Alexander Grodzinski

Und auch FOUL PLAY kommt wieder. Intrada announces the revisit of a classic Charles Fox score, the 1978 Paramount Pictures film Foul Play. This new edition is a 2-CD set, remixed from the original 16-track sources stored at Paramount.The first disc features the complete score, including selections of The Mikado recorded for the film and assembled with the score as they appear in the film. Fox carefully constructed the score to seamlessly weave in and out of the operetta, as the film intercuts back and forth between the San Francisco street chase and a performance of the Gilbert and Sullivan classic. Disc 1 concludes with source music heard in the film and a few alternates (including the unassembled chase music from the end of the film for those that want it Mikado free) and film versions, including the film version of "Ready to Take a Chance Again." Disc 2 features the original album program, rebuilt from the newly mixed masters as well as the complete suite of cues recorded for The Mikado. Charles Fox collaborated with lyricist Norman Gimbel to create a melancholy yet empowering song, “Ready to Take a Chance Again,” sung by Barry Manilow during a visually sweeping opening sequence. Fox incorporated the song's melody into the body of the film as an instrumental “Love Theme.” Though director Colin Higgins was saluting Hitchcock, Fox drew his musical style from the tense, orchestral sound of 1940s and ‘50s film noir. While Fox’s score reaches unusually dark heights, its menace is countered with a harmlessly hilarious action theme that pops up periodically and the tongue-in-cheek chase sequence at the end of the film. Foul Play stars Goldie Hawn and Chevy Chase and is a salute to Alfred Hitchcock, most notably the grand assassination plot of The Man Who Knew Too Much. Hawn plays Gloria Mundy, an innocent victim of knowing too much (or at least thought to know too much) about a plot to kill the Pope, and she becomes a target of an albino gunman and a nefarious "dwarf." Chase plays a handsome, glib detective who believes Mundy’s seemingly tall tales when no one else will. Together they make an effervescent screen couple like hip updates of Cary Grant and Grace Kelly, in a San Francisco-set film that affectionately references Hitchcock classics. CD 1 EXPANDED SOUNDTRACK 01. Ready To Take A Chance Again – Main Title (Album Version) (3:09) 02. Overture To The Mikado (0:31) 03. Scotty Followed (1:20) 04. Gloria Walks Home I (0:27) 05. Movie Music (2:39) 06. Gloria Walks Home II (1:05) 07. Esme/Man At Window (1:49) 08. Beware Of The Dwarf (2:51) 09. Scarface/Gloria Grabbed From Behind (3:23) 10. Gloria Escapes (1:30) 11. Gloria On The Fire Escape (1:05) 12. Will Find Out Who And Why/Holy S. (1:00) 13. Gloria Attacks Dwarf (1:18) 14. You’ve Just Attacked/Archbishop’s Door/Now It Really Has Hit The Fan (1:18) 15. Houseboat (Love Song) (1:32) 16. Love Theme – Ready To Take A Chance Again (Film Version) (3:54) 17. What’s The Clue?/Gloria Falls For The Trap (3:30) 18. The McGuffin Burns/Meet Me ‘Round Back/Don’t Move Lieutenant (1:30) 19. Overture From The Mikado/Help (2:14) 20. The Mikado/Get Me To The Opera On Time – Part 1 (3:20) 21. The Mikado/Get Me To The Opera On Time – Part 2 (11:07) 22. Ready To Take A Chance Again (Finale) (0:36) 23. Ready To Take A Chance Again – End Title (Album Version) (2:14) Expanded Soundtrack Total Time: 53:24 THE EXTRAS 24. Cocktail Piano (Ready To Take A Chance Again) (4:26) 25. Ready To Take A Chance Again – Main Title (Film Version) (2:56) 26. Gloria Walks Home (Original Version) (0:27) 27. Holy S. (Film Version) (0:22) 28. Kojak Bang Bang (0:43) 29. Get Me To The Opera On Time I (1:14) 30. Crash Into Pizza Parlor (0:40) 31. Get Me To The Opera On Time II (0:27) 32. Far Out (0:41) 33. Get Me To The Opera On Time III (1:50) 34. Kojak! (1:03) 35. More Kojak (1:04) 36. Kojak Bang Bang (Record Version) (0:41) 37. Ready To Take A Chance Again – End Title (Film Version) (2:34) 38. Cocktail Piano, Again I (1:57) 39. Cocktail Piano, Again II (0:41) 40. Cocktail Piano, Again III (0:58) 41. Foul Play – Main Title (Television Series) (2:09) The Extras Total Time: 24:54 CD 1 Total Time: 79:01 CD 2 FOUL PLAY – ORIGINAL SOUNDTRACK ALBUM 1. Ready To Take A Chance Again – Main Title (Album Version) (3:09) 2. Help (1:35) 3. Beware Of The Dwarf (2:50) 4. Love Theme (Ready To Take A Chance Again) (3:53) 5. Copacabana (At The Copa) (3:57) 6. Gloria Falls For The Trap (2:26) 7. Foul Play Disco (3:22) 8. Scarface (2:52) 9. Gloria Escapes (1:28) 10. Houseboat (Love Song) (1:30) 11. Get Me To The Opera On Time (3:09) 12. Ready To Take A Chance Again – End Title (Album Version) (2:14) Original Album Total Time: 32:27 FOUL PLAY – SOUNDTRACK ALBUM ALTERNATES 13. Copacabana (At The Copa) (Extended Disco Mix) (5:46) 14. Foul Play Disco (Extended Version) (5:54) 15. Copacabana (At The Copa) (Original LP Mix) (4:08) 16. Ready To Take A Chance Again (Mono 45 RPM Mix) (2:59) Soundtrack Album Alternates Total Time: 18:47 FOUL PLAY – THE MIKADO SOURCE MUSIC 17. The Mikado – Overture (7:31) 18. The Mikado – If You Want To Know Who We Are (2:42) 19. The Mikado – Our Great Mikado (2:59) 20. The Mikado – Three Little Maids (1:35) 21. The Mikado – So Please You Sir, We Much Regret (2:04) 22. The Mikado – Act I Finale – The Threatened Cloud (9:32) The Mikado Source Music Total Time: 26:22 CD 2 Total Time: 77:36

Und weg

Ohne groß zu spoilern kann ich wohl sagen, dass genau dieses Zitat auch in ROMOLUS auftaucht. Aber wem, außer wirklichen Fans der Filme, fällt das überhaupt auf? Der Normalverbraucher wird sich nur in Grundzügen an die alten Filme erinnern, schon gar nicht an irgendwelche Dialoge. Ebenso bei der Musik. Das ist alles wirklich nur für Leute wie uns gemacht.

Ich kann mich nur erinnern, dass es in einer Raumschiffszene im All war.

Horner ist mir im Film auch nur einmal kurz aufgefallen. Goldsmith dagegen taucht öfter auf. Von ihm hört man das markante Zwei-Noten-Motiv mehrmals, sein Thema ist mehrmals zu hören und auch sein Echoplex-Effekt. Das passte eigentlich ganz gut in den Film. Gleichzeitig haben mich diese "Callbacks" aber auch immer wieder aus dem Film gerissen, vor allem wenn ganze Dialogzeilen übernommen wurden. Weil mir das einfach zu offensichtlich Fanservice war und sich nicht natürlich anfühlte, dass der oder der Charakter das jetzt sagt. Zumal es auch Callbacks zu ALIENS gibt, der in der Zeitleiste von ALIEN ROMOLUS noch gar nicht stattgefunden hat. Den Film fand ich an sich ganz gut. Alvarez versteht durchaus Terrorkino. War für mich jetzt interessanter und besser als COVENANT und ja, auch als PROMETHEUS. ROMOLUS spannt am Ende sogar den Bogen zu PROMETHEUS, daher taucht wohl auch Streitenfelds Thema auf.

Würde ich nach der ersten Sichtung auch so sehen. In den ersten zwei Dritteln des Films ist es ein überraschend orchestraler Score. Allerdings tatsächlich ohne thematischen Faden. Im letzten Drittel ist es dann eher nur noch Grummeln, Brummeln, ein wenig Inception-Bräääm und manchmal einfach nur stampfend-metallische Percussion. Goldsmith ist natürlich recht leicht auszumachen. Horner hab ich allerdings auch kurz gehört. Wobei ich an der Stelle eher an STAR TREK II denken musste. Und wenn man so will ist auch Goldenthal dabei, denn die Fox-Fanfare endet hier wie in ALIEN 3.

Kommt nun auch auf Vinyl.

Da ich bei der LLL-Doppel-CD zugegriffen habe, verschenke ich das alte Album von Columbia. Bei Interesse PN an mich. Bei mehreren Interessenten entscheidet das Los.

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!

Gern. Man muss sich aber im Klaren sein, dass das komplette Album in diesem gesprochenen, sich überlagernden Singsang ist. Ich kann mir vorstellen, dass das manchen auf die Laufzeit zu anstrengend wird.

David Lynch und Chrystabell haben ein neues Album veröffentlicht, „Cellophane Memories". Es ist ihr erstes gemeinsames Album seit „This Train" von 2011 (und einer EP). Chrystabell veröffentlichte seitdem mehrere Alben ohne Lynch, spielte aber in seiner dritten TWIN PEAKS Staffel mit. Anders als bei „This Train" gibt es auf „Cellophane Memories" keine Songs im eigentlichen Sinne. Die Idee zum Album entstand während eines Nachtspaziergangs Lynchs durch einen Wald mit hohen Bäumen. Über den Baumwipfeln sah er ein helles Licht und dieses Licht wurde zu Chrystabells Stimme. So sind die Tracks auf dem Album dann auch wie Träume oder ein Zug von Gedanken. Während Lynch und sein musikalischer Partner Dean Hurley für den musikalischen Hintergrund sorgen, spricht Chrystabell in einer Art Singsang die Texte von Lynch. So werden auf dem Album auch nicht traditionell Komponist und Texter für jedes Stück genannt, sondern meist nur „Synth by David Lynch/Dean Hurley, Vocal Melody by Chrystabell". Chrystabell improvisierte also quasi ihren Gesang auf das, was David und Dean spielten. Gleich der erste Track des Albums, „She Knew", bildet eine kleine Ausnahme. Denn hier wird Angelo Badalamenti als „Synth by" genannt. Ob Badalamenti vor seinem Tod dieses Stück noch für das Album aufgenommen hat oder ob es sich einfach um eine Aufnahme von ihm handelt, die Lynch noch in seinem Archiv hatte, wird leider nicht erwähnt. So oder so eine schöne Hommage an seinen verstorbenen Freund. Auf dem Cover der CD/LP befindet sich ein Sticker, auf dem in Lynchs Handschrift steht „If you listen to this record 3 times you will find a friend."

Und nun kommt die abgespeckte Version.

Intrada presents an expansive 5-CD set featuring the music from the three-part movie series Fear Street. The spellbinding original scores are the work of a team of composers led by Marco Beltrami, whose extensive horror credentials include the original Scream, The Faculty, and high-profile remakes of The Omen, The Thing and Carrie. The vision was to create a separate musical identity for each movie, but with an overarching, coherent spirit. Each part is set in a different time period, with a complementary score. Joined by an immensely creative team made up of Marcus Trumpp, Brandon Roberts and Anna Drubich, Beltrami was able to create a saga of horror music and some of the most thrilling music for full orchestra and choir. Fear Street: 1978 is a striking standout with its use of large chorus and Jerry Goldsmith-inspired action riffs. At the time the movies dropped on Netflix, vinyl and digital albums were released, but no CD made an appearance. Given the sheer amount of music written and the epic nature of both score and films, it became a priority for Intrada to seek out a license and give each score full presentation in a deluxe package—each score is in its own jewel case with newly commissioned cover art by artist Sam Gilbey and housed in a cardboard slipcase. The entire set was produced by Scott Williams and Tyson Lozensky working directly with the composer team. This album wouldn't be possible without the kind cooperation of both Sony Music/Milan and Netflix. Before author R.L. Stine gave readers Goosebumps, he introduced them to Fear Street—a series of more than 150 novels, including spinoffs.Targeting a mostly teen audience, the books chronicle murder and mayhem in the cursed town of Shadyside, USA. In 2021, Netflix partnered with Chernin Entertainment to release a trilogy of interconnected Fear Street films inspired by Stine’s novels, drawing especially from The Fear Street Saga. The films, spanning from 1994 to 1666, follows a group of teenagers in the cursed town of Shadyside as they confront a series of supernatural killings linked to an ancient witch, Sarah Fier. The saga begins with a modern-day massacre, delves into a summer camp slaughter in 1978, and ultimately reveals the origins of the curse in 1666. As the teens unravel the mystery across different time periods, they uncover dark secrets and face malevolent forces to break the cycle of violence haunting their town. CD 1 01. Logo (0:26) 02. Mall Massacre (5:57) 03. Main Titles (2:08) 04. Tragedy Struck Again (2:04) 05. She Reaches From Beyond (2:56) 06. Candlelight Vigil (3:20) 07. Look To The Light (1:32) 08. Stop The Bus (1:39) 09. After The Crash (1:15) 10. Goode In The Woods (1:54) 11. Morning In Shadyside (1:36) 12. Some Creeper (2:03) 13. Arguing Peter To Death (1:31) 14. Skullmask (2:50) 15. Sheriff Goode (3:02) 16. Deena’s Got A Gun (1:49) 17. Ruby Attacks (3:07) 18. Curse Is Real (3:08) Total CD Time: 42:00 CD 2 01. Dead Maniacs (3:39) 02. Just Like Jaws (2:20) 03. A Reminder Of Us (3:43) 04. Bathroom Blowout (3:36) 05. Sam Bait (2:37) 06. C Berman Is The Key (2:35) 07. Goode Warning (2:56) 08. Right Now You Have To Die (3:01) 09. Market Massacre (6:32) 10. Bring Her Back (2:22) 11. Fell On Glass (2:38) 12. See You Tonight (1:36) 13. Berman Calls Deena (2:23) THE EXTRAS 14. Mall Massacre (Film Version Alternate Ending) (1:33) 15. Main Titles (Alternate Film Version) (1:51) Total CD Time: 43:00 Total Score Time: 85:00 CD 3 01. Opening (2:32) 02. Our Last Chance (2:46) 03. Chased Through The Woods (2:05) 04. Cut Down (0:48) 05. Nurse Attacks (3:07) 06. Crazy Eyes (1:40) 07. Cindy And Ziggy (1:38) 08. Finding The Diary (1:55) 09. Searching The Woods (3:41) 10. Sarah Got Candy? (3:14) 11. Tommy Turns ... Better Run (3:13) 12. Who Are You? (0:28) 13. Gonna Die Down Here (0:57) 14. Alice Mad (1:15) 15. Witch’s Mark (1:02) 16. Property Of Shadyside (0:44) 17. Here’s Tommy (1:02) 18. Girl From Shadyside (1:23) 19. Remembering Boyfriends (1:52) 20. Witch Blob (1:56) 21. Bedroom Lays (1:22) 22. I’ve Been A Bad Sister (2:21) 23. Game Over (1:08) 24. Outhousin’ (1:57) 25. Camper Chum (1:34) 26. Chop Chop (2:43) 27. Snake On A Floor (1:58) 28. Meeting House (1:26) 29. Blood Will Fall (1:44) 30. The Final Axe (1:53) 31. Sisters United (1:36) 32. Alice’s Plan (0:46) 33. Give Her A Hand (2:47) 34. Heart Of Darkness (1:15) 35. Sisters (4:29) 36. We Found Sarah Fier (3:08) 37. 1666 Teaser (1:32) THE EXTRA 38. Give Her A Hand (Alternate) (1:23) Total CD Time: 72:00 CD 4 01. Reflection (1:20) 02. Fruits Of The Land (1:10) 03. Pastor’s Daughter (0:46) 04. Cross Creek (0:53) 05. Sneaking Out (2:17) 06. Devil’s Book (2:34) 07. Full Moon Party (1:23) 08. Maiden Rock (1:50) 09. Discovered (1:11) 10. Pastor Miller (2:27) 11. Strangeness (2:36) 12. Bad Omens (1:22) 13. Darkness Grows (2:56) 14. Dalliance (1:33) 15. The Pastor (2:33) 16. Hysteria (2:06) 17. Accusation (2:23) 18. Hannah Caught (2:18) 19. No Lamb (2:32) 20. Book Is Gone (1:44) 21. Mob Arrives (1:18) 22. Sarah Hides (2:01) Total CD Time: 41:00) CD 5 01. Revelation (1:08) 02. Confession (1:54) 03. The Tunnels (1:59) 04. Severed Hand (1:37) 05. Sarah Escapes (1:52) 06. Sarah Returns (1:12) 07. Sarah’s Fate (6:38) 08. Goode Is Evil (2:02) 09. The Curse (3:14) 10. The Mall (1:32) 11. Try Not To Die (0:37) 12. Let’s Do This (3:11) 13. Into The Trap (4:23) 14. Goode Arrives (3:25) 15. Down The Hatch (2:10) 16. We Lost Sam (3:33) 17. Ending Goode (3:57) 18. NC-21 (3:21) THE EXTRA 19. Sarah Returns (Alternate) (0:55) Total CD Time: 48:00 Total Score Time: 89:00

STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL 6: LIMITED EDITION (2-CD SET) LLLCD 1647 Music by Samuel Matlovsky, Jerry Fielding, Alexander Courage, Fred Steiner, Gerald Fried, George Duning and Wilbur Hatch Theme from Star Trek by Alexander Courage Limited Edition of 1701 Units RETAIL PRICE: $31.98 STARTS SHIPPING AUGUST 5 Available to order NOW at www.lalalandrecords.com La-La Land Records and CBS Studios proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 6, the sixth in a series of limited edition CD releases that showcase original scores from the landmark sci-fi television series STAR TREK (1966-1969). Containing music originally from our long out-of-print 2012 Original Series Box Set, these exciting volumes utilize the same restored master as that acclaimed release, but feature new packaging by Dan Goldwasser, along with brand new, exclusive liner notes by film music writer and Trek historian, Jeff Bond. This groundbreaking, iconic music, from one of television’s most acclaimed and beloved series, is now again available for fans everywhere! Vol. 6 of the 1701 Collection focuses on the Trek TOS music of renowned composers Samuel Matlovsky, Jerry Fielding, Alexander Courage, Fred Steiner, Gerald Fried, George Duning and Wilbur Hatch, with the “Star Trek Theme” by Alexander Courage, and contains original score from the classic episodes I MUDD, THE TROUBLE WITH TRIBBLES, AND THE CHILDREN SHALL LEAD, along with MAIN and END TITLES and much more, including a bounty of Second and Third Season Library Music, Alternate Cues, Outtakes and Source Music. Produced by Lukas Kendall, Neil S. Bulk and Jeff Bond, restored by Chris Malone and mastered by Doug Schwartz, this limited edition 2-CD release of 1701 units, as well as forthcoming volumes of this series, illustrate how the original Trek series scores not only teem with action, adventure and drama, but how they are infused with deep emotion and the greatness of the human spirit. Such characteristics have kept these richly orchestrated tracks vital and relevant decades beyond their original recording. TRACK LISTING: DISC 1 1. Main Title* (Soprano Version, Second Season Mix; arr. Courage) 1:03 2006 Recording Conducted and Produced by Gregory Smith I, Mudd Music Composed and Conducted by SAMUEL MATLOVSKY Episode #41, Recorded 9/22/67 • Aired #37, 11/3/67 Total Time: 16:43 2. Please*/You Listen M21/M23 1:24 3. Harry Mudd/Mudd’s Series M24/M25 1:00 4. Stella M31 0:44 5. Control Room M32 0:56 6. Eternal Beauty/Crew Gone M33/M36 0:43 7. We Are Real M40 1:12 8. A Gilded Cage/Not Programmed M41/M42 1:10 9. Mudd’s Farewell/Stella’s Reprise M43/M44 0:59 10. Alice in Wonderland M55 2:08 11. Love’s Hate M56 0:50 12. Tired of Happiness M62 1:26 13. The Last Straw M63 2:12 14. Mudd’s Detention/Stella 500 M65/M66 1:38 The Trouble With Tribbles Music Composed and Conducted by JERRY FIELDING Episode #42, Recorded 10/5/67 • Aired #44, 12/29/67 Total Time: 12:05 15. The Muzak Maker M16 0:55 16. They Quibble Over Tribble/Kirk Out M21+M21S/M31 0:59 17. The Scherzo Maker M34 0:44 18. Bartender Bit M35 0:29 19. Big Fite M36/M36A/M36B 2:16 20. A Matter of Pride/Barrel of Tribbles/Tribble Hooks Kirk/My Chicken Sandwich/Come on Spock!/Raining Tribbles M42/M43+M43S/M44/M44A+M44AS/M44B/M51/M51A+M51AS /M52/M54+M54S 4:03 21. Dead Heap!/Close That Door/Hissing Tribbles/Poor Jonesy/No Tribble at All M55/M56/M57/M63+M63S/M65 2:30 Second Season Library Music Conducted by ALEXANDER COURAGE Recorded 6/16/67 Total Time: 31:17 Composed by ALEXANDER COURAGE 22. Ship in Orbit* (Big) LM6 0:40 23. Sad and Thoughtful on Captain’s Theme LM8 2:30 24. Captain Playoff No. 1 (Heavy) LM2 0:08 25. Smooth Neutral Ship Theme* LM7 0:41 26. Playoff on M.T. Theme LM1 0:23 27. Fight on Captain’s Theme LM5/LM5A 1:50 28. Captain Playoff No. 2 (Neutral—Slightly Ominous) LM3 0:12 29. Stingers LM17A/LM17B/LM17C/LM17D 0:51 30. New Sexy Exotic LM9 2:18 31. Captain Playoff No. 3 (Sad and Alone) LM4 0:20 32. Prime Specimen (“The Cage” M21–30) LM19 3:13 33. Monster Illusion (“The Cage” M42) LM18 2:34 34. Mr. Spock (“Captain’s Wig” From “The Naked Time” M54–61) LM16 3:27 35. The Big Go* (“The Naked Time” M62) LM15 2:30 Composed by FRED STEINER 36. Mudd’s Perfidy (“Mudd’s Women” M43) LM10A/LM10 0:33 37. Zap the Cap (“Charlie X” M53) LM11 1:34 38. Zap the Cap (“Charlie X” M53) LM11A tk 1 0:09 39. Zap the Cap (“Charlie X” M53) LM11A tk 2 0:06 40. Zap the Spaceship (“Charlie X” M54) LM12 1:28 41. Zap the Spaceship (“Charlie X” M54) LM12A 0:35 42. Zap the Spaceship (“Charlie X” M54) LM12B 0:08 43. Ruk Attacks (“What Are Little Girls Made Of?” M43A) LM13 1:41 Composed by GERALD FRIED 44. 2nd Ruth (“Shore Leave” M31A, orch. Gus Levene) LM14 2:35 Second Season Alternates and Outtakes Total Time: 6:02 45. Neck Pinch Sweetener (“Catspaw” M61A) (Fried) 0:04 46. Shuttle Helpless (“Metamorphosis” M12A) (Duning) 0:38 47. Starship* (“Metamorphosis” M41 tk 2) (Duning) 0:15 48. Nancy Sobs* (“Metamorphosis” M51A) (Duning) 0:20 49. Nancy Sobs* (“Metamorphosis” M51B) (Duning) 0:11 50. You Loved Me (“Metamorphosis” M61A) (Duning) 0:20 51. Cochrane’s Decision* (“Metamorphosis” M62B) (Duning) 0:13 52. We Are Real (“I, Mudd” M40A) (Matlovsky) 1:11 53. No Tribble at All (“The Trouble With Tribbles” M65A) (Fielding) 0:13 54. Poor Jonesy (“The Trouble With Tribbles” M63, orchestra only) (Fielding) 0:29 55. Poor Jonesy (“The Trouble With Tribbles” M63S trombone sweetener at recorded speed) (Fielding) 0:53 56. Tribbles FX (unused) (Matlovsky) 0:53 The Apple Unused Percussion Tracks Composed and Conducted by GERALD FRIED Episode #38, Recorded 7/7/67 (With "Friday's Child") Aired #34, 10/13/67 Total Time: 5:59 57. M1 tk 1 1:35 58. M2 tk 1 1:00 59. M3 tk 2 0:20 60. M4 tk 1 1:33 61. M5 tk 1 1:03 62. M6 tk 1 0:21 Wolf in the Fold Unused Belly Dancer Music Composed and Conducted by GERALD FRIED Episode #36, Recorded 7/19/67 (With "Amok Time") Aired #43, 12/22/67 63. Navel Maneuvers M1/M1A 3:06 Total Disc Time: 76:53 ================ DISC 2 1. Main Title* (Soprano Version, Third Season Mix; arr. Courage) 1:02 2006 Recording Conducted and Produced by Gregory Smith And The Children Shall Lead Music Composed and Conducted by GEORGE DUNING Episode #60, Recorded 8/9/68 • Aired #59, 10/11/68 Total Time: 35:48 2. Triacus*/What Goes Kids? M11/M12 2:41 3. Triacus Burial/Kooky Kids/Reluctant Kids M13/M14/M15 1:49 4. Strange Feelings M16–20 1:30 5. Starship Again*/Instant Ice Cream M21/M22 1:05 6. Busy-Busy/Tommy Tired/Here Comes the Gorgan/Kids’ Whammy #1 M23/M24/M25/M26 3:59 7. Standard Orbit #1*/Starnes’ Tape/Kids’ Whammy #2/Tommy’s Whammy/Standard Orbit #2*/Whammed Crew*/Starnes’ Story M31/M32/M33/M34/M35/M36/M36A/M37 5:37 8. Mislead Innocent/McCoy Mad*/Out of Orbit*/Call the Angel M38/M41/M42/M43/M43A 2:56 9. Kids in Control M44–50/M44–50A/M44–50B/M44–50C/M44–50D/M44–50E 7:15 10. Scotty Whammied/By Whose Orders M51/M52 2:02 11. Last Whammy M53/M53A 1:30 12. Gorgan Summoned/Gorgan Zapped* M54–60/M61 5:07 Third Season Library Music Conducted by WILBUR HATCH Recorded 6/25/68 From “The Cage” (Alexander Courage): 13. Survivors (M21) LM100 1:42 14. Bottled (M31) LM101 1:52 15. Monster Illusion (M42) LM102 2:47 16. Monster Illusion (tag) (M42) LM102A 0:10 17. The Kibitzers (M44) LM103 0:41 18. Vina’s Punishment (M51) LM104 1:54 19. Vina’s Dance (M62) LM105 1:54 20. Wrong Think (M73) LM106 0:43 From “Where No Man Has Gone Before” (Alexander Courage): 21. Act 1 Card (M13) LM107 0:38 22. Crippled Ship (M22) LM108 0:55 23. Speedy Reader (M24) LM109 1:06 24. End Title (M64) LM110 0:24 From “The Man Trap” (Alexander Courage): 25. First Goner (M14–21) LM111 tk 3 0:49 26. First Goner (M14–21) LM111 tk 4 0:49 27. Dressing Down (M23) LM114 0:08 28. Monitor Gizzard (M25) LM113 0:14 29. Monitor Gizzard (M25) LM113A 0:09 30. Lazer Dazer (M45–51) LM112 2:44 31. Dodo Girl (M52) LM115 0:10 From “Catspaw” (Gerald Fried): 32. Drugged (M25) LM116 1:24 33. Mace Fight (M61) LM117 0:59 34. Mace Fight (M61) LM117A 0:19 From “Friday’s Child” (Gerald Fried): 35. Down the Throat (M58) LM118 1:13 36. Arrows (M61) LM119 1:26 Total Time (13–36): 25:55 Composed and Conducted by GERALD FRIED (With “The Paradise Syndrome”) 37. School Chum (“Shore Leave” M23) LM125 0:33 38. Mr. Spock (“Amok Time” M14) LM128/LM128A 0:57 39. Contrary Order (“Amok Time” M16–20A) LM129 2:59 40. More Soup* (“Amok Time” M26–30B) LM126 2:00 41. More Soup (“Amok Time” M26–30B) LM126A/LM127 1:06 Total Time: 7:41 Composed and Conducted by GEORGE DUNING (With “Is There in Truth No Beauty?”) 42. Act Out LM131 tk 1 0:14 43. Act Out LM131 tk 2 0:14 Total Time: 0:28 Score Alternates Total Time: 1:48 44. Ambassador Arrival* (“Is There in Truth No Beauty?” by Duning, M13A) 0:16 45. Out of Orbit* (“And the Children Shall Lead” by Duning, M42A) 0:15 46. Final Curtain* (“Spectre of the Gun” by Fielding, M63C) 0:13 47. Unfair Exchange (“The Enterprise Incident” by Courage, M14–20A) 0:15 48. Tromba Sweetener (“Plato’s Stepchildren” by Courage, M25A) 0:24 49. The Aristocrats (“Plato’s Stepchildren” by Courage, M52A) 0:15 The Savage Curtain Episode #77, Recorded 1/24/69 • Aired #77, 3/7/69 Music Composed and Conducted by WILBUR HATCH Total Time: 2:24 50. Drums/Salute to Our President Fanfare MX/M1/M1A 1:30 51. Salute to Our President Fanfare (outtakes medley) M2/M3/M4/M5 0:52 Format Music Total Time: 1:34 52. Bumper (Broadcast Edit) 0:06 53. Bumpers (Alternates) 0:26 54. End Title* (Soprano Version, Alternate Ending; arr. Courage, cond. Hatch) 0:42 55. Paramount Television I.D. (Wilbur Hatch) 0:05 56. Paramount Television I.D. (Alternate) (Wilbur Hatch) 0:05 Total Disc Time: 77:22 TOTAL ALBUM TIME: 154:15 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry This is a CD format release.

Und auch hier schiebt Varesé eine Vinyl nach.

Snow Files of the Week: "Starspeak/Hidden Truths/Big Happening" aus "The X-Files, Season 8, Episode "This is not happening" (2001). Zu Beginn der achten Staffel komponierte Snow ein Thema für Scully. Dieses sollte die Verzweiflung, aber auch die Entschlossenheit Scullys bei der Suche nach Mulder unterstreichen. Nicci Sill steuerte dafür den Gesang bei, bei dem sie unter anderem die Worte "We are near" leicht verfremdet über die Melodie singt. In der Episode "This is not happening" taucht das Thema in einer instrumentalen Version wieder auf, als Scully mit Skinner über eine Unterhaltung spricht, die sie einst mit Mulder bezüglich den Sternen bzw des Weltalls geführt hat. Als Mulders Leiche nachts auf einem Feld auftaucht, weiss Scully, dass es nur eine Chance für Mulder gibt: Jeremiah Smith, der Wunderheiler. Dieser sammelt mit seiner Gemeinde die Körper derjenigen auf, die von den Aliens nachts auf Feldern nach den Experimenten zurückgelassen werden. Doch bevor Scully zu Jeremiah gelangen kann, sieht sie ein UFO, welches Jeremiah mit sich nimmt. Mulder scheint verloren. Mark komponierte für die Szene große, dramatische, fast schon Hans-Zimmer-artige Musik, in der er Scullys Thema in einen Marsch verwandelt. Diese Stücke stammen vom ersten Volume X-Files-Musik von LLL, limitiert auf 2000 Exemplare. Viel Spaß beim Hören!

Kommt von Intrada als 5-CD-Box.

Das Album erscheint nun auch auf Vinyl.

Und auch hier legt Varesé eine Vinyl nach.

Neu von Quartet: Quartet Records, in collaboration with NHK Enterprises, presents the long-awaited reissue of Japanese composer Toshiyuki Watanabe’s impressive symphonic score for the 2004 documentary mini-series ROMAN EMPIRE. Produced by the Japanese national public television channel NHK, ROMAN EMPIRE consists of three episodes in which we are shown the birth, rise and decline of the third period of Roman civilization in classical antiquity. It chronicles a fascinating multicultural journey that begins in the ruins of Timgad (Algeria) and then stops in cities like Pompeii and ends in Britain, the ancient Britain of the Roman Empire, which under the command of Emperor Hadrian began its inexorable decline and destruction. To show musically how this mixture of various races, languages and religions was dominated by the same power while also prospering from many improvements in urban infrastructure, politics, culture, etc., Watanabe provides a sensitive, powerful, highly melodic score. The opening theme, “Far Away Rome,” performed by Bosnian singer (based in Japan) Jadranka Stojaković and Spanish guitarist Masayoshi Furukawa (one of the best performers in the world), is a real stand out. Both elements, boasting a markedly Mediterranean air, join with the virtuosity of the Japanese master’s arrangements to fully immerse us in the journey.The original album was released only in Japan in 2004 in a very limited print run. Due to the impact of the score, it became a holy grail for the most demanding collectors for two decades. This new edition has been remastered by Chris Malone from the original album stereo master tapes. The package includes a preface and track-by-track commentary written by the composer himself, as well as an essay by Juan Ramón Hernández Almagro and an exclusive interview with maestro Watanabe. Tracklist: Far Away Rome (Opening Theme) (1:42) Light of Rome (2:53) Rich Rome (3:43) The Strongest Military Nation (3:09) Fate (4:50) The Cornerstone of Prosperity (3:09) Remaining Mysteries I (2:57) An Ever-Expanding Empire (3:53) A Giant Estate on the Verge of Collapse (2:52) Remaining Mysteries II (4:19) Civic Decadence (4:06) Far Away Rome (Main Theme) (3:47) Quartet Records, in collaboration with Solisterrae Music, presents the soundtrack album of a new score by Goya Award-winning composer Pascal Gaigne (ERREMENTARI, HANDIA, EL FARO DE LAS ORCAS, PIEDRAS) for a new film directed by Benito Zambrano. EL SALTO is a social drama-thriller about Ibrahim, who arrives in Spain from Guinea-Conakry, settles in Madrid and establishes a life there for himself and his family. One day he is arrested by the police and deported to his home country for lacking a residence permit. From that moment on, his only goal is to return to Spain. After traveling through Africa, he settles in a refugee camp located between Africa and Europe. There he meets Aminata, a girl determined to jump the border fence separating Morocco from North African Spanish territory. This, however, is a physical feat that not everyone can achieve. Pascal Gaigne has written a very emotional and sensitive score. Performed by the Bratislava Symphony Orchestra under the baton of David Hernando Rico, it features different soloists acting as the inner voices of the characters – especially cello, laud (a Spanish folk cittern) and percussion. This album represents, once again, the powerful and unique voice of Pascal Gaigne within the contemporary European film music community. Tracklist: El salto / Ibra / Redada (3:47) El viaje (3:03) En la comisaría (1:33) Ibra (1:42) Ousman (2:12) Deportación (2:54) Encerrados (0:34) Confianza (0:32) Cet Homme est Mort (1:27) El viaje 2 (1:18) Merci Madame (0:59) Campo (0:54) Melilla (0:47) Cuisinière (1:05) Policier en civil (0:53) El salto 2 (1:05) Football Dream (0:33) Cloture (2:18) Courez ! (3:54) Aminata (3:03) El salto 3 (0:37) Última noche (2:18) Chacun son Dieu (0:51) El salto 4 (7:44) El viaje (3:25)

Kurz vor Dougs Tod hat Intrada auf Facebook das Profilbild zu dem zeigenden Finger vom Plakat von IN HARMS WAY geändert. Vielleicht eine indirekte Ankündigung auf eine neue Veröffentlichung?

Auch auf Vinyl.

Und weiter geht es in der „Rob Zombie presents"-Reihe. Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks! “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie Rob Zombie and Waxwork Records are thrilled to announce the debut vinyl release of THE LAST MAN ON EARTH Original Motion Picture Score by Paul Sawtell & Bert Shefter. The Last Man On Earth is a 1964 post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson. Starring Vincent Price, the plot follows Dr. Robert Morgan (Price) who lives in a world where the human population is infected by a plague that has turned them into undead, vampiric creatures that cannot stand sunlight, fear mirrors, and are repelled by garlic. Every day, Morgan follows a routine where he marks days off the calender and sets out to hunt the vampires, killing as many as he can and then burning the bodies. After working together on the successful release of the official soundtracks to Zombie’s films House of 1000 Corpses, The Devils Rejects, 3 From Hell, The Lords of Salem, Halloween 1 & 2, and The Munsters, Zombie explored other ways to collaborate with Waxwork in an effort to unearth, re-master, and release classic, left-of-center Horror soundtracks from films that he is a life-long fan of. The line of soundtracks features deluxe packaging, heavyweight colored vinyl, new artwork by prominent Horror illustrator Graham Humphreys, liner notes and interviews conducted by Rob Zombie with filmmakers and actors. Titles include premiere releases of Spider Baby, Carnival Of Souls, The Last Man On Earth, The House On Haunted Hill, The Legend of the Seven Golden Vampires, and many selections from the HAMMER film library. Rob Zombie Presents THE LAST MAN ON EARTH Original Motion Picture Soundtrack Features: The Complete Score by Paul Sawtell & Bert Shefter Available For The First Time On Vinyl 2xLP 180 Gram Neon Green Vinyl with Green & Yellow Splatter Exclusive Interview by Rob Zombie with Victoria Price New Artwork by Graham Humphreys Deluxe Heavyweight Gatefold Packaging with Matte Satin Coating 11"x11" Booklet

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

Douglass Fake, Prolific Soundtrack Producer, Has Died at 72 Douglass Fake, an independent record producer (with over 700 credits) and a champion of classic film music restoration for four decades, died after an extended illness on Saturday morning, July 13, in Richmond California. Mr. Fake’s many producing credits include the first complete restoration of Leonard Bernstein’s On the Waterfront, a massive 5-CD release of Elmer Bernstein conducting his music from The Ten Commandments and the premiere of a half-dozen Henry Mancini underscores including Breakfast at Tiffany’s (previously only available in abridged pop recordings). He also supervised the re-recording of a dozen albums of classic film music, most recently Bernard Herrmann’s music for Alfred Hitchcock’s The Man Who Knew Too Much, as well as Miklos Rozsa’s Ivanhoe, Julius Caesar, and Spellbound. Mr. Fake was born on February 23, 1952, in Massachusetts to Charles and Jeanne Fake, an Air Force family that moved frequently from east to west coast and back again. Colonel Fake served as an SAC wing commander, and notably pushed the launch button on John Glenn’s historic orbital mission in 1962. That also placed Douglass, his older brother, Glenn, and younger sister, Peggy, in the middle of the Cuban Missile Crisis at Patrick AFB south of Cape Canaveral. His experience would be immortalized musically in one of the record albums he produced, Jerry Goldsmith’s Matinee. Like many fans turned professional, Mr. Fake’s passion emerged at an early age. His sister Peggy recalls, ”We shared a bedroom in grade school, and Doug played the soundtrack to Taras Bulba on repeat endlessly, while slashing the air (conducting most likely) with his plastic sword.” The theaters on base changed programs almost daily, so he spent more time at the movies than watching TV, studying the credits on screen, scrutinizing the posters hung in the lobby and humming the tunes he heard as he searched the small record shop at the base PX. He bought every soundtrack LP he could find, but many film scores he sought were unavailable. Mr. Fake was a boxer and trumpet player in high school, and enrolled in the University of Colorado to study music in 1970. His brass instructor was Hugh “Mac” McMillan, a fearsome professor who reputedly told a young Glenn Miller that he “had no future in music.” Fake survived the ordeal, and met a fellow band student by the name of Mary Ann Jacobs—after a “meet cute” involving the schools’ real life and stuffed Buffalo mascots, they became friends and eventually married in 1974. While in college, Douglass wrote and recorded a number of symphonic band pieces, and for a while it looked as though Mr. Fake might follow in Mac’s footsteps as a music teacher. His then-current job at the Discount Records chain was not enough to support the family, so when Mary Ann was offered a job as a CPA, they relocated to San Francisco. Mr. Fake soon set up shop with a table of used and rare soundtrack LPs in a movie poster shop called Cine Monde on Vallejo street. But over the course of a few years, his sales were sufficient to assume the store’s lease and rename the shop Intrada. The only problem? There was a vast, unreleased catalog of film music that he and other aficionados sought to hear apart from the movies. So, in 1985 he assembled a small band of investors and cold-called composer Basil Poledouris, who had risen to prominence after writing the score to Conan the Barbarian. He introduced them to MGM music supervisor Harry V. Lojewski and a deal was struck to release the label’s very first soundtrack—Red Dawn starring Patrick Swayze and Lea Thompson. That LP sold for a whopping $40 at the time, but it proved that there was a market for albums more focused on underscore than pop songs. More importantly, it led to a crucial introduction that would launch the fledgling label and a lifelong friendship. Mary Ann Fake recalled the stunned look on her husband’s face as she handed him the receiver over the dinner table. “Doug, Jerry Goldsmith is on the phone. Yes, that Goldsmith!” The storied composer of Patton and Chinatown had learned that Intrada was willing to release his next score, Poltergeist II, and wanted to talk to the producer personally. It was a huge financial risk for Fake, but it led to 85 releases of Goldsmith music, many produced shoulder-to-shoulder by the two men. Notably, they premiered three favorite scores in new recordings, including Islands in the Stream, which led to an ongoing series of albums presenting music otherwise lost to the ages. Intrada’s success with Goldsmith opened the doors to many other partnerships, including Laurence Rosenthal, an Oscar nominee for Becket, with 19 albums on the label including The Miracle Worker and Clash of the Titans. Bruce Broughton, an Oscar nominee for Silverado, followed with 50 albums including the best-selling Tombstone, still in print. Oscar-winner James Horner of Titanic fame released 40 albums on Intrada, including Troy and several of his animated films. Sara Horner recalls the pleasure the association brought her late husband. “Doug meant a great deal to James. He always supported his music, both technically and artistically, with great care. For James, this support was invaluable.” This care extended even to Horner’s modest first score, The Lady in Red, which premiered on the label 45 years after the film’s debut. Fake was generous with colleagues and competitors alike, often helping to source missing parts, explain historical anomalies, and tackle projects near and dear to his heart—even if they ended up on someone else’s label. “Doug was a true pioneer who kindled the passion for film music when it was a mere ember,” says Lukas Kendall, producer for Film Score Monthly. “He was also a mentor and collaborator who was endlessly knowledgeable with an incredible ear for detail. I will always remember his enthusiasm for a new album, score or composer.” Considering his ear for soundtracks and musical skill, it may seem surprising that Douglass never seriously pursued composing for film. He got the opportunity from Jeff Johnson, his store manager since 1990, to write music for an indie feature called Holly vs. Hollywood. Johnson chuckles as he remembers, “The movie never got a proper release, but we sold a lot of copies of the soundtrack at the store! I told him that he could have a successful career in the industry, working as an orchestrator.” His success led to some interest from an agent in Los Angeles, but ultimately Douglass chose to focus on his family, which had now grown to include two daughters, his store and label. Running a retail operation in the 1990s was harrowing, especially with traditional distribution methods that required shipping thousands of copies in small batches to stores around the world—only to wait months for reimbursement or, worse, returns of unsold, shopworn CDs. This led Mr. Fake and his team to close up shop in San Francisco, move to a new location in the Oakland Hills near his home, and take their business online. The resulting economies set the stage for his most prolific years, averaging 40 albums a year for a decade. Big sellers like Alan Silvestri’s Back to the Future and Goldsmith’s Alien kept the operation afloat and enabled Mr. Fake to pursue more obscure favorites. In addition to being an artist-friendly label, Mr. Fake was scrupulous in all business dealings, so that he was able to work with every major film studio in Hollywood, starting with 20th Century Fox, Warner Bros., Paramount, Sony, MGM/UA and Universal. His reputation even led to an unprecedented offer from Walt Disney—which customarily does not license soundtracks—but led to physical media releases of new titles like The Avengers and Toy Story 3 as well as chestnuts like Hocus Pocus and 20,000 League Under the Sea. As the market for streaming music explodes, the collectors who prefer CDs cling to their physical media, and with good reason: more than half of Intrada’s output is still unavailable on streaming platforms, and may never be. But because of Mr. Fake’s efforts, the studios now possess pristine digital copies of what were often decaying, unplayable tapes, acetates and ancient film that have been lovingly restored and returned to their vaults. So maybe one day, it all could be available again. But why does someone commit themselves to what must be acknowledged to be a niche market, and obscure interest? Millions of people enjoy the movies, but a relatively small percentage actually recall the underscore, if they notice it at all. No less an authority than Bernard Herrmann once said “No one knows why films need music, but no film is complete without it.” Douglass Fake had his reasons. At the 30th anniversary celebration of his company, before a crowd of more than 100 composers, professionals and fans in LA’s Walt Disney Concert Hall, Fake said, “I had a disagreement with an instructor in college about film music vs. concert music. He actually threw me out of class when I proved that Ralph Vaughn Williams’ Seventh Symphony had its origins as a soundtrack (in Scott of the Antarctic). I vowed then to prove that film music was as substantial as any classical composition, and deserved to be brought from the background into the foreground. And that’s what we do.” Today, there remains a healthy slate of projects in various stages of completion at Intrada, all bearing Douglass Fake’s influence if not direct participation. Roger Feigelson, VP of business affairs, says “We plan to continue operation of the store and label well into next year, to celebrate Intrada’s 40th anniversary. We’re excited to share some titles that have been in development for a long time. The business is healthy. the market is stable—it just won’t be as much fun without Doug. We miss him already.” Mr. Fake is survived by his sister Peggy, his wife Mary Ann, daughters Regina and Veronika, and granddaughter Amelia. A celebration of his life and other tributes will be announced shortly. For more information visit Intrada.com Joe Sikoryak, July 15