Alexander Grodzinski

Varèse will nun wohl noch stärker ins Vinyl-Geschäft einsteigen und hat dafür eine neue Serie gestartet. Dafür verfolgen sie nun wohl das Modell von Waxwork und Co.: Schön bunt und mit Extras wie Postern. Coming soon to a turntable near you! Reel Cult is our brand-new soundtrack revival series for cinephiles, crate-diggers, and nostalgia nomads alike. Resurrected from the depths of bygone video stores and midnight repertory theaters, Reel Cult resurfaces the wildest B-movie soundtracks, cult classic creature features, Blaxploitation cinema, Wild West revenge sagas, and spine-tingling horror flicks that never stopped spinning in your head. Butter your popcorn, cue your tonearm, and crank that receiver to 11, because Reel Cult is coming to an independent record store near you on April 20th for Record Store Day 2024. Kicking off our series are two equally rambunctious titles, legendary composer Ennio Morricone's score for Orca, and the soundtrack to the classic Blaxploitation film Black Girl. Keep reading to get the lowdown. ENNIO MORRICONE - ORCA (MUSIC FROM THE MOTION PICTURE The only animal other than man who kills for revenge… is ORCA! Italian Maestro extraordinaire Ennio Morricone trades in his six-shooters for harpoons as he attacks the most dangerous creature in the sea, the killer whale! Morricone expertly instills his score with compassion for the oceanic familicide victim while echoing the whale’s vengeful bloodlust in a complex and rich soundtrack to the aquatic thriller. Available on vinyl in North America for the first time! Pressed on "Blood In The Water" colored vinyl, packaged in a tip-on jacket with brand-new liner notes and a fold-out poster. Dip your toes in, if you dare! VARIOUS ARTISTS - BLACK GIRL (ORIGINAL MOTION PICTURE SOUNDTRACK) Smooth Soul-Jazz at its best! Fantasy Records house producers/songwriters/engineers Ray Shanklin, Ed Bogus and Jesse Osborne collected the best soul vocal stylists including Betty Everett & Rodger Collins, and paired them with jazz giants like Merl Saunders and Sonny Stitt, to create an unforgettable musical tapestry for Ossie Davis’ seminal cinematic social commentary, 1972’s Black Girl. The music and score to Black Girl – as integral to the film as it is – makes for a timely and timeless stand-alone record as well. As fresh today as it was on its release fifty-plus years ago, Black Girl is one gem you’ll never forget. This long-sought-after rarity was cut (AAA) from the original analog tapes, and is pressed on 180-gram Clear Black Swirl-colored vinyl. Completing the package is a classic tip-on jacket.

Bereits in den 90er Jahren war ein Kinofilm zu EIN COLT FÜR ALLE FÄLLE geplant. Damals wohl noch mit George Clooney in der Hauptrolle. Nun ist Ryan Gosling Colt Seavers.

Snow Files of the Week: "Hypothermia/Scully's Discovery/Mulder's Email Message/Skinner helps Scully", aus "The X-Files", Folgen "Colony" und "End Game". Verschiedene Tracks aus zwei der wohl bekanntesten X-Files-Episoden. Mulder liegt wegen Unterkühlung im Koma und wird in ein Krankenhaus in der Arktis gebracht. Scully eilt zu ihm, nur um am Monitor zu sehen, wie Mulders Herzsignale verstummen. Marks Musik beginnt ruhig und wird dann immer treibender, um Scullys Eile zu Mulder zu kommen zu untermalen. Die restlichen Stücke stammen aus verschiedenen Szenen der Folge "End Game". Scully entdeckt ein seltsames Retro-Virus im Blut des ausserirdischen Kopfgeldjägers. Sie versucht verzweifelt, Mulder zu erreichen, kurz bevor Assistant Director Skinner auf dem Weg zu Scully in einem Fahrstuhl mit dem geheimnisvollen Informanten "X" in einen Zweikampf gerät. Die Musik wurde auf dem zweiten Set von LLL veröffentlicht. Dieses ist limitert auf 3000 Stück und ist mittlerweile ausverkauft. Viel Spaß beim Hören!

Die 3-CD-Box kommt wieder, nochmals remastered. Coming 2/13. Why is Intrada releasing INCHON again? Intrada has visited Inchon several times since they initially released their first expanded version back in 1988 and each release has sold out owing to the score’s popularity with Goldsmith aficionados. Each release also has its own anomalies, owing to the oft-discussed less-than-ideal recording circumstances that took place in Italy as well as a number of disparate session master elements. Intrada had access to voluminous rolls of tape, including the 1” 8-track masters, which themselves were folded down from the 2” 16-track tapes, numerous ½” 3-track dubdown masters which contained the mixes made for stereo prints of the picture and the ¼” 2-track stereo print masters, which were primarily identified as “safeties” by session engineer Len Engel. We also had both rolls of the original Regency ¼” album masters that included all of the edits that Goldsmith and Engel had out together for the 1982 LP. So that all adds up to a lot of tape! But each of those formats had audio issues that were compensated for by various means such as the DBX noise-reduction system championed by Inchon’s original recording engineer Engel back in the day, the Aphex Aural Exciter processing unit which he also utilized, and an artificial boosting of the high end to deal with issues on the multi-tracks that likely dated all the way back to the initial 1982 recording sessions and subsequent “dubdowns” made by Engel for the film soundtrack and subsequent record album. All of our previous releases of Inchon have been assembled and mastered from the various multi-track formats. We have worked with both Goldsmith and Engel’s initial expanded elements that were approved for Intrada’s first release of the score by the composer as well as subsequent remixes for later reissues in which we dropped the Aphex Aural Exciter processing that seemed to create audio issues of its own. The only thing we did not work with were the ¼” stereo safeties, making the same assumption that Goldsmith and Engel had determined: everything in the massive chain of tapes ahead of the safeties would be superior. But we were wrong. These ¼” mixes were leagues ahead of all the other elements we had gone through. So in all fairness to those two artists who had originally composed, conducted and engineered this powerhouse score, we simply had to go back to square one and reassemble and remaster our last 3-CD release, this time using those ¼” elements and allowing their work to sound better than it ever did before.

Die Doppel-CD ist aktuell wieder bei Intrada bestellbar.

Hier die Infos dazu: STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL 4: LIMITED EDITION (2-CD SET) LLLCD 1639 Music by Jerry Fielding, Gerald Fried, Alexander Courage and Ivan Ditmars Theme from Star Trek by Alexander Courage Limited Edition of 1701 Units RETAIL PRICE: $29.98 STARTS SHIPPING FEB 13 Available to order at www.lalalandrecords.com starting Feb 6 at 12 noon (pst). La-La Land Records and CBS Studios proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 4, the fourth in a series of limited edition CD releases that showcase original scores from the landmark sci-fi television series STAR TREK (1966-1969). Containing music originally from our long out-of-print 2012 Original Series Box Set, these exciting volumes utilize the same restored master as that acclaimed release, but feature new packaging by Dan Goldwasser, along with brand new, exclusive liner notes by film music writer and Trek historian, Jeff Bond. This groundbreaking, iconic music, from one of television’s most acclaimed and beloved series, is now again available for fans everywhere! Vol. 4 of the 1701 Collection focuses on the third-season Trek TOS music of renowned composers Jerry Fielding, Gerald Fried, Alexander Courage and Ivan Ditmars, with the “Star Trek Theme” by Alexander Courage, and contains original music from the classic episodes SPECTRE OF THE GUN, THE PARADISE SYNDROME, REQUIEUM FOR METHUSELAH, THE ENTERPRISE INCIDENT, PLATO’S STEPCHILDREN, WHOM GODS DESTROY, and THE WAY TO EDEN along with third season MAIN and END TITLES. Produced by Lukas Kendall, Neil S. Bulk and Jeff Bond, restored by Chris Malone and mastered by Doug Schwartz, this limited edition 2-CD release of 1701 units, as well as forthcoming volumes of this series, illustrate how the original Trek series scores not only teem with action, adventure and drama, but how they are infused with deep emotion and the greatness of the human spirit. Such characteristics have kept these richly orchestrated tracks vital and relevant decades beyond their original recording. TRACK LISTING: DISC 1 1. Main Title/End Title* (3rd Season, Soprano Version, Stereo) 1:15 Arranged by Alexander Courage, Conducted by Wilbur Hatch Spectre of the Gun Music Composed and Conducted by JERRY FIELDING Episode #56, Recorded 7/5/68 • Aired #61, 10/25/68 Total Time: 25:04 2. Melkots’ Warning*/ Hailing Frequencies* M11/M12 5:04 3. It Is Done! M14 1:04 4. Tombstone M15–20 1:20 5. The Clantons Lost/Death Is Real!/Tack Piano (Weird) M21/M22/M23 1:30 6. Good Morning Gents/Draw Clanton M31/M32 1:04 7. Taos Lightning/Teeth Pulling M33/M34 1:22 8. My Name—Doc Holliday/Love Scene in Old West/Chekov Gets Killed M35–40/M41/M42 4:50 9. Not Yet Our Time M44 0:47 10. One Other Place/Any Way You Can/Ten Minutes M51/M52/M53 1:15 11. We’re Trapped/Shoot Out, Part 1 M54/M55–60 3:15 12. Shoot Out, Part 2/Kirk Wins! M55–60/M61/M61A 1:11 13. It’s Gone Sir M62 0:44 14. No Title/Final Curtain* M63+M63B/M63A 1:18 The Paradise Syndrome Music Composed and Conducted by GERALD FRIED Episode #58, Recorded 7/19/68 • Aired #58, 10/4/68 Total Time: 37:11 15. Pine Trees/The Amerikinds/Tahiti Syndrome/The Brain Wash M11/M12/M13/M14 3:38 16. Episode Title/Puzzled Kirk/Miramanee/Maximum Warp*/Engine Strain M21/M22/M23/M24/M25 3:35 17. Bad Memory*/Breath of Life*/The New God/Deflection M26/M27/M27A/M28–30 3:34 18. Asteroid/Dilithium M31/M31A 1:55 19. Washday/Salish Fluffed/Potter Kirk/Naming the God/Target*M32/M33/M34/M35/M36 4:20 20. Lazy Lazer/Joining Day M37/M38–40 1:57 21. Meditating Spock/Wedding Dress/Challenge M41/M42/M42A 1:46 22. The Fight/The Ceremony/Listless Spock/Spock Cheats Doctor/Forest Montage/Troubling Dreams/Mud Map M43/M43A/M45/M46/M47–50/M47–50A/M47–50B/M50A 5:11 23. Forever Cooking/Wind/False God M51/M52/M53 2:51 24. Check-Up/Death to a False God/Mind Fusion M54/M55/M61 2:29 25. Back to Reality/The Right Words/Wounded Girl M62/M62A/M62B 2:16 26. The Right Button/Death of Miramanee/End M63/M64+M64A/M65 3:09 Requiem for Methuselah Brahms Paraphrase by IVAN DITMARS Episode #76, Recorded 1/15/69 • Aired #74, 2/14/69 Total Time: 4:37 27. Pseudo Brahms Esq. M26/M26A 2:22 28. Pseudo Brahms Esq. (alternate ending) M26 2:13 Total Disc Time: 68:28 DISC 2 1. Main Title* (3rd Season, Soprano Version, Monaural) 1:02 Arranged by Alexander Courage, Conducted by Wilbur Hatch The Enterprise Incident Music Composed and Conducted by ALEXANDER COURAGE Episode #59, Recorded 8/5/68 • Aired #57, 9/27/68 Total Time: 36:50 2. Aberrated Captain* M11 3:04 3. Surrounded/Temper, Temper M12/M13 1:14 4. Unfair Exchange M14–20+M14–20B 1:04 5. Vulcanian Cahoots M21 3:34 6. Hemmed In/Vulcanization M22/M31 0:48 7. Konked Kirk M32 3:42 8. Vulcanized M33 1:14 9. Kirk Rekirked M41 1:21 10. Back From Dead/Commandeered M42/M43–50 6:32 11. Back to Business M51 2:14 12. Stolen Device M52 2:51 13. Reworked*/Deposition/Sweaty Scotty M53/M54/M55–60 1:50 14. Free Enterprise* M61 6:20 15. Ear Bob* M62 0:36 Plato’s Stepchildren Music Composed and Conducted by ALEXANDER COURAGE Episode #67, Recorded 10/25/68 • Aired #65, 11/22/68 Total Time: 26:46 16. Giant Dwarf* M11 0:46 17. Meet the Folks/Soaring Syringe M12/M13 1:09 18. Episode Titles M14 0:46 19. Delirium Parmen’s* M15–20 2:34 20. Reluctant Guests/Psychokinetic Effect M21/M21A 0:30 21. The Frog (Alexander’s Song) (vocal: Michael Dunn) M22A 0:27 22. Slap Unhappy M23 0:41 23. Cut Off/I Hear You Calling M24/M25+M25A 0:46 24. Psychokinetic Shenanigans/Stopped Cold M26/M31 1:18 25. Groveling Kirk M32+M32A 2:47 26. Dancing Spock M33 3:49 27. Spock Brought/New Talent M41/M51 0:54 28. The Aristocrats/Flung About M52/M53 1:25 29. Orgy Porgy M55–60 5:59 30. Brain Bout M61 1:52 31. The Little Visitor* M62 0:38 Whom Gods Destroy Music Composed and Conducted by Alexander Courage Episode #71, Recorded 10/25/68 (With “Plato’s Stepchildren”) Aired #69, 1/3/69 32. Arab Hootch Dance (Hootchie Kootchie) LM133 1:44 The Way to Eden Songs by Arthur Heinemann, Charles Napier and Craig Robertson Music Director: Wilbur Hatch Episode #75, Recorded 11/20/68 • Aired #75, 2/21/69 Total Time: 7:27 33. Beam-In Sweetener M6 0:04 34. Looking for a New Land (vocal: Charles Napier) MV1 1:31 35. Like Hail (vocal: Napier) MV3 0:13 36. Hey, Out There! (vocals: Charles Napier and Deborah Downey) MV2 2:48 37. Far Out Jam (William Pitman) M8/MV5A 1:14 38. Headin’ Out to Eden (vocal: Napier) MV4 1:04 39. Headin’ Out to Eden (instrumental tags) M7A tk 2, 1 0:24 40. End Title* (3rd Season, Soprano Version, Monaural) 0:45 Arranged by Alexander Courage, Conducted by Wilbur Hatch Total Disc Time: 75:04 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry This is a CD format release.

Und schon folgt Vol. 4.

Remastered release of complex Jerry Fielding horror score! Michael Winner directs eerie, chilling take on characters from famous novel “The Turn Of The Screw” by Henry James, set in Victorian England, scripted by Michael Hastings, presented by Joseph E. Levine, with Marlon Brando taking center stage in front of the camera as Peter Quint. In this newly imagined “prequel”, gardener Quint corrupts both children at the center of the tale, ultimately is slain by an arrow shot from the crossbow of teenage boy Myles. Violence and sadism rear, and even sadomasochism has a role in the horror. Jerry Fielding, frequent composer of choice for director Winner, tackles extremely challenging assignment: The music must rest comfortably in the period English vernacular and it needs to underscore the graphic horror and perverse sex taking place within this idyllic countryside locale. It does both in spades! Fielding uses crisp brass fanfares to bookend the story, with swirling consonant musical figures in tow. It is pleasant, even imposing. But lurking ahead are dark, complex sequences for strings that feature memorable sliding lines moving about in opposite directions with a degree of dissonance, ultimately cadencing on chords that exploit bitonality and even polytonality. This is serious interior writing! It is not a lengthy score, running just under 40 minutes, but offers more music for thought than many a longer work. One really cool highlight out of several: After Fielding brings back his opening herald and returns to the English vernacular, he reveals some deception and wraps instead with the dark, shifting string lines as the “Postlude” plays under the brief end credits. Fielding brilliantly ushers us in theory to the storyline in the novel. Trivia: The novel itself was filmed before in 1961 as The Innocents, directed by Jack Clayton, with Deborah Kerr in the lead. Courtesy of StudioCanal, the entire score has been remastered and otherwise features the same contents as our previous CD release, long out of print. Booklet design by Joe Sikoryak, original 2008 liner notes by Nick Redman included. Score recorded, mixed by Richard Lewzey at Cine-Tele Sound Studios (CTS) in London. Greig McRitchie, Lennie Niehaus orchestrate, Jerry Fielding composes, conducts. Intrada Special Collection CD available while quantities and interest remain! Play all clips 01. Main Title (2:49) 02. The Smoking Frog (2:12) 03. Bedtime At Blye House (3:07) 04. New Clothes For Quint (0:40) 05. The Children’s Hour (1:25) 06. Pas De Deux (1:29) 07. Like A Chicken On A Spit (1:01) 08. All That Pain (1:02) 09. Summer Rowing (2:07) 10. Quint Has A Kite (1:03) 11. Act Two Prelude: Myles In The Air (0:59) 12. Upside Down Turtle (1:40) 13. An Arrow For Mrs. Grose (0:36) 14. Flora And Miss Jessel (1:16) 15. Tea In The Tree (1:07) 16. The Flower Bath (2:26) 17. Pig Sty (1:41) 18. Moving Day (0:59) 19. The Big Swim (3:35) 20. Through The Looking Glass (2:45) 21. Burning Dolls (2:11) 22. Exit Peter Quint, Enter The New Governess; Recapitulation And Postlude (2:08) Total Score Time: (38:19) THE EXTRA 23. Pub Piano (2:18) Total CD Time: 40:37

Snow Files of the Week: „The Seeds Of Mistrust", aus „The X-Files", Episode „Kitten" (2018). In dieser Folge aus der elften Staffel erfahren wir etwas mehr über Assistant Director Skinner. Während des Vietnam-Krieges diente Skinner bei den Marines. Zusammen mit seinem Kameraden John „Kitten" James soll er eine Kiste mit der Aufschrift MK-NAOMI eskortieren. Sie werden angegriffen und beide müssen sich in einer Hütte mit anderen Zivilisten verstecken. Während Skinner einem verwundeten Soldaten hilft, wird die Kiste von Kugeln getroffen und ein grünes Gas tritt aus, welchem John ausgesetzt wird. Als Skinner in die Hütte zurück kommt, sieht er, dass „Kitten" alle Zivilisten ermordet hat. In der Gegenwart werden Mulder und Scully auf die Spur Skinners gesetzt, der spurlos verschwunden ist. Etwas aus der Vergangenheit ist wieder aufgetaucht. In diesem Stück zeigt sich Mark wieder von seiner melancholischen Seite. Ein geisterhafter Chor singt über die sanften Streicher und Piano-Motive, das X-Files-Thema taucht kurz auf, bevor das Stück mit einer wehmütigen Solo-Trompete endet. Die Tracks stammen vom 2CD-Set von LLL, welches auf 3.000 Stück limitiert ist. Viel Spaß beim Hören!

Vielleicht war auch einfach die Luft raus. Beide zogen sich dann ja auch aus der Musik zurück und wurden Filmproduzenten. Ihre Rückkehr zur Musik ist ja noch gar nicht so lange her und beschränkt sich bisher ja auch hauptsächlich auf Wiederveröffentlichungen, beziehungsweise Konzerten mit den alten Hits. In den 80ern schien bei ihnen tatsächlich das Motto gewesen zu sein „Hauptsache schnell und günstig". Das ging meines Erachtens schon früh los. Auch ein Song wie „Fantasy" aus DER BOMBER von 1982, obwohl einer meiner Lieblingssongs der beiden, hat bereits diesen dünnen Sound. Und das setzte sich dann weiter fort. Bis hin zu den Neueinspielungen der alten Spencer/Hill-Songs, die ebenfalls von den Arrangements und der Produktion her ausgedünnt wurden. Dazu kam dann noch, dass sie viele Songs einfach mehrfach für verschiedene Filme verwendeten. Bei der TV-Serie CINDERELLA mit Bonnie Bianco beispielsweise tauchen auch Songs auf, die es schon gab. Der „Pizza"-Song tauch sowohl hier, als auch wieder bei BIG MAN auf. Und „Santa Maria" ebenfalls. Wie gesagt, vielleicht war bei beiden einfach die Luft raus und sie wollten eigentlich etwas anderes machen. Aber haben es eben noch weiter gemacht, um vielleicht eine bessere finanzielle Basis zu haben, um eben ins Filmgeschäft als Produzenten einsteigen zu können.

HALLOWEEN II ist nach 40 Jahren nicht mehr beschlagnahmt. Die Listenstreichung erfolgte nun und damit kann die, im Vergleich zu späteren Teilen der Serie, fast schon harmlose Fortsetzung des Originals nun auch ungekürzt auf deutschen Datenträgern und Streamingportalen gesehen werden. Das Label NSM aus Österreich hat ihn zwar schon lange ungekürzt auf Blu-ray und sogar 4k veröffentlicht, sogar auf Amazon konnte man diese Version schon lange kaufen, aber nun ist er auch offiziell nicht mehr beschlagnahmt.

Snow Files of the Week: "Threnody in X/Quitting/Plague (Alternate Segment)" aus dem Film "The X-Files - Fight the Future" (1998). Für den ersten X-Files-Film übertrug Mark seine elektronischen Klanglandschaften auf ein Orchester. Er überraschte sogar einige der Produzenten damit, als er plötzlich auf dem Dirigentenpult auftrat. Für sie war er eigentlich nur der "Synthesizer guy". Einige Ausschnitte aus der Musik tauchen auch in der Serie auf, wie im Finale der fünften Staffel, "The End".  Zum Kinostart erschien ein Score-Album, welches leider Klangprobleme hat. Die Stereo-Kanäle sind vertauscht, was zu einem muffigen und flachen Klangbild führt. Ende 2014 veröffentlichte LLL ein expandiertes Album der Musik, welches nicht nur die Klangprobleme beseitigte, sondern auch mehr Musik enthält. Ausserdem gibt es ein sehr informatives Booklet mit nicht einem, nicht zwei, sondern gleich drei Interviews mit Mark Snow aus unterschiedlichen Zeitperioden vor, während und nach dem Film. Das expandierte Album ist limitiert auf 3.000 Stück.  Viel Spaß beim Hören!

Komponistenwechsel bei den Geisterjägern. Nachdem Rob Simonsen für GHOSTBUSTERS AFTERLIFE einen wirklich schönen Score schreiben durfte, ist nun Dario Marianelli an der Reihe, der Fortsetzung den hoffentlich nötigen Sound zu verpassen.

Zum ersten Mal überhaupt erscheint der Score zu THE EXORCIST III als Album. Waxwork Records haben ihn angekündigt, allerdings scheint er nur auf Vinyl zu erscheinen. CD oder Streaming wurden bisher nicht erwähnt.

Vielleicht, um so was wie bei Varese zu vermeiden.

Wenn ich es richtig verstanden habe, dann sollte eigentlich nur OCTOPUSSY verspätet sein. LIVE AND LET DIE sollte heute erscheinen und OCTOPUSSY Ende Januar. Das hat MV zumindest vor einigen Tagen verlauten lassen. Dazu wurde gemeldet, dass beide Releases sich sehr gut verkaufen und der erste Schwung schon fast weg ist. Sie werden den Titel wohl nicht von der Seite genommen haben, damit ihn erstmal keiner mehr bestellen kann. Dafür hätte ja auch das übliche OUT OF PRINT auf der Produktseite gereicht.

Snow Files of the Week: "Choices/Finis" aus "Private Fears in Public Places (aka Coeurs)" (2006). Der Film war die erste Zusammenarbeit zwischen Snow und dem französischen Regisseur Alain Resnais. Resnais unterlegte den Rohschnitt des Filmes mit Musik aus "The X-Files" und "MillenniuM". Es ist also kein Wunder, dass Snows Score hier und da an die beiden Serien erinnert. Marks Musik ist sehr melancholisch und sanft, passend zur Atmosphäre des Filmes, in dem es ständig schneit. Der Film folgt einer Gruppe von Menschen im winterlichen Paris, die auf die eine oder andere Art nach der Liebe suchen. Letztenendes ist es aber ein Film über Einsamkeit. Snows Musik wurde im Film ziemlich zerhäckselt. Resnais benutzte nur kurze Schnippsel der Musik, zwischen 10 und 20 Sekunden lang, um die Übergänge zwischen den einzelnen Geschichten und Personen zu untermalen. Nur der Main Title, der Schluss und unter anderem das Stück "Choices" tauchen auch so im Film auf (letzteres allerdings ebenfalls nur gekürzt). So kann man den Score komplett nur auf der CD bewundern, welche BSX limitiert auf 1000 Stück veröffentlicht hat. Viel Spaß beim Hören!

Neuauflage von Intrada: Classic early James Horner score makes a new appearance! With the kind assistance of Simon Rhodes, the composer’s long time scoring mixer of choice, and the generous help of our dear friends at Walt Disney Records, we are happy to bring back this sensational and frightening 1983 score that James Horner composed for Ray Bradbury’s Something Wicked This Way Comes, released through Walt Disney Productions, and just one of no less than eight films scored by Horner that year. Jack Clayton directs, Ray Bradbury scripts from his own novel, Jason Robards, Jonathan Pryce, Diane Ladd, Pam Grier star. Modestly expanded from our earlier release, this newly remastered release includes the music that Horner and Rhodes opted to delete from that release. This new look at the score includes everything that survives from the now-obsolete 3M digital format masters, made for us by the team at Disney Imagineering, who had preserved a rare working machine for playbacks. While Rhodes was now able to provide just a few more minutes of music, the new material included, a last, the subtle and chilling wordless choral cues associated with “The Dust Witch” and the spooky “Holloway Talks To Dark” as well as the source music recorded at the sessions, composed and arranged by Horner’s orchestrator, Greig McRicthie. Horner had only been scoring films for four years when he tackled this famous horror tale, but his dramatic instincts and emotional approach to composing was already in evidence. This is displayed vividly from the outset with the “Main Title And Prologue”, where the intense, imposing theme for the train with its approaching evil carnival rises in powerful manner for the titles, develops in surging fashion then segues into a warm triple-meter theme that literally soars with rich major chords as the previous scary images now become orange autumnal leaves falling in small town America during October, with two young boys romping with nary a care in the world… until Mr. Dark’s Pandemonium Carnival changes everything. Both themes recur, with Mr. Dark dominating much of the activity, including hypnotic forays into new ideas, terrifying motifs for the tarantula “Spiders”, rising and falling figures throughout the orchestra, demented calliope interjections and numerous other highlights before finally wrapping in sunny warmth with the nostalgic waltz-theme, right down to the wistful appearance of harmonica, as the tale concludes. The entire score is presented in crisp, detailed stereo. Executive producer Roger Feigelson offers detailed descriptions of the film and music cues in his informative notes and provides the original cue titles as indicated on Disney’s scoring session paperwork. James Horner and Simon Rhodes are producers of the original Intrada album with Rhodes remastering, Chris Malone newly assembling for this 2024 edition. Grieg McRitchie orchestrates, James Horner composes, conducts. Intrada Special Collection CD available while quantities and interest remain! Play all clips 01. Main Title And Prologue (6:48) 02. The Dust Witch (2:03) 03. Jim Buys A Lightning Rod (3:28) 04. Fury And The Dust Witch (2:16) 05. Formation Of The Carnival (4:30) 06. The Peep Show (2:01) 07. On The Merry-Go-Round (4:35) 08. The Chase (3:47) 09. Spiders (3:25) 10. Holloway Talks To Dark (1:38) 11. The Library Pt. 1 (6:52) 12. The Library Pt. 2 (4:49) 13. End Title (2:48) Total Score Time: 48:59 THE EXTRAS 14. Lottery Look (2:06) 15. Night Dance (1:52) 16. Tetley’s Calliope Waltz (1:07) 17. Clown March No. 1 (2:05) 18. Clown March No. 2 (1:42) 19. Beethoven Dirge (1:48) Total Extras Time 9:27 Total CD Time: 59:31

Wie an anderer Stelle schon geschrieben dachte ich damals im ersten Moment bei der Ankündigung von Vareses großem Sale, dass es das nun ganz war mit Varese. Im Grunde verwalten sie ja nun schon seit Jahren eigentlich nur noch ihren Katalog und auch die aktuellen Probleme klingen eher so nach Untergangsstimmung. Ich glaube auch, dass das Label Varese eigentlich nur noch auf dem Papier existiert und alles nur noch vom Mutterkonzern verwaltet wird. Bei CITY HALL ging ich, trotz Goldsmith, sowieso nicht davon aus, dass sich die 2.000 Stück so schnell oder überhaupt verkaufen würden. Vermutlich hat die Sache mit dem Pressfehler und den Ersatzlieferungen den sowieso schon schmalen Gewinn noch mehr geschmälert oder ganz aufgefressen, dass entschieden wurde, die weiteren Exemplare nicht mehr zu pressen. Oder man rechnet die Ersatzlieferungen einfach zur Auflage dazu. 1.000 Leute haben bestellt, 1.000 Ersatzlieferungen brauchen wir, also ist die Auflage ausverkauft. Dagegen spricht natürlich, dass Varese es so kommuniziert hat, dass nachgepresst wird, wenn ich mich recht erinnere. Aber wer weiß, was seitdem passiert ist und was da im Hintergrund läuft, wenn jetzt schon Bestellungen vom Label aus storniert werden.

Kommt Ende Februar:

Ebenfalls von Quartet: Quartet Records presents a double CD that features several non-film compositions by Pascal Gaigne, a composer with whom we have proudly worked for fourteen years on a total of 28 albums. A sunny, enigmatic composer, Gaigne has patiently developed, alongside an impressive output of music for film and intense activity as a stage musician, a catalog of challenging works drawing on instrumental, vocal and electronic resources. These encompass a very broad musical spectrum, including electroacoustics and microtonality, constantly reinventing the relationship between traditional music and symphonic music—particularly of the 20th century. Gaigne is also one of those composers who can move with equal ease from instrumental writing to acousmatic composition (a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance), and to their synthesis. This album gathers 10 pieces from his catalog—only the tip of the iceberg of his entire musical production. Produced by the composer and mastered by Mikel F. Krutzaga, the package includes a 28-page booklet with exclusive liner notes by Bertrand Dubedout. This album represents, once again, the powerful and unique voice of Pascal Gaigne within the contemporary European music community. DISC 1 1-3 Alphabet (12:28) 4. Avant la Nuit (14:03) 5. Mnémophonia (9:15) 6. Iris (5:43) 7. Ecuador (12:27) DISC 2 1. Styx (11:42) 2. Traversées (15:04) 3-7. Ké (9:25) 8. Shen (13:26) 9. Boréal (14:16)

Quartet legt den Score in der LLL-Version als Doppel-CD und zusätzlich als (gekürzte) Doppel-LP neu auf: Quartet Records and StudioCanal present the CD return of John Debney’s symphonic opus for the adventure classic CUTTHROAT ISLAND. Directed by Renny Harlin and starring Geena Davis, Matthew Modine and Frank Langella, the movie is a big-budget, swashbuckling throwback about Morgan Adams, a female pirate, and her crew racing to find a hidden island containing a fabulous treasure before her uncle, Dawg Brown. Along the way there are sword fights, chases, storms at sea and all sorts of high adventure, all produced on an epic scale. Keeping up with the massive visuals was composer John Debney (HOCUS POCUS, WHITE FANG 2, LITTLE GIANTS, THE PASSION OF CHRIST) who led the London Symphony Orchestra and the London Voices for the recording. Considered one of the 90s best adventure scores, and one of Debney’s most highly regarded works, this orchestral tour de force returns to CD with the same expanded program as the previous La-La Land Records album released in 2016 and long sold out. This reissue has been produced by Neil S. Bulk, and mixed and mastered by Mike Matessino. The package includes a 16-page booklet with updated liner notes by Jeff Bond and original artwork by Drew Struzan. DISC ONE Main Title: Morgan’s Ride (4:43) The Rescue (3:43) Purcell Snatcher (2:59) Shaw Is Caught (1:17) The Funeral (1:33) Morgan In Command (2:50) The Language Of Romance (2:42) A Lady Scorned (1:38) The Chase Begins / Carriage Chase (7:29) Ainslee Plots / To Spittlefield / Uncle Mordechai (5:40) Morgan Captured / Sword Fight (5:30) Escape From Mordechai’s (2:12) Setting Sail (1:06) Charting The Course (2:22) First Kiss (1:56) Dawg’s Plan / Shaw Discovers Location (3:22) The Betrayal (2:16) The Storm Begins (2:45) To The Bottom Of The Sea (2:46) The Island (3:40) Shaw Steals The Map (3:33) Discovery Of The Cave (Extended version) (5:28) DISC TWO Discovery Of The Treasure (2:23) Caught (1:37) Dawg’s Pets (2:16) The Big Jump (2:40) Shaw Captured (2:33) Morgan Takes The Ship (4:32) The Hangman’s Noose (3:56) The Battle (6:12) To Dawg’s Ship (2:32) Morgan Battles Dawg (6:05) Dawg’s Demise / The Triumph (3:35) It’s Only Gold / End Credits (Extended Version) (10:01) The Wedding Waltz (2:49) Main Title: Morgan’s Ride (Alternate Take Without Choir) (4:39) Carriage Chase (Album Ending) (7:22) Dawg’s Demise / The Triumph (Without Choir) (3:34) Morgan’s Ride and The Rescue (Synth Demo Version) (7:30) Total Disc 1: 71:38 Total Disc 2: 74:30 Total 2-CD Time: 146:08 Quartet Records and StudioCanal present the premiere vinyl release of John Debney’s symphonic opus for the adventure classic CUTTHROAT ISLAND. Directed by Renny Harlin and starring Geena Davis, Matthew Modine and Frank Langella, the movie is a big-budget, swashbuckling throwback about Morgan Adams, a female pirate, and her crew racing to find a hidden island containing a fabulous treasure before her uncle, Dawg Brown. Along the way there are sword fights, chases, storms at sea and all sorts of high adventure, all produced on an epic scale. Keeping up with the massive visuals was composer John Debney (HOCUS POCUS, WHITE FANG 2, LITTLE GIANTS, THE PASSION OF CHRIST) who led the London Symphony Orchestra and the London Voices for the recording. Considered one of the 90s best adventure scores, and one of Debney’s most highly regarded works, the original soundtrack program is now available for the first time in a deluxe 2XLP set, produced by Neil S. Bulk, mixed by Mike Matessino and mastered by Chris Malone. Pressed on 180 gram audiophile black vinyl and packaged in a gatefold jacket featuring Drew Struzan’s original painting. DISC 1 SIDE A Main TItle: Morgan’s Ride (4:42) Carriage Chase (7:21) The Language of Romance (2:42) Setting Sail (1:06) SIDE B To the Bottom of the Sea (2:46) Morgan Takes the Ship (4:32) The Funeral (1:32) The Rescue (3:43) Discovery of the Treasure (2:21) The Big Jump (2:43) DISC 2 SIDE C The Storm Begins (2:36) Morgan Captured / Sword Fight (5:25) Shaw Steals the Map (3:33) Escape From Mordechai’s (2:11) Charting the Course (2:21) First Kiss (1:58) SIDE D The Battle (6:13) Dawg’s Demise / The Triumph (3:34) It’s Only Gold / End Credits (9:47)

Quartet schiebt noch eine Vinyl nach. Quartet Records and Paramount Pictures present the premiere vinyl edition of Ryuichi Sakamoto’s classic score for 1992 adaptation of Emily Bronte’s WUTHERING HEIGHTS, starring Ralph Fiennes and Juliette Binoche, and directed by Peter Kosminsky. Ryuichi Sakamoto (1952–2023) was one of the most personal and important voices of the world music scene for several decades: from rock to pop, new age, opera, concert music, electronic and film music, no genre was foreign to him, and he managed to stamp his own style on each of them. His acclaimed score for WUTHERING HEIGHTS is written in the symphonic tradition of his scores for Bernardo Bertolucci’s THE LAST EMPEROR (for which he won the Oscar for Best Original Score) and LITTLE BUDDHA. One of Sakomoto’s most special and beloved scores, WUTHERING HEIGHTS is haunting, beautiful, romantic and tragic. Specially mastered for vinyl by Chris Malone from original stereo master tapes and following the order of the original album produced by Sakamoto, the album is presented on 2XLP 180 GM clear transparent vinyl, in an elegant gatefold with images of the film. DISC 1 SIDE A Main Title / Haunted House / Ghost (7:12) Home / Growing Up (4:19) Omen (3:29) Cathy And Edgar (0:52) Where Is Heatchcliff? (0:56) Christening (0:56) SIDE B Betrayal (2:04) I Am Heathcliff (3:24) Grange (1:25) The Plot (1:33) The New Owner / The Last Kiss (3:23) Switching Sides (1:02) Elopement / Hallucination (3:37) DISC 2 SIDE C Isabella The Abused (0:47) Wasted Lives (3:37) Catherine Dies (3:17) Young Catherine (1:10) Letter (2:55) Subjugation (1:57) The Marriage (2:36) Hareton And Catherine (2:12) SIDE D Catherine’s Return (1:43) Beckoning (1:58) Main Theme And End Titles (7:51) Main Theme (Piano Version) (5:15)

Kommt wohl Ende Februar:

Snow Files of the Week: "The Smell of Zombies/The End of the Crusade" aus der X-Files-Folge "Millennium" (1999). Chris Carters zweite Serie "MillenniuM" endete vor dem Jahr 2000 (das Finale der Serie spielt im Mai 1999 und endet eigentlich mit einem Cliffhanger). Also suchten Carter und sein Team nach einer Möglichkeit, die Geschichte um Frank Black und der MillenniuM-Gruppe abzuschliessen. So kam es zu einer Crossover-Folge in der siebten Staffel der X-Akten. Trotz großer Enttäuschung vieler Fans über das Crossover (nach drei Staffeln "MillenniuM" mit seinem ganzen "story arc" endet es mit Mulder und Frank Black, die in einem Keller Zombies erschiessen), bleibt der herausragende Score von Mark Snow. Es gab ihm die Möglichkeit, die klagende Violine aus "MillenniuM" mit den Klanglandschaften der X-Files zu kombinieren. Und als Mulder und Scully sich endlich küssen, während sie im Fernsehen die Feierlichkeiten zum neuen Jahr 2000 verfolgen, baut Snow das traditionelle "Auld Lang Syne" in seine Musik ein, die mit einem raren Aufblitzen des X-Files-Themas endet. Die Musik wurde auf dem ersten 4-CD-Box-Set von LLL veröffentlicht, welches auf 2000 Exemplare limitiert ist. Frohes neues Jahr!