Alexander Grodzinski

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

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

Und weg

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

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

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

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

Ab dem 20.03. auf CD und Vinyl.

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

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

The Filmation Music of Ray Ellis Film Score Monthly returns with their first CD release in years, as part of their 35th anniversary celebration in 2025. The Filmation Music of Ray Ellis, on Retrograde Records, is a 79-minute collection of monaural music from 1970s–80s Filmation projects including Star Trek: The Animated Series, the ambitious 1979 Flash Gordon, live-action Jason of Star Command, Shazam and Isis, and the animated 1982 Gilligan’s Planet and 1979 Mighty Mouse. This is a rare release for the highly esteemed composer/arranger Ray Ellis, who wrote most of the music under pseudonyms, as explained in the new liner notes by Jeff Bond. Bristling with melody and vivid orchestration, the music is a Saturday-morning nostalgia trip of adventure and excitement. The Filmation spirit is colorfully captured in art direction by FSM’s graphic designer, Joe Sikoryak. STAR TREK: The Animated Series 01. Title Theme 1:00 02. Captain’s Log 1:19 03. Something Ahead 0:53 04. Evasive Maneuvers 1:05 05. Sensor Data 1:06 06. Intercept Course 0:13 07. Fire Phasers 0:48 08. Enterprise Attacked 1:32 09. Illogical 0:11 10. Briefing 0:42 11. On the Viewscreen 1:01 12. New Heading 0:18 13. Scanning 0:53 14. Deflector Shields 0:17 15. Red Alert 0:32 16. Battle Stations 0:39 17. Surprise 0:06 18. Supplemental Log 0:47 19. Kirk’s Command 1:10 20. Sickbay 0:28 21. Library Computer 0:44 22. Full Power 0:27 23. Approaching Coordinates 0:08 24. The Bigger Meaning 1:15 25. Trouble in Engineering 0:27 26. Spock’s Analysis 0:42 27. Enterprise Wins the Space Race 0:42 28. McCoy’s Summary 0:15 29. Just Another Stardate 0:39 30. Ongoing Mission 0:17 31. Title Theme (alt. mix) 1:00 32. Sensor Data (alt. mix) 1:00 33. Enterprise Attacked (alt. opening) 1:41 34. Scanning (alt. mix) 0:53 35. Turbolift Music 0:28 36. Mr. Arex Lends an Extra Hand 0:38 37. Fascinating 0:17 38. Don’t Mess With M’Ress 0:21 39. Oh My 0:16 40. Spock’s Quick Analysis 0:21 41. Yellow Alert 0:24 42. Off Duty 0:14 43. Suite: Stingers and Act-Out Music 2:02 Total Time: 31:26 FLASH GORDON 44. Main Theme* 0:51 45. Stukas Bomb Dr. Zarkov 1:37 46. Mongo Mysterioso 0:36 47. Flash 1:11 48. Flash Chase 0:48 49. Aura* 1:01 50. Mystery Strings, Part 1 0:37 51. Flash Chase, Strings 0:31 52. The Depths of Mongo* 1:07 53. The Mines of Mongo 1:46 54. Mystery Strings, Part 2 0:52 55. Harem 1:14 56. Harem, Part 2 0:45 57. Strange Lurk 0:31 58. Mystery Strings, Part 3 0:54 59. Robots Attack 1:39 60. Mongo Passes the Earth* 1:13 61. Imperial City Fanfare 0:16 62. Mystery Strings, Tremolo 0:48 63. Prisoner of Ming* 0:39 64. Strange Lurk, Fast 0:25 65. Evil Tension 0:43 66. The Screen* 0:42 67. Planet Turmoil 1:19 68. Flash Fanfare 0:12 Total Time: 23:11 JASON OF STAR COMMAND 69. Main Title 0:43 70. Jason Rubato 1:14 71. Jason Tension Build 0:31 72. Bridges (Bad Guy, Bad Guy Long, Jason, Good Guys) 0:32 Total Time: 3:07 SHAZAM 73. Finders Keepers, Part 1 2:27 74. Finders Keepers, Part 2 1:36 75. Finders Keepers, Part 3 3:55 76. Finders Keepers, Part 4 0:39 Total Time: 8:43 THE SECRETS OF ISIS 77. Year of the Dragon 1:20 GILLIGAN’S PLANET 78. Main Title 0:56 79. Wizzard the Robot 1:21 80. Feeding Wizzard 1:17 81. Howell World 0:48 82. Stealing Howell’s Money 1:21 83. Howell Desperate 1:07 84. Sea Serpent 0:50 85. Space Storm 0:44 86. Star 0:25 87. End Credits 1:24 Total Time: 10:29 THE NEW ADVENTURES OF MIGHTY MOUSE AND HECKLE & JECKLE 88. Main Title 0:58 Total Disc Time: 79:45 *Composed by Marc Ellis

Snow Files of the Week: "Gehenna Part I/Dylan/Gehenna Part II" aus "MillenniuM", Episode "Gehenna" (1996). "Gehenna" ist die zweite Folge der ersten Staffel. Das Wort "Gehenna" ist hebräisch und bedeutet so viel wie "Hölle". In dieser von Chris Carter selbst geschriebenen Folge geht es um den Anführer einer Sekte, der abtrünnige Mitglieder in einem großem Industrie-Ofen bei lebendigem Leib verbrennt. Mark Snow benutzt das Hauptthema relativ oft in seinem Score. "Gehenna Part I" beginnt dann auch mit einer wundervollen Variation des Themas, als Frank Black seine Tochter Jordan im Bett mit ihrer Decke zudeckt. Die Musik begleitet dann einen Kollegen von Frank, der den Industrie-Ofen in einem Lagerhaus entdeckt und beinahe selbst darin umkommt. Das Stück "Dylan" spielt während einer Verhör-Szene, als Frank mit einem jungen Mann über das "Gesicht der Bestie" und den "Roten Regen" spricht. "Gehenna Part II" ist dann die letzte Szene der Folge, als Frank mit seiner Frau Catherine im Krankenhaus ist und zu ihr sagt, dass er sich unsicher darüber ist, ob man den "bösen Mann" überhaupt jemals schnappen kann. Diese Tracks erschienen auf dem zweiten Doppel-CD-Set von LLL, limitiert auf 2.000 Stück. Das Set ist mittlerweile ausverkauft. Viel Spaß beim Hören!

Neu von Music Box Records: Remastered and expanded edition. Limited edition of 500 units. 12-page CD booklet with French and English liner notes by Christian Lauliac. In collaboration with BMG, Music Box Records proudly presents two original motion picture soundtracks composed by Philippe Sarde: Hors-la-loi (Outlaws, 1985) and La Nuit ensoleillée (1981). This presents album features two sides of the composer in "Philippe Sarde Goes West" mode. Hors-la-loi marks Philippe Sarde's reunion with director Robin Davis after Le Choc and J’ai épousé une ombre, and before their final collaboration on La Fille des collines in 1989. For this wild escapade of teenagers from a juvenile detention center, the composer provided an ambitious score that favors the unexpected blends for which he is known. A contemporary blues-rock section is combined with an almost Western-like sense of adventure, showcasing the contributions of Eric Weissberg on banjo, Steve Gadd on drums, and Don Brooks on harmonica. Pianist Warren Bernhardt, percussionist Tristan Fry, and the Orchestre de Paris conducted by Billy Byers complete the cast of this high-flying score. This new edition presents, for the first time, all thirteen tracks from the original album (the previous CD only included a very small selection). For La Nuit ensoleillée – presented for the first time on CD and slightly expanded – Philippe Sarde illustrates this documentary about the paralympic athletes with a jazz score performed by a stellar cast of performers: Toots Thielemans, Larry Coryell, Didier Lockwood, with additional contributions from trumpeter Maurice André and cellist Frédéric Lodéon. Recorded both at Davout and Abbey Road Studios for the American brass band, the ensemble is conducted by his faithful collaborator Peter Knight. Philippe Sarde and his musicians celebrate athletic achievement and pushing beyond one's limits in a luminous and captivating style. The two very contrasting scores unfold, each in their own way, a "transatlantic" cultural link between French and American soloists and a refined, very French style mixed with country and Americana that dreams of wide open spaces. Supervised by Philippe Sarde, the program has been assembled by Édouard Dubois and fully remastered by Christophe Hénault from the original master tapes. The package includes a 12-page booklet featuring exclusive liner notes by writer Christian Lauliac discussing the films and the scores. The release is limited to 500 units. HORS-LA-LOI 1. Hors-la-loi (3:00) 2. Bergerie (3:49) 3. Repas banjo (1:36) 4. Explosion (1:49) 5. Les blés (1:44) 6. La rage de vivre (3:02) 7. Tous unis (1:11) 8. C'est mon village (3:54) 9. Le baiser (3:05) 10. Western (2:04) 11. Rock ferme (1:22) 12. La révolte (1:58) 13. Les grottes (4:25) Total Time • 33:08 LA NUIT ENSOLEILLÉE 14. Le feu sacré (2:37) 15. Concerto pour 2 épées (1:12) 16. L'homme oiseau (1:44) 17. Couleur de la nuit (3:57) 18. Énergie douce (1:57) 19. Contre-jour (4:04) 20. Menuet (0:33) 21. Zen (1:03) 22. Pulsations (1:24) 23. Basket en folie (0:55) 24. Juste un au revoir (1:48) 25. Pulsations (version alternative 1)* (0:34) 26. Pulsations (version alternative 2)* (0:34) 27. Marche 1* (0:12) 28. Marche 2* (0:21) 29. Basket en folie (version longue)* (1:23) Total Time • 24:25 * Previously Unreleased CD Total Time • 58:33 World Premiere CD release. 8-page CD booklet with French and English liner notes by Sylvain Pfeffer. Remastered and limited edition of 300 units. In collaboration with Une Musique, Music Box Records proudly presents the twelfth volume of the Great Television Soundtracks collection dedicated to the premiere release of acclaimed composer Gabriel Yared's TV score for Fortitude (Fall from Grace) (1994). Adapted by David Ambrose and directed by Waris Hussein, as part of the celebrations commemorating the fiftieth anniversary of D-Day, the TV film offers a convincing reconstitution of the military operations while accentuating the emotional bonds between the characters. 1944: the Allies are about to launch an incredible military operation on the beaches of Normandy. To hide the location selected for D-Day from the German forces, they set up an overall military deception operation: Operation Fortitude. In 1985, journalist and novelist Larry Collins drew inspiration from it to craft the plot of his new historical novel, Fall from Grace. Captivated by this rich and suspenseful story, producer Pascale Breugnot had fought to raise the necessary funds for an ambitious TV adaptation for four years. Gabriel Yared became part of the project through the producer. The composer wrote an epic and dramatic symphonic score, recorded in Munich, at the Bavaria Studios. The lyrical-style main theme, used in various versions throughout the TV film, is divided in two parts: one showcases the melody and the other is more rhythmical, built on a suspenseful ostinato. Supervised by Gabriel Yared, this present edition has been fully remastered by Christophe Hénault from complete scoring session elements. The 8-page booklet features an essay by Sylvain Pfeffer discussing the TV film and the score, based on a new interview with the composer. The CD release is limited to 300 units. FORTITUDE (FALL FROM GRACE) 1. Fall from Grace (Main Theme) (3:14) 2. Exodus (Main Title) (3:24) 3. Night Mission (1:24) 4. The Aviators (2:38) 5. Innocents Killed (2:41) 6. Tainted Love (2:32) 7. The Kiss (0:59) 8. Undercover Operation (1:37) 9. Farewell (1:25) 10. The Code (1:58) 11. Love Reunion (1:04) 12. Escape (1:22) 13. Wounded Catherine (1:21) 14. The Keys (2:57) 15. Departure (2:40) 16. The Message (2:12) 17. Marry Me (1:46) 18. The Final Mission (1:47) 19. The Capture (2:39) 20. The Interrogation (1:42) 21. Will You Cooperate? (1:50) 22. The Explosion (2:22) 23. Concentration Camp (3:43) 24. Fall from Grace (Closing Theme) (1:34) Total Time • 51:41

Intrada announces one of the most requested soundtrack releases of all time, the '80s version of Disney's TV show DuckTales. Not only have fans pleaded for if for decades, but composer Ron Jones has always wished to showcase his colorful, dynamic and infectious music from the series. Intrada presents the music on a 2-CD set featuring over 100 minutes of episode scores and library tracks. A major ingredient of DuckTales’ success was its music, starting with a poppy title theme by Mark Mueller and arranged by Jones. While viewing DuckTales for the first time, Jones was struck by the show’s dramatic qualities and powerful sense of imagination. He determined he would score the action no differently than a live-action adventure, à la Indiana Jones, and treat the characters as fully realized individuals. “Huey, Dewey and Louie were kids, not ducks,” Jones reflected. “The story was their lives, their hopes and dreams, their feelings of adventure. Uncle Scrooge had an important role, of course, but it was all about the boys and how they took in the world. That was always in the front of my mind.” While the show embraced multiple genres, the music would be largely symphonic, supplemented with electronics as appropriate. Of the more than 300 cues composed and recorded for DuckTales, Ron Jones retained nearly 80 in his personal archive, which forms the basis for this premiere album release of the series’ underscore. Fortunately, Jones preserved most of the show’s major themes and many of its most memorable set pieces. In assembling these cues, CD Producers Neil S. Bulk and John Takis have honored the spirit of the show by gathering them into suites inspired by the episodes for which they were originally written. Library cues that do not appear in these specific episodes have sometimes been integrated into the suites for musical flow. The intention is for each suite to function as a satisfying program while also evoking memories of the story to which it refers. The album features notes by Takis and cover art design by Stéphane Coëdel. DuckTales was chiefly inspired by cartoonist and Disney Legend Carl Barks (1901–2000), whose tales of Donald Duck and friends in the pages of Walt Disney’s Comics and Stories and other titles had delighted readers since the years surrounding World War II—an era in which Donald Duck eclipsed even Mickey Mouse in popularity. DuckTales is set in the metropolis of Duckburg, where Scrooge McDuck defends his titanic money bin against rival miser Flintheart Glomgold, sorceress Magica de Spell and the criminal Beagle Boys. Of course, the show also retains a central place for precocious nephews Huey, Dewey and Louie. DISC ONE 01. DuckTales Main Title 1:03 Treasure Of The Golden Suns (10:58) 02. Another Happy Day In Duckburg (1:12) 03. Pranks (1:52) 04. Mrs. B To The Rescue (0:52) 05. Parachute Home (0:31) 06. Battle With The Condors (2:30) 07. Just In Time/Escape From The Valley Of The Golden Suns (2:00) 08. Raiders Of The Lost Sun (1:00) The Money Vanishes (9:40) 09. The Beagle Boys' Dirty Deeds (0:41) 10. Bad Guys Groove (1:11) 11. Beagle Boys #1 (0:39) 12. Beagle Boys #2 – The Plan (0:41) 13. Trouble (0:39) 14. Beagle Boys Chase (1:09) 15. Something's Up Groove #2 (1:10) 16. Rock Chase (1:41) 17. DuckTales Theme (1:49) Master Of The Djinni (10:14) 18. Adventure Through The Boys' Eyes (1:15) 19. Search For The Lost Vault (1:50) 20. Old Enemies (0:44) 21. Adventure Chase #2 (1:14) 22. Glomgold's Theme (1:09) 23. Desert Chase (1:10) 24. Adventure (1:11) 25. You're Not Too Old, Uncle Scrooge (1:40) Armstrong (8:34) 26. Rocks On The Tracks (1:13) 27. Launchpad McStunt (1:50) 28. The Race (1:20) 29. Toy Wars (1:54) 30. Air Battle (1:45) 31. Hot Chocolate (0:33) Imagination Suite (7:08) 32. Happy Opener #1 (0:38) 33. Something's Up In Duckburg (1:04) 34. Dreams (0:37) 35. The Journey (1:14) 36. Something's Up Groove #1 (1:12) 37. Something's Up Groove #2 (Alternate Version) (1:11) 38. Rock Quest (1:12) 39. DuckTales Theme (Alternate Version) (0:29) Total Disc Time 48:06 DISC TWO 01. DuckTales Theme (Extended Version) (2:54) Time Is Money (13:03) 02. The Deal (1:06) 03. Quake (1:17) 04 Blast To The Past (0:59) 05. Run From T-Rex (1:06) 06. Bubba's Cave (0:55) 07. Escape From T-Rex (0:55) 08. Reentry (0:32) 09. The Great City Of Tupei (2:08) 10. Giving All (0:51) 11. Shopping Cart Chase (1:45) 12. The Big Goodbye (1:28) Super DuckTales (10:51) 13. Happy Opener #2 (0:40) 14. Duckburg Groove (1:02) 15. Marching Band Source (0:52) 16. Feelings Of Adventure (0:51) 17. Get The Scoop On The Loot (0:38) 18. Captured By Bots (1:37) 19. Meet Mel (1:44) 20. No Hope (1:03) 21. The Duel (1:44) 22. The Adventure (0:40) A DuckTales Valentine (23:21) 23. Valentine Card (0:10) 24. Plans (1:10) 25. Treasure Adventure (1:16) 26. Underwater Treasure (1:59) 27. Shark Attack (1:54) 28. Mumbo Jumbo (0:50) 29. P.M.S. Duckie (1:48) 30. The Trouble With Arrows (2:30) 31. The Love Scheme (0:59) 32. Scrooge Gets It (0:57) 33. Sad Cupcakes (3:11) 34. Operation Allergy (1:36) 35. Jealous (1:09) 36. Plane To Catch (1:04) 37. It's Barbecue Time (1:52) 38. True Love (0:56) 39. DuckTales End Credits (1:03) The Extras (4:02) 40. Adventure Chase #1 (1:38) 41. Light Action Chase (1:02) 42. Soaring (1:22) Total Disc Time: 55:12 Total Set Time: 1:43:19

Zum neuen Film von Sam Raimi steuerte wieder Elfman die Musik bei. Der Score wird von Hollywood Records veröffentlicht. The original score for “Send Help” was written by Academy Award®-nominated composer Danny Elfman, whose collaborations with Raimi span over 30 years. The pair previously worked together on “Spider-Man,” “Darkman,” “A Simple Plan” and “Doctor Strange in the Multiverse of Madness.” “It was great, incredibly great, collaborating with Danny Elfman, as it always is for me,” Raimi says. “He literally makes your movie one letter grade better. And he always knows where to put his music and precisely the tone to elevate the scene. It’s not what you might think it would’ve been.” “The thing that made me say yes to ‘Send Help’ without even knowing what the movie was, was the fact that it was Sam Raimi who was the director,” says Elfman. “Sam and I have worked together for somewhere between 30 and 35 years now. And Sam’s one of those people when he calls with the question of if I’m available, I automatically say yes.” In Azizi’s experience, “Danny Elfman is a dream come true to work with. He is an absolute legend, and he’s elevated so many scenes.” As he approached the project, Elfman was excited to find the right tonal balance for the film’s music landscape. “Balancing all the elements of a film and a score is the fun part–you take things in many different directions. The thing that was unique in ‘Send Help,’ because I’ve done a number of 16 thrillers, is this also had a kind of a dark comic side to it, which made it even more fun to play, because sometimes I can have fun with the music and just play it over the top in a kind of a broad way. And then sometimes it’s like, ‘No, now I really want to be intense and moody with the music.’” For Linda Liddle’s theme, Elfman wanted to reflect her character’s transformation. “I wanted to find a theme that played very sweetly and gently with a woman’s voice that could be both innocent and have a tinge of madness to it,” Elfman explains. “And so, I think I used as my inspiration ‘Rosemary’s Baby.’ It was a score that I really loved growing up. When we hear her theme early on, it’s got kind of an innocent quality to it, but by the end when we hear it, it takes on a darker, more sinister quality to the same voice singing the same theme. I always love it when I can do something like that, take a little innocent piece of thematic material and in its simplicity and innocence try to make it feel almost menacing.” Elfman adds, “The whole end of the movie was delightful and fun to score too, because things get so intense.” “Danny has a mastery of film and music that nobody else has–he tells the story with his music,” Raimi says. “He enhances, he sometimes plays counterpoint when he decides, sometimes he stays out because the moment will land better like that. He’s a never ending teacher for me of how film music works. I couldn’t ask for anything better than what he delivered.” Elfman’s experience on the production was an equally positive one. “With Sam, it’s just fun. I love the dynamic between me and Sam and Bob, the editor, because we all go back together. Really, it’s just like getting back into the playpen for us. It’s almost like we went to elementary school together and we were play pals back then. And now, as adults, we get to get together and play in this big playpen called a movie. And even though we didn’t know each other as kids, that’s kind of what it feels like to me. It just becomes a joyful experience.” “My only wish when audiences hear the music, is that it enhances their experience of the film," Elfman concludes. Quelle

Von Roger Feigelson aus der Intrada-Facebook-Gruppe.

Das wissen wohl nur die Beteiligten. Wenn ich wild spekulieren müsste, könnte ich mir gut Jerry Goldsmith vorstellen, da dieser doch recht gute Connections zu Carolco hatte.

Oder gefügiger. Der Film hatte ja eine katastrophale Produktionsgeschichte, inklusive massiver Budget-Überziehung, was dem damals eh schon hoch verschuldeten Carolco-Studio den Rest gab, zumal der Film auch grandios floppte. Arnold war scheinbar bereits der zweite Komponist, den man anfragte. Viel hat er später nicht über die Situation gesagt. Nur, dass er nichts aufgenommen hat und schon vorher raus war, weil er sich mit Regisseur Renny Harlin nicht darüber einigen konnte, wie die Musik eingesetzt werden soll. Die Richtung war wohl klar, also Swashbuckler-Musik a la Korngold. Das wollte Arnold liefern, aber über das Wie und Wo wurde man sich wohl nicht einig. Debneys Musik ist dann quasi das, was Arnold stilistisch auch gemacht hätte.

Nächste Woche von Intrada:

In Tim Grievings Buch über John Williams steht, dass Arnold für THE PATRIOT quasi vorspielen musste. Also Demos anfertigen, um sich zu bewerben. Das musste Arnold bei Emmerich zuvor nicht, daher hatte er schon so ein Gefühl, dass da was im Busch ist. Arnold komponierte ein Main Theme, basierend auf einer alten Volksweise und spielte das sogar mit einem Orchester ein. Kurz nachdem er dieses Stück eingereicht hatte, bekam er den Anruf von Emmerich, dass sie John Williams nehmen und er raus ist. Darüber war Arnold natürlich nicht erfreut, sagte aber später scherzhaft, dass er sich selbst auch für John Williams feuern würde.

Quartet Records presents the premiere release of the emotional, heartfelt score by renowned composer Carter Burwell (FARGO, CAROL, ROB ROY, A KNIGHT TALE) for the 1992 drama WATERLAND, directed by Stephen Gyllenhaal and starring Jeremy Irons, Ethan Hawk, Sinéad Cusack and Lena Headey. The film is set in Pittsburgh in 1974, where a high-school history teacher seeking closure tells his class about his experiences as a teenager in England after World War II. Carter Burwell wrote one of his most melancholic and heartbreaking scores, indebted to other works from the period such as MILLER’S CROSSING, AND THE BAND PLAYED ON and BARTON FINK, with a profound love theme and dramatic passages that evoke nostalgia for times past. Written for orchestra and choir, the music is conducted by Burwell. This is one of Carter Burwell’s most sought-after scores, but it has never before been released. The album has been produced and supervised by the composer, mastered by Chris Malone, and the booklet includes an exclusive, in-depth essay by Daniel Schweiger, including interviews with the composer, the director and the producers of the film. Opening Titles 2:44 The Fens 4:33 Charrabank 1:59 Losing Her 1:28 Loves Her Too Much 3:31 Dead Freddie 1:36 Freddie Parr 1:22 Babynapping 1:36 The Atkinsons 2:27 Get a Girl 1:08 Stolen Baby 0:55 Dick Goes Off 2:37 Hangover 1:27 One Ending 2:15 The Bottle 1:10 The Abortion 1:36 Another Ending 5:57 Total Disc Time: 38:28 Quartet Records presents the premiere release of the emotional, symphonic Americana score by renowned composer Robert Folk (POLICE ACADEMY, TOY SOLDIERS, ROCK-A-DOODLE) for the rural drama MILES FROM HOME, directed in 1988 by Gary Sinise, starring Richard Gere, Kevin Anderson, Penelope Anne Miller, Helen Hunt and Brian Dennehy. The film is about two brothers who are forced off their farm in the debt-stricken Midwest and become folk heroes when they begin robbing the banks that have been foreclosing on farmers. MILES FROM HOME was one of the first major works that Robert Folk was involved in, and the first where he was able to give free rein to his symphonic training and knowledge of a profoundly American sound. He replaced composer John Barry, who had begun composing the score just as he fell ill and recommended the young Folk to complete the job. Inspired by Aaron Copland and Norman Dello Joio, Folk wrote a sensitive, emotional and powerful score that remains one of his favorites. A suite featuring select passages from the score was previously released on a promotional album by the composer, but this is the first official release of the complete score. Produced and supervised by the composer, assembled and mixed by Chris Malone and mastered by Doug Schwartz, the booklet features an in-depth essay by film music writer Daniel Schweiger, including interviews with the composer, the director and producers of the film. 1. Main Title (Revised) 4:25 2. Brothers Struggle With Combine 1:42 3. The Farm Sale 0:59 4. Terry and Sally Lyric – Segue to Frank Alone 1:34 5. Confrontation With Banker 1:24 6. Terry and Sally Love Theme 1:39 7. Frank and Terry Porch to Television 1:57 8. Farm Burning 2:01 9. Frank and Terry in Truck Asleep 1:17 10. Terry and Sally Love Theme (Guitar) 2:24 11. Ox Scene 1:29 12. Drive to Burned Out Farm 1:31 13. Inside the Bank – Tension 1:48 14. Land Motif – In the Cornfield 0:55 15. Cops in Field and Long Drive 2:01 16. New Farm Burning 1:40 17. Brothers Fight on Stree 0:45 18. Terry and Sally Romance Cue – Graveyard and Frank 2:31 19. End Title 3:07 Bonus Tracks 20. Main Title (Original Version) 4:30 21. The Farm Sale (Alternate) 0:58 22. Terry and Sally Love Theme (Alternate) 1:38 23. Low Key Version of Original Porch to TV Cue 0:52 24. Ox Scene (Alternate) 1:33 25. Graveyard (Alternate) 1:18 Total Disc Time: 46:57

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!

Genau. Und an denen kannst du schlecht sparen, wenn der Lizenzgeber eine bestimmte Summe verlangt. Also muss man an anderen Dingen sparen, wenn man die Musik überhaupt auf CD veröffentlichen möchte. Es ist ja nicht nur die Musik, auch die ganzen Fotos auf Cover und im Booklet müssen ja vollständig oder teilweise lizenziert werden. Und je nach Rechtelage müssen sie sogar von den abgebildeten Personen freigegeben werden. Das hat MV mal erzählt, dass man bei einer der X-Files-Boxen, die eigentlich schon fertig war, monatelang auf die Freigabe der Schauspieler für die verwendeten Fotos warten musste.

Wobei man fairerweise nicht nur Intrada die Schuld geben kann. Diesen Qualitätsrückgang sehen wir ja mittlerweile bei allen Labeln. Reich geworden sind die sicherlich noch nie mit Soundtrack-Alben, aber in den letzten Jahren kamen eben viele Faktoren zusammen: Sinkende Verkäufe physischer Medien bei gleichzeitig steigenden Kosten für Rohstoffe, Betriebskosten und Lizenzen. Dazu jetzt noch die Zölle. Ich glaube nicht, dass Intrada an einer verkauften CD heute mehr verdient als früher, obwohl sie ein paar Dollar teurer geworden ist. Wohl eher im Gegenteil. An der Musik beziehungsweise der Produktion können und wollen sie sicherlich nicht sparen. Dann könnten sie es auch gleich ganz sein lassen. Also bleiben nur andere Dinge, wie eben günstigeres Papier, günstigere CD-Hüllen und so weiter. Natürlich ist das schade, aber die Alternative, dass Intrada den Laden ganz dicht macht, finde ich dann bedauerlicher als ein nicht vorhandenes Hochglanz-Booklet oder dünne CD-Hüllen. Natürlich kenne ich das auch noch, habe genug ältere CDs aus den 80ern und 90ern in meiner Sammlung. Alleine, wenn man da die CD-Hülle in der Hand hält, merkt man, wie stabil und „schwer" die eigentlich mal waren. Heute ist das wirklich billigstes, dünnes Plastik, welches gefühlt schon beim Entnehmen des Booklets einen Sprung bekommt. Aber es ist eben kostengünstiger. Ich erinnere mich beispielsweise noch daran, dass irgendwann um die Jahrtausendwende herum das Label Europa, beziehungsweise gehörte das damals schon zu BMG, also zu einem Major Label, bei ihren Hörspiel-Kassettenhüllen diese zwei Haken weggelassen hat, die die Spulen der Kassette in der Hülle festhalten. Grund war damals schon, dass das irgendwas mit 0,02 Cent pro Hülle an Produktionskosten spart. Wie gesagt, bei einem Major Label.

Erscheint als Doppel-LP: Mutant, in partnership with Sony Music, is proud to present the premiere physical release of the soundtrack to Vince Gilligan's hit Apple TV+ Series PLURIBUS, produced by Sony Pictures Television. Featuring one disc of original score cues by long-time Gilligan collaborator, composer Dave Porter, and 12 songs from the critically acclaimed series. Featuring original artwork by Mike Koelsch and liner notes by the series creative team, and pressed on 2x 140gm "Milk" colored vinyl, this special release is essential for fans of this series. Disc One - Score selections by Dave Porter (Score tracklist will be announced soon. Check back for details.) Disc Two - Original Soundtrack SIDE A 1. Dancing Folk: Movement 1 - Oliver Davis 2. Nobody Told Me - Murat Evgin 3. Sonnet (Pluribus Edit) - DakhaBrakha 4. Sumac - Loris 5. Vessel (Pluribus Edit) - John Lamke 6. Deo gratis - Huelgas Ensemble, Paul Van Nevel SIDE B 1. A Calf Born in Winter - Khruangbin 2. Blues (Pluribus Edit) - Nina Becker Marcelo Callado 3. People Are Strange - Kit Sebastian 4. Esperanza - Hermanos Gutiérrez 5. You Got To Be Sure! - Traffic Sound 6. Conquistadora (Pluribus Edit) - Chantal Claret