Alexander Grodzinski

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

Das mit den Titelsequenzen stimmt natürlich. Bei Kinofilmen ist es mittlerweile ja auch normal, dass es keine Opening Credits mehr gibt, sondern dass das alles am Schluss kommt. Manchmal kommt sogar der Filmtitel erst am Schluss. Da ich WEDNESDAY erwähnt habe: Die Serie hat tatsächlich noch ein richtiges Intro, das immerhin über eine Minute lang ist. Daher konnte Elfman da auch ein richtiges Thema für schreiben. Vielleicht liegt das auch einfach an Tim Burton, der hier involviert ist und eine Titelsequenz wollte. Wobei tatsächlich nicht jede Folge diese Titelsequenz hat. Manchmal kommt nur eine Art Teaser der Titelsequenz. Eben als Zugeständnis für die Leute, die alle Folgen am Stück schauen und nicht jedes Mal die Titelsequenz sehen oder überspringen wollen.

Ob Hans da wirklich viel macht? Ich denke, das wird so wie bei Elfman und WEDNESDAY. Der schreibt die Titelmelodie und vielleicht noch Musik für zwei, drei Folgen, wenn überhaupt und den Rest machen seine Leute.

Ich habe dunkel in Erinnerung, dass die alte ZDF-Synchro außerdem nur noch in abgemischter Form existiert. Sprich, mit allen Soundeffekten und der Musik zusammen. Und die Musik war damals ja auch ein Problem, beziehungsweise die Songs. Denn diese wurden bei der Neusynchro ebenfalls ausgetauscht. Mittlerweile ist das mit den Song-Rechten wohl nicht mehr so problematisch. Zumindest kommen alte Serien mittlerweile recht problemlos mit allen Songs ins Heimkino, während das vor 10, 15 Jahren noch ein echtes Problem war. Serien wie MIAMI VICE oder gar EINE SCHRECKLICH NETTE FAMILIE mussten auf DVD Song-Federn lassen. Turbine und Plaion haben in den letzten Jahren eben MIAMI VICE, KNIGHT RIDER, MACGYVER und MAGNUM auf Blu-ray veröffentlicht, mit allen ursprünglichen Songs. So eine schöne Box wünsche ich mir auch für EIN COLT FÜR ALLE FÄLLE, aber da ist allgemein wohl die Rechtslage kompliziert, weil zwei Studios oder Produktionsfirmen beteiligt waren. Und mittlerweile gehört die Serie ja auch Disney. Die nächste Blu-ray-Box wird dann ja auch erstmal A-TEAM sein. Daran arbeitet man schon seit einiger Zeit und suchte Ende letzten Jahres noch für einige Folgen die erste Synchro, um diese als Bonus ebenfalls mit in die Box zu packen.

Neu von BSX/Dragon's Domain: Dragon’s Domain Records presents LEE HOLDRIDGE GOES TO THE OLYMPICS, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for several documentary films set during during the Olympics. LEE HOLDRIDGE GOES TO THE OLYMPICS includes Music from the films 16 DAYS OF GLORY, BARCELONA 1992, THE SPIRIT OF THE OLYMPICS and LILLEHAMMER 1994. To create a historical record of the best moments from the Olympic games, documentary motion pictures have often been captured by film cameras. In 1984, sports documentarian Bud Greenspan was given unprecedented access to produce and direct what became 16 DAYS OF GLORY, a magnum opus narrative of the 1984 Los Angeles Summer Olympics. While television viewers just saw the competitions, Greenspan was able to portray the personal trials and tribulations of selected athletes as they struggled to push their bodies to break records and snare those coveted medals. His efforts resulted in a stunning and emotional document that ran almost 284 minutes. 16 DAYS OF GLORY featured dramatic imagery of the competitions, sometimes using slow-motion to accentuate the athletes’ efforts. Greenspan relied upon composer Lee Holdridge to underscore many of these sequences, as well as creating a main title theme. The success of 16 DAYS OF GLORY led to a long partnership documenting both summer and winter Olympics around the world until the 1998 Nagano Winter Olympics. LEE HOLDRIDGE GOES TO THE OLYMPICS compiles a variety of music Holdridge composed for the films of Bud Greenspan, including many cues composed for 16 DAYS OF GLORY that were not included on the original release of the soundtrack. Besides his work for Greenspan, he composed music for another documentary, THE SPIRIT OF THE OLYMPICS, which was a compilation of highlights culled from other films, and the OLYMPIC VIDEO WALL which was a stand-alone exhibit in Spain. Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others. Dragon’s Domain Records is excited to bring these documentary film scores to compact disc for the first time as part of LEE HOLDRIDGE GOES TO THE OLYMPICS, presented on two discs and mastered by James Nelson at Digital Outland. The booklet includes liner notes written by author David Hirsch with the participation of the composer. SPECIAL ADDED BONUS When you purchase the 2CD set, you will receive a digital version of the album with a downloadable booklet, plus an additional score by Lee Holdridge for the NAGANO 1988 Olympic games at no extra cost. This special offer is only available at Buysoundtrax.com. LEE HOLDRIDGE GOES TO THE OLYMPICS is a limited edition release of 500 units. LEE HOLDRIDGE GOES TO THE OLYMPICS will begin shipping the week of January 26th, 2026. The First 50 Copies sold will be autographed by composer Lee Holdridge. 16 DAYS OF GLORY 01. Theme From “16 Days Of Glory” (3:26) 02. Triumph (2:31) 03. Calgary Opening (2:43) 04. Gunde Svan Triumphs [Calgary 1988] (2:48) 05. The Highest Step: Interlude (2:18) 06. Korean Olympics Tribute [Seoul 1988] (1:43) 07. Hymn Of The Nations (10:30) Vocal: Placido Domingo 08. Diving (1:50) 09. The Women’s Marathon (7:43) 10. Edwin Moses (1:06) 11. The Spirit Of The Olympics (1:25) 12. China Sequence (6:20) 13. The Lighting Of The Torch (1:39) 14. Yasuhiro Yamashita (1:06) 15. Dawn: Interlude (3:19) 16. Entrance Of The Nations (3:27) 17. The Decathlon / Finale (3:41) 18. Bonus Synth Cue [1M1] (3:30) 19. Bonus Synth Cue [1M2] (2:34) 20. Bonus Synth Cue [4M1a] (1:05) 21. Bonus Synth Cue [4M5] (1:34) 22. The Olympics (1:08) SPIRIT OF THE OLYMPICS 23. Suite: The Torch / Preparation / Competition / Finale (7:40) BARCELONA 1992 24. Prologue (1:08) 25. Derartu Tulu’s Achievement (3:57) 26. Finale & End Credit (2:53) 27. Bumper (With Choir) (0:48) 28. Bumper (Without Choir) (0:46) 29. The Olympic Video Wall (Exhibit In Spain) (7:31) LILLEHAMMER 1994 30. Norwegian Prologue (0:57) 31. The Torch (2:48) 32. The Flag Bearers (2:05) 33. The Giant Slalom (0:44) 34. The Ski Jump (6:53) 35. The First Day Of Competition (4:47) 36. 50 KM of Determination (3:15) 37. Dan Jansen’s World Record (2:40) 38. Bittersweet Victory (1:19) 39. The Final Finish (1:50) 40. Courageous Glory & Cross Country Awards (2:19) 41. Speed Skating (0:53) 42. Bobsled (2:37) 43. Always A Chance For A Medal (1:39) 44. Tomba’s Triumph (2:43) 45. 50 KM Cross Country / For The Glory Of Sport (1:13) 46. 50 KM Skiers (2:11) 47. Final Strides To Victory (2:40) 48. Centuries Old Competition (4:13) 49. A Legacy Of Victory (0:44) 50. Facing Down Fear (1:37) 51. Devotion To Sport (1:51) 52. Bonus Synth Cue [1M3] Synth Percussion - The Flag Bearers (2:05) DIGITAL ONLY BONUS SCORE: NAGANO 1998: BUD GREENSPAN’S STORIES OF HONOR AND GLORY 53. Opening / Honorable Finish (2:44) 54. Long Run (3:39) 55. Competition / Mountainside (3:57) 56. Completing The Run (4:14) 57. Troublesome Run (2:59) 58. Solitary Run (2:44) 59. Icy Challenge (3:33) 60. Icy Difficulty / Concentration / Thinking About The Goal (3:51) 61. Thoughts / A Story (2:49) 62. Tight Finish / Reaching The Goal (2:32) 63. Solitary Finish (4:43) 64. Hymn of Honor (3:58) 65. Character Thoughts (1:21) 66. Honor and Glory Theme (2:04) Total CD Time: 146:36 Total Digital Time: 191:50 Dragon’s Domain Records presents THE BRUCE BROUGHTON COLLECTION: VOL. 2, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE) for two scores from his extensive filmography that highlight more of the gentle, delicate side of the composer’s work as a film composer. Released in 2005, WARM SPRINGS is a made-for-television biographical drama film directed by Joseph Sargent, written by Margaret Nagle, and starring Kenneth Branagh, Cynthia Nixon, Kathy Bates, Tim Blake Nelson, Jane Alexander, and David Paymer. The story explores U.S. President Franklin D. Roosevelt’s 1921 illness — initially diagnosed as polio — his fight to overcome paralysis, the discovery of the Warm Springs resort, and his efforts to establish it as a rehabilitation center for polio patients. Roosevelt’s emotional journey through interactions with other disabled individuals helps to prepare him for a return to politics and the challenges of leading the nation during the Great Depression. The score for WARM SPRINGS is a soft, orchestral piece for about 35 players, including brass, woodwinds, a large string section, harp, and piano. It’s presented here in chronological order, capturing Franklin and Eleanor’s evolving emotions during these tense hardships. Released in 2002, BOBBIE'S GIRL is an Irish comedy-drama film for television directed by Jeremy Kagan, starring Bernadette Peters, Rachel Ward, Jonathan Silverman, and Thomas Sangster. It tells the story of a middle-aged lesbian couple who run a peaceful pub faced with sudden health and family crises. The women are quite different: Bobbie (Ward) is calm, reserved, and practical; Bailey (Peters), an American, is warm, outgoing, and eccentric, a former actress. Bobbie and Bailey Lewis operate ‘The Two Sisters’, a seaside pub in Bray, near Dublin, with the assistance of Bailey's brother, David (Silverman). Bobbie discovers she has breast cancer and is determined to handle her illness independently. Meanwhile, the parents of her 10-year-old nephew Alan (Sangster) have died and a hesitant Bobbie is persuaded by Bailey to take him in. As Bobbie undergoes treatment, she gradually learns to accept her partner’s help. Bailey takes on more responsibility by both managing the pub and caring for Bobbie, who ultimately learns to express love for Alan and welcomes him into their extended family, much to Bailey's joy. BOBBY'S GIRL features an orchestra of roughly 35 players, including harp, recorder, violins, brass, percussion, guitars. Its main themes focus on the relationship between the women, the local setting, and their emotional struggles caused by sudden changes in their lives. Bruce Broughton, who has won ten Emmy Awards and been nominated for an Oscar, began his journey into film music in 1973, scoring episodes of television shows from GUNSMOKE, HAWAII FIVE-0, and DALLAS to JAG and THE ORVILLE, miniseries like THE BLUE AND THE GREY and THE OLD MAN AND THE SEA, and feature films such as SILVERADO, YOUNG SHERLOCK HOLMES, HARRY AND THE HENDERSONS, TOMBSTONE, and HONEY, I BLEW UP THE KID. Broughton has more than 130 scores to his credit. Throughout his career, Broughton has amassed ten Emmy Awards (from twenty-three nominations) and an Academy Award nomination (SILVERADO). In addition to being a composer and an accomplished conductor, Broughton is also a tireless educator having taught classes at the UCLA Herb Alpert School of Music, the Department of Screen Scoring at the USC Thornton School of Music, and is currently serving as Media Composer-in-Residence at the University of North Texas. Dragon’s Domain Records presents THE BRUCE BROUGHTON COLLECTION: VOL. 2, featuring music composed by Bruce Broughton for WARM SPRINGS and BOBBY’S GIRL. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kemner and Scott Davis. THE BRUCE BROUGHTON COLLECTION: VOL. 2 is a limited edition release of 500 units. THE BRUCE BROUGHTON COLLECTION: VOL. 2 is expected to begin shipping the week of January 26th, 2026. The First 50 Copies sold will be autographed by composer Bruce Broughton. WARM SPRINGS 01. Opening Titles (2:47) 02. Eleanor Reads Mercer’s Note / Remain Married Or Lose Your Trust Fund / Diagnosed With Polio / Life As He Knew It Is Over (3:27) 03. What’s Best For Franklin / The Storm / Train To Georgia (2:50) 04. Arrival At Warm Springs / Why Are We Here? / Into The Water (2:55) 05. First Night / Eleanor Leaves / Standing Unassisted In The Pool / Taking Five Steps (3:25) 06. Dictating The Letter / Public Speaking Failure / Hark The Herald Angels Sing / Parallel Bars (3:07) 07. I Don’t Know How To Talk To You / Taking The Boy Back To Warm Springs / Letter To Eleanor (2:20) 08. Improvements / Eleanor’s Success / Tom Has Cancer (3:42) 09. FDR Drives A Car / Louie And Eleanor Arrive / Eleanor Watches Rehab / Daisy Walks (3:49) 10. Roosevelts Crash The Medical Convention / Teaching Eleanor How To Drive / He’s Ready (2:44) 11. FDR’s Self-Pity / Eleanor’s Pep Talk / FDR Tries To Walk / What If I Fall? (4:25) 12. FDR Says Goodbye To Warm Springs Family / Finale / End Cards (3:30) 13. End Credits (3:36) 14. I’m Afraid We’ve Lost Him (Unused) (0:56) 15. Finding Boy In The Box Car (Unused) (1:10) 16. Tom Has Cancer (Alternate) (1:27) 17. Eleanor’s Pep Talk (Alternate) (1:04) 18. Finale / End Cards (Alternate) (1:33) BOBBIE’S GIRL 19. Logo / Main Title (2:13) 20. Meet Alan / Bailey Drives / Who Are You? / Granddad (2:15) 21. His Parents Place / A Frozen Heart / Bobbie’s Bad News (3:02) 22. The Female Eunuch / Thinking Ahead / Bobbie Runs Away / Alan Runs Off (3:54) 23. Searching For Alan / Bobbie Returns (3:36) 24. Can They See Me? / Waiting (2:18) 25. Bailey Returns / Bobbie Comes Home (2:38) 26. Pondering / Running To Granddad / A Wonderful Kid (3:54) 27. Don’t Leave Me (2:41) 28. Wedding Music (2:12) 29. End Titles (1:34) Total Time - 79:16 Dragon’s Domain Records presents the original motion picture soundtrack to THE HANDMAID’S TALE, featuring music composed by Ryûichi Sakamoto (MERRY CHRISTMAS, MR. LAWRENCE, THE LAST EMPEROR, THE REVENANT), for the 1990 science fiction thriller directed by Volker Schlöndorff (THE TIN DRUM, DEATH OF A SALESMAN), written by Harold Pinter, based on the novel by Margaret Atwood and starring Natasha Richardson, Faye Dunaway, Aidan Quinn, Elizabeth McGovern, Victoria Tennant, Blanche Baker and Robert Duvall. Released in 1990, THE HANDMAID’S TALE is set in the twilight of the Twentieth Century and American society as we have known it has ceased to exist. In a country now known as the Republic of Gilead, Right-wing fundamentalists have overthrown the government and replaced it with a numbingly repressive society ruled by the most rigid Puritan ethics. Cumulative effects of pollution, toxic waste and genetic experimentation have rendered most women infertile. Those still capable of bearing children are deemed ‘Handmaids’ and are assigned to ‘Commanders’, the men of the ruling elite. While attempting to escape, Kate (Richardson) and her family are stopped at the Canadian border. Her husband is shot, her daughter is taken away and she is captured, tested for fertility, sent to a training center for Handmaids. Upon completion, she is assigned to a commander named Fred (Duvall) and his barren wife Serena Joy (Dunaway). Kate is renamed Offred, given a small room in the house and is forbidden to speak to anyone in the household unless spoken to first. Kate develops an unexpectedly tender relationship with the Commander, who secretly introduces her to objects and activities from the past, now forbidden by Gilead law. Serena Joy, fearing that the commander himself may be infertile, arranges a meeting between Kate and the Commander’s chauffeur, Nick (Quinn). Their lovemaking rekindles all of Kate’s passion for life and with her feelings for Nick growing stronger, her desire for freedom from the Gilead regime grows even more desperate... Ryûichi Sakamoto has lived many musical lives. As a keyboardist and songwriter in Haruomi Hosono’s Yellow Magic Orchestra, he helped set the stage for synthpop. His solo experiments in fusing global genres and close studies of classical impressionism led to him scoring over 30 films, including MERRY CHRISTMAS, MR. LAWRENCE, THE LAST EMPEROR, THE SHELTERING SKY, RISING SUN, WUTHERING HEIGHTS, SNAKE EYES, FEMME FATALE and THE REVENANT. Originally released in the early days of the compact disc format by GNP Records, with the music presented in lengthy suites, Dragon’s Domain Records is excited to bring THE HANDMAID’S TALE back to the marketplace, with the music remastered by James Nelson at Digital Outland. THE HANDMAID’S TALE is a limited edition release. THE HANDMAID’S TALE is expected to begin shipping the week of January 26, 2026. 01. Overture / Snow (2:42) 02. Prison Camp (2:59) 03. On The Bus / Old Hundredth* / Nocturno (2:32) 04. Moira’s Hand / Red Veil (2:09) 05. Kate / Rape & Rage (2:48) 06. The Kiss (1:57) 07. Pollution In City / Moira Escapes (3:10) 08. Rape / Shall We Gather By The River** (1:52) 09. Love In Nick’s Room (3:11) 10. Amazing Grace*** (0:57) 11. My Daughter Is Alive (2:05) 12. Car Bomb / Travesty (2:17) 13. Kate & Moira / Hanging (2:50) 14. Particicution / Finding The Knife (3:33) 15. Waiting For Murder / Killing Commander (1:48) 16. Mayday (1:42) 17. Old Hundredth* (Praise God From Whom All Blessings Flow) (0:56) Total Time: 39:37 * Composed by Louis Bourgeois ** Composed by Robert Lowry *** Composed by John Newton, Performed by Laura Baxter This is an expanded reissue of the 1969 Philips and 1999 Varese Sarabande CD/LP releases. We have added 9 bonus cues including the instrumental "Quentin's Theme" which was not on previous releases of this album. Expertly composed by Robert Cobert (Trilogy Of Terror, Dan Curtis' Dracula, Winds of War) the music is pretty much an additional character on the show. Thematic and memorable music. Dark Shadows was a groundbreaking release as arguably the first popular TV soundtrack album, becoming a Top 20 hit, "Shadows of the Night (Quentin's Theme)," and cementing the show's cult status with its gothic atmosphere and is still a very loyal legion of fans. Notefornote Music would like to thank Jim Pierson, Cary Mansfield and Peter Hackman for their help and guidance on this project. Track List: 1. Dark Shadows/Collinwood 2. I'll Be With You, Always 3. Josette's Theme 4. A Darkness At Collinwood 5. Meditations 6. Night Of The Pentagram 7. When I Am Dead 8. #1 At The Blue Whale 9. Shadows Of The Night 10. The Secret Room 11. Epitaph 12. Seance 13. I, Barnabas 14. Back At The Blue Whale 15. The Old House 16. Epilogue/Dark Shadows Bonus Tracks 17. Victoria Winters 18. Conjuring 19. Pansy's Theme 20. The Dream Curse 21. Ode To Angelique 22. Night Of Terror 23. Joanna 24. Quentin's Theme 25. Jonathan Frid Greeting

YOUNG & CURSED Music Composed by PATRICK O'MALLEY For Intrada's latest release, composer Patrick O'Malley chose to eschew the current sound-design approach of many modern-day horror films and lean into a more traditional (and frankly fan-embraced) style of horror scoring. Composers from earlier decades always lauded the opportunities provided by horror films to embrace experimentation that were not often afforded in other genres. It provided an opportunity not only to embrace dissonance as would be expected, but also the lyrical side so often ignored in horror films today. Think Jerry Goldsmith's delicate theme for Carol Ann balanced alongside the aggressive action in Poltergeist. The two can easily coexist in a horror setting. As O'Malley describes in his notes: One of the best things that can be given to any composer (of film music or otherwise) is a large canvas. When I first read Andrew [Chiaramonte] and Emmett [Alston]'s script for Young & Cursed, I initially thought that the film would only need light touches from the music: subtle electronics with the occasional reverb-submerged piano and grit-filled jump-scare stinger (after all, the plot outline is a bunch of kids in a cabin getting spooked for 90 minutes!). But, upon seeing a rough cut of the film and hearing [director] Andrew passionately discuss his goal of putting the audience in a larger frame of mind about the spiritual nature of good and evil, a much different sound came to me: a traditional-style score combining orchestra, choir, synths, electronics and a battery of homemade “found object” instruments. O'Malley may not be a name known to many, as Young & Cursed is his first full-length film score after working on several shorts and in the classical music scene. Hopefully this score is the harbinger of many more feature-length film assignments to come. Check out the soundtrack trailer here: The film is a supernatural psychological horror film directed by Andrew Chiaramonte, centering on five young strangers who retreat to a remote wilderness cabin, only to find themselves under the sinister influence of a mysterious woman possessed by an ancient force. As they become trapped and isolated, the group’s trust erodes and paranoia grows, forcing each person to confront their deepest fears and inner demons. INTRADA INT 7190 Barcode: 7 20258 71900 3 Retail Price: $24.99 AVAILABLE NOW ON CD AND DIGITAL PLATFORMS EVERYWHERE. 01. Lilith's Theme (3:33) 02. Hope and Sorrow (2:27) 03. Prologue & The Calling (4:32) 04. First Escape (2:28) 05. Kyra (3:07) 06. Two Of Them (1:07) 07. Food, Love, Death (3:09) 08. The Apparition (2:14) 09. Donny's Trap (2:53) 10. The Waiting (1:27) 11. God's Children (4:58) 12. The Curses (1:01) 13. Blood Moon (3:32) 14. Possession Dance (8:33) 15. Childhood Nightmares (0:50) 16. The Attack (3:42) 17. Temptations (03:51) 18. Death Light (5:04) 19. Demons Past (4:33) 20. The Sacrifice (2:17) 21. Adagio Religioso (06:42) Total CD Time: 1:12:11

Snow Files of the Week: "Main Title/Phil Checks Out/Memories of Caroline/Graveyard" aus dem TV-Thriller "Caroline at Midnight" (1994). Mark zeigt mit diesem Score seinen Film-Noir-Stil. Das Main Theme, welches Mark auch in der X-Files-Folge "3" aus der zweiten Staffel benutzte, taucht auch hier wieder auf. Victorias Geständnis begleitet Mark mit seinem mysteriösen Piano. Insgesamt hat Marks Score einige Jazz-Elemente, sowie seine typischen dunklen und brodelnden Klanglandschaften. Der Score wurde von Dragon's Domain auf "The Mark Snow Collection Volume 2" veröffentlicht, zusammen mit dem Score zu "Seduced and Betrayed". Die CD ist auf 2.000 Exemplare limitiert. Viel Spaß beim Hören!

INTRADA Announces: THE NIGHT OF THE HUNTER KICKSTARTER CAMPAIGN Composed by WALTER SCHUMANN Conducted by WILLIAM T. STROMBERG Produced by LEIGH PHILLIPS Performed by ROYAL SCOTTISH NATIONAL ORCHESTRA Intrada is back with its sixth Kickstarter campaign, this time to record a much-requested fan favorite, although not by one of the regular film composers about whom everyone talks. The delicious thriller Night of the Hunter features music by composer Walter Schumann. Intrada is assembling its renowned team to manage this project, with William T. Stromberg conducting the Royal Scottish National Orchestra, Leigh Phillips in the producer's chair, and Anna Stromberg wrangling the score and parts to put in front of the musicians. This score's particular challenges include the unique and haunting vocals so artistically and brilliantly woven into the score, but as the clip linked below illustrates, the team understands the nuances and can nail the results. With the original scores and orchestra parts so expertly preserved and accessible thanks to Brandon Drake of Neumation Music, this will be a smooth road to completion once we secure funding. Check out the main title we recorded during The Chairman recording sessions here: Night of the Hunter is a dark film about Powell, a charming but sinister preacher, who learns that a woman's executed husband hid stolen cash somewhere on her property. He marries the woman and terrorizes her children to force them to reveal the money's location. When the children flee, Powell relentlessly pursues them down the river and across rural Depression-era America. Preacher Powell is not above murder to attain his financial goals. The film's remarkable and fairytale-like cinematography is both poetic and nightmarish in tone. Creating a dark and surreal world, Walter Schumann's score takes the same approach to deliver a brilliant thriller score. The goal is to raise $65,000, we hope to record in Fall/Winter 2026. To check out the campaign and contribute, please visit The Night of The Hunter Kickstarter campaign here https://www.kickstarter.com/projects/129145902/night-of-the-hunter-soundtrack-recording-project

Nun auch auf CD:

Nachdem Intrada für dieses Jahr fünf Williams-Veröffentlichungen angekündigt hat, ist der ja vielleicht dabei.

Von Roger: INTRADA ANNOUNCES CHANGE IN OWNERSHIP AND NEW BOARD OF DIRECTORS Co-CEO JEFF JOHNSON Co-CEO ROGER FEIGELSON Treasurer MARY ANN FAKE Secretary ANITA MOORE "I'm going to prove that music that comes from the cinema is substantial music." --Doug Fake, Intrada Founder, President and Producer (1952­–2024) As Intrada enters its 40th year of celebrating music from movies and television, they are happy to report their long-term plan to continue locating, restoring and releasing film music from across the decades. The Intrada team concluded its first year without its peerless leader, Douglass Fake, who passed away in July 2024.The team wrestled with his absence, but one thing was front and center––keeping Doug's vision alive. With the equally determined enthusiasm of his family, Jeff Johnson and Roger Feigelson have assumed majority ownership in Intrada, with Doug's daughters, Regina Fake and Veronika Schroers, retaining a minority stake. To drive the company forward, Intrada has put in place a new board of directors: Johnson and Feigelson will assume the role of co-CEOs. Both have extensive experience running the company. Johnson will continue to focus on the retail and distribution portion of the business, while Feigelson will continue to drive label operations, including managing the relationships with licensors, identifying new projects, and managing the production teams. Mary Ann, Fake's widow, has extensive insight and experience into the financial operations of the company and will assume the role of Treasurer. Finally, Intrada's bookkeeper, Anita Moore, who is responsible for the day-to-day financial functioning of the company, will take on the role of Secretary. Doug Fake founded Intrada in 1985, when after operating a retail soundtrack outlet in San Francisco for several years, took up the charge to release and restore the numerous great film scores that no other label was releasing on record. He and a small band of partners came together to license MGM's then-recent release of Red Dawn, scored by Basil Poledouris. Soon after, the company forged a relationship with composer Jerry Goldsmith that also inaugurated the business of recording film scores anew with Islands in the Stream. After several years, the partnership dissolved and Intrada was incorporated into the company that operates today. Over four decades, Intrada has undertaken well over 500 releases from both contemporary and classic films, including such noteworthy releases as Back to the Future, Jaws, Goldsmith's Rambo trilogy, and Conan the Barbarian, to barely scratch the surface. One of the company's highlights is its Excalibur line of film music recordings, now bolstered through Kickstarter crowdfunding to draw supporters together to finance recordings that wouldn't otherwise be feasible. Recent recordings in the Excalibur line feature conductor William T. Stromberg with the Royal Scottish National Orchestra—to absolutely stunning results. Intrada must thank and recognize the vast array of studios and licensors without whom there would be no label, including Universal, Disney, Paramount, Sony Pictures, MGM, Studio Canal, Warner Bros., Universal Music Enterprises, Sony Music Entertainment and so many more. It's difficult to encompass the extended team that has poured its heart into making Intrada's releases the best they can be, but they include Mike Matessino, Neil S. Bulk, Chris Malone, Frank DeWald, Kay Marshall, Joe Sikoryak, Mark Hammon, Joe Tarantino, Doug Schwartz, Pat Russ, Stéphane Coëdel, Leigh Phillips, William T. Stromberg, Anna Bonn Stromberg, Paul Talkington, Bruce Botnick, the late Mike Trevor-Ross, the late Nick Redman, Lukas Kendall, Jon Burlingame, Stéphane Humez, Mark Bagby, the entire team at the Goldsmith Odyssey and so many others, including a stable of talented liner note writers. Thank you for supporting Intrada these past 40 years and for helping Intrada keep Doug's passion alive. He had always been deeply grateful for all the support and it's needed now more than ever. The Intrada team wishes you a happy and peaceful new year!

Die Komponisten-Liste von Intrada für dieses Jahr von Roger: Happy New Year! Composer line for 2026 (we hope) includes Ron Jones, Gil Melle, Stu Phillips, John Williams, Dimitri Tiomkin, Jerry Goldsmith, Bill Conti, Danny Elfman, John Debney, Jerry Goldsmith, John Williams, John Williams, Elmer Bernstein, John DuPrez, John Williams, James Horner, Charles Fox, Charles Fox, John Williams, Ilan Eshkeri (I don't know...maybe...I hope).

LLLCD 1669 Music by Don Davis Limited Edition of 1000 Units La-La Land Records and Paramount Pictures present the official world premiere CD release of acclaimed composer Don Davis’ (THE MATRIX TRILOGY) original motion picture score to the renowned 1996 feature film thriller BOUND, starring Jennifer Tilly, Gina Gershon and Joe Pantoliano and directed by The Wachowskis. One of contemporary cinema’s most notable, envelope-pushing and entertaining neo-noir thrillers needed an on-target and knowing score to sync perfectly with its seductive and suspenseful tale of two women falling in love as they scheme to rip off a dangerous mobster. Enter composer Don Davis, who pulls it off in enthralling fashion, providing a mood-drenched, propulsive score that shines brilliantly in this presentation. This first remarkable collaboration between the composer and The Wachowskis forged a union that would become legend with THE MATRIX TRILOGY. A new recording of Davis’ concert piece inspired by the film score, “Illicit Felicity”, is included as a bonus track, performed by pianist Jenny Lin. Produced by Don Davis and Dan Goldwasser, and mastered by James Nelson, this special CD release is limited to 1000 units and includes exclusive, in-depth liner notes by writer Daniel Schweiger, featuring new comments from the composer. The cracking art design is by Dan Goldwasser. TRACK LISTING: 1. Closet Diving 2:48 2. Fix My Pipe 5:42 3. Rug Rangers Qu’est-ce Que C’est 2:22 4. Hand It To Shelley 2:01 5. Ravine Cuisine 4:37 6. Yodeling In The Canyon 2:37 7. Girls Having Fun 2:39 8. Ceasar Gets Corked 1:41 9. Thelma And Louise From Hell 1:26 10. Tang Bangers 5:21 11. Dying For His Money 0:20 12. I Am Gino Marzzoni, Capice? 1:59 13. Chicago’s Finest 2:09 14. Jail Bait 0:52 15. Curiosity Cops 1:15 16. Corky’s Peephole 1:06 17. Ceasar Bizarro 3:02 18. Holy Mackerel 1:35 19. In Utero Morituri Te Salutamus 1:17 20. Girl Talk 0:31 21. Bang The Bangers 2:02 22. Out Of The Closet And Down The Stairs 6:38 23. Mambo Mamacita 3:02 24. Illicit Felicity (BONUS TRACK) 3:58 Performed by Jenny Lin TOTAL ALBUM TIME: 62:39 This is a CD format release

LLLCD 1683 Music Composed by Carmine Coppola Limited Edition of 3000 Units Twice before, La-La Land Records has made you movie music offers you couldn’t refuse. Now… just when you think you’re out… THEY PULL YOU BACK IN! For the 35th anniversary, La-La Land Records, Paramount Pictures and Sony Classical proudly present a remastered and expanded Limited Edition 3-CD release of composer Carmine Coppola’s (THE BLACK STALLION, THE OUTSIDERS) original motion picture score to the 1990 dramatic epic THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE. Written by Mario Puzo and Francis Ford Coppola and directed by Coppola himself, the film stars Al Pacino, Diane Keaton and Andy Garcia. Composer Carmine Coppola shared musical responsibilities with Nino Rota on the first two films, together winning the Best Original Dramatic Score Academy Award for THE GODFATHER PART II. For the third chapter, director Coppola reunited with several other key contributors from the first two epics, such as cinematographer Gordon Willis and production designer Dean Tavoularis, but with the passing of Rota in 1979, the director’s father was the logical choice to score the final part of the Corleone crime saga. Using Rota’s music while composing new material, the score is operatic in its power, honoring the classic GODFATHER themes and motifs within a musical storm of brilliant original material including the Oscar-nominated song “Promise Me You’ll Remember” (performed by Harry Connick Jr.). Love, loss, death, power and sin – you’ll find it all here in this magnificent work, finally unleashed in this revelatory remastered and expanded presentation. Produced by Dan Goldwasser and Neil S. Bulk, mixed by Chris Malone, and mastered by Doug Schwartz, this special 3-CD release, limited to 3000 units, includes previously unreleased and unused music and has been approved by Francis Ford Coppola and American Zoetrope. Disc One showcases the film’s expanded score presentation as recorded, debuting many cues for the very first time, while Disc Two presents even more alternate cues, followed by several cues from the original 1972 film that were re-recorded. Disc Three features the remastered Original 1990 Soundtrack Album. The first two discs are newly remixed by Chris Malone from 6-track mixes found on the original ½” digital scoring masters and the third disc is sourced from the original digital album master. The exclusive, in-depth liner notes are by writer Tim Greiving and the sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 1:10:08 SCORE PRESENTATION 1. Main Title (Film Version) 2:38 2. Lake Memory 1:00 3. The Godfather Waltz* (Reprise, Intended Film Version) 0:57 4. Foreboding* 1:31 5. The Godfather Waltz 1:24 6. Tough Neighborhood 1:18 7. Connie 0:21 8. Shareholders Meeting 0:42 9. Michael to Rome* 1:17 10. Government Man* / Uncle Michael 1:05 11. Altobello (Film Version) 2:06 12. Drive to Confession 0:39 13. Café Scene 1:26 14. Helicopter Nightmare* / King Lear Madness* 2:45 15. Waldorf* / Chapel* 1:10 16. In the Hospital* 2:53 17. Mary and Tony* 1:07 18. Vincent Kills Joey Zasa* 0:47 19. Vincent’s Theme 1:49 20. Gnocchi Romance* 1:01 21. Transition to Toast* 0:16 22. Love Theme from The Godfather 0:49 23. Sicilian Plot 0:30 24. Pool Salon* / As Guilty as the Others* 0:56 25. Sell Your Soul* / Photo Album* / Lucchesi Meets Vincent* / Evil Toast* 4:29 26. Promise Me You’ll Remember* (Band Version) 2:53 27. Mosca of Montelepre* 0:58 28. Land of Father* 0:43 29. Kay’s Theme 1:20 30. White Smoke* / Papal Montage* 0:59 31. Evil Priests* / Murder Menace* 1:00 32. Tommasino Assassinated* 1:01 33. Insulin Shot* 3:37 34. Tommasino Coffin 2:14 35. Call Yourself a Corleone 1:13 36. Vincent and Mary Break Up 2:00 37. Calo Arrives 0:45 38. Spara Backstage 2:05 39. Pistol to Mosca* 1:02 40. Cue with Archbishop* 1:03 41. Calo Kills Lucchesi 1:19 42. The Godfather Waltz (The Godfather Part III Version) 1:58 43. Love Theme from The Godfather (The Godfather Part III Version) 1:45 44. Love Theme from The Godfather Part III 0:59 45. Promise Me You’ll Remember (Love Theme from The Godfather Part III) 5:10 Performed by Harry Connick Jr. DISC 2 53:45 ADDITIONAL MUSIC 44:43 1. Love Theme / Michael’s Theme 3:34 2. Main Title (Alternate) 2:07 3. Tough Neighborhood (Alternate) 1:27 4. Connie (Alternate) 0:24 5. Shareholders Meeting (Alternate) 0:39 6. Uncle Michael (Alternate Excerpt) 0:22 7. Altobello (Alternate Take) 2:25 8. Drive to Confession (Alternate) 0:45 9. Helicopter Nightmare (Alternate) / King Lear Madness (Alternate) 2:10 10. Waldorf / Chapel (Alternate) 1:10 11. Vincent Kills Joey Zasa (Alternate Excerpt) 0:28 12. Vincent’s Theme (Alternate LP Version) 1:56 13. Vincent’s Theme (Alternate) 1:41 14. Gnocchi Romance (Alternate) 1:12 15. Transition to Toast (Revised) 0:20 16. Photo Album (Alternate) / Lucchesi Meets Vincent (Alternate) / Evil Toast (Alternate) 1:07 17. Promise Me You’ll Remember (Band Version, Early Take) 2:59 18. Land of Father (Alternate) 0:42 19. Kay’s Theme (Viola Alternate) 1:26 20. Murder Menace (Alternate) 0:21 21. Tommasino Coffin (Alternate) 1:08 22. Call Yourself a Corleone (Alternate) 1:07 23. Vincent and Mary Break Up (Alternate Without Harp) 1:01 24. Calo Arrives (Alternate) 0:32 25. Mystery Cues 1:50 26. Helicopter Nightmare (Alternate Brass) 1:34 27. The Godfather Intermezzo Part II 2:36 28. End Credits (Love Theme from The Godfather) 3:08 29. Promise Me You’ll Remember (Orchestral Version) 2:54 30. La campagna di San Giusto (Source) 0:30 31. Tough Neighborhood (Alternate Intro) 0:19 THE GODFATHER (1972) LIBRARY RE-RECORDINGS 9:00 32. Sollozzo the Turk (The Godfather Part III Version) 1:31 33. The Halls of Fear (The Godfather Part III Version) 2:05 34. Michael Takes Over (The Godfather Part III Version) 0:43 35. Apollonia (The Godfather Part III Version) 1:27 36. Marry Me, Kay (The Godfather Part III Version) 1:13 37. The New Godfather (The Godfather Part III Version) 0:26 38. Finale (The Godfather Part III Version) 1:25 DISC 3 54:26 ORIGINAL 1990 SOUNDTRACK ALBUM 1. Main Title 0:42 2. The Godfather Waltz 1:10 3. Marcia Religioso 2:51 4. Michael’s Letter 1:08 5. The Immigrant / Love Theme from The Godfather Part III 2:36 6. The Godfather Waltz 1:24 7. To Each His Own 3:21 Performed by Al Martino 8. Vincent’s Theme 1:49 9. Altobello 2:08 10. The Godfather Intermezzo 3:21 11. Sicilian Medley Va, pensiero / Danza tarantella / Mazurka (alla siciliana) 2:09 12. Promise Me You’ll Remember (Love Theme from The Godfather Part III) 5:10 Performed by Harry Connick Jr. 13. Preludio and Siciliana** 8:15 14. A casa amiche** 2:00 15. Preghiera** 5:29 16. Finale** 8:12 17. Coda The Godfather Finale 2:28 * Not used in film ** Excerpts from Cavalleria Rusticana This is a CD format release. Www.lalalandrecords.com #godfather #godfatherfilms #carminecoppola #francisfordcoppola #soundtracks