Alexander Grodzinski
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Beiträge von Alexander Grodzinski
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Das werden auch nur die CDs sein, die sie noch im Lager haben. Scheinbar enden die Lizenzen für die Titel und nach Ablauf dieser dürfen sie die CDs nicht mehr verkaufen.
Oder die Titel liegen jetzt schon so lang im Lager, ohne dass noch ein Exemplar davon verkauft wurde und daher sind sie nun für den Abverkauf freigegeben
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Snow Files of the Week: „The Seeds Of Mistrust", aus „The X-Files", Episode „Kitten" (2018).
In dieser Folge aus der elften Staffel erfahren wir etwas mehr über Assistant Director Skinner. Während des Vietnam-Krieges diente Skinner bei den Marines. Zusammen mit seinem Kameraden John „Kitten" James soll er eine Kiste mit der Aufschrift MK-NAOMI eskortieren. Sie werden angegriffen und beide müssen sich in einer Hütte mit anderen Zivilisten verstecken. Während Skinner einem verwundeten Soldaten hilft, wird die Kiste von Kugeln getroffen und ein grünes Gas tritt aus, welchem John ausgesetzt wird. Als Skinner in die Hütte zurück kommt, sieht er, dass „Kitten" alle Zivilisten ermordet hat. In der Gegenwart werden Mulder und Scully auf die Spur Skinners gesetzt, der spurlos verschwunden ist. Etwas aus der Vergangenheit ist wieder aufgetaucht.
In diesem Stück zeigt sich Mark wieder von seiner melancholischen Seite. Ein geisterhafter Chor singt über die sanften Streicher und Piano-Motive, das X-Files-Thema taucht kurz auf, bevor das Stück mit einer wehmütigen Solo-Trompete endet. Die Tracks stammen vom 2CD-Set von LLL, welches auf 3.000 Stück limitiert ist.
Viel Spaß beim Hören!
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Neu von Quartet:
Quartet Records, in collaboration with GDM and Sony EMI Italia, presents a remastered, expanded edition of Academy Award-winning composer Luis Bacalov’s score for ROMA BENE, directed by Carlo Lizzani in 1971 and starring Nino Manfredi, Virna Lisi, Philippe Leroy, Irene Papas, Senta Berger and Michèle Mercier.
ROMA BENE is a satirical comedy featuring a luxurious cast that gives life to a gallery of quirky characters, aimed at portraying the vacuous worldliness, moral misery and societal vices of the time. It depicts a wealthy, consumerist middle class that sacrifices human relationships to profit and personal fulfillment and is condemned to a final, mocking backlash.
For ROMA BENE, Luis Bacalov (QUIEN SABE?, DJANGO, SUMMERTIME KILLER) composed a score based on the progressive rock sound that had been bringing him much success in his collaborations with the group Osanna. The songs “Rhythm,” with lyrics by Audrey Nohra Tainton (reused in Fernando di Leo’s MILANO CALIBRO 9), “Don’t Put Me Down” (lyrics by Mack David) and “Down Memory Lane” (lyrics by Susy Carrington) are performed by Richard Cocciante with the group Godfather.
The hard-to-find soundtrack album was released on LP in 1971 by Delta Records in Italy and issued on CD in 2004 by the Japanese Avanz label. For this new release, the original stereo album is completed with the original film versions recorded by Bacalov and mixed in mono. Restored and mastered by Chris Malone and supervised by Claudio Fuiano, the package includes liner notes by European film music scholar Bruno Oliver.
THE ORIGINAL ALBUM
1. Down Memory Lane 4:26 Richard Cocciante
2. Boulders Movement (Part. 1) 3:08 Godfather
3. Uma Bossa Praí Dedeí 2:52 Toquinho
4. Blue, Eggs And Ham 2:58 Country Lovers
5. Rhyhm 4:38 Richard Cocciante
6. Sylviaís Earrings 1:49
7. Boulders Movement (Part. 2) 2:47 Godfather
9. Donít Put Me Down 4:24 Richard Cocciante
FILM VERSIONS
10. Roma Bene (Pezzo classico) 2:45
11. Rhythm (Instrumental) 4:43
12. Una Villa Bene (Film Version) 3:50
13. Uma Bossa Praí Dedeí (Film Version ñ Take 1) 2:54
14. Roma Bene (Barocco 1) 2:22
15. Sylviaís Earrings (Film Version) 5:15
16. Roma Bene (Bossa Slow) 3:55
17. Roma Bene (Barocco 2) 2:38
18. Uma Bossa Praí Dedeí (Film Version ñ Take 2) 2:43
19. Boulders Movement (Film Version) 3:07
20. Roma Bene (Sequenza Psichedelica) 2:24
Total Disc Time: 65:40
Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered edition of two iconic western scores by Ennio Morricone for the for the classic RINGO diptych, directed by Duccio Tessari in 1965 and starring Giuliano Gemma.
This 2-CD deluxe edition brings together all the previously released material from both RINGO movies with programs that were originally put together for RCA and GDM Music.
Disc 1 contains the stereo program of both RINGO movies, with the cues selected by Morricone for the original RCA release. We have also included the very rare 1965 album originally entitled “La Storia, I Dialoghi, Le Canzoni di Il Ritorno Di Ringo.” This soundtrack was a dialogue/music hybrid that featured Morricone’s music interspersed with newly recorded narration and even included sound effects to retell the whole story in about half an hour. This album also notably includes some short cues that can only be heard in that program.
Also included is a clean take of “L’incontro con la figlia” Although originally composed for his rejected score for THE BIBLE, and later used in THE SECRET OF THE SAHARA, Morricone also used this cue in IL RITORNO DI RINGO, and it even appeared on the 1965 dialog album.
Disc 2 includes the first version released by GDM on CD in 2004 with cues once again selected by the composer, which was entirely in mono. It is interesting because some takes are different from the previous stereo version, as well as the fact that the program was expanded.
Restored and mastered by Chris Malone and supervised by Claudio Fuiano, the richly illustrated 16-page booklet contains in-depth liner notes by the much-missed Gergely Hubai discussing the film and the score.
DISC ONE
UNA PISTOLA PER RINGO (Stereo)
2. Honky Tonky 0:42
3. Suspence Grottesca 1:40
6. Bamba Bambina 1:31
7. La Strage 1:58
8. L’attesa 2:36
10. Una Pistola per Ringo 2:17
IL RITORNO DI RINGO (Stereo)
12. Il Travestimento 2:23
14. Dai Fuentes 1:08
15. L’incontro con la figlia 2:45
16. La Bamba di Barnaba 2:34
17. Il Matrimonio e la Vendetta 1:28
18. Il Funerale 2:03
19. La Pace Torna a Mimbres 2:20
LA STORIA, I DIALOGUI, LE CANZONI DI IL RITORNO DI RINGO (Mono)
20. La storia, I dialogui, le canzoni di Il Ritorno di Ringo Part I 17:47
21. La storia, I dialogui, le canzoni di Il Ritorno di Ringo Part II 18:58
Total Disc Time: 73:49
DISC TWO
UNA PISTOLA PER RINGO (Mono)
1. Angel Face (Titoli di testa) 2:18
2. Honky Tonky 0:41
4. Lo Scontro 1:58
5. Rag Sospeso 1:24
6. Messico Eroico 1:35
7. Una pistola per Ringo (Instrumental) 2:17
8. Bamba Bambina 1:31
9. La Strage 1:58
10. L’attesa 2:36
12. Rag Sospeso (#2) 1:13
13. Messico Eroico (#2) 1:00
14. Angel Face (Titoli di coda) 1:40
15. Una pistola per Ringo Suite 3:53
IL RITORNO DI RINGO (Mono)
16. Il ritorno di Ringo (Titoli di testa) 2:15
17. Il Travestimento 2:23
18. Il ritorno di Ringo (Mariachi #1) 1:51
19. Il ritorno di Ringo (Violenza) 5:54
20. Lo Sceriffo Carson 1:20
22. Il ritorno di Ringo (Mariachi #2) 2:03
23. Il ritorno di Ringo (Instrumental) 1:26
24. La Bamba di Barnaba 2:33
25. Il Matrimonio e la Vendetta 1:27
27. La Pace Torna a Mimbres 2:20
Total Disc Time: 55:28
Total 2-CD Time: 129:17
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Intrada announces the premiere release of the 1957 Universal Pictures western Night Passage. Composer Dimitri Tiomkin was famous for his westerns, including such classics as High Noon, Gunfight at the OK Corral, Red River and Rio Bravo. Until now, very little of his score to Night Passage has been released. Here, Tiomkin displays his legendary talent for scoring the genre, including exciting action passages, broad sweeping themes and two songs written with lyricist Ned Washington: “Follow The River” is a soulful ballad, sweeping and wide, and “You Can’t Get Far Without A Railroad” is a folksy, comic song that a vaudevillian might have called a “novelty number.” Stewart, with his rustic, untrained baritone, performs both in the film (as can be heard in the Extras on this disc).
The CD was produced by Chris Malone using the original mono session masters stored in pristine condition at Universal. The score runs 52 minutes wiht an additional 24 minutes of extras.
In the film, James Stewart plays Grant McLaine, a onetime “trouble shooter” for railroad boss Ben Kimball (Jay C. Flippen). McLaine is now a vagabond who earns his supper playing the accordion and singing. Amid encounters with two old flames, Charlie (Dianne Foster) and Verna (Elaine Stewart), who is now Kimball’s wife, he learns that the railroad payroll has twice been stolen by an outlaw gang led by Whitey Harbin (Dan Duryea) and that among the gang is The Utica Kid (Audie Murphy), whose personal history with McLaine is what led to the latter’s fall from grace. Kimball offers McLaine a shot at redemption if he will safeguard the payroll as it travels by train to the end of the line.
01. Main Title (Follow The River) (2:34)
02. Short Cut / Bully, Bully (2:13)
03. Four Bits A Night (1:22)
04. You Belong To The Railroad (3:04)
05. The Bargain (2:26)
06. Risky Ride (1:41)
07. Follow The River (3:12)
08. Train A-Winding/What’ll It Be? (1:33)
09. Tanked (3:33)
10. In The Box/Do It Yourself Kid (2:09)
11. Coming To (2:16)
12. Railroaded/Charlie My Girl (2:57)
13. Looking For Trouble (3:35)
14. Fast Gun/For Joey’s Sake/Marry Me Now (7:42)
15. Pursued/Mill Town (3:42)
16. Flying Bullets/Sure As Shootin’ Part 1 (3:13)
17. Sure As Shootin’ Part 2/Count Your Bullets (4:00)
18. End Title (Follow The River) (0:56)
Total Score Time: 52:26THE EXTRAS
19. Follow The River (Vocal) (2:29)
20. You Can’t Get Far Without A Railroad (Vocal) (3:53)
21. Take 203 – Follow The River (0:37)
22. Take 154 (3:55)
23. Sweet Betsy From Pike/Follow The River (1:43)
24. Follow The River (Film Version) (Vocal James Stewart) (4:08)
25. Follow The River – Scene With Joey (Vocal James Stewart) (1:50)
26. You Can’t Get Far Without A Railroad I (Vocal James Stewart) (3:11)
27. You Can’t Get Far Without A Railroad II (Vocal James Stewart) (0:35)
28. You Can’t Get Far Without A Railroad III (Vocal James Stewart) (0:49)
Total Extras Time: 23:29
Total CD Time: 75:55-
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Snow Files of the Week: „Time like a heartbeat/Lonely Man", aus „The X-Files", Episode „Memento Mori" (1997).
In der Folge „Leonard Betts" hat Scully von Leonard erfahren, dass sie einen Krebs-Tumor hat. Sie erzählt es nur Mulder und Skinner und möchte auf jeden Fall weiterarbeiten. Während Mulder nach Informationen sucht, um Scully zu helfen, versucht Skinner mit dem Cigarette Smoking Man einen Deal zu machen, der Scullys Leben retten soll.
Entsprechend melancholisch kommt Marks Musik daher. Die sanften Streicherflächen begleiten den Kampf um Scullys Leben, ein schönes Piano-Thema gibt es ebenfalls zu hören.
Die Musik stammt vom vierten Set von LLL, welches auf 2.000 Stück limitiert ist.
Viel Spaß beim Hören!
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LLLCD 1643
Music by George Duning
Theme from Star Trek by Alexander Courage
Limited Edition of 1701 Units
RETAIL PRICE: $29.98
La-La Land Records and CBS Studios proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 5, the fifth in a series of limited edition CD releases that showcase original scores from the landmark sci-fi television series STAR TREK (1966-1969). Containing music originally from our long out-of-print 2012 Original Series Box Set, these exciting volumes utilize the same restored master as that acclaimed release, but feature new packaging by Dan Goldwasser, along with brand new, exclusive liner notes by film music writer and Trek historian, Jeff Bond. This groundbreaking, iconic music, from one of television’s most acclaimed and beloved series, is now again available for fans everywhere!
Vol. 5 of the 1701 Collection focuses on the Trek TOS music of renowned composer George Duning, with the “Star Trek Theme” by Alexander Courage, and contains original music from the classic episodes METAMORPHOSIS, RETURN TO TOMORROW, PATTERNS OF FORCE, IS THERE IN TRUTH NO BEAUTY? and THE EMPATH, along with MAIN and END TITLES. Produced by Lukas Kendall, Neil S. Bulk and Jeff Bond, restored by Chris Malone and mastered by Doug Schwartz, this limited edition 2-CD release of 1701 units, as well as forthcoming volumes of this series, illustrate how the original Trek series scores not only teem with action, adventure and drama, but how they are infused with deep emotion and the greatness of the human spirit. Such characteristics have kept these richly orchestrated tracks vital and relevant decades beyond their original recording.
TRACK LISTING:
DISC 1
1. Main Title/End Title*
(2nd Season, Soprano Version, Enhanced Stereo) 1:18
Arranged and Conducted by Alexander CourageMetamorphosis
Music Composed and Conducted by GEORGE DUNING
Episode #31, Recorded 6/28/67 • Aired #38, 11/10/67
Total Time: 30:36
2. Shuttlecraft/Shuttle Helpless M11/M12 2:09
3. The Planetoid/Most Unusual M13/M14 1:16
4. Cochrane* M15 1:35
5. Looks Familiar M21 0:51
6. Companion*/Still Alive M22+M22X/M23 0:42
7. Zefram/Nancy Flips M24/M25 1:14
8. You’ve Got It/Angry Companion* M26/M27–30+M27–30X 1:13
9. Cochrane Calls M31+M31X 2:15
10. Spock OK/Judas Goat M32/M33/M33A 2:07
11. Mad Companion* M34+M34X 1:36
12. Starship*/Scott Anxious M41 tk 3/M42 0:38
13. Transition*/Companion Talks/Kirk Frustrated M43/M44/M44A 4:23
14. Cochrane Angry/Spock Puzzled/Nancy Sobs* M45/M46–50/M51 1:11
15. Kirk Pleads/New Nancy M52+M52X/M53 3:06
16. It’s Her/Loneliness M54/M55–60 2:57
17. You Loved Me M61 1:45
18. Cochrane’s Decision* M62 1:12Return to Tomorrow
Music Composed and Conducted by GEORGE DUNING
Episode #51, Recorded 12/29/67 • Aired #49, 2/9/68
Total Time: 18:08
19. The Voice* M12 1:07
20. Who Are You/The Globes* M15/M21 1:20
21. Sargon Transfers/Sargon Requests M22/M23 2:23
22. Thalassa/Kirk Returns M24/M31 1:14
23. Kirk’s Philosophy* M32 0:58
24. Ready Sargon M33 0:52
25. Thalassa Recalls M34–40 1:53
26. Henoch†/I Remember† M41/M44 1:14
27. Thalassa Worried†/Nurse Puzzled†/Thalassa Concerned/Thalassa Pleads M45/M45A/M46/M51 2:33
28. Sargon Inert† M52 0:56
29. Nurse Chapel*/Spock Alive M55–60/M63 1:34
30. Last Moments* M64 1:41Patterns of Force
Music Composed and Conducted by GEORGE DUNING
Episode #52, Recorded 12/29/67 (With “Return to Tomorrow”)
Aired #50, 2/16/68
Total Time: 6:36
31. Military Mite (Nazi March) M10 tk 1 1:41
32. Military Mite (Nazi March) (soft version) M10 tk 2 1:17
33. Military Mite (Nazi March) (10 bars, soft opening) M10 tk 3 0:24
34. Military Mite (Nazi March) (10 bars, hard opening) M10 tk 4 0:26
35. Military Mite (Nazi March) (6 bars, long ending) M10 tk 5 0:15
36. Military Mite (Nazi March) (6 bars, short ending) M10 tk 6 0:14
37. Military Mite (Nazi March) (horn motive) M10 tk 7 0:09
38. Military Mite (Nazi March) (horn theme) M10 tk 9 0:15
39. Military Mite (Nazi March) (percussion only) M10 tk 10 1:43
Total Disc Time: 56:59* Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry
† Contains “Blackship Theme” Composed by Fred SteinerDISC 2
1. Main Title* (3rd Season, Soprano Version, Stereo) 1:02
Arranged by Alexander Courage, Conducted by Wilbur HatchIs There in Truth No Beauty?
Music Composed and Conducted by GEORGE DUNING
Episode #62, Recorded 9/6/68 • Aired #60, 10/18/68
Total Time: 36:40
2. Enter Marvick*/Enter Miranda† M11/M12 1:37
3. Ambassador Arrival*/My Life Is Here†/I Must Know/Starship Party* M13/M14/M15/M21 3:36
4. McCoy’s Toast/Quite a Woman/Marvick Pleads M22/M23/M24/M24A 5:27
5. Marvick Mad/Marvick Berserk/Marvick Dies M31/M32/M32A/M33 5:56
6. Unknown Void/Sentimental Jim/What Is Ugly?†/Why? M34/M41/M42/M43 3:57
7. Blind Miranda/Mind Link†/Spock—Kollos M44/M51/M52 4:55
8. Hero Spock*† M53/M53A/M53B 3:38
9. Don’t Move/Spock Out/No Change/Miranda Mad†/Miranda’s Farewell*† M61/M62/M63/M64/M64B/M64A/M64C/M65 7:19The Empath
Music Composed and Conducted by GEORGE DUNING
Episode #63, Recorded 9/6/68 • Aired #67, 12/6/68
Total Time: 32:24
10. Starship Again*/Nova Phase/What Happened? M11/M12/M13 2:02
11. Lost Trio/Enter Gem/The Vians/Kirk Stunned/Force Field/Kirk Healed M14/M15+M15A/M16/M21/M22/M23 4:27
12. Vian Lab/The Subjects M24/M25 1:55
13. Cave Exit†/Star Trek Chase/Slow Motion Kirk M26/M27/M28–30/M28–30A/M28–30B 3:18
14. One Specimen/Kirk Tortured/Kirk’s Agony/Help Him/Vians’ Threat M31/M32/M33/M34/M35 4:55
15. How’s It Going*/Spock’s Hypo/Spock Stuck†/McCoy Tortured/Gem Wistful M41/M42/M43/M44/M45 3:52
16. Poor McCoy/Bedside Manner/No Interference/Time Grows Short M51/M52/M53/M54–60/M54–60A 6:34
17. Don’t Touch Me M61 2:07
18. Vians’ Farewell/Off Again* M62/M62A/M63 1:51
19. Empath Finale*† M64 1:0520. End Title* (3rd Season, Soprano Version, Stereo) 0:44
Arranged by Alexander Courage, Conducted by Wilbur Hatch
Total Disc Time: 71:06
* Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry
† Contains “Mr. Spock” Composed by Gerald Fried
This is a CD format release. -
Universal Pictures Film Music Classics Collection
Music composed and conducted by John Addison
Also featuring the unused score recording
Composed and conducted by Bernard Herrmann
Limited Edition of 3000 Units
RETAIL PRICE: $22.98
La-La Land Records and Universal Studios proudly present the twentieth title within the acclaimed Universal Pictures Film Music Classics Collection – TORN CURTAIN, a remastered and expanded limited edition CD release of the original motion picture score to the 1966 dramatic thriller directed by the legendary Alfred Hitchcock, and starring Paul Newman and Julie Andrews. This special release, produced in partnership with Universal Music Enterprises, showcases the original film score, composed and conducted by John Addison (THE ENTERTAINER, TOM JONES) as well as the film’s unused score recording by Bernard Herrmann (VERTIGO, PSYCHO).
With ’60s era pop sensibilities infused throughout, composer John Addison’s score to TORN CURTAIN marked a musical departure for Hitchcock, providing a notable contemporary style and sound for its time. Addison’s work lends a bright sense of fun and romance to the film, in addition to expertly satisfying the story’s requirements for drama and suspense. Composer Bernard Herrmann’s final work for Hitchcock is a darker, more traditional affair, demonstrating the renowned maestro’s excellence in the grand tradition of his previous collaborations with the director.
Produced, edited and mastered by Mike Matessino from high resolution transfers of pristine 3-track stereo vault masters, this special presentation features Addison’s score sounding better than ever, and expanded by almost double the running time of the 1966 Decca album. Herrmann’s unused score presents all material he captured during his one day of recording for the film. Herrmann’s material here is expanded by more than eight minutes beyond what was previously released in 1999. Limited to 3000 units, this CD release includes exclusive, in-depth liner notes by author Jeff Bond and sharp art direction by Dan Goldwasser.
MUSIC COMPOSED AND CONDUCTED BY JOHN ADDISON
SCORE PRESENTATION
1. Main Title From Torn Curtain 2:24
2. Code One 0:35
3. The Love Theme From Torn Curtain (Extended Version) 3:25
4. Book Store 2:05
5. First Premonitions 2:28
6. Behind The Curtain (Extended Version) 3:11
7. More Premonitions 1:39
8. Sarah Alone 1:49
9. East Berlin At Dawn 2:32
10. First Introduction To ‘Pi’ 1:19
11. The Murder Of Gromek (Extended Version) 3:19
12. Sarah And Superimposures 4:44
13. Michael And Sarah – Alone On The Hill 1:24
14. Phone Wire / Hole In The Ground / Caution 3:57
15. Escape On The ‘Pi’ Bus (Part 1) 3:45
16. Escape On The ‘Pi’ Bus (Part 2) 4:12
17. Escape On The ‘Pi’ Bus (Part 3) 2:29
18. Finale From Torn Curtain 2:06
19. Variations On The Love Theme From Torn Curtain 1:17
TOTAL SCORE TIME: 49:41ADDITIONAL MUSIC
20. Torn Curtain Love Theme Instrumental 1:37
21. The Love Theme From Torn Curtain (Alternate Segment) 2:42
22. First Premonitions (Alternate) 2:24
23. Behind The Curtain (Alternate Segment) 1:33
24. End Title From Torn Curtain (Alternate) 1:18
25. The Love Theme From Torn Curtain (Green Years) 1:36
Performed by The Johnny Mann Singers
Lyrics by Jay Livingston and Ray Evans
TOTAL TIME: 11:27
THE UNUSED SCORE RECORDING COMPOSED AND CONDUCTED BY BERNARD HERRMANN
26. Torn Curtain Prelude 2:13
27. The Ship 0:54
28. The Radiogram 1:55
29. The Hotel 0:40
30. The Bookstore 1:38
31. The Book 1:52
32. The Travel Desk / The Blurring 1:29
33. The Killing 2:19
34. Torn Curtain Prelude (Alternate Take) 2:01
TOTAL TIME: 15:20
TOTAL DISC TIME: 76:36
This is a CD format release. -
vor 20 Stunden schrieb TheRealNeo:
John rennt als erstes in die Videospiel-Abteilung.
Auch eine witzige Szene bei seinem Auftritt auf dieser SteelCityCon (Video oben). Eine Frau aus dem Publikum erzählt ihm, dass sie Gelegenheitsschauspielerin ist und fragt ihn, ob sie in seinem nächsten Film dabei sein darf. Er antwortet mit „Klar, ich lasse dich vorsprechen und entscheide dann, ob du gut genug bist" und verweist sie an seine Assistentin hinter der Bühne, bei der sie sich melden und ihren Namen hinterlassen soll. Die Frau ist begeistert. Was mich daran schmunzeln lässt, ist die Tatsache, dass ich John das total abkaufe, er meint das wirklich ehrlich. Aber gleichzeitig weiß er auch, dass er keinen Film mehr machen wird. Da kann er das natürlich leicht versprechen.
Das wäre wirklich ein Wunder, wenn Carpenter noch mal einen Kinofilm machen würde. Aber ich glaube da nicht mehr dran. Schon bei THE WARD hat er in den Interviews betont, wie schwierig das Filmemachen für ihn mittlerweile ist und dass er einfach nicht mehr die Lust und die Kraft hat für lange Arbeitstage und viel Stress. Und auch hier bei dem Panel erzählt er wieder, wie schwer es mittlerweile geworden ist, einen Film zu machen. Also bezogen auf eigene kreative Entscheidungen und das Einmischen anderer bei großen Studios. Carpenter hat das ja am eigenen Leib erfahren müssen, bei BIG TROUBLE IN LITTLE CHINA und ESCAPE FROM L.A.. Letzterer wurde mal in einer Doku von einem französischen Kritiker als der Knackpunkt in Carpenters Karriere bezeichnet. Nach diesem Erlebnis war Carpenter ein anderer, was sich in seinen Filmen, die er danach gemacht hat, auch zeigt.
Ich würde diesen Knackpunkt schon viel früher ansetzen, eben bei BIG TROUBLE. Da war er schon so frustriert von der Filmbranche, dass er PRINCE OF DARKNESS und THEY LIVE! danach wieder im Low-Budget-Bereich gemacht hat. Aber dafür hatte er die kreative Kontrolle. Und selbst da gab es dann Probleme mit den Produzenten, die Carpenter quasi verklagten, damit er noch einen dritten Film für sie drehen würde, wie es vertraglich ausgemacht war. Und Carpenter verklagte die Produzenten, weil sie seiner Meinung nach Geld aus den Gewinnen einbehalten hatten. Das Ergebnis dieses Rechtsstreits war dann VILLAGE OF THE DAMNED, den Carpenter dann Wohl oder Übel machen musste. Selbst in seinem Low-Budget-Bereich lief es also nicht mehr rund, also was sollte er noch machen? Daher sehe ich diesen Knackpunkt eben schon Ende der 80er/Anfang der 90er. Er hatte einfach das Feuer und die Leidenschaft für seinen Beruf verloren, hangelte sich aber noch weiter durch, denn Geld musste er ja trotzdem irgendwie verdienen. Aber seine 90er-Jahre-Periode ist geprägt von mittelmäßigen Filmen, mit kleinen Ausreissern wie IN THE MOUTH OF MADNESS. Und seine Kinokarriere beendete er dann eben mit dem absoluten Tiefpunkt GHOSTS OF MARS. Der Film hat so gut wie keinen Carpenter-Flair mehr, ist, im Gegensatz zu seinen früheren Filmen, absolut uninspiriert und flach abgefilmt und runtergekurbelt. Carpenter selbst hat über die Zeit später gesagt, dass er erschrocken ist, als er Aufnahmen von sich aus der Zeit gesehen hat. Darauf wirke er wie ein Zombie, der nur noch funktionierte. Und besser kann man seine Filme aus dieser Zeit auch nicht beschreiben. THE WARD war dann zwar wieder einen Ticken besser, aber im Vergleich zu früheren Werken ebenso uninspiriert wie sein letzter Output.
Von daher finde ich es gar nicht schlimm, dass er keinen Film mehr machen wird. Damit würde er nur noch weiter an seinem Vermächtnis sägen. Umso schöner, dass er die Musik wieder für sich entdeckt hat (für THE WARD, sowie für die beiden Folgen der Serie MASTERS OF HORROR, die er inszeniert hat, schrieb er nicht mehr die Musik, war ihm zu anstrengend) und sich in dem Bereich jetzt austoben kann.-
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vor 6 Minuten schrieb Stese:
@Alexander Grodzinski Danke für den Hinweis. Habe die CD sofort bestellt.
Conrad ist zwar nicht mein Liebling der Hörspielmusiken, aber trotzdem gehört er dazu, da ich die Hörspiel-90er noch miterlebt habe.Gern.
Schon erstaunlich, wie lukrativ diese Veröffentlichungen doch sein müssen. Nachdem Carsten Bohns Musik jahrzehntelang unter Verschluss war, hat er mit seinen Brandnew Oldies wohl die Tür aufgestoßen und nach und nach veröffentlichen alle Europa-Komponisten ihre Musik. Wenn auch, im Gegensatz zu Bohn, die Originalaufnahmen. Aber die von Bohn dürften bis zum jüngsten Gericht in den Archiven von Europa vor sich hin dämmern.
Bohns Musik ist natürlich meine liebste Europa-Musik. Die Backert-Sachen noch mit Abstrichen, da ist auch die Qualität von Produktion und Arrangement nicht mehr so hoch wie bei Bohn. Die Musik, die die Drei Fragezeichen mittlerweile haben, ist für mich eigentlich nicht mehr der Rede wert. Sie haben jetzt das lahmste Titelstück überhaupt, das klingt so ein bisschen nach Rentnerveranstaltung (was es mittlerweile in Bezug auf das Alter der Sprecher fast schon ist
). Und auch die Zwischenstücke kann man größtenteils nicht mehr als Musik bezeichnen, da bewegen wir uns eher im Bereich des Sounddesigns. Und nicht mal im guten Bereich. Schon erstaunlich, dass auch hier die Entwicklung der Filmmusik, also weniger Melodie, mehr Wabern, Einzug gehalten hat.
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Am 15.12.2023 um 14:24 schrieb Stese:
Sie kommen. Nur arbeitet der Apparat beim Lizenzgeber sehr träge und man wartet noch auf grünes Licht für die Freigabe des Remasterings, der Trackeinteilung, des grafischen Layouts, der korrekten Erwähnung der Credits und dem ganzen Brimborium was dazu gehört.
Kiddinx ist in solchen Dingen nicht schnell unterwegs.
Die ersten sechs Folgen sind natürlich schon hier und ich habe sie mittlerweile auch gehört. Ich kenne die Folgen natürlich alle von den Kassetten, aber es ist schön, sie auch von CD noch mal zu hören. Das Remastering macht sich in der Musik leicht bemerkbar, die hat etwas mehr Power. Und Uli Herzogs Stimme mehr Hall.
Wenn ich was zu meckern hätte, dann ist das die Gestaltung der Booklets innen. Die Aufteilung der Blöcke der Info-Texte ist teilweise wie Kraut und Rüben und leider bei einigen Folgen auch mit Schreibfehlern oder fehlenden Leerzeichen. Das verleiht dem Ganzen dann wieder eher so einen Bootleg-Charme, wie ihn auch schon die Erstauflage auf CD hatte. Aber ich bin ja froh, dass die Serie überhaupt nochmal auf CD erscheint.
Und es gibt eine weitere Hörspielmusik-Veröffentlichung alter Europa-Stücke. Dieses Mal wieder von Jan-Friedrich Conrad. Das Album „Crime Scenes" gibt es digital, als Doppel-Vinyl und Doppel-CD.
Lange haben die Fans warten müssen. Jetzt ist es da: Ein brandneues Album von Jan-Friedrich Conrad - erstmals auf Doppel-Vinyl und Doppel-CD! Es enthält viele Klassiker aus den EUROPA-Hörspielserien Die drei ???, TKKG, Fünf Freunde, Das Schloß-Trio, A Nightmare On Elm Street, Hanni & Nanni, Knight Rider, Airwolf, u.v.m.
CD 1 enthält die Classics aus den späten 80ern und frühen 90ern. CD 2 enthält einige Titel aus den frühen 2000ern und die aktuellen Produktionen ab 2013.
Besonderes Highlight ist übrigens die Variante der Titelmelodie aus den Erstauflagen mit der legendären Textzeile "Justus Jonas, Peter Shaw, Bob Andrews / sind 'Die drei Fragezeichen'-Detektive.".Das Booklet enthält einige Fotos von damals und heute, sowie spannende Insider-Infos.
Zusammengestellt wurde der Soundtrack euer Jugend (viele Songs sind inzwischen über 30 Jahre alt) von Felix Bartling. Für Illustrationen und Gestaltung zeigt sich Andreas Ruch, der sich im „Die drei ???“-Kosmos mit seinen Illustrationen und als Autor einen Namen gemacht hat, verantwortlich.
Das Album erscheint – streng limitiert – als 180g Gatefold-Doppel-Vinyl, auf Doppel-CD und als Download. Alle Tracks wurden professionell remastered. -
Ein Hinweis von Bernd:
„Nachdem ich jetzt schon viele CD-Pakete verkauft habe, sind noch 1.022 Titel übrig geblieben. Mittlerweile habe ich auch eine Datenbank über die App CLZ Music erstellt, die für alle einsehbar ist und je nach Verkäufen aktualisiert wird. Die Datenbank ist über https://soundtracks.klangpirator.de/ zu erreichen. Die Abwicklung erfolgt ausschließlich über Ebay, da dieses für mich am bequemsten ist."
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vor 12 Stunden schrieb Nightwalker:
Habe das Album bisher drei Mal durchgehört. Von allen Lost Themes Alben gefällt mir dieses bisher in Gänze am Besten. Hat paar richtig schöne "Rock"-Passagen, einige wunderbare Piano Arpeghios, viele schöne Synthies und klopfende Bass-/Synth Drums
Ich habe das Album jetzt zweimal durch. Der erste und der letzte Titel sind meine persönlichen Highlights. Insgesamt finde ich aber, dass sich die Stücke sehr ähneln. Das war schon bei LOST THEMES III der Fall, die ersten beiden Alben finde ich da abwechslungsreicher.
Wenn ich haarspalterisch wäre, würde ich fragen, warum das Album NOIR heißt, denn es ist Carpenter-Musik "wie immer".
Bei dem Thema hätte ich mir wohl mehr "sinistere" Musik erwartet, wie in IN THE MOUTH OF MADNESS. Aber durch die meisten Tracks stampfen Carpenters Gitarrenriffs, was ich jetzt nicht direkt mit Noir verbinde. Aber sei es drum, es ist schön, dass er am musizieren so viel Spaß hat.
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Snow Files of the Week: "Randi loves Jason/Theme From Skateboard" aus dem Film "Skateboard" (1978).
Das ist die älteste Veröffentlichung eines Scores von Snow. Das Album zu "Skateboard", welches nur als LP und MC erhältlich ist, enthält Spät-70er Rockmusik und Marks groovenden Score. Musikalisch ein völlig anderer Mark Snow als der, der dann 15 Jahre später die X-Akten musikalisch zum Leben erweckte.
Viel Spaß beim Hören!
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Und auch hier geht es am 07. Mai weiter.
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Kommt am 07. Mai.
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Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1, featuring music from several films from the composer’s lengthy filmography, focusing on Westerns and World War II centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills.
FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1 includes music from RED MOUNTAIN, CIMARRON, THE INDIAN FIGHTER, THE ADVENTURES OF HUCKLEBERRY FINN, UNTAMED, THE FURIES, TASK FORCE, DESTINATION TOKYO, HOTEL BERLIN, MISTER ROBERTS and OBJECTIVE, BURMA!.
Composer, conductor and impresario,
Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more.
Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA.
Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year.
This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson.
Franz Waxman: Legendary Hollywood Vol. 1 is a limited edition release of 500 units and is expected to begin shipping the week of May 3rd.
WESTERNS
1. THE PIONEER SUITE 10:23
Music From Red Mountain, Cimarron and The Indian Fighter
2. THE ADVENTURES OF HUCKLEBERRY FINN Overture 6:18
3. UNTAMED 7:18
Suite: Prelude; Capetown Street; By the River; Vorwarts & Finale
4. THE FURIES 7:01
Suite: Prelude; Juan & Vance; The Mark Of The Furies;
The Romance Revived & The King Of The Furies
WORLD WAR II
5. TASK FORCE Liberty Fanfare 0:50
6. DESTINATION TOKYO 6:22 A Montage For Orchestra
7. HOTEL BERLIN Cafe Waltzes 8:32
8. MISTER ROBERTS 3:19
Suite: Prelude; Main Title; Final Scene; End Cast
9. OBJECTIVE, BURMA! 12:06
Suite: Prelude; Take-Off; In the Plane; Jumping; The Patrol;
Stop Firing; No Landing; Up the Hill; Invasion; Retreat; Finale
Total Time: 62:33
Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens for the 1979 television miniseries directed by Michael O’Herlihy, developed for television by Gwen Bagni and Paul Dubov. The cast included Leslie Uggams, Olivia Cole, Louis Gossett Jr., Robert Hooks, Bill Overton, David Downing Celeste Holm, Lee Grant, Larry Gates, Jan Sterling, Eileen Heckart, John Anderson, Harry Morgan, Estelle Parsons, Barbara Barrie, Andrew Duggan, Leslie Nielsen, Hari Rhodes, George Kennedy, Ed Flanders, Victor Buono, Barry Sullivan, Paul Winfield and Robert Vaughn.
BACKSTAIRS AT THE WHITE HOUSE was a 1979 NBC television miniseries presented in four parts and based on the 1961 book ‘My Thirty Years Backstairs At The White House’ by Lillian Rogers Parks (with Frances Spatz Leighton). The series, produced by Ed Friendly Productions, was the story of behind-the-scenes workings of the White House and the relationship between the staff and the First Families. BACKSTAIRS AT THE WHITE HOUSE was nominated for 11 Emmy Awards at the 31st Primetime Emmy Awards, winning for Outstanding Achievement in Make-up.
At its heart, BACKSTAIRS AT THE WHITE HOUSE is a story about resilience, self-sacrifice, and the enduring human spirit. Through its diverse cast of historical characters, the series celebrates the unsung heroes whose contributions often go unnoticed in the annals of American history. Whether it's the dedicated housemaids, the skilled chefs, or the loyal butlers, each member of the White House staff plays a vital role in upholding the traditions and dignity of the presidential residence.
The music for BACKSTAIRS AT THE WHITE HOUSE was crafted by composer extraordinaire Morton Stevens. Stevens gained industry-wide recognition for his work as the composer for the mega-hit television series HAWAII FIVE-O, which boasted one of the most recognizable themes in the history of television. Stevens’ music for BACKSTAIRS AT THE WHITE HOUSE is a veritable journey through six decades of period-accurate American folk music, with a European romantic twist. The modest-sized orchestra helps to create a close intimacy between the characters on screen and the audience. The main theme, often expressed in the upper strings, is peppered throughout the entirety of the series. The individual presidential administrations are scored as if each were its own “episode” within the larger framework of the narrative. There are individual themes and motifs representing the Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower families. Along the way, Stevens’ music evolves throughout the various administrations, mirroring the ongoing maturation of the United States as a nation.
Born In Newark, New Jersey in 1929, Morton Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICE WOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981 miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he both received Emmy nominations.
Dragon’s Domain Records presents the premiere release of BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens. The liner notes are written by author and composer Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland.
The music is presented on two CDs. When the score for BACKSTAIRS AT THE WHITE HOUSE was recorded , it was common for studios or networks to house the master tapes wherever storage space was available, even if proven detrimental to the materials over time. There was no foresight in preserving these reels for posterity. Many recordings during this period (especially for television) have not survived the passage of time. Magnetic tape warps and will eventually disintegrate if not properly stored in precise conditions. Several tracks of BACKSTAIRS AT THE WHITE HOUSE weathered significant damage which can be heard in the final transfer. Effort was taken to mend the damaged reels and digitally remove as much of the unwanted artifacts as possible. However, a handful of tracks were scarred beyond repair and are properly labeled as “Damaged” on this album presentation.
BACKSTAIRS AT THE WHITE HOUSE is a limited edition release and is expected to begin shipping the week of May 13th and can be ordered at www.buysoundtrax.com.
CD 1 EPISODE 1 (Taft, Wilson, Harding)
1. Main Theme (2:12)
2. The Story Begins / Getting To Work /Montage (4:48)
3. The Fan / Sneaking Food / Lillian in Catholic School (2:25)
4. Maggie’s Fine Dress / The Tafts Leave /Enter The Wilsons (4:19)
5. May 1914 / The Death of Mrs. Wilson / Hardly Dignified (2:17)
6. War Is Imminent / A Letter / War Is Over / Wilson Collapses (4:06)
7. Lincoln’s Bed / Fooling Senators / Meet The Prince Of Wales (7:03)
8. Wilsons Leave White House / Preparing For The Hardings / End Credit Theme (2:48)
9. Forgotten Coat / Contaminated Blood / Harding Walks Out / The Suicide / Goodbye (5:19)
EPISODE 2 (Harding, Coolidge, Hoover)
10. Annie’s Farewell / Efficient Coolidge / Bowl Of Peanuts (3:38)
11. Coolidge To The Dress Shop / Miss Jaffrey Resigns (4:11)
12. Repo Men Take Freezer / Lillian Goes To Work / First Day On The Job / Coming Up (5:26)SOURCE CUES
13. Marching Band (Source) (3:57)
14. Party (Source) (3:24)
15. Piano A (Source) (2:00)
16. Victrola (Source) (0:24)
17. The Charleston (Source) (0:45)
18. Music Box (Source) (0:16)DAMAGED TRACKS
19. Spring 1912* / Mrs. Taft’s Stroke* / Lillian’s Surgery* / Lillian’s Crutches* (4:34)
20. Recap Episode 1 / Illegal Booze / Teapot Dome* / Mrs. Harding and Maggie (3:31)
21. Spring 1912* (Alternate) (0:22)
22. Main Theme* (Alternate) (2:06)
Total Time - Disc One: 70:51CD 2 EPISODE 3 (Hoover, Roosevelt)
1. Main Theme (Long Version) (2:25)
2. Roosevelts Take Over / Lillian and FDR Bond / First Maid / Cleaning Frenzy (3:28)
3. I Am Never Going To Leave You / Salary Cut / Louis Howe Is Dead / Maggie Retires (5:50)
4. Miss LeHand Has A Stroke / Fraser Says Goodbye / FDR Talks of War (6:09)
EPISODE 4 (Roosevelt, Truman, Eisenhower)
5. Recap Episode 3 (3:46)
6. 1942 / Nothing But A Towel / Maggie Returns / Tea Tasting / No Excuse For Slovenliness (2:32)
7. Take Me Home / Fraser’s Death (3:20)
8. Lillian and FDR / The Trumans Take Over (4:15)
9. Mushroom Cloud / The Scrapbook / Blair House / Shootout / Surprise Birthday Party (5:22)
10. The Mays Funeral / Maggie’s Last Breath (5:01)
11. Lillian’s Last Day / I Am Going To Write A Book (3:40)
12. End Credit (1:05)
SOURCE CUES
13. Happy Days Are Here Again (Source) (2:14)
14. Newsreel (Source) (0:38)
15. Radio Play (Source) (0:56)
16. Big Band (Source) (0:45)
17. Piano B (Source) (0:42)
18. Party A / B (Source) (3:16)
19. Piano C (Source) (0:27)
DAMAGED TRACKS
20. Recap Episode 2 / Money’s Gone* / Secret Service (5:33)
21. Face To Face With Hoover / Henry Loses His Job* / Maggie Collapses (6:47)
22. Main Theme* (Short Version) (1:29)
Total Time - Disc Two: 70:38
Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for several projects in the Western genre from his extensive filmography appearing for the first time on compact disc.
STORY OF A RODEO COWBOY was a 1963 two-reel television documentary produced by the David L. Wolper Production Company. The 24-minute black and white documentary was directed by Kent MacKenzie, filmed in Salinas, California, and narrated by John Willis. The short film follows the life and travels of a group of professional rodeo cowboys.
WAGON TRAIN was a popular TV series that aired 284 episodes over eight seasons, first on NBC (1957–1962) and finally on ABC (1962–1965). Fried scored the second season episode, 'The Steve Campden Story,' directed by Christian Nyby (THE THING FROM ANOTHER WORLD, HELL ON DEVIL’S ISLAND). In this episode, Flint (Robert Horton) must find a way to get the wagon train around a snow-covered pass. On a scouting trek, he meets a father and son who are willing to help him, but they want to hike up the mountain… and the adventure ahead surprises them all. This episode was for Fried’s first Western film series and his only score for the show.
TERROR IN A TEXAS TOWN was a 1958 Western film written by Dalton Trumbo and directed by Joseph Lewis, who had helmed 40 primarily action-oriented films from 1938 to 1958.
TERROR IN A TEXAS TOWN is about a Swedish whaler (Sterling Hayden) who is out for revenge when he learns that a greedy oil man murdered his father for their land. It was Lewis’ last feature, after which he found a place in television work like many other Hollywood directors. Like other feature films by Lewis, such as GUN CRAZY, it has, over the years, acquired a cult following for Lewis’s stylistic flourishes, leading some to describe it as a Western film noir.
Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.
After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film well into his 90’s and passed away in February, 2023.
Dragon’s Domain Records presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring the world premiere releases of music composed by Gerald Fried for these Western related projects. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.
GERALD FRIED: THE WESTERNS, VOLUME 1 is a limited edition release. GERALD FRIED: THE WESTERNS, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com .
STORY OF A RODEO COWBOY
01. Pick Up Man (4:56)
02. Bronco Busting (5:20)
03. Barrell Man (5:24)
WAGON TRAIN: THE STEVE CAMPDEN STORY
04. The Mountain (3:18)
05. Meet The Campdens (3:00)
06. Climbing The Mountain (6:29)
07. The Cave (7:02)
08. Top Of The World / Finale (5:41)
TERROR IN A TEXAS TOWN
09. Prologue And Main Title (3:14)
10. The Saloon (2:27)
11. The Black Hat / A Father’s Death (2:02)
12. Hansen And The Boy (2:59)
13. End of Pepe (2:28)
14. Back To The Saloon (3:04)
15. Shootout And Finale (3:10)
Total Time: 61:14
Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley (WHEN A STRANGER CALLS, PUSHING DAISIES, THE LAST SHIP) for various projects from his filmography.
THE JIM DOOLEY COLLECTION, VOLUME 1 opens with music from an industrial film Dooley was hired to score for Mercedes-Benz, entitled ‘The Mercedes-Benz Axor. The industrial film was meant to be used for promotional purposes and featured shots of the truck in question.
The hit television series COSMOS based on the writings of author Carl Sagan was successfully rebooted in 2014 by Seth MacFarlane, Brannon Braga, Mitchell Cannold and Ann Druyan, featuring astrophysicist Neil deGrasse Tyson as the host. When COSMOS went into production, two composers were brought in to pen scores for each episode—one of them was Jim Dooley who was tasked to produce a series of themes that best demonstrated his proposed prescription to scoring the series. His demos were a huge hit with the producers. However, there was one alarming issue. The composer was already temporarily employed by the Ringling Bros. and Barnum & Baily Circus, preventing Dooley from accepting a role as composer for Cosmos. His demos for COSMOS are presented on this album for the very first time.
Also included on this album are a smattering of rare tracks from obscure projects early in Dooley’s career. UNTITLED: 003-EMBRYO was a short film directed by Mike Goedecke. The plot centers around a certified agoraphobic who receives a wooden box with items inside and promise to fulfill his deepest fantasies if he feeds five dreams to a grotesque creature stored within the machine. The entire score is presented here.
A collection of cues from the made-for-television sci-fi comedy AREA 52 appear next. AREA 52 was directed by Dooley’s college friend Adam Turner and starred Fred Savage. The plot revolved around a group of rag-tag government agents not good enough to guard Area 51 so they are assigned to the lesser Area 52. Hilarity ensues when they stumble into a legit mission requiring their services to help save the world.
The final selection on the album is the entire orchestral score for Dreamworks’ animated short film FIRST FLIGHT about a fastidiously organized businessman whose perspective on life is forever changed through an unexpected encounter with a fledgling bird.
Jim Dooley is an Emmy Award-winning composer/songwriter with a diverse repertoire spanning the film, television, video gaming and live theatrical industries. He has earned accolades for his solo work as well as proud collaborations with many of the top names in music, from Hans Zimmer, Kristin Chenoweth to Babyface. Dooley is a graduate of New York University and upon completion of his degree moved to Los Angeles to study the art of film composing at USC in the SMPTV program with prolific scoring legends Christopher Young, Elmer Bernstein and Leonard Rosenman. He joined Media Ventures (now known as Remote Control Productions) in 1999 and collaborated with Hans Zimmer on THE DA VINCI CODE, PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, THE RING and many others. Dooley is currently the composer of the hit CW show WALKER
Dragon’s Domain Records presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley, appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer.THE JIM DOOLEY COLLECTION, VOLUME 1 is presented as a disc-on-demand release.
THE JIM DOOLEY COLLECTION, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com.
The first 50 copies sold through the website will include a booklet autographed by composer Jim Dooley.
01. The Mercedes-Benz Axor (6:49)
From The Promotional Video
A SPACETIME ODYSSEY (Inspired by COSMOS)
02. Looking At The Stars (4:00)
03. Starscape (4:08)
04. Beyond The Solar System (1:51)
05. Solar Winds (3:25)
06. Europa (2:05)
07. The Void (2:12)
08. The Martian Landscape (2:38)
09. The Outer Planets (2:17)
10. The Asteroid Belt (2:13)
11. Suite From EMBRYO (12:39)
AREA 52
12. Opening / Dante’s Friends / First Mission (3:55)
13. First Cable / Haps Discovered (3:30)
14. Chase Dropped Off / Haps Tire Yard / Return / Van Hangar (1:51)
15. Return / End Credits (3:52)
16. Suite From FIRST FLIGHT (8:31)
Total Time - 66:40
BSX Records and Bukimisha the Weird Society are proud to present the a Capella recreation of Akira Ifukube’s unreleased score to the 1961 film spectacular BUDDHA. To chronicle the origin of Buddhism, Daiei Studios spared no expense to create large and elaborate sets that were filled with hundreds of extras, all captured in 70mm by VistaVision cameras. Ifukube utilized the skills of The Tokyo Symphony Orchestra and the result was one of the maestro’s most magnificent efforts, an emotionally moving assemblage of thoughtful and awe-inspiring motifs. Shockingly, an original soundtrack album has never been released, though an abbreviated suite was included on a compilation album (it was just audio lifted from the film). The original master tapes were shipped to England for mixing and apparently never returned to Japan. Plus, Ifukube was apparently dissatisfied with their work.
Bukimisha the Weird Secret Society is a self-proclaimed ‘secret society’ (pronounced “Boo-key-may-sha” and roughly translating into “Creepy Company”) and have enthralled Japanese audiences over several decades. They have transformed their love of music into a unique art form, building an impressive catalog currently exceeding 170 albums! Many of these feature selections from Akira Ifukube’s vast output of classical compositions and complete film scores. Bukimisha was even given the opportunity to perform before the legendary composer at one of his final birthday celebrations.
BSX Records is proud to once more offer the distinctive performance art of Bukimisha to movie music fans around the world. This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali, and comments from scholar Erik Homenick (akiraifukube.org) on the music featured.
This CD set is a limited run of 500 units.
01. Opening 2:47
02. Above and Below Heaven, I Am Worthy 2:49
03. Martial Arts Tournament 4:33
04. Kapila Castle 5:17
05. The Tragedy of Princess Yashodhara 3:41
06. Bodhi Tree 8:33
07. Kishimojin 2:59
08. Hanako Castle 1:58
09. Enlightenment of Kunara 5:49
10. Devadathha’s Divine Power 10:49
11. Rajgir 4:39
12. Collapse of the Rasatta Temple 7:43
13. Closing 5:16
14. Return ofBuddha, Devadathha (unused) 3:12
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Zur Fantasykomödie DEATH OF A UNICORN hat das Trio Carpenter/Carpenter/Davis den Score geschrieben.
ZitatDeath of a Unicorn ist ein Fantasyfilm aus dem Jahr 2024 von Alex Scharfman mit Jenna Ortega und Paul Rudd.
In der A24-Produktion Death of a Unicorn überfahren ein Vater (Paul Rudd) und seine Tochter (Jenna Ortega) auf dem Heimweg versehentlich ein Einhorn. Was natürlich Konsequenzen hat. Regie und Drehbuch übernimmt Alex Scharfman.
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John Carpenter beim Steel City Con Panel. Gleich zu Beginn spricht er über seine Musik und erwähnt dort auch, dass er wieder Musik für jemand anderen gemacht hat. Zusammen mit seinem Sohn Cody und Daniel Davis hat er den Score zu DEATH OF A UNICORN geschrieben. Das ist ein Film mit Jenna Ortega und Paul Rudd in den Hauptrollen. Kommt wohl noch dieses Jahr.
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vor 7 Stunden schrieb Sebastian Schwittay:
Kenne die Interpretation gar nicht. Sticht die verglichen mit anderen Referenzeinspielungen positiv heraus?
Es soll wohl die schlechteste Planeten-Einspielung überhaupt sein.
Ich paraphrasiere hier die Eindrücke anderer: Herrmann, hier schon kurz vor seinem Tod, dirigierte alles sehr langsam, was bei „Mars" noch reizvoll ist, da das langsamere Tempo die Musik noch bedrohlicher wirken lässt. Aber bei allen anderen Stücken ist das kontraproduktiv, es kommt keine Spielfreude auf, zudem gibt es wohl noch massenhafte Spielfehler des Orchesters.
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Quartet legt den Score leicht erweitert neu auf.
Quartet Records, in collaboration with Paramount Pictures, presents a remastered, slightly expanded reissue of James Horner’s classic war score for UNCOMMON VALOR (1983), directed by Ted Kotcheff and starring Gene Hackman, Robert Stack and young up-and-comers Patrick Swayze and Fred Ward.
The film is a dramatic action picture centered on retired U.S. Marine Colonel Jason Rhodes, who recruits a motley crew of soldiers and leads them on a clandestine operation in Laos. Their mission is the rescue of unacknowledged U.S. prisoners of war (POWs) left behind after the withdrawal from Vietnam, including Rhodes’ son, officially declared missing in action (MIA). The possible existence of such POWs was a topic of considerable interest during the late 1970s and early 1980s. The messy conclusion of the Vietnam War, coupled with the scandals of the Nixon era, had left many Americans alienated from their government and deeply skeptical of official claims that there was no evidence of living POWs in the former war zone.
James Horner was only 30 years old when he was hired to compose UNCOMMON VALOR, but he was already a seasoned composer with such successful films in his career as STAR TREK II, KRULL, BRAINSTORM and SOMETHING WICKED THIS WAY COMES, and he was about to enter the A-list of composers in Hollywood with his upcoming hit scores for ALIENS, AN AMERICAN TAIL and COCOON. Horner provides an inventive and effective score, robustly orchestral while endowed with exciting electronic rhythms and Vietnamese textures.
Intrada Records issued the premiere release of UNCOMMON VALOR in 2014 and it quickly sold out. This new, remastered edition adds about 10 minutes of alternate takes. Produced by Dan Goldwasser and mastered by Chris Malone, it features in-depth liner notes by film music writer John Takis.
1. Vietnamese Solo / Main Title (7:31)
3. Tag (2:49)
4. A Lot of us Have Been Killed (1:26)
6. First trek / Yellow Rain (2:45)
7. Pan Over Hill / Wilkes in Tunnel (7:35)
8. Attack Airbase (3:14)
13. Brothers in the Night* (4:48)
Bonus Tracks
14. Main Title (Alternate Mix) (7:15)
15. Main Title Extension (Expanded) (3:08)
16. Parade Ground (3:58)
17. Main Title Extension Vietnamese Overlay (Alternate) (3:15)
Total Disc Time: 64:14
*Performed by Ray Kennedy • Written by Ray Kennedy, Kevin Dukes and David Ritz
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Quartet Records, in collaboration with Decca Classics and Universal Music Enterprises, presents a remastered CD edition of the unique, fascinating and controversial Bernard Herrmann recording of Gustav Holst’s THE PLANETS.
Recorded during his post-Hollywood period when he was based in London, it was one of several albums he conducted for Decca Records’ Phase Four series, featuring both his own music and that of other composers. THE PLANETS has always been considered something of a cursed album, yet it is loved by his fans for an interpretation that is more Herrmann than Holst.
The recording was not universally acclaimed when it was released. This was in part because several recordings of the work already on the market were considered classics, thus setting a very high bar for new entries. Some listeners, however, found the heavy tread of Herrmann’s “Mars” an actual plus, its mechanistic bombast far more threatening and imposing than the composer’s own recorded performance. Herrmann’s slow trek through the “big tune” in “Jupiter” was more widely criticized, but Herrmann was far from the only conductor who favored slower tempi in the later stages of their career—including in some of the Phase Four recordings of his own music. Nevertheless, Herrmann’s THE PLANETS sold well.
Although reissued several times on LP in the 1970s, Herrmann’s recording of THE PLANETS was only released on CD in Australia in 2011 as part of a Holst compilation on Decca Eloquence.
This new, first-ever solo CD edition has been restored and mastered by Chris Malone from the original master tapes transferred by UME in the UK, and features brilliant, extensive liner notes by classical and film music writer Frank K. DeWald alongside the original LP liner notes by renowned musicologist Harry Halbreich.
- Mars, The Bringer of War (8:43)
- Venus, The Bringer of Peace (10:04)
- Mercury, The Winged Messenger (4:34)
- Jupiter, The Bringer of Jollity (9:06)
- Saturn, The Bringer of Old Age (9:31)
- Uranus, The Magician (6:54)
- Neptune, The Mystic (8:11)
Total Disc Time: 57:06
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Music Composed by Alexeï Aïgui
In collaboration with SBS Productions, Music Box Records presents the original motion picture soundtrack of Le Tableau volé (Auction), composed by Alexei Aigui (The Truth, I Am Not Your Negro). The film is directed by Pascal Bonitzer (Small Cuts).
André Masson (Alex Lutz), an auctioneer at the famous Scottie’s auction house, receives a letter one day stating that a painting by Egon Schiele has been discovered in Mulhouse at the home of a young worker Martin (Arcadi Radeff). Very skeptical, he makes the trip and has to face the truth: the painting is authentic, a masterpiece gone missing since 1939, confiscated by the Nazis. André sees this discovery as the pinnacle of his career, but also the beginning of a struggle that could jeopardize it. Fortunately, he will be assisted by his ex-wife and colleague Bertina (Léa Drucker), and by his eccentric intern Aurore (Louise Chevillotte).
For this art-world thriller and a study in human nature, Alexei Aigui provides a short delicate and dramatic score with his regular unrivalled style. Le Tableau volé is released in French theaters on May 1, 2024. The album is available on CD and digital version.
This present edition also features the three other original motion picture soundtracks composed by Alexei Aigui for Pascal Bonitzer's films Je pense à vous, Le Grand Alibi and Cherchez Hortense (previously released on Music Box Records in 2014) with some previously unreleased tracks.
LE TABLEAU VOLÉ
1. Le Tableau volé (0:57)
2. Aurore (1:42)
3. Arrivée à Paris (2:23)
4. Aurore et son père (0:53)
5. Les appels (1:08)
6. Dispute (1:25)
7. L’arnaque (1:08)
8. Conversations (1:30)
9. Martin (1:09)
10. Lettre de Martin (2:20)
JE PENSE À VOUS
11. Générique début (1:48)
12. Anne sort du métro (1:08)
13. Anne seule (2:08)
14. La nuit (1:33)
15. Générique de fin (3:02)
LE GRAND ALIBI
16. Le Grand Alibi (1:53)
17. Générique début (2:31)
18. Soupçons (1:32)
19. Révélations (1:44)
20. Le lieu du crime (2:02)
21. Dénouement (3:33)
22. Générique de fin (3:36)
CHERCHEZ HORTENSE
23. Zoritsa et Damien (3:00)
24. Damien va voir son père (3:12)
25. Cherchez Hortense (Nuit) (1:19)
26. La tristesse de Damien (3:55)
27. Zoritsa part (2:21)
28. Générique de fin (3:27) -
Varèse hat noch ein paar CDs gefunden.
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Das war vielleicht eine Kombi aus "Ist günstig für uns zu machen" und "Irgendwie noch halbwegs populäres Videospiel".
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La-La Land Records: THE PEACEMAKER von Hans Zimmer
in Scores & Veröffentlichungen
Geschrieben
PEACEMAKER muss weg, weil da schon die 4-CD-Anniversary-Box am Black Friday wartet.