Alexander Grodzinski

Nun auch auf Vinyl.

Snow Files of the Week: "Prayer/Suicide Exam" aus der Akte-X-Episode "Die Hand Die Verletzt". Ein herausragender Score in der Serie von Snow. Die Geschichte um satanische Rituale, Glaube und Besessenheit inspirierte Mark zu diesem düsteren Gothic-Score. Die brodelnde Ambient-Musik erschafft die passende Atmosphäre für die unheimlichen Ereignisse an einer High School. Mark benutzt sogar düstere Chorgesänge in seiner Musik und verleiht dem Score damit einen hohen Wiedererkennungswert innerhalb der Serie. Die Zeile "Die Hand Die Verletzt" ist in der Episode gleich am Anfang zu hören in dem satanischen Gebet, welches die Lehrer sprechen. Obwohl der Original-Titel der Episode mit "Die Hand Die Verletzt" schon deutsch ist, bekam die Folge hierzulande einen anderen Titel. Bei uns heißt sie "Satan". Musik aus "Die Hand Die Verletzt" befindet sich auf dem zweiten 4-CD-Set mit Akte-X-Musik von LLL, limitiert auf 3000 Stück. Das Set ist ausverkauft. Viel Spaß beim Hören!

Vermutlich. Ich habe die Filme nur auf Blu-ray und da sind eben bei KROKODIL und HIMMELHUNDE die Titeleinblendungen auf deutsch (bei KROKODIL ist der Titel deutsch, die restlichen Credits sind italienisch). HECTOR erschien auch nicht bei 3L, sondern LEONINE. 3L hat eben die veröffentlicht, an denen sie die Rechte hatten. Bei HECTOR ist auch der Titel auf deutsch, die restlichen Credits italienisch. Bei RAND UND BAND sind die Credits komplett italienisch.

40 Euro ist mir dafür eigentlich auch zu viel. Zumal alle Cover, außer die mit den Kinomotiven, echt häßlich sind. Und die Kinomotive sind natürlich schon ausverkauft.

Als kurzer Einwurf sei noch erwähnt, dass das kleine Label Retro Gold 63 die beiden Filme DAS KROKODIL UND SEIN NILPFERD und ZWEI HIMMELHUNDE AUF DEM WEG ZUR HÖLLE im November je als Blu-ray-Mediabook veröffentlicht. Das Besondere daran ist, dass ein neues Master zum Einsatz kam. Als das Label 3L vor vielen Jahren anfing, die Spencer/Hill-Filme auf Blu-ray zu veröffentlichen, hatten sie für diese beiden Filme keinen Zugriff auf das italienische Master. Es wurden daher deutsche Kinokopien verwendet, die natürlich qualitativ schlechter waren als das originale Master. Besonders bei den Himmelhunden ist das deutlich zu sehen. Die Blu-ray-Version ist an vielen Stellen stark verrauscht und auch die Farben sehen oft unnatürlich gesättigt aus, worunter auch insgesamt die Bildschärfe immer wieder leidet. Im Vergleich sieht sogar die DVD besser aus. Der Grund, dass man damals die italienischen Master nicht verwenden konnte, war ein, zumindest damals, noch andauernder Rechtsstreit in Italien. Ob dieser nun beigelegt ist, weiß ich leider nicht, aber scheinbar konnte nun wohl ein italienisches Master erstellt werden. Ähnlich wie bei der Musik ist wohl auch die Rechtelage bei dem Filmen nicht immer so einfach. Das ist sicherlich auch ein Grund, warum mittlerweile zwar fast alle Spencer/Hill-Filme auf Blu-ray veröffentlicht wurden, aber der Spencer-Solofilm ALADIN bisher nur als DVD erhältlich ist. Das war damals eine Cannon-Produktion und scheinbar gibt es auch da bei Veröffentlichungen immer wieder mal Schwierigkeiten, auch, was nicht mehr auffindbare Master betrifft. Es gibt eine spanische Bootleg-Blu-ray, aber eine offizielle Veröffentlichung wäre schon schön. Nächste Woche erscheint sogar die TV-Serie ZWEI SUPERTYPEN IN MIAMI auf Blu-ray, also sollte das doch für die Kinoproduktion ALADIN auch noch drin sein.

Scheinbar kommt auch was zu STAR TREK. Vielleicht zieht LLL den Black Friday vor.

Heute von LLL: Da heute vor 60 Jahren GOLDFINGER in die Kinos kam und wohl auch die Schriftart die des Kinoplakates ist, kommt der Score wohl am 01.10. von LLL.

DAS KROKODIL UND SEIN NILPFERD wird in der erweiterten Version nun auch auf Vinyl erscheinen. It was 1979, and I was barely 5 years old. Some memories are impressed on my mind with a sort of solarized texture, like in the photographs of the period, full of icons and myths. My father Franco and mother Luciana were like crazy pinballs, touring the world: America, France and Germany were the sides against which they continuously bumped and Italy's capital the hole to which they always returned. I was really young, but I remember very well the period in which my father worked on this little jewel, produced and shot with great love and poetry by Mr. Zingarelli. I remember Italo, a large guy who made an enormous impression on me: tall, with an imposing frame and often wearing a big beard that made him both tender and menacing, like an Italian version of Santa Claus. We owe a lot to this man who gave so much to Italian cinema, sensibly enriching our artistic fortune, sometimes, as in this case, with great irony and poetry. Shot in Africa in the late '70s, Io sto con gli ippopotami (aka I'm for the Hippopotamus), is a movie that in my imagination is just like Italo: humorously menacing and bulky, protective, awesome and sweet, a description that also fits the mascot of this delicious film, the hippopotamus. In this movie we feel the presence of its producer/director's poetry, often handed down with great passion and cheerfulness through his cinema. It's a simple message of love for nature, respect for the weaker and the duty to intervene when they are subjected to abuse. Everything is presented with disarming simplicity, as powerful as it is beautiful. You must confess that you were moved when Terence Hill, toward the end of the movie, delights himself with his friend-of-a-thousand- adventures Bud Spencer by watching the flight of the animals from Mr. Ormond's boat to the wonderful notes of "Freedom," where my father's harmonica together with the melody infuses the scene with an almost maternal sweetness. Well, we are all in debt to this big guy for his kind message and the clean, sparkling, soft and amusing sincerity that dwells there, among the lines of his cinema, apparently devoted to simple entertainment but so wonderfully deep and full of feeling. Heartiest thanks, Italo. Daniele De Gemini This album, dedicated to the memory of Italo Zingarelli, is released on a 180 grams colored vinyl, mastering by Enrico De Gemini, graphic layout by Daniele De Gemini. Tracklist: A Side 1 Grau Grau Grau 2:46 2 Boogie match 3:44 3 A bus in the wild 2:09 4 Happy fists 2:24 5 Smoothly 2:34 6 Caviar and lobster 3:16 4 Grau Grau Grau 2:04 B Side 1 Freedom 3:07 2 Angry with me? 1:14 3 Ciocio flute 3:02 4 Joyful release 1:32 5 Casino 1:35 6 Lulla ciocio 0:57 7 Caterpillar 2:53 8 Ciocio-Ciociolosa 2:14 9 Grau Grau Grau 2:10

Intrada presents the premiere release of composer Frédéric Talgorn's first film score: the 1989 MGM horror film Edge of Sanity. His approach to scoring the film, as with many of his scores after this first venture, comes from the orchestral tradition created by many film music legends. As he describes in the liner notes, “I’m from a mid-70s generation of people who discovered film music when John Williams put symphonic scoring back on the map. I realized the power of what you could do for the cinema with orchestral music thanks to composers like him, Jerry Goldsmith and Miklós Rózsa.” Bringing a fresh voice to a legacy of music scores sprawling decades behind him, Edge of Sanity brims with strong themes, fierce action, eerie suspense and even some brief moments of pastoral joy. Talgorn proved right out of the gate that he could bring a level of sophistication and artistry to any film he might score. Seemingly lost for decades until its recent discovery in DAT format by the composer, the breadth of the music’s brash, richly melodic transgression remains as wonderfully shocking as ever, no more so than to Talgorn. “When I listen now, I’m surprised by some of this music,” he remarks. “You write what you are, and my obsession was to write for an orchestra. I didn’t even think of doing anything else, because the greatest film music I knew was orchestral. The energy you feel in this score comes from that beginner’s enthusiasm because I wanted to show what I could do." This long overdue album was well worth the wait. Talgorn produced the album for Intrada, with Doug Schwartz responsible for mastering. The film presents a dark, twisted take on the classic tale of Dr. Jekyll and Mr. Hyde. Starring Anthony Perkins as the classic character, the film follows Dr. Jekyll, a troubled scientist who experiments with a new drug that unleashes his alter ego, the violent and depraved Mr. Hyde. As Hyde's rampages become increasingly brutal, Jekyll struggles to control his darker half while the film delves into themes of duality, madness, and the thin line between genius and insanity. The film combines elements of psychological horror with a gritty, atmospheric setting, offering a chilling exploration of the human psyche. THE SCORE 01. Opening Scene (2:45) 02. Main Title (2:32) 03. Susannah Theme (1:14) 04. Transformation (2:25) 05. Hyde Walks In The Street (0:42) 06. Frenzy (0:37) 07. Meet Susannah (0:41) 08. Blue Scene (4:16) 09. Return From Picnic (0:54) 10. Good Night, Henry (1:01) 11. Maggie Climbs The Stairs (2:03) 12. Maggie’s Murder (1:24) 13. Hyde Scribbles (0:32) 14. Looking For A Murder (1:22) 15. Visions From Nightmare (0:50) 16. Looking For Susannah (1:56) 17. Murder Of Frank’s Prostitute (1:19) 18. Jekyll And Elisabeth On The Stairs (0:55) 19. Hallucination (3:21) 20. Elisabeth Finds The Scribbles (1:42) 21. Looking For Jekyll (0:52) 22. In The Attic (1:52) 23. End Titles (2:21) 24. End Credits (2:33) Total Score Time: 41:00 THE EXTRAS 25. Opening Scene (Alternate Performance and Mix) (2:59) 26. Hallucination (Alternate Performance and Mix) (3:39) Total Extras Time: 6:40) SOURCE MUSIC 27. At The Bordello (1:34) 28. In The Tavern (0:51) 29. Jekyll’s Waltz (2:22) Total Source Music Time: (4:52) Total CD Time: 52:43

Intrada announces a new, 2-CD expansion of James Newton Howard's beloved score to the Walt Disney animated feature Dinosaur (2000). The score was the first of three animated features Howard would score during that time for Disney, followed shortly thereafter by Atlantis and Treasure Planet. Originally released in a generous 51-minute program, this new Intrada release features the full score running some 82 minutes, featuring a wealth of new material previously only heard in the film. One of the absolute highlights is the entire opening sequence, relying primarily on music as there is no dialog. It's well over an hour of soaring themes, aggressive action music, comedic moments—everything you'd expect from a prehistoric dinosaur adventure. For this new release, Intrada was given access to the complete multi-track sessions stored at Disney, which were remixed by Chris Malone. Douglass Fake assembled the album program (one of the last projects he was able to personally produce before his passing). Fake was a huge fan of Newton Howard's work and was thrilled with the opportunity to revisit this epic work. He would have been proud of the final result. The film is a groundbreaking blend of traditional animation and computer-generated imagery. Directed by Eric Leighton and Ralph Zondag, the film follows the journey of an iguanodon named Aladar, who is raised by a family of lemurs after being orphaned. As he grows, Aladar and his adoptive family face the challenges of a changing world and struggle to survive against the backdrop of a dramatic asteroid collision. Dinosaur is notable for its innovative visual effects, which combine CGI dinosaurs with live-action backgrounds, creating a visually stunning and immersive prehistoric world. CD 1 THE SCORE 01. Inner Sanctum/The Nesting Grounds (3:20) 02. The Attack (1:17) 03. The Egg Travels (2:47) 04. The Egg Hatches (3:46) 05. Playing Monster (2:13) 06. The Mating Ritual (4:19) 07. The Meteor (4:07) 08. Arrival On The Mainland (2:12) 09. Raptors/Aladar Meets The Herd (4:29) 10. Aladar Meets The Misfits (Film Version) (5:47) 11. The Trek (2:34) 12. Finding Water (5:14) 13. Aladar And Neera (6:11) 14. The Cave (5:27) 15. Attack In The Cave (3:54) 16. Neera Rescues The Orphans (1:15) 17. A Dead End (1:06) 18. Breakout/Comes With A Pool (5:48) 19. Kron And Aladar Fight (3:01) 20. Carnotaur Stand-Off (4:53) 21. Epilogue (2:34) CD 1 Time: 76:09 CD 2 THE SCORE (Cont.) 01. End Credits (6:20) Total Score Time: 82:20 THE EXTRAS 02. Aladar Meets The Misfits (Alternate Ending) (3:34) 03. The Trek (Alternate) (2:55) 04. Enough For Everyone (Alternate) (1:32) 05. End Credits – Version 2 (6:05) 06. End Credits – Version 3 (6:18) The Extras Time: 20:33 2000 SOUNDTRACK ALBUM 07. Inner Sanctum/The Nesting Grounds (3:00) 08. The Egg Travels (2:44) 09. Aladar & Neera (3:29) 10. The Courtship (4:14) 11. The End Of Our Island (4:01) 12. They’re All Gone (2:09) 13. Raptors/Stand Together (5:38) 14. Across The Desert (2:26) 15. Finding Water (4:15) 16. The Cave (3:41) 17. The Carnotaur Attack (3:53) 18. Neera Rescues The Orphans (1:13) 19. Breakout (2:44) 20. It Comes With A Pool (3:02) 21. Kron & Aladar Fight (2:58) 22. Epilogue (2:33) Soundtrack Album Time: 51:53 Total CD 2 Time: 78:48

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

Waxwork Records bringen zumindest schon mal die Vinyl des Songalbums mit zwei Elfman-Tracks.

Varese bringt den Score nochmal auf Vinyl, CD und digital. 25th Anniversary Edition, kuratiert von Don Davis aus dem Material der Complete Edition. Wake up, Neo. We are thrilled to announce a 25th anniversary edition of Don Davis’ iconic score for The Matrix. Out November 15th and available for pre-order today on LP, CD, and digital formats, The Matrix (Original Motion Picture Score) features an expanded 18-song tracklist curated by Davis himself from key tracks previously only available on the complete edition of the score, and brand-new artwork by acclaimed illustrator Yuko Shimizu. In addition to CD and digital, fans can find the album on several exclusive vinyl colorways including “Cyber Swirl Green”, available exclusively on our website, while a “Blue Pill” pressing will be available via Barnes & Noble. International Matrix fans will be treated to a “Red Pill” edition. Each version features brand-new anime-inspired illustrations by artist Shimizu, depicting two of the iconic bullet-time moments from the film. All formats and variants are available to order/pre-save. Track List: 1. Main Title (from The Matrix) / Trinity Infinity 2. Unable To Speak 3. Switched For Life 4. Switched At Birth 5. Switches Brew 6. Nascent Nauseous Neo 7. A Morpheus Movement 8. Domo Showdown 9. Bring Me Dinner 10. The System 11. The Hotel Ambush 12. Ignorance Is Bliss / Cyber Cyphernetic 13. Exit Mr. Hat 14. The Cure 15. The Lobby 16. Dodge This 17. Ontological Shock 18. He’s The One Alright

Order yours starting 9/10 at 12 noon pst at www.lalalandrecords.com and get your CD Booklet autographed by composer Lorne Balfe at no additional charge. Autographs are available while supplies last and are NOT guaranteed. La-La Land Records and Netflix proudly present the limited edition CD release of acclaimed composer Lorne Balfe’s (MISSION: IMPOSSIBLE FALLOUT & DEAD RECKONING, BAD BOYS: RIDE OR DIE) original motion picture score to the triumphant action-comedy BEVERLY HILLS COP - AXEL F, starring Eddie Murphy and directed by Mark Molloy. The return of the legendary BEVERLY HILLS COP franchise, with Eddie Murphy reprising his most iconic role of Axel Foley, demanded a brilliant music score worthy of such an event, and composer Lorne Balfe delivered, providing BEVERLY HILLS COP – AXEL F with an astounding and propulsive blend of syth, rock and orchestra that honors the famous Harold Faltermeyer themes of the original films in thrilling fashion while also unleashing exciting new musical material! Includes the single “HERE WE GO!” by Lil Nas X Produced by Lorne Balfe, executive produced by Dan Goldwasser, and mastered by Reuben Cohen at Lurssen Mastering, this CD release is limited to 3000 units. Art Design is by Dan Goldwasser. TRACK LISTING: 1. “HERE WE GO!” – Lil Nas X 3:13 2. Beverly Hills Cop: Axel F (Curnow Harding Remix) 2:55 featuring Tim Cappello 3. Snowplough Chase 2:11 4. Junior Bollinger 1:31 5. Meet Jane 2:13 6. Trackers 4:02 7. Wilshire Boulevard 3:02 8. Bribe Chalino 2:41 9. Axel’s Return 4:10 featuring Tim Cappello and Sunglasses Kid 10. Rooftop Escape 3:54 11. Bad Helicopter 3:43 12. Rescue Rosewood 2:11 13. Mansion Shootout 4:09 14. Team Talk 3:25 15. 90210 1:16 TOTAL ALBUM TIME: 44:38 This is a CD format release

Order yours starting 9/10 at 12 noon pst at www.lalalandrecords.com and get your CD Booklet autographed by composer Harry Manfredini at no additional charge. Autographs are available while supplies last and are NOT guaranteed. The release of FRIDAY THE 13 PART V – A NEW BEGINNING, would attempt to give the beloved series exactly that, a new beginning.. But the dark beating heart and soul of both Jason and the franchise - Harry Manfredini’s brilliant scores - unquestionably had to remain front-and-center in order to preserve what came before, while also pushing it into new territory. Now, in 2024, this film’s iconic score pushes further into new territory with the release of FRIDAY THE 13th PART V – A NEW BEGINNING: THE ULTIMATE CUT, the newly restored, remixed and expanded presentation of composer Harry Manfredini’s (F13 PARTS 1,2,3,4,5,6, 9, 10, HOUSE, DEEPSTAR SIX), score to the famed horror franchise’s fourth sequel. In 2021, the discovery of original FRIDAY score elements culminated in La-La Land’s “Ultimate” restoration of the first three films in the legendary franchise. Once again, engineer Jerry Lambert and album co-producer Brian Satterwhite, under supervision of Manfredini, have brilliantly restored and remixed the music with results nothing short of astounding! The score is richer, bolder and as unstoppable as Jason himself! Included in this deluxe assembly is music NEVER before released! Produced by Dan Goldwasser and Brian Satterwhite, mixed by Jerry Lambert, meticulously assembled and edited by Satterwhite, and mastered by James Nelson, this special CD release features exclusive liner notes by Satterwhite that provide a detailed track-by-track breakdown along with an in-depth examination of the release’s restoration and remix process. The art direction is by Goldwasser and the original cover art is by Scott Saslow. A must-have for all FRIDAY fans and film score enthusiasts! TRACK LISTING: 1. Graveyard 3:30 2. Here Comes Jason! 1:38 3. Main Titles* 2:12 4. Arriving at Pinehurst 0:59 5. Tommy Scares Reggie / Tommy Watches 0:55 6. Vic Chops* 1:04 7. Roy Gets His Hands Dirty 0:48 8. Pete in the Woods 0:48 9. Flare / Pete in the Front Seat 0:50 10. Jason in the Mirror 1:19 11. Tommy Fights Eddie 0:34 12. Lana and Billy and You Know Who* 1:20 13. Tommy at the Window* 1:01 14. The Eyes Have It* 1:59 15. Drive to Demon’s* 1:29 16. Tommy Meets Junior 2:27 17. Them Damn Enchiladas* 0:55 18. The Gang Waits While Heads Roll* 1:06 19. Robin Gets Ready for Dead 1:56 20. Bodies, Bodies, Bodies* 1:16 21. Pam and Reggie Meet “Jason” 4:38 22. Reckless to the Rescue 2:49 23. Chainsaw Pam 1:17 24. Tommy Confronts “Jason”* 2:34 25. Battle in the Barn* 2:15 26. Tommy’s Dream* 1:28 27. Jason’s Final Visit 1:41 28. End Titles 3:19 BONUS TRACKS 29. Heavy Metal Source 3:25 30. Punk Funk Source 1:04 31. “Ki-ki-ki…Ma-ma-ma…” 0:15 TOTAL ALBUM TIME: 53:56 * contains previously unreleased material not used in film This is a CD format release.

Und dann kommt eine 40th Anniversary 4-CD-Box davon zum Black Friday.

Ist ja bald Halloween Beim vierten Teil gab es doch eh einige Cues, die einfach aus den Musiken der vorherigen Filme zusammengeschnitten wurden. Vielleicht dachte sich LLL, dass sich deswegen da kein ULTIMATE CUT lohnt. Oder es war einfach nicht mehr Material vorhanden als das, was sie schon veröffentlicht hatten, eben weil so vieles aus den vorherigen Musiken verwendet wurde.

Jetzt ist es soweit:

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

A 2-CD set. Newly remastered and expanded edition. 16-page CD booklet with liner notes by Daniel Schweiger. Limited Edition of 2000 units. In collaboration with Warner Chappell Music, Sony Music and Paramount Pictures, Music Box Records proudly presents the remastered and expanded edition of Gabriel Yared’s score for the 1999 thriller The Talented Mr. Ripley, starring Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett and Phillip Seymour Hoffman, as written for the screen and directed by Anthony Minghella (The English Patient, Cold Mountain, Breaking and Entering). Nominated for five Academy Awards (including Best Original Score, Best Supporting Actor and Best Adapted Screenplay), this movie about a desperately murderous quest for identity, class and love was based on the most notorious character created by author Patricia Highsmith (Strangers on a Train). Previously adapted as Purple Noon with Alain Delon, Anthony Minghella’s version gave a new, tragically vulnerable take on the character, who insinuates himself among jazz loving expatriates (Jude Law and Gwyneth Paltrow), only to kill the brother he’d always wanted and assume his identity, all while trying to keep his illusion of innocence at any cost. Taking his lush Oscar-winning approach for The English Patient in a new direction to capture both the beat jazz era of the film’s 1959 setting alongside a multi-thematic approach that plays both Ripley’s increasingly psychotic quest for the good life and the wounded, child-like boy that yearns for love and purpose. The score combining striking orchestral melody with suspenseful rhythm, eerie female voices and the music of a dark lullaby (as personified by its title song by Sinéad O’Connor), The Talented Mr. Ripley is a masterpiece of dark romance and suspense that’s a highlight of Yared’s acclaimed collaborations with Anthony Minghella. Celebrating the film's 25th anniversary, this new expanded edition, supervised by Gabriel Yared, has been assembled and remastered from the recording session elements. Disc 1 ("The Film Score") presents the expanded film score with previously unreleased cues. Disc 2 ("The Extras") presents excerpts from the original Sony album, Yared’s demo cues and numerous instrumental tracks that highlight the alternative presentations and edits of the score. The CD comes with a 16-page booklet with liner notes by Daniel Schweiger, who discusses the film and the score including new comments by Gabriel Yared on his career-defining work with Anthony Minghella and film editor Walter Murch. The CD release is limited to 2000 units. DISC 1 - THE FILM SCORE 1. Lullaby for Cain (3:30) Performed by Sinéad O'Connor 2. Italia (0:50) 3. I Hate You (0:50) 4. No, I Like Him (0:54) 5. Italia (Part 2) (1:00) 6. Promise (1:11) 7. Syncopes (2:08) 8. Marge Maintenance (1:29) 9. Silvana’s Body (1:23) 10. Last Trip (2:26) 11. Heartbreak (1:47) 12. Lost Love (1:16) 13. Cain & Abel (2:51) 14. Syncopes (Part 2) (1:01) 15. Mischief (1:54) 16. Opera Intermission (1:50) 17. Meredith Meets Marge (1:58) 18. As If That Makes Sense (1:51) 19. Killing Freddie (2:17) 20. Dumping Freddie’s Body (2:08) 21. Syncopes (Part 3) (1:27) 22. Ripley (3:38) 23. Nightmare/Dickie’s Rings (0:59) 24. Suitable Instrument (0:42) 25. You’re Shivering (2:12) 26. Just Kidding (1:17) 27. Huis-clos (1:06) 28. Syncopes (Part 4) (3:16) 29. End Title (2:08) 30. Lullaby in D Minor (0:42) Disc 1 Time • 53:06 DISC 2 – THE EXTRAS ADDITIONAL SCORE FROM THE ORIGINAL SOUNDTRACK ALBUM 1. Italia (1:38) 2. Crazy Tom (4:46) 3. Mischief (2:27) 4. Ripley (3:29) 5. Proust (1:57) 6. Promise (2:48) 7. Syncopes (4:47) BONUS TRACKS 8. Lullaby for Cain (Opera Version) (3:44) Performed by MaryAnn McCormick & Toni Manoli 9. Italia (Alternate) (0:51) 10. Heartbreak (Alternate) (1:46) 11. Lost Love (Alternate Mix) (1:12) 12. Venezia (#1) (4:11) 13. Mischief (Alternate) (1:54) 14. Killing Freddie (Alternate) (2:18) 15. Promise (English Horn Version) (1:10) 16. Mischief (Alternate #2) (0:28) 17. You’re Shivering (Alternate) (2:09) 18. Venezia (#2) (1:55) 19. Ripley (Alternate) (3:27) 20. Lost Love (Alternate) (2:20) 21. Crazy Tom (Alternate) (4:38) 22. Lullaby for Cain (Instrumental) (3:30) DEMO CUES 23. Ripley (Main Theme) (2:33) 24. You’re Shivering (2:11) 25. Italia (Sailing) (0:59) 26. Promise (1:27) 27. Crazy Tom (2:32) Disc 2 Time • 68:12 Total 2-CD Time • 121:18

Das und war da nicht auch was vertraglich, dass der Komponist aus Australien sein muss? Kurzel war damals ja gut im Geschäft mit THE BABADOOK und eben dem von Fassbender auch produzierten ASSASSIN'S CREED. Lange hat das aber nicht angehalten. Werden wohl auch die kommerziellen Reinfälle von COVENANT und ASSASSIN'S CREED gewesen sein. Harry Gregson-Williams sollte ja eigentlich die Musik zu COVENANT machen, nachdem sich Streitenfeld mit Scott zerstritten hatte, beziehungsweise mit dem Studio Fox. Aber die berühmten kreativen Differenzen und Terminprobleme führten dann dazu, dass HGW nicht weitermachte.

Quartet Records, in collaboration with GDM, Universal Music Publishing Italy and EMI General Music Publishing, presents a revised, remastered reissue of the famous giallo score composed by Ennio Morricone in 1971 for LA CORTE NOTTE DELLE BAMBOLE DI VETRO (aka SHORT NIGHT OF THE CRYSTAL DOLLS) directed by Aldo Lado and starring Jean Sorel, Ingrid Thulin, Barbara Bach and Mario Adorf. Considered one of the best and most consistent giallos, the film is about journalist Gregory Moore (Sorel), whose corpse is found in a Prague square and taken to the local morgue. But Moore’s spirit is alive, trapped inside his dead body and desperately remembering the disappearance of his beautiful girlfriend, who is linked to a terrifying conspiracy of depravity. Can a reporter with no visible signs of life solve this perverse puzzle before his existence ends? Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. LA CORTA NOTTE DELLE BAMBOLE DI VETRO shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The waltz theme has a timeless quality, providing a disturbing and disarming melody for the film. Morricone prepared a vinyl album to coincide with the film’s release in 1971, but despite the success of the film, the album was aborted and only the main theme from LA CORTA NOTTE DELLE BAMBOLE DI VETRO was released on the RCA compilation “I Film Della Violenza” in 1975. It was not until 1998 that the Screen Trax label in Italy released a CD with a selection of 14 cues personally chosen by the composer. That selection was expanded in 2009 on a Digitmovies CD, and quickly sold out. This new Quartet release has been completely remastered by Chris Malone from original master tapes, giving a new generation of avid collectors the chance to hear this score by the Roman maestro. Supervised by Claudio Fuiano, the package includes an essay by film music writer Miguel Angel Ordóñez. Notte e bambole 2:31 Il bisturi 2:36 Oppressione 3:07 B Bambole di vetro 6:46 Valzer 2:20 Emmetrentatre 4:06 La corta notte delle bambole di vetro 2:06 La corta notte delle bambole di vetro (#2) 4:34 Incubi solitari 1:42 Sospiri di morte 4:33 Valzer (#2) 1:23 Brividi di archi 2:21 La corta notte delle bambole di vetro (#3) 2:21 Valzer (#3) 2:54 Depressione 1:17 Inconscientemente 2:07 Incubi solitari (#2) 2:05 Oppressione di mostri 1:21 La corta notte delle bambole di vetro (#4) 5:14 Irrealta e follia 1:48 Valzer (#4) 2:43 Quartet Records, in collaboration with GDM and Universal Music Publishing Italy, presents a revised, remastered reissue of a famous giallo score composed by Bruno Nicolai in 1975 for GATTI ROSSI IN UN LABIRINTO DI VETRO (aka EYEBALL) directed by Umberto Lenzi and starring John Richardson, Martine Brochard, Inés Pellegrini and Mirta Miller. Shot entirely in Spain, Lenzi’s movie, while visually attractive, is still a conventional giallo already showing the tiredness of the genre. The plot involves the typical red-hooded killer who kills tourists in Barcelona, this time by tearing out their eyes. Bruno Nicolai’s music, however, is one of his best for the genre, with a catchy main theme and elegant variations on it, as well as sophisticated suspense music. As usual with Nicolai’s thrillers, everything is taken very seriously. Unfortunately, like most of his giallos, Bruno Nicolai’s score remained unreleased for two decades. It was not until 1999 that a selection of 11 cues was released on an RCA CD paired with Guido & Maurizio De Angelis’ score for the slasher film TORSO. An expanded selection with the complete score (32 cues) was released by Digitmovies in 2007, which quickly sold out and went for high prices on the second-hand market. The present edition contains the same material, supervised by Claudio Fuiano and remastered from the original tapes by Chris Malone. The package includes an essay by the much-missed Gergely Hubai discussing the movie, the composer and the score. Bruno Nicolai’s EYEBALL is the kind of score that deserves to be in print so that new generations of listeners can enjoy discovering one of the greatest themes of Italian giallo cinema. Gatti rossi (Titoli) 2:24 Barlington 0:51 Gatti rossi (#2) 1:30 Prodromi 2:08 Labirinto (Film version) 2:07 Gatti rossi (#3) 1:10 Nell’assolata alhambra 1:15 Una figura incappucciata 1:12 Una figura incappucciata (#2) 1:21 Barlington (#2) 1:01 Catena di delitti 1:46 Occhi 1:01 Barlington (#3) 1:09 Orbita vuota 1:02 Una figura incappucciata (#3) 2:28 Occhi (#2) 1:58 Gatti rossi (#4) 1:44 Occhi (#3) 0:57 Gatti rossi (#5) 0:46 Barlington (#4) 2:04 Catena di delitti (#2) 1:15 Barcellona 1:22 Barcellona (#2) 4:27 Gatti rossi (#6) 4:02 Orbita vuota 1:48 Orbita vuota (#2) 1:03 Barlington (#5) 0:55 L’incubo è finito (Finale) 1:04 Barcellona (Alternate take) 1:35 Labirinto (Alternate take – Long version) 2:52 Catena di delitti (Alternate take – Long version) 3:49 Gatti rossi (Titoli – Alternate take – Long version) 3:54

Jetzt schon digital erhältlich, eine CD reicht Intrada im Herbst nach. INTRADA Announces: KILLING ME SOFTLY WITH HIS SONGS Music by CHARLES FOX INTRADA INT 7180 The spirited 2024 documentary Killing Me Softly With His Songs, directed by Danny Gold, follows composer Charles Fox around the world exploring his past while showcasing songs performed by various groups and singers from around the world. Fox traveled from the US to Paris to Havana, Cuba. Following closely on Intrada's 2-CD release of Fox's Foul Play, this new release features brand new songs written with Rita Wilson, Common, Alain Boublil and Cuban songwriters, Edesio and Cristian Alejandro. The film has garnered numerous awards at film festivals and Best Music Documentary at the Hollywood Music In Media Awards. The album also includes new and innovative arrangements of some of Fox's most classic tunes, performed by the following wonderful artists: Sing a Brand New Song (Donald Webber, Jr.) Viene Acabando (Charles Fox with Cuba All Star Band Featuring Orquesta Aragon) At The Movies (Rita Wilson and Jason Alexander) Wonder Woman (Cristian Alejandro) I Got a Name (A. J. Croce) Night Life (Charles Fox Paris Sextette) On N'aime Qu’une Fois Comme Ça (Anne Sila) Sin Tu Amor (Cristian Alejandro) Ballade (Charles Fox with Cuba All Star Band) Elle Chantait Ma Vie En Musique (Anne Sila) Blue Pachanga (Charles Fox Paris Sextette Featuring Alexandre Desplat) Happy Days (Barenaked Ladies) A Day Our Love Has Put Together (Charles Fox with Cuba All Star Band) Salsa Suite (Charles Fox Paris Sextette Featuring Alexandre Desplat) Killing Me Softly With His Song (Charles Fox, Piano Solo) The film follows Fox’s life and career from the Bronx to Paris and the conservatoire in the Palace of Fontainebleau, France, where he studied with the legendary composition teacher Nadia Boulanger (who taught Aaron Copland, Quincy Jones, Elliot Carter, Michel Legrand and others), through his fabled career in Hollywood, and finally to his musical roots in Havana, Cuba. All of this is interspersed with some of the most phenomenal live music—shot with an emphasis on capturing the interactions of gifted musicians joyously making music together. Featuring Anne Sila (winner of the French version of The Voice), A.J. Croce (son of the legendary Jim Croce), Henry Winkler (Happy Days, Barry), Paul Williams (Academy Award-winning composer), Rita Wilson (recording artist, actor, producer), Jason Alexander (Seinfeld, and Tony Award winner), Donald Webber, Jr. (Hamilton), Alexandre Desplat (two-time Academy Award winner, and Alain Boublil (Tony Award-winning book writer/lyricist known for Les Misérables and Miss Saigon)—the film is a musical feast … with a great story! INTRADA INT 7180 Retail Price: $18.99 Bar Code: 7 20258 71800 6 Available digitally now on all major streaming platforms. CD coming this fall.

Snow Files of the Week: "Capsules/A Mother Never Forgets/Mulder’s Memories" aus "The X-Files: The Event Series", Episode "Founder's Mutation" (2016). Mit den X-Akten kehrte 2016 natürlich auch Mark Snow zurück. Seine Musik für die neuen Folgen bewegt sich zwar auf bewährtem Territorium, fügt aber genügend neue Elemente hinzu, um interessant zu bleiben. Dabei ist seine Musik minimalistischer als noch in den letzten Staffeln der Serie. Snow kehrte eher zu den Klanglandschaften der frühen Staffeln zurück, was ihn aber nicht davon abhielt, auch für die neuen Folgen tolle Themen zu schreiben. "Founder's Mutation" ist die zweite Folge der neuen Staffel. Darin geht es um einen Wissenschaftler, der Experimente an Kindern mit genetischen Anomalien durchführt, um sie zu heilen. Dass dies nicht ohne Nebenwirkungen verläuft, ist klar. In der Folge haben sowohl Scully als auch Mulder Visionen ihres Sohns William, den sie in der neunten Staffel als Baby zur Adoption freigegeben haben, um ihn vor den bösen Mächten zu schützen, die ihn verfolgt haben, wegen seiner Alien-Mensch-Hybrid-DNA. Das Stück "Mulder's Memories" untermalt die letzte Szene der Folge, als Mulder in seiner Fantasie mit seinem zum Kind herangewachsenen Sohn William spielt. Unter anderem bauen sie zusammen eine kleine Rakete, die sie in den Himmel steigen lassen. Mulders Vision endet damit, dass er Zeuge der Entführung Williams durch Außerirdische wird, wie damals bei seiner Schwester. Wieder in der Wirklichkeit betrachtet Mulder ein Foto seines Sohnes. Snows Musik zu dieser Szene ist für mich die schönste der ganzen Staffel. Viel Spaß beim Hören!