Alexander Grodzinski
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Gesamte Inhalte
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Benutzer seit
Beiträge von Alexander Grodzinski
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Zitat
Music by Dominic Frontiere
Limited Edition of 2000 Units
La-La Land Records, The Film Music Society and 20th Century Studios proudly announce the world-premiere release of THE QUINN MARTIN COLLECTION – VOLUME 4: 12 O’CLOCK HIGH, a limited edition 2-CD set of renowned composer Dominic Frontiere’s (THE OUTER LIMITS, THE INVADERS, THE STUNT MAN) original score tracks from the classic 1964-1966 television series produced by legendary producer Quinn Martin and based upon the 1949 20th Century Fox film bearing the same title.
Remastered from original Quinn Martin Productions elements, this thrilling compilation of original music from the beloved WWII drama-action series showcases rousing orchestral work from composer Frontiere. It’s some of the Maestro’s finest work, as exemplified here within an exciting selection of dynamic cues from 17 classic episodes of the show. Produced for La-La Land Records by Jon Burlingame, and transferred and mastered by Doug Schwartz, this deluxe 2-CD set is limited to 2000 units and will thrill classic TV and score enthusiasts of all ages. The exclusive, in-depth liner notes are by producer Burlingame, and the sharp art direction is by Dan Goldwasser.
TRACK LISTING:
DISC 1
1. First Season Main Title 0:41
“FOLLOW THE LEADER”
2. Prologue 1:28
3. Mellon and Savage / One Check 1:52
4. Waiting / Everybody Run 2:21
5. Mellon and Betty Blighty 1:46
6. We’re Alerted 1:32
7. Same as Yesterday / Left Turn 2:01
8. Friends Again / Friends Ending 3:00
“GOLDEN BOY HAD NINE BLACK SHEEP”
9. Gallagher 1:31
10. Throws Cap / Orders From Savage 1:19
11. Plane on Field / Challenge to Command 1:15
12. B-17 on Field / Transfer 1:28
13. Probably Right / Joe Give It a Try 2:11
14. Epilogue 2:09
“THE MEN AND THE BOYS”
15. Going on Mission / Pilot Gets Shot 2:55
16. B-17 Swings / Lockridge 1:50
17. Fade in to Hospital 1:00
18. It Was Jonesy / Let’s Go 1:35
19. Returning Home 0:49
20. Like ’42 2:39
“THE SOUND OF DISTANT THUNDER”
21. The Club / New Bombardier 1:51
22. Thank You Sir 1:02
23. Mary Yells 0:37
24. Tire Goes Down 2:39
25. In on Savage 3:37
“PRESSURE POINT”
26. Marry His Daughter 1:56
27. There’s Your Man / Crowe 1:30
28. Savage Walks Away 2:42
29. The C.O. 2:53
“INTERLUDE”
30. Cobb 1:15
31. Holiday 1:43
32. On a Greener Hill 4:51
33. Unconscious / She’s Dying 2:00
34. Ann in Bed 3:19
35. On a Greener Hill II 2:25
“THE CLIMATE OF DOUBT”
36. Glowers 2:15
37. Pineapple’s Girl 0:58
38. Cut to Crowe 0:37
39. First Season End Title 1:07
Total Disc Time: 76:15
DISC 2
1. Second Season Main Theme 1:33
“APPOINTMENT AT LIEGE”
2. I’m Immortal 2:02
3. Nightmare / Charlie Flakked 1:09
4. Liz Pep Talk 1:21
5. Guns Runs / Help Me Sir 0:47
6. I’ll See You in the Fall 3:44
“TO HEINIE, WITH LOVE”
7. Quail 0:56
8. Nora’s Theme 2:49
9. Save the Plasma 1:36
10. Nora and Kurt 3:23
11. Bomb 1:11
“THE THREAT”
12. Flight Line / Say Boo 1:37
13. Sounds Fishy to Me 1:48
14. Dog’s Fight 1:01
“P.O.W.”
15. Stalag Luft 12 1:12
16. The Cat 0:51
17. Escape 1:45
18. Thinking of Home 1:28
19. A Little Trouble / To Risk It 1:34
“BIG BROTHER”
20. B-17 Taxis / Hi Stoney 1:49
21. Stoney and Graves 2:33
22. F.I. Tanks 1:43
“THE HOTSHOT”
23. You’ll Ruin Me / Rack Full of Bombs 1:38
24. Ves Flies / End of Ves 2:04
25. Jill Baby 1:19
“BETWEEN THE LINES”
26. Burning Engine 1:06
27. Abandoned Church 1:37
28. Tress Shoots / Ninotchka 2:08
29. Dose Chermans / Chewing Gum 2:27
30. Friendship? 1:18
“FALLING STAR”
31. Pappy’s Girl 1:11
32. Guilty Pappy 3:54
33. The Hero 1:28
“WHICH WAY THE WIND BLOWS”
34. I Can’t 1:14
35. John and Ted Are Kiddin’ 1:17
36. Bye, Dina 1:57
37. Third Season Main Title 0:36
“FORTRESS WEISBADEN”
38. Over Enemy Target / Relieve Your Command 1:54
39. Abandon Ship 1:21
40. Frieda 1:48
41. Germans Coming / Surprise 2:56
42. After the Putsch Is Over 1:58
43. S’Alright 0:49
44. Third Season End Title 1:02
Total Disc Time: 76:47This is a CD format release
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Und auch hier auf Vinyl von Quartet, Hable con ella (Talk to her).
Zitat
Quartet Records and El Deseo present the 20th anniversary premiere vinyl release of Alberto Iglesias’ warm and passionate score for Pedro Almodóvar’s unforgettable film HABLE CON ELLA (aka TALK TO HER), Oscar winner for Best Original Screenplay in 2002. It was their fourth film together.
Alberto Iglesias’ romantic, emotional, highly inspired and moving score features echoes of Spanish flavor imbued with melancholy. The original CD edition released in 2002 was a big success, selling more than 500,000 units just in France and becoming a classic. But it has never been released in vinyl before.
To celebrate its 20th anniversary, this 2-LP Quartet edition, newly remastered from the original master tapes by the original sound engineer, José Luis Crespo, has been pressed in red and blue audiophile 180 GM vinyl, and is presented in a gatefold jacket.
DISC 1
SIDE A
- Sabana Santa (1:04)
- Hable con ella (5:18)
- El grito (3:29)
- La mesita de noche (1:45)
- Jordania (2:52)
SIDE B
- El amante menguante (8:28)
- Maria Santísima de Araceli (2:12)
- La noche y el viento (1:11)
- Trincheras / Decadance (3:29)
DISC 2
SIDE C
- Cucurrucú Paloma. Caetano Veloso (3:51)
- Habitación de Alicia (1:51)
- A Portagayola (1:48)
- La discusión viaja en coche (3:45)
- Alicia vive (2:46)
- Los olivos (1:14)
SIDE D
- The Plaint: O let me Weep, for ever Weep. Henry Purcell (7:53)
- Amanecer Agitato (1:58)
- Soy Marco (2:21)
- Raquel. Bau (4:12)
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Von Quartet nun auf Vinyl (allerdings der alte Albumschnitt):
Zitat
Quartet Records, in collaboration with Geffen Records and Universal Music Special Markets, presents the first-ever vinyl release of James Horner’s touching, haunting original score for CASPER (1995).
Directed by Brad Silberling and produced by Steven Spielberg, the film is about an afterlife therapist (Bill Pullman) and his daughter (Christina Ricci), who meet a friendly young ghost when they move into a crumbling mansion in order to rid the premises of wicked spirits.
James Horner, at his best in 1995 (the amazing year in which he also composed BRAVEHEART, APOLLO 13, JUMANJI and BALTO!), provides this family film with a sensitive score—amusing and hauntingly heartwarming, with wondrous melodic themes and an abundance of dynamic and orchestral imagination.
This 2-LP set contains the same music as the previous album released on CD by MCA (not to be confused with the expanded edition released by La-La Land Records in 2020), produced by James Horner and his usual sound engineer, Shawn Murphy. It has been specially mastered for vinyl by Chris Malone, and it has been pressed in audiophile, ghostly, ultra-clean transparent 180 GM vinyl.
DISC 1
SIDE A
- “No Sign of Ghosts” (7:31)
- Carrigan & Dibs (2:39)
- Strangers in the House (2:36)
- First Haunting / The Swordfight (5:01)
SIDE B
- March of the Exorcists (2:43)
- The Lighthouse–Casper & Kat (4:55)
- Casper Makes Breakfast (3:41)
- Fond Memories (3:39)
- “Dying” to Be a Ghost (7:04)
DISC 2
SIDE C
SIDE D
- One Last Wish (4:19)
- The Uncles Swing / End Credits (6:24)
- Remember Me this Way (4:29) Performed by Jordan Hill
- Casper, the Friendly Ghost (2:12) Performed by Little Richard
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Gibt es von Quartet jetzt auch auf Vinyl.
Zitat
Quartet Records, in collaboration with Paramount Pictures, Geffen Records and Universal Music Special Markets, presents a premiere 2-LP presentation of the complete score by Bruce Broughton for Steven Spielberg’s delightful fantasy-adventure classic YOUNG SHERLOCK HOLMES (1985), written by Chris Columbus and directed by Barry Levinson.
Right after composing SILVERADO, Bruce Broughton wrote a tremendous symphonic score for YOUNG SHERLOCK HOLMES, one of the great scores from a legendary year in film music: 1985. His music takes us into the classy and mysterious atmosphere of Victorian London, with robust action music, catchy leitmotivs, impressive choral passages and a beautiful love theme—a masterpiece enthusiastically performed by the Sinfonia of London under the baton of the composer.
Although the score was previously released on vinyl by MCA in 1985 in a memorable 36-minute LP produced by Broughton himself, a lot of music was left out due to the lack of room. In 2019 Intrada Records released an incredible 3-CD set which not only contains the complete score, but also alternates, revised versions and the 1985 LP for the first time in digital format. This new Quartet 2-LP set expands on the original MCA vinyl and includes the complete score as heard in the film, following the film order (except for some slight changes made for listening pleasure purposes).
Edited, restored and mastered for vinyl by Chris Malone from elements provided by both Paramount Pictures and UME, this edition has been pressed in a 2-LP audiophile black vinyl of 180 GM, and presented in an elegant tip-on gatefold sleeve.
DISC 1
SIDE 1
- Main Title (1:45)
- The First Victim (2:58)
- The Old Hat Trick (1:49)
- Watson’s Arrival (1:01)
- The Bear Riddle (0:46)
- Library Love / Waxflatter’s First Flight (2:54)
- Fencing with Rathe (1:07)
- Second Attempt (1:10)
- The Glass Soldier (3:20)
- Solving the Crime (4:58)
SIDE 2
- Holmes and Elizabeth (Love Theme) (2:01)
- Cold Revenge (4:07)
- Waxflatter’s Death (3:41)
- The Hat (1:22)
- Getting the Point (6:21)
- Ytrairom Speeled Backwards (0:47)
- Rame Tep (3:10)
DISC 2
SIDE 3
- Pastries and Crypts (6:48)
- Discovered by Rathe (3:54)
- To Cragwitch’s (1:32)
- The Explanation (1:48)
- Cragwitch Goes Again (1:21)
- It’s You! (6:21)
SIDE 4
- Waxing Elizabeth (3:38)
- Temple Fire (3:22)
- Ehtar’s Escape (3:59)
- Duel and Final Farewell (5:40)
- The Riddles Solved and End Credits (6:31)
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Neu von Dragon's Domain:
Dragon’s Domain Records presents BRUTAL, featuring music composed and performed by Alan Howarth for the 2012 horror film written by Michael Patrick Stevens, directed by Darla Rae and Michael Patrick Stevens, starring A. Michael Baldwin (PHANTASM), Reid Luttrell, Jamie McCall, Annie Molnar, Camryn Molnar, Jennifer Wilde and Michael Patrick Stevens as Brutal.
Released in 2012, BRUTAL begins with Carl Gibson (Baldwin) waking up in a dingy basement, naked from the waist up and chained to a chair. The basement belongs to a stoical dungaree-wearing loner named Brutal. Subjected to a seemingly endless game of torture, Carl wonders if he will ever see his family again.
BRUTAL is the writing, producing, directing and acting debut of Michael Patrick Stevens. The music for BRUTAL is composed by genre favorite Alan Howarth.
Alan Howarth, in addition to being a composer, is an accomplished sound designer and editor, having worked on films such as STAR TREK: THE MOTION PICTURE, POLTERGEIST, TOTAL RECALL, ARMY OF DARKNESS, BRAM STOKER’S DRACULA, STARGATE and many others. He has been a frequent music collaborator with John Carpenter on his films beginning with ESCAPE FROM NEW YORK in 1980 and including HALLOWEEN II & III, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, THEY LIVE and PRINCE OF DARKNESS and Alan has scored many films on his own, including RETRIBUTION, HALLOWEEN 4 & 5, THE DENTIST, HEADLESS, BOO!, EVILUTION and most recently, HOUSE AT THE END OF THE DRIVE, SHINER and HOAX.
Dragon’s Domain Records presents BRUTAL, featuring music composed and performed by Alan Howarth. The music has been mastered by James Nelson at Digital Outland.
BRUTAL is a limited edition release of 500 units and is expected to begin shipping the week of November 1st, 2022. The first 50 copies sold through our website will include an autograph by the composer.
1. Brutal Main Titles and Carl’s Family (5:17)
2. Sander (3:34)
3. Nail Gun (3:34)
4. Rock, Paper, Scissors (5:40)
5. Wheel Of Torture (2:33)
6. Potato Peeler (5:40)
7. Injection (3:02)
8. Hot Foot (6:14)
9. It’s Only a Game (5:07)
10. You Lose, You Die (5:55)
11. 16th Birthday (5:55)
12. 8 Months Later (3:51)
13. Can’t Live Without You (4:15)
14. Forgive Me (2:53)
15. Live With the Pain (5:15)
Total Time: 69:21
Dragon’s Domain Records presents THE PETER BERNSTEIN COLLECTION, VOLUME 3 , featuring music composed by Peter Bernstein for two projects from his filmography, FIFTY/FIFTY and MIRACLES.
Released in 1992, FIFTY/FIFTY tells the story of Jake (Peter Weller) and Sam (Robert Hays), two mercenaries who run into each other on Tengara, a remote South Seas island where a revolution seems to take place every other day. Recruited by the CIA to overthrow a power-mad dictator, they are tasked to raise an army. But the choices are few and the odds against them are high, until they meet Suleta (Ramona Rahman), a beautiful freedom fighter who helps them get started.
FIFTY/FIFTY was directed by veteran actor Charles Martin Smith, who also co-stars as Martin Sprue, the CIA handler in charge of Jake and Sam. Filming was split between the island of Penang and the Central Malaysian state of Perak, according to the production notes.
FIFTY/FIFTY is an orchestral score, recorded with an orchestra of 65 musicians. Bernstein’s music is based around a single primary theme, energized by propulsive brass attacks and powerful intonations of full orchestra.
Released in 1986, MIRACLES tells the story of Jean (Teri Garr) and Roger (Tom Conti), a newly divorced couple who learn the hard way that when you are meant to be together, nothing can keep you apart. As the film continues, Jean and Roger keep running into each other, literally... A robbery gone wrong results in a police chase, with the robber crashing into Jean’s car and then Roger’s car, which happens to be nearby. The robber kidnaps both Jean and Roger and forces them to drive, leading to an elaborate madcap chase across international borders, multiple crazy situations and ultimately to Jean and Roger’s reunion.
For MIRACLES, Peter Bernstein provides an appropriately exciting musical score for this wild comedic ride. Bernstein’s breathtaking score ranges from the exotic drums and synth of the opening jungle sequence to a richly arranged celebratory finale. The score was recorded at the old CTS Studios in Wembley, England, on the world’s first DSP digital mixing console and performed by members of the Royal Philharmonic Orchestra.
The son of Academy Award winning film composer Elmer Bernstein (THE MAN WITH THE GOLDEN ARM, THE TEN COMMANDMENTS, THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD, GHOSTBUSTERS), Peter Bernstein grew up around recording stages, watching his father work and absorbing as much as he could. His musical education began with piano lessons. He eventually decided he wanted to be a bass player and studied bass with Carol Kaye, a member of the legendary ‘Wrecking Crew’ group of LA studio musicians. Around the same time, Peter was also studying with pioneering electronic music composer Morton Subotnick. He began his professional career as a rock n’ roll bass player at age 14 and worked in the record business as a touring bass player, band member, session player, arranger and record producer for the next 20 years. As time passed it became clear that there was going to be more opportunity for him as a composer and Peter began by working for other composers as an orchestrator and arranger. He orchestrated all or part of almost all of his father’s scores from 1974-1986, while still working in the rock n roll record business. Orchestration credits from the era include ANIMAL HOUSE, TRADING PLACES and GHOSTBUSTERS, as well as the scored portions of Michael Jackson’s THRILLER video. His credits as composer include HOT DOG… THE MOVIE, BOLERO, THE EWOK ADVENTURE, MY SCIENCE PROJECT, EWOKS: THE BATTLE FOR ENDOR, THE ALAMO: THIRTEEN DAYS TO GLORY, CANADIAN BACON and PUPPET MASTER VS DEMONIC TOYS. For television, his credits include 21 JUMP STREET, BOOKER, FALLEN ANGELS, CHICAGO HOPE, ROUGH RIDERS, MOWGLI: THE NEW ADVENTURES OF THE JUNGLE BOOK and HONEY, I SHRUNK THE KIDS: THE TV SHOW.
Dragon’s Domain Records presents THE PETER BERNSTEIN COLLECTION, VOLUME 3, featuring music composed and produced by Peter Bernstein for FIFTY/FIFTY and MIRACLES, presented for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson, with the participation of the composer.
THE PETER BERNSTEIN COLLECTION, VOLUME 3 is a limited edition release of 500 units. THE PETER BERNSTEIN COLLECTION, VOLUME 3 is expected to begin shipping the week of November 1st, 2022. Composer Peter Bernstein will sign the first 50 copies of THE PETER BERNSTEIN COLLECTION, VOLUME 3 sold through the website.
FIFTY/FIFTY
1. Main Title/Escaping the Palace (3:39)
2. Training Montage/Village Attack (4:03)
3. Under Attack/Suleta's Sacrifice (4:39)
4. Tense Montage/Final Attack (4:09)
5. Liberation/End Title (3:09)
MIRACLES
6. Opening Titles/The Sick Girl/The Big Storm (3:49)
7. Explosion and Power Outage at the Hospital/
Police Chase/The First Big Car Crash (3:30)
8. Juan Kidnaps Jean and Roger/Drive to Hideout/Police Surround the Hideout (3:15)
9. Race To The Airfield/Miraculous Events/Roger and Jean Catch A Moving Plane/The Takeoff/Roger Comforts Jean/Juan and Harry/Get Their Parachutes (5:22)
10. Uncontrolled Dive/Leveling Off/Skimming The Mountaintop/Avalanche/
Crash Landing/Stranded In The Desert/A Car/Federales At The Plane/
Roger and Jean Arrested (5:12)
11. Jean’s Story/Juan Rescues Jean and Roger/Federales Chase/Racing To The Boat/Pier Shootout With Federales (4:20)
12. Rekindled Romance On The High Seas/The Storm/Taking Roger To The Village/This Was A Miracle (4:07)
13. Villagers Walk To Church/The Operation And Recovery/Explosion/
The Second Big Car Crash/Reunited (4:40)
14. End Credits (3:12)
15. Acoustic Guitar Source (0:52)
Total Time: 58:40
Dragon’s Domain Records presents a new release of THE PIT & THE PENDULUM, to be distributed through Buysoundtrax.com. THE PIT & THE PENDULUM features music composed and conducted by Richard Band (RE-ANIMATOR, FROM BEYOND, GHOST WARRIOR, TROLL) for the 1991 version of the classic story written by Edgar Allan Poe, adapted by Dennis Paoli, directed by Stuart Gordon (RE-ANIMATOR) and starring Lance Henriksen. Stephen Lee, Rona De Ricci, Jonathan Fuller, William Norris, Mark Margolis, Frances Bay, Carolyn Purdy-Gordon, Jeffrey Combs and Oliver Reed.
First published in 1842, Poe’s PENDULUM is a ghastly tale of torture and execution told by a forsaken narrator sentenced to death for heresy by the Spanish Inquisition. This adaptation follows a pair of young bakers drunk on love and brimming with marital bliss. While peddling loaves of bread in the town square, Maria (De Ricci) and Antonio (Fuller) are separated by an unruly mob while a battered woman is paraded into the square to be burned at the stake as a witch by the Spanish Inquisition. Maria and Antonio reunite only to be forced by church authorities to stand witness to the grotesque human barbecue unfolding before their eyes. The expression of Maria’s disgust and her pleas for Christian mercy at the feet of Grand Inquisitor Torquemada (Henriksen) convinces the over-zealous witch hunter to arrest, torture and prosecute Maria as a ward of Satan.
THE PIT & THE PENDULUM was a continuation of the creative collaboration between director Stuart Gordon and Richard Band, which includes films such as RE-ANIMATOR, FROM BEYOND, CASTLE FREAK and episodes from the anthology series MASTERS OF HORROR. The one thing Gordon routinely offered Band was total creative independence. The director and composer would meet once or twice early in the scoring process so that Band could bounce initial ideas off his director; once those decisions were agreed upon, Gordon left his composer alone to do the job he was hired to do. As is the case with most low-cost films, the limited music budget guided Band’s compositional hand as much as its story elements. Calculated decisions were necessary to blend live orchestral and choir elements with supplemental electronic tracks to create the aural illusion of spending more on the score than was actually allocated.
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.
Band 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. He 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 presentation of Richard Band’s score for THE PIT & THE PENDULUM, the music is presented on two CDs, newly remixed from the master tapes courtesy of engineer Matt LaPoint, with liner notes written by author and composer Brian Satterwhite, with the participation of the composer. The first disc is a representation of Band’s complete score as featured in the movie. The second disc is a collection of various alternate tracks, most of them isolated synth tracks without their orchestral or choral counterparts. The inclusion of these rare isolated synth tracks gives the listener the most comprehensive plunge into one of Richard Band’s greatest and more gratifying film scores of his career.
THE PIT & THE PENDULUM is a limited edition release of 500 units. THE PIT & THE PENDULUM is expected to begin shipping the week of November 7th, 2022. The first 50 copies ordered through the website will be autographed by the composer at no extra charge.
CD 1
1. The Crypt / The Whipping Of The Corpse (2:26)
2. The Pit And The Pendulum Main Title (3:58)
3. The Chase And Onslaught (2:33)
4. Auto Da Fe (2:35)
5. The Arrest Of Maria / Maria Is Searched (2:48)
6. Torquemada's Flogging / Antonio Searches Dungeon (3;40)
7. Esmeralda's Meadow Of Peace (1:32)
8. Torquemada Takes Maria / Maria Is Shown Chamber (2:36)
9. Antonio Battles The Guards / The Pope's Envoy (6:12)
10. The Rape of Maria (6:00)
11. Esmeralda Comforts Maria (1:41)
12. Maria's Burial / Esmeralda's Curse (5:19)
13. The Pit And The Pendulum(8:45)
14. Hidden Action (5:06)
15. Gordon’s Shop (2:25)
16. Maria Rises From The Crypt (5:19)
17. Resurrection And Finale And End (5:52)
Total Time CD 1: 68:47CD 2
1. Auto Da Fe (2:36)
2. The Night Auto Da Fe / Esmeralda's Revenge (Album version) (2:36)
3. Antonio Battles The Guards (4:01)
4. Torquemada Cuts Out Maria's Tongue (2:23)
5. The Crypt / Main Title (No choir) (5:05)
6. The Chase And Onslaught / Auto Da Fe Again (4:51)
7. Esmeralda's Meadow Of Peace (1:32)
8. Antonio Battles The Guards (4:03)
9. The Rape of Maria (3:44)
10. Maria's Burial / Mendoza Sees Torquemada
By Maria's Crypt (2:25)
11. The End of Torquemada (4:35)
12. Resurrection And Finale (3:08)
13. Main Theme from The Pit And The Pendulum (2:48)
Total Time Part 2: 43:47
Total Running Time: 1:52:34 -
Im November von LLL.
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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!
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Zitat
World premiere complete 2-CD release of thrilling Jerry Goldsmith sci-fi score! Paul Verhoeven directs aggressive experiment-goes-awry thriller, Andrew W. Marlowe scripts, Elisabeth Shue, Kevin Bacon, Josh Brolin, Kim Dickens head cast, Columbia Pictures presents. Molecular experiment allowing laboratory ape to become invisible is successful. Tight-knit group of responsible scientists celebrates, then when human subject undergoes treatment, all goes dramatically awry. Gifted (or cursed) with extraordinary power, Sebastian (Bacon) turns to evil, allows jealousy and murderous instincts to flourish while undetectable. Former girlfriend (Shue) and competitive researcher (Brolin) fight time and science to unlock secrets and stop Sebastian from his evil rampage. Customary for Verhoeven, wild strokes of vivid mayhem and graphic violence eventually command the spotlight. Frequent collaborator Jerry Goldsmith creates one of his lengthiest scores of all time, brings incredible energy to picture utilizing wall-to-wall music. Composer enjoys opportunity to fashion strong overall musical architecture with well-developed thematic material. Primary theme plays early in opening credits (“The Hollow Man”) as sinuous line winding above lean, plucked harp figure. Goldsmith also offers strong, forward-moving rhythmic idea for suspenseful scientific experiments plus numerous episodes of gentle mystery and uneasy suspense. But it is Goldsmith’s forceful, ferocious action music that commands, dominates, rules the day! Scored for large orchestra, Goldsmith unleashes charged rhythmic energy with numerous intense cues, legendary scoring mixer Bruce Botnick captures each with snarling, edged crispness. Brass are especially punchy! Previous album yielded generous selection of highlights but this Intrada restoration features over half an hour of previously unreleased score plus another 45 minutes of alternates! Goldsmith recorded an unusually large amount of pickups and inserts to be edited into existing cues, sometimes significantly altering tone or texture, changing endings or beginnings, resulting in changes both dramatic and subtle. Instead of simply including them as extras by themselves, Intrada assembles all of these revised bars onto their full-length respective cues. Listeners can select their preferred versions or play them all. The extras alone play as a complete album! New highlights abound amongst new material but oft-requested early action cue “Chasing Isabelle” stands out, with pulsating left-hand piano in energetic Rambo-ish manner! Two completely different takes of the previously unreleased “Wet Attack” also grab attention! Entire 2-CD assembled from original digital stereo mixes provided by Botnick. Flipper-style cover art designed by Kay Marshall plus informative booklet notes by Jeff Bond complete exciting package. Bruce Botnick records at Abbey Road Studios in London, Alexander Courage orchestrates, Jerry Goldsmith composes, conducts. Intrada Special Collection 2-CD set available while quantities and interest remain!
CD 1 Complete Score
01. The Hollow Man (2:58)
02. Lady In The Window (0:40)
03. I’m A Genius (0:36)
04. Chasing Isabelle (2:04)
05. Isabelle Comes Back (6:00)
06. Linda & Sebastian (2:54)
07. This Is Science (6:16)
08. I Liked It (1:41)
09. The Buttons (Revised) (3:28)
10. Coffee Break (1:18)
11. Not Right (4:50)
12. What Went Wrong? (1:41)
13. In The Mirror (1:03)
14. Why Not? (0:58)
15. I Can’t See Him (4:31)
16. I Liked It #2 (1:37)
17. Not Yet (0:50)
18. Broken Window (2:57)
19. He’s Here (3:13)
20. Dead Dog (1:31)
21. False Image (1:59)
22. Late Meeting (0:36)
23. Hi Boss (2:53)
24. No Code (4:05)
25. Find Him (Revised) (4:55)
26. Bloody Floor (5:13)
27. Linda Takes Action (4:47)
CD 1 Total Time: 76:37CD 2 Complete Score (Continued)
01. Wet Attack (Revised) (1:23)
02. The Elevator (2:56)
03. The Big Climb (Revised) (3:09)
04. The Hollow Man (End Credits) (7:16)
Score (Continued) Time: 14:49
Complete Score Total Time: 91:26
The Extras
05. Chasing Isabelle (Alternate) (2:07)
06. Isabelle Comes Back (Alternate) (6:00)
07. Linda & Sebastian (Alternate) (2:54)
08. This Is Science (Album Version) (6:20)
09. The Buttons (2:13)
10. I Can’t See Him (Alternate) (4:14)
11. Not Yet (Revised) (0:41)
12. Broken Window (Revised #1) (2:53)
13. Broken Window (Revised #2) (2:53)
14. He’s Here (Revised) (3:13)
15. Find Him (4:36)
16. Bloody Floor (Revised) (4:45)
17. Wet Attack (1:10)
18. The Big Climb (3:06)
Total Extras Time: 47:24
CD 2 Total Time: 62:29 -
Und hier nun die Ankündigung von Mondo:
Zitat
Mondo, along with Geffen Records and Universal Pictures, are proud to celebrate forty years of E.T. The Extra-Terrestrial, with an all new re-issue of John Williams' timeless, essential and period-defining score. This re-issue is pressed on 2x 180 Gram color vinyl, produced by Bruce Botnick and Mike Matessino, and features all new liner notes by Mike Duquette.
The summer of 1982 saw the release of some of the most culture-defining films of our lifetime (STAR TREK II: THE WRATH OF KHAN, POLTERGEIST, TRON, CONAN THE BARBARIAN, THE THING, THE ROAD WARRIOR ... just to name a few!)
But few have had nearly the same impact on film music as the legendary sixth collaboration between Steven Spielberg and John Williams: E.T. THE EXTRA-TERRESTRIAL.
Mondo, along with Geffen Records and Universal Pictures, are proud to celebrate forty years of E.T., with an all new re-issue of John Williams' timeless, essential and period-defining score. This re-issue is pressed on 2x 180 Gram color vinyl, produced by Bruce Botnick and Mike Matessino, and features all new liner notes by Mike Duquette.Tracklist
SIDE A
1. Main Title 1:14
2. Far From Home / E.T. Alone 6:57
3. The Encounter 1:49
4. Bait for E.T. 1:45
5. Meeting E.T. 2:08
6. E.T.’s New Home 1:28
7. The Beginning of a Friendship 2:53
8. Toys 3:13
SIDE B
1. I’m Keeping Him 2:20
2. E.T.’s Powers 2:44
3. The Closet 0:53
4. E.T. and Elliott Get Drunk 2:57
5. Frogs 2:21
6. The Kiss 0:49
7. Levitation 0:41
8. At Home 5:38
9. The Magic of Halloween 2:55
SIDE C
1. Sending The Signal 3:58
2. Searching for E.T. 4:18
3. Invading Elliott’s House 2:24
4. Stay With Me 2:24
5. Losing E.T. 2:04
6. E.T. Is Alive 4:22 -
vor 14 Minuten schrieb Souchak:
Schöner, informativer und auch berührender Text, Alex, danke Dir!
Dazu ein Anmerkungen von mir:
Ich habe vor zwei Jahren nach dem Tod meiner Quasi-Schwiegermutter dabei geholfen, die Wohnung (in der die Familie gut vier Jahrzehnte gelebt hat) auszuräumen. Das hat mich emotional extrem mitgenommen. Da ist dann ein Regal, eine Schublade, eine Kiste voll mit Erinnerungsstücken, Dinge, die ihnen lieb und teuer war, und dann steh ich da und muss entscheiden, was wir aufheben (können) und was der Entrümplungsfirma zur Entsorgung überlassen wird. Puh, sowas will ich echt nie wieder machen (aber irgendwann wird das wohl wieder passieren).
Ja, so ging es mir quasi auch. Das war echt schwer, sich von diesen Dingen zu trennen. Nennt mich verrückt, aber so manche LP oder Kassette meines Vaters, die ich damals weggegeben habe, habe ich mir mittlerweile wieder zugelegt. Eben einfach, weil ich es so bereut habe, diese weggegeben zu haben. Und dabei ist das noch nicht mal das Gleiche. Die Kassette oder Platte ist natürlich inhaltlich die gleiche, weil sie ja in Masse produziert wurde. Aber es ist eben nicht das Exemplar, welches mein Vater hatte, wo genau links oben in der Ecke immer der Knick drin war oder auf der Platte genau an der Stelle ein Knackser zu hören war. Das ist rational natürlich völliger Unsinn, aber emotional habe ich einfach gemerkt, wie sehr mich dann doch auch solche vermeintlichen Nichtigkeiten beschäftigen. Ich habe beispielsweise auch noch so ziemlich alle Platten aus meiner Kindheit. Darunter ist auch das erste Album von Hubert Kah von 1982, bei dem oben links in der Ecke auf dem Cover der Gebißabdruck meines vierjährigen Ichs prankt. Da habe ich damals einfach reingebissen, nicht aus Wut, sondern das war damals Ausdruck meiner Begeisterung.
Klar, die Platte an sich kann man ersetzen, aber genau dieses Exemplar mit dieser Besonderheit und den Erinnerungen eben nicht.
Ein aktuelles Beispiel für „nicht genügend Ware" sind auch die Collector's Editions der Filme POLTERGEIST, THE LOST BOYS und CASABLANCA. Diese erschienen (CASABLANCA kommt noch) in einer Box, in der ein Steelbook mit dem jeweiligen Film in 4k, sowie Booklet, Poster, Karten und so weiter enthalten waren. Diese Boxen waren bereits am Tag der ersten Bestellungen fast überall ausverkauft, bereits Monate, bevor sie überhaupt erschienen sind. Klar decken sich da auch viele Zweithändler mit ein, aber dass man nicht mal bei Amazon oder JPC am Tag 1 der Bestellung noch ein Exemplar bekommt, habe ich in den letzten Jahren selten bis gar nicht erlebt. Und das sind alles Titel von großen Studios, die aber scheinbar auch in weitaus geringerer Stückzahl gefertigt werden als früher. Ich konnte mir zum Glück noch Exemplare sichern, bei eBay und Co. kosten die Dinger mittlerweile das zwei- oder dreifache.
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Ich bin vor zwei Jahren zum ersten Mal in meinem Leben umgezogen. Und schon bei den Vorbereitungen war mir klar, dass ich meine ganze Film- und Musiksammlung nicht mitnehmen kann und auch nicht will. Denn beim Aussortieren habe ich auch festgestellt, dass da einfach viele Sachen dabei waren, die ich wohl nie wieder im Leben anhören oder ansehen werde. Also warum aufheben? Doch keine Sorge, die Sammlung war auch danach noch groß genug, dass die Kartons mit den CDs, Kassetten, Platten, DVDs, Blu-rays, VHS und Büchern alleine einen Umzugs-LKW füllten. Dazu kam dann noch die Sammlung meines Vaters, die ich quasi geerbt hatte. Da waren zwar viele Klassik-Sachen dabei, auch Raritäten, wie die Filmmusik-CD von YES, GIORGIO, aber hauptsächlich war mein Vater dann doch im Schlagerbereich unterwegs, weshalb ich dann doch auf einen Großteil dieser Sachen verzichten konnte. Dennoch habe ich auch aus dieser Sparte CDs, Kassetten und Platten mitgenommen, weil da einfach Erinnerungen dran hängen. Und kurioserweise bereue ich es mittlerweile sogar, so viele Sachen davon weggegeben zu haben.
Allgemein bin ich ja auch kein so großer Freund von Streaming. Spotify nutze ich fast gar nicht, eher Amazon Music, aber Bild- und Tonträger kaufe ich dennoch immer noch lieber. Das ist wahrscheinlich einfach eine Gewohnheitssache, aber ich bekomme zu Dateien, die irgendwo auf dem Rechner oder einem Server liegen, emotional einfach keinen Zugang. Da höre ich dann auch viel unaufmerksamer, als wenn ich mir eine Platte auflege oder eine CD einlege. Das haptische Erlebnis kommt dann auch noch dazu. Daher werde ich meine Sammlung so lange hegen und pflegen, wie es geht.
Allgemein ist es bei mir aber auch so, dass ich mir weniger neue CDs und Filme kaufe. Das liegt natürlich auch daran, dass für mich da nicht mehr so viel Interessantes dabei ist. Früher hab ich bei einer limitierten LLL- oder Intrada-CD einfach aus Neugier mal zugeschlagen, obwohl ich weder Film, noch die Musik kannte, das passiert heute kaum noch. Gleichzeitig habe ich natürlich auch die Entwicklung des Marktes miterlebt. Heute stehen wir an einem Punkt, an dem versucht wird, diejenigen, die überhaupt noch physische Bild- und Tonträger kaufen, zu melken, wo es nur geht. Und natürlich hat sich auch da eine Blase aus Sammlern entwickelt, die sich einen Film zum fünften Mal in einer noch schickeren Collector's Edition kaufen oder sich alle sieben Cover-Varianten des gleichen Films im Mediabook zulegen. Da haben die Label und Studios einfach gemerkt, dass da noch Geld zu machen ist, weshalb sich der Fokus dahingehend auch so verschoben hat. Im Vinyl-Bereich ja genau das gleiche. Da werden Editionen mit allem möglichen Brimborium aus dem Boden gestampft, was man eigentlich nicht braucht, aber man so dennoch 80 oder 100 Euro für eine Platte ausgeben muss, auch wenn man den Rest eigentlich nicht haben will. Und da das Ganze ja auch limitiert ist, kann man damit noch mal zusätzlich Geld draufschlagen. Aber der Markt ist einfach (noch) da, der das rechtfertigt.
Auf der anderen Seite hat das mittlerweile auch Auswirkungen auf den Second-Hand-Markt, wie einige ja schon weiter oben beschrieben haben. Bestimmte alte Platten (mittlerweile auch Kassetten), die einem vor zehn Jahren quasi noch nachgeworfen wurden, findet man heute nur noch im zwei- oder gar dreistelligen Bereich. Ein beschriebener Grund ist eben die Verknappung seitens der Label, die einfach kleinere Auflagen pressen oder Titel einfach auslaufen lassen. Ein weiterer Grund ist natürlich, dass vor einigen Jahren, als quasi alle ihre CDs, DVDs und Platten verhökert haben, einfach eine Schwemme an gebrauchten Sachen da war, die die Händler gar nicht schnell genug wieder loswerden konnten. Mittlerweile hat der Vinyl-Boom eben auch das eingeholt und so wird auch schon mal Massenware, die früher für einen Euro auf dem Flohmarkt stand, plötzlich teurer als die Neuauflage davon. Ein Teil der Kunden deckt sich eben wieder mit physischen Medien ein, nur ist das Angebot einfach knapper geworden.
Was ja auch immer wieder zu beobachten ist, ist die Tatsache, dass manche Filmmusik-Alben erst Monate nach der digitalen Veröffentlichung (und des Filmstarts) physisch erscheinen. Im Pop-Bereich ist mir das aber auch schon aufgefallen. Die beiden letzten Nick-Cave-Alben beispielsweise erschienen erst digital und dann ein halbes Jahr später auch als CD und Vinyl. Da frage ich mich dann auch, was genau der Sinn oder Hintergrund davon ist. Will man so die Klickzahlen der Streams erhöhen? Bei Nick Cave war es zumindest so, dass mit der digitalen Veröffentlichung angekündigt wurde, dass es auch eine CD und Vinyl geben wird. Oder kann man physische Datenträger mittlerweile einfach nicht mehr in der entsprechenden Zeit herstellen? Bei Vinyl heißt es ja immer wieder, dass die wenigen Presswerke, die es auf der Welt noch gibt, immer bereits Monate im Voraus vollkommen ausgelastet sind, weil sie so viele Aufträge haben. Da kann es dann schon passieren, dass die Vinyl-Ausgabe nicht rechtzeitig fertig wird. Aber auch CDs? Aktuell habe ich das bei den beiden Carpenter-Scores zu FIRESTARTER und HALLOWEEN ENDS gesehen. CD und Vinyl zu FIRESTARTER erschienen erst knapp vor einer Woche, der Film ist seit über einem halben Jahr draußen. HALLOWEEN ENDS läuft bereits in den Kinos, das Filmmusik-Album auf CD und Vinyl erscheint aber erst im Januar 2023. Beides von Sacred Bones Records, die sonst bisher immer die Alben zum Filmstart veröffentlicht haben. Aber eventuell ist das mittlerweile auch eine Vorgabe der Studios, dass die digitale Veröffentlichung Vorrang hat und der Markt sozusagen erst mal abgefischt werden soll, bevor die „Hipster" und „alten Leute" bedient werden.
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Die komplette Tracklist spiegelt meinen Eindruck im Film wider. Denn dort gibt es tatsächlich nicht so viel Score, besonders in der ersten Hälfte. Das tut dem Ganzen recht gut, der Film will ja auch in eine andere Richtung gehen. Auch das funktioniert recht gut, bis auf das Finale, in dem der Film dann leider in altbewährte HALLOWEEN-Muster verfällt, weshalb das Ende auch wie an den Rest angepappt wirkt.
Die Idee, dass das Böse, welches Michael antreibt, wie eine Art Virus ist, der sich auch auf andere Menschen übertragen kann, ist innerhalb der Reihe ja auch nicht neu. Das Ende von HALLOWEEN 4 führt ja bereits diese Theorie ein, dass eben eine andere Person weiter mordet, wenn Michael tot ist. Aber in den folgenden Filmen wurde daraus ja nicht wirklich was gemacht und einfach weiter der alten Formel gefolgt. Das macht HALLOWEEN ENDS schon besser, aber vertraut eben am Ende dann doch nicht seiner eigenen Prämisse, da die „Fans" ja immer nur das Gleiche sehen wollen, nämlich Laurie gegen Michael. Und dann beschweren sie sich darüber, dass es wieder das Gleiche ist, während jede andere Richtung als „Warum ist das nicht das Gleiche?" abgestraft wird.
Im Score gibt es einige hübsch softe Momente, die man auch nicht immer von Carpenter gewohnt war. Insgesamt fand ich die Musik aber, im Vergleich zu den beiden Vorgängern, eher „more of the same", wobei sie, wie gesagt, durch den spärlichen Einsatz doch gut wirkt im Film.
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Zitat
Quartet Records, in collaboration with Studio Canal, Light in the Attic and the kind collaboration of Intrada, celebrates the 40th anniversary of the blockbuster FIRST BLOOD with RAMBO: THE JERRY GOLDSMITH VINYL COLLECTION, a mammoth 5-LP box set that includes Jerry Goldsmith’s powerful music for the original RAMBO trilogy, presented for the first time in expanded form on vinyl!
Based on David Morrell’s 1972 novel of the same name, FIRST BLOOD stars Sylvester Stallone as John Rambo. The Ted Kotcheff directed film was released in 1982 and immediately became a megahit that generated two sequels in 1985 and 1988, completing a trilogy until the character was brought back by Stallone in 2008 and 2019. The iconic character of Rambo evolved from a persecuted Vietnam veteran in the first film to a reluctant government operative and then a mercenary in Afghanistan in the later installments.
Jerry Goldsmith wrote a stunning, dark and heavy, almost crushing score for FIRST BLOOD, although he also composed a memorable melancholy theme (“It’s A Long Road”) that identified Rambo’s loneliness. The series and music turned more towards action and adventure in RAMBO: FIRST BLOOD PART II and RAMBO III, including exotic atmospheres and impressive passages of action music, ranking among Goldsmith’s greatest efforts in the genre.
Using stereo mixes provided by Douglass Fake and our friends at Intrada, this collection has been newly produced for vinyl by Neil S. Bulk, with mastering by Chris Malone.
The package comes with an exclusive hard box that includes 5-color LPs pressed on audiophile 180 gm vinyl, packaged in three separate gatefold jackets featuring the original poster artwork by Renato Casaro, and a 12-page booklet with in-depth liner notes by film music writer Jeff Bond.
FIRST BLOOD
SIDE A
- It’s A Long Road (Theme From “First Blood” – Vocal) (3:25)
- Main Title (2:26)
- Last Summer (1:03)
- Back To Town (0:49)
- A Close Shave (3:10)
- No Warmth (1:06)
- Hanging On (2:09)
- Over The Cliff (1:29)
- A Stitch In Time (1:02)
- Mountain Hunt (5:04)
SIDE B
- First Meal (0:44)
- First Blood (5:15)
- The Rats (3:32)
- The Shaft (2:44)
- Over The Top (1:02)
- My Town (1:01)
- No Power (1:01)
- Fireworks (1:57)
- Mission’s Over (0:48)
- It’s A Long Road (Instrumental) (3:00)
RAMBO (FIRST BLOOD PART II)
DISC 1
SIDE A
- Main Title (2:15)
- The Map (1:07)
- Preparations (1:20)
- The Jump (3:23)
- The Snake (1:56)
- The Pirates (1:32)
- Stories (3:30)
SIDE B
- The Camp (1:32)
- Forced Entry (1:03)
- The Cage (3:59)
- The Gunboat (2:23)
- River Crash (1:18)
- Betrayed (4:28)
DISC 2
SIDE C
- Bring Him Up (1:19)
- The Eyes (1:00)
- Escape From Torture (3:42)
- Ambush (2:49)
- Revenge (6:18)
SIDE D
- Bowed Down (1:07)
- Pilot Over (1:56)
- Village Raid / Helicopter Fight (4:55)
- Pre Lift Off / Home Flight (3:27)
- Day By Day (2:11)
- Peace In Our Life (3:20)
RAMBO III
DISC 1
SIDE A
- Preparations / The Joust (6:26)
- The Money (0:52)
- Another Time (3:23)
- I’m Used To It (1:03)
- Peshawar (1:13)
- Afghanistan (2:39)
- Questions (3:40)
SIDE B
- Then I’ll Die / Can I Have It? (3:35)
- The Game (2:25)
- Flaming Village / Dust (4:08)
- The Aftermath (2:46)
- Night Entry (4:01)
- Under And over (2:57)
DISC 2
SIDE C
- Night Fight (6:31)
- Insane! / First Aid (3:13)
- The Long Climb (3:00)
- Going Down (1:07)
- Running Wild (0:33)
- Find Cover (0:52)
- The Cave (3:36)
SIDE D
- The Boot (1:56)
- You Did It, John (1:09)
- Final Battle (6:15)
- You Did It / I’ll Stay (End Title) (9:03)
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Zitat
Quartet Records, in collaboration with EMI Music Publishing and GDM, celebrates the centenary of iconic filmmaker, author, poet and intellectual Pier Paolo Pasolini with this remastered reissue of Ennio Morricone cult score for ARABIAN NIGHTS (1974).
Rounding out the director’s trilogy of classic short story adaptations (started by DECAMERON and CANTERBURY TALES), ARABIAN NIGHTS was based upon stories from 1001 NIGHTS. Pasolini shot on authentic Middle Eastern and Himalayan locations in a stunning display of the timeless erotic tales, showcasing real native actors, homebrewed Italian talents and a handful of his regular troupe.
Ennio Morricone had a long working relationship with Pasolini after composing the original scores for UCCELACCI E UCCELLINI and TEOREMA, but served only as a musical advisor on the previous episodes of the trilogy. Here he’s back in full swing, writing the longest score for any of his Pasolini pictures. Featuring variations on two beautiful romantic themes as well as diabolic organ music for the episode of the djinn, Morricone’s colorful orchestral tapestry is a true exotic delight.
This new Quartet releases contains the same material as the previous GDM edition from 2003 that is now long out of print. Supervised by Claudio Fuiano, Chris Malone has remastered the audio for this edition, while the package features an 8-page booklet with luxurious artwork designed by Luca Barcellona and liner notes by Gergely Hubai discussing both film and score.
- Tema di Aziza (3:24)
- Tema di Dunja (2:43)
- Tema del Demone 1 (5:35)
- Tema del Demone 2 (7:18)
- Tema de Dunja 2 (3:27)
- Tema della Battaglia (1:04)
- Misterioso (2:33)
- Tema di Aziza 2 (1:37)
- Tema della Montagna di Pietra Nera (2:02)
- Tema del Demone 3 (2:22)
- Mistico (2:34)
- Tema di Dunja 3 (1:43)
- Tema della Montagna di Pietra Nera 2 (2:08)
- Tema del Demone 4 (2:16)
- Rituale (2:30)
- Rituale 2 (2:31)
- Tema del Demone 5 (2:19)
- Tema della Montagna di Pietra Nera 3 (2:08)
- Tema di Dunja 4 (2:23)
- Tema del Demone 6 (2:17)
- Rituale 3 (2:24)
- Tema del Demone 7 (6:03)
- Tema di Aziza 3 (2:40)
- Tema di Dunja 5 (0:15)
Erscheint auch als Vinyl LP.
Zitat
Quartet Records, in collaboration with EMI Music Publishing and GDM, celebrates the centenary of iconic filmmaker, author, poet and intellectual Pier Paolo Pasolini with this remastered reissue of Ennio Morricone cult score for ARABIAN NIGHTS (1974).
Rounding out the director’s trilogy of classic short story adaptations (started by DECAMERON and CANTERBURY TALES), ARABIAN NIGHTS was based upon stories from 1001 NIGHTS. Pasolini shot on authentic Middle Eastern and Himalayan locations in a stunning display of the timeless erotic tales, showcasing real native actors, homebrewed Italian talents and a handful of his regular troupe.
Ennio Morricone had a long working relationship with Pasolini after composing the original scores for UCCELACCI E UCCELLINI and TEOREMA, but served only as a musical advisor on the previous episodes of the trilogy. Here he’s back in full swing, writing the longest score for any of his Pasolini pictures. Featuring variations on two beautiful romantic themes as well as diabolic organ music for the episode of the djinn, Morricone’s colorful orchestral tapestry is a true exotic delight.
This limited LP edition of 500 units, pressed on audiophile 180gm transparent desert vinyl, has been restored and mastered by Chris Malone, and the package features luxurious artwork designed by Luca Barcellona.
SIDE A
- Tema Di Aziza
- Il Fiore Delle Mille E Una Notte (Tema Del Demone – Terzo)
- Tema Di Dunja
- Il Fiore Delle Mille E Una Notte (Rituale)
- Tema Di Dunja (Quinta)
- Il Fiore Delle Mille E Una Notte (Tema Della Battaglia)
- Il Fiore Delle Mille E Una Notte (Tema Della Montagna Di Pietra Nera – Seconda)
SIDE B
- Tema Di Dunja (Seconda)
- Il Fiore Delle Mille E Una Notte (Mistico)
- Tema Di Dunja (Terza)
- Il Fiore Delle Mille E Una Notte (Tema Del Demone – Quinto)
- Tema Di Aziza (Seconda)
- Il Fiore Delle Mille E Una Notte (Rituale Secondo)
- Tema Di Aziza (Terza)
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Zitat
Quartet Records, in collaboration with MGM Studios, celebrates the centenary of the legendary Elmer Bernstein with an expanded release of one of his most energetic, enthusiastic and rhythmic western scores: THE SCALPHUNTERS (1968).
Directed by Sidney Pollack and produced by Burt Lancaster (who also leads a cast that includes Telly Savalas, Shelley Winters and Ossie Lewis), THE SCALPHUNTERS tells the story of Joe Bass (Lancaster), who is forced to trade his valuable furs for a well-educated escaped slave; the rugged trapper vows to recover his pelts from the Indians who took them, and later from the renegades (“scalphunters”) that killed the Indians.
Since the mid-1950s, Elmer Bernstein’s career had risen from triumph to triumph: THE TEN COMMANDMENTS, THE MAN WITH THE GOLDEN ARM, THE MAGNIFICENT SEVEN, THE GREAT ESCAPE, TO KILL A MOCKINGBIRD, WALK ON THE WILD SIDE, DESIRE UNDER THE ELMS, SUMMER AND SMOKE. He had become one of the most significant and personal voices in film music history, and one of the most requested composers. When Burt Lancaster convinced him to write the score for THE SCALPHUNTERS in record time, Bernstein was highly experienced in westerns; not only had he created what is arguably the most iconic music for the genre with THE MAGNIFICENT SEVEN and its sequels, he had also written the memorable THE SONS OF KATIE ELDER and the humorous THE HALLELUJAH TRAIL. The music for THE SCALPHUNTERS remains one of his most celebrated contributions to the genre of which he was such a great master.
Due to the success of the film and its score, Bernstein re-recorded a short, 28-minute album for United Artists Records. This album was reissued on LP and, later, several times on CD, but the score as heard in the film has been unreleased until today. This Quartet CD, which also celebrates our 500th release, includes the original album recording, remastered from first-generation tapes, as well as the original score recorded at the Samuel Goldwyn Stage from mono elements recently discovered at MGM, and all painstakingly restored and mastered by Chris Malone. The package includes a 20-page full-color booklet with in-depth liner notes by film music writer Jeff Bond.
Ride again with the energy and magic of Elmer Bernstein!
The Original Album
2. Square Dance for Loco Horses (2:10)
3. Booze (1:47)
4. Howie’s Death (3:04)
6. Joe Bass and the Scalphunters (2:14)
7. Forced March (1:44)
8. Horseplay (1:44)
10. More Tricks (1:56)
11. Fast Talkin’ Man (3:31)
12. Moving On (1:25)
The Film Score
13. Main Title (2:59)
14. Where We Going? / Horse-Whistle (3:37)
16. Food / Camp (2:48)
17. Leaving (1:51)
18. Forced March (2:04)
19. Lee Rides / Snow Job (3:09)
20. Chase (4:58)
21. Mountain / Horse Sense (1:28)
22. Loco! (2:51)
23. Uphill / Booze / More Tricks (3:08)
24. Exit Howie (1:46)
25. The Victor / Wait Joe / Here We Go Again (2:22)
27. Comrades (1:00)
28. Wild Guitar (1:10)
29. Square Dance (2:22)
30. In Our Lovely Desert (1:08)
Bonus Tracks
31. Talking Blues (2:35)
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vor einer Stunde schrieb TheRealNeo:
War das bei THE SOCIAL NETWORK so? Das war ja doch etwas experimenteller als ersteres. Gibt es da Absatzzahlen?
Die Nine-Inch-Nails-Fans dürften bei dem Album sicherlich auch zugeschlagen haben. Das Album stieg in den US Billboard Charts dann auch bis auf Platz 20. Und zusätzlich gab es noch den Oscar.
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Snow Files of the Week: "Harold & Chrissy/Closure" aus der "The X-Files" Episode "Jose Chung's From Outer Space" (1996).
"Jose Chung's From Outer Space" ist eine der abgedrehtesten Folgen der dritten Staffel. Geschrieben von Darin Morgan nimmt die Folge die Grundpfeiler der Serie und stellt sie auf den Kopf. Ist die Wahrheit wirklich da draussen? Und wenn ja, wessen Wahrheit ist es?
"Harold & Chrissy" eröffnet die Folge, deren erste Kameraeinstellung bereits den Tenor der Folge, dass nichts so ist, wie es scheint, vorweg nimmt. Vor dem klaren Sternenhimmel erscheint ein viereckiges Gebilde, welches wie ein Raumschiff aussieht. Als die Kamera langsam zurückfährt erkennt man, dass es sich um die Unterseite eines Hebekorbes handelt, im dem ein Arbeiter nachts die Lampen der Strassenlaternen überprüft. Auf der gleichen Straße werden kurz darauf zwei Teenager von Aliens entführt, so scheint es, was eine Kette seltsamer Ereignisse lostritt. Am Ende kommt Jose Chung zu dem Ergebnis, dass wir vielleicht nicht alleine im Universum sein mögen. Aber hier unten, auf diesem Planeten, sind wir auf unsere Art alle allein. Diese letzte Szene wird von Mark mit einem der schönsten Themen untermalt, die er für die Serie geschrieben hat, "Closure".
Dieses Musikstück beendet ebenfalls die über 30 Minuten lange X-Files-Suite auf dem Sampler "The Snow Files". Aber in der Suite wurde das Stück leicht verändert, indem ein Chor hinzugefügt wurde. Die Musik auf der Folge erschien sogar komplett auf einer Promo-CD, die als FYC für die Emmys gedacht war.
Diese zwei Tracks befinden sich auf der ersten Box von LLL, die nach dem Ausverkauf der ersten Auflage neu aufgelegt wurde, limitiert auf 2000 Stück.
Viel Spaß beim Hören!
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Auf der New York Comic Con hat Carpenter seine neue Doku "Behind the scenes" vorgestellt. Es handelt sich dabei um eine Tour-Doku, die ihn auf seiner ersten Filmmusik-Tour von 2016 begleitet. Das Ganze gibt es als Blu-ray, die momentan nur auf der Comic Con zu erwerben ist. Aber sie soll auch im Verlauf des Monats für alle erhältlich gemacht werden.
ZitatComing SOON! Storm King Presents - John Carpenter Live: Behind The Scenes.
• Get an exclusive look at life on the road, during my 2016 world tour
• Never before seen interviews with the band and crew
• Live rehearsals
• Signings & more
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From the storied collaboration of Robert Zemeckis and Alan Silvestri (Back to the Future, Forrest Gump, Contact, The Polar Express) comes the devilishly fun 1992 horror–comedy score, Death Becomes Her.
Meryl Streep and Goldie Hawn star as a feuding movie star and novelist, (with Bruce Willis caught in the middle as a plastic surgeon), as a miracle potion offering eternal youth goes off the rails: it continues to work even after death, allowing for ghoulish and groundbreaking visual effects as the characters try to maintain appearances despite their bodies being hopelessly mutilated.
Alan Silvestri’s score captures, as always, a perfect sense of the film’s tone: grand yet wry, large-scale and symphonic for the supernatural drama, but with a lighthearted touch of the macabre. Particularly noteworthy is a Devilish fiddle for the Faustian bargain the characters make with immortality.
“I always loved this idea,” says Silvestri in a new interview with Al Kaplan for this release, “while the world is unraveling, the Devil is just quietly sitting on a wine barrel or some such thing and just kinda fiddling along while everybody just shows up. There was something about the greed, all of these human qualities, the vanity…and the idea that, ‘Ah, the Devil’s just sitting there. He’s got nothing but time.’”
Death Becomes Her was released by Varèse Sarabande in a 16-track, 35-minute album at the time of the film. This Deluxe Edition CD expands the program to 27 tracks and over 51 minutes, with new liner notes by Al Kaplan.
Limited to 2000 copies.
Tracklist
- Main Title (From The Motion Picture "Death Becomes Her") 1:36
- Me 3:28
- Woman On The Verge 1:03
- Lisle 1:07
- The Altar / Sexual 0:45
- A Touch Of Magic 2:20
- Now, A Warning 0:54
- Sempre Viva 1:48
- Another Drunk Driver 2:11
- Self Defense / New Mad Arrives Home 1:50
- Hurry Up, You Wimp 2:22
- It's Alive 3:04
- Violation Of Natural Law 1:07
- To The Morgue 1:11
- Helen Spies 2:04
- She Was A Bad Actress 0:46
- Another Miracle 2:35
- I'll Be Upstairs 0:43
- Loving You 3:14
- Seal The Room 0:46
- I'd Rather Die 2:58
- Switzerland 1:36
- End Credits (From The Motion Picture "Death Becomes Her") 5:49
- Dark Windows (Source) 1:12
- Book Party (Source) 1:49
- Woman On The Verge 1:13
- Self Defense 1:10
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Stock expected to ship by October 28, 2022. All orders containing this item will hold until all items are in stock and ready to ship.
Lara Croft: Tomb Raider—The Cradle of Life (2003) was the second of two action-adventure movies starring Angelina Jolie as Lara Croft, the protagonist of the popular Tomb Raider (1996) videogame series. Brilliant, resourceful and athletic, Lara Croft is a modern, female Indiana Jones who battles evil in a globetrotting quest for antiquities.
The Cradle of Life was directed by Jan de Bont (Speed, Twister)—his last directorial effort to date—and costarred Gerard Butler (as Croft’s old flame) and Ciarán Hinds (as the villain) in a search for the mythical Pandora’s Box.
Scoring the sequel was Alan Silvestri, hired by producer Lawrence Gordon (Predator) to compose a last-minute replacement score. Given competing mandates of traditional/symphonic (by de Bont) and contemporary/rhythmic (by the studio), Silvestri fused both concepts into an expansive, pulse-pounding and dynamic score for the film’s world-spanning adventure. As always with Silvestri, he doesn’t just capture the film’s action and settings, but its emotions.
The Cradle of Life was released by Varèse Sarabande in an hour-long program at the time of the film. This Deluxe Edition expands the program to 94 minutes across two discs, featuring the glorious Silvestri symphonic approach that has been a hit from Back to the Future to The Avengers. Liner notes by Tim Greiving include new comments by Silvestri, de Bont and scoring mixer Dennis Sands.
Limited to 2000 copies
Tracklist
Disc 1
- Opening 1:40
- Jet Ski - Meet Lara 4:09
- The Luna Temple 7:44
- Shark Attack 3:18
- Traitor Dying 3:39
- "I Need Terry Sheridan" 5:40
- Kill Me - Leaving Prison 1:32
- Arrival In China 1:46
- Shay Ling - Tilt Your Head Back 3:02
- Captured By The Shay Ling 5:59
- Escape From Chen 4:19
- To Shanghai - Flower Pagoda Battle Part 2 3:00
Disc 2
- Flower Pagoda Battle 5:42
- She Escaped - Break In 5:22
- Shoot Her Between The Eyes 4:42
- Skydive Getaway 2:12
- Skydiving Sequence 1:51
- Why Didn't You Kill Reiss 4:45
- Orb Transmission 1:42
- Journey To The Cradle Of Life 6:23
- Tribal Journey 1:33
- The Cradle Of Life 6:34
- Pandora's Box 5:24
- "Not Meant To Be Found" 0:45
- Lara Croft - Tomb Raider 0:52
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Snow Files of the Week: Suite from "MillenniuM - Season Three" (1998/99).
Trotz des düsteren und apokalyptischen Finales der zweiten Staffel kam "MillenniuM" für eine dritte Staffel zurück und damit natürlich auch Mark Snow. Während die Violine immer noch das Hauptinstrument ist in Marks Musik, fügte er für die finale Staffel viele neue Sachen hinzu. Da ist der himmlische Gesang in der Weihnachtsfolge "Omerta", das traurige Piano-Thema für Agent Emma Hollis und die düstere und brodelnde Ambient-Musik für das Finale.
Das erste Set mit Musik aus "MillenniuM" veröffentlichte LLL 2008. Zwei Jahre später war es ausverkauft, aber 2015 wurde es, zusammen mit dem zweiten Set, neu veröffentlicht.Viel Spaß beim Hören!
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Music by Costas Dafnis
Limited Edition of 1000 Units
Order now and get your CD booklet autographed by the composer at no additional charge. Autographs are available only while supplies last and are NOT guaranteed.
La-La Land Records proudly presents a limited edition CD release of composer Costas Dafnis‘ (TORCH) original score to the acclaimed independent feature film drama OVERWHELM THE SKY, starring Alexander Hero and directed by Daniel Kremer. Composer Dafnis paints a dark and evocative musical environment for this ambitious surrealist, neo-noir film, bathing the listener in a powerful sonic experience that is both hauntingly melodic and unnervingly atmospheric. It’s a bold and complex work, one that hints at composers like Herrmann, Corigliano, Glass, and Kamen, whose works are at home both in film and the concert hall – a perfect complement to this strikingly original film. Additional bonus tracks feature Dafnis‘ orchestral suite from director C.R. Coppola’s feature film TORCH. Produced by Matthew Price and Costas Dafnis, and mastered by Doug Schwartz, this limited edition release of 1000 units features exclusive liner notes by writer Nick Clement, a note from the director, and art design by Scott Saslow.
TRACK LISTING:
1.Overwhelm the Sky (4:40)
2.Golden Gate Park (2:47)
3.The River (1:55)
4.Nocturnal Wanderings (1:55)
5.Handwritten Letters (2:15)
6.Faceless Hordes (2:15)
7.Fallen Territory (2:13)
8.Particular Animal (2:46)
9.The Hammer (2:30)
10.The RV (1:02)
11.Angry Insomniacs (1:39)
12.The Mysteries, the Problems, and the Solutions (1:55)
13.Transit (2:25)
14.Talking to the Headstones (1:41)
15.For All You Have Left Me (1:50)
16.The Desert (4:10)
17.Ceremonies (1:16)
18.Accidie (1:53)
Orchestral Suite from C.R. Coppola’s TORCH
19.First Movement (7:47)
20.Second Movement (5:31)
21.Third Movement (4:56)
Total Album Time: 59:58This is a CD format release
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Und HOLLOW MAN kommt wohl von Intrada.
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La-La Land Records: DR. SEUSS HOW THE GRINCH STOLE CHRISTMAS: EXPANDED LIMITED EDITION (James Horner)
in Scores & Veröffentlichungen
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