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Alexander Grodzinski

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Beiträge erstellt von Alexander Grodzinski

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    CD includes 24 Bit Wav, MP3 and Digital PDF

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of T-REX: BACK TO THE CRETACEOUS, featuring music composed by William Ross (THE GAME OF THEIR LIVES, SEPTEMBER DAWN, YOUNG BLACK STALLION) for the 1998 IMAX adventure film directed by Brett Leonard (LAWNMOWER MAN) and starring Liz Stauber and Peter Horton.

    Released in 1998, T-REX: BACK TO THE CRETACEOUS is an educational narrative IMAX film produced and co-written by Andrew Gellis and directed by Brett Leonard. T-REX: BACK TO THE CRETACEOUS tells the story of sixteen-year old Ally Hayden (Liz Stauber), the daughter of world-renown paleontologist Dr. Donald Hayden (Peter Horton). Ally is infatuated with dinosaurs and wants to prove to her father that she harbors some valid theories regarding parental behavior in Tyrannosaurus Rex. She begs her father to take her on his expeditions. Fearing the danger, he forbids her from tagging along. Ally reluctantly settles for leading tours of the natural history museum instead. 

    One night while Ally is visiting her father at the museum, she knocks over an oblong rock from her father’s desk. It cracks open on impact with the floor and emits a brown mist, transporting Ally back in time to the early twentieth-century and eventually to the Late Cretaceous (about 65–70 million years ago). While traveling backward through time she meets famed dinosaur painter Charles Knight, pioneering paleontologist Barnum Brown, and encounters several living dinosaur breeds: Hadrosaurus, Velociraptor, Pteranodon, Ornithomimus, and even Tyrannosaurus Rex!

    One of the characteristics shared by a majority of IMAX films are their rousing orchestral scores, hellbent on seizing advantage of the robust audio systems installed throughout IMAX theaters. The lush romantic score for T-REX: BACK TO THE CRETACEOUS was composed by William Ross and is no exception. The gorgeous music for T-REX: BACK TO THE CRETACEOUS is the epitome of the grandiose IMAX film score. But for as beautiful, touching, and emotional as Ross’ score gets, there is also a dark side. The Late Cretaceous is a dangerous, mysterious, and merciless period and Ross paints its treacherous landscapes with aplomb. 

    William Ross is a prolific, award-winning composer and arranger whose work has spanned feature films, the recording industry and television. He has composed music for such films as TUCK EVERLASTING, MY DOG SKIP, TIN CUP, MY FELLOW AMERICANS, the IMAX film, YOUNG BLACK STALLION, HARRY POTTER & THE CHAMBER OF SECRETS, where he was adapting the musical themes of John Williams and, most recently, SEPTEMBER DAWN. Ross has orchestrated more than 100 films, including THE MATRIX RELOADED, FORREST GUMP, STUART LITTLE, THE MUMMY RETURNS, THE POLAR EXPRESS and VAN HELSING. He has also arranged for a remarkable list of artists including Barbra Streisand, Celine Dion, Josh Groban, Whitney Houston, Kenny G., Michael Jackson, David Foster, Quincy Jones and Babyface. In 2007, he was Music Director for the 79th, 83rd, 85th, and 86th Academy Awards shows. Arrangements penned by Ross have been a part of the opening ceremonies of several Super Bowls along with the opening and/or closing ceremonies of the Olympic Games in Calgary (1988), Atlanta (1996), Salt Lake City (2002), Torino (2006), Vancouver (2010), and Sochi (2014). Ross is also the recipient of four Emmy Awards, two BMI Film Music Awards, the Golden Score Award from ASMAC, and has been nominated for two Grammy Awards and an Annie Award.

    Previously released on a rare compact disc, Dragon’s Domain Records is excited to bring T-REX: BACK TO THE CRETACEOUS back to the marketplace, newly remastered by James Nelson at Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite. 

    T-REX: BACK TO THE CRETACEOUS is a limited edition release of 500 units. The first 100 copies ordered through the website will include a booklet signed by composer William Ross.

    T-REX: BACK TO THE CRETACEOUS is available for pre-orders at www.buysoundtrax.com and is expected to begin shipping the week of December 14th, 2020.

    1. Main Title (3:28)
    2. Ally (1:26)
    3. Liz Falls (1:55)
    4. Finding the Egg (1:52)
    5. Ally and Dad (2:58)
    6. Journey to the Cretaceous (5:36)
    7. Meeting Charles Knight (2:04)
    8. Kiss and a Squeeze (2:00)
    9. Meeting Barnum Brown (4:38)
    10. Meeting T-Rex (4:38)
    11. Finale (3:57)
    Total Time: 34:58



    CD includes 24 Bit Wav, MP3 and Digital PDF

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of PATRICK, featuring music composed by Brian May (MAD MAX, THE ROAD WARRIOR, CLOAK & DAGGER) for the 1978 horror film directed by Richard Franklin (ROAD GAMES, PSYCHO II, LINK), produced by Antony I. Ginnane and William Fayman during the boom of the Australian New Wave of cinema in the late 1970s and early 1980s and starring Susan Penhaligon, Robert Helpmann, Rod Mullianar, Bruce Barry, Julia Blake, Walter Pym and Robert Thompson as Patrick.

    Directed by Richard Franklin and written by Everett De Roche, PATRICK is a psychological horror-thriller that tells the story of a mentally disturbed young man who becomes so enraged by his mother’s unchecked libido that he electrocutes her and her lover while they are frolicking in a bathtub. After this act of matricide inflicts irreparable damage to his brain, Patrick ends up comatose in a bed at the Roget Clinic, unable to move or speak and fully dependent on the care of others for his most basic needs. Kathie, a young nurse recently hired by the Clinic, is assigned to care for Patrick and immediately takes a shine toward him. Unbeknownst to Kathie and the hospital staff, Patrick possesses telekinetic powers. His conscious mind is capable of leaving his physical body to travel limitless distances in search of victims. Kathie becomes increasingly aware of Patrick’s abilities and pleads for assistance, but nobody at the hospital will believe her. As Patrick becomes more infatuated with her, his control over his abilities increases and the stakes get higher.

    Brian May’s unorthodox approach to scoring PATRICK involved composing music that expresses both sides of the narrative coin. One, a tale of lopsided love—an invalid patient with telekinetic powers aches to win the affection of his unrequited love. The raw emotion of May’s saccharine music imbues sympathy for Patrick’s motivations while injecting the necessary terror into his violent psychokinetic attacks. The other side of the coin is Patrick’s willingness to stop at nothing, not even murder, to possess Kathie. Like other films featuring telekinetic characters, PATRICK utilizes sound effects to materialize psychological concepts into physical forms.

    Born in Adelaide in 1934, Brian May (no relation to Brian Harold May of Queen) was one of the first composers to achieve international acclaim as an Australian composer and was best known as the composer of MAD MAX and THE ROAD WARRIOR (MAD MAX II). May received his musical training as a pianist, violinist and conductor at the Adelaide Elder Conservatorium. He joined the Australia Broadcasting Company in 1957, where he formed the ABC Adelaide Big Band, an ensemble that performed all manner of light music for broadcast, and May became a leading figure in Australian light music as a result. He moved to Melbourne in 1970 to arrange and conduct the ABC’s Melbourne Show band. Moving into film music in a period of time when Australia’s film industry was just beginning to take its place among international film circles, May composed such notable film scores as RACE FOR THE YANKEE ZEPHYR, ROAD GAMES, CLOAK AND DAGGER, DEATH BEFORE DISHONOR, MISSING IN ACTION 2, SKY PIRATES, STEEL DAWN, DR. GIGGLES, FREDDY’S DEAD: THE FINAL NIGHT MARE and BLINDSIDE. He won the Australian Film Institute Award for best original score with MAD MAX; many other awards followed, including the Golden Award from the Australian Performing Rights Association. He continued to score films until 1993, composing music for more than 30 films and many hours of television, most of which he orchestrated himself. Sadly, the composer passed away in 1997 at the age of 63.

    Previously released on very rare compact disc releases, Dragon’s Domain Records is excited to bring the PATRICK back to the marketplace, newly remastered by Digital Outland. The booklet includes liner notes written by author and composer Brian Satterwhite.

    PATRICK is a limited edition release of 500 units. PATRICK is expected to begin shipping the week of December 14, 2020.


    01 Main Title 2:08
    02 Matricide 1:05
    03 The Flat 1:19
    04 The Intruder 1:23
    05 Room 15 1:21
    06 You Can Feel 2:07
    07 Bossa for Ed 1:56
    08 Kathy’s Tune 1:49
    09 The Trance 1:48
    10 Patrick Power 1:51
    11 Kathy’s Theme 1:50
    12 The Strobe 3:07
    13 Exit Matron 1:59
    14 Kathy Looks for Ed 1:42
    15 Dr. Roget 1:37
    16 The Needle 1:17
    17 Kathy Returns 1:00

    18 I’m Going Now 1:33
    19 He’s Dead 1:24
    20 End Title 1:57
    Total Time: 35:04



    CD includes 24 Bit Wav, MP3 and Digital PDF

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1, featuring two scores from one of the most creative periods of science fiction cinema, the 1950s.

    The Golden Age of Science Fiction cinema is generally understood to have occurred during the 1950s. The science that resulted in the creation and devastation of the atomic bomb, the paranoia that came with the rise of the Cold War and the advances in rocket science that heralded the possibility of space exploration had a profound effect on the popular entertainment of the decade. The monster movie that waged terror during the 1930s and ‘40s gave way to spectacles about alien invasion, enlarged mutated flora & fauna, and the dangerous discoveries beyond Earth’s horizons manifested new concepts in motion picture storytelling. But of course for every classic film, there were dozens of less stellar science fiction entertainment that found its way into cinema screens and drive-in theaters. Many of these were quickly and properly forgotten but low budget did not necessarily mean low quality, and some of these cheaply-made productions had a special charm about them.

    For example, the two pictures addressed in this collection. Both are the work of director Edward Bernds, whose career began directing THREE STOOGES shorts, BLONDIE and BOWERY BOYS comedy features before switching to low-cost science fiction entertainment like SPACE MASTER X-7, RETURN OF THE FLY, and THE THREE STOOGES MEET HERCULES.

    Released in 1956, WORLD WITHOUT END tells the story of a group of astronauts returning from a voyage to Mars, who are unexpectedly caught in a time warp and are propelled into a future, post-Apocalyptic Earth populated by mutates. Exploring the ruined, future Earth, the astronauts discover an underground civilization in which the women are strong and men have grown less virile. WORLD WITHOUT END has a competent main cast that includes Hugh Marlowe (THE DAY THE EARTH STOOD STILL, EARTH VS. THE FLYING SAUCERS, BIRDMAN OF ALCATRAZ), Nancy Gates (THE ATOMIC CITY, SOME CAME RUNNING), and a young Rod Taylor (THE TIME MACHINE, THE BIRDS, ZABRISKIE POINT).

    The music for WORLD WITHOUT END was composed by acclaimed film composer Leith Stevens, known for scoring some of the decade’s most influential science fiction films, from George Pal’s DESTINATION MOON (1950), WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) to his unique jazz-inflected scores for THE WILD ONE, CRASHOUT, and PRIVATE HELL 36. During the ‘60s he composed episodes of Irwin Allen’s television series VOYAGE TO THE BOTTOM OF THE SEA, LOST IN SPACE, THE TIME TUNNEL, and LAND OF THE GIANTS.

    Released in 1958, QUEEN OF OUTER SPACE was based on a ten-page treatment by Ben Hecht that took a satirical look at a planet run by women, which Charles Beaumont fleshed out into a screenplay. Allied Artists eventually brought the project into fruition, with former THREE STOOGES screenwriter Ellwood Ullman touching up Beaumont's screenplay into a full-on spoof of 1950s space opera, with American astronauts being drawn by a mysterious force to the planet Venus, which they find to be inhabited only by beautiful women and their tyrannical queen, who takes the astronauts prisoner. The film was noted for casting excessively glamorous Zsa Zsa Gabor as Venusian scientist Talleah.

    The score for QUEEN OF OUTER SPACE was composed by Marlin Skiles, who began working in Holly­wood in 1933, where he orchestrated and scored many kinds of films. His earliest fantastic score was for Columbia’s A THOUSAND AND ONE NIGHTS in 1945. He joined Al­lied Artists in 1952 as a staff composer, providing music for the studio’s low-budget fantasy-comedies science fiction dramas such as THE MAZE (1953). After QUEEN OF OUTER SPACE, Skiles went on to score films for other studios, including SPOOK CHASERS (1957), THE HYPNOTIC EYE (1960), THE CRAWLING HAND (1963), JOURNEY TO THE CENTER OF TIME (1967) and numerous films outside the science fiction genre.

    Dragon’s Domain Records presents THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1, featuring music from QUEEN OF OUTER SPACE and WORLD WITHOUT END for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

    THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1 is a limited edition release of 500 units. THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1 is expected to begin shipping the week of December 14th, 2020.

    QUEEN OF OUTER SPACE (1958 - Marlin Skiles)
    01. Prologue / Main Title (2:17)
    02. Mysterious Ray and Space Station Destroyed (2:05)
    03. We’re Not On Earth (1:58)
    04. Captured by the Posse and Brought to the Queen (3:25)
    05. Take Them Away / Women Drivers (2:34)
    06. The Captain and the Queen (3:37)
    07. Queen Unmasked (1:21)
    08. Underground Escape (1:14)
    09. Giant Spider and Cave Romance (2:56)
    10. Captured by the Posse Again (2:40)
    11. The Beta Disintigrator (3:06)
    12. Finale and End Credits (1:21)

    WORLD WITHOUT END (1956 - Leith Stevens)
    13. Prelude (2:30)
    14. The Giant Spider Cave (3:42)
    15. Night Encampment and Mutant Attack (2:11)
    16. The Graveyard and Mutants Attack Again (4:17)
    17. The Underground City and Garnet Appears (3:31)
    18. No Guts and the Tour of the City (3:24)
    19. Garnet and John (2:16)
    20. Eavesdropping and Mories’s Treachery (6:57)
    21. The End of Mories / Final Fight and Rebirth (4:34)
    Total Time 62:49



    CD includes 24 Bit Wav, MP3 and Digital PDF

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE GERALD FRIED COLLECTION, VOLUME 1, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography.

    Airing on television in 1978, CRUISE INTO TERROR tells the story of the son of Satan hitching a ride inside an Egyptian sarcophagus and causing havoc when shipped as cargo on a pleasure cruise ship. The story as written has a kind of a Love Boat Meets Hellraiser kind of sensibility, although much less frightening. To score the film, Fried utilized an approach he had favored in the horror films he scored during the ‘50s: paraphrasing from traditional material, which included the Dies Irae , a medieval plainsong chant that is one of the most quoted in musical literature, appearing in numerous classical compositions and film scores alike. Fried recorded the score with a 40-piece orchestra, as he recalls, which gave a sense of size and assertion to the music as the film plays out.

    Released in 1976, SURVIVE! is a Mexican film released under the Spanish title SUPERVIVIENTES DE LOS ANDES (Survivors Of The Andes) and tells the true story of the crash of Uruguayan Air Force Flight 571, which was chartered to carry the country’s rugby team to a match in Santiago, Chile when it crashed in the Andes Mountains. Rescuers could not find the crash site as the plane was far off course when it plowed into snow and rock on a mountainside; without food, survivors had to choose between starvation and eating the flesh of the dead; of the 45 persons on board the plane, 33 initially survived the crash, but only 16 would survive to be rescued after 72 days on the mountain top, trapped by injuries, lack of food, and severe weather, with only the aircraft’s torn fuselage for shelter. The tragedy was later filmed by Frank Marshall as ALIVE (1993).

    The original Mexican version of the film was released in January 1976, and featured a relatively sparse score by Mexican composer Raul Lavista. An edited English language version was adapted by Paramount and released in the United States in August 1976, presented by Allan Carr and Robert Stigwood; for this version Gerald Fried was brought in to compose a new score for the American edit of the movie. Fried composed a sizeable score that perfectly fit the storyline and set the tone for its dramatic and controversial situations.

    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. Now in his 90s, Fried continues to score the occasional commission, short or feature film, and keeps those creative juices active and finding expression.

    Dragon’s Domain Records presents THE GERALD FRIED COLLECTION, VOLUME 1, featuring music composed by Gerald Fried for CRUISE INTO TERROR and SURVIVE! for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

    THE GERALD FRIED COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE GERALD FRIED COLLECTION, VOLUME 1 is expected to begin shipping the week of December 14th,

    CD 1 - CRUISE INTO TERROR (1978)
    01. Prologue and Main Title (3:10)
    02. Out to Sea (1:59)
    03. Who Is Buried There?/Overboard (2:50)
    04. It Wasn’t an Accident/Repressed Wife (2:51)
    05. Shark Attack (4:45)
    06. Passengers/Underwater Search (7:41)
    07. Underwater Discovery and Nathan’s Death (5:02)
    08. Troubled Waters (1:41)
    09. The Reverend’s Rant (3:06)
    10. The End of Dr. Bakkun (2:12)
    11. Voyage of Evil (5:22)
    12. You Are the Guardian! (4:53)
    13. Finale (5:57)
    Total Time: 52:01

    CD 2 - SURVIVE! (1976)
    01. Opening Titles (1:36)
    02. Off Course (3:04)
    03. After The Crash (2:24)
    04. The Search Begins (3:14)
    05. Burying the Dead (7:16)
    06. Trying to Survive (2:57)
    07. Prayers and Death (3:09)
    08. The Tall Section Search (3:49)
    09. Death of Sylvia (2:36)
    10. Friends for Dinner (7:48)
    11. Growing Stronger (1:56)
    12. My Birthday/After the Avalanche (3:11)
    13. Another Death/Montage (5:42)
    14. The Trek Begins (2:59)
    15. You Can’t Give Up (2:28)
    16. Helicopter Rescue (1:38)
    17. Finale and End Credits (3:35)
    Total Time: 60:05


  2. Snow Files of the Week: "Ernest saves Christmas/Christmas Spirit" aus dem Film "Ernest Saves Christmas" (1988).

    Die Vorweihnachtszeit ist bereits in vollem Gange, Zeit auch für Mark Snow, um ein wenig "Christmas Spirit" zu verbreiten. Der Score zu "Ernest Saves Christmas" ist wohl einer von Snows leichtfüßigsten Scores, eingespielt mit Orchester und voller weihnachtlicher Stimmung. Die "Ernest"-Reihe ist in Amerika sehr populär, es gibt eine ganze Reihe von Filmen davon (z. B. "Ernest Goes To Camp" oder auch "Ernest Goes To Jail").

    Marks Score wurde bisher nicht offiziell veröffentlicht, es existiert nur eine Promo-CD davon. Vielleicht wird sich eines der kleinen Label irgendwann mal dieses Scores annehmen.

    Viel Spaß beim Hören!


  3. Ein paar kleine Ausnahmen gibt es wohl. Als LLL TRANSFORMERS 4 (oder 5?) auf CD veröffentlicht hat, kam der auch gleichzeitig digital zum streamen. Das wurde von LLL auch so beworben, also durften sie da scheinbar für einen kurzen Zeitraum auch dran teilhaben. Im Thread bei FSM schreibt ja auch einer, dass es wohl mal einen Deal zwischen Paramount und LLL gab, was das betrifft. Und es ist wohl auch noch ein Unterschied, ob es sich um einen aktuellen Titel oder einen Archiv-Titel handelt.

  4. vor 10 Minuten schrieb TheRealNeo:

    Aber hat das Studio dann auch direkt die Rechte an dem bearbeiteten Material des Labels?

    Scheinbar schon, es bleibt ja trotzdem "Eigentum" des Studios. Die Label bekommen sozusagen nur die Erlaubnis, etwas damit zu machen. Einige Mark-Snow-Sachen von LLL sind beispielsweise ebenfalls auf Spotify zu finden. Aber ein System scheint da nicht wirklich dahinter zu sein. MILLENNIUM Vol.1 gibt es auf Spotify, Vol.2 nicht. Die erste X-Files-Box gab es auch mal, wurde mittlerweile aber wieder entfernt.

  5. Er kommt gleichzeitig auch ins Kino, allerdings in einem "limited run". Von Gal Gadot:

    IT’S TIME. We’ve all waited a long time for this one to come. I can’t tell you how excited I am for all of you to see this movie. It wasn’t an easy decision and we never thought we’d have to hold onto the release for such a long time but COVID rocked all of our worlds. We feel the movie has never been so relevant and we hope that it’ll bring some joy, hope and love to your hearts. Wonder Woman 1984 is a special one for me and I can only hope it’ll be as special to you too. We’ve put our hearts and souls into it.
    So.. you can watch it IN THEATERS (they’re doing an amazing job keeping it safe) and you can also watch it on HBOMAX from your homes.
    Sending you my love. Please keep safe and wear a mask. Happy holidays to all of us!
    Let the light shine in🙅🏻‍♀️💪🏼👊🏼💋✨💫




  6. Auch die Jungs von Red Letter Media haben sich den Film angesehen. Und die kommen zu einem ähnlichen Ergebnis. Sie formulieren das schön aus, indem sie sagen, dass Ende der 80er, Anfang der 90er, Keanu Reeves einfach der "Wou Dude guy" war. Man kannte ihn nur so und er spielte oft ja auch solche "naiven" Rollen. Dieser "Wou Dude guy" ist Reeves nun aber schon lange nicht mehr und es wirkt im Film so, als fiele es Reeves sichtlich schwer, wieder in diese Rolle zu schlüpfen. Weil er einfach nicht mehr diese Person von damals ist. Reeves fiele es wohl auch sichtlich schwer, sich im Film ein Lachen oder Lächeln abzuringen, was ebenfalls komisch wirke. Alex Winter dagegen scheint sichtlich Spaß zu haben und auch weit weniger Probleme damit, wieder in diese Rolle zu schlüpfen. Er wirke tatsächlich wie eine ältere Version der Figur von damals, während Reeves seltsam ungelenk und deplaziert wirke.


    • Like 1

  7. Normalerweise behalten sich die Studios selbst die digitalen Vertriebsrechte vor. Wenn also etwas Limitiertes auf Spotify und Co. erscheint, dann geht das meist vom Studio aus, nicht vom Label. Umgekehrt hätten einige Label gern auch diese digitalen Vertriebswege, aber die Studios geben diese in vielen Fällen verständlicherweise nicht her.

    Die Label bezahlen quasi nur für die Lizenz, eine limitierte Anzahl an physischen Tonträgern von einem Score zu veröffentlichen. Mehr nicht. Wollten sie auch die digitalen Vertriebswege nutzen, wäre das eine weitere Lizenz, die sie bezahlen müssten. Und das ist den Nischenlabeln natürlich zu teuer, zumal wie gesagt die Studios diese Lizenzen in den meisten Fällen nicht abgeben.

  8. Dass Amazon nicht auslieferte, liegt nicht an dem Score.

    Information zur amazon-Lieferverzögerung von AN AMERICAN WEREWOLF IN LONDON:
    Dass wir ausgerechnet bei einem so wichtigen Titel mit dieser für uns noch nie dagewesenen Situation konfrontiert werden, ist unglaublich ärgerlich. Für alle, die sich für die Details interessieren, hier ein paar Infos zu dem, was in den letzten Tagen vorgefallen ist.
    Amazon glaubte wenige Tage vor Veröffentlichungen, einen Großhändler gefunden zu haben, der den WEREWOLF günstiger liefern könne als unser Vertrieb. Zu dem Zeitpunkt war der LKW mit der ursprünglichen Bestellung aber natürlich längst unterwegs. Wir wissen nicht, welcher Großhändler das gewesen sein soll und welchen Preis der angeblich aufgerufen hat, aber natürlich konnte der - zu welchem Preis auch immer - in keinster Weise die Menge liefern, die Ihr bei amazon vorbestellt hattet. Für diese Erkenntnis war es aber zu spät, denn das amazon-System hatte die Bestellung bei unserem Vertrieb bereits automatisch storniert. Die Ware vom Vertrieb kam also bei amazon an der Rampe an und der Mitarbeiter sagte dem netten LKW-Fahrer, er könne mit der Ladung wieder abfahren, sei ja storniert.
    Bis die Ware wieder beim Vertrieb ankam, man bei amazon einen Menschen erreichte, um ihm das Problem darzulegen, die Ware neu rausschicken durfte (damit sie nicht nochmal abgelehnt wird), vergingen ein paar Tage.
    Wir rechnen daher nicht damit, dass amazon vor Mitte der Woche mit dem Versand an Euch beginnen kann.
    ABER: Es gibt die Boxen und amazon bekommt auch die vorbestellte Menge! Es ist also kein Problem der Verfügbarkeit, sondern ausschließlich der Logistik.
    Uns tut das riesig leid, aber wir können es absolut nicht ändern. Wir können es ja selbst kaum fassen.
    Liebe Grüße
    Eure Turbine


  9. Ich habe allerdings das hier gefunden:

    DVD: Michael Kamen - Concerto for Saxophone

    Scheinbar wurde eine Doku Anfang der 90er produziert, die es auf DVD und Laserdisc gibt. Da gibt es Musikvideos zu den einzelnen Movements, aber deklariert ist das Ganze als "Documentary chronicling the creation of Michael Kamen's Concerto for Saxophone, with music videos of all 3 Movements." Der YouTube-Clip könnte also ein Teil davon sein, insgesamt läuft die Doku knapp 55 Minuten.

  10. Waxworks hat nun JASON TAKES MANHATTAN komplett auf Vinyl veröffentlicht. Also kommt der sicher auch noch von LLL. 

    Waxwork Records is thrilled to release the complete soundtrack for the very first time on vinyl. Sourced from the original master tapes from Paramount’s vaults, the score has been re-stored and re-mastered. The 2xLP album package features 180 gram colored vinyl, an interactive die-cut old style tip-on gatefold jackets with matte satin coating, printed inner sleeves, and new artwork by Anthony Petrie!

    Friday the 13th Part VIII: Jason Takes Manhattan Original Motion Picture Soundtrack Features:

    The Complete Soundtrack by Fred Mollin
    Sourced From The Original 1989 Master Tapes
    Re-Mastered For Vinyl
    180 Gram NYC Grime (Disc 1) and Hot Pink Flying V (Disc 2) Colored Vinyl
    Interactive Die-Cut Old Style Gatefold Jacket
    Printed Inner Sleeves
    New Artwork By Anthony Petrie

  11. Snow Files of the Week: "My Name Is Not Buddy/Rod Serling Appears/A True Fan/Dr. Wuzzle/ Dr. Thaddeous They/The Untold History of The X-Files/To Find Each Other/Remember How It Was" aus The X-Files, Episode "The Lost Art of Forehead Sweat" (2018).
    Eine weitere abgedrehte Episode aus der Feder von Darin Morgan. Darin geht es um den "Mandela Effekt". Oder den "Mengele Effekt", was euch lieber ist. Dieser beschreibt das Gefühl, sich an etwas auf eine gewisse Art zu erinnern, was aber tatsächlich nie so war. Die Episode ist ein weiteres beispiel für Darin Morgans Humor, da er sich mal wieder augenzwinkernd aktuellen Ereignissen und damit auch der Show nähert, dabei diese aber noch respektvoll behandelt.
    Es war außerdem eine weitere Möglichkeit für Mark, eine etwas ausgefallenere Musik zu schreiben. Wie das Thema für Reggie, der plötzlich auftaucht und Mulder erzählt, dass er und Reggie einst Partner waren bei den X-Akten, woran sich Mulder aber nicht erinnert, was für Reggie der Beweis dafür ist, dass jemand versucht, die Erinnerungen der Menschheit zu manipulieren. Oder auch die etwas parodistischen Hommagen an The Twilight Zone. Am Ende der Folge erklingt auch das "Home"-Thema von Snow aus dem zweiten Kinofilm "I Want To Believe".
    Die Musik stammt vom 2CD-Set von LLL. Das Set ist auf 3.000 Exemplare limitiert.
    Viel Spaß beim Hören!

  12. Snow Files of the Week: "Main Title/Having a Baby/All about Ned" aus dem TV-Film "Oldest Living Confederate Widow Tells All" (1994).

    Dieser Score zeigt Snow von seiner orchestralen Seite. Die Musik besticht durch ein schönes Hauptthema, wundervolle Streicherpassagen und einen Schuß Americana.Die Musik wurde von Milan Records veröffentlicht und ist immer noch zu guten Preisen erhältlich, es lohnt sich.

    Viel Spaß beim Hören!


  13. Zitat


    ***Sacred Bones Exclusive Color: Edition of 1000 copies, pressed on red, white, and black striped vinyl.***

    ***Deluxe Edition Version: Limited edition of 500 copies, pressed on red vinyl, in an exclusive wrap around sleeve, wax sealed, hand-numbered and available by mail-order only. ONE PER PERSON LIMIT.***

    ***Sacred Bones Record Society version: Edition of 150 copies, pressed on "Gold Nugget" vinyl, in an exclusive wrap around sleeve, wax sealed, hand-numbered and available by mail-order only. ENROLL HERE.***

    All vinyl copies come with a massive 24x36" fold-out poster.

    Much has changed in the musical life of renowned composer and director John Carpenter since 2016’s Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017’s Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. 

    Underpinning Carpenter’s renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They’ve composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies’s guitar and the dueling synthesizers played by the Carpenters.

    “We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer,” John says of the trio’s process. “We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We’ve matured.”

    John called the first Lost Themes album “a soundtrack for the movies in your mind.” On Alive After Death, those movies are even more vivid. The song titles here are among his most evocative, too. Lead single “Weeping Ghost” thrillingly conjures its title figure in a wash of synthesizer, making the listener’s neck hairs stand on end as the aural specter stalks the halls of a dilapidated mansion. The pulsing “The Dead Walk” makes the zombie apocalypse feel like a rave. The gloomy, atmospheric closing track “Carpathian Darkness” casts shadow on the album with its strikingly effective minimal piano and splashes of twinkling synth. Each of the ten songs is a universe unto itself.

    Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

    Out February 5, 2021.


    • Like 1

  14. Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997).

    Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel.

    Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde, limitiert auf 1000 Stück.

    Happy Halloween!


    • Like 2

  15. Ich finde auch, dass die Reihe sehr von Wes Cravens Inszenierung lebt. So viele Franchises gibt es ja nicht, die über Jahre hinweg vom selben Regisseur inszeniert wurden. PHANTASM fällt mir da noch ein mit Don Coscarelli als kreativem Kopf dahinter. Und das sogar über Jahrzehnte hinweg. Oder in etwas kleinerem Rahmen, weil weniger Filme, EVIL DEAD von Raimi.

    Ein fünfter SCREAM ist sicherlich nicht nötig, aber ohne Craven fühlt sich das eher nach einer weiteren, seelenlosen Wiederbelebung einer einstmals erfolgreichen Reihe an.

    • Like 1

  16. Zitat


    2 CD set comes with digital download - 24 Bit Wav, MP3, Digital PDF)

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALBERT GLASSER COLLECTION, VOLUME 1 , featuring music composed and conducted by Albert Glasser (THE CISCO KID, I SHOT JESSE JAMES, THE AMAZING COLOSSAL MAN, THE SPIDER) for HUK! And TOKYO FILE 212, two films from his extensive filmography.

    HUK! is a 1956 United Artists action film directed by John Barnwell, written by Stirling Silliphant, and starring George Montgomery, Mona Freeman, John Baer, James Bell, Teddy Benavides and Mario Barri. Set and filmed in the Philippines, HUK! follows American planter Greg Dickson (Montgomery) who returns to the Philippines in 1951 intending to sell his dead father's plantation. When he arrives in the country, he finds that it has been overrun by Huk guerrillas, including the rebel leader who killed his father. With the aid of buddy Bart (Baer) and Bart's wife, Cindy (Freeman), Greg helps defend the local people from the rebels.

    TOKYO FILE 212 is a noirish detective adventure set during the Korean War but taking place in Japan. The RKO picture was directed by Dorrell & Stuart E. McGowan and starred Robert Peyton (aka Lee Frederick), Florence Marly, Katsuhiko Haida, and Reiko Otani. Released in 1951, TOKYO FILE 212 is about a Communist spy ring in Tokyo hard at work trying to sabotage the American war effort using kidnapping, murder, and a disturbed former kamikaze pilot. A U.S. secret agent (Peyton), posing as a reporter, is dispatched to Tokyo to put a stop to these nefarious activities, while befriending a shady woman (Marly).

    Born January 25, 1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television, he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN.

    Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 1, featuring music composed and conducted by Albert Glasser for HUK! And TOKYO FILE 212 for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

    THE ALBERT GLASSER COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE ALBERT GLASSER COLLECTION, VOLUME 1 is expected to begin shipping the week of November 9th, 2020.

    CD 1 - HUK!
    01 Opening and Forward 1:37
    02 Main Title 1:56
    03 The Calessa Ride 3:43
    04 They Pass Bataan 1:38
    05 Kulak Attacks The Boat 1:39
    06 Coming Into Harbor 2:49
    07 His Old Room 3:01
    08 The Swimming Scene 3:16
    09 The Underwater Fight 1:24
    10 At the Cemetary 3:43
    11 The Music Box 1:41
    12 A Huk Climbs the Tower 1:22
    13 The First Attack 2:51
    14 Kulak Swears Vengeance 0:57
    15 In the School Room 1:09
    16 Huks Kill Pop 0:36
    17 John Gets the Bad News 2:34
    18 The Big Retreat 1:17
    19 The School Yard Scene 2:53
    20 School Yard Scene - Pt. 2 1:43
    21 The Boat Pulls Out 1:18
    22 Huks Hit the Water 0:56
    23 The Big Fight/Swim to Shore/
    End Title 5:47
    Total Time 50:49
    CD 2 - TOKYO FILE 212
    01 Main Title 1:44
    02 This is Tokyo 2:37
    03 Jim Meets Steffi 2:07
    04 Source Montage 1:43
    A. Virgin Wood Nightclub
    B. Knickerbocker Club
    C. Hula Club
    05 Jim Sees Taro 1:24
    06 Steffi is Tired 1:57
    07 Kamikazi Class 2:05
    08 The Telegram 1:36
    09 The Big Shrine 3:15
    10 At the Russian Consulate 1:34
    11 The Kubuki Theater 1:18
    12 Jim Gets the Third Degree 1:18
    13 Newspaper Headline 0:28
    14 Hello, Mamiko 1:13
    15 Mamiko is Kidnapped 0:52
    16 Taro In Hospital 3:25
    17 Steffi Cries 2:10
    18 Jim Gives Her a Gun 1:18
    19 Railroad Strike 0:32
    20 Mamiko Dies in Taro’s Arms 1:42
    21 Taro Gets Caught 1:19
    22 Taro Commits Suicide 0:59
    23 End Title 0:18
    Total Time 37:50



    (CD comes with Digital Download - 24 Bit Wav, MP3 and Digital PDF

    Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to MUNCHIE, featuring music composed by Chuck Cirino for the 1992 family comedy directed by Jim Wynorski, written by R.J. Robertson and Wynorski, starring Lonnie Anderson, Andrew Stevens, Jamie McEnnan, Monique Gabrielle, Ace Mask, Lenny Juliano, John Henry Richardson, Fred Olen Ray, Toni Naples, Mike Simmrin, Scott Ferguson, Jennifer Love Hewitt, George ‘Buck’ Flower, Arte Johnson as Professor Cruikshank and Dom DeLuise as the voice of Munchie. MUNCHIE continues the longtime collaboration between filmmaker Jim Wynorski and composer Chuck Cirino, which includes films such as CHOPPING MALL, DEATHSTALKER II, NOT OF THIS EARTH, TRANSYLVANIA TWIST, A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and, most recently, A DOGGONE ADVENTURE.

    The popular success of Joe Dante’s GREMLINS in 1984 quickly spawned a torrent of contentious pint-size creatures from the minds of moviemakers hoping to feast on box office revenue as satisfying as that of the original GREMLINS. A sequel in name only to MUNCHIES, released earlier in 1987, MUNCHIE was inspired by a 1955 Warner Bros. cartoon short made by Chuck Jones called ONE FROGGY EVENING, about a guy who struggles to make his fortune with a frog that sings and dances, but only when it is alone with the owner. Wynorski and his co-writer of the time, the late R. J. Robertson, developed a script based on that premise, except instead of being a frog, Munchie was a friendly gremlin-like creature that dressed like a lounge singer, sounded like a stand-up comedian and had magic powers. Gabriel Bartalos, a veteran Jack-of-all-trades in the film business, designed and created Munchie’s creature costume, which was made out of foam rubber. It was based on an illustration by co-scripter R. J. Robertson.

    Wynorski hired a fine cast, bringing in the beautiful girls who’d been regular stars of his previous R-rated fantasy and horror films, as well as TV stars Loni Anderson, Andrew Stevens, Artie Johnson, and the first appearance of a young Jennifer Love Hewitt, who would appear in several of Wynorski’s subsequent family movies. To play the voice of Munchie, Roger Corman was willing to pay a princely sum for this most important role. Dom DeLuise was suggested, and agreed to take the part.

    To write the film’s score, Jim brought in his long-time friend and regular composer, Chuck Cirino. Inspired by a theme Chuck had briefly used in RETURN OF SWAMP THING, Jim asked Chuck to revisit the tune and make it the main thematic foundation of the film. Cirino reworked the piece, added some new elements, and boom—there was the catchy, centerpiece melody for MUNCHIE. Without any musical references with which to model this score after, Cirino essentially had to invent the musical style for the movie. At that time, Cirino’s musical toolbox was equipped with what was then state-of-the-art synthesizers and early musical samplers like the Proteus sampler, Prophet 2000, Roland D50. MUNCHIE possesses a carnivalesque type of score that is effervescent and tuneful, with a variety of colorful and catchy timbres that keep the music fun, with occasional forays into attitude for Munchie himself.

    Chuck Cirino did not start his career as a composer, but rather as a programmer in Stroudsburg, Pennsylvania for a Public Access cable TV station, where he learned how to create TV shows by himself, without a crew. In his spare time, he experimented with the station’s video equipment and created a series of genre productions that allowed him the opportunity to learn how to incorporate special effects into his work. After relocating to California, Cirino transitioned into directing high-end special effects television commercials. His first work as composer was for the 1980 cult film GYPSY ANGELS, which starred Vanna White and Richard Roundtree. Since then he has scored films for Roger Corman, directed music videos for bands like Earth, Wind & Fire and The Dickies’ KILLER KLOWNS FROM OUTER SPACE, and has recorded over 40 music soundtracks for feature films including SORCERESS, HARD TO DIE, TRANSYLVANIA TWIST, and many others. Most recently, he has scored A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and A DOGGONE ADVENTURE.

    Chuck has worked as a producer, director, filmmaker, videographer, animator, special effects technician, editor, and composer. He executive produces and directs WEIRD TV, a television series featuring weird Americans, bizarre news, unbelievable events and outlandish skits. Chuck’s credits also include executive producer and director of the Sci Fi Channel projects, WORLDWIDE WEIRD and WARPED IN SPACE, and BABERELLAS, an independent Sci Fi feature distributed by Xenon Pictures.

    Dragon’s Domain Records is excited to bring MUNCHIE to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall Larson, with the participation of the composer and the director. 

    MUNCHIE is a limited edition release of 500 units. As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge.

    MUNCHIE is expected to begin shipping the week of November 9th, 2020.

    1. Opening Chase (3:53)
    2. Munchie Main Titles (2:11)
    3. Dreaming of Andrea (1:15)
    4. If You Need a Friend / Western Fantasy (2:12)
    5. Funeral Fantasy (3:40)
    6. Gage Finds Munchie (1:50)
    7. Hello, My Baby (0:42)
    Vocal: Dom Deluise
    8. Gage Tells Munchie His Wish List (1:26)
    9. Unidentified Flying Pizza (Finiculi Finicula) (1:42)
    10. Munchie is Gone (3:07)
    11. Munchie Changes Grades (3:01)
    12. Gage Punches Out the Bully (3:23)
    13. He’s Out of Commission (2:29)
    14. Just Leave Me Alone, Munchie (1:18)
    15. Elliot’s Hot Foot (1:00)
    16. Munchie’s Phone Fraud (1:18)
    17. Mom’s Dinner Date (1:23)
    18. Elliot Discovers Munchie (1:51)
    19. The Chase is On / Elliot Crashes (4:25)
    20. Airport Goodbyes / Finale (2:38)
    21. Munchie End Credits Suite (5:00)
    22. Stingers (0:18)
    23. Outtakes Suite (3:23)
    Total Time: 54:24



    (CD comes with digital download, 24 bit Wav, MP3 and Digital PDF)

    Dragon’s Domain Records presents a new release of FROM BEYOND, to be distributed through buysoundtrax.com. FROM BEYOND features music composed by Richard Band (RE-ANIMATOR, GHOST WARRIOR, TROLL) for the 1986 science fiction/adventure film directed by Stuart Gordon, adapted by Brian Yuzna from the short story by H.P. Lovecraft, starring Jeffrey Combs, Barbara Crampton, Ted Sorrel and Ken Foree. The music has been newly mixed and mastered from the original 24 hour track elements.

    Written in 1920, Lovecraft’s short story is told from the first-person perspective of an unnamed narrator who is associated with scientist Crawford Tillinghast, who creates an electronic device that emits a resonance wave, allowing the experimenters to perceive planes of existence outside the scope of our accepted reality. When they turn this machine on, they not only perceive the horrific creatures that occupy a parallel dimension that overlaps their reality but Crawford then realizes that the effect works both ways, and allows the denizens of the alternate dimension to perceive and then feed upon those observing from our dimension. FROM BEYOND expands on Lovecraft’s concepts beyond the original short story, developing a storyline true to its original author’s intent and substance but developing into a modern story in which Tillinghast (Combs), here the assistant to the Resonator’s inventor Dr. Pretorius (Sorel), is similarly accused of the scientist’s murder when Pretorius is killed, by creatures from another dimension, Crawford insists, resulting in his immediate admittance to a mental hospital. After psychiatrist Katherine McMichaels (Crampton) and detective Bubba Brownlee (Foree) take the case, they escort Crawford back to the laboratory in an attempt to corroborate his account by re-creating the experiment.

    Composer Richard Band’s career scoring films began in 1978 and is still going strong in 2020. His film-musical repertoire has largely consisted of science fiction and horror films. He had previously scored Stuart Gordon’s RE-ANIMATOR, embracing a humorously affectionate nod toward Bernard Herrmann in his jaunty treatment of PSYCHO’s main theme that fit Gordon’s wildly farcical approach to Lovecraft’s tale of Herbert Gordon West and his mistreatment of dead things. Band rejoined Gordon for the equally blood-splattered FROM BEYOND and went on to compose both CASTLE FREAK and DREAMS IN THE WITCH HOUSE, earning an Emmy nomination for his music for the latter. Band also composed Gordon’s ambitious revision of Edgar Allan Poe’s THE PIT AND THE PENDULUM in 1991.

    The score for FROM BEYOND was created with a mixture of early synthesizers and a small orchestra of around 40 string players and some percussion. Band made a point of combining the electronics with the orchestra in an integrated manner, rather than using orchestra and the electronics as separate entities.

    Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER and Disney's SING ME A STORY series.

    Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich.

    For this new release of Richard Band’s FROM BEYOND, Dragon’s Domain Records has gone back to the original 24-track master and had engineer Matt La Point completely remix the score from the ground up, under the supervision of composer Richard Band, digitally remastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer. In addition to the eighteen tracks that make up the score’s track order, this new release of FROM BEYOND includes three bonus tracks. The goal on this one was to bring out a lot of detailing that had been obscured in the original mix and everything that came afterwards and also take advantage of advances in audio technology that have come out since the original Mix which greatly improved the score on a sonic level.

    FROM BEYOND is a limited edition release of 500 units. FROM BEYOND is expected to begin shipping the week of November 9th, 2020. The first 50 copies ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge.

    01. From Beyond Original Main Title 2:37
    02. Prologue: The Resonator 1:25
    03. “Something’s Coming” 4:03
    04. From Beyond Main Title 2:11
    05. “We Saw Creatures 1:58
    06. Back to 666 Benevolent Street
    And Crawford Remembers 4:59

    07. “Pretty, Isn’t She?” 1:06
    08. They’ll All See and “Quite Enough” 4:38
    09. First Kiss and The Cellar (Revised) 4:05
    10. Katherine Suits Up 2:51
    11. Fuses Blow 0:59
    12. The Swarm 3:17
    13. Bubba’s Death and Resonator Starts Up (Again) 3:48
    14. French Eye Kiss, Paramedics and Hospital Escape 6:13
    15. Return to the Resonator and Gland Eater 2:20
    16. Final Battle in the Beyond 4:46
    17. Katherine Survives, But... 1:30
    18. From Beyond End Credits
    (Original Version with
    Electronic Effects & Reverb) 2:32

    19. Stingers and Such 1:07
    20. The Cellar (Original Version) 1:50
    21. Katherine’s Dark Desires 1:24
    22. From Beyond End Credits (Film Edit) 3:33
    Total Time: 64:09



    (CD comes with digital download, 24 bit wav, MP3 and digital PDF)

    Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents DEMON IN A BOTTLE, featuring the world premiere release of music composed by John Morgan for the 1996 children’s adventure film directed and co-written by Randall William Cook, starring Ashley Tesoro, Michael Malota, Rahi Azizi, Michael Dubrow and the director himself in multiple roles.

    Produced by Charles Band and Albert Band of Full Moon Features fame, DEMON IN THE BOTTLE tells the story of a group of four teenagers who accidentally find a lost treasure buried by an 18th Century pirate on a desert island in the catacombs beneath their hometown near the coast of Louisiana. The kids pry open the chest revealing a trove of gold coins, jewels, goblets, and an unusually-shaped bottle. Believing the bottle to contain a genie, one of them opens it and releases a hideous demon charged with guarding the treasure.

    Three-time Academy Award® winner Randall William Cook is a revered special effects artist known for his stellar work on THE THING (1982), GHOSTBUSTERS (1984), FRIGHT NIGHT (1985), FROM EARTH TO THE MOON (1998), and THE LORD OF THE RINGS (2001-2003). DEMON IN THE BOTTLE was Cook’s directorial debut, a film in which he also served as a special effects artist. The overall design of the film’s demon is a nostalgic blend of Ray Harryhausen’s creature from 20 MILLION MILES TO EARTH (1957) and the Kraken from CLASH OF THE TITANS (1981).

    Composer John Morgan was approached by his longtime friend Randall William Cook to compose the score for DEMON IN THE BOTTLE. The pair had known each other for years, but since Morgan was a composer and Cook a special effects artist, they had never had the opportunity to collaborate together on a project. After Morgan was officially hired by Cook to compose and record the score for DEMON IN THE BOTTLE, Morgan invited Stromberg to join him on the adventure. The challenge was to create orchestral adventure music in the vein of Bernard Herrmann’s scores for Ray Harryhausen films like THE 7TH VOYAGE OF SINBAd (1958) or JASON AND THE ARGONAUTS (1963) on a restricted budget that could barely afford to feed an orchestra for three days. Their outside-the-box solution was to contract an ensemble of fifteen to eighteen live musicians to record the woodwind, brass (sans trumpets), and harp parts of the score and employ synth or sampled instruments to record the strings, trumpets, and percussion.

    John Morgan is best known as a leading reconstructionist of vintage film scores, in partnership with composer/conductor William T. Stromberg. With Morgan’s expertise in transcription and orchestration and Stromberg’s capability as a conductor, the pair have been involved in restoring significant film scores for new recordings, allowing rare historic and artistic film music in many genres to be recorded and released, many in complete form, for the first time. In 1979, Morgan composed and orchestrated his first feature film score and in the ensuing years composed music for more than 30 feature films, as well as many television, radio and cable projects including STARSHIP TROOPERS 2, TRINITY AND BEYOND, RAY HARRYHAUSEN – THE EARLY YEARS, CINERAMA ADVENTURE, TINY TOON ADVENTURES and others, many in collaboration with his music partner and life-long friend, William Stromberg.

    Morgan's love and passion for the great scores of Hollywood's golden age led him to the arena of arranging and reconstructing many classic scores for new recordings. He embarked on a long series of film music recordings for Marco Polo (Naxos), BMG Classics and his own label with Anna Bonn and William Stromberg, TRIBUTE FILM CLASSICS. Among the scores he has reconstructed and orchestrated for new recordings are: Max Steiner's THE CHARGE OF THE LIGHT BRIGADE, KING KONG; Erich Wolfgang Korngold's CAPTAIN BLOOD, ESCAPE ME NEVER, THE ADVENTURES OF ROBIN HOOD, THE SEA HAWK; Roy Webb's scores for the Val Lewton films, Hans Salter and Frank Skinner's THE WOLF MAN, HOUSE OF FRANKENSTEIN, ABBOTT AND COSTELLO MEET FRANKENSTEIN as well as scores by Hugo Friedhofer and Victor Young.

    Dragon’s Domain Records is excited to present the world premiere compact disc release of DEMON IN A BOTTLE, remastered and reconstructed from the composer’s own elements by James Nelson at Digital Outland with assistance from composer William Stromberg. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite, with the participation of composers John Morgan and William Stromberg.

    DEMON IN A BOTTLE is a limited edition release of 500 units. 

    DEMON IN A BOTTLE is expected to begin shipping the week of November 9th, 2020. The composer will autograph the booklets for the first 50 copies sold through the website.

    1. Demon in the Bottle: Main Title (1:07)
    2. Pirates Battle (1:57)
    3. Deadly Cave (2:46)
    4. Locker Intimidation (1:25)
    5. Skeletons / Discovering Treasure (3:47)
    6. Murray Talks (1:02)
    7. Blue Bottle Monster / Run for Your Life (4:12)
    8. Isn’t No Monster (1:54)
    9. Marvin Monster Chase / Looking for an Exit (2:43)
    10. Frantic Buttons / Freddie Finds Bottle (1:57)
    11. Nana’s Efreet Stories / Efreet Jumps (1:29)
    12. Hunting Murray / Marvin Escapes (2:25)
    13. Murray in the Lunchbox (1:01)
    14. Marvin’s Shower (2:12)
    15. Finding the Painting and The Body (2:29)
    16. Mirror Monster Chase / Scaffolding Climb (3:11)
    17. The Kiss (:33)
    18. Vice Grip Interrogation (1:27)
    19. Murray Plugs In (1:56)
    20. Monster Suction (2:28)
    21. She’s Dead,You Moron! / Trapped Inside (3:50)
    22. Heap of Melted Slang (:57)
    23. Freddie Regrets / The Girl Still Liv es (4:31)
    24. Words of Reason / Amanda Expelled (5:18)
    25. Treasure Rediscovered (1:29)
    26. Marvin Leaves (2:04)
    27. Russell Learns (1:14)
    28. Demon in the Bottle: End Cr edits (2:13)
    29. Demon in the Bottle Suite
    (Moscow Symphony Orchestra) (3:25)
    Total Running Time: 68:12


  17. Snow Files of the Week: "Cortege" (1999/2002) aus dem "Cold Spring" Sampler "The Chamber".

    Hier haben wir eine rare Begebenheit, bei der Snow nicht für einen Film oder eine Serie komponierte. Das Stück "Cortege" stammt aus einem Konzept-Album mit dem Titel "Death...be not proud", welches komplett aus neuen Kompositionen von Snow bestehen sollte.
    Das Veröffentlichungsdatum sollte im Frühjahr 1999 sein, es gibt sogar eine Trackliste (Intonation, Cortege, If Hitler Had Autism, Mr Jones, Quietude and Colonel Parkinson). Aber leider wurde das Album nicht veröffentlicht. Auf Nachfrage beim Label bekam ich als Antwort, dass Snow tatsächlich an dem Album gearbeitet hat, aber mehr und mehr mit Filmmusik-Aufträgen beschäftigt war, sodass er keine Zeit mehr hatte für das Album. Das Label hat immer noch ein 25-minütiges Master für das Album.

    Der Track zeigt Snow in seinem düsteren X-Files-Ambient-Modus. 

    Viel Spaß beim Hören!


    • Like 1

  18. Gibt es am 27.10. von LLL auf CD:



    Music by Christopher Lennertz
    Limited Edition of 2000 Units
    RETAIL PRICE: $19.98
    AVAILABLE TO ORDER HERE ON 10/27 – starting at 12 noon (pst)

    CLICK HERE to view the HI-RES cover art

    La-La Land Records, Sony Pictures Television and Amazon Prime proudly present the original music score to Season One of the acclaimed hit series THE BOYS, starring Karl Urban, Jack Quaid and Erin Moriarty. Renowned composer Christopher Lennertz (SUPERNATURAL, IDENTITY THIEF, RIDE ALONG) unleashes a powerhouse original score, providing a vital heartbeat for this amazing series that expertly blends high-octane superhero action with hard-hitting drama and razor-sharp satire. Lennertz’s propulsive score handles it all pitch-perfectly, making for an astoundingly dynamic listen! The incredible musical highlights of the series’ first season gets a deluxe presentation across two CD discs in this limited edition release of 2000 units.


    DISC 1
    1. Translucent Alive 1:16
    2. Truck Robbery 1:34
    3. Butcher 2:40
    4. Starlight 1:18
    5. On the Trail 0:56
    6. Homelander and Stillwell 2:16
    7. Race of the Century 1:04
    8. Boys Arrive 1:19
    9. Hughie Stalls Starlight 1:23
    10. Maeve Spars 0:38
    11. Start the Race 2:01
    12. Popclaw Climaxes 0:56
    13. Hijacking 2:45
    14. Kidnapping Translucent 1:11
    15. Ass Bomb 2:43
    16. Translucent Explodes 4:06
    17. Hughie Trashes Room 1:29
    18. Translucent Visits Hughie 1:13
    19. Planting Bug Plan 0:51
    20. Dock Patrol 1:50
    21. I’m the Hero 3:16
    22. Vought 1:15
    23. Starlight Team Up 0:44
    24. Frenchie’s First Kill 1:36
    25. Homelander’s Speech 1:43
    TOTAL DISC TIME: 42:55

    DISC 2
    1. Butcher’s Pep Talk 2:28
    2. Rescue the Female 1:36
    3. Frenchie Lost Female 1:47
    4. Dead Shooter 0:57
    5. Hospital Shootout 1:12
    6. Graveside Sledgehammer 2:24
    7. Maeve’s Girlfriend 1:58
    8. NICU 0:52
    9. Tent Confrontation 1:22
    10. Starlight’s Speech 2:14
    11. Come In 1:51
    12. Black Knight Not 1:08
    13. Kimiko’s Backstory 1:21
    14. Subway Chase 1:01
    15. Mesmer and Homelander 1:36
    16. The Mesmerizer 0:30
    17. Butcher Tells Hughie 1:54
    18. Hughie Kisses Starlight 1:03
    19. Robin’s Memory 2:02
    20. SBS 2:09
    21. Always a Choice 2:39
    22. Supe Terrorist 1:37
    23. A-Train Shows Up 1:34
    24. Shoot Out 2:50
    25. I Got Teddy 2:41
    TOTAL DISC TIME: 43:37




    Music by Christopher Lennertz
    Limited Edition of 2000 Units
    RETAIL PRICE: $15.98
    AVAILABLE TO ORDER HERE ON 10/27 – starting at 12 noon (pst)

    CLICK HERE to view the HI-RES cover art

    La-La Land Records, Sony Pictures Television and Amazon Prime proudly present the original music score to Season Two of the acclaimed hit series THE BOYS, starring Karl Urban, Jack Quaid and Erin Moriarty. Renowned composer Christopher Lennertz (SUPERNATURAL, IDENTITY THIEF, RIDE ALONG) builds on the amazing musical soundscape he established in the show’s first season – soaring to new scoring heights with his music from season two! Once again, the composer’s score syncs perfectly with this thrilling expansion of the story, making for a breathtaking listen that blends action, drama, comedy and suspense! The incredible musical highlights of the series’ second season are presented here, along with the songs, “Never Truly Vanish,” performed by Erin Moriarty and “Faster,” performed by Jessie T. Usher & Amiee Proal. This CD release is a limited edition of 2000 units.


    1. Never Truly Vanish 3:35
    2. Her Brother 0:51
    3. Break Every Bone 2:19
    4. Faster 2:35
    5. Standoff 1:23
    6. Father and Son 0:52
    7. Meeting Blindspot 0:39
    8. A Billion Dollar Liability 2:23
    9. Fake News 2:10
    10. Homelander in Hallway 0:35
    11. Rebecca’s Drive 1:12
    12. Pitch 1:05
    13. Halloween Store 1:40
    14. Brother and Sister 2:57
    15. Don’t Lie to Me 1:45
    16. Sharks! 2:07
    17. Flame On 1:40
    18. Helicopter Attack 2:07
    19. Red Cross Center 2:29
    20. Explosion and Black Noir Faceoff 3:57
    21. Back to the Cabin 3:41
    22. Black Noir on Roof 1:22
    23. Real Action 1:33
    24. Still on the Roof 0:57
    25. Elevator 1:08
    26. Church of the Collective 1:53
    27. I Heard the Goldfish 1:38
    28. Light Up the Room 1:33
    29. Cindy 2:39
    30. He’s OD’ing 1:32
    31. Let Them Go 1:21


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