Alexander Grodzinski
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Beiträge von Alexander Grodzinski
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Snow Files of the Week: Suite from "Millennium - Season Two" (1997/98).
Chris Carter verließ im Grunde die Serie nach der ersten Staffel, einerseits wegen Streitigkeiten mit dem Sender FOX bezüglich inhaltlicher Änderungen und andererseits wegen der Produktion des ersten Akte-X-Filmes, mit dem Carter alle Hände voll zu tun hatte. Als neue Showrunner setzte Carter seine beiden „Ziehsöhne" Glen Morgan und James Wong ein. Beide schrieben bereits einige X-Files-Episoden und gehörten zum Produktionsstab der X-Akten. Carter verblieb aber trotzdem als "Executive Producer".
Im Vergleich zur ersten Staffel kommt die zweite Staffel nicht mehr ganz so düster daher. Außerdem bekam die MillenniuM-Gruppe nun eine Hintergrundgeschichte, die sich um biblische Prophezeihungen, Machtgier und innere Zerrissenheit rankte. Die Serie wurde eine Art "X-Files light", etwas, was Carter für "MillenniuM" niemals wollte. Eine Änderung von FOX bestand darin, dass die Serie auch dadurch nicht mehr so düster sein sollte, wenn es eine "lustige" Figur an Frank Blacks Seite gäbe. Zum Glück konnte sich Carter dagegen noch ganz gut wehren, allerdings scheint die Figur des Computer-Nerds Roedecker ein Zugeständnis an diesen Wunsch zu sein.
Die zweite Staffel enthält die unter Fans sehr beliebten Folgen "Midnight of the Century", die Weihnachtsepisode und "The Curse of Frank Black", die Halloween-Episode. Beide kommen natürlich in der Suite vor, sowie auch ein Ausschnitt aus Richard Wagners Overtüre zu "Parsifal", da dieses Stück eine große Rolle in der Doppelfolge "Owls" und "Roosters" spielt. Die Musik stammt aus dem ersten 2-CD-Set, welches 2015 nach dem Ausverkauf der ersten Auflage von LLL wiederveröffentlicht wurde.
Viel Spaß beim Hören!
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LLLCD 1675
Music by Dominic Lewis
Limited Edition of 2000 Units
RETAIL PRICE: $21.98
STARTS SHIPPING LATE JULY
ORDER NOW and get your CD booklet autographed by composer Dominic Lewis at no additional charge. Autographs are available while supplies last and are NOT guaranteed.
La-La Land Records and Milan Records proudly present acclaimed composer Dominic Lewis’ (THE FALL GUY, THE KING’S MAN) original motion picture score to the all-new big screen chapter in the famed KARATE KID franchise, KARATE KID: LEGENDS, starring Jackie Chan, Ben Wang and Ralph Macchio, and directed by Jonathan Entwistle.
Bridging the past with the present in high-kicking fashion, KARATE KID: LEGENDS calls for a score that honors the classic KARATE KID films while ushering the franchise into a new, enthralling future. Composer Dominic Lewis unleashes a dynamic work, performed by the Hollywood Studio Symphony, that accomplishes all that and more - paying homage to Bill Conti and James Horner’s previous music while creating spirited original material that soars on its own!
Mastered by Kim Rosen, this special limited edition CD release of 2000 units features knockout art design by Dan Goldwasser and a brief note from the composer.
TRACK LISTING:
1. Two Branches, One Tree 2:39
2. Mother Knows Best 2:01
3. Tick Tick 0:45
4. Please 1:46
5. Li and Mia 1:16
6. The Best of Me* 0:46
7. Connor 0:55
8. Black Eye, Frozen Peas 0:54
9. Dragon Kick 1:07
10. Alone 0:53
11. Fong Song 1:40
12. Lanterns 2:13
13. Pizza Montage* 2:44
14. Bo 1:29
15. The Arena* 0:31
16. Fight Night 1:01
17. Down and Out 1:11
18. Push Down* 1:33
19. Too Many Cooks 0:34
20. Bedroom Blues 1:20
21. Daniel-San 2:34
22. Training Montage 4:23
23. Fetterman Gardens 1:18
24. 5 Boroughs 2:00
25. Old Dogs, New Kicks 1:31
26. Trap a Tiger 2:04
27. Timebomb 2:18
28. The Final Part 1 4:36
29. The Final Part 2 4:09
30. Touch The Stars* 1:36
TOTAL ALBUM TIME: 53:51
*not in feature
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Music composed and conducted by John Barry
Limited edition of 5000 units
Exclusive release
Sold exclusively at www.lalalandrecords.com for the first 90 days of release.
La-La Land Records, Metro-Goldwyn-Mayer, EON Productions and Universal Music Enterprises present a remastered and expanded 2-CD re-issue of renowned composer John Barry’s original motion picture score to the sixth James Bond film, On Her Majesty’s Secret Service. Produced by Albert R. Broccoli and Harry Saltzman, the 1969 film stars George Lazenby as James Bond 007 and is directed by Peter Hunt, who edited the five previous Bond films.
With four legendary Bond scores already to his credit, composer John Barry reported for duty for the fifth time to provide the musical continuity and introduce a new 007, as George Lazenby would be first to succeed Sean Connery in the iconic role of Bond. The score, like the film, is thrilling and powerful, bursting with action, drama and glamour – and considered by many to be one of Barry’s finest works, as demonstrated within this deluxe 2-CD release. This remastered and expanded presentation of Barry’s score includes the songs “We Have All The Time In The World,” performed by Louis Armstrong and “Do You Know How Christmas Trees Are Grown?,” performed by Nina, with lyrics by Hal David
The album is produced and mixed by Neil S. Bulk, and mastered by Doug Schwartz, from the original 3-track 1/2" masters, with the song "We Have All The Time In The World" mixed from the original 1" 8-track tapes. Two cues that were unavailable on the stereo tapes are in the program’s bonus section, pulled from the mono film stem and processed into stereo by Chris Malone. Disc 1 and the opening of Disc 2 present the expanded score presentation. This is followed by the original 1969 soundtrack album, newly edited and mixed for this release. Disc 2 concludes with additional cues, including an unused film version of the song "We Have All The Time In The World" featuring Louis Armstrong.
Limited to 5000 units, this release features sharp art direction by Dan Goldwasser, with a new front cover designed by Jim Titus. The exclusive, in-depth liner notes are by journalist and author Jon Burlingame, with an introductory note by composer David Arnold.
TRACK LISTING:
DISC 1
SCORE PRESENTATION 1:28:18
1. Gun Barrel (From “On Her Majesty’s Secret Service”) 0:30
2. This Never Happened To The Other Fella (Film Version) 4:42
3. Main Title: On Her Majesty’s Secret Service (Film Version) 2:43
4. We Have All The Time In The World (Film Version) 2:50
5. Try (Film Version) 3:10
6. James And Tracy 2:07
7. You Have An Appointment 1:36
8. The Capu 3:25
9. Resignation 1:02
10. Two Weeks Leave 1:11
11. Prelude For Guitar And Strings 3:20
12. We Have All The Time In The World (Film Mix) (Performed by Louis Armstrong) 3:14
13. Gumbold’s Safe 5:33
14. The College Of Arms 0:47
15. Journey To Piz Gloria 4:52
16. The Usual Comforts 1:31
17. Twelve Gorgeous Girls 0:35
18. Heraldry 1:56
19. Count Balthazar de Bleuchamp 1:18
20. Eight 2:32
21. It’s True! / The Hidden Persuader / You’ll Need To Be 3:34
22. Uncovered 1:25
23. I’ll Do What I Claim 1:09
24. Deep Hypnosis 6:35
25. Escape From Piz Gloria 4:52
26. Blizzard 1:04
27. Proposal 3:45
28. Ski Chase (Extended Version) 3:47
TOTAL DISC 1 TIME: 1:15:51
DISC 2
SCORE PRESENTATION CONTINUED
1. Don’t Be So Proud 0:42
2. Over And Out (Film Version) 3:11
3. Battle At Piz Gloria 4:03
4. Bobsled Chase 2:07
5. The Wedding Ring 0:40
6. We Have All The Time In The World – James Bond Theme (Film Version) 1:34
ORIGINAL SOUNDTRACK ALBUM 38:04
7. We Have All The Time In The World (Performed by Louis Armstrong) 3:14
8. This Never Happened To The Other Fella 4:28
9. Try 3:26
10. Ski Chase 2:53
11. Do You Know How Christmas Trees Are Grown? (Performed By Nina) 3:20
12. Main Title: On Her Majesty’s Secret Service 2:35
13. Journey To Blofeld’s Hideaway 3:28
14. We Have All The Time In The World 2:59
15. Over And Out 2:40
16. Battle At Piz Gloria 4:03
17. We Have All The Time In The World – James Bond Theme 4:34
ADDITIONAL MUSIC 25:09
18. We Have All The Time In The World (Unused Film Version) (Performed by Louis Armstrong) 2:15
19. Journey To Blofeld’s Hideaway (Unused Album Version) 4:06
20. Do You Know How Christmas Trees Are Grown? (Wild Instrumental) 1:11
21. Deep Hypnosis (With Full Overlay) 6:35
22. Escape From Piz Gloria (Mono Stem, Film Take) 3:50
23. Grand Christmas Eve Ball 2:55
24. Tracy To The Rescue (Mono Stem) 1:29
25. We Have All The Time In The World (Unused Album Version) 2:37
TOTAL DISC 2 TIME: 1:15:55
TOTAL ALBUM TIME: 2:31:46
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LLLCD 1671
Music by Basil Poledouris
Limited Edition of 3000 Units
La-La Land Records, Paramount Pictures and Geffen Records present an expanded and remastered 2-CD re-issue of renowned composer Basil Poledouris’ (CONAN THE BARBARIAN, ROBOCOP, STARSHIP TROOPERS) original motion picture score to the blockbuster 1990 Paramount Pictures espionage drama/thriller THE HUNT FOR RED OCTOBER, Based on Tom Clancy’s debut novel, the film stars Sean Connery, Alec Baldwin and James Earl Jones, and was directed by John McTiernan.
Considered to be one of composer Basil Poledouris’ finest musical achievements, his iconic THE HUNT FOR RED OCTOBER masterwork is also heralded by many as among the very best film scores of the 1990s. A powerful orchestral and choral classic that is rousing, thrilling and even romantic, Poledouris also employs a keen grasp of contemporary electronics, resulting in the perfect blend for the film’s mix of Old-World duty, honor and patriotism with modern technological warfare. Expanded, re-mixed and remastered, this deluxe presentation unleashes the composer’s marvel like never before, in all its brilliance and in celebration of the film’s 35th anniversary!
Produced by Dan Goldwasser and Neil S Bulk, this Limited Edition re-issue of 3000 units offers the score presentation on Disc 1, while disc 2 features the original 1990 soundtrack album and additional cues. While previous soundtrack releases, including the original 1990 soundtrack album, have been sourced from analog mixes and tapes, this limited edition 35th anniversary release has been newly remixed digitally and mastered by Chris Malone from the scoring masters. With access to these reels, additional bonus tracks were discovered that were never copied over to analog tape. The exclusive, in-depth liner notes are by author Jeff Bond and the sharp art direction is by Dan Goldwasser.
TRACK LISTING:
DISC 1 1:03:24
SCORE PRESENTATION
1. Never Happened* 0:43
2. Hymn To Red October (Main Title) (Film Version) 5:09
3. Putin’s Demise (Film Version) 1:00
4. Tyler’s Office / Ramius And The Doctor / Dallas Listens 2:47
5. Course Two-Five-Zero 0:25
6. Interlude / Two-Five-Zero* / Padorin Reads* 1:10
7. Ryan’s Wheels / Tupolev** / Buckaroo** 3:22
8. The Line 0:36
9. Red Route I (Film Version) 3:48
10. Ancestral Aid 2:19
11. Plane Crash (Film Version) 1:57
12. Ryan Lifts Off / Emergence* 1:38
13. Two Wives* 2:47
14. Chopper (Film Version) 4:13
15. Submarine Dive / Necessary Force** 3:18
16. Outer Doors 2:17
17. Nuclear Scam (Film Version) 7:24
18. Mini-Sub / Contact 3:14
19. Tupolev’s Torpedo / Torpedo Hits 3:32
20. Kaboom!!! (Film Version) 6:26
21. End Title (Ancestral Aid / Hymn To Red October / Nuclear Scam) 4:41
DISC 2 1:12:44
ORIGINAL SOUNDTRACK ALBUM 30:18
1. Hymn To Red October (Main Title) 5:06
2. Nuclear Scam 7:18
3. Putin’s Demise 0:55
4. Course Two-Five-Zero 0:22
5. Ancestral Aid 2:16
6. Chopper 2:53
7. Two Wives 2:42
8. Red Route I 3:30
9. Plane Crash 1:51
10. Kaboom!!! 3:24
ADDITIONAL MUSIC 42:20
11. Hymn To Red October (Main Title) (Orchestra Only) 5:06
12. Putin’s Demise (Alternate) 1:00
13. Putin’s Demise (Alternate Mix) 1:06
14. Tyler’s Office (Alternate Mix) 0:47
15. Course Two-Five-Zero (Orchestra Only) 0:25
16. Two-Five-Zero (Shorter Alternate) 0:20
17. Ryan’s Wheels (Original Version) 0:43
18. Ryan’s Wheels (Alternate Mix) 0:49
19. The Line (Alternate Mix) 0:36
20. Red Route I (Alternate Mix) 3:46
21. Ancestral Aid (Alternate) 2:08
22. Plane Crash (Alternate Mix) 1:56
23. Necessary Force (Alternate Mix) 2:26
24. Outer Doors (Alternate Mix) 2:17
25. Nuclear Scam (Orchestra Only) 7:24
26. Mini-Sub (Alternate Mix) / Contact (Alternate) 3:21
27. Kaboom!!! (Alternate Mix) 6:24
28. The Anthem of the Soviet Union (Vocal) 1:18
TOTAL ALBUM TIME 2:16:08
*NOT USED IN FILM
**CONTAINS MATERIAL NOT USED IN FILM
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LLLCD 1673
Music by Max Aruj and Alfie Godfrey
Limited Edition of 2000 Units
Autographed copies are no longer available.
La-La Land Records, Paramount Pictures and Sony Classical present the 2 CD release of acclaimed composers Max Aruj and Alfie Godfrey’s original motion picture score to the big-screen blockbuster MISSION: IMPOSSIBLE – THE FINAL RECKONING, starring Tom Cruise, Haley Atwell, Ving Rhames and Simon Pegg and directed by Christopher McQuarrie.
As the beloved blockbuster MISSION: IMPOSSIBLE franchise culminates in this year’s smash hit MISSION: IMPOSSIBLE – THE FINAL RECKONING, the film’s knockout orchestral score by Max Aruj and Alfie Godfrey is a vital, pulse-pounding component to all the on-screen action, thrills and drama. Using the classic, immortal Lalo Schifrin theme as a vibrant touchstone, the composers unleash a sonic wonder of a score, teeming with thematic emotion and excitement!
Mastered by Ruben Cohen at Lurssen Mastering, this 2-CD set is limited to 2000 Units. The sharp art design by Dan Goldwasser features a CD booklet with a reversable front cover, as well as a note from the composers.
TRACK LISTING:
DISC 1
1. We Live And Die In The Shadows 0:45
2. Another Sunrise 2:28
3. Come Home Ethan 2:28
4. The Final Reckoning – Main Titles 1:07
5. Martial Law 3:06
6. Enter Paris 2:31
7. Origins 3:28
8. It’s Only Pain 1:42
9. It Will Change You (Ça Te Changera) 1:57
10. The Entity 4:07
11. The Entity’s Future 3:12
12. I’ll Be Waiting 2:49
13. This Is Where You Leave Me 3:08
14. I Know You 5:22
15. Mt Weather 2:07
16. Checkmate 3:12
17. I Have No Regrets 1:26
18. The Eye Of The Storm 2:04
19. Nothing Is Certain 4:37
20. Firefight 4:05
21. The Icecap 3:58
TOTAL DISC TIME: 59:41
DISC 2
1. The Sevastopol 5:33
2. Ascending 2:32
3. I Owe You My Life 7:22
4. Consequences 3:23
5. Your Final Reckoning 5:18
6. We’ll Figure It Out 2:04
7. Liftoff 1:28
8. Decisions 2:23
9. This Is Not Good 1:11
10. Problems 1:31
11. Tailstrike 1:05
12. Ten Seconds... Maybe 2:26
13. Good Luck 1:59
14. Descending 2:19
15. A Light We Cannot See 9:16
16. Curtain Call 1:53
Bonus Tracks
17. For Those We Never Meet 5:01
18. The Arctic 1:44
19. This Is My Mission 3:17
20. Encore 0:59
21. Final Reckoning – Sacrifice Teaser 1:59
TOTAL DISC TIME: 64:45
TOTAL ALBUM TIME 124:26
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LLLCD 1672
Music by Jerry Goldsmith
Limited Edition of 3000 Units
RETAIL PRICE: $31.98
STARTS SHIPPPING LATE JULY
Order yours NOW at www.lalalandrecords.com
La-La Land Records, Paramount Pictures and WEA present an expanded and remastered 2-CD re-issue of legendary composer Jerry Goldsmith’s (THE OMEN, STAR TREK – THE MOTION PICTURE, BASIC INSTINCT) original motion picture score to the 2002 Paramount Pictures espionage thriller THE SUM OF ALL FEARS. Based on the acclaimed Tom Clancy novel, the film stars Ben Affleck, Morgan Freeman and Liev Schreiber, and was directed by Phil Alden Robinson.
This Goldsmith treasure returns to La-La Land Records better and bigger than ever in an all-new 2-CD presentation that unleashes the Maestro’s power in all of its brilliance. Striking themes and motifs abound in the composer’s powerhouse orchestral score, expertly weaving patriotism and hope with chilling dread and nail-biting suspense in equal measure – an undoubtedly important work from this iconic maestro’s final chapter.
Produced by Neil S. Bulk and Bruce Botnick, this special release offers the score presentation and additional music, newly mixed and mastered by Botnick, on Disc 1, while Disc 2 features the remastered original 2002 soundtrack album with its unique takes, songs and segues. This limited edition of 3000 units features liner notes by writer Jeff Bond (updated from our 2014 release) and thrilling new art direction by Dan Goldwasser.
TRACK LISTING:
DISC 1 78:13
SCORE PRESENTATION 64:34
1. The Mission (Includes “If We Could Remember”) 5:56
2. Do It! / I’ll Go 1:53
3. The Bomb 2:55
4. 14 Months 1:35
5. The Deal 2:34
6. Thanks A Lot :44
7. That Went Well (Film Version) 2:44
8. The Shipment / Moscow Time 1:20
9. Nice Going 2:01
10. The Docks 1:44
11. Mrs. Spassky / The Lab 2:11
12. The Reservoir / Night Landing 1:50
13. Deserted Lab 1:50
14. Shoot Him :53
15. Changes 2:26
16. Clear The Stadium (Film Version) 1:31
17. Not The Russians / Man Your Aircraft 3:07
18. Further Aggression 1:41
19. State Of War 1:14
20. Supplies :49
21. To The Docks 1:21
22. Real Time 2:50
23. Cabot Is Dead 1:03
24. His Name Is Olson 1:50
25. Snap Count 2:11
26. Maximum Readiness / Get A Doctor 2:02
27. How Close? 6:05
28. The Same Air (Extended Version) 2:16
29. If We Could Remember 3:29
ADDITIONAL MUSIC 13:33
30. The Mission (Excerpt, Synth Choir Version) 4:31
31. The Bomb (Synth Choir Version) 2:55
32. The Star-Spangled Banner 1:54
33. His Name Is Olson (Synth Choir Version) 1:49
34. Theme From “The Sum Of All Fears” (Synth Demo) 2:14DISC 2 49:40
REMASTERED ORIGINAL SOUNDTRACK ALBUM
1. If We Could Remember 3:30
2. The Mission (Includes “If We Could Remember”) 5:57
3. The Bomb 2:56
4. That Went Well 2:45
5. Clear The Stadium 1:33
6. If We Get Through This 3:36
7. The Deal 2:35
8. Changes 2:27
9. Snap Count 2:13
10. His Name Is Olson 1:52
11. Nessun dorma (From “Turandot”) 2:59
12. Deserted Lab 1:52
13. Real Time 2:51
14. How Close? 6:06
15. The Same Air 2:01
16. If We Could Remember (Reprise) 3:35
TOTAL ALBUM TIME 2:07:53 -
Kurz nach seinem 93. Geburtstag ist Lalo Schifrin nun leider verstorben.
https://variety.com/2025/music/news/lalo-schifrin-dead-mission-impossible-film-composer-1236442000/
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Star-Trek-Vinyl von Varese:
Boldly go! We’re excited to announce brand-new 2-LP vinyl editions of Star Trek: Music Adapted from The Paramount TV Series, featuring themes and cues from the first two seasons of the iconic TV series, packaged in a gatefold jacket featuring artwork by acclaimed illustrator Malachi Ward depicting USS Enterprise and its legendary crew.
ORDER HERE: https://found.ee/startrek-tv
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Intrada presents the world-premiere release of Ernest Gold's score for the western The Last Sunset, the latest release in the Universal Pictures Classics Collection. Right at the outset, Gold's main title lays out the themes that form the backbone of the score, in the bold Americana style of Aaron Copland. On screen, as camera pans across rugged desert terrain, two different men, one dressed in black and the other in browns and blues, ride toward their destiny to music reminiscent of Fanfare for a Common Man. It sets the tone for a music score that has all the trappings of a complex yet robust western. In addition to Gold's often thundering score, is a recurring theme not by Gold, but none other than Dimitri Tiomkin by way of his melody for the song "Pretty Little Girl in the Yellow Dress."
Intrada founder Doug Fake had often asked about releasing this soundtrack, but it seemed there was always another title to prioritize. With his passing nearly a year ago, it seemed like the right time but also too late. It's a gem of a score and just another way the Intrada team can honor his memory and passion for film music. Produced with love and care by the Grammy-nominated producer Mike Matessino, the album was sourced from the full-track master tapes stored at Universal in excellent condition. The package is rounded out with detailed liner notes by Frank K. DeWald and restored cover art by Stephane Coedel.
The western drama was directed by Robert Aldrich and stars Rock Hudson and Kirk Douglas. In the film, Brendan O'Malley (Douglas) is a fugitive gunslinger who flees to Mexico and joins a cattle drive led by Dana Stribling (Hudson), a lawman pursuing him for murder. As tensions rise between the two men, complications deepen when O'Malley falls in love with the daughter of his former lover—unaware of a shocking truth about her parentage.
THE SCORE
01. Main Title (From The Last Sunset) (3:34)
02. Breckenridge Ranch (3:02)
03. Reunion (3:16)
04. O’Malley’s Indecision (4:32)
05. Crazy Cowboy (7:00)
06. The Drive Starts (3:46)
07. Breckenridge’s Death (3:54)
08. Fist Fight (1:04)
09. A Friendly Hand (2:41)
10. Lesson For The Kid (2:08)
11. Dangerous Dreams (5:43)
12. Stribling Takes Over (5:29)
13. Quicksand And Journey To Sundown (5:03)
14. At The Border (3:03)
15. Missy Proposes (3:49)
16. More Indecision (2:37)
17. O’Malley Bows Out (4:57)
18. Death Duel (3:53)
19. End Title (From The Last Sunset) (3:44)
Total Score Time: 73:34
THE EXTRAS
20. La Mesticita (2:28)
21. Concheros/Fiesta/La Torto Lito (1:51)
22. Mexican Hat Dance (1:30)
Total Extras: 5:50
CD Total Time: 79:27
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Im August gibt es von Waxwork dann doch auch noch eine CD.
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The Scorpion King (2002) was a prequel and spin-off of Universal Pictures’ successful Mummy franchise, launching the superstardom of Dwayne “The Rock” Johnson in his first lead role. The Rock reprised his character of Mathayus from The Mummy Returns in an origin story depicting the Akkadian mercenary’s rise to power 5,001 years prior to the events of the previous films.
Director Chuck Russell (The Mask, Eraser) chose John Debney to score The Scorpion King based on the strength of his symphonic score for Cutthroat Island (1995). Debney followed in the Mummy footsteps of Jerry Goldsmith and Alan Silvestri with a gargantuan, desert-flavored action score for full orchestra and choir, including non-Western instruments like the ney, duduk and ram’s horn (and Japanese taiko drums and flutes) to evoke exoticism and antiquity. He also, befitting the film’s contemporary swagger and The Rock’s wrestling fanbase, created a “mash-up” of symphonic instruments with shredding electric guitars.
Director and composer intended the score to be a tribute to classic adventure films. As Debney recalls in the new liner notes, “Chuck stressed how he wanted it to hearken back to those great films from yesteryear, where you have a lot of musical scurrying around. I went back to Korngold for its pirate aspect and the music of Ray Harryhausen’s Sinbad movies, as well as Jerry and Alan. I love doing these little musical homages to my heroes.”
The Scorpion King was released by Varèse Sarabande as a 40-minute CD at the time of the film. The 2CD Deluxe Edition doubles the score program to nearly 80 minutes, and adds a bonus section of Debney’s demos. Liner notes are by Daniel Schweiger.
Features:
Produced by: John Debney and Michael Mason
Deluxe Edition Executive Producer for Varese Sarabande Records: Cary Mansfield
Deluxe Edition Mastered by Chas Ferry and Melinda Hurley
Track List:
Disc One
1. Never an Akadian 0:57
2. Boo! 1:26
3. The Scorpion King: Main Title 1:39
4. Tribal Council 2:45
5. Camels Are Smarter 0:32
6. Night Attack 3:56
7. Mathayus Meets Memnon (1:16)/Fire Ants (2:24) (Suite) 3:40
8. Escape From Ants 2:26
9. Cassandra’s Vision 0:54
10. Savage World 1:28
11. Enemy at the Gate 0:29
12. Pickpockets 2:43
13. Failed Attempt 2:34
14. Wild Ride 1:21
15. Harem Scarem 1:37
16. Cassandra’s Bath 1:30
17. Time to Go 0:43
18. Message to Memnon 3:02
19. Valley of the Dead 2:13
20. In the Cave 3:38
21. Mathyus Arises 1:27
22. Healing 0:51
23. Return to Sender 2:32
24. The Oasis 0:40
25. Balthazar’s Camp 5:10
26. Vision of Doom 1:06
Disc Two
1. I Had a Vision 2:36
2. Cassandra Leaves Camp 0:29
3. Step Aside (0:19)/Marching In (0:26) (suite) 0:44
4. Cassandra Returns 1:13
5. Veiled Threat 1:59
6. A Small Demonstration 3:52
7. Party’s Over 1:06
8. I’ve Come for the Woman 3:25
9. Balthazar Arrives 3:08
10. Die Well, Assassin 3:41
11. The Scorpion King 3:26
12. Never an Akadian (Demo) 1:22
13. Boo! (Demo) 1:26
14. The Scorpion King: Main Title (Demo) 1:43
15. Night Attack (Demo) 4:02
16. Escape From Ants (Demo) 2:24
17. Savage World (Demo) 1:32
18. Failed Attempt (Demo) 2:33
19. Wild Ride (Demo) 3:03
20. Valley of the Dead (Demo) 2:14
21. Mathayus Arises (Demo) 1:31
22. Return to Sender (Demo) 2:44
23. The Oasis (2:13) /Balthazar’s Camp (3:28) (suite) (Demo) 5:41
Tracks 12-23 on Disc Two Are Selected Film Score Demos
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Matchstick Men (2003) was an off-beat project from Ridley Scott after a series of intense, big-budget spectacles (Gladiator, Black Hawk Down, Hannibal). Based on a novel by Eric Garcia, the script by Ted Griffin and Nicholas Griffin was a character study about con men (played by Nicholas Cage, Sam Rockwell and Alison Lohman) which, in Scott’s hands, became a comedy with dramatic elements.
Reuniting with Ridley Scott was composer Hans Zimmer, who had scored his previous three films—as well as 1991’s Thelma & Louise—and would go on to score several more. Zimmer, like Scott, sparked to the humor of the story and wrote a delightful, Nino Rota-flavored “Felliniesque” score. This lighthearted approach caused no end of drama behind the scenes, as the studio insisted upon a more serious tone. However, the film was released to critical acclaim, validating the filmmakers’ intentions.
Varèse Sarabande released a 22-track, 56-minute soundtrack of Matchstick Men at the time of the film, including several of the licensed songs that complement Zimmer’s music in the film. This Deluxe Edition is a 30-track, 79-minute program of solely Zimmer’s score (including additional cues by and with Geoff Zanelli, Jim Dooley and Bruce Fowler). The behind-the-scenes conflicts are documented in Kaya Savas’ new liner notes, including a Q-and-A interview with Zimmer that, like his music, never fails to entertain.
Features:
Deluxe Edition Produced by: Stéphane Humez
Deluxe Edition Executive Producer for Varese Sarabande Records: Andy Fischer
Deluxe Edition Mastered by Maxime Marion
Track List:
1. Flim Flam (0:15)
2. Ichi-Ni-San (3:03)
3. Matchstick Men (2:11) #
4. Klein’s Office (1:24)*
5. Taking Pills (1:49)* #
6. I Have A Daughter? (1:12)
7. Rug Dream (0:57)*
8. Pygmies! (2:09)
9. Suzi’s Topology (0:49)*
10. Angela (4:08)
11. Ticks & Twitches (2:53) #
12. Pool Lights (1:16)
13. Nosy Parker (2:51) #
14. Keep The Change (1:25)
15. Roy’s Rules (2:06) #
16. Dad & Daughter (1:35)
17. Con Artist (5:21) #
18. Let’s Do This (3:22)
19. Airport Con (1:58)*
20. Car Chase (1:40)
21. They Printed You (2:00)
22. No More Pills (4:47) #
23. Obsessive Compulsive (3:23)* #
24. Shame On You (3:13)
25. Frechette Is Shot (5:16)**
26. Tuna Fish And Cigarettes (1:57)*
27. Weird Is Good (6:44) #
28. Carpeteria (3:09)
29. Closing (3:27) #
30. The Banker’s Waltz (3:05)
Score Composed, Arranged and Produced by Hans Zimmer
Except :
*Composed by Hans Zimmer & Geoff Zanelli
**Composed by Hans Zimmer & Jim Dooley
***Composed & Performed by Bruce Fowler, Published by Cephalopod Music (BMI)
# Include "La Dolce Vita" from La Dolce Vita written by Nino Rota
Score published by Warner-Olive, LLC (ASCAP)
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Elfmans Score erscheint physisch nun zumindest auf Vinyl.
Waxwork Records, in association with WaterTower Music, is proud to present BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman! Director Tim Burton once again teams up with composer Danny Elfman to create chaotic and fantastical music for the Ghost with the Most!
Though very few of his collaborations with Burton are sequels, Elfman jumped at the chance to revisit his work from the original Beetlejuice. After 36 years, it was easy for him to get into the mindset he found in 1988. Speaking to Forbes, Elfman said that getting “the chance to jump back into the same playground” with Beetlejuice Beetlejuice after all these years was “a real treat.”
Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s award-winning Beetlejuice.
Keaton returns to his iconic role, alongside Oscar nominee Winona Ryder as Lydia Deetz and two-time Emmy winner Catherine O’Hara as Delia Deetz, with new cast members Justin Theroux, Monica Bellucci, Arthur Conti in his feature film debut, with Emmy nominee Jenna Ortega as Lydia’s daughter, Astrid, and Oscar nominee Willem Dafoe.
After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it’s only a matter of time until someone says Beetlejuice’s name three times and the mischievous demon returns to unleash his very own brand of mayhem.
Waxwork Records is excited to present the debut vinyl release of BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman as a deluxe LP featuring "Ghost with the Most" swirl colored vinyl, artwork by Ruiz Burgos in partnership with Bottleneck Gallery, heavyweight reverse board packaging, and an 11"x11" art print insert.
BEETLEJUICE BEETLEJUICE Original Motion Picture Score Features:
The Official Score by Danny Elfman!
"Ghost with the Most" Swirl Colored Vinyl
Artwork by Ruiz Burgos courtesy of Bottleneck Gallery
Heavyweight Reverse Board Packaging
11"x11" Art Print Insert
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vor 14 Stunden schrieb magnum-p.i.:
Und darüber sollte man froh sein. Für den ersten Mission: Impossible hatten Clayton und Mullen das Thema im 4/4 Takt eingespielt. Entsetzlich!
Eben auch hier, weil es gefälliger und poppiger klingt. Und somit geeigneter für einen Chart-Hit.
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vor 6 Stunden schrieb Stese:
Wäre cool, wenn der Fiedel TRUE LIES wäre.
Es könnte auch FRIGHT NIGHT II sein, da dieser in den USA als 4k Disc erscheint. Und von Intrada kam auch schon das Album zum ersten Teil.
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vor 3 Stunden schrieb scorefun:
Sorry, aber da habe ich leider kein Mitleid...
Musst du auch nicht
Für die, die es betrifft: Jeff Bond hat angeboten, die PDF per Mail zu verschicken, wenn man sich bei ihm meldet.
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vor 3 Stunden schrieb Stese:
Heißt für mich nichts anderes als: Die Bücher werden niemals mehr erscheinen!
Habe jetzt eh die Schnauze voll. Nicht von Crowdfunding (so eine Finanzierungsart finde ich für Newcomer ideal), sondern von der ganzen Aktion und darauf zu warten.
Leider habe ich die Mail mit den Links zu den Digitalversionen warum auch immer vermutlich gelöscht und kann die Bücher jetzt noch nicht mal digital durchblättern.
Alles sehr ärgerlich, dass keine Kohle mehr da ist, obwohl so eine Übersumme eingegangen war.
Bei mir leider genauso.
Hab die digitale Version damals nicht heruntergeladen, weil ich auf die Bücher gewartet habe. Und nun kommt man nicht mal mehr an die ran.
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Ich würde schon sagen, dass das bewusst gemacht wird, weil es eben „poppiger" und glatter klingt. Und damit den aktuellen Hörgewohnheiten mehr entspricht. Wobei ich tatsächlich bezweifle, dass dem normalen Kinogänger, der jetzt nicht so Musik-affin ist, der Unterschied wirklich auffällt. Das ist dann eher unterbewusst.
Gibt es das bei anderen „alten" Themen eigentlich auch? Bei James Bond beispielsweise? Mal abgesehen vom Arrangement, das sich je nach Komponist natürlich immer mal verändert hat. Zimmer hat bei NO TIME TO DIE die E-Gitarre im Thema wieder eingesetzt, also Barrys Arrangement aus DR. NO übernommen, welches bei Barry danach auch lange zum Einsatz kam. Moby hat 1997 eine neue Version des Themas produziert und dabei beispielsweise die charakteristischen Bläser im zweiten Teil des Themas weggelassen, wodurch sich das Ganze auch schon anders anhört. Aber das sind eben alles andere Arrangements oder wurde da auch das Thema mal in den Tonarten oder Harmonien verändert?
Und beim ersten MISSION: IMPOSSIBLE gab es damals ja auch eine extra für eine Single-Veröffentlichung produzierte Version des Themas, produziert von Adam Clayton und Larry Mullen von U2.
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Neu von Dragon's Domain:
CD Includes Digital Download / Digital Booklet
Dragon’s Domain Records presents the world premiere release of music from the original score composed by the legendary Lalo Schifrin for the 1971 television movie written and produced by Sam Rolfe (HAVE GUN – WILL TRAVEL, THE NAKED SPUR, THE MAN FROM U.N.C.L.E.), directed by David Lowell Rich (ROUTE 66, THE HORROR AT 37,000 FEET, THAT MAN BOLT), starring Eric Braeden, Stephen Young, Corinne Camacho, Walter Pidgeon, Inger Stevens, Joseph Wiseman, William Marshall, Christopher Cary and Lincoln Kilpatrick.
Airing on television in early March 1970, THE MASK OF SHEBA was a two hour pilot for a series that never got picked up and follows Dr. Roan Morgan (Braeden), an archaeologist-anthropologist and his teammates, engineer Travis Comanche (Young) and Dr. Joanna Glenville (Camacho), who report to Dr. Max Van Condon (Pidgeon), who is the head of the Foundation Of Man, an organization that searches the globe for ancient artifacts to help document historical events or people and funds Morgan’s expeditions. After a Foundation cartographer goes missing in the jungles of Ethiopia while trying to map an ancient trail, his wife Sarah (Stevens) appears at the Foundation with a 3,000-year-old amulet sent to her by her husband, demanding to join the expedition to find him and what may possibly be a priceless treasure, including a golden, jewel-encrusted mask of the legendary queen of Sheba, waiting to be recovered.
Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE.
Dragon’s Domain Records presents THE MASK OF SHEBA, featuring music composed by Lalo Schifrin for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and includes exclusive liner notes written by noted author Jon Burlingame.
This is a limited edition release and is expected to start shipping the week of June 23, 2025.
01. The Mask Of Sheba Opening Titles (1:22)
02. Skydiving And The Map (3:08)
03. The Letter (3:19)
04. Sarah & Bridget (2:33)
05. Ethiopia / Takahene (2:48)
06. Jungle Trek (2:20)
07. Search For The Key and Ben Gala (3:19)
08. How Do I Live? (3:10)
09. Jungle Monastery and Ms. Koman (2:54)
10. The Mystic (2:52)
11. Tortuous Philosophy and The Chant (3:56)
12. The Monks (1:55)
13. An Amphibious Woman (3:41)
14. Through The Underwater Passage (3:00)
15. The Unmasking (4:58)
16. The Big Chase (3:53)
17. Finale And Closing Credits (2:35)
18. Opus Parts 1 & 2 (3:01)
Total Time: 55:31
CD Includes Digital Download / Digital Booklet
Dragon’s Domain Records presents the premiere release of the original motion picture soundtrack for HEART OF THE STAG, featuring music composed and conducted by Leonard Rosenman (EAST OF EDEN, FANTASTIC VOYAGE, THE LORD OF THE RINGS) for the 1984 dramatic film directed by by Michael Firth (OFF THE EDGE), written by Firth, Neil Illingworth and Bruno Lawrence, starring Bruno Lawrence, Terence Cooper, Mary Regan, Anne Flannery, Michael Wilson and Susanne Cowie.
Released in 1984, HEART OF THE STAG tells the story of Peter (Lawrence), a farmhand in New Zealand who discovers that Robert (Cooper), the farmer he works for has been carrying on an incestuous relationship with his daughter, Cathy (Regan) for years. As Peter becomes more involved with Cathy, he is forced to confront the dark and tumultuous dynamics within the family. Delving into the taboo subject of incest, HEART OF THE STAG does so with remarkable sensitivity and candor and was well regarded by critics at the time.
The score for HEART OF THE STAG was composed by Leonard Rosenman, who was well known for tackling sensitive and sometimes controversial subjects throughout his career, which included films such as EAST OF EDEN, THE COBWEB, THE CHAPMAN REPORT, SYBIL and MAKING LOVE.
Composer Leonard Rosenman was born on 7 September, 1924 in Brooklyn, New York to Jewish immigrants from Poland. After serving in the Pacific with the United States Army Air Forces during World War II, Rosenman earned a bachelor's degree in music from the University of California, Berkeley. He studied composition under renowned composers such as Arnold Schoenberg, Roger Sessions, and Luigi Dallapiccola. Rosenman’s entree to film scoring came about when his friend, actor James Dean, introduced him to director Elia Kazan, who was about to cast Dean in his film EAST OF EDEN and who subsequently hired Rosenman for the music. The Brooklyn-born composer introduced a modern-music sensibility to commercial films, especially with his next work, THE COBWEB, hailed as the first 12-tone score for a Hollywood film. His filmography includes EAST OF EDEN, REBEL WITHOUT A CAUSE, THE COBWEB, THE CHAPMAN REPORT, FANTASTIC VOYAGE, A MAN CALLED HORSE, BENEATH THE PLANET OF THE APES, BATTLE FOR THE PLANET OF THE APES, RACE WITH THE DEVIL, THE CAR, the animated THE LORD OF THE RINGS adaptation and PROPHECY. He contributed music to many television shows including COMBAT, THE TWILIGHT ZONE, LAW OF THE PLAINSMAN, GARRISON’S GORILLAS, THE VIRGINIAN, MARCUS WELBY, M.D. and more.
Dragon’s Domain Records presents HEART OF THE STAG, featuring music composed and conducted by Leonard Rosenman, performed by the New Zealand Symphony Orchestra for the first time on compact disc. Although a release was planned by Fifth Continent Music back in 2001, the project was never realized. This premiere release of HEART OF THE STAG includes the entire score presented in film order and also includes some source music composed for the film that went unused. The album includes liner notes written by G.B. Kemner and Scott Davis. The music has been mastered by James Nelson at Digital Outland.
HEART OF THE STAG is a limited edition release and is expected to begin shipping the week of June 23.
01. Opening Titles / Father And Daughter (3:35)
02. Peter And Cathy / Cleaning The Rifle (3:49)
03. Seeing The Stag / Hunting Story (4:22)
04. Herding The Sheep (3:03)
05. Memories / Cathy Looks In The Mirror (3:07)
06. Hunting The Stag / Murderous Thoughts (3:47)
07. Attempted Rape / Mother’s Death /
Deadly Pursuit (4:03)
08. Final Chase and The Stag Attacks (7:11)
09. Finale (2:36)
Total Time: 39:27
Dragon’s Domain Records presents HAMMERSMITH IS OUT, featuring music composed by Dominic Frontiere (THE OUTER LIMITS, THE INVADERS, BRANNIGAN, THE AVIATOR) for the 1972 dark comedy directed by Peter Ustinov (BILLY BUDD), written by Stanford Whitmore, starring Elizabeth Taylor, Richard Burton, Peter Ustinov, Beau Bridges, Leon Askin, Leon Ames, George Raft, John Schuck, Marjorie Eaton and Linda Gaye Scott.
Released in 1972, HAMMERSMITH follows Billy Breedlove (Bridges), an orderly at a Texas psychiatric hospital as he becomes involved with two patients, Jimmie Jean Jackson (Taylor), a waitress, and the enigmatic Hammersmith (Burton), who promises Billy fame and fortune if he helps him escape. The trio embark on a crime-fueled adventure where Billy rises in social status, becoming an owner of various businesses and a political financier. Over time, he grows to resent Jimmie Jean, while Hammersmith grants her wish to become a mother. Eventually, Hammersmith orchestrates Billy's disability and suicide, leading to his own return to confinement...
Dominic Frontiere's music for HAMMERSMITH IS OUT stands out as a remarkable and eclectic addition to his lengthy film catalog. The movie required a diverse range of musical styles, beginning with a compelling main title theme that evokes a distinctly 1970s atmosphere, serving as a recurring motif for the character of Hammersmith and a beautiful theme for Elizabeth Taylor’s character. In addition to the primary score, Frontiere was tasked with crafting numerous cues that could be classified as "source music."
His collaboration with director Leslie Stevens began with THE MARRIAGE-GO-ROUND and led to work on THE OUTER LIMITS. Frontiere composed themes for several notable shows in the 1960s, including THE RAT PATROL, BRANDED and THE FUGITIVE. He scored Clint Eastwood's HANG 'EM HIGH, which featured a top-10 hit by Booker T. & the M.G.'s, as well as the documentary ON ANY SUNDAY and three John Wayne films. In the early 1970s, he became the head of the music department at Paramount Pictures, working on both film scores and popular music albums. He won a Golden Globe for THE STUNT MAN and created a jingle for Paramount's television division. His final film score was for the 1994 thriller THE COLOR OF NIGHT, starring Bruce Willis.
Dragon’s Domain Records presents HAMMERSMITH IS OUT on two CDs, featuring the premiere release of the complete score on Disc 1 along with the album version plus bonus tracks on Disc 2. The music has been newly mastered by James Nelson at Digital Outland and the liner notes have been written by author G.B. Kenmer and Scott Davis.
HAMMERSMITH IS OUT is a limited edition release. HAMMERSMITH IS OUT is expected to begin shipping the week of June 23, 2025
CD 1: FULL SCORE
01. Logo / Prologue / Opening Credits (4:07)
02. Billy Breedlove (1:10)
03. “Bring Me Some Pie” (Road House Blues) (2:09)
04. Say You Love Me (1:11)
06. Meeting Hammersmith / Piece Of Gum / Human Waste (2:19)
07. Mustang Drive-In (2:40)
08. “This Is No Way To Get Rich” (1:22)
09. Measurements / Stealing The Suit (3:36)
11. Out The Window / Snake Dance / Strip Club Memorial Service (2:53)
12. Arise Sir (1:00)
13. Bad Taste, Billy (Kiddo) (3:57)
14. The Big Letter (2:39)
15. It’s Been Arranged / Japanese Yen (4:19)
16. The Pool Party (Cookout Society) (3:26)
17. Jimmie Jean and Henry Joe (3:25)
18. I’m So Sorry (1:38)
19. Campaign Win / Ambassador At Large (3:25)
20. The Spanish Castle (3:52)
21. The Meeting (2:39)
22. “Once You’ve Made The Decision, You Can’t Go Back On It” (4:07)
23. Baby Fever (Jimmie Jean’s Theme) (3:45)
24. Water Skiing (3:59)
25. It’s His Baby (1:52)
26. You Owe Me / Leaving Billy (1:57)
27. Taking Hammersmith Away / Get Me Out Of Here / End Credit (2:49)
Total Time CD 1 - 78:21
CD 2 - BONUS TRACKS
01. End Credit (Instrumental) (1:43)
02. When Were Your Dreams Worth Remembering? (2:01)
04. Piece Of Gum / Human Waste (Alternate) (1:06)
05. The Circle Go Round (Unused) (0:40)
06. Stealing The Suit (Alternate) (1:31)
07. Arise Sir (Alternate) (0:55)
08. Sushi (Unused) (1:39)
09. The Meeting (Alternate) (2:16)
10. When Were Your Dreams Worth Remembering? (Instrumental) (2:13)
ALBUM PRESENTATION
11. Main Titles (2:43)
12. Kiddo (2:39)
13. For Openers (2:35)
14. Cookout Society (3:05)
15. Henry Joe And Jimmie Jean (3:12)
16. Get Me Out Of Here (2:34)
17. When Were Your Dreams Worth Remembering? (2:21)
18. Under The Bridge (2:08)
19. Topless Rock (2:57)
20. Road House Blues (2:10)
21. Jimmie Jean's Theme (3:21)
23. End Titles (2:05)
Total Time CD 2 - 51:53
Dragon’s Domain Records presents the original soundtrack to THE NIGHT DIGGER, featuring music composed by Bernard Herrmann (CITIZEN KANE, PSYCHO, TAXI DRIVER) for the 1971 psychological thriller directed by Alastair Reid (BABY LOVE, NOSTROMO), written by Roald Dahl and Jay Cowley, starring Patricia Neal, Pamela Brown, Nicholas Clay, Jean Anderson, Graham Crowden, Yootha Joyce and Peter Sallis.
Released in 1971, THE NIGHT DIGGER follows spinster Maura Prince (Neal) as her dreary existence taking care of her elderly mother, Edith (Brown) is interrupted by the arrival of young handyman Billy Jarvis (Clay), who awakens something unexpected in her. But there is far more to Billy than meets the eye as Maura is about to discover...
Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others.
Originally released on compact disc in 1994, Dragon’s Domain Records is excited to bring THE NIGHT DIGGER back to the marketplace, featuring music composed and conducted by Bernard Herrmann, performed by Sessions Of London, newly remastered by James Nelson at Digital Outland. THE NIGHT DIGGER features a specially reconstructed presentation assembled from the available elements of the music. The booklet includes the original liner notes written by John Steven Lasher for the album.
THE NIGHT DIGGER is a limited edition release.
THE NIGHT DIGGER is expected to begin shipping the week of June 23, 2025.
01. Prelude / Maura And Mother (6:04)
02. Billy’s New Room (3:42)
03. Nest In A Fallen Tree (6:11)
04. Mary’s Death And The Road Builder (6:17)
05. Maura And Billy (8:17)
06. Murdering The Nurse And Burial (8:28)
07. “What Is It That You Do Billy?” / Maura’s Choice (5:16)
08. A New Beginning And Ending (7:23)
Total Time: 51:58
08. A New Beginning And Ending (7:23)
Total Time: 51:58
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Chris Carter hat vor ein paar Tagen im Podcast von David Duchovny erwähnt, dass er an einem Director's Cut von I WANT TO BELIEVE arbeitet. Ob das nötig ist, sei mal dahingestellt. Spannend ist hier natürlich die Frage, wie er mit Snows Musik umgeht, wenn sich Szenen in ihrer Länge verändern oder ganz neue Szenen hinzukommen. Ich glaube nicht, dass Snow neue Musik komponieren wird.
Und vielleicht ist das dann doch ein kleiner Schub für die von LLL leider gestrichene Veröffentlichung einer expandierten Version des Scores zu I WANT TO BELIEVE. Geplant war es wohl mal, aber aufgrund der Tatsache, dass man sich den kompletten Score als isolierte Tonspur auf der Blu-ray anhören kann (und es dementsprechend natürlich auch Bootlegs davon gibt), hat man die Veröffentlichung wohl doch gelassen.
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Snow Files of the Week: "Love Theme (aka "Rose's Theme")/Memories" aus "Conundrum" (1995).
"Conundrum" ist ein TV-Thriller von 1995, mit Marg Helgenberger und Michael Biehn in den Hauptrollen. Snow, der zu dieser Zeit gerade noch an der zweiten Staffel X-Files arbeitete, benutzte natürlich auch für diesen Score Sounds, die er in der Chris-Carter-Serie eingesetzt hatte. Zusätzlich heuerte Snow noch eine Sängerin an, die mit ihrem geisterhaft-gehauchten Gesang über den Score verteilt für Gänsehaut sorgt und natürlich besonders im wundervollen "Love Theme" zur Geltung kommt.
Das Album wurde von BSX veröffentlicht, limitert auf 1.000 Stück.
Viel Spaß!
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Kommt am Dienstag.
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Snow Files of the Week: "Harold & Chrissy/Closure" aus der "The X-Files" Episode "Jose Chung's From Outer Space" (1996).
"Jose Chung's From Outer Space" ist eine der abgedrehtesten Folgen der dritten Staffel. Geschrieben von Darin Morgan nimmt die Folge die Grundpfeiler der Serie und stellt sie auf den Kopf. Ist die Wahrheit wirklich da draussen? Und wenn ja, wessen Wahrheit ist es?
"Harold & Chrissy" eröffnet die Folge, deren erste Kameraeinstellung bereits den Tenor der Folge, dass nichts so ist, wie es scheint, vorweg nimmt. Vor dem klaren Sternenhimmel erscheint ein viereckiges Gebilde, welches wie ein Raumschiff aussieht. Als die Kamera langsam zurückfährt erkennt man, dass es sich um die Unterseite eines Hebekorbes handelt, im dem ein Arbeiter nachts die Lampen der Strassenlaternen überprüft. Auf der gleichen Straße werden kurz darauf zwei Teenager von Aliens entführt, so scheint es, was eine Kette seltsamer Ereignisse lostritt. Am Ende kommt Jose Chung zu dem Ergebnis, dass wir vielleicht nicht alleine im Universum sein mögen. Aber hier unten, auf diesem Planeten, sind wir auf unsere Art alle allein. Diese letzte Szene wird von Mark mit einem der schönsten Themen untermalt, die er für die Serie geschrieben hat, "Closure".
Dieses Musikstück beendet ebenfalls die über 30 Minuten lange X-Files-Suite auf dem Sampler "The Snow Files". Aber in der Suite wurde das Stück leicht verändert, indem ein Chor hinzugefügt wurde. Die Musik auf der Folge erschien sogar komplett auf einer Promo-CD, die als FYC für die Emmys gedacht war.
Diese zwei Tracks befinden sich auf der ersten Box von LLL, die nach dem Ausverkauf der ersten Auflage neu aufgelegt wurde, limitiert auf 2.000 Stück.
Viel Spaß beim Hören!
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Um wieder zur Musik zurückzukommen, ein harter Bruch: Ich gebe unverhohlen zu, dass ich ab und an auch gerne Schlager höre. Hier wurde ich natürlich auch durch meine Eltern geprägt, die das gerne gehört haben. Klassik und Schlager waren die beiden bevorzugten Genres meines Vaters, auch schon eine ungewöhnliche Kombination.
Wenn ich das höre, dann aber auch nur die alten Sachen, mit denen ich aufgewachsen bin. Und auch hier kann ich feststellen, dass die heutige Schlagermusik größtenteils einfach nur billig gemacht und gleichförmig ist. Ihren Individualismus haben sich nur wenige, meist ältere Sängerinnen und Sänger bewahrt. Der Rest klingt einfach gleich und austauschbar. Gefühlt macht jede Sängerin Helene Fischer oder Andrea Berg nach und die Melodien sind immer die gleichen.
Mancher wird nun sagen, das war im Schlager doch schon immer so, alles seicht, gleichförmig und nicht unterscheidbar. Das stimmt aber nicht. Wenn ich mir die 60er, 70er und 80er ansehe, dann kristallisieren sich drei Schlagerkomponisten und -produzenten heraus: Ralph Siegel, Christian Bruhn und Jack White. Und jeder der drei hatte seinen eigenen Stil. Siegel, gepägt durch seinen Vater, der studierter Musiker, Komponist und Operettentenor war, ließ genau diesen operettenhaften Einschlag gerne in seine Lieder einfliessen. Bruhn spielte in seiner Jugend in verschiedenen Jazz-Combos und produzierte in den 60ern mit Drafi Deutscher als Interpret deutschsprachige Beatmusik. Dieser Beat- und auch Funk-Einfluss findet sich in Bruhns späteren Kompositionen wieder, beispielsweise auch in seinen TV- und Filmmusiken. White war leidenschaftlicher Fußballspieler, bevor er sich der Musik zuwandte. Sein Metier ist dann vielleicht auch deshalb eher der Humpta-Humpta-Mitklatsch-Bierzelt-Schlager, mit dem er Tony Marshall und Jürgen Marcus erfolgreich machte oder eben Songs wie „Fußball ist unser Leben" und „Hände zum Himmel".
White legte in den 80ern allerdings auch eine internationale Karriere hin. Er ging Anfang der 80er in die USA und produzierte dort unter anderem Laura Brannigan („Self Control", „Gloria"), sowie Pia Zadora und Jermaine Jackson mit „When the rain begins to fall". Ein von ihm produzierter Brannigan-Song, „Hot Night", befindet sich sogar auf dem Soundtrack-Album des ersten GHOSTBUSTERS. Später produzierte er dann noch Engelbert, David Hasselhoff und Tony Christie und verhalf ihnen, zumindest im deutschsprachigen Raum, zu einem Comeback.
Whites Musik unterscheidet sich aber schon deutlich von der von Siegel. Siegels Kompositionen und Produktionen sind wesentlich detailverliebter und nicht so prollig, um es mal so auszudrücken.
Und Siegel war die orchestrale Begleitung seiner Songs auch immer wichtig. Dafür hat er Norbert Daum, mit dem er seit den 70ern zusammenarbeitet. Daum fungierte als Arrangeur und Dirigent unzähliger Siegel-Titel. Dabei ist das Orchester oftmals nicht einfach nur stumpfe Begleitung, sondern ein eigenen Charakter in dem Song, der auch auf den Inhalt des Textes reagiert. Beispielsweise in dem Song „Pan", den Siegel für Costa Cordalis schrieb. Wenn es im Text um die glühende Sonne geht, dann spielen die Streicher auch hohe, „flirrende" Töne. Den aufziehenden Sturm im Song untermalen die Streicher dann ebenfalls dramatisch. Oder sie erzeugen das Gefühl des Fliegens in dem Siegel-Cordalis-Song „Ikarus". Auch ein Chor wurde von Siegel immer wieder eingesetzt, der durch seinen Einsatz diesen operettenhaften Einschlag deutlich hörbar machte. Das kann man eindrucksvoll in Liedern wie „Du bist da für mich" von Karel Gott hören oder natürlich in vielen Liedern von Dschinghis Khan. Besonders bei Dschinghis Khan merkte man, dass Siegel größer dachte und sich auch auf das Feld Musical wagen wollte, was er dann später ja auch tat. Aber bereits bei Dschinghis Khan gibt es Songs, die durchaus aus einem Musical stammen konnten. Songs wie „Rom" (auch hier tolles Orchester-Arrangement und Chor), „Der Verräter" und „Die Fremden" zeugen davon, die auch in ihrer Länge von fünf, sechs Minuten und den Haken, die sie melodisch schlagen, übliche Formate aushebeln. Und mit „Corrida" komponierte und produzierte Siegel 1985 dann ja auch ein Dschinghis-Khan-Musical-Album.
Christian Bruhn dürfte in unseren Kreisen wohl der bekannteste der drei sein, wegen seiner vielen TV- und Filmmusiken. Und auch er zeigte da eine große Bandbreite. Seine Musik für HEIDI ist beispielsweise ganz anders als die zu CAPTAIN FUTURE. Und die zu JACK HOLBORN dann wieder anders.
Ja, auch die Musik der drei Herren ist oft leichte Unterhaltung. Aber das Handwerk, das dahinter steht, ist ein ganz anderes Kaliber zu dem, was heute im Schlager vorherrscht. Am ehesten lassen sich da noch die White-Titel mit vergleichen, weil der eben damals schon mehr auf die gleichförmige Klatsch- und Stampf-Musik setzte, die heute meist vorherrscht. Und er war damals schon ein Meister des Recyclings. Gefühlt schrieb er seit den frühen 80ern keine neuen Titel mehr, sondern benutzte bereits existierende Titel, die er meist mit neuem Text immer andere Interpreten singen ließ. So singen eben dann auch David Hasselhoff, Engelbert und Tony Christie alte Tony-Marshall- und Jürgen-Marcus-Songs, nur eben englisch.
Als „honorable mention" kann man natürlich noch Frank Farian nennen. Der begann seine Karriere als Schlagersänger und schwenkte dann, als das nicht so erfolgreich klappte, auf das Produzieren und Komponieren um. Aber seine großen Erfolge kamen dann eben nicht im deutschen Schlager, sondern international mit Boney M.
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Ich höre gerade folgendes Album...(Teil 2)
in Filmmusik Diskussion
Geschrieben
M83 - A Necessary Escape
Während alle über Zimmers F1-Score reden, höre ich mir das gerade erschienene Album zu den „Dakar Chronicles" an. Dabei handelt es sich um eine Doku über die Wüstenrallye Dakar, was man anhand der Musik zunächst wohl gar nicht so verorten mag.
Es ist die vierte Filmmusik der Band M83, nach OBLIVION, YOU AND THE NIGHT und SUBURRA. Stilistisch handelt es sich hierbei wieder um ein Ambient-Album, welches eher Assoziationen zu den beiden Instrumental-Alben der Band, den „Digital Shades", weckt. Es gibt allerdings ein Thema, eine kleine, simple Melodie, die auf dem Album in den drei Tracks „A Necessary Escape Part One" bis „Part Three" auftaucht. Mal von zwei, drei etwas schnelleren Tracks abgesehen, ist die Musik sehr sphärisch und damit doch recht untypisch für einen Film über die Rallye Dakar.
Ein typisches M83-Stück ist dabei „A Necessary Escape Part Two", welches man in dieser Form auch auf den „Digital Shades"-Alben findet. Dabei wird das Thema über die Laufzeit von acht Minuten wie in einem Loop wiederholt. Was sich ändert, sind der Klang des Themas, welches mit zunehmender Laufzeit leicht zu „leiern" beginnt, wie bei einem alten Tonband. Dazu werden erst dezent Klänge im Hintergrund hinzugefügt, welche gegen Ende das Thema nach und nach übertönen, bis es sich schließlich in den Klängen auflöst.