mysteriösen Frau verführt wird, während draußen im Canyon die Waldbrände lodern und den dunklen Nachthimmel rot erhellen. Der Track "Bloody Jacuzzi" zeigt Mark wieder einmal als Meister wundervoller Pianothemen. Er benutzte das Thema auch in dem TV-Film CAROLINE AT MIDNIGHT aus dem gleichen Jahr. Mulder untersucht den Fall alleine, da Scully in der Folge zuvor entführt wurde. Sie ist nun selbst eine X-Akte geworden, die Mulder in den Schrank zu den restlichen X-Akten stellt ("Old Files"). Bemerkenswert an der Folge ist, dass Mark den Anfang des X-Files-Themas immer wieder in seinem Score benutzt. Das Thema taucht tatsächlich nicht oft in den Episoden-Scores der Serie auf, weshalb es schon etwas Besonderes ist. Diese Tracks stammen vom dritten Set X-Files-Musik von LLL. Das Set ist auf 3.000 Exemplare limitiert. Viel Spaß beim Hören!

INTRADA Announces: BATTLESTAR GALACTICA The Classic Soundtrack Collection Music Composed by STU PHILLIPS Intrada proudly presents Battlestar Galactica: The Classic Series Soundtrack Collection, a comprehensive 8-CD set of the legendary music by Stu Phillips for the original 1978–1979 film and television episodes, along with select material from the sequel series, Galactica 1980, all fully restored and remastered. Intrada previously released four volumes of Battlestar Galactica in 2011–2012 that have been long out of print. This new set includes some notable updates, the most significant of which is the integration of recently discovered material from the studio vaults. Also included now is the 1978 MCA Records album (remastered from original elements) along with alternate and cover versions of the song “It’s Love, Love, Love,” a disco arrangement of the main theme, and a special arrangment by Stu Phillips for the Boston Pops album Out of This World, conducted by John Williams. The entire collection has been produced with the generous cooperation of Universal Music Enterprises and Universal Studios. Combined with the extras for the Original Soundtrack Album, this collection presents 86 minutes of previously unreleased material. GRAMMY®-nominated producer Mike Matessino has undertaken a ground-up restoration of all elements, correcting speed, incorporating previously missing overlays, and applying state-of-the-art technology for the clean-up and mixing of all music into a seamless presentation. All work was done in consultation with the composer himself. Premiering on this release is music for the episodes Fire in Space and The Man With Nine Lives, as well as significant additions for Lost Planet of the Gods, Gun on Ice Planet Zero, The Lost Warrior and several other episiodes. The collection closes with some previously unreleased music from Galactica 1980 episodes Galactica Discovers Earth and The Night the Cylons Landed, which includes “Turbine Lift Off,” the oft-requested music for the show’s infamous flying motorcycles that allowed Phillips to give his Galactica theme the rock-and-roll treatment. Battlestar Galactica: The Classic Soundtrack Collection runs 9 hours and 22 minutes across 8 discs. The set is housed in an evocative and durable glossy cardboard box designed by Joe Sikoryak and contains 5 jewel cases and a separate 52-page book with new double-panel cover art by Paul Shipper. The book features a new foreword by producer Mike Matessino and extensive notes written by John Takis, expanding on the older releases with deeper explorations of the scores and new revelations from the composer about the process of creating the music. The jewel case booklet for the first disc, containing the 1978 album recording, offers flipper art of original Galactica posters with notes from series creator Glen A. Larson and Stu Phillips on the inner pages. Art direction is by Kay Marshall with contributions by Stepháne Coedel, with all of the booklets featuring numerous photos along with conceptual and promotional art created for the series. The music for Battlestar Galactica continues to stand as a milestone in the annals of television music, now preserved and celebrated with this definitive collection. Retail Price: $139.99

INTRADA Announces: JAWS 2 Music Composed and Conducted by JOHN WILLIAMS Intrada announces a fully remastered 2-CD edition of the first sequel score ever composed by John Williams: Jaws 2. Released in cooperation with Universal Studios and Universal Music Enterprises (UMe), this release presents a ground-up restoration, remix and remastering from the first-generation multi-track scoring elements. Arriving a year after Williams’ Star Wars and Close Encounters of the Third Kind fully unfettered the symphonic film score, Jaws 2 builds on the iconic shark motif from the classic original and expands into a dynamic exploration of the joys and terrors of the sea in iconic Williams style. Intrada derived its previous release (2015) from 3-track masters provided by Universal Studios, but this time, as a result of a deep dive (we couldn’t resist) ahead of last year’s 50th anniversary of the original Jaws, we discovered that the 16-track scoring masters for the sequel were housed in the vaults at UMe. The record company provided new high-resolution transfers at 192k/24-bit, which were then meticulously restored, remixed and remastered by Mike Matessino and approved by the composer. This 2-CD set once again presents the complete score, plus bonus material (including some newly discovered alternates), and, on CD 2, a fully rebuilt version of the 1978 original soundtrack program. The accompanying 20-page booklet offers an updated version of Scott Bettencourt’s essay from 2015 and presents a new “Tech Talk” section by Matessino. Simultaneously with Intrada’s release, UMe/Geffen will be offering the original album program in Digital Dolby Atmos, mixed by Steve Genewick, as well as a “2026 Mix” digital stereo soundtrack album in high resolution. The website jaws50music.com now has a Jaws 2 tab with information about these releases. Meanwhile, Matessino’s remix and remastering of the original Jaws soundtrack recording is now available on a new LP pressing from Geffen/Interscope.

Marks langjähriger Music Editor Jeff Charbonneau, der auch immer wieder selbst Musik beisteuerte und zuletzt am Director's Cut von I WANT TO BELIEVE gearbeitet hat, ist nun leider auch verstorben. Jeff Charbonneau passed away last week, according to XFilesNews. He was the music editor for everything Ten Thirteen produced: #TheXFiles from the pilot all the way to the revival seasons; #Millennium; Harsh Realm; The Lone Gunmen; the two TXF movies; even Carter’s pilot for The After. The Vrach Frankenshteyn director’s cut was the last thing he worked on. He was one of the foundations of all of Ten Thirteen and one of those figures behind the scenes that didn’t get a spotlight but were important. Our thoughts are with his family. Jeff worked with the sound effects team and music mixer Larold Rebhun to balance music and sound, creating the shows’ unique atmospheres. A close collaborator of composer Mark Snow, who passed away last year, he edited Mark’s music into the episodes, did some arrangements and occasionally contributed with music himself. Most memorably, he composed the music in 4X13: Never Again where Scully gets her tattoo (and found on La-La Land’s TXF Volume 4). Just looking at his Ten Thirteen work, he won two Emmy Awards for sound editing for The X-Files and got nominated three more times, plus once for Millennium. He also worked on many other shows, such as 24, Homeland (both with ex-TXF alumni Alex Gansa and Howard Gordon, and Larold Rebhun), Love, Death + Robots… not to mention his film work: Dazed and Confused, Seven Years in Tibet… Jeff had a rich background, well-travelled, studied film and anthropology, a performing musician and an acrobat, and was an accomplished photographer. Jeff Charbonneau and Eliza French collaborated together on peculiar photography projects that I can only describe as surreal gothic fantasy by way of Jean Cocteau and the Quay Brothers. Below is a small selection of their work. Personally, I find them very enchanting and intriguing! See more at their website is Seven Sisters Asleep. https://www.sevensistersasleep.com/

Snow Files of the Week: "Trying to connect/True Feelings" aus dem Film "Private Fears in Public Places" (2006). Ein Score wie geschaffen für verschneite Wintertage. Es war die erste Zusammenarbeit zwischen Mark und dem legendären französischen Regisseur Alain Resnais. Drei weitere Male arbeiteten sie noch zusammen, bevor Resnais Anfang 2014 leider verstarb. Der Film erzählt die Geschichte verschiedener Menschen in Paris, die auf der Suche nach Liebe sind, jeder auf seine Weise. Die melancholische Stimmung des Filmes, in dem es ständig schneit, gab Mark die Gelegenheit einen seiner schönsten Scores zu schreiben. Beim Schnitt wurde der Film mit Musik aus "The X-Files" und "MillenniuM" unterlegt, weshalb es nicht weiter verwunderlich ist, dass es Ähnlichkeiten in Marks finalem Score gibt. Ein Album mit der Musik wurde von BSX veröffentlicht, limitert auf 1.000 Stück. Viel Spaß beim Hören!

Quartet Records presents a new limited-edition CD release featuring a John Barry triptych: his scores for three acclaimed British films from the 1960s: FOUR IN THE MORNING, THE L-SHAPED ROOM and DUTCHMAN. Between 1962 and 1967, English composer John Barry scored three black-and-white films tackling serious social and cultural issues. All featured stunning performances, and all would earn acclaim—particularly on the film-festival circuit—for their excellence as drama. FOUR IN THE MORNING (1965), directed by Anthony Simmons and starring Judi Dench, features one of Barry’s most intimate scores, written for a small chamber ensemble with a particular emphasis on woodwinds and percussion. It is an introspective score in the vein of what he had composed for SÉANCE ON A WET AFTERNOON and would later continue with THE WHISPERERS. THE L-SHAPED ROOM (1962), starring Leslie Caron, marked Barry’s first collaboration with Bryan Forbes. That same year, he arranged and recorded the “James Bond Theme” for DR. NO, marking the beginning of his legendary association with the series. Although Barry wrote only two cues for the film’s party scene, THE L-SHAPED ROOM planted the seed for a fruitful collaboration with Forbes and remains an important film in the composer’s career. DUTCHMAN (1967), directed by Anthony Harvey and starring Shirley Knight. Barry would later score Harvey’s THE LION IN WINTER, one of the composer’s most celebrated masterpieces, which earned him his third Academy Award. For this intense, compact film—barely an hour long and based on the play by Amiri Baraka—Barry composed a stark, intense and distinctive theme, briefly reprised midway through the film and again over the end credits. The FOUR IN THE MORNING album has previously been released on CD several times, but for this edition it has been carefully remastered from the first-generation tapes used for the U.S. LP version, with the dialogue removed. It is presented in both true stereo—with none of the digital “fake stereo” processing heard on some of the previous editions—and mono. We have included also the mono version because it features several unique mixes and takes that make it subtly different from its stereo counterpart. THE L-SHAPED ROOM has been a genuine discovery: for the first time, the two cues Barry composed for the film are being released—and both in stereo. In the case of DUTCHMAN, the isolated music stem was the only available source, from which we have included the opening and closing titles. (The music heard midway through the film was simply an edit of the Main Title.) The album has been meticulously restored and mastered by Chris Malone and includes an in-depth essay by leading John Barry authority Jon Burlingame. Three low-budget, black-and-white British films from the 1960s, each built around an outstanding female performance, and each featuring a unique musical contribution by John Barry. All three are well worth revisiting. Tracklist FOUR IN THE MORNING (Stereo) 1. Four in the Morning 2:04 2. River Walk 2:44 3. Lover’s Clasp 1:20 4. Norman’s Return 3:15 5. River Ride 2:41 6. Four in the Morning (II) 1:58 7. Lover’s Tension 1:02 8. First Reconciliation 3:19 9. Norman Leaves 2:35 10. Moment of Decision 1:39 11. Judi Comes Back 3:01 THE L-SHAPED ROOM 12. The T-Shaped Twist 2:11 13. Jazz With Johnny 2:51 DUTCHMAN 14. Opening Titles 1:46 15. Finale 1:15 FOUR IN THE MORNING (Mono) 16. Four in the Morning 2:09 17. River Walk 2:44 18. Lover’s Clasp 1:21 19. Norman’s Return 3:16 20. River Ride 2:40 21. Four in the Morning (II) 1:59 22. Lover’s Tension 1:02 23. First Reconciliation 3:18 24. Norman Leaves 2:36 25. Moment of Decision 1:38 26. Judi Comes Back 2:59 Total Disc Time: 59:29

Ab dem 29.09.

Digital neu von BSX/DD: BSX DIGITAL presents music composed by Craig Safan (REMO WILLIAMS: THE ADVENTURE BEGINS, THE LAST STARFIGHTER, CHEERS, SON OF THE MORNING STAR) for THE STRANGER, the 1987 psychological thriller directed by Adolfo Aristarain, written by Dan Gurskis, starring Bonnie Bedelia, Peter Riegert, Barry Primus, David Spielberg, Marcus Woinsky, Cecilia Roth, Jacques Arndt, Ricardo Darin, Julio De Grazia, Milton James, Julio Kaufman, Ernesto Larrese, Sacha Favalevic and Federico Luppi. Released in 1987, THE STRANGER tells the story of a woman living in Buenos Aires who, while suffering from amnesia, gradually discovers that she is the sole surviving witness to a brutal murder. As she struggles to piece together her shattered memories, mysterious killers close in, while the authorities are unable to find any evidence that the crime ever occurred. THE STRANGER was a unique co-production between an American film studio and the Argentine government, which at the time was actively encouraging international productions to film in Argentina. Although the project represented an exciting collaboration, the film failed to make an impact in the American market. As a result, it received only a VHS release in the United States and has remained largely unavailable in any other home video format, making it one of the more elusive thrillers of the late 1980s. Composer Craig Safan joined the production during one of the busiest periods of his career. Simultaneously scoring feature films such as LADY BEWARE while working on numerous television projects, including TIME STALKERS and SECRETS OF THE TITANIC, Safan found the time to create a richly atmospheric score for THE STRANGER. The result is an evocative, dark, and suspenseful score built primarily around an array of synthesizers, including the Synclavier, whose distinctive sound became one of the score’s defining characteristics. Emmy-nominated and eight-time ASCAP award-winning composer Craig Safan has scored more than one hundred feature films, television and documentaries, has had more than 50 soundtrack albums of his music produced, as well as having three original albums of his own impressionistic music released. He’s been commissioned to compose for ballet as well as for live performance of silent films and was given the Poledouris Film Music Legend Award at the 2014 International Film Music Festival in Cordoba, Spain. BSX Digital presents the world premiere release of THE STRANGER, featuring music composed by Craig Safan. The music has been mastered by James Nelson at Digital Outland and includes liner notes by Scott Davis. Trust no one. Hear the mystery. 01. Mirrors And Lights (3:28) 02. Opening Titles (2:25) 03. First Dreamback / Escape / Crash (3:45) 04. Hospital Dreamback / No Plane / Assassin (4:13) 05. Kate And Doctor Harris / Running (2:52) 06. Hospital Chase / Dead Doctor (5:52) 07. Dreamback / Truth Serum / Love Making (6:16) 08. Stalking Kate (2:03) 09. Slight Recognition / The Body (4:33) 10. Hanger Dreamback (4:52) 11. Lights Out / Killer In The House (8:24) 12. Theatre Of Memories (6:43) 13. Final Dreamback / Meeting Reality (6:12) 14. Chase In The Morgue (6:47) 15. Move Away / Happy Ending (3:07) 16. Cafe Music (0:39) 17. Radio Music (0:24) 18. Dinner Music (2:18) Total Time: 74:53 Presenting the original soundtrack to the 2003 motion picture FRANKIE AND JOHNNY ARE MARRIED, written and directed by Michael Pressman, starring Pressman, Lisa Chess and Alan Rosenberg. The film chronicles the troubles a producer has trying to mount a production of the Terrence McNally play Frankie and Johnny in the Clair de Lune. The production is beset by one problem after another, including a hard to handle male lead (Rosenberg). This eventually results in Pressman taking on the male lead role himself. FRANKIE AND JOHNNY ARE MARRIED was scored by composer Don Peake, best known for his work for the films I DESIRE, THE PEOPLE UNDER THE STAIRS and THE HILLS HAVE EYES as well as most of the television scores for the 1984 TV series KNIGHT RIDER. A composer and session legend who defined the sound of Motown and cinematic action, Don Peake’s career spans over half a century of influential recordings and scores. 1 Clair Goes Downtown (3:59) 2 Clair de Lune (4:56) 3 Frankly (8:23) 4 Julia Gets It Again (6:51) 5 In There (3:17) 6 Reverie (1:44) 7 Reverie Jazz (6:20) 8 Bolero (2:42) 9 Brooks (0:31) 10 Canals (0:43) 11 I Know Who (3:04) Total Time: 42:48 Experience the grandeur, excitement, and inspirational spirit of the Centennial Olympic Games with MUSIC FROM THE 1996 SUMMER OLYMPICS, featuring the original music of acclaimed Emmy Award-winning composer and conductor Mark Watters. Created for the historic 1996 Atlanta Olympic Games, Watters’ music captures the pageantry, drama, triumph, and human spirit of one of the world’s greatest sporting celebrations. Performed by the Atlanta Symphony Orchestra and Centennial Olympic Chorus, these sweeping orchestral works were created to accompany some of the most memorable moments of the Atlanta Games. Among the highlights is the majestic “Faster, Higher, Stronger,” composed by Watters with lyrics by Lorraine Feather and performed by legendary soprano Jessye Norman at the Olympic Opening Ceremony. Norman’s extraordinary voice gives this stirring Olympic anthem a breathtaking emotional dimension. From the dramatic “Countdown/Samaranch” and the sweeping “The Run Through Time” to “The River,” “The Storm,” “Dignitaries Walk-On,” “Earth Rise,” and the triumphant “Faster, Higher, Stronger,” this collection presents a rare opportunity to hear the music behind the spectacle of Atlanta 1996. MUSIC FROM THE 1996 SUMMER OLYMPICS is a celebration of musical pageantry, Olympic history, and the universal ideals of excellence, achievement, unity, and hope—an essential release for Olympic enthusiasts, soundtrack collectors, and anyone who remembers the unforgettable spirit of Atlanta 1996. Countdown / Samuranch (1:40) The Run Through Time (4:21) The River (4:56) The Storm (2:29) Dignitaries Walk On (4:07) Earth Rise (2:25) Faster, Higher, Stronger Jessye Norman, Soprano Lyrics by Lorraine Feather Step up to the plate for a musical celebration of America’s national pastime! MAJOR LEAGUE BASEBALL’S MEMORABLE MOMENTS presents the original score composed by acclaimed composer Mark Watters for the 2002 Major League Baseball All-Star Game, performed by the Northwest Sinfonia Orchestra. Written to capture the excitement, drama, tradition, and timeless emotion of baseball, Watters’ sweeping orchestral score brings a cinematic dimension to the unforgettable moments that have defined the game. From the anticipation of the first pitch to the exhilaration of victory, this music celebrates baseball as both a sport and a cherished part of the American experience. This release also carries a deeply personal significance for Watters. it is dedicated to the memory of his father-in-law, Tom Vandergriff, whose lifelong love of baseball served as an important inspiration for the creation of this remarkable score. Performed with power and elegance by the Northwest Sinfonia Orchestra, this previously unreleased music offers soundtrack and sports fans alike an opportunity to experience Mark Watters’ evocative score on its own—music that transforms the excitement of the ballpark into a sweeping orchestral celebration of baseball, its history, and the memories that make the game so enduring. 01. Prologue (1:47) 02. The Early Years: Mathewson, Hubbell and Vander Meer (1:07) 03. Gehrig Retires / DiMaggio / Williams / Robinson (2:07) 04. The Shot / The Catch: Bobby Thompson And Willie Mays (1:36) 05. Maris / Paige / Clemente / Aaron (2:25) 06. Rose / Rickey / Ryan / Ripken (1:45) 07. 9/11 / Diamondbacks Victory / Finale (2:03) Alien Fury: Countdown to Invasion — Music From The Original Score The invasion begins with an unforgettable sound. Experience the thrilling music of the television movie Alien Fury: Countdown to Invasion in this original recording, featuring an electrifying score by acclaimed composers Dennis McCarthy and John Beal. Blending suspense, science-fiction atmosphere, dramatic intensity, and powerful orchestral writing, McCarthy and Beal’s music captures the mounting tension of a world on the brink of extraterrestrial invasion. From ominous revelations to pulse-pounding action and moments of human drama, the score gives Alien Fury its distinctive cinematic voice. Now, hear the music beyond the screen—a gripping collection that brings the atmosphere and excitement of Alien Fury: Countdown to Invasion directly to your speakers. Music by Dennis McCarthy and John Beal. The invasion has a score. 01. Chasing Eddie/Spacecraft Photo (5:28) 02. Pentagon/Strike Decision (5:12) 03. Chasing Buzz/Invasion Hoax (6:05) 04. Riot/Alien Phones Home (5:53) 05. Bill Runs From MIBs/Not A Hoax (3:36) 06. Alien Autopsy/Kevin Trapped (6:34) 07. Alien Revealed/Kevin Escapes (6:01) 08. Mocking Earth/Kevin Kills Ava (7:23) 09. Countdown/Alien Bodies/Closing Credits (7:16) 10. Closing Credits (Dance Version) (1:55) 11. Kevin Escapes (Alternate Version) (3:17) 12. Bumper Suite (0:27)

Kommt am 29.09. wieder von Intrada. "Just when you thought the summer was over..." John Williams' riveting score for JAWS 2 returns in a newly remastered edition sourced from multi-track elements. Limited expanded edition 2-CD set available on September 29 from Intrada Records. Digital release in Dolby Atmos coming October 2 from Geffen/UMe.

Snow Files of the Week: „Origins/Base Camp", aus „The X-Files", Episode „Firewalker" (1994). Der Wissenschaftler Dr. Pierce überwacht die Übertragung des Forschungsroboters „Firewalker", der vulkanische Aktivitäten im Mount Avalon dokumentieren soll. Während der Übertragung entdeckt Dr. Pierce auf den Bildern die Leiche des Forschungsleiters Erickson. Und einen Schatten, der sich dort scheinbar bewegt, was aufgrund der hohen Temperaturen für jedes Lebewesen tödlich wäre, bevor die Kamera des Roboters zerstört wird. Mulder und Scully werden auf den Fall angesetzt und schon bald entdeckt Mulder, dass die Wissenschaftler scheinbar einen fremdartigen Organismus in den Tiefen des Mount Avalon gefunden haben. Mark webt das Titelthema in den Track „Origins" ein, während „Base Camp" ein an die 80er Jahre erinnerndes, sphärisches Stück Musik ist. Beide Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring music composed and conducted by Joe Harnell for the 1970s cult television show, THE BIONIC WOMAN. The series was created and developed by Kenneth Johnson (THE BIONIC MAN, THE INCREDIBLE HULK, V - The Original Mini-Series), starring Lindsay Wagner, Richard Anderson, Martin E. Brooks, Ford Rainey, Martha Scott, and Jennifer Darling. THE BIONIC WOMAN: 50TH ANNIVERSARY also includes the original main title, end credit themes and two first season episode scores by composer Jerry Fielding, well known for his work on films such as THE WILD BUNCH, THE MECHANIC, THE OUTLAW JOSEY WALES, as well as his scores for television, such as KOLCHAK: THE NIGHT STALKER. Also, we were fortunate enough to discover what is known as "tracking cues", material that the composers recorded specifically as a music library for the series, as well as, in some cases, "musical effects" which depict Jamie Summers in various bionic actions, a true treat for long-time fans of the series. Joe Harnell's music is featured on Disc 1 and includes music from the episodes 'Sister Jaime' and 'Jaime And The King'. Disc 2 features music composed by Jerry Fielding for the first season episodes 'Welcome Home, Jaime, Part 2' and 'Claws'. Born in The Bronx, New York, Joe Harnell was the son of a vaudeville performer. His professional career began early at age 14 playing piano with his father’s jazz and klezmer (traditional Ashkenazi Jewish music) groups. Upon completion of a music scholarship at the University of Miami, he entered military service in 1943, joining the United States Army Air Forces where he frequently performed as a member of Glenn Miller’s Army Air Force Band. During the 1950s, Harnell was as a “pianist for hire” for several major artists including Judy Garland, Marlene Dietrich, and Peggy Lee, with whom he became her full-time accompanist. He joined ASCAP in 1959, scoring pop hits with “Cinderella Twist” and “Funny Bunny.” His arrangement of “Fly Me to the Moon” in 1963 became a major hit, winning a Grammy Award for “Best Pop Instrumental Performance.” As in-house pianist on THE DINAH SHORE CHEVY SHOW, Harnell would frequently appear on-screen during sing-along segments. After a turn as Musical Director for THE MIKE DOUGLAS SHOW, Harnell relocated to Hollywood for new opportunities. He soon teamed up with writer/producer Kenneth Johnson on several memorable TV projects including THE BIONIC WOMAN, THE INCREDIBLE HULK, CLIFFHANGERS!, the original V mini-series, HOT PURSUIT and the pilot for ALIEN NATION (1989). Harnell also composed music for the soap opera SANTA BARBARA. Jerry Fielding was born on June 17, 1922, in Pittsburgh. As a child, he studied trombone, clarinet, sax and piano. Given a music scholarship for gifted instrumentalists, he attended the Carnegie Institute for a short time, before an illness forced him to be bedridden for two years. Recovering from his illness, he took a job working in the pit band at Pittsburgh’s Stanley Theater. He studied composition and arranging with conductor Max Adkins, who also taught Henry Mancini and Billy Strayhorn. Under Adkins’ guidance, Jerry wrote arrangements for the Stanley Theater band. Adkins introduced Jerry to guitarist/swing band leader Alvino Ray. At the age of 17, Jerry left Pittsburgh for Los Angeles to join Ray’s band as an arranger. When Alvino Ray’s band was drafted in the army, Jerry found work with Kay Kyser’s band, becoming the chief arranger in 1945. He went on to arrange for the big bands of Claude Thornhill, Jimmie Lunceford, Tommy Dorsey, Charlie Barnet, and Les Brown. Fielding also wrote extensively for radio and was eventually named musical director of THE JACK PAAR SHOW. By 1952, Fielding helmed his own jazz orchestra, which was the house band on Groucho Marx's popular television game show, YOU BET YOUR LIFE. Called to testify in front of the House Un-American Activities Committee, Fielding took the Fifth Amendment, refusing to divulge the names of any colleagues who might be suspected of 'Communism', knowing that pleading the Fifth would damage his thriving radio and television career, which it did. Fielding was blacklisted by the national television and radio networks and sought refuge in Las Vegas, where he served as musical director for acts including Abbott & Costello and Debbie Reynolds. Fielding returned to Hollywood in 1962 and at the recommendation of blacklisted screenwriter Dalton Trumbo, he was hired to write his first feature score for Otto Preminger's political thriller ADVISE AND CONSENT. In 1966, he teamed with Sam Peckinpah for NOON WINE, inaugurating an often-contentious creative partnership that won Fielding Academy Award nominations for THE WILD BUNCH and STRAW DOGS. Clint Eastwood was also well served by Fielding's scores to THE ENFORCER and THE GAUNTLET. The composer responded to their hard-edged urban milieu with full-on jazz compositions that featured some of the best jazz players in the business. In 1976, Fielding received his third and final Oscar nomination for Eastwood's THE OUTLAW JOSEY WALES. Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring 2 CDs featuring music composed by Joe Harnell and Jerry Fielding for the classic television show. The music has been mastered by James Nelson at Digital Outland. THE BIONIC WOMAN: 50TH ANNIVERSARY is a limited edition release. This will start shipping the week of September 28,2026 CD 1: MUSIC BY JOE HARNELL 1. The Bionic Woman - Main Title (Unused Version) (1:23) SISTER JAIME 2. Busted Nun (1:33) 3. Episode Titles / Going To See Mother Superior (3:39) 4. Bionic Hoe / Bad Guys At The Convent (3:28) 5. Searching The Winery / Jaime’s Plan (6:46) 6. Nuns In Action (4:40) 7. Bionic Angel (2:43) 8. The Bionic Woman – Bumper (Unused Version) (0:09) JAIME AND THE KING 9. The King And The Prince (4:45) 10. Bionic Sword Fight / A Farewell Kiss (5:47) 11. The Bionic Woman – End Credits (Unused Version) (0:31) TRACKING CUES 12. Jaime’s Theme – Long Version (6:39) 13. Dramatic Jaime (1:19) 14. Pretty Jaime (0:36) 15. Fembot Attacks Jaime (4:36) 16. Jaime Follows Fembot (1:15) 17. Sister Jaime In Jeopardy (1:30) 18. Jaime In Danger (1:28) 19. Jaime In Dreamland (7:44) 20. Jaime’s Slo-Mo Chase (1:57) 21. Bigfoot And Jaime (1:43) 22. Chasing Jaime (3:39) BONUS TRACK 23. Super Jaime – Album Version (2:50) Total Time 71:37 CD 2: MUSIC BY JERRY FIELDING 1. The Bionic Woman – Main Title 76 (1:23) WELCOME HOME JAIME, PART 2 2. Episode Titles / Carlton Harris (5:05) 3. “Where Is Your Head, Donald?” (2:36) 4. Trapping The Bad Guys / Back To School (9:25) 5. The Bionic Woman – Bumper 76 (0:07) CLAWS 6. Neil The Lion (1:57) 7. Titles / Neil’s Nighttime Stroll (5:25) 8. Chasing Neil / Cougar Strikes (4:48) 9. Pursuit Of Neil / Jaime And Neil (10:31) 10. A Very Happy Ending (1:08) 11. The Bionic Woman – End Credits 76 (0:30) ALTERNATE TAKES 12. Chasing Neil (Alternate) (0:52) 13. Back Home (Alternate) (0:12) 14. Back Home (Alternate 2) (0:09) 15. Library Track – Bongomania (1:44) 16. Back To School (Alternate) (1:21) BONUS TRACKS 17. Bionic Woman Theme (Solo Piano Version) (2:02) Performed by Joohyun Park 18. Music Effects (0:25) 19. Jumping Effects (1:13) 20. The Bionic Woman - Main Title (1:22) Performed by The Meridian Studio Orchestra Total Time 53:05 Dragon’s Domain Records presents THE TEKWAR TRILOGY, featuring music composed by David Michael Frank (ABOVE THE LAW, THE STAIRCASE, THE MOLE) for the TEKWAR series of films that led into the TEKWAR series, created by William Shatner and Ron Goulart, starring William Shatner and Greg Evigan. Born from a series of futuristic crime novels conceived by William Shatner and developed in collaboration with science-fiction author Ron Goulart, TEKWAR made the visual leap to television in 1994 as an ambitious cycle of feature-length movies. The battery began with TEKWAR, followed in rapid succession by TEKWAR: TEKLORDS, TEKWAR: TEKLAB, and TEKWAR: TEKJUSTICE, all four airing within the first five months of that year. Produced as a Canadian-American venture by Atlantis Films in association with Universal Television, the films represented a substantial attempt to build a continuing science-fiction franchise for television at a time when such sprawling, effects-driven productions remained a formidable undertaking for the small screen. The first of the four films, TEKWAR, features former police officer Jake Cardigan (Evigan), who awakens after years of cryogenic imprisonment, having been framed for murder and trafficking Tek, a highly addictive virtual-reality narcotic. Released under mysterious circumstances, he is recruited by Walter Bascom (Shatner) to investigate the powerful Tek lords while seeking to clear his own name. The second installment, TEKLORDS, continues Cardigan’s battle against the Tek trade as imprisoned drug lord Sonny Hokori (Von Flores) maintains control of his criminal empire while a sinister computer virus threatens both digital systems and human lives. The crisis becomes deeply personal when Cardigan’s former wife is placed in the crosshairs. The penultimate film of the quadrilogy, TEKLAB, follows Cardigan and his partner-in-grime Sid Gomez (Eugene Clark) to London, where the theft of the legendary sword Excalibur draws them into an international conspiracy involving political intrigue, murder, and a struggle over the restoration of the British monarchy. The concluding TEKJUSTICE was not scored by Frank and is not represented on this album. For the TEKWAR films, composer David Michael Frank amassed an eclectic ensemble that balanced traditional acoustic instruments with the most advanced electronic musical toys on the market at the time. The band was built around a triad of keyboardists, each helming an array of synthesizers, alongside one electric guitarist, one electric bassist, an EVI (Electronic Valve Instrument), an EWI (Electronic Wind Instrument), and two percussionists playing traditional acoustic and electronic instruments. David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition. Dragon’s Domain Records presents the premiere release of THE TEKWAR TRILOGY, featuring music composed by David Michael Frank, mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer. THE TEKWAR TRILOGY is a limited edition release. THE TEKWAR TRILOGY is expected to begin shipping the week of September 28, 2026. TEKWAR 01. Main Title (3:09) 02. Resurrection (1:54) 03. The Empty House (5:08) 04. Cops In Space (3:43) 05. Is Beth Really Dead? (3:00) 06. Escape From The Lab (5:20) 07. Final Battle (2:59) TEKLORDS 08. Killer Fantasy Girl (1:53) 09. Keeper of Secrets (3:35) 10. Hospital Bedside with Kate (2:26) 11. Race Against the Clock (3:27) 12. Hakori's Hideaway (3:52) 13. The Reanimation of Tora (4:34) 14. Fight For The Antidote (2:23) 15. Kate and Jake (2:53) TEKLAB 16. Excalibur (3:13) 17. Rachel Tudor (2:29) 18. Escaping the Monarchists (4:41) 19. Jake Frees Mark Tudor (2:27) 20. Fencing With a Fake (4:55) 21. Terror at the Tower (4:18) 22. Tristan and his Guinevere (1:41) Total Time: 74:59 Dragon’s Domain Records presents SUPER SPACE MOVIES THEMES, a compilation of music from classic science-fiction films from the 1950's, with many rare selections. SUPER SPACE MOVIE THEMES includes music from King of the Rocket Men, Flying Disc Men From Mars, Captain Video: Master of the Stratosphere, The Man From Planet X, Two Lost Worlds, Radar Men from the Moon, Red Planet Mars, Zombies of the Stratosphere, Abbott and Costello Go To Mars, Flight To The Moon, The Magnetic Monster, Gog, Killers From Space, The Rocket Man, Stranger From Venus, Tobor The Great, The Beast With a Million Eyes, Creature With The Atomic Brain, The Phantom From 10,000 Leagues, The Quatermass Xperiment, Fire Maidens From Outer Space, Forbidden Planet, The Gamma People, Indestructible Man, Jungle Hell, Supersonic Saucer, Warning From Space, X The Unknown, The Incredible Shrinking Man, The Invisible Boy, Monster From Green Hell, The Night The World Exploded, Quatermass 2 (Enemy From Space), Road To The Stars, The Robot Vs. The Aztec Mummy, Super Giant, 20 Million Miles To Earth, The 27Th Day, The Brain Eaters, The Day The Sky Exploded, The Flame Barrier, From The Earth To The Moon, Space Master X-7, The Strange World Of Planet X (Cosmic Monsters), The Atomic Submarine And First Man In Space. SUPER SPACE MOVIE THEMES features music composed by Stanley Wilson, Mischa Bakaleinikoff, Charles Koff, Alex Alexander, Mahlon Merrick, Joseph Gershenson, Yurly Levitan, Blaine Sanford, Harry Sukman, Manuel Compinsky, Lionel Newman, Eric Spear, Howard Jackson, John Bickford, Ronald Stein, James Bernard, Trevor Duncan, Louis and Bebe Barron, George Melachrino, Albert Glasser, Nicholas Carras, Jack Beaver, Seitaro Omori, Les Baxter, Ross DiMaggio, S.A. Shatiryan, Antonio Diaz Conde, Chumei Watanabe, Tom Johnson, Carlo Rustichelli, Gerald Fried, Louis Forbes, Joseph Zimanich, Robert Sharples, Alexander Laszlo and Buxton Orr. SUPER SPACE MOVIE THEMES has been mastered by James Nelson at Digital Outland, produced by Starlog Magazine’s David Hirsch and James Nelson. SUPER SPACE MOVIE THEMES is a limited edition release and is expected to begin shipping the week of September 28th, 2026. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. 01. Main Title (From KING OF THE ROCKET MEN) (1949) (1:07) Composed by Stanley Wilson 02. Main Title (From FLYING DISC MEN FROM MARS) (1950) (0:58) Composed by Stanley Wilson 03. Main Title (From CAPTAIN VIDEO: MASTER OF THE STRATOSPHERE) (1951) (0:51) Mischa Bakaleinikoff, Musical Director 04. Main Title (From THE MAN FROM PLANET X) (1951) (1:17) Composed by Charles Koff 05. Main Title (From TWO LOST WORLDS) (1951) (1:23) Composed by Alex Alexander 06. Main Title (From RADAR MEN FROM THE MOON) (1952) (1:15) Composed by Stanley Wilson 07. Main Title (From RED PLANET MARS) (1952) (1:04) Composed by Mahlon Merrick 08. Main Title (From ZOMBIES OF THE STRATOSPHERE) (1952) (1:06) Composed by Stanley Wilson 09. Main Title (From ABBOTT AND COSTELLO GO TO MARS) (1953) (1:18) Joseph Gershenson, Musical Director 10. Titles Suite (From FLIGHT TO THE MOON) (POLYOT NA LUNO) (1953) (1:56) Composed by Yurly Levitan 11. End Title (From THE MAGNETIC MONSTER) (1953) (2:02) Composed by Blaine Sanford 12. Main Title (From GOG) (1954) (1:59) Composed by Harry Sukman 13. Titles Suite (From KILLERS FROM SPACE) (1954) (1:15) Composed by Manuel Compinsky 14. Main Title (From THE ROCKET MAN) (1954) (1:09) Lionel Newman, Musical Director 15. Main Title (From STRANGER FROM VENUS) (1954) (0:29) Composed by Eric Spear 16. Republic Logo & Main Title (From TOBOR THE GREAT) (1954) (1:32) \ Composed by Howard Jackson 17. Titles Suite (From THE BEAST WITH A MILLION EYES) (1955) (1:49) Composed by John Bickford 18. Main Title (From CREATURE WITH THE ATOM BRAIN) (1955) (0:51) Mischa Bakaleinikoff, Musical Director 19. Main Title (From THE PHANTOM FROM 10,000 LEAGUES) (1955) (1:07) Composed by Ronald Stein 20. Opening (From THE QUATERMASS XPERIMENT) (1955) (1:09) Composed by James Bernard 21. Main Title (From FIRE MAIDENS FROM OUTER SPACE) (1956) (1:16) Composed by Trevor Duncan 22. Main Titles & Overture (From FORBIDDEN PLANET) (1956) (2:20) Composed by Louis and Bebe Barron 23. Main Title (From THE GAMMA PEOPLE) (1956) (1:28) |Composed by George Melachrino 24. Main Title (From INDESTRUCTIBLE MAN) (1956) (1:01) Composed by Albert Glasser 25. Main Title (From JUNGLE HELL) (1956) (1:41) Composed by Nicholas Carras 26. Main Title (From SUPERSONIC SAUCER) (1956) (0:58) Composed by Jack Beaver 27. Main Title (From WARNING FROM SPACE) (1956) (1:48) Composed by Seitaro Omori 28. Main Title (From X THE UNKNOWN) (1956) (1:12) Composed by James Bernard 29. Main Title (From THE INCREDIBLE SHRINKING MAN) (1957) (1:54) Joseph Gershenson, Musical Director 30. MGM Logo & Main Title (From THE INVISIBLE BOY) (1957) (1:23) Composed by Les Baxter 31. Titles Suite (From MONSTER FROM GREEN HELL) (1957) (2:08) Composed by Albert Glasser 32. Main Title (From THE NIGHT THE WORLD EXPLODED) (1957) (0:46) Composed by Ross DiMaggio 33. Main Title (From QUATERMASS 2) (1957) (1:06) Composed by James Bernard 34. Main Title (From ROAD TO THE STARS) (1957) (0:55) Composed by Sergey Shatiryan 35. Main Title (From THE ROBOT VS. THE AZTEC MUMMY) (1957) (1:33) Composed by Antonio Diaz Conde 36. Titles Suite (From SUPER GIANT (SÛPÂ JAIANTSU) (1957) (2:41) Composed by Chumei Watanabe 37. Main Title (From 20 MILLION MILES TO EARTH) (1957) (1:07) Composed by Mischa Bakaleinikoff 38. Main Title (From THE 27TH DAY) (1957) (0:52) Mischa Bakaleinikoff, Musical Director 39. Main Title (From THE BRAIN EATERS) (1958) (1:33) Composed by Tom Johnson 40. Main Title (From THE DAY THE SKY EXPLODED) (1958) (0:51) Composed by Carlo Rustichelli 41. Main Title (From THE FLAME BARRIER) (1958) (1:24) Composed by Gerald Fried 42. Main Title (From FROM THE EARTH TO THE MOON) (1958) (1:28) Composed by Louis Forbes 43. Main Title (From SPACE MASTER X-7) (1958) (0:54) Joseph Zimanich, Musical Director 44. Opening (From THE STRANGE WORLD OF PLANET X) (1958) (1:56) Composed by Robert Sharples 45. Opening Credits (From THE ATOMIC SUBMARINE) (1959) (1:50) Composed by Alexander Laszlo 46. Main Title (From FIRST MAN INTO SPACE) (1959) (1:25) Composed by Buxton Orr 47. Main Title (From PLAN 9 FROM OUTER SPACE) (1959) (2:10) Composed by Trevor Duncan 48. Opening (From TEENAGERS FROM OUTER SPACE) (1959) (3:04) Tom Graeff, Music Coordinator Total Time: 70:18 Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION, VOLUME 1, a compilation of two scores from legendary film and television composer Shirley Walker’s extensive filmography. Airing on television in 1995, THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE was directed by Max Tash, written by Brian Levant, Rick Copp and David A. Goodman, starring Daniel Riordan, Liz Vassey, Ron Perlman, Gia Carides, Duane Davis, Gregory Smith, Nichelle Nichols, Rick Copp, Lloyd Berry, David Mylrea, Sarah Strange, Bill Croft, Ken Kirzinger and Michael Donovan. In much the same vein as GALAXY QUEST, colorful visuals and a playful tone abound, affectionately celebrating the traditions of the space-hero characters of 1950s sci-fi TV in this campy television pilot film... Captain Zoom (Riordan) is the fictional intergalactic hero of a popular 1953 DuMont Network television program. He’s portrayed with all the cheerful bravado and humor one frequently associates with the heroes of our childhood — an affectionate homage to earlier science-fiction entertainment. The costume design, bright colors and exaggerated gadgets recall the spirit of the 1966 BATMAN television series but on the scale of the classic space serials FLASH GORDON and BUCK ROGERS. At the same time, the narrative emphasizes themes of friendship, belief in oneself and the power of imagination. The musical score by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE adds energy and emotional warmth to the adventure while also playing up the campy, exaggerated acting. Walker brings a lively orchestral-sounding approach to the project. She blends bold, heroic themes with playful musical gestures that match the film’s light family-adventure tone. Brass fanfares accompany Captain Zoom’s triumphant moments, while lighter motifs support the film’s child-like sense of wonder. Presented on television across two nights in 1997, ASTEROID was directed by Bradford May, written by Robbyn Burger and Scott Sturgeon, starring Michael Biehn, Annabella Sciorra, Zach Charles, Don Franklin, Carlos Gomez, Michael Weatherly, Jensen Daggett, Anne-Marie Johnson, Frank McRae, Anthony Zerbe and Dennis Arndt as the President. ASTEROID follows astronomer Dr. Lily McKee (Sciorra) who works at the National Observatory in Boulder, Colorado, monitoring near-Earth objects. During a routine survey of the sky, she detects the Fletcher comet whose trajectory indicates a potential approach near Earth on the Fourth of July. She later realizes that the comet has drawn several asteroids out of their orbits in the asteroid belt, but two in particular — Helios and Eros — are on a collision course with Earth and large enough to cause catastrophic damage. Helios is projected to hit with a force 1,000x greater than the Hiroshima A-bomb, but the far larger Eros is more dangerous, with the potential of wiping out all life on the planet. Military and government agencies soon become involved as the danger grows. FEMA Director Jack Wallach (Biehn) is tasked with coordinating evacuation efforts and responding to the crisis. Wallach becomes a central figure in the unfolding drama as authorities attempt to calculate the asteroid’s path and protect the population. The film shifts between scenes of scientific investigation, government deliberation, and the personal stories of individuals caught in the looming disaster. As Eros nears Earth, scientists explore possible ways to divert or destroy it... Shirley Walker’s score for ASTEROID plays a significant role in shaping the film’s dramatic tone, combining a powerful electronic feel with suspenseful textures that underscore the approaching danger from space. Low brass and percussion create a sense of impending catastrophe, while urgent rhythmic passages accompany scenes of scientific discovery and emergency response. Shirley Walker (April 10, 1945 – November 30, 2006) was an influential American film and television composer and conductor, recognized as a pioneer for women in Hollywood. She was one of the first female composers to gain solo score credit on a major film. Walker won two Emmy Awards, and the ASCAP Shirley Walker Award was established in her honor in 2014. Walker's film career began in 1979 with APOCALYPSE NOW, where she played synthesizers and later orchestrated scores for films like THE BLACK STALLION. She excelled as an orchestrator, conductor and composer, working with notable figures like Danny Elfman and Hans Zimmer. Walker scored various productions, including WILLARD and the first three FINAL DESTINATION films, and TV series like FALCON CREST and THE FLASH. While working with Danny Elfman, she mentored Hans Zimmer and orchestrated several of his film scores. Walker was a prominent composer for several animated series in the DC Animated Universe, including BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, THE NEW BATMAN ADVENTURES and BATMAN BEYOND. She worked closely with Danny Elfman, served as the conductor for the film BATMAN, and composed much of the music for BATMAN: THE ANIMATED SERIES, creating a recognizable musical tone for the franchise. Her themes continued to be used in JUSTICE LEAGUE and JUSTICE LEAGUE UNLIMITED. Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION: VOLUME 1, featuring the premiere release of music composed by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE and ASTEROID, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by Scott Davis. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is a limited edition release. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is available for pre-order at www.buysoundtrax.com. Starts shipping the week of September 28, 2026 THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE 01. Main Title / The Planet Pangea (4:49) 02. Baley’s Universe Scan (0:49) 03. Captain Zoom TV Theme #1 (1:37) 04. Tyra’s Dream (2:42) 05. Captain Zoom TV Theme #2 (1:26) 06. Zoom Transported To Pangea (3:22) 07. Nessie The Sea Monster (2:33) 08. Sex In Space (3:13) 09. Zoom And Tyra Escape (4:19) 10. Which Star Is Earth? (1:29) 11. Sagan’s Prophecy (2:57) 12. Vesper’s Fake Trance (1:57) 13. Vox Returns Defeated / Spaceship Crash (2:03) 14. Where Are You Sleeping (1:54) 15. We Can’t Give Up (1:42) 16. Clay People (4:34) 17. Temple Of Reya (5:49) 18. Vesper’s End (1:57) 19. Vox’s Death (4:15) 20. Written In The Stars (Finale) (2:42) ASTEROID 21. Opening Titles / Helicopter Rescue (2:13) 22. Helios And Eros (2:45) 23. 1,000 Hiroshima Bombs (1:15) 24. Laser Attack (2:37) 25. Lily And Max (1:27) 26. Impact Aftermath (1:42) 27. Kansas City Evacuation (3:10) 28. Goodbye Dallas (1:52) 29. Survivors / Reunions (2:47) ` 30. Another 4000 Years (2:15) Total Time - 79:30