Alexander Grodzinski

Ein neuer Track aus dem expandierten Album zu HALLOWEEN ENDS.

Snow Files of the Week: "Prologue/Main Title/The Boys Find The Cave/The Kiss/Happy Ending" aus dem TV-Film THE LITTLE KIDNAPPERS (1990). Für diese Disney-Channel-Produktion konnte Mark mal wieder auf ein volles Orchester zurückgreifen. Der von einer Solo-Flöte eingeleitete "Main Title" mausert sich im weiteren Verlauf zu einem schwelgerischen Stück Musik und das Thema taucht auch immer wieder im Score auf. Die Musik betritt dann sogar beschwingte Kinderabenteuer-Pfade in Tracks wie "The Boys Find The Cave". Alles in allem ein klangschöner Abenteuer-Drama-Score, der wieder einmal zeigt, dass Snow auch abseits der X-Akten musikalisch durchaus zu überzeugen weiß. Die Musik ist, gekoppelt mit Snows Musik zu IN THE LINE OF DUTY: SMOKE JUMPERS, auf der "Mark Snow Collection Volume 1" von Dragon's Domain Records erschienen. Die CD ist auf 500 Exemplare limitiert. Viel Spaß beim Hören!

Warner hat das Score-Album zu 1492 um die zwei Bonustracks "Line Open" und "Landscapes" erweitert neu veröffentlicht. Als CD und Doppel-LP.

Music by Steve Jablonsky Limited Edition of 3000 Units La-La Land Records, Paramount Pictures and Milan Records present a remastered and expanded 20th Anniversary CD re-issue of renowned composer Steve Jablonsky’s (TRANSFORMERS, BATTLESHIP, LONE SURVIVOR) original motion picture score to the big screen 2005 sci-fi action/drama THE ISLAND starring Ewan McGregor and Scarlett Johansson, and directed by Michael Bay. A sci-fi drama as minded about social commentary as its crackerjack action was a new challenge for director Michael Bay and he called on acclaimed composer Steve Jablonsky to provide a sonic foundation to blend the film’s cerebral elements and intimate personal drama with its blockbuster action set-pieces. Jablonsky delivered big – with a riveting, evocative score that is as propulsive as it is dreamlike and atmospheric, melding electronics and programming and orchestra in expert fashion. This deluxe 20th Anniversary expanded and remastered showcase unleashes the full brilliance of this notable work. Produced by Stéphane Humez and mastered and edited by Maxime Marion from studio vault elements, under the supervision of the composer, this special limited edition CD release of 3000 units features the film score presentation over Disc 1 and Disc 2, with additional music presented on Disc 2. The exclusive in-depth liner notes are by writer and journalist Kaya Savas, featuring a new interview with the composer. The sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. The Island Awaits You 2:26 2. Missing A Shoe 1:23 3. Starkweather Lottery 1:20 4. I’m Such A Loser 0:47 5. Health Club 0:57 6. Cafeteria 2:19 7. Nice Tests 2:16 8. Going To Work – What If It’s Rigged? – Messing With Foxtrot 1:02 9. Lima In Labor / My Chip Fried – Lincoln Discovers A Moth 2:41 10. Booze 1:27 11. Agnate Ukuleles 2:39 12. Home For A Moth – Fight Simulator 1:10 13. Stim Bar 2:03 14. Good Things Do Happen – Another Lincoln Nightmare 1:42 15. You Have A Special Purpose In Life 4:35 16. Starkweather’s Demise 2:47 17. The Craziest Mess I’ve Ever Seen 5:07 18. Censor Chase 1:27 19. Sector 6 2:54 20. Selling Agnates / Laurent Arrives 2:14 21. Security Breach – Briefing Laurent 3:09 22. Route 39 0:58 23. Eat The Burger, Meet The Cow 2:32 24. Helicopters 0:51 25. These Are Mail Order 1:04 26. Send In The Clones 4:31 27. Renovatio 4:12 TOTAL DISC TIME 60:29 DISC 2 SCORE PRESENTATION CONTINUED 1. Shootout – On Foot – Train Wheels – Enter Wasps – Wasp Chase 6:31 2. The Big R 2:21 3. Gandu’s Demise – Rain Scene 1:21 4. Lincoln Meets Lincoln – Genetic Memory 2:34 5. Tom Sells Out His Clone 3:10 6. Worth Every Penny 1:15 7. Not Ready To Die 1:32 8. Ready To Die, Apparently – Laurent Is Fooled 2:35 9. This Tongue Thing Is Amazing 1:25 10. Mass Winnings 5:07 11. Busting Some Ass – Rendezvous – Laurent Questions Merrick 5:36 12. She Said, “Open The Door” – Better Call Maintenance 5:02 13. My Name Is Lincoln 3:43 ADDITIONAL MUSIC 14. Mass Vehicular Carnage 2:26 15. Starkweather Lottery (Alternate Version 1) 1:23 16. Starkweather Lottery (Alternate Version 2) 1:28 17. Health Club (Alternate) 0:57 18. Cafeteria (Alternate Version 1) 1:59 19. Cafeteria (Alternate Version 2) 2:19 20. Nice Tests (Alternate) 2:15 21. Good Things Do Happen (Alternate) 1:12 22. You Have A Special Purpose In Life (Alternate Ending) 2:09 23. Eat The Burger, Meet The Cow (Alternate) 2:32 24. These Are Mail Order (Alternate) 0:52 25. Send In The Clones (Alternate Ending) 2:02 26. Train Wheels (Alternate Version 1) 1:58 27. Train Wheels (Alternate Version 2) 1:58 28. Wasp Chase (Alternate) 1:27 29. Mass Winnings (Alternate Ending) 1:35 30. Better Call Maintenance (Alternate Ending) 0:56 31.My Name Is Lincoln (Alternate Mix) 3:42 TOTAL DISC TIME 75:16 TOTAL ALBUM TIME 135:45 This is a CD format release

Music Composed and Conducted by John Williams Limited Edition of 3000 Units La-La Land Records and Paramount Pictures proudly present a remastered CD reissue of renowned composer John Williams’ original motion picture score to the 1977 dramatic feature film thriller BLACK SUNDAY, starring Robert Shaw and Bruce Dern, and directed by John Frankenheimer. A white-knuckle suspense thriller chronicling a diabolical terrorist attack on the Super Bowl via airborne blimp needed a score to wind the film’s ticking clock tension with precision. At the time, Williams’ recent FAMILY PLOT and legendary JAWS scores made him a perfect choice to tackle BLACK SUNDAY. His score to the film is pitch-perfect – a winding tapestry of percussion and ominous atmosphere that had the audience on the edge of their seats, while the inner conflicts of the characters are explored through emotionally resonant melodic material. The composer’s remarkable ability to balance action and suspense with human drama is on full display within this remastered presentation of the Maestro’s few forays into the political thriller genre. Reissue Producer Mike Matessino has newly mixed and mastered the score from first-generation 16-track analog scoring elements, transferred in high resolution by Paramount Archives. Following the main Score Presentation, tracks of Additional Music feature three pieces of source music Williams composed for the film and the original end credits composition, “The End,” without the percussion track. This was considered as an alternative before it was decided to track tense action music over the credits. The program concludes with the music as presented for the ending of the picture, opening with the revised ending of “The Explosion.” This short cue was recorded long after the main scoring sessions. As no master element could be located, the cue is presented from the original mono dubbing stem for the film, processed for stereo. This Limited Edition CD re-issue of 3000 units features all new, in-depth liner notes from writer Jeff Bond and winning new art direction by Jim Titus. TRACK LISTING: SCORE PRESENTATION 56:04 1 Beirut :37 2 Commandos Arrive 1:15 3 Commando Raid 5:32 4 It Was Good / Dahlia Arrives / The Unloading 3:13 5 Speed Boat Chase 1:51 6 The Telephone Man / The Captain Returns 2:15 7 Nurse Dahlia / Kabakov’s Card / The Hypodermic 3:31 8 Moshevsky’s Dead 1:58 9 The Test 1:57 10 Building The Bomb 1:57 11 Miami / Dahlia’s Call 2:28 12 The Last Night 1:31 13 Preparations 2:45 14 Passed :31 15 The Flight Check 1:51 16 Airborne / Bomb Passes Stadium 1:46 17 Farley’s Dead 1:34 18 The Blimp AndThe Bomb 3:13 19 The Take Off 1:44 20 Underway :41 21 Air Chase (Part 1) 1:15 22 Air Chase (Parts 2 And 3) / The Blimp Hits 7:21 23 The Explosion 2:38 24 The End (Theme From ‘Black Sunday’) 2:17 ADDITIONAL MUSIC 8:58 25 Hotel Lobby (Source) 1:48 26 Fight Song No. 1 (Source) :52 27 Fight Song No. 2 (Source) 1:46 28 The End (Alternate Mix) 2:17 29 The Explosion (Revised Ending) / End Title (Film Edit) 2:11 TOTAL DISC TIME • 65:06 This is a CD format release.

Bei Music Box bereits bestellbar. Und wird auch sicherlich wieder sofort nach Erhalt der Lieferung von LLL verschickt.

Die Hüllen an sich sahen eigentlich immer neu aus bei LLL. Aber ich hatte auch oft das Problem, als ich noch direkt bei LLL bestellte, dass die Hüllen teilweise gesplittert oder zerbrochen hier ankamen. Oder sogar bei Doppel-CDs die Halterung für die beiden CDs aus der Verankerung gebrochen war. Das ist wohl einfach eine Kombination aus schlechter Behandlung durch die Post, besonders wahrscheinlich solange das Päckchen noch in den USA unterwegs ist, und den dünnen Hüllen, die LLL verwendet. Das merkt man einfach schon, wenn man sich mal vor allem ältere CD-Hüllen dagegen ansieht. Die waren vom Material her viel kompakter und auch dicker. Die LLL-Hüllen sind dünn und brechen gefühlt schon, wenn man sie etwas verbiegt. Aber seit ich die LLL-Veröffentlichungen bei Music Box bestelle, sind die Hüllen immer tadellos. Scheinbar verpacken sie Großbestellungen an die Händler besser, beziehungsweise werden diese von der Post besser behandelt.

Erwähnt schon noch, hauptsächlich von mir. Aber ja, so richtig Resonanz darauf gibt es eigentlich erst seit kurzem.

Kam von Quartet schon auf CD, nun auch auf LP: Quartet Records presents the premiere complete vinyl edition of cult soundtrack by Ennio Morricone for the 1983 police thriller COPKILLER (aka ORDER OF DEATH). Coproduced between Italy, France and the U.S., and directed by longtime Morricone collaborator Roberto Faenza, the film stars Johnny Rotten (famous punk-star from the group Sex Pistols), Harvey Keitel and Nicole Garcia. The plot is about a pair of corrupt cops spending their illegal cash on an uptown New York City apartment. Morricone’s score comes from the composer’s fertile period of poliziotteschi thrillers and his collaborations with Henri Verneuil in Belmondo’s French polars in the early 1980s. The music features the psychedelic, percussion-heavy and often ostinato-based cues that Morricone typically reserved for the steamy chaos of his crime-film scores. General Music released the score on LP in France and Germany in 1983 with 10 tracks. This new Quartet Records edition contains the complete scorw with 16 tracks. This limited LP edition, pressed on audiophile 140 GM yellow vinyl, has been specially restored and mastered by Chris Malone from the first-generation stereo master tapes. The luxurious artwork features the artistry of Mac. SIDE A Sinfonia d’una Città I 4:29 Sinfonia d’una Città II 4:53 Sinfonia d’una Città III 2:44 Sinfonia d’una Città IV 2:51 Tchaikovsky’s destruction 3:38 Copkiller 2:58 Nelle strade del centro 3:04 Periferia 1:49 SIDE B Momento totale 2:43 Copkiller (#2) 2:58 Sinfonia d’una Città I (alternate version) 1:43 Sinfonia d’una Città II (alternate version) 3:04 Sinfonia d’una Città II (alternate #2) 3:03 Momento totale (alternate version) 2:44 Copkiller (#3) 0:47 Copkiller (Rock music) 1:20

Und auch hier wird die Vinyl neu aufgelegt: Quartet Records and Studiocanal present the reissue of the Academy Award-winner Jerry Goldsmith’s thrilling score in a 2-LP transparent red vinyl deluxe edition! Directed by Paul Verhoeven (RoboCop, Basic Instinct) and starring Arnold Schwarzenegger and Sharon Stone, TOTAL RECALL helped change the future of cinematic imagery, while Goldsmith’s score marked a culmination of styles and techniques the composer had developed over four decades of composing for film and television. TOTAL RECALL represents one of the iconic composer’s last masterpieces, recorded with the National Philharmonic Orchestra of London, under his own baton. For this vinyl release, Quartet has mastered from the 48kHz/16-bit stereo mixes created in 2015, allowing fans of the film and of great music to experience the intrigue, the action, and the exotic world of TOTAL RECALL like never before. For the first time, the score as written for the film can now be heard on vinyl—and with the actual film performances. The album has been entirely remixed from the original digital multi-track tapes by Goldsmith’s longtime scoring mixer, Bruce Botnick. Produced by Neil S. Bulk and Botnick, and specially remastered for vinyl by Mr. Botnick with lacquers mastered by Bernie Grundman, this new edition has been pressed in gramblood- red transparent vinyl, featuring the new 30th anniversary artwork by Kyle Lambert and includes a separate booklet with authoritative liner notes from film music writer Jeff Bond that includes interviews with Botnick, music editor Ken Hall, and director Paul Verhoeven. DISC ONE. The Film Score – Part 1 SIDE A 1 The Dream (3:38) 2 First Meeting (1:11) 3 Secret Agent (0:54) 4 The Implant (2:44) 5 Where Am I? (1:07) 6 The Aftermath (0:33) 7 Old Times Sake (3:03) 8 Clever Girl (4:34) SIDE B 1 The Johnny Cab (3:50) 2 Howdy Stranger / The Nose Job (3:54) 3 The Spaceport (0:50) 4 A New Face (1:30) 5 The Mountain (1:31) 6 Identification (1:02) 7 Lies (1:04) 8 Where Am I? (4:00) 9 Swallow It (3:06) DISC TWO. The Film Score – Part 2 SIDE C 1 The Big Jump (4:35) 2 Without Air (1:17) 3 Remembering (1:48) 4 The Mutant (3:16) 5 The Massacre (2:37) 6 Friends? (1:39) 7 The Treatment (5:40) SIDE D 1 The Reactor / The Hologram (5:39) 2 End of a Dream (5:49) 3 A New Life (2:25) 4 End Credits (3:49)

Und nochmal auf Vinyl: Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof CASINO ROYALE, this time in blue and orange colored vinyl! The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry. This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time. Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date. This special 2XLP is a limited edition pressed on 180-gram blue and orange vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis. The package includes liner notes by Jeff Bond, with a separate insert with a tech-talk by Chris Malone. SIDE A (Stereo) Casino Royale (Main Title) (2:38). Performed by Herb Alpert & The Tijuana Brass The Look of Love (4:11) Vocal by Dusty Springfield Moneypenny Goes for Broke (1:39) Le Chiffre’s Torture of Mind (2:14) Home James, Don’t Spare the Horses (1:33) Sir James’ Trip to Find Mata (3:50) SIDE B (Stereo) The Look of Love (Instrumental) (2:50) Hi There Miss Goodthighs (1:18) Little French Boy (2:26) Flying Saucer / First Stop Berlin (3:00) The Venerable Sir James Bond (2:33) Dream on James, You’re Winning (1:20) The Big Cowboys and Indians Fight at Casino Royale / Casino Royale Theme (Reprise) (4:54). Performed by Herb Alpert & The Tijuana Brass SIDE C (Mono) Casino Royale (Main Title) (2:39). Performed by Herb Alpert & The Tijuana Brass Opening Cars Converging / To the Bond Chateau (1:55) The Black Rose / James Bond in Scotland (1:16) The Widow Duty of Lady Fiona / Wassail (3:42) The Grouse Shoot / Mimi’s Lament (2:03) Gymnasium Training (1:48) Proposals, Super 8 and Costumes (0:47) Sir James’ Trip to Find Mata / Temple Dance (3:17) Have No Fear Bond Is Here (Single Version) (2:37). Vocal by Mike Redway SIDE D (Mono) The Look of Love (Film Version) (3:48). Vocal by Dusty Springfield Sitar Background / Old Berlin House / Mata Hari School for Spies (5:09) Bond Arrival in France / Vesper in the Shower (1:28) Le Chiffre’s Magic Act (0:58) Vesper’s Kidnapping / End of Torture Sequence (1:10) Fight in Casino Manager’s Office / Dr. Noah’s Headquarters / The LSD Room (2:40) The Big Fight at Casino Royale (Film Version) / Seven Bond in Heaven / End Title (Have No Fear Bond Is Here) (6:54). Vocal by Mike Redway

Kommt nun auch auf Vinyl: Quartet Records and Paramount Pictures present a remastered color vinyl reissue of the iconic score by Philippe Sarde (GHOST STORY, LORD OF THE FLIES, PIRATES, CÉSAR ET ROSALIE) for a Roman Polanski horror tale THE TENANT. Based on the popular novel LE LOCATAIRE CHIMERIQUE by Roland Topor, the film was directed by Polanski, who also co-wrote the screenplay with his usual partner, Gérad Brach. It co-stars Isabelle Adjani, Melvyn Douglas, Shelley Winters and Jo Van Fleet. Although the film was given a cold reception at the Cannes Film Festival in 1976, over the years it has become a cult film, and one of the most valued in the career of the famous and controversial Polish director. THE TENANT was also Polanski’s third production with Paramount after the classics ROSEMARY’S BABY and CHINATOWN. One of the most important aspects of THE TENANT is that it was the first collaboration between Polanski and composer Philippe Sarde—who was only 28 years old when he composed the score. The music featured a complicated orchestration that required an unusual arrangement of the orchestra. The use of crystal harmonica gives the score a disturbing and bleak character. Pressed in 140-gram purple vinyl, this LP has been produced by Neil S. Bulk, supervised and tracks selected by the composer, remixed by Michael McDonald at Private Island Sound, and freshly remastered by Chris Malone. SIDE A Main Title (2:21) The Church (1:12) The Tooth (2:15) Delirium (3:10) Empty Window (0:27) The Bouncing Ball (1:54) They’re After Him (0:44) To Stella (0:53) Solitude (1:22) Running Away (1:08) SIDE B Dance At Robert’s (3:13) Hotel Room (0:38) The Tenant (1:06) The Park (1:19) They Tried To Kill Me (3:09) The Audience Is Ready (1:52) I’ll Show You Blood (1:38) The Final Scream (1:16) En Souvenir De Madame Choule (1:34) Final (2:27)

Snow Files of the Week: „Only way to escape/Lamp/Chimera Man/Fix it for good" aus „The X-Files", Episoden „Talitha Cumi", "Gethsemane" and "Redux II" (1995-1998). Eine bunte Mischung aus verschiedenen Episoden, die aber alle beinhalten, was wir an Marks Musik so lieben: die sanften, ruhigen Piano-Passagen, geheimnisvolle Mystery-Klänge, unheimliche Klanglandschaften und melancholische Streicher. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

Und wieder mal Dragon's Domain: SPECIAL NOTE: The First 50 copies purchased from buysoundtrax.com will be autographed by the Composer Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for three short films from his extensive filmography. A defining trait of composer Christopher Young’s early career has been his unwavering engagement with the experimental musical languages of the postwar avant-garde. Few composers brought these idioms into the Hollywood system as boldly or as consistently as he did. As he began to earn recognition as a mainstream composer capable of delivering accomplished and influential large-scale scores, he also looked for opportunities to experiment, which he found in more obscure and independent projects. Many of these smaller projects offered a rare opportunity to explore new facets of his writing, without any pressure from producers, studios, etc. CHRISTOPHER YOUNG: THE SHORTS includes suites from three such highly diverse scores that were composed either for a television series such as VIETNAM WAR STORY or short student films such as THE MINSTREL’S SONG and THE TOWER. All three showcase his distinctive voice, though each emphasizes a different dimension of his style. From the merging of electronics with acoustic Japanese instruments and the development of polyrhythmic structures, to a taste for colorful instrumentation and semi-stylized historical pastiche, to the dissection and transformation of waltz-like melodic material. VIETNAM WAR STORY originally aired on HBO between 1987 and 1988 and was an anthology series based on short stories written by U.S. veterans of the Vietnam conflict. Young contributed scores to two of the series’ nine episodes. His music for VIETNAM WAR STORY is a hybrid work in which he used electronics along with a wide range of acoustic instruments of Japanese origin. Originally released in 1993 by Intrada Records as part of a collection, the composer has returned to VIETNAM WAR STORY to revisit his work. THE MINSTREL’S SONG was a graduation short film directed by Chris C. Hopkins, an aspiring filmmaker who would later become a noted prop artist and set designer. The music was composed and recorded by Young during his UCLA years. Also released on the same collection as VIETNAM WAR STORY, his music for THE MINSTREL’S SONG draws it’s influences from the Renaissance era, with the music played by a small ensemble. THE TOWER was a short film marking the directorial debut of music editor E. Gedney Webb and holds a special place in Young’s heart. Webb is the composer’s nephew and they had collaborated on scores such as THE DARK HALF and DREAM LOVER. The film tells the story of a burned-out forty-year old man who encounters the ghost of a woman imprisoned in the tower of his summer home by Lake Michigan. Released by Intrada in 2002, THE TOWER was initially presented as forty-minute chamber symphony in five movements. Years later, the composer would return to the material and revise it into the current suite, inviting guitarist, songwriter and longtime friend Mark Hanson to provide lyrics for the principal melodic ideas. The orchestration includes string quartet, piano, harp, solo female voice and electronics. Golden Globe-nominated composer Christopher Young has scored over 100 films, including films such as HELLRAISER, JENNIFER 8, MURDER IN THE FIRST, COPYCAT, SPECIES, THE HURRICANE, SWORDFISH, THE SHIPPING NEWS, THE HURRICANE, THE CORE, THE GRUDGE, THE EXORCISM OF EMILY ROSE, SPIDER-MAN 3, UNTRACEABLE and the forthcoming films, THE UNINVITED and DRAG ME TO HELL. Born in Red Bank, New Jersey, Young graduated from Massachusetts Hampshire College with a BA in music and did post-graduate work at North Texas State University, studying big band writing and classical composition before moving to Los Angeles in 1980. While enrolled at UCLA, he studied with famed film composer David Raksin. In addition to his career as a film composer, he has also taught composition at UCLA. Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for VIETNAM WAR STORY, THE MINSTREL’S SONG and THE TOWER. The music has been newly remastered by Digital Outland. The liner notes have been written by Andrea Bruno and provide important information about each project, with the composer’s participation. 1. Vietnam War Story Opening (2:55) 2. Vietnam War Story Part 1 (2:00) 3. Vietnam War Story Part 2 (3:53) 4. Vietnam War Story Part 3 (2:08) 5. Vietnam War Story Part 4 (1:21) 6. Vietnam War Story Part 5 (3:11) 7. Vietnam War Story Closing (3:46) 8. The Minstrel's Song Part 1 (3:10) 9. The Minstrel's Song Part 2 (1:41) 10. The Minstrel's Song Part 3 (2:41) 11. The Minstrel's Song Part 4 (1:19) 12. The Minstrel's Song Part 5 (2:05) 13. The Minstrel's Song Part 6 (0:57) 14. The Tower (18:42) Total Time: 51:27 Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography, CRY BABY KILLER and MACHINE-GUN KELLY, two early crime dramas produced by Roger Corman and released in 1958. Released in 1958, CRY BABY KILLER was directed by Justus Addiss, starring Jack Nicholson in his film debut, along with Brett Halsey, Carolyn Mitchell, Harry Lauter, Lynn Cartwright, Ralph Reed, John Shay, Barbara Knudson, William A. Forester, John Weed and an uncredited Roger Corman. CRY BABY KILLER follows Jimmy Wallace (Nicholson) as he confronts Manny (Halsey) and his friends after being beaten up by them over a girl named Carole (Mitchell). Jimmy challenges Manny to a fight outside a café but during the struggle, Jimmy grabs a gun from one of Manny’s friends. After firing off some shots, a nearby police officer corners Jimmy and he is forced to take hostages. A tense standoff ensues... Also released in 1958, MACHINE-GUN KELLY was directed by Roger Corman, starring Charles Bronson, Susan Cabot, Morey Amsterdam, Richard Devon, Jack Devon, Jack Lambert, Frank De Kova, Connie Gilchrist, Wally Campo, Barbara Morris, Lori Martin, Michael Fox and Larry Thor. MACHINE-GUN KELLY chronicles the criminal activities of the real-life gangster George ‘Machine-Gun' Kelly and features Charles Bronson in his first lead in a feature film. In the film, George Kelly, nicknamed ‘Machine-Gun’ by his partner in crime, Flo Becker (Cabot), robs a bank and then achieves status as a public enemy. Tensions soon rise among his inner circle, and Kelly becomes easily manipulated by Flo. After a botched robbery leaves their partner, Michael Fandango (Amsterdam) without an arm, Kelly is influenced by Flo to kidnap the daughter of a wealthy businessman for ransom. Fandango reveals Kelly's identity to the police only to be killed by one of Kelly's other associates as the house is surrounded. Ultimately, Kelly intends to surrender to receive a more lenient sentence and avoid execution. However, Flo questions his courage, leading to a final confrontation. Fried’s scores for these projects were masterfully composed for jazz ensembles, featuring some of Hollywood’s most accomplished studio musicians of that era. In CRY BABY KILLER, the title song stands out, written and performed by the talented Dick Kallman, who, alongside Fried, brought the piece to life through intricate arrangements and production that resonated with the film's edgy themes. The scores themselves utilize Jazz not only as a rhythmic and propulsive force but also as a dynamic backdrop that enhances the film’s action sequences, along with rich, sensual interludes that highlight the performances of the female leads. 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. Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried for CRY BABY KILLER and MACHINE-GUN KELLY 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 G.B. Kenmer and Scott Davis. GERALD FRIED: THE CRIME DRAMAS is a limited edition release. GERALD FRIED: THE CRIME DRAMAS is expected to begin shipping the week of Aug 25th, 2025 CRY BABY KILLER 1. Main Title – Cry, Baby Cry (2:12) 2. Fugue (1:32) 3. Rock, Baby Rock (3:34) 4. Calypso Girlfriend (1:52) 5. Come in Out of the Rain (3:39) 6. The Shack and the Boy (1:45) 7. Lonely Rhapsody (2:21) 8. Tender (2:22) 9. Still Lonely and Waiting (1:29) 10. Love Me Awhile (2:16) 11. Violence (1:28) 12. Cry Baby Mambo (3:53) 13. Last Chance (1:00) 14. End Title – Cry, Baby, Cry (1:33) MACHINE GUN KELLY 15. Main Title (1:49) 16. Robbery (1:39) 17. Escape (2:46) 18. Lion (1:59) 19. Tiptoe (3:13) 20. Charleston (2:50) 21. God of Death Fandango (2:23) 22. Blues (2:59) 23. Convertible Bank (4:47) 24. Crossbones (:51) 25. Hot (2:37) 26. Kidnapping (2:12) 27. Butterfly Waltz (4:07) 28. Good Man Rhumba (4:17) 29. Bar (2:28) 30. Flight (1:60) 31. Pick-Up (1:57) 32. Sleeping – End Title (2:48) Total Time: 78:47 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE. The years 1957-58 were Albert Glasser’s busiest as a film composer, scoring fifteen films that saw release in 1957 and ten in 1958. With this sixth collection of the composer’s music, we are pleased to explore two films that Glasser scored in the 1950s: 1953’s THE NEANDERTHAL MAN, and 1958’s TEENAGE CAVEMAN. Released in 1953, THE NEANDERTHAL MAN tells the tale of Professor Groves, a modern expert in prehistoric life, who seeks to prove his bizarre theories with an extract that will first regress a cat to a saber-tooth tiger and then, a man – himself – into a Neanderthal. Robert Shayne stars in the title role as Clifford Groves, a manifestly belligerent and unlikable scientist who finds himself ridiculed for his bizarre theories on evolution. Glasser’s score for THE NEANDERTHAL MAN includes a compelling melody induced by unrestrained brass over thunderous drumming, matching the primitivity of the title character when Groves reverses evolution and turns himself into a Neanderthal troglodyte. Released in 1958, TEENAGE CAVEMAN, was originally filmed as PREHISTORIC WORLD and also known as OUT OF THE DARKNESS in the UK. TEENAGE CAVEMAN stars Robert Vaughn as a young man who defies his tribal laws and searches for answers about the history of his people and what lies in the uncharted jungles beyond his tribe’s campsite and beyond. Glasser’s music for TEENAGE CAVEMAN has a little more finesse in its support of the mild-mannered young caveman and his search to experience wisdom beyond the horizon. Horns and strings interact gracefully and set up a romantic flavoring. In contrast, sturdy brass strengthens the cut-on footage of costumed lizards imported from ONE MILLION B.C. and UNKNOWN WORLD the dinosaur fights. This is a Roger Corman film after all... Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE, featuring original music composed by Albert Glasser for THE NEANDERTHAL MAN and TEENAGE CAVEMAN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson. THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE is a limited edition release and is expected to begin shipping the week of Aug 25, 2025. 1. The Neanderthal Man Credits (1:04) 2. Panorama Narrator / Lab Mayhem (1:43) 3. Coffee And The Cat / Close Encounter / Sabre Tooth On Prowl (1:45) 4. Strange Noises / Discouraged Scientist (2:25) 5. Ross And Oakes Go Hunting (2:06) 6. Ruth Confronts Cliff (3:56) 7. Primitive Man Emerges (3:00) 8. Guilt, Diary Entry (3:41) 9. The Finale (1:45) 10. AIP Emblem / Prologue (0:58) 11. Teenage Caveman Main Title / The Caveman / Return To The Cave (4:35) 12. The Symbol Makers / The Great Hunt (4:57) 13. Across The River / Pan Whistle / Sinking Earth (4:48) 14. Squirrel Hunt / Bow And Arrow (4:46) 15. Bathing / Symbol Of God (4:16) 16. A Place To Lie Down / A Time To Act (3:30) 17. Pursuit (2:23) 18. The Book / Atom Narration / End Title (4:34) 19. Wild Vibes (0:47) 20. Bathing Tim Whistle (0:50) 21. Teenage Caveman (1958) Theatrical Trailer (1:59) Total Time: 60:46 Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, including music from four films in the composer’s extensive filmography, JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and the world premiere release of music from HONKY TONK. Airing in 1974, HONKY TONK was directed by Don Taylor, written by Douglas Heyes, starring Richard Crenna, John Dehner, Will Geer, Margot Kidder, Geoffrey Lewis, James Luisi, Gregory Sierra, Dennis Fimple, Richard Evans and Stella Stevens as Gold Dust. HONKY TONK was a pilot film for a potential series starring Richard Crenna as ‘Candy’ Johnson, an Old West con artist who was out to fleece as many gullible cowboys as possible before moving on to the next town. Released in 1971, JOHNNY GOT HIS GUN was written and directed by Dalton Trumbo, based on his own book, starring Timothy Bottoms, Kathy Fields, Marsha Hunt, Jason Robards, Charles McGraw, Sandy Brown Wyeth, Don ‘Red’ Barry and Donald Sutherland as Christ. From a pacifistic point of view, the film tells the story of a young soldier horribly maimed in the First World War. Joe Bonham (Bottoms) has lost his legs, arms and face after being hit by an exploding shell. The doctors, convinced that nothing can be done and that the unknown soldier has no capacity left to think or feel, decide to keep him alive in an isolated part of a military hospital. Slowly, incredibly, we come to realize that the soldier's brain is fully functional and that he's trying to work out where he is and what has happened... With JOHNNY GOT HIS GUN, Fielding was able to repay the debt of faith he owed to Trumbo for recommending him years back to Otto Preminger for ADVISE AND CONSENT. Aired in 1972, A WAR OF CHILDREN is set in the Northern Ireland city of Belfast, where it dramatized the turmoil between Catholics and Protestants in that very bitter time. Directed by George Schaefer, written by James Costigan and starring Vivien Merchant, Jenny Agutter, John Ronane, Anthony Andrews, Oliver Maguire, Aideen O’Kelly, David Meredith and Danny Figgis. Fielding's music for A WAR OF CHILDREN hints at the Irish locale and the British military presence but also focuses on the personal side of the story. Airing in 1979, MR. HORN was a two-part, four-hour mini-series directed by Jack Starrett, written by William Goldman, starring David Carradine, Richard Widmark, Karen Black, Richard Masur, Clay Tanner, Pat McCormick, Jack Starrett, John Durren, Jeremy Slate, Enrique Lucero, Stafford Morgan, Don Collier and James Oliver. MR. HORN was the first of two competing biographies of the legendary Indian scout and gunfighter Tom Horn, played again later by Steve McQueen in the feature film TOM HORN. David Carradine plays Horn, Widmark as his mentor and friend, Al Sieber and Karen Black as Ernestina, Horn's sometime lover, whom he encounters again years later after his celebrated career as a Pinkerton detective. Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, featuring music composed by Jerry Fielding for JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and HONKY TONK. Originally released in the early 1990s by Bay Cities as limited edition compact discs, Dragon’s Domain Records is excited to bring these scores back to the marketplace, remastered by James Nelson at Digital Outland and THE JERRY FIELDING COLLECTION: VOLUME 1 also includes the world premiere release of Fielding’s music for HONKY TONK. The album includes liner notes written by noted author Jon Burlingame and reprises original album notes by Nick Redman. THE JERRY FIELDING COLLECTION: VOLUME 1 is a limited edition release and is expected to begin shipping the week of August 25th. HONKY TONK 01. Main Title / Escape To New Town (3:01) 02. Into Brazo’s Place / You Had A Winner / Dud / Grand Opening (1:25) 03. The Judge Loses / Shoots Self / The Letter (2:52) 04. She Faints / Breakfast At Fred Harvey’s (1:08) 05. The Hard Ride / Stage Driver Killed (2:41) 06. We Better Get Out / Unless What? / Piggy Back / Money Is Hid (4:05) 07. She Cuts Him Loose / I’m Fightin’ It (2:21) 08. Gone At Dawn / Merry Chase to Bank Robbers (1:50) 09. Bank Hold Up / Money Gone Again / Lucy The Pitchman (2:33) 10. So, Goodbye (1:22) JOHNNY GOT HIS GUN 11. Battlefield (2:35) 12. Nightmare Train / Don’t Take My Legs (3:30) 13. The Nurse (3:14) 14. S.O.S. / Help Me (4:17) A WAR OF CHILDREN 15. Opening Titles (3:38) 16. The Troubles (2:17) 17. I Want the World to See This (2:08) 18. Finale (2:55) MR. HORN 19. Opening Credits (2:14) 20. The Indian Wars (2:52) 21. Tom (3:41) 22. The Indians (4:34) 23. Horn’s End (1:28) Total Time - 63:44 Downloads include choice of MP3, WAV, or FLAC BSXDG0186 Includes Digital Booklet BSX DIGITAL presents music from the first original motion picture soundtrack for THE BIRTH OF A NATION, the 1915 period epic directed by the legendary D.W. Griffith, written by Thomas Dixon, Jr., Frank E. Woods and Griffith, starring Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph Henabery, Elmer Clifton, Josephine Crowell, Spottiswoode Aitken, George Beranger, Maxfield Stanley, Jennie Lee and Donald Crisp. THE BIRTH OF A NATION is a landmark in film history, lauded for its technical virtuosity. It was the first non-serial American 12-reel film ever made. The plot of the film, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years, the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. THE BIRTH OF A NATION was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. Joseph Carl Breil Joseph was the first of four children born to Joseph and Margaret Breil of Pittsburgh. Breil graduated from Duquesne University (then the Pittsburgh Catholic College of the Holy Ghost) in 1888. He later composed the alma mater for the university, which was first performed in October 1920. He also pursued studies at St Fidelis College and Curry Commercial College in Pittsburgh before being sent by his family to the University of Leipzig to study law. While in Leipzig, he began to study music composition and singing at the Leipzig Conservatory. These were followed by singing lessons in Milan and Philadelphia. Breil toured as principal tenor of the Emma Juch Opera Company before returning to Pittsburgh to teach singing and to direct the choir of St Paul's Cathedral. From 1897 to 1903, he was music director for several theatre companies. Breil was one of the earliest American composers to compose specific music for motion pictures. His first film was LES AMOURS DE LA REINE ÉLISABETH, starring Sarah Bernhardt. He later composed and arranged scores for several other early motion pictures, including INTOLERANCE and THE PRISONER OF ZENDA, as well as scoring the preview version of THE PHANTOM OF THE OPERA. Clyde Allen was born in Los Angeles, California and is an internationally recognized authority on music for silent films. He began his musical training privately with piano lessons at the age of three. At the age of seven, he commenced classes at the former Los Angeles Conservatory, subsequently studying violin, harpsichord and harp. Allen was composing early and, by the age of 14, had not only authored piano and choral works, but had also begun writing an opera. At 15, he performed solo piano parts in the world premieres of several works by Peter Schickele (also know as "P.D.Q. Bach"). At 16, while still in high school, he was simultaneously admitted to UCLA. Privately, Allen studied composition with Eugene Zador, electronic synthesis with Paul Beaver, and conducting with Fritz Zweig. For many years, he was music director and conductor for the Los Angeles Ballet, as well as music director for classical music stations KFAC AM/FM in Los Angeles. He also served as music director for the Los Angeles International Film Exposition (FILMEX). Allen is a trustee of the Ballet of Los Angeles, the Native American Ballet (of which he is the founder), and the Society for the Preservation of Film Music. He received the Golden Halo Award in recognition of his contribution to the performing arts with the release of this recording of the original 1915 score for THE BIRTH OF A NATION. BSX Digital presents THE BIRTH OF A NATION, featuring music composed by Joseph Carl Breil, performed by the New Zealand Symphony Orchestra, conducted by Clyde Allen. Originally released on vinyl in 1985 by Fifth Continent Music and later in the early days of compact discs by Label X, this recording of Joseph Breil’s music marked the first time that an American orchestral score for a silent film had ever been released commercially. This recording also marked the first time a digital recording was ever made in New Zealand. The music for this new release has been remastered by James Nelson at Digital Outland and carries over the original liner notes by conductor Clyde Allen. Downloads include choice of MP3, WAV, or FLAC FJDG005 Includes Digital Booklet Five Jays Records is proud to present music composed by Joe Harnell (THE INCREDIBLE HULK) for the television series HOT PURSUIT, created by Kenneth Johnson (THE BIONIC WOMAN, V, ALIEN NATION) and starring Kerrie Keane, Eric Pierpoint, Dina Merrill and Michael Preston. Originally airing on NBC in 1984 and 1985, HOT PURSUIT follows Kate Wyler (Keane), a highly successful engineer, and Jim (Pierpoint), her devoted veterinarian husband, as they are forced to go on the run to track down a mysterious woman who bears a striking resemblance to Kate and was hired to frame her for a murder she did not commit. To make things even more dire, they not only have to avoid local and federal law enforcement, but Alec Shaw (Preston), a hired assassin, is on their trail as well. Joe Harnell frequently teamed up with producer/creator Kenneth Johnson on several memorable TV projects that included THE INCREDIBLE HULK, CLIFFHANGERS!, the original “V” mini-series and the pilot for ALIEN NATION and HOT PURSUIT was a continuation of their collaboration. 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. Five Jays Records presents the premiere release of HOT PURSUIT, featuring over two hours of music composed and conducted by Joe Harnell. The music has been mastered by James Nelson at Digital Outland and includes liner notes by author David Hirsch. Hot Pursuit Main Title Jim And Kate's Love Theme _From Pilot_ Breakout _ Shaw In Hot Pursuit _From Pilot_ The Joy Of Birth _From Pilot_ Finale _ End Credits _From Pilot_ Life On The Run _From Dead Game_ Investigation _From Dead Game_ In Custody And Escape _From Dead Game_ Back On The Road _From Dead Game_ Lost Love In Ballard _From Gillian_ Dodging Shaw In Federal Way _From Gillian_ Aurora Avenue Interlude _From Gillian_ Pike Place Pursuit _From Gillian_ Departure On I-5 _From Gillian_ Jim Arrested _From Steel Trap_ Kate And The Kid Save Jim _From Steel Trap_ On The Ranch _From Riding High_ Avoiding The Cops _From Riding High_ Eluding Shaw Again And Finale _From Riding High_ The Journey Home _From Home Is The Heart_ The Feds Give Chase _From Home Is The Heart_ Family Reunion _From Home Is The Heart_ I Love You _ Final Visit _From Home Is The Heart_ Bumpers _From Dead Game_ Bumpers _From Steel Trap_ Manhunt And Captured _From Home Is The Heart_ Family Ties _From Home Is The Heart_ Shaw’s Pursuit _From Home Is The Heart_ Rescuing Jim _From Home Is The Heart_ Conclusion _From Home Is The Heart_ A Very Bad Girl _From Portrait Of A Lady Killer_ Interrogating Estelle _From Portrait Of A Lady Killer_ Shaw Rescues Estelle _ Private Time _From Portrait Of A Lady Killer_ Two Couples _From The Okay Chorale_ Time To Hit The Road _From The Okay Chorale_ Army Buddies _From Goodbye I Love You_ Wartime Flashbacks _From Goodbye I Love You_ Take Care Of Yourself _From Goodbye I Love You_ Narrow Escape _From Identity Crisis_ Princess Lilly _From Identity Crisis_ Reading The Cards _From Identity Crisis_ Following The Clues _From Identity Crisis_ Carnival Chaos _From Identity Crisis_ New Jobs _From Twilight Home_ Shaw In Town _From Twilight Home_ Good Deeds _From Twilight Home_ The Wyler’s Head Into The Sunset _From Twilight Home_ Hot Pursuit Demo Theme Dance (Source) Visitor's Disco

Das war auch mein Gedanke. Zum 50. spendiert man eben eine schöne, dicke Box (und kann noch ein paar Dollar mehr verlangen). Vielleicht ist ja auch das Booklet dafür entsprechend dicker, sodass es nicht in eine normale CD-Hülle gepasst hätte.

Hier noch das Cover für noch mehr Klicks Dann ist das hier wohl auch so ein Fall. Die populäre Veröffentlichung (JAWS) finanziert die obskure Veröffentlichung mit.

Brauchen wohl eher nicht. Aber es ist eben ein sehr populärer Score und die alte Intrada-Doppel-CD war ja lange Zeit nur noch für teuer Geld zu bekommen. Die Nachfrage scheint ja weiterhin vorhanden zu sein. Das ist ähnlich wie bei DIE HARD oder HOME ALONE. Auch dort verkaufen sich die vierte und fünfte Neuauflage immer noch so gut, dass das Label vom Erlös andere Veröffentlichungen finanzieren kann, die es sonst vielleicht nie gegeben hätte. Von daher sehe ich das nicht als Nachteil, auch wenn ich mir die neue Version nicht holen werde. Auch diese Auflage wird sich sicherlich sehr gut verkaufen, denn mit „Wir haben hier noch ein bisschen verbessert und hier noch fünf Sekunden mehr gefunden" lockt man durchaus so manchen Käufer an, der die Musik schon mehrfach im Regal hat.

Sofort Abmahnung 😁

Dem kann ich nur beipflichten. Ich bin auch kein Musikwissenschaftler und schreibe aus dem Bauch heraus. Und ich kann mich nicht erinnern, dass sich jemand über den fehlenden analytischen Hintergrund beschwert hat. Und ja, im Vergleich zur FB-Gruppe geht es hier schon "freundlicher" zu. Was natürlich auch an der Beteiligung liegt. Je mehr Leute kommentieren, desto höher steigt natürlich die Chance, dass auch mal jemand querschießt oder zwei aneinander geraten. War hier früher ja auch so. Von daher Danke an alle, dass ihr Mephistos und meinen Job so einfach macht Mancher wird vielleicht argumentieren, dass hitzigere Diskussionen eben auch dazu gehören und für Leben sorgen. Das stimmt natürlich, aber nur, wenn es nicht persönlich wird. Und das habe ich auf FB ebenfalls schon oft genug gesehen. Da werden sich schnell Beleidigungen an den Kopf geworfen, die einer Beschäftigung mit einer Musik dann auch nicht zuträglich sind.

Das stimmt. Selbst die Threads, in denen beispielsweise ich als Alleinunterhalter tätig bin, wie bei Snow oder Carpenter, generieren mit jedem Post von mir mehr Klickzahlen. Es schauen also immer noch viele rein.

Ich weiß. Das war auch eine Feststellung und keine Wertung.

Ich musste bei Trekfans Post etwas schmunzeln. Denn es ist schon bezeichnend, dass ein User, der sonst eigentlich selbst nicht mehr viel aktiv zum Forum beiträgt, sofort zur Stelle ist, um ein Like zu geben, wenn die Schließung des Forums gefordert wird. Das ist für mich die eigentliche Ironie. Aber scheinbar ist das Forum doch noch wichtig genug, dass man sich täglich einloggt und mitliest. Im Grunde ist die Diskussion ja nichts Neues. Dass mehr und mehr Leute zu Facebook abgewandert sind, ist nun auch keine neue Entwicklung. Facebook hat aber auch eine ganz andere Diskussionskultur. Ja, es herrscht dort in der Gruppe mehr Leben und es werden auch mehr Themen behandelt. Aber sieht man genauer hin, dann sind auch dort Themen wie Bond, Star Wars, Indy, Williams allgemein, Marvel/DC, vorherrschend. Und zieht man dann noch die Kommentare ab wie „Finde ich auch" oder „Super", bleibt auch dort oftmals nicht sonderlich mehr übrig von einer Diskussion. Und Veröffentlichungen abseits des US-Marktes, von Music Box oder Quartet, gehen dort meist ebenso ohne Reaktion unter. Und gefühlt sind es dort auch nur die immer gleiche Handvoll Leute, die sich die Mühe machen, auch mal längere Texte zu schreiben, während der Rest bei Einzeilern oder Likes bleibt. Mal abgesehen davon, dass das Posten dort immer noch recht unübersichtlich ist, wenn ich mir anschaue, wie oft gleiche Themen oder Veröffentlichungen gepostet werden, weil derjenige einfach nicht mitbekommen hat, dass jemand anderes schneller war. Facebook hat natürlich auch Vorteile, die ein Forum nicht hat. Vor allem natürlich die Bequemlichkeit, man braucht keinen eigenen Account für die Gruppe, kann auch mal schnell einen Einzeiler raushauen und so weiter. Im Grunde finde ich es eher faszinierend, dass es unser Forum noch gibt. Denn damit hat Trekfan recht: Marcus als Betreiber und Inhaber schaut nicht mehr so oft vorbei und von dem ehemals großen Team aus Moderatoren und Admins sind eigentlich nur noch Mephisto und ich übrig. Natürlich hat man in einem Forum, in dem noch vier, fünf User aktiv posten, auch nicht mehr so viel zu moderieren. Aber das Forum „läuft" dennoch beständig weiter, trotz dem es schon oft für tot erklärt wurde. Auf der anderen Seite kann ich die Einwände von Stefan ebenfalls verstehen. Was bringt mir ein Forum, wenn ich dort niemanden habe, mit dem ich mich über die Dinge unterhalten kann, die mich interessieren? Oder ich mir die Mühe mache, etwas über eine Veröffentlichung oder einen Score zu schreiben, aber keine Reaktion darauf erfolgt? Das ist dann der hier schon oft zitierte Alleinunterhalter. Was aber dagegen tun? Man kann die Leute nun mal nicht zum Schreiben zwingen. Und viele bleiben einfach auch bei dem, was sie kennen und mögen und lesen/kommentieren Sachen abseits davon gar nicht. Es ist natürlich aufwändiger, einen längeren Text zu schreiben, als einfach nur einen Einzeiler oder ein Like auf Facebook zu geben. Und die Motivation dazu schwindet natürlich, wenn es dann zu keinen Reaktionen kommt. Aber bei allen Gründen, die vielleicht für eine Schließung sprechen, denke ich mir eben auch: Damit „bestraft" man eher die Leute, die sich tatsächlich noch aktiv beteiligen. Denn allen anderen ist es ja eh egal (oder auch nicht, siehe meinen ersten Absatz ).

Von Quartet: Quartet Records, in collaboration with Universal Music Publishing Italia and EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s fascinating score for Folco Quilici’s OCEANO (1971), a pseudo-documentary film about a young Polynesian, Tanai, who goes in search of the island of his dreams. On an epic sea voyage from Polynesia to Alaska, aboard a tiny fragile raft, he is guided by the voices of his ancestors. Morricone’ score for OCEANO seeks to merge nature with mythology. It breathes, vibrates, transmits, and is characterized by its episodic and atmospheric structure, taking the form of an evocative soundscape. The composer draws on resources that recall a primitive, spiritual component: tribal percussion (tablas and bongos), solo woodwinds (flutes and clarinets), guitar, sitar, clanging metal and harp. The fusion of timbres in this instrumentation is unconventional. He expressively sets to music ideas associated with wind or nature, sound textures that construct Tanai’s intimate journey: we hear the sea, we feel the air roaring over the sail of his canoe, the danger lurking in the ocean, his loneliness. The music is another character that gives the film a lyrical dimension and complements the visual element, transcending its narrative function to become a gateway to meditation on the mystery of the sea and existence. Through his unmistakable style, Morricone invites us to immerse ourselves in a world of introspection, beauty and silent emotion. The original 40-minute program was released on vinyl in 1971 in Italy and Japan, and both LPs quickly became collector’s items. The same program was reissued by RCA on CD in 1993 paired with Morricone’s score for L’AVVENTURIERO. In 2010, the complete 70-minute score with all the music recorded by Morricone was released on CD by the GDM label, which quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original master tapes. The beautiful package includes in-depth liner notes by Miguel Ángel Órdóñez. Oceano 4:03 Isola di Pasqua 2:01 Vulcano 1:01 Speranza per una Terra Amica 1:36 Le Maschere Morte 2:43 Il Vento è il Vento e Soffia Dove Vuole 4:47 Tanai 2:18 Odissea 1:58 Notte 1:40 Piccola Ouverture 1:46 Viaggio 3:03 Il Sole è il Sole e Brucia Ciò Che Vuole 3:30 Partenza 2:14 Il Vento è il Vento e Soffia Dove Vuole (#2) 10:42 Viaggio (#2) 1:23 Oceano (#2) 2:03 Isola di Pasqua (#2) 4:11 Notte (#2) 4:24 Partenza (#2) 1:13 Odissea (#2) 3:34 Oceano (#3) 6:19 Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of Ennio Morricone’s iconic poliziesco score for Sergio Sollima’s REVOLVER (1973), a violent Italian-French thriller starring Oliver Reed and Fabio Testi. In the film, a prison warden is forced to exchange a French criminal for his kidnapped wife, but they soon find themselves on the trail of a larger conspiracy. For REVOLVER, Morricone created the original song “Un Amico,” performed by Daniel Beretta, which is possibly one of the most beautiful melodies written by the Roman maestro (it was included by Tarantino in a key sequence of INGLOURIOUS BASTERDS). Morricone also provides a wistful and playful love theme (“Anna”) and several background source cues in his inimitable style. Another major ingredient of the score is a cue titled “Revolver” or “Inseguimento e Fuga” (Chase and Escape). Morricone composed a 12-minute version of this dynamic piece as well as other varied arrangements to fit different moments in the film. “Revolver” is a driving, staccato piece of music for piano and orchestra that repeats and builds, creating a dark, propulsive atmosphere in the style that became Morricone’s shorthand for crime and gangster action. He took very similar approaches in the American gangster films STATE OF GRACE, THE UNTOUCHABLES and BUGSY. The original LP of REVOLVER was released in 1973 by General Music in Italy and reissued in 1977 in Japan. Subsequently, the same program was reissued on CD several times, in Germany (Allhambra), Italy (Dagored), and Japan (Seven Seas). An expanded edition with virtually all the music recorded by Morricone for the film was releaased by GDM in 2006 and quickly sold out. This is a reissue of that edition, supervised by Dániel Winkler and Claudio Fuiano, and completely remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by film music writer Jeff Bond. Un amico 2:39 Revolver 12:44 Anna 2:09 Quasi un Vivaldi 1:58 Pericolo per Anna 1:50 Un amico (Titoli) 2:39 Inseguimento e fuga 3:42 In un bar 2:26 Rapimento 2:31 In un altro bar 2:12 Un amico (Versione con chitarra 12 corde) 1:15 Revolver (Suspense) 1:47 Anna (#2) 4:39 Quasi un Vivaldi (#2) 3:09 Inseguimento e fuga (#2) 3:29 In un altro bar (#2) 2:08 Rapimento (#2) 1:40 Un amico (Versione tromba) 2:34 In un altro bar (#3) 2:54 Inseguimento e fuga (#3) 3:38 Un amico (Versione synth) 2:47 Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1973 romantic drama QUESTA SPECIE D’AMORE, directed by Alberto Bevilacqua. The film is about Federico (Ugo Tognazzi), who is married to Giovanna (Jean Seberg), a rich and attractive woman who has guaranteed him an excellent social position. His father, Giuseppe, on the other hand, is an anti-fascist and works as a craftsman. Following in the footsteps of his previous collaboration with Bevilacqua on LA CALIFFA, Morricone wrote a radiantly passionate score for QUESTA SPECIE D’AMORE, featuring one of his most heartfelt and profound love themes and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines Federico’s loneliness and the breakdown of his marriage. The original album program was released on vinyl in 1973 by General Music. The same program had its first digital release by GDM on CD in 1993, paired with Morricone’s score for MADDALENA. In 2000, Screen Trax issued an expanded edition in Italy. The first complete edition with all the music recorded by Morricone for the film was released solely in Japan by Verita Note in 2007, which was quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez. Questa Specie D’Amore 2:37 Federico e la Sua Solitudine 2:44 Roma Baldracca 5:06 La Terra del Padre 2:54 Giovanna e Federico 4:01 Al Popolo di Parma 2:46 La Madre 3:55 Ouverture del Mattino 5:28 Questa Specie D’Amore (#2) 3:24 La Terra del Padre (#2) 1:20 Roma Baldracca (#2) 1:47 Giovanna e Federico (#2) 2:30 La Terra del Padre (#3) 1:19 Questa Specie D’Amore (#3) 1:26 Federico e la Sua Solitudine (#2) 2:44 La Terra del Padre (#4) 1:19 Questa Specie D’Amore (#4) 1:44 Total Disc Time: 47:13 Quartet Records, in collaboration with EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s impressive, epic score for Gillo Pontecorvo’s ambitious, slavery-condemning 1969 production QUEIMADA (aka BURN!), starring Marlon Brando. The film tells the story of a British mercenary who in 1844 helped the slaves of an Antilles island colony revolt and gain independence for the island from Portugal, but later returned to hunt down a local rebel leader and former protégé. Because they previously worked together with great success on THE BATTLE OF ALGIERS, the next collaboration between Morricone and Pontecorvo was eagerly awaited. The composer rose to the occasion, writing a monumental score, led by the freedom hymn “Aboliçao”, a kind of beat Luba-mass. The music of QUEIMADA is characterized by its rich textures, dramatic contrasts, and a fusion of European, African, and Latin American elements. Morricone avoids falling into decorative folklore, instead creating a deeply emotional score, using both traditional orchestra and choir, organ, tribal percussion, electric guitars and Hammond organ, generating a fascinating hybrid soundscape. In 1969, only a 45-rpm single was released in Italy and France with the hit “Aboliçao.” The score was not released on LP until 1971 when United Artists Records issued it in the U.S .and Japan. The CD has had different editions in Italy, from a weird selection of just nine cues on the ViviMusica label, along with some spaghetti western themes, to a first expanded edition of 26 cues in 2001 and the complete 31-cue score in 2012, both by GDM. This is a reissue of the latter, supervised by Dániel Winkler and Claudio Fuiano, and completely restored, edited and remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez. Aboliçao 5:06 Queimada Prima 1:28 Queimada (Anche i Portoghesi Muiono) 1:19 Queimada (Pezzo Classico #1) 0:44 Queimada (Libertà) 1:42 Verso il Futuro 4:36 Josè Dolores 1:27 Queimada (La Civittà dei Blanchi) 2:22 Josè Dolores (#2) 0:43 Queimada (Una Nuova Nazione) 0:41 Verso il Futuro (#2) 0:58 Queimada Seconda 4:03 Preparazione 1:45 Josè Dolores (Generalissimo) 1:27 Queimada (Pattuglia) 2:31 Osanna 4:18 Verso il Futuro (#3) 1:14 Queimada (Canna da Zucchero) 1:11 Verso il Futuro (#4) 1:59 Queimada (William e Josè) 1:45 Josè Dolores (#3) 1:27 Verso il Futuro (#5) 1:58 Queimada (Pezzo Classico #2) 0:48 Studi per un Finale 3:26 Preparazione (#2) 3:15 Queimada (Marcia) 1:11 Verso il Futuro (#6) 1:58 Queimada Seconda (#2) 0:42 Queimada (William e Josè #2) 1:13 Verso il Futuro (#7) 4:53 Studi per un Finale (#2) 1:55 Total Disc Time: 65:03

Snow Files of the Week: "M. Magdalene/Divine Daughter" aus "MillenniuM", Episode "Anamnesis" (1998). Dies ist eine von nur zwei Episoden der ganzen Serie, bei der Frank Black seiner Frau Catherine die Bühne überlässt. Zusammen mit Lara Means ermittelt Catherine im Fall eines Schulmädchens, welches angeblich Visionen hat, die sie direkt von Jesus bekommt. Marks Musik passt sich dem religiösen Thema der Folge an. Es gibt ein sanftes Piano-Thema für das Mädchen und sphärische Chorgesänge für ihre Visionen. Ebenso kommt die gesampelte Flöte aus der Folge "Luminary" wieder zum Einsatz. Die Stücke stammen vom zweiten Set von LLL, welches auf 2000 Stück limitiert ist. Das Set ist ausverkauft. Viel Spaß beim Hören!

Scheinbar 47 US-Dollar.