Alexander Grodzinski

Nun bekommt auch VILLAGE OF THE DAMNED eine 4K-UHD-Box mit Vinyl-Single spendiert. Diese enthält wieder Neuaufnahmen aus dem Score, die bisher nicht veröffentlicht wurden oder nur in den exklusiven Sets enthalten waren („March of the Children" gab es auf einer Vinyl-Single zum ersten Anthology-Album, „Children's Carol" ist bisher unveröffentlicht). "A good-looking, well-wrought film with some knockout special effects…" – Kevin Thomas, Los Angeles Times Master of horror and suspense John Carpenter brings you a chilling take on a terrifying classic. Something is terribly wrong in the tiny village of Midwich. After an unseen force invades the quiet town, ten women mysteriously find themselves pregnant. Local physician Dr. Alan Chaffee (Christopher Reeve) and government scientist Dr. Susan Verner (Kirstie Alley) join forces when the women simultaneously give birth ... and the reign of supernatural terror begins. Linda Kozlowski, Michael Paré, Meredith Salenger, and Mark Hamill also star in this sci-fi shocker that The New York Times called "one scarifying trip." Enjoy your stay in Midwich ... but keep an eye on the children. This edition includes the new UHD 4K/Blu-Ray release of the film with a limited-edition collectible slipcover packaging with newly-commissioned art and a Sacred Bones exclusive transparent yellow and green splatter 7” featuring “March of the Children" and "Children's Carol", all newly recorded by John Carpenter along with his collaborators Cody Carpenter and Daniel Davies. Limited to 300 copies. BONUS FEATURES: (DISC 1) UHD NEW 4k Transfer From The 35mm Original Camera Negative Presented In Dolby Vision Audio: DTS-HD Master Audio 5.1 Surround & 2.0 Stereo NEW Audio Commentary With Filmmakers Jackson Stewart And Francis Galluppi (DISC 2) Blu-Ray Disc NEW 4k Transfer From The 35mm Original Camera Negative Audio: DTS-HD Master Audio 5.1 Surround & 2.0 Stereo NEW Audio Commentary With Filmmakers Jackson Stewart And Francis Galluppi NEW "Beware The Stare: Writing Village Of The Damned" - Interview With Screenwriter David Himmelstein NEW "March Of The Children: Composing Village Of The Damned" - Interview With Film Music Historian Daniel Schweiger It Takes A Village - The Making Of Village Of The Damned Horror's Hallowed Grounds - Revisiting The Locations Of The Film The Go To Guy - My Career With John Carpenter By Peter Jason Vintage Interviews And Behind-The-Scenes Footage Image Gallery Theatrical Trailer Release Date: 9/24/2024

Kommt am 08. Juli.

LAST ACTION HERO: REMASTERED & EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1645 Music by Michael Kamen Limited Edition of 3000 Units RETAIL PRICE: $31.98 STARTS SHIPPING JULY 9 Available to order starting 12 noon pst on JULY 2 at www.lalalandrecords.com La-La Land Records, Columbia Pictures and Sony Music proudly present a remastered and expanded 2-CD limited edition re-issue of renowned composer Michael Kamen’s (LETHAL WEAPON 1-4, DIE HARD, X-MEN) original motion picture score to the 1993 big screen, action-comedy epic LAST ACTION HERO, starring Arnold Schwarzenegger and directed by John McTiernan. Both a broad send-up and a legit celebration of high-octane action cinema blockbusters, LAST ACTION HERO called upon legendary composer Michael Kamen to provide yet another classic action score in his grand and unique fashion. The maestro behind the iconic LETHAL WEAPON and DIE HARD franchises (not to mention ROBIN HOOD: PRINCE OF THIEVES, THE LAST BOY SCOUT, LICENCE TO KILL and more) proved to be the perfect pitch choice and LAST ACTION HERO is a notable work in Kamen’s canon – a dynamite, thematic fusion of classic orchestra and driving rock riffs. Produced by Neil S. Bulk and mastered by Doug Schwartz from original digital stereo mixes, this deluxe, remastered release is greatly expanded beyond the original 1993 score album, featuring the Score Presentation spread across two CDs. Disc Two also houses the remastered 1993 score album, as well as additional music. Limited to 3000 units, the release boasts exclusive, in-depth liner notes by writer Al Kaplan, including new comments from the film’s director, John McTiernan and score orchestrators William Ross and Michael McCuistion. The blockbuster art direction is by Dan Goldwasser. TRACK LISTING: DISC 1 (72:35) SCORE PRESENTATION 1. Jack Slater Enters / Ripper 5:21 2. Danny (Film Version) 0:47 3. Jack Hamlet (Extended Version) 1:15 4. Kidney 1:10 5. Mugger / Ticket 4:21 6. Vivaldi’s 3:22 7. Frankie 3:06 8. The Kid Gets In The Picture 0:42 9. River Chase 2:48 10. Interrogation 2:26 11. Drive To Vivaldi’s 1:49 12. Benedict With Dogs 3:42 13. Kiss 1:15 14. Ripper Flashbacks 2:00 15. Benedict At Whitney’s 4:15 16. Jack Skylight 1:59 17. Catch The Red Eye / Bicycle Chicken 1:51 18. Benedict 2:43 19. Skeezy 0:46 20. Practice (Film Version) 0:38 21. Viv 1:30 22. To The Hotel / Practice Screws Up 4:51 23. Leo Dead / Jack Snatches Leo 3:16 24. Leo The Fart (Extended Version) 4:35 25. Whitney Arrives 0:41 26. Killing Vivaldi 2:04 27. Thru The Screen 1:41 28. Taxi Chase / Chicken Again 3:17 29. The Real World 3:41 DISC 2 (75:36) SCORE PRESENTATION (cont.) 1. Benedict In New York 3:43 2. Benedict Gets The Ticket (Film Version) 3:18 3. Premiere (Film Version) 6:49 4. The End Of The Ripper 0:54 5. Saving Danny 1:37 6. Benedict Death / Ambulance 4:35 7. Ambulance Driver / Theatre 3:16 8. Big Mistake (Film Version) 5:03 TOTAL SCORE TIME: 102:03 ADDITIONAL MUSIC (5:12) 9. Mugger (Without Overlay) 2:25 10. Leo Dead (With Overlay) 2:03 11. Whitney Arrives (Without Drums) 0:41 ORIGINAL MOTION PICTURE SCORE ALBUM (40:45) 12. Jack And The Ripper 3:44 13. Danny 4:22 14. Jack Hamlet 1:12 15. River Chase 2:47 16. Benedict 2:43 17. Practice 4:17 18. Leo The Fart 4:27 19. Benedict Gets The Ticket 3:17 20. The Real World 3:40 21. Premiere 3:17 22. Saving Danny 1:37 23. Big Mistake 4:51 TOTAL COLLECTION TIME: 148:11 This is a CD format release.

Snow Files of the Week: „Suite" aus „Pasadena" (2001). „Pasadena" war eine sehr kurzlebige Serie, in der die Hauptfigur, Lily McAllister, einen Selbstmord beobachtet und daraufhin Nachforschungen anstellt, die sie auch in ihre eigene, reiche Familie, den Greeleys, führen. 13 Episoden wurden produziert, aber nach nur vier Folgen wurde die von Kritikern gelobte Serie abgesetzt aufgrund schlechter Einschaltquoten. Als Grund dafür sah man den zeitnahen Start der Serie nach den Anschlägen des 11. September 2001, nach dem die Menschen wohl erst mal keine große Lust auf düstere und zynische Serien hatten. Marks Musik bewegt sich in vertrauten Gefilden. Er vertonte das Seifenoper-Krimi-Drama ähnlich wie die X-Akten. Mal abgesehen vom Main Theme, welches wie die Musik einer Spieluhr klingt. Ansonsten gibt es auch hier die sphärischen Chöre, die schimmernden Klangflächen und ein paar schrullige Einwürfe des Main Themes, mit Percussion und stampfenden Beats. Das Album mit der Musik wurde digital von Buysoundtrax/Dragon's Domain veröffentlicht und ist als Download und Stream verfügbar. Viel Spaß beim Hören!

Dann ist der Preis für die Box umso unverschämter.

Wenn du die Platten einzeln kaufst, kommst du mit knapp 100 Dollar weniger weg. Das ist ja auch der Witz an der CD-Box. Mit einem Einzelkauf der CDs käme es einem wesentlich günstiger. Der einzige Mehrwert ist da die Papp-Box, die einen dann knapp 80 Euro kostet. Klar, DIAL OF DESTINY gibt es einzeln als CD nicht mehr. Daher scheint Disney das auch zum Anlass zu nehmen, die CD-Box so zu überteuern. Denn einige werden da sicherlich zuschlagen, wenn sie nicht mehrere hundert Euro auf eBay für DIAL OF DESTINY ausgeben wollen.

For Love of the Game (1999) reunited Kevin Costner with one of his most popular subjects—baseball—as he starred as an aging pitcher who throws a perfect game at Yankee Stadium while reflecting upon his long-term relationship. An unexpected choice of material for director Sam Raimi, the film was lauded for its depiction of the sport and its uplifting Americana score by Basil Poledouris. By the late 1990s, Poledouris was renowned for his mastery of a film scoring genre that was, in a way, coming to its end: the romantic, orchestral depiction of masculinity. From barbarians to cyborg cops, cowboys to submariners, Poledouris found the beating heart of heroic male characters who upheld virtues of honor, loyalty and duty, while allowing themselves to be vulnerable to their loved ones. Costner’s Billy Chapel—pitching in his very last game—was an ideal protagonist, and Poledouris responded with a rich, warm, melodic score that goes from the grandeur and scope of America’s national pastime, to the romantic yearning and intimacy of its very human hero. The score navigates a range of orchestral size—from fully symphonic to heartfelt solos—as well as genre, with pop and R&B brought in for contemporary emphasis. For Love of the Game was released as 10-track, 33-minute CD from Varèse Sarabande at the time of the time. The program has been expanded to 35 tracks and over 78 minutes for this Deluxe Edition, with Daniel Schweiger’s liner notes incorporating interview material from Raimi, Poledouris, and the composer’s agent, Richard Kraft. Limited edition of 2,000.d Produced by: Basil Poledouris, Tim Boyle and Mi Kyoung Chaing Edited by: Curtis Roush Mixed by: Tim Boyle Mastered by: Chas Ferry & Melinda Hurley Track Listing: 1. Main Theme (from For Love Of The Game) 3:35 2. New York (not in final film) 2:41 3. Billy Traded 2:22 4. Run To Park 0:55 5. Park Farewell 1:44 6. Locker Room 0:49 7. Clouds 1:47 8. Tuttle Knockdown 1:50 9. Tuttle Out 1:37 10. Cat And Mouse 1:05 11. Jane To Game 1:47 12. Jane Putdown 0:42 13. Torn Dollar Bill (not in final film) 1:20 14. Dinner (1:03) / Elevator (0:32) 1:35 15. OK, Billy Chapel 0:55 16. Birch Strikeout 3:01 17. For Love Of The Music (not in final film) 1:50 18. Hard Pitching 1:48 19. Old School 1:37 20. Heather Comes Along 0:44 21. Jane’s Home 4:59 22. Relationship Montage (Pt. 1) 3:38 23. Gus Hits It 1:18 24. Accident 3:11 25. Coming Back? 0:37 26. Lemonade 2:12 27. Doesn’t Matter Anymore 1:04 28. No Hits 4:49 29. Mickey’s Save 2:50 30. The Decision 5:19 31. Can’t Get Clear 2:42 32. Last Pitch 5:19 33. Gus Farewell 0:53 34. Apology 1:55 35. I Need You 3:09

Miklós Rózsa’s penultimate film score comes to a comprehensive two-disc Deluxe Edition featuring both the film recording (previously unreleased) and album version. Eye of the Needle was a WWII thriller based on a 1978 novel by Ken Follett, starring Donald Sutherland as a Nazi spy living in England. Stranded on a Scottish island while trying to return to Germany with vital war information, he starts a torrid romance with the unhappy and lonely wife (Kate Nelligan) of the local shepherd. Richard Marquand’s direction so impressed George Lucas that it won him the job of directing Return of the Jedi. By the early 1980s, Miklós Rózsa was the only major Golden Age composer still alive and laudably writing the same kind of timeless symphonic score that made him a Hollywood institution. His grand, sweeping music for Eye of the Needle is unabashedly romantic—vintage Rózsa—at turns suspenseful and brooding, pastoral and uplifting. It magnificently connects the film to its period while enhancing the emotion and drama. Rózsa recorded his music for Eye of the Needle twice: first for the film, with the Royal Philharmonic Orchestra in London, and then in an album version with the Nuremberg Symphony Orchestra in Germany. While the 13-track, 42-minute album (on disc two) has been released by Varèse Sarabande, this is the premiere release of the 23-track, 61-minute film version (on disc one)—making for the ultimate Eye of the Needle release, with new liner notes by Rózsa expert Frank K. DeWald. Limited edition of 2,000. Produced by: Mike Matessino and Cary E. Mansfield Edited by: Mike Matessino Mixed by: Eric A. Tomlinson (Original Motion Picture Soundtrack Scoring Mixer), Willy Luther (Original Motion Picture Score Album Recording Mixer) Mastered by: Mike Matessino Track List: Disc One: The Original Motion Picture Soundtrack Performed by The Royal Philharmonic Orchestra 1. Prelude From Eye Of The Needle 1:57 2. English Wedding (Film Version) 1:27 3. The Boarding House / The Needle Strikes 1:30 4. Storm Island / The Blond Agent 2:21 5. The Bedroom 2:02 6. Blondie’s End / The Needle 3:18 7. Camouflage / Pursuit 4:28 8. Search On The Train / Confrontation 2:49 9. Escape / The Boat 2:24 10. The Meeting 1:14 11. Love Scene / No Regrets 2:37 12. Heartbreak / The Transmitter 1:49 13. The Fight (Film Version) 2:46 14. Passion (Film Version) 1:43 15. Frantic Drive (Film Version) 1:09 16. Despair / Realization 3:26 17. The Broken Heart / Revulsion (Film Version) 3:11 18. Escape (Film Version) 6:00 19. The Gun 1:20 20. The Axe / The Firebomb 2:28 21. The Hostage / The Lamp (Film Version) 3:18 22. Retribution (Film Version) 4:18 23. Finale / Epilogue From Eye Of The Needle 2:58 Disc Two: The Original Motion Picture Score (Album Recording) Performed by The Nuremberg Symphony Orchestra 1. Prelude From Eye Of The Needle 2:13 2. English Wedding 1:56 3. The Blond Agent / Blondie’s Death 2:54 4. Camouflage 3:08 5. Love Scene 1:56 6. The Fight 3:06 7. Passion / Love Theme 4:28 8. Frantic Drive / Despair 3:05 9. The Broken Heart / Revulsion 2:54 10. Escape 4:33 11. The Hostage / The Lamp 3:21 12. Retribution 4:40 13. Finale / Epilogue From Eye Of The Needle 3:19

THE SUGARLAND EXPRESS Original Motion Picture Soundtrack LLLCD 1650 Universal Pictures Film Music Classics Collection Music composed and conducted by John Williams Limited Edition of 5000 Units RETAIL PRICE: $22.98 La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST). Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.” Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection. While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film. Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release. TRACK LISTING: MUSIC COMPOSED AND CONDUCTED BY JOHN WILLIAMS 1. The Sugarland Express – Main Title 1:29 2. Freedom At Last :46 3. The First Chase 2:32 4. Taking The Jump 1:48 5. The Caravan Forms 2:01 6. To The Roadblock 1:27 7. Sugarland Dance 1:38 8. Road Ballad 2:05 9. Out Of Gas 2:24 10. Trading Stamps 1:14 11. Police Cars Move 1:00 12. Along The Route 1:18 13. Man And Wife 2:09 14. Franklyn Falls :29 15. Sealing The Bargain 1:27 16. The Deputies Arrive :55 17. The Onlookers 1:02 18. Open Highway 2:04 19. Pursuit 1:51 20. Over The Next Hill 1:04 21. Setting The Trap 1:41 22. Last Conversation 2:00 23. The Final Ride 3:36 24. The Sugarland Express – End Title 1:45 Total Album Time: 40:31 This is a CD format release.

Von Quartet auf CD und Vinyl: Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-CD edition of Ennio Morricone’s celebrated score for a 1971 Italian thriller, GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score. In 2001, Dagored expanded the program to 10 minutes, and it was expanded again for release in Japan in 2007 on the Verita Note label. But despite these expansions, there was still a large amount of music recorded by Morricone that remained unreleased. For this new Quartet edition, the score has been fully restored, remixed and edited by Daniel Winkler from the original tapes of the recording session, presenting the complete score as Morricone conceived it on disc 1. Disc 2 contains the original remastered album prepared by Morricone in 1996, as well as several alternates. This CD has been mastered by Chris Malone, supervised by Claudio Fuiano, and includes a 20-page booklet with in-depth liner notes by film music writer Jeff Bond. DISC ONE The Film Score 1. Paura e aggressione 2:41 2. Giornata nera per l’ariete – Titoli 2:36 3. Giocoso, gioioso 3:23 4. II ripresa 0:52 5. La voce bella 1:01 6. Voce 3:04 7. Giornata nera 1:10 8. Giornata nera per l’ariete 3:17 9. Giornata nera 1:26 10. Un organo suona 1:12 11. Severamente 3:34 12. Paura e aggressione 1:20 13. Severamente 1:50 14. Punte d’ago 1:33 15. Punte d’ago 1:34 16. Paura e aggressione 3:16 17. Paura e aggressione 2:49 18. Voce seconda 2:3 19. Paura e aggressione 2:53 20. Giornata nera 1:27 21. Giornata nera 1:32 22. La voce bella 3:53 23. Voce 2:02 24. Severamente 2:59 25. Giornata nera per l’ariete 2:06 26. Giornata nera per l’ariete 2:06 27. Resa 3:30 28. Trafelato 5:01 29. Ripresa 5:34 30. Giornata nera per l’ariete 3:34 Total Disc One Time: 77:52 DISC TWO The Original Album 1. Giornata nera per l’ariete 2:36 2. Punte d’ago 3:05 3. Severamente 5:18 4. Paura e aggressione 5:40 5. Giornata nera per l’ariete 3:16 6. La voce bella 3:34 7. Voce 2:01 8. Resa 2:20 9. Trafelato 2:30 10. Giornata nera 1:26 11. Ripresa 2:50 12. Giocoso, gioioso 3:23 13. II ripresa 0:49 14. Voce seconda 2:35 15. Giornata nera 1:32 16. Un organo suona 1:07 17. Giornata nera per l’ariete 3:33 Bonus Tracks 18. Giornata nera per l’ariete (Alternate) 1:53 19. Paura e aggressione (Alternate) 2:37 20. Voce (Alternate) 1:54 21. Giornata nera per l’ariete (Alternate) 2:39 Total Disc Two Time: 58:34 Total Collection Time: 136:26 Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-LP edition of Ennio Morricone’s celebrated score for 1971 Italian thriller GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score on CD. The first vinyl edition was released by Dagored on a generous LP in 2001. It was subsequently released by Spettro in 2016, this time using the same program that Morricone had produced in 1996. For this new deluxe, 2-LP Quartet release, the music has been fully restored, remixed and edited by Daniel Winkler from the original session tapes, presenting the first vinyl edition of the complete score as Morricone conceived it for the film. It has been specially mastered for vinyl by Chris Malone, and is presented in a luxurious gatefold jacket printed in transparent bloody red and giallo splatter.

Kommt wieder von Quartet: Quartet Records, in collaboration with Universal Music France and the Ecoutez le cinema ! Collection, presents a reissue of the long out-of-print expanded release of Jerry Goldsmith’s masterpiece for Franklin J. Schaffner’s 1973 prison drama PAPILLON. The bestselling autobiography of Henri Charrière, one of the few people to successfully escape from the notorious French penal colony of Devil’s Island, served as the basis for PAPILLON. Steve McQueen plays the pugnacious Charrière (known as “Papillon” because of a prominent tattoo), incarcerated—wrongly, he claims—for murdering a pimp. He saves the life of fellow convict Louis Dega (Dustin Hoffman), a counterfeiter who will later show his gratitude by helping Charrière in his many escape attempts and by smuggling food to Charrière when the latter is put in solitary confinement. PAPILLON was an expensive French production by Robert Dorfman, with financial support from some American studios. When Schaffner entered the project, he wanted to score the film with his favorite composer, Jerry Goldsmith, with whom he had already made three films, including the classics PLANET OF THE APES and PATTON. After PAPILLON, Goldsmith had the opportunity to compose another three magnificent scores for Schaffner: ISLANDS IN THE STREAM, THE BOYS FROM BRAZIL and LIONHEART The Academy Award-nominated score of PAPILLON is among the best and most celebrated of Goldsmith’s scores, and one of his personal favorites. It features a memorable main theme (a “Montmartre-like tune”), Impressionistic passages à la Debussy, intense and dramatic music, all colorfully orchestrated by Arthur Morton. This release is a straight reissue of the previous Quartet edition from 2017 that was carefully remixed and mastered by Mike Matessino from the multi-track session masters, recorded in Italy and preserved in mint condition. It features every note Goldsmith recorded for the film, including music ultimately not featured in the final cut, extended versions of some cues trimmed during film editing, and alternates. There is also a generous selection of source music specially arranged by Alexander Courage and conducted by Goldsmith (these cues are quite important in the film, since they appear in Papillon’s dreams and in the band concert during the escape). The 20-page full-color booklet includes liner notes by producer Stéphane Lerouge and by John Takis, who provides a comprehensive track-by-track analysis.

Kommt am 25.06.

Snow Files of the Week: "Big Yellow House/Exterminated" aus "MillenniuM", Episode "Pilot" (1996). Als die X-Akten in die vierte Staffel gingen, startete Chris Carters zweite Serie "MillenniuM". Die erste Folge erreichte die höchste Einschaltquote, die der Sender FOX je bei einer Pilot-Folge einer Serie verzeichnen konnte. Die Folge wurde sogar in ausgewählten Kinos gezeigt. Das Zuhause der Familie Black, das große gelbe Haus, ist ein Ort der Sicherheit für Frank Black. Hier kann er seiner Familie ein normales Leben bieten, abgeschirmt von der düsteren Welt da draußen, zumindest glaubt er das. Wenn man die Serie genau verfolgt, wird man feststellen, dass alle Szenen, die in oder um das gelbe Haus herum spielen, einen goldenen Schimmer haben, während der Rest in der "echten" Welt eher in ausgewaschene, düstere Farben getaucht ist. Mark benutzt eine Variation des Hauptthemas, um die Einführung des gelben Hauses zu untermalen. Seine sanften Streicher, kombiniert mit der Solo-Violine, erzeugen einen Ort des Friedens, aber spiegeln auch die Schrecken, die außerhalb warten, wieder. Die Stücke stammen vom ersten Set von LLL. Dieses wurde 2008 veröffentlicht und war zwei Jahre später ausverkauft. 2015 veröffentlichte LLL das Set noch einmal, limitiert auf 1000 Stück. Viel Spaß beim Hören!

PASADENA tauchte auch schon hier im Thread auf. Der und THE SUBSTITUTE WIFE, das sind die beiden, die digital veröffentlicht wurden. Vielleicht hat BSX jetzt auch alle Scores von Snow rausgehauen, an die sie einfach gekommen sind (oder die sie einst schon als Promo veröffentlicht haben). An GHOST WHISPERER hat sich wohl vor einigen Jahren schon ein Label versucht. Vermutlich LLL, würde ja in ihr Portfolio passen. Aber da sind zwei Studios involviert, darunter Touchstone/Disney, weshalb daraus nichts wurde. Von der Folge "Leap of Faith" gibt es zumindest eine FYC-Promo.

Leider nicht. Digital haben sie ja noch zwei Scores von Snow veröffentlicht, aber CDs kamen bisher keine mehr. Wobei ich mir kaum vorstellen kann, dass sich unbekanntere Snow-Sachen schlechter verkaufen als vieles von den anderen obskuren Sachen, die sie so veröffentlichen.

HEAVY METAL: REMASTERED LIMITED EDITION (2-CD SET) LLLCD 1641 Music by Elmer Bernstein Limited Edition of 1500 Units RETAIL PRICE: $26.98 STARTS SHIPPING JUNE 4 Available to order on JUNE 4, 2024 starting at 12 noon (pst) at www.lalalandrecords.com La-La Land Records, Columbia Pictures and Asylum Records proudly present a remastered 2-CD limited edition re-issue of renowned composer Elmer Bernstein’s (GHOSTBUSTERS, TRUE GRIT, STRIPES) original motion picture score to the 1981 big screen, cult classic animated fantasy/action epic HEAVY METAL, produced by Ivan Reitman and directed by Gerald Potterton. A highly ambitious feature film animated adaptation of the legendary comic magazine HEAVY METAL required a musical underscore worthy of launching the entire enterprise into the stratosphere and the late, great Elmer Bernstein proved more than up to the challenge, delivering a rousing orchestral score that expertly drives the movie’s varied scenarios, moods and characters to wonderous heights. In total, the score remains a signature effort from one of the most uniquely American composers ever to come out of Hollywood. Produced by Neil S. Bulk and mastered by Doug Schwartz, this deluxe remastered release features the Score Presentation on Disc One, sourced from the composer’s own ¼” stereo tapes, while Disc Two unleashes the Original 1981 Score Album, which offers a different mix, and is also making its world premiere CD debut here, sourced from the original album masters. Limited to 1500 units, this release features exclusive, in-depth liner notes by author Jeff Bond, including new comments from the film’s special effects director, John Bruno, and thrilling art direction by Dan Goldwasser. TRACK LISTING: DISC 1 (57:43) SCORE PRESENTATION 1. Soft Landing 1:16 2. Grimaldi 1:19 3. Den And The Green Ball 3:18 4. Den Makes Out 2:42 5. Castrate Him / Searching For Loc-Nar 2:04 6. Den And The Queen 2:55 7. Den’s Heroics 2:52 8. Captain Sternn 1:27 9. Getting Bombed 3:07 10. Green Ball 2:15 11. Dem Bones 2:44 12. No Alarm 0:58 13. Space Love 1:33 14. Harry 1:36 15. The Next Morning 1:57 16. End Of Baby 2:43 17. Taarna Summoned 2:49 18. Flight 2:17 19. Taarna Prepares 3:33 20. Flight To Holiday Town 2:20 21. Fighting 2:43 22. My Whips! / Taarna Escapes Pit 4:57 23. Taarna Forever 3:35 DISC 2 (40:38) ORIGINAL SCORE ALBUM 1. Den And The Green Ball 3:14 2. Den Makes It 2:50 3. Den And The Queen 2:54 4. Den’s Heroics 2:51 5. Bomber And The Green Ball 4:34 6. Space Love 1:30 7. Harry And The Girl 3:41 8. Taarna Summoned 2:49 9. Flight 2:17 10. Taarna Prepares 3:32 11. Barbarians 3:35 12. Taarna Forever 3:34 TOTAL ORIGINAL SCORE ALBUM TIME: 37:42 BONUS TRACK 13. Den Makes It (Alternate Mix) 2:49 TOTAL ALBUM TIME: 98:21 This is a CD format release.

HEAVY METAL kommt von LLL wieder.

Snow Files of the Week: "Ice Cubes/Dan to the Rescue/Hit and Run/No One Ever Leaves Me/Victoria's Madness" aus dem TV-Film "Seduced and Betrayed" (1995). In den frühen 90ern eroberte BASIC INSTINCT die Kinos und wurde fast gleichzeitig ein moderner Klassiker. Der Film verhalf dem Genre des Erotikthrillers zu neuer Popularität und in den Jahren danach folgten viele Filme, die so sein wollten wie dieser. Das trifft auch auf den Score von Jerry Goldsmith zu. Als SEDUCED AND BETRAYED 1995 auf der Bildfläche erschien, versuchte auch er die sexuellen Spannungen des großen Vorbilds zu kopieren. Und es ist ziemlich offensichtlich, dass Goldsmiths Score als Temp Track diente, bevor Mark mit seiner Arbeit begann. Sein Main Theme ist im Grunde nur eine minimal veränderte Variation von Goldsmiths Thema. Für den Rest des Scores griff Mark aber auf seine bekannten Stilismen zurück. Das Main Theme erschien bereits auf dem Sampler "The Snow Files". Der Score wurde, zusammen mit CAROLINE AT MIDNIGHT, auf "The Mark Snow Collection Vol.2" von Dragon's Domain Records veröffentlicht. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Neu von Quartet: Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered 45th anniversary reissue of Ennio Morricone’s bizarre sci-fi score for Aldo Lado’s THE HUMANOID (1979), a sort of parody-reboot-plagiarism-homage to the recent STAR WARS success that featured a cast of actors famous for their recent appearances in THE SPY WHO LOVED ME and MOONRAKER: Richard Kiel, Barbara Bach and Corinne Clery. The story encompasses stealing revolutionary scientific inventions, mad doctors and crazy plans for world domination. Because of this chaotic storyline, Lado went by the pseudonym George B. Lewis (just as Luigi Cozzi used the name Lewis Coates in STAR CRASH). This made it seem like an international production, and in his case, it wouldn’t affect his career as a serious director. Ennio Morricone had scored almost all of Aldo Lado’s films since his debut in LA CORTA NOTTE DELLE BAMBOLE DI VETRO, so it was only logical that he should also compose the music for THE HUMAMOID. With the huge success of John Williams’ revival of symphonic scoring in STAR WARS as a precedent, Morricone adopted a completely different approach—toward electronic music, pastiches of classics by Beethoven and Bach, and a fascinating sound close to the avant-garde music he’d encountered during his time with the Gruppo d’Improvvisazione Nuova Consonanza. His score for THE HUMANOID quickly became a cult classic, and the LP was released by RCA in 1979. Subsequently, the same program was released on CD in 1992, and an expanded edition, quickly sold out, came in 2010 from GDM. This new edition, remastered by Chris Malone and supervised by Claudio Fuiano, celebrates the 45th anniversary of the film and one of the most bizarre scores ever penned by the Roman genius. Un Uomo Nello Spazio 5:48 Estasi Stellare 5:04 Infanzia, Evoluzione E Ritorno 6:37 Informale Primo 0:59 Trasmissione Difettosa, Rotazione E Rivoluzione 6:27 Incontri A Sei 8:05 Robodog 3:02 Informale Secondo 5:18 Estasi Stellare (#2) 5:08 Trasmissione Difettosa, Rotazione E Rivoluzione (#2) 2:46 Informale Primo (#2) 2:17 Infanzia, Evoluzione E Ritorno (#2) 4:36 Estasi Stellare (#3) 5:02 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered reissue of famous giallo score composed by Ennio Morricone in 1971 for COSA AVETE FATTO A SOLANGE?, directed by Massimo Dallamano and starring Fabio Testi, Joachim Fuchsberger, Cristina Galbó and Camille Keaton. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. COSA AVETE FATTO A SOLANGE? shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, and despite the success of the movie on its release, no album of Ennio Morricone’s score for COSA AVETE FATTO A SOLANGE? was released—not even a 45-rpm single with the main title. It was not until 1986 that the Intermezzo label in Italy released an LP with a selection of 14 cues personally chosen by the composer. This selection was released on CD in 1997, along with Morricone’s unreleased score for the 1974 thriller SPASMO. The first edition of the complete score was released in 2006 on the Digitmovies label. That edition sold out quickly. This new Quartet release has been completely remastered by Chris Malone from original master tapes, giving a new generation of avid collectors the chance to hear this score by the Roman maestro. Cosa avete fatto a Solange? 2:41 Raccapriccio 2:31 Anche un quartetto per lei 1:52 Una tromba e la sua notte 2:58 C’e qualcuno qui? 1:56 Cadenze 3:14 Aleatorio 2:10 Aleatorio secondo 2:11 Ostinazione al limone 2:28 Altre cadenze 2:42 Pensierosamente 2:35 Fragile organetto 2:38 Fine di solange 2:47 Cosa avete fatto a Solange? (# 2) 1:00 Una tromba e la sua notte (# 2) 1:56 Altre cadenze (# 2) 2:07 Raccapriccio (# 2) 1:43 Fragile organetto (# 2) 1:53 C’e’ qualcuno qui? (# 2) 2:09 Una tromba e la sua notte (# 3) 1:32 Cosa avete fatto a Solange? (# 3) 3:01

In den USA zumindest sind Abbott und Costello noch recht bekannt. Darauf wird man hier wohl vorrangig setzen. Und als zusätzliches Zugpferd hat man eben die Sachen von Mancini dazugeholt, um noch einen populäreren Namen dabei zu haben.

Das ist tatsächlich ein Sammlermarkt, bei dem Leute alle Varianten eines Mediabooks kaufen, aber dann natürlich ungeöffnet im Regal stehen lassen. Kurioserweise ist das aber, vor allem in Deutschland, die Nische, mit der die Label noch Geld verdienen können. Physische Medien verkaufen sich immer schlechter, aber Sammlereditionen gehen immer noch gut weg. Das Thema wurde aktuell auch auf Facebook auf der Seite des Labels Turbine diskutiert. Da gibt es im Grunde drei Fraktionen. Eine fragt, wann der Film als Mediabook kommt, eine fragt, wann das Steelbook kommt und eine fragt, wann es den Film als normale Amaray gibt. Turbine und auch Plaion Pictures veröffentlichen nun mal hauptsächlich Box-Sets und Collector's Editions. Und diese sind auch wirklich liebevoll gemacht, kosten aber auch entsprechend. Von dem Amaray-Käufern wird dem Label daher Geldmacherei vorgeworfen, denn sie wollen nur den Film und keine Box für 50 oder 100 Euro. Aber alle Label sagen hier das gleiche: Bei den gesunkenen Verkaufszahlen von physischen Medien und bei dem Aufwand, den sie mit einer Veröffentlichung eines Titels betreiben müssen (sind ja auch viele Erstveröffentlichungen dabei), vor allem natürlich finanziell, würde sich eine Veröffentlichung als normale Amaray für 15 Euro gar nicht lohnen. Das würde die Kosten niemals decken bei den geringen Verkaufszahlen der normalen Amaray. Die Amaray müsste dann mindestens 20 bis 25 Euro kosten und dann wird auch wieder gemeckert, das wäre zu teuer. Beide Label lösen das so, dass die Titel nach den ganzen Media-, Steelbooks und Box-Sets oft auch als Amaray erscheinen. Das kann aber eben dauern, da dies laut Turbine erst erfolgt, wenn die ganzen Sonderauflagen abverkauft sind. Sprich, wenn die Kosten für das Projekt wieder drin sind.

Von Roger auf Facebook: Intrada is prepping a new Kickstarter campaign featuring our usual team, with William Stromberg conducting the Royal Scottish National Orchestra. Up this time is Abbott and Costello Meet Frankenstein paired as a bonus with Henry Mancini's Abbott and Costello and the Keystone Kops. Stay tuned for more soon.

Ich habe den Film auch schon länger nicht mehr gesehen, aber glaube mich zu erinnern, dass da nicht mehr Musik zu hören war. Im Gegenteil, auf dem Album sind Tracks enthalten, wie „Nostalgia", die im Film gar nicht auftauchen. An was ich mich allerdings erinnere, ist, dass die Musik im Film teils rearrangiert wurde. Tracks wurden gekürzt oder geloopt. Also die Musik erscheint im Film nicht unbedingt so, wie sie auf dem Album zu hören ist. Da hätte man eine Filmversion erstellen können, aber das wollte oder konnte man scheinbar nicht. Macht ja eigentlich auch keinen Sinn, wenn die Musik „in voller Länge" auf dem Album repräsentiert ist. Wobei das in der Vergangenheit auch nicht unbedingt ein Ausschlusskriterium war. Vielleicht war es auch genau das. Das Ganze war günstig zu produzieren (kein Remastering, keine zusätzliche Arbeit an der Musik) und günstig zu lizensieren.