Alexander Grodzinski

Neu von Quartet: Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered reissue of the ultimate edition of Ennio Morricone’s score for Elio Petri’s 1973 social drama-comedy LA PROPRIETÀ NON E’PIÙ UN FURTO (aka PROPERTY IS NO LONGER A THEFT), a grotesque satire about a neurotic Marxist bank teller who quits his job and sets his sights on stealing everything—from tools to a mistress—from one of his former clients, a successful butcher. Starring Ugo Tognazzi, Flavio Bucci and Daria Nicolodi, this film is the last chapter in Petri’s famous trilogy of the Neurosis, after INDAGINE SU UN CITTADINO AL DI SOPRA DI OGNI SOSPETTO and LA CLASSE OPERIA VA IN PARADISO. Ennio Morricone returns to the timbral and electronic exploration carried out in the two previous films, replicating the noises of the modern, oppressive and futuristic city. He also employs a grotesque march to accompany the actions that the institutions of the law pursue: theft, kidnapping, fraud. However, the music departs from those earlier scores not only because of the formal language employed, dominated by the use of voices and avant-garde compositional techniques, but also because of an openly painful tone, of the slowed-down disbelief in decadence. In 1973, RCA released the score on LP in Italy; they reissued it on CD in the 1990s. In 2009, GDM released an expanded edition containing virtually the entire score recorded by Morricone but that has long been out of print. This is a reissue of that release, freshly remastered by Chris Malone from the original master tapes and supervised by Claudio Fuiano. The package includes an essay by Miguel Ángel Ordóñez discussing the film and the score. The Original Album 1. La proprietà non e’più un furto 2:38 2. Colpo 2:55 3. Ritratto di Anita 1:45 4. L’ultimo ascensore 2:27 5. Io sono… “avere” tu sei… “avere” 3:41 6. Al ladro 2:35 7. Io ho, tu hai 1:53 8. Rapina 1:49 9. Sui tetti 2:39 10. Mostra antifurto 4:11 11. Se po’ di… radica 1:38 12. Immobile come una bistecca 2:50 13. Albertone e Total 1:20 Film Versions 14. La proprietà non e’più un furto (#2) 4:20 15. Colpo (#2) 2:23 16. Al ladro (#2) 2:41 17. Immobile come una bistecca (#2) 2:08 18. Io ho, tu hai (#2) 3:45 19. Albertone e Total (#2) 2:37 20. Rapina (#2) 2:15 21. La proprietà non e’più un furto (#3) 3:15 22. Mostra antifurto (#2) 4:11 23. L’ultimo ascensore (#2) 2:04 24. Albertone e Total (#3) 1:56 25. Colpo (#3) 2:53 26. La proprietà non e’più un furto (#4) 2:07 Total Disc Time: 69:08 Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered edition of the iconic and long out-of-print score by Berto Pisano for the action-adventure film KILL! (1971). The film was written and directed by novelist Romain Gary (who only directed two films), and starred Stephen Boyd, Jean Seberg, James Mason, Curt Jüngens and Aldo Sambrell. KILL! was a chaotic mess, with actors who didn’t know what they were doing and a far-fetched plot about Interpol investigating the freelance murders of drug and porn dealers in Pakistan. Over time, however, the film has become a funny and entertaining subgenre pulp cartoon. The score by Berto Pisano (co-composed by the unknown Jacques Chaumont, who, according to several sources, can be a pseudonym for Pisano himself) deserves special mention. One of Pisano’s great skills was his ability to combine Italian musical tradition with new sounds emerging at the time. In KILL! the composer provides a cocktail of exotic sounds, exciting action passages and sophisticated erotic motifs. The title song is performed by the Queen of Soul, Doris Troy, and the love theme features the whisperings of Jean Seberg and the chorus of Alessandroni. KILL! was originally released on LP in Italy by General Music (whose original cover art we have retained for this Quartet CD) and in Japan by Seven Seas. Later, the CD was issued three times in Japan by three different labels, but all of them have been out of print for years. This is the first European release of the score on CD. It has been remastered and restored by Chris Malone from the original stereo master tapes, and the booklet includes liner notes by Miguel Angel Ordóñez. Kill Them All! (Main Titles) 3:00 Nella Moschea 2:14 Hiasmina 2:20 Allucinazioni 3:25 Inchiesta 1:44 Khanpur 2:20 Kill Them All! (Alternate) 4:26 To Jean (Vocal: Edda Dell’Orso) 3:12 Senza Tregua 3:20 Il Deserto 2:10 Hiasmina (Voice: Jean Seberg) 2:18 Souk Tawil 2:49 Inchiesta (Alternate) 3:49 Kill Them All! (Vocal: Doris Troy) 3:17 Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents an expanded and remastered edition of Armando Trovajoli’s infectious score for the Ettore Scola film noir IL COMMISSARIO PEPE (1969), starring Ugo Tognazzi and Silvia Dionisio. The film is about Pepe (Tognazzi), a police commissioner in a little town in the Italian Venetian province who investigates a prostitution ring run by two pensioners. During his investigations he also learns that a former manicurist has shacked up with ten students, the prefect’s daughter prostitutes herself to keep her pimp, a famous doctor has sex with his young patients, a headmaster has his eyes on the pupils, a noblewoman organizes orgies in her villa, the local convent is run by a lesbian and his own girlfriend poses for a hardcore magazine. He wants everything to come out in the open, but his superior put obstacles in his way. The collaboration between Armando Trovajoli and Ettore Scola has been one of the most celebrated in Italian cinema during their four decades together, producing classics such as L’ARCIDIAVOLO, BRUTTI SPORCHI E CATTIVI, DRAMMA DELLA GELOSIA, LA TERRAZZA, LA FAMIGLIA and PASSION D’AMORE, among others. For Scola, Trovajoli’s music was the voice of his films, the single element that really completed them. In IL COMMISSARIO PEPE, he contributed one of his most celebrated scores, with the famous song “We’ll Keep Trying,” performed by Lydia McDonald, as well as several urban and bittersweet themes to showcase the world of moral decay depicted in the film. The recording also featured other prestigious collaborators such as I Marc 4, Edda Dell’Orso, and Alessandro Alessandroni, making this score even more iconic. A selection of 10 cues from IL COMMISSARIO PEPE was released on LP in Italy by RCA at the time of the film’s premiere. The same program was released on CD in the 1990s as part of a compilation dedicated to Ugo Tognazzi by Point Records. An extended 18-track version was released in Japan in 2006 in a limited edition. This is the first time the complete score has been released. Produced by Claudio Fuiano, restored and mastered by Chris Malone, the booklet includes a detailed essay by Miguel Ángel Ordóñez on the film, the score and the relationship between Trovajoli and Scola. The Original Album 1. Theme 3:37 2. Beat for a nun 2:06 3. A lonely man 3:34 4. We’ll keep trying (Vocal: Lydia McDonald) 2:57 5. Masquerade 3:39 6. Love is a woman 2:32 7. Surrender 2:45 8. Waltz theme 1:48 9. Love theme 2:24 10. Final 2:59 Film Versions 11. Theme (# 2) 3:44 12. We’ll keep trying (Instrumental) 3:36 13. Theme (# 3) 1:16 14. Il commissario Pepe (Jazz lounge) 3:57 15. Theme (# 4) 1:26 16. Il commissario Pepe (Shake) 1:17 17. Surrender (# 2) 2:42 18. Theme (# 5) 2:40 19. Beat for a nun (#2) 1:01 20. Walz theme (#2 – fast) 0:39 21. Theme (# 6) 1:47 22. Surrender (#3) 1:46 23. Theme (#7 – organ) 1:08 24. Final (#2 – alternate) 2:13 Total Disc Time: 58:25

Neu von BSX/Dragon's Domain: Dragon’s Domain Records presents BATTLE OF NERETVA, featuring music composed by Bernard Herrmann (CITIZEN KANE, PSYCHO, TAXI DRIVER) for the 1969 historical epic directed by Veljko Bulajic, written by Ugo Pirro, Stevo Bulajic, Ratko Djurovic and Veljko Bulajic, starring Yul Brynner, Hardy Krüger, Franco Nero, Sylva Koscina, Orson Welles, Curd Jürgens, Anthony Dawson, Milena Dravic, Sergey Bondarchuk, Ljubisa Samardzic and Bata Zivojinovic. To film this epic chronicle of raw courage and stubborn savagery, executive producers Henry T. Weinstein and Anthony B. Unger chose Veljko Bulajic, the renowned Yugoslav director noted for his adroit handling of large-scale subject matter. Military experts from [the former] Yugoslavia, Germany, and Italy each contributed to the battle scenes with tanks, artillery, planes and cannons. Special effects were provided by Barrandow Studios in Prague, while the [former] U.S.S.R. supplied a team of pyrotechnicians. Four 1943 Bosnian villages and a complete fortress were constructed for destruction by aerial bombardment. For the director’s cut of BATTLE OF NERETVA, Vladimir Kraus-Rajteric composed the original score where the music is sparsely utilized, primarily to drive the human drama and not the action sequences. It is not a typical Hollywood-style score, which often serves to romanticize war as heroic conflict. Rather, it emphasized the suffering. Kraus-Rajteric’s music, frequently interpolated with partisan songs, was also retained in edits created for Germany and Italy. Due to the extensive editing for the English-language versions, Kraus-Rajteric’s score was rejected as it could not be effectively altered to fit the new interpretation, and Bernard Herrmann was engaged to compose a replacement score that would be more familiar to our audiences. For the score, Herrmann chose the London Philharmonic Orchestra, augmented by a large brass and percussion section, a total of 120 pieces, to perform this epic work under his direction. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. Born on December 14, 1924 in Zagreb, Croatia (now part of the former Yugoslavia), Vladimir Kraus-Rajteric is best known for NIGHTS AND DAYS and the anti-war ATOMIC WAR BRIDGE. He passed away on July 29, 1996. Originally released in the early days of compact disc, Dragon’s Domain Records is excited to bring BATTLE OF NERETVA back to the marketplace, featuring music composed and conducted by Bernard Herrmann, performed by the London Philharmonic Orchestra, newly remastered by James Nelson at Digital Outland. For the first time, selections from Vladimir Kraus-Rajteric's score from BATTLE OF NERETVA are presented on this release from the best possible elements. The booklet includes liner notes written by author David Hirsch. BATTLE OF NERETVA is a limited edition release of BATTLE OF NERETVA will begin shipping the week of May 19th, 2025. 01. Prelude (2:33) 02. The Retreat (3:42) 03. Separation (4:02) 04. From Italy (3:18) 05. Chetniks’ March (1:49) 06. Farewell (1:51) 07. Partisan March (1:31) 08. Pastorale (2:00) 09. The Turning Point (5:18) 10. The Death of Danica (2:14) 11. Victory (2:35) BONUS TRACKS 12. Danica’s Theme (3:26) The Roland Shaw Orchestra BATTLE OF NERETVA EUROPEAN SUITE Music Composed by Vladimir Kraus-Rajteric 13. Part 1 (4:27) 14. Part 2 (3:11) 15. Part 3 (3:23) Total Time: 46:01 Dragon’s Domain Records presents RETURN FROM THE RIVER KWAI, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for the 1989 war drama directed by Andrew V. McLaglen (THE DEVIL’S BRIGADE, THE UNDEFEATED, THE WILD GEESE), written by Joan Blair, Clay Blair, Jr. And Sargon Tamimi, starring Timothy Bottoms, Nick Tate, George Takei, Edward Fox, Denholm Elliott, Richard Graham, Chris Penn and Tatsuya Nakadai. Released theatrically in 1989 everywhere except the United States, RETURN FROM THE RIVER KWAI was based upon the book of the same name published by Simon & Shuster in 1989 and written by Clay Blair, Jr. with the assistance of his wife, Joan. It was a re-account of one of the last untold stories of World War II. Considered a work of non-fiction, the book tells the factual account of what happened to the 2,218 Australian and British POWs, and a lone American soldier, who survived what came to be known as ‘the Death Railway’. Father and son producers Kurt and Daniel Unger engaged composer Lalo Schifrin to compose the score for RETURN FROM THE RIVER KWAI. As an addition to the Schifrin score, a further theme was commissioned for the film from Japanese New Age composer Kitarô. Recording of the Lalo Schifrin score took place in July, 1988 at the Studio Palais de Congrès in Paris. The ‘Japanese Theme’ by Kitarô was recorded by the composer at his home in Tokyo. A few years later, Kitarô would be hired by Oliver Stone to score his film HEAVEN AND EARTH. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. Originally released on compact disc in 2008 and very scarce, Dragon’s Domain Records brings RETURN FROM THE RIVER KWAI back to the marketplace, featuring music composed by Lalo Schifrin, including the Japanese Theme composed by Kitarô, performed by the Paris Philharmonic Orchestra. The music has been newly mastered by James Nelson at Digital Outland and the liner notes written for the previous release by Darren Allison have been reprised. RETURN FROM THE RIVER KWAI is a limited edition release of and is expected to begin shipping the week of May 19th, 2025 . 01. Main Title (2:24) 02. Destroyed Bridge / Meo Tribesmen (1:46) 03. Firing Squad / Time and Change (2:07) 04. Headman / Crawford (2:39) 05. No Glory In Dying (3:47) 06. Miller’s Head / Final Mission (2:12) 07. Cambodia (1:47) 08. Brasil Maru (2:55) 09. Rickshaw / Runaway (3:04) 10. Crash Position / Gangplank / Japanese Theme** (3:10) (** - Kitarô) 11. Stretcher (1:19) 12. Dive / Like A Shark (2:55) 13. The Take (3:03) 14. Sit Tight / Anchor Chain (3:25) 15. Escort Hit / Abandon Ship / Sinking (6:17) 16. End Titles / Pack Up Your Troubles In Your Old Kit Bag and Smile, Smile, Smile*** (2:46) (*** - Felix Powell, George Asaf) 17. Japanese Theme** (6:34) Performed by Kitarô 18. Rule, Britannia* (0:45) (Thomas Augustine Arne) Total Time: 53:42 Dragon’s Domain Records presents THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN, featuring music composed by Bernard Herrmann and including music from the films CITIZEN KANE, THE MAGNIFICENT AMBERSONS, THE DAY THE EARTH STOOD STILL, THE KENTUCKIAN, THE NIGHT DIGGER, SISTERS, BATTLE OF NERETVA and more. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN consists of new recordings (from the late 1980s and early 1990s) performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner, the National Philharmonic Orchestra, conducted by Fred Steiner, in addition to the original soundtrack recordings performed by the Sessions Of London Orchestra, conducted by the composer, the London Studio Orchestra, conducted by the composer and the London Philharmonic Orchestra, also conducted by the composer. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. Originally released on compact disc in 1992, Dragon’s Domain Records is excited to bring THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN back to the marketplace, newly remastered by James Nelson at Digital Outland. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN also includes a specially reconstructed presentation from THE NIGHT DIGGER, assembled from the available elements of the music. The booklet includes the original extensive liner notes written by John Steven Lasher for the album. Many decades later, THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is an important compilation and an excellent introduction to the music of one of the greatest film composers of them all. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is a limited edition release. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN will begin shipping the week of April 9th, 2025 1. CELLULOID FANFARE #1: BERNARD HERRMANN 0:48 Composed by John Steven Lasher CITIZEN KANE 2. Suite: The Inquirer 6:54 3. Theme and Variations (Breakfast Montage) 3:20 4. Salaambô’s Aria 4:23 Soprano - Rosamond Illing THE MAGNIFICENT AMBERSONS 5. Theme and Variations / George’s Homecoming 6:24 6. First Nocturne 4:04 Soloist, Violin - Neville Tawell 7. Second Nocturne 3:18 Soloist, Cello [Violincello] - Henry Wenig THE DAY THE EARTH STOOD STILL 8. Lincoln Memorial / Arlington 3:00 THE KENTUCKIAN 9. Prelude / The Steamboat / The Stagecoach / Victory / The Forest 6:49 10. Nocturne / Night Sounds 5:11 11. Scherzo / Miss Susie 4:01 12. The Rope / Finale 3:23 WILLIAMSBURG: THE STORY OF A PATRIOT 13. Overture / Exit Music 2:37 THE NIGHT DIGGER 14. Portrait of the Road Builder 7:32 15. A New Beginning and Ending 4:05 Harmonica - Tommy Reilly Viola D’Amore - Rosemary Greene SISTERS 16. Cake Death 3:37 BATTLE OF NERETVA 17. Prelude 2:33 18. Chetnik’s March 1:47 19. Partisan March 1:31 20. Victory! (Finale) 2:34 Total Time: 78:55 Dragon’s Domain Records presents TOO LATE THE HERO, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1970 war film directed by Robert Aldrich (THE DIRTY DOZEN, EMPEROR OF THE NORTH, THE FLIGHT OF THE PHOENIX), written by Aldrich, Robert Sherman and Lukas Heller, starring Michael Caine, Cliff Robertson, Ian Bannen, Harry Andrews, Ronald Fraser, Denholm Elliott, Percy Herbert, Patrick Jordan, Harvey Jason and Henry Fonda. TOO LATE THE HERO takes place in 1942, in the Pacific Theatre of World War II and follows Lieutenant Junior Grade Sam Lawson (Robertson), a Japanese-language interpreter who, so far, has been able to avoid combat. Captain Nolan (Fonda), his commanding officer, unexpectedly cancels his leave and informs Lawson that he is being assigned to a British infantry commando unit in the New Hebrides Islands for a combat mission... The British base at this location is located in the middle of a large open field, several hundred yards from the edge of the jungle. On the other side of the jungle is a Japanese observation post. The commando group is led by Captain Hornsby (Elliott). Hornsby’s commando group is instructed to destroy the Japanese radio transmitter at the observation post before they can sound the alarm on an American naval convoy that is scheduled to appear on the horizon in just a few days. During the course of executing their mission, they discover the existence of a secret Japanese airfield and planes ready for action... The music for TOO LATE THE HERO was composed by Gerald Fried. This was a continuation of his collaboration with director Robert Aldrich, which also included THE KILLING OF SISTER GEORGE, WHATEVER HAPPENED TO AUNT ALICE? and THE GRISSOM GANG. The score for TOO LATE THE HERO is one of Fried’s most exciting and impressive orchestral works, constructed for large orchestra (including an expanded percussion section) and implemented with synthesizers and numerous exotic instruments. TOO LATE THE HERO offers a splendid example of Fried’s unique ability to derive fascinating motives from unusual rhythm patterns. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Originally appearing on compact disc nearly three decades ago and very scarce, Dragon’s Domain Records brings TOO LATE THE HERO back to the marketplace, featuring music composed and conducted by Gerald Fried. The music has been remastered by James Nelson at Digital Outland and reprising the liner notes written by D.L. Fuller for the original release. TOO LATE THE HERO is a limited edition release. TOO LATE THE HERO is expected to begin shipping the week of May 19th, 2025 01. Overture (3:15) 02. Opening Titles (4:03) 03. British Flag (1:03) 04. Trevor's Return / The Crossing / Five Of Them (3:41) 05. Not Going That Way / Other Casualties / Jungle March (3:32) 06. Lap Officer / Death Scream (2:17) 07. Lawson's Trick (2:51) 08. Scavenger / Jungle Trek (2:16) 09. Old Army Boots / Shrine (1:58) 10. Move Out / Good Luck (3:47) 11. Radio Shack (2:07) 12. The Approach / Scott Shot / Light On / Firefight (5:42) 13. Quick Exit / Post Grenade (2:21) 14. Overture Act II (2:53) 15. Air Strip / Camouflage Caper / Smokey Japs / River Journey (3:50) 16. The Speakers (3:17) 17. Thornton's Ambush / Thornton's Free Ride / Another Shrine (3:53) 18. How To Help A Buddy (3:59) 19. Ring Job / Revolver / Jungle Pursuit (3:54) 20. Camp / Getting The Gooch (4:18) 21. You Zig, I'll Zag / Final Run (4:44) 22. Finale (1:42) 23. Exit Music (2:42) Total Time: 75:02 Dragon’s Domain Records presents THE RISE AND FALL OF THE THIRD REICH, a dramatic cantata composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) based on the Emmy-nominated 1968 television documentary” instead of “for the 1968 directed by Jack Kaufman, produced by David L. Wolper, featuring the narration of Richard Basehart. David L. Wolper was one of television’s most respected and honored producers. The winner of three Emmys (nominated for eight more), the Oscars’ Jean Hersholt Humanitarian Award and a member of the Television Hall of Fame, Wolper gave us ROOTS, THE THORN BIRDS, NORTH AND SOUTH, the NATIONAL GEOGRAPHIC Specials, WILLY WONKA AND THE CHOCOLATE FACTORY and dozens of other projects over a 40-year career in films and television. Among his landmark television documentaries was THE RISE AND FALL OF THE THIRD REICH, which aired on ABC over three nights in March 1968. Based on journalist William L. Shirer’s best-selling, award-winning 1960 chronicle of the history of Nazi Germany, it was the result of two years of research and examining more than five million feet of film to tell the story of Adolf Hitler’s rise to power and his eventual downfall at the end of World War II. Lalo Schifrin had already scored his NATIONAL GEOGRAPHIC “The Hidden World of Insects” and earned an Emmy nomination for the music for THE MAKING OF THE PRESIDENT in 1964. Schifrin’s imagination was sparked by the subject and what followed was unprecedented in the history of music for television: a major concert work performed by a leading American orchestra, debuting eight months before the program that inspired it. THE RISE AND FALL OF THE THIRD REICH cantata debuted at the Hollywood Bowl on Thursday, August 3, 1967. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Later scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. Originally released on vinyl by MGM Records in 1967 with the addition of Laurence Harvey's narration, Dragon’s Domain Records brings THE RISE AND FALL OF THE THIRD REICH to compact disc for the first time, featuring music composed by Lalo Schifrin, performed by members of the Los Angeles Philharmonic, the Gregg Smith Singers and conducted by Lawrence Foster. The music for THE RISE AND FALL OF THE THIRD REICH Cantata appears here minus the narration, music newly mastered by James Nelson at Digital Outland and featuring liner notes written by noted author Jon Burlingame. THE RISE AND FALL OF THE THIRD REICH is a limited edition release and is expected to begin shipping the week of May 19th, 2025. 01. Prologue (3:33) 02. The Teutonic Gods (3:08) 03. A Pact with Satan (3:24) 04. The Devil's Spawn (4:31) 05. Nazis March (1:29) 06. Mother Earth Mourns (5:15) 07. Bonfires (2:02) 08. The War Begins (1:29) 09. Destruction and Sorrow (2:37) 10. Madness and Murder (2:32) 11. Innocent Victims (3:45) 12. The Allies Rally (1:14) 13. The Tide Turns (2:06) 14. Seventy Million Dead (3:40) 15. Epilogue (4:56) Total Time: 45:49 BSXDG0185 Includes Digital Booklet BSX DIGITAL presents the original soundtrack for THE PASSAGE, featuring music composed by Michael J. Lewis (JULIUS CAESAR, THEATRE OF BLOOD, SPHINX, FFOLKES), for the British action film directed by J. Lee Thompson (THE GUNS OF NAVARONE), written by Bruce Nicolaysen and Stephen Oliver, starring Anthony Quinn, James Mason, Patricia Neal, Kay Lenz, Paul Clemens, Christopher Lee, Michael Lonsdale and Marcel Bozzuffi. Released in 1979, THE PASSAGE is set against the backdrop of World War II as a resilient Basque farmer (Quinn) is called upon by the French resistance to help facilitate the escape of John Bergson (Mason), a brilliant scientist, and his family across the treacherous Pyrenees mountains to the safety of neutral Spain. In pursuit is Captain Von Berkow (McDowell), a ruthless SS officer who perhaps enjoys his work a little too much... THE PASSAGE is accompanied by a sweeping symphonic score that propels its narrative forward and heightens the palpable sense of danger throughout its key moments. Lewis’ compositions are expansive and lush, beautifully reflecting the breathtaking snowy landscapes where the film takes place. At the 70th Annual Academy Awards, the evocative ‘Apassionata’ from this score was used during the ‘In Memoriam’ segment, conducted by the great Jerry Goldsmith. Michael J. Lewis is an Emmy award-winning composer of film, television, Broadway and choral works. Born in Aberystwyth, Ceredigion, Wales, he studied harmony, counterpoint, and composition at the Guildhall School of Music and Drama. After a brief teaching career in North London, he became a full-time composer at the age of 24. Lewis was incredibly prolific in the late 1970s and early 1980s. His filmography includes THEATRE OF BLOOD, THE MEDUSA TOUCH, THE LION, THE WITCH AND THE WARDROBE, for which he earned an Emmy, JULIUS CAESAR, THE MAN WHO HAUNTED HIMSELF, 11 HARROWHOUSE, THE MADWOMAN OF CHAILLOT, NORTH SEA HIJACK also known as FFOLKES, THE ROSE AND THE JACKAL and YES, GIORGIO, a shared music credit with composer John Williams. In addition, Lewis began writing music for British TV commercials for British Rail, Tesco, 7 Up, Ford, and Audi and after relocating to the United States, he scored national TV campaigns for IBM, Lipton, Kentucky Fried Chicken, 3M, and Connecticut National Bank. Following the passing of his daughter in 1994, the composer shifted his interest from film to the writing and adapting of music and vocals, both sacred and secular, from his native homeland. Michael J. Lewis currently resides and composes amidst the pines of Mississippi, the birthplace of American music, and continues to record in New Orleans, home of the Blues. BSX Digital presents THE PASSAGE, featuring music composed and conducted by Michael J. Lewis, meticulously remastered by James Nelson at Digital Outland, honoring the composer’s original vision by following the intended order of the music.

Snow Files of the Week: "Suite from the Pilot" aus der Serie "Dark Skies" (1996). Mark Snow komponierte nur die Musik für den Pilotfilm, den Rest der Serie vertonte Ex-Tangerine-Dream-Mitglied Michael Hoenig ("The Blob", 1988). Sicherlich war der zu dem Zeitpunkt aufkeimende Erfolg der X-Akten ein Grund dafür, warum man Snow für "Dark Skies" holte (hat ja auch was mit Aliens zu tun). Von daher ist es kein Wunder, dass seine Musik für den Pilotfilm sehr X-Files-mäßig klingt. Die Suite ist auf dem Score-Album enthalten, welches ansonsten Michael Hoenigs Musik enthält. Die CD wurde limitiert von Perseverance Records veröffentlicht und ist dort mittlerweile ausverkauft. Viel Spaß beim Hören!

„John Williams: The Anthology“ präsentiert die zentralen Soundtracks des legendären Komponisten in drei Box-Sets. Das erste, 22 CDs umfassende Boxset „The Anthology – Vol. 1“ erscheint am 18. Juli und versammelt 27 Soundtracks aus den Jahren 1969-1990. Darunter: „Der weiße Hai“, „Star Wars“, „Unheimliche Begegnung der dritten Art“, „Superman: Der Film“, „Dracula“, „Jäger des verlorenen Schatzes“, „E. T. der Außerirdische“, „Empire of the Sun“, „Geboren am 4. Juli“ und „Kevin – Allein zu Haus“. John Williams langjähriger kreativer Partner und persönlicher Freund, der Regisseur Steven Spielberg, erklärt: „Ich freue mich sehr, dass Sony Masterworks ‚John Williams: The Anthology‘ veröffentlicht. Das dreiteilige Box-Set ist eine speziell kuratierte Sammlung von Johns bester Musik für Film und Konzertbühne. Die erste Box feiert seine Filmarbeit von den 1960er bis zu den 1980er Jahren, eine Zeit, in der John Williams die Rolle des Symphonieorchesters in der Filmmusik neu belebte und einige der kultigsten und zeitlosesten Kompositionen Hollywoods erschuf, für Filme wie „Der weiße Hai“, „Star Wars“, „Unheimliche Begegnung der dritten Art“, „Superman: Der Film“, „Dracula“, „Jäger des verlorenen Schatzes“, „E. T. der Außerirdische“, „Empire of the Sun“, „Geboren am 4. Juli“ und „Kevin – Allein zu Haus“. Im Laufe seiner langen Karriere wurde John Williams zu einem der einflussreichsten und bekanntesten Filmkomponisten der Welt. Er hat Musik für über 120 Filme komponiert, wobei viele seiner Stücke zu den bekanntesten Filmmusiken aller Zeiten gehören. Seine ikonischen Themen für Klassiker wie „Der weiße Hai“, „Jurassic Park“, „E.T. – Der Außerirdische“, „Jäger des verlorenen Schatzes“, „Superman“ und „Harry Potter“ sind weltberühmt. Williams ist vor allem für seine jahrzehntelange kreative Zusammenarbeit mit Regisseur Steven Spielberg bekannt, aus der einige der erfolgreichsten Filme aller Zeiten hervorgingen. „John Williams: The Anthology – Vol. 1 1969-1990“ enthält 22 CDs mit dem jeweiligen Original-Cover-Artwork und ist der erste Teil eines dreiteiligen Box-Sets, das den legendären John Williams und sein umfangreiches Werk würdigt. Produkt-Nr.: 19802861012 (22CDs) Im Handel ab: 18.07.2025 Inhalt des Box-Sets: DISC 1: THE REIVERS DISC 2: THE COWBOYS  DISC 3: EARTHQUAKE + THE TOWERING INFERNO  DISC 4: JAWS + JAWS 2  DISC 5: STAR WARS (EPISODE IV: A NEW HOPE) DISC 6: CLOSE ENCOUNTERS OF THE THIRD KIND DISC 7: THE SUGARLAND EXPRESS + 1941 DISC 8: THE FURY  DISC 9: SUPERMAN  DISC 10: DRACULA + MONSIGNOR  DISC 11: STAR WARS (EPISODE V: THE EMPIRE STRIKES BACK) DISC 12: RAIDERS OF THE LOST ARK  DISC 13: E.T. THE EXTRA-TERRESTRIAL DISC 14: STAR WARS (EPISODE VI: RETURN OF THE JEDI) DISC 15: INDIANA JONES AND THE TEMPLE OF DOOM  DISC 16: SPACECAMP  DISC 17: THE WITCHES OF EASTWICK  DISC 18: EMPIRE OF THE SUN  DISC 19: THE ACCIDENTAL TOURIST  DISC 20: INDIANA JONES AND THE LAST CRUSADE DISC 21: BORN ON THE FOURTH OF JULY + Always DISC 22: HOME ALONE 

In honor of its 40th Anniversary, Intrada presents an all-new edition of one of founder Doug Fake's personal favorite soundtracks. The score is not only an important part of Jerry Goldsmith's large body of work, but also Intrada's formative years. First Blood initially appeared as the inaugural release of the Film Music Treasury series, an early version of the Special Collection. In assembling that release, Goldsmith and engineer Len Engel re-sequenced the original Regency album and located one extra track not previously released, using the ¼″ two-track mixes made in 1982 for the LP. However, the ¼″ masters were plagued with an interesting anomaly: though identified with the widely-used professional Dolby A encoding process, they did not possess unique tones identifying the Dolby encoding that allows for calibration of playback machines. In lieu of those critical tones, the original engineers addressed by reducing the inherent background hiss using equalization techniques, and attempts to rectify these anomalies were less than satisfactory. In 2010, Intrada located the multi-track session masters—complete and intact—every channel, every reel, every take. For the first time, all those interesting little bars that Goldsmith deleted to create his initial record could be restored within the full-length cues just as they were originally written and recorded. A brand-new presentation was created, uncut and intact, with newly mixed and re-mastered sound. However, in spite of Intrada's best efforts at the time, there still resulted an interesting anomaly—the tape speed was off and the music played a bit faster than intended. Additionally, some assemblies still eliminated a few of those aforementioned bars. For this new edition, Neil S. Bulk used Fake's stereo mixes and rebuilt the score and original soundtrack album from the ground up, addressing the speed issues and including a few unassembled extras so one can now truly hear everything. Some track titles have been adjusted to reflect their official cue sheet names. GRAMMY-nominee Mike Matessino mastered the album featuring new cover art by Stéphane Coëdel. With 2025 being Intrada's 40th year releasing soundtracks, the Intrada team felt a truly definitive First Blood would be an important way to mark not only the occasion but present another opportunity to celebrate Doug Fake. CD 1 SCORE PRESENTATION 01. Theme From First Blood (Pop Orchestra Version) (4:12) 02. Homecoming (Film Version) (2:25) 03. Last Summer (1:02) 04. Back To Town (0:48) 05. The Razor (Film Version) (3:10) 06. No Warmth (1:07) 07. Hanging On (Film Version) (2:09) 08. Over The Cliff (Film Version) (1:29) 09. A Stitch In Time (1:01) 10. Mountain Hunt (Film Version) (5:01) 11. First Meal (0:43) 12. First Blood (Film Version) (5:14) 13. The Tunnel (Film Version) (3:31) 14. Escape Route (Film Version) (2:42) 15. Over The Top (1:02) 16. My Town (Film Version) (1:00) 17. No Power/Fireworks (2:54) 18. It’s A Long Road (3:28) 19. It’s A Long Road (Theme From First Blood – Vocal) (3:24) DISCRETE VERSIONS 20. No Power (1:01) 21. Fireworks (1:56) 22. Mission’s Over (0:49) TOTAL CD 1 TIME: 50:54 CD 2 ORIGINAL 1982 SOUNDTRACK ALBUM 01. It’s A Long Road (Theme From First Blood – Vocal) (3:24 ) 02. Escape Route (2:42) 03. First Blood (4:39) 04. The Tunnel (4:04) 05. Hanging On (3:32) 06. Homecoming (2:25) 07. Mountain Hunt (6:11) 08. My Town (1:57) 09. The Razor (3:14) 10. Over The Cliff (2:08) 11. It’s A Long Road (Instrumental) (2:56) TOTAL ORIGINAL SOUNDTRACK ALBUM TIME: 37:33 THE EXTRA 12. It’s A Long Road (Recording Session Piano/Vocal Demo) (3:25) TOTAL CD 2 TIME: 41:02

Snow Files of the Week: "Suite from The X-Files" (1996). Diese Suite wurde von John Beal arrangiert, in Zusammenarbeit mit Mark und seinem Music Editor Jeff Charbonneau. Beal veränderte hier und da Details an der Musik. Beispielsweise hört man im letzten Stück, der finalen Szene aus "Jose Chung's From Outer Space" einen Chor, den es in der Folge dort nicht gibt. John Beal wird auch unter "performed by" angegeben, obwohl die Musik ansonsten wie die Original-Musik von Mark klingt. Gerüchten zufolge war das nur ein Trick, um das Copyright von Fox zu umgehen. Diese Suite ist auf dem Sampler "The Snow Files" enthalten, als auch auf der von BSX veröffentlichen CD "The X-Files: 20th Anniversary". Diese CD ist auf 1.000 Stück limitiert. Viel Spaß beim Hören!

Music by Hans Zimmer Limited edition of 1500 units ORDER NOW AS PART OF OUR 20% OFF SITE-WIDE SPECIAL La-La Land Records and MGM present a remastered and expanded CD re-issue of renowned composer Hans Zimmer’s (RAIN MAN, GLADIATOR) original motion picture score to the landmark 1991 feature film THELMA & LOUISE starring Susan Sarandon and Geena Davis, and directed by Ridley Scott. After their first successful collaboration on BLACK RAIN, director Ridley Scott called upon composer Hans Zimmer once again to score what would become the beloved classic feminist drama/road adventure THELMA & LOUISE. Enthralled by the notion of composing his take on an Americana score, Maestro Zimmer dove into the challenge, fashioning a sonic wonder that takes the audience on a road trip from the Deep South to the Open West, all the while expertly charting an emotional throughline for the complex lead characters. Tinged with blues and Cajun stylings, and featuring legendary master guitarist Pete Haycock’s signature performance skills, Zimmer’s score balances character, drama, action and location with perfect pitch – as brilliantly demonstrated within this newly remastered deluxe re-issue, expanded with more music beyond any of the film’s previous soundtrack releases. Produced by Stéphane Humez and remixed, mastered and edited by Maxime Marion from MGM vault elements, under the supervision of Hans Zimmer, this special limited edition CD release of 1500 units showcases the score as initially written by the composer, as well as alternate and film version bonus tracks, including a 2000 concert suite demo. The exclusive in-depth liner notes are by writer and journalist Kaya Savas, featuring a new interview with the composer. The sharp art design is by Dan Goldwasser. TRACK LISTING: THE SCORE 1. Going To Mexico 2:10 2. J.D. 0:50 3. The Hell With Texas – Happy Birthday Lady 1:51 4. Picking Up J.D. 0:41 5. Oilfields 0:58 6. Watching Him Go – Jimmy Pops The Question 3:04 7. Ride Of The FBI 0:58 8. Louise’s Theme 2:47 9. Giving Up 3:39 10. Getting Out Of State 1:33 11. Charged With Murder 3:02 12. Learning From TV 0:45 13. Chase – You’ve Always Been Crazy 10:20 14. Thelma & Louise End Titles 3:58 BONUS TRACKS 15. Thelma & Louise 2000 Concert Suite (DEMO) 6:39 16. Thelma & Louise Main Title (FILM VERSION) 2:20 17. Giving Up (ALTERNATE) 3:39 18. Suck My Dick (FILM VERSION) 1:39 19. I Got A Knack – Getting Out Of State (FILM VERSION) 2:20 20. Charged With Murder (FILM VERSION) 2:12 ORIGINAL ALBUM TRACK 21. Thunderbird 4:05 TOTAL ALBUM TIME: 59:41 This is a CD format release

Für viele scheinbar schon. Zumindest habe ich das mal in einem Artikel gelesen, dass fast die Hälfte der Leute, die heute noch neue Platten kaufen, diese gar nicht abspielen. Entweder, weil sie gar keinen Plattenspieler haben, dann wird sie an die Wand gehängt, oder weil sie nur zu Sammelzwecken im Regal landet. Daher zielen viele Veröffentlichungen ja auch darauf ab. Also entsprechend poppiges Artwork und buntes Vinyl, weil eben die Optik zählt. Was die Käufer mit den Platten machen, ist den Labels ja egal. Hauptsache, sie kaufen es.

In Zeiten des Streamings hat sich eben viel geändert. Veröffentlicht ist veröffentlicht, auch wenn es kein physisches Medium ist. Man kann sich den Score zumindest auf seiner Homepage anhören, also ist er ja veröffentlicht, wenn auch nicht auf den gängigen Plattformen. Physisch wurden ja auch einige seiner anderen aktuellen Scores bisher nicht veröffentlicht, wie WHITE NOISE oder DOLITLLE beispielsweise oder selbst BEETLEJUICE BEETLEJUICE. Von letzterem gibt es nur den Sampler mit den Songs und zwei Score-Tracks von Elfman auf CD und LP.

Update von Jeff Bond: This is your author again--apologies for the radio silence. All I can say by way of an update is the books are still moving forward, I have every reason to believe you will all get your books this year, and I'm hopeful they may go out by summer. As I've said, I have no control over this—my understanding is that Taylor has obtained some much needed assistance that should help wrapping up whatever loose ends remain: there's a certain amount of heavy lifting, figurative or literal, that he's been lacking personnel to accomplish and hopefully this should hasten getting to the finish line. I'm sorry to be vague but I'm giving you all the details I know about. My feeling is that supplying further PDFs or other rewards is likely not desired at this point and that people just want their books--I know I do. So I would hope any further updates would simply announce a timeframe when the books WILL be delivered and that anything else is off topic. So I'm happy to chime in and say "we're still here" when necessary but until the books are actually going out to people there's nothing to report at my end. As always I understand the frustration and aggravation, just stay tuned.

Scheinbar wurde unter anderem ein Geschwindigkeitsproblem bei einem Track behoben. Ansonsten wohl das Übliche, noch remasterter als vorher

Demnächst wieder von Intrada.

Neu von Music Box: World Premiere CD Release. 8-page CD booklet with French and English liner notes by Nicolas Magenham. Limited Edition of 1000 units. In collaboration with Carthago Films, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Par où t’es rentré… On t’a pas vu sortir (How Did You Get In? We Didn't See You Leave, 1984) composed and conducted by Alan Silvestri. It was while watching Robert Zemeckis's Romancing the Stone that director Philippe Clair had the idea to contact American composer Alan Silvestri for his own film, the cult classic Par où t’es rentré… On t’a pas vu sortir – starring Jerry Lewis. The future composer of Back to the Future, Who Framed Roger Rabbit and Forrest Gump brought out the big guns for this comedy set between Paris and Tunisia. He provides a fiery mix of orchestral music and pop rock pieces for particularly muscular action tracks, sophisticated parodies, as well as aerobic music. Clair / Silvestri: an unlikely meeting in the service of energetic and effective music. This present edition features the original soundtrack album (without the song High Energy not composed by Silvestri), remastered by Christophe Hénault from pristine condition stereo master tape. In regard to the bonus tracks, we only gained access to the monaural music stem of the complete soundtrack - including the isolated score. We did our best to fix the fluctuating volume levels and the quality of the sound. The package includes an 8-page booklet with liner notes by Nicolas Magenham. The release is limited to 1000 units. PAR OÙ T’ES RENTRÉ… ON T’A PAS VU SORTIR (HOW DID YOU GET IN? WE DIDN'T SEE YOU LEAVE) 1. Les Inspaghettibles contre le Front de résistance du couscous (3:59) 2. Aérobic poids lourds (4:01) 3. Le laveur de vitres (2:28) 4. Kasbah City (5:18) 5. Règlement de comptes à Kasbah City (0:59) 6. Les Inspaghettibles reçoivent leur parrain (1:18) 7. La fuite à Orly (2:45) 8. Soirée Jet Society (0:51) 9. Les filles à la piscine (4:35) 10. Le PDG des chiffons est menacé (4:10) 11. Fin de la guerre des gangs (2:18) BONUS TRACKS : 12. Aérobic super poids lourds (1:20) 13. Portes coulissantes (1:36) 14. Cha-cha Blaireau (2:02) 15. Boogie-woogie Blaireau (1:53) 16. Soirée d’adultère (1:42) 17. Call-girl (2:55) 18. Piscine de rêve (1:15) 19. Villa de Ben Burger (1:20) 20. Entraînement militaire (0:41) 21. Attaché-case (2:02) 22. Chambre des tortures (1:37) 23. Prosper et Clovis déguisés (1:09) 24. Les partisans du couscous (0:45) 25. À la poursuite de Prosper et Clovis (1:39) 26. La fosse aux lions (0:47) 27. Assaut chez Ben Burger (4:37) 28. Générique de fin (2:39) Total Time • 63:50 World Premiere CD Release. 8-page CD booklet with French and English liner notes by Nicolas Magenham. Limited Edition of 500 units. In collaboration with Carthago Films and Warner Chappell Music France, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Plus beau que moi, tu meurs (1982) composed and conducted by Armando Trovajoli. Philippe Clair directed two successful films with leading actor Aldo Maccione in the early 1980s: Tais-toi quand tu parles (1981 – OST previously released by Music Box Records in 2015) and Plus beau que moi, tu meurs. This album focuses on the second film, a burlesque Mediterranean comedy about two brothers who are total opposites. After Tais-toi quand tu parles, the music is also composed by Armando Trovajoli, an Italian composer famous for his work with Ettore Scola and Dino Risi. The soundtrack is a patchwork of sophisticated disco and funky tracks, sarcastic refrains, a twirling tango, and heavenly themes. The present edition features the famous film's theme song, performed by Maccione himself and written by Philippe Clair. An instant classic! The whole program has been fully remastered by Christophe Hénault from the complete scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Nicolas Magenham discussing the film and the score. The CD release is limited to 500 units. PLUS BEAU QUE MOI, TU MEURS 1. Plus beau que moi, tu meurs (2:51) Vocal : Aldo Maccione 2. Avenir, Avenir (4:30) Vocal : Sharky 3. Souvenirs d'enfance (1:06) 4. La grande vie (1:01) 5. Club privé (2:14) 6. La femme du sénateur (0:45) 7. Avenir, Avenir (Slow) (1:39) 8. Retrouvailles en Tunisie (1:15) 9. Le palace (2:48) 10. Leçon de classe (2:51) 11. La traque (0:58) 12. Inspecteur Tétard (2:09) 13. Funkyproquo (1:51) 14. Adultère (2:36) 15. Avenir, Avenir (Instrumental) (4:22) 16. Indigestion (1:41) 17. Aldo et Julia (1:05) 18. Amis de 20 ans (0:45) 19. Avenir, Avenir (Slow Club) (2:57) 20. Aldo et la Gioconda (1:07) 21. L'attaque du fort (3:25) 22. Plus beau que moi, tu meurs (Générique) (1:11) 23. Avenir, Avenir (Version film) (2:55) 24. Plus beau que moi, tu meurs (Playback) (2:51) Total Time • 51:54

Mindestens

Ich bin da auch immer wieder erstaunt, warum man nicht wenigstens auch eine kleine Auflage an CDs produziert. So viel teurer als die Produktion der LPs kann das ja nicht sein, eher im Gegenteil. Aber das wird im Vorfeld schon durchgerechnet worden sein. Vielleicht ist es ähnlich wie im Filmbereich. Wenn ein Label wie Turbine oder Plaion mal wieder eine dicke Collector's Edition von einem Film oder einer Serie veröffentlicht, und diese Editionen sind wirklich mit viel Aufwand und viel Liebe gemacht, werden auch immer wieder Stimmen laut, warum es das nicht auch als normale Amaray für 15 Euro gibt. Eben für die Leute, die den ganzen Bonus-Schnick-Schnack nicht brauchen. Die Antwort der Label ist da immer, dass sich normale Amarays einfach kaum noch verkaufen. Damit könnten sie nie die Kosten decken, die das Projekt verschlungen hat. Daher machen sie es so, dass sie erst die teureren Boxen, Mediabooks und Steelbooks bringen. Und wenn die dann abverkauft sind, werden vom Gewinn daraus, je nach Popularität des Titels, noch normale Amarays nachgeschoben. Machen sie nicht immer, aber doch bei einigen Titeln mittlerweile. So arbeiten die Soundtrack-Label ja im Grunde auch, wo die immer noch gut laufenden Verkäufe der zehnten Neuauflage von DIE HARD oder HOME ALONE die Kosten für andere Projekte decken, die nicht so populär sind. Große Label sind aber scheinbar nicht auf die Peanuts angewiesen, die ihnen die paar CD-Verkäufe bringen würden. Daher lassen sie es eben ganz sein und konzentrieren sich auf das, was momentan eben noch gut verkauft wird. Und das sind nunmal LPs. Ich bin mir sicher, dass sich CDs von BLACK PANTHER oder eben DOCTOR STRANGE auch noch verhältnismäßig gut absetzen ließen, einfach auch, weil Elfman und Göransson schon zwei bekannte Namen sind und es eben Marvel ist. Aber scheinbar sieht man keinen großen Nutzen in dem Aufwand, davon CDs produzieren zu lassen. Die überteuerten LPs werden dazu einfach noch zu oft gekauft.

Bei Indy muss man aber dazu sagen, dass da durchaus der weltweite Markt eine Rolle spielt, da man die Artikel weltweit bestellen kann. Deshalb gibt es da eben auch noch CDs. Und es ist Williams, der zieht zumindest bei den großen Franchises immer. Bei DARK UNIVERSE ging es wohl eher um das exklusive, lokale Gimmick, eben nicht um Elfman, seine Fans oder Filmmusik-Fans im Allgemeinen. Die LP kann man eben nur vor Ort im Park kaufen. Wobei der Name Elfman ja durchaus auch Zugkraft hat. Darauf hofft man hier wohl durchaus, denn für eine LP wird ja in der Regel mehr verlangt als für eine CD. Elfman hatte doch mal eine Klausel in seinen Verträgen, dass seine Musik veröffentlicht werden muss, in welcher Form auch immer. Das war zwar bei seiner Filmmusik so, aber vielleicht ist das hier ja ähnlich. Und da hat man eben gesagt, man macht eine LP, weil sich CDs in den USA allgemein schlechter verkaufen. Dass das in der eigentlichen Zielgruppe für die Musik anders ist, spielte wohl eher keine Rolle, da es eben vorrangig um das Gimmick ging. Und um die Hoffnung, dass ein Elfman-Fan das Teil auch kauft, wenn er keinen Plattenspieler mehr hat.

Klar, ich bin ja einer davon. Aber man sieht ja seit längerem, wohin der Trend geht. Um bei Elfman zu bleiben: Seinen DOCTOR STRANGE beispielsweise gibt es physisch auch nur auf LP. Da hätte ich schon gerne eine CD gehabt. Und auch von DARK UNIVERSE wäre mir eine CD lieber gewesen.

Das stimmt natürlich. In der Filmmusik-Szene ist die CD nach wie vor das physische Medium. Man muss aber eben auch schauen, was und für welchen Markt das veröffentlicht wird. Wenn ich richtig informiert bin, wurden in den USA im vergangenen Jahr mehr LPs als CDs verkauft. Und das dürfte hier der ausschlaggebende Grund sein, da die LP eben nur im Themenpark dort erhältlich ist. Zudem ist eine LP, wie schon gesagt, momentan als Gimmick einfach gefragter. Und darum dürfte es hier auch gehen. Da war nicht der Filmmusik-Hörer die Zielgruppe, sondern eher die Souvenir-Sammler. Viele, die neue LPs kaufen, haben nicht mal einen Plattenspieler, sondern hängen das einfach an die Wand oder stellen es ins Regal.

Nun ja, das Gleiche kann man mittlerweile auch schon von CD-Playern behaupten Selbst von Leuten in meinem Alter höre ich immer öfter "CDs? CD-Player? Hab ich schon lange nicht mehr". Vinyl ist eben einfach das größere Gimmick. Es wird schon seinen Grund haben, warum man sich für eine LP und nicht für eine CD entschieden hat. Vermutlich ein ähnlicher, warum auch aktuelle Scores manchmal physisch nur noch auf Vinyl erscheinen.

Zudem war Carpenter immer Minimalist. So Bombast-Zeug hat er ja nie gemacht oder gewollt. Apropos Brian Tyler: Zwar keine Vampire, aber zu BUBBA HO-TEP gab es von ihm ja auch einen hübschen Blues-Rock-Score.

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, presents the premiere release of Elmer Bernstein’s charming score for the bittersweet high-school comedy CLASS (1983), directed by Lewis John Carlino and starring Jacqueline Bisset, Rob Lowe, Andrew McCarthy, John Cusack and Cliff Robertson. The film is about Jonathan (McCarthy) who goes to college and befriends Skip (Lowe), his roommate. The relationship with Skip proves very useful in matters of love, an area where the young student is lacking. His first attempts are a resounding failure, but then he meets Ellen (Bisset), a woman twenty years his senior. At first everything goes very well, but one day she disappears. When he finds her again, he discovers that she’s Skip’s mom. Elmer Bernstein was no stranger to student comedies in the early 1980s, thanks to his collaborations with John Landis and Ivan Reitman, although CLASS is, rather, a romantic comedy. His score is a sheer delight, providing a sophisticated component to the film. The music is descriptive, romantic and funny, with a powerful main theme that is pure Bernstein. With the elements long gone, assembling this album was a challenge, but working from recently located original mono ¼” tapes and an incomplete set of 24 multi-track stereo elements, the music is finally being released—forty-two years after its recording. The CD contains the main score presentation and additional source music and alternates, all from surviving stereo and mono tracks. This collection has been produced, mixed and mastered by Chris Malone. The full color package includes an essay by film music writer Jeff Bond. 1. Theme From Class 2:50 2. Main Title* 1:37 3. The Boys* 1:49 4. Truth* 0:59 5. Committee* 1:05 6. Chicago* 1:03 7. The Animal* 0:40 8. Flowers* 1:58 9. New York* 1:53 10. Split 1:39 11. Attempt 0:56 12. Reconciliation / End Titles 4:22 Source Music 13. Car Radio 1:39 14. Eats Parsley 2:39 15. Flight Of The Bumblebee And Can-Can 1:56 16. A Mighty Fortress Is Our God (Martin Luther)* 0:49 17. Second Bar Piece* 3:48 Bonus Tracks 18. Committee (Alternate 1) 1:11 19. Reconciliation (Alternate 1) 1:08 20. Reconciliation (Alternate 2) 0:39 21. Meeting Mrs. Burroughs 0:38 22. Behave Like A Burroughs 1:01 23. Special Investigator 1:56 24. Drug Flush 0:56 25. Commitee (Alternate 2) 1:30 26. Main Title (Alternate) 1:53 All tracks stereo, except * mono

Snow Files of the Week: "Main Title/Double Wide/Unplugged at Bishop Flats" aus dem Film "Disturbing Behavior" (1998). Der etwas holprige deutsche Titel lautet "Dich kriegen wir auch noch". Nachdem "Scream" 1996 ein großer Erfolg wurde, setzte sich eine ganze Flut von Teenie-Horrorfilmen in Bewegung. "Disturbing Behavior" ist zwar kein Slasher-Film, aber passt dennoch in diese Welle der Genre-Filme Ende der 90er. Regie führte David Nutter, der bereits die ersten beiden Episoden der ersten Staffel "MillenniuM" inszeniert hatte. Er war also vertraut mit Mark Snows Musik und die beiden kannten sich. Für "Disturbing Behavior" komponierte Mark einen düsteren Ambient-Score, der von einem Hauptthema und kleinen Motiven durchzogen wird. Mit dem Film wurde auch das Score-Album veröffentlicht. Viel Spaß beim Hören!

Es gibt nur einen Carpenter-Film mit Vampiren, VAMPIRES In den 90ern ging Carpenter musikalisch etwas anderes Wege. Weg vom reinen Synthie-Score, hin zu mehr Gitarren. Carpenter wollte ja immer mal einen Western drehen und VAMPIRES ist so der Film, der dem am nähesten kommt. Seine Musik ist dann eben eine Kombination aus Blues-Rock und seinen Synthie-Sachen. Es gibt von dem Film eine Direct-to-Video-Fortsetzung, mit Jon Bon Jovi in der Hauptrolle. Dafür schrieb Brian Tyler einen ähnlichen Score.

Elfman hat die Musik für die neue DARK UNIVERSE Attraktion der Universal Theme Parks geschrieben. Seine Musik gibt es nur dort exklusiv als LP zu kaufen.

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