Alexander Grodzinski

Ich musste bei Trekfans Post etwas schmunzeln. Denn es ist schon bezeichnend, dass ein User, der sonst eigentlich selbst nicht mehr viel aktiv zum Forum beiträgt, sofort zur Stelle ist, um ein Like zu geben, wenn die Schließung des Forums gefordert wird. Das ist für mich die eigentliche Ironie. Aber scheinbar ist das Forum doch noch wichtig genug, dass man sich täglich einloggt und mitliest. Im Grunde ist die Diskussion ja nichts Neues. Dass mehr und mehr Leute zu Facebook abgewandert sind, ist nun auch keine neue Entwicklung. Facebook hat aber auch eine ganz andere Diskussionskultur. Ja, es herrscht dort in der Gruppe mehr Leben und es werden auch mehr Themen behandelt. Aber sieht man genauer hin, dann sind auch dort Themen wie Bond, Star Wars, Indy, Williams allgemein, Marvel/DC, vorherrschend. Und zieht man dann noch die Kommentare ab wie „Finde ich auch" oder „Super", bleibt auch dort oftmals nicht sonderlich mehr übrig von einer Diskussion. Und Veröffentlichungen abseits des US-Marktes, von Music Box oder Quartet, gehen dort meist ebenso ohne Reaktion unter. Und gefühlt sind es dort auch nur die immer gleiche Handvoll Leute, die sich die Mühe machen, auch mal längere Texte zu schreiben, während der Rest bei Einzeilern oder Likes bleibt. Mal abgesehen davon, dass das Posten dort immer noch recht unübersichtlich ist, wenn ich mir anschaue, wie oft gleiche Themen oder Veröffentlichungen gepostet werden, weil derjenige einfach nicht mitbekommen hat, dass jemand anderes schneller war. Facebook hat natürlich auch Vorteile, die ein Forum nicht hat. Vor allem natürlich die Bequemlichkeit, man braucht keinen eigenen Account für die Gruppe, kann auch mal schnell einen Einzeiler raushauen und so weiter. Im Grunde finde ich es eher faszinierend, dass es unser Forum noch gibt. Denn damit hat Trekfan recht: Marcus als Betreiber und Inhaber schaut nicht mehr so oft vorbei und von dem ehemals großen Team aus Moderatoren und Admins sind eigentlich nur noch Mephisto und ich übrig. Natürlich hat man in einem Forum, in dem noch vier, fünf User aktiv posten, auch nicht mehr so viel zu moderieren. Aber das Forum „läuft" dennoch beständig weiter, trotz dem es schon oft für tot erklärt wurde. Auf der anderen Seite kann ich die Einwände von Stefan ebenfalls verstehen. Was bringt mir ein Forum, wenn ich dort niemanden habe, mit dem ich mich über die Dinge unterhalten kann, die mich interessieren? Oder ich mir die Mühe mache, etwas über eine Veröffentlichung oder einen Score zu schreiben, aber keine Reaktion darauf erfolgt? Das ist dann der hier schon oft zitierte Alleinunterhalter. Was aber dagegen tun? Man kann die Leute nun mal nicht zum Schreiben zwingen. Und viele bleiben einfach auch bei dem, was sie kennen und mögen und lesen/kommentieren Sachen abseits davon gar nicht. Es ist natürlich aufwändiger, einen längeren Text zu schreiben, als einfach nur einen Einzeiler oder ein Like auf Facebook zu geben. Und die Motivation dazu schwindet natürlich, wenn es dann zu keinen Reaktionen kommt. Aber bei allen Gründen, die vielleicht für eine Schließung sprechen, denke ich mir eben auch: Damit „bestraft" man eher die Leute, die sich tatsächlich noch aktiv beteiligen. Denn allen anderen ist es ja eh egal (oder auch nicht, siehe meinen ersten Absatz ).

Von Quartet: Quartet Records, in collaboration with Universal Music Publishing Italia and EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s fascinating score for Folco Quilici’s OCEANO (1971), a pseudo-documentary film about a young Polynesian, Tanai, who goes in search of the island of his dreams. On an epic sea voyage from Polynesia to Alaska, aboard a tiny fragile raft, he is guided by the voices of his ancestors. Morricone’ score for OCEANO seeks to merge nature with mythology. It breathes, vibrates, transmits, and is characterized by its episodic and atmospheric structure, taking the form of an evocative soundscape. The composer draws on resources that recall a primitive, spiritual component: tribal percussion (tablas and bongos), solo woodwinds (flutes and clarinets), guitar, sitar, clanging metal and harp. The fusion of timbres in this instrumentation is unconventional. He expressively sets to music ideas associated with wind or nature, sound textures that construct Tanai’s intimate journey: we hear the sea, we feel the air roaring over the sail of his canoe, the danger lurking in the ocean, his loneliness. The music is another character that gives the film a lyrical dimension and complements the visual element, transcending its narrative function to become a gateway to meditation on the mystery of the sea and existence. Through his unmistakable style, Morricone invites us to immerse ourselves in a world of introspection, beauty and silent emotion. The original 40-minute program was released on vinyl in 1971 in Italy and Japan, and both LPs quickly became collector’s items. The same program was reissued by RCA on CD in 1993 paired with Morricone’s score for L’AVVENTURIERO. In 2010, the complete 70-minute score with all the music recorded by Morricone was released on CD by the GDM label, which quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original master tapes. The beautiful package includes in-depth liner notes by Miguel Ángel Órdóñez. Oceano 4:03 Isola di Pasqua 2:01 Vulcano 1:01 Speranza per una Terra Amica 1:36 Le Maschere Morte 2:43 Il Vento è il Vento e Soffia Dove Vuole 4:47 Tanai 2:18 Odissea 1:58 Notte 1:40 Piccola Ouverture 1:46 Viaggio 3:03 Il Sole è il Sole e Brucia Ciò Che Vuole 3:30 Partenza 2:14 Il Vento è il Vento e Soffia Dove Vuole (#2) 10:42 Viaggio (#2) 1:23 Oceano (#2) 2:03 Isola di Pasqua (#2) 4:11 Notte (#2) 4:24 Partenza (#2) 1:13 Odissea (#2) 3:34 Oceano (#3) 6:19 Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of Ennio Morricone’s iconic poliziesco score for Sergio Sollima’s REVOLVER (1973), a violent Italian-French thriller starring Oliver Reed and Fabio Testi. In the film, a prison warden is forced to exchange a French criminal for his kidnapped wife, but they soon find themselves on the trail of a larger conspiracy. For REVOLVER, Morricone created the original song “Un Amico,” performed by Daniel Beretta, which is possibly one of the most beautiful melodies written by the Roman maestro (it was included by Tarantino in a key sequence of INGLOURIOUS BASTERDS). Morricone also provides a wistful and playful love theme (“Anna”) and several background source cues in his inimitable style. Another major ingredient of the score is a cue titled “Revolver” or “Inseguimento e Fuga” (Chase and Escape). Morricone composed a 12-minute version of this dynamic piece as well as other varied arrangements to fit different moments in the film. “Revolver” is a driving, staccato piece of music for piano and orchestra that repeats and builds, creating a dark, propulsive atmosphere in the style that became Morricone’s shorthand for crime and gangster action. He took very similar approaches in the American gangster films STATE OF GRACE, THE UNTOUCHABLES and BUGSY. The original LP of REVOLVER was released in 1973 by General Music in Italy and reissued in 1977 in Japan. Subsequently, the same program was reissued on CD several times, in Germany (Allhambra), Italy (Dagored), and Japan (Seven Seas). An expanded edition with virtually all the music recorded by Morricone for the film was releaased by GDM in 2006 and quickly sold out. This is a reissue of that edition, supervised by Dániel Winkler and Claudio Fuiano, and completely remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by film music writer Jeff Bond. Un amico 2:39 Revolver 12:44 Anna 2:09 Quasi un Vivaldi 1:58 Pericolo per Anna 1:50 Un amico (Titoli) 2:39 Inseguimento e fuga 3:42 In un bar 2:26 Rapimento 2:31 In un altro bar 2:12 Un amico (Versione con chitarra 12 corde) 1:15 Revolver (Suspense) 1:47 Anna (#2) 4:39 Quasi un Vivaldi (#2) 3:09 Inseguimento e fuga (#2) 3:29 In un altro bar (#2) 2:08 Rapimento (#2) 1:40 Un amico (Versione tromba) 2:34 In un altro bar (#3) 2:54 Inseguimento e fuga (#3) 3:38 Un amico (Versione synth) 2:47 Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1973 romantic drama QUESTA SPECIE D’AMORE, directed by Alberto Bevilacqua. The film is about Federico (Ugo Tognazzi), who is married to Giovanna (Jean Seberg), a rich and attractive woman who has guaranteed him an excellent social position. His father, Giuseppe, on the other hand, is an anti-fascist and works as a craftsman. Following in the footsteps of his previous collaboration with Bevilacqua on LA CALIFFA, Morricone wrote a radiantly passionate score for QUESTA SPECIE D’AMORE, featuring one of his most heartfelt and profound love themes and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines Federico’s loneliness and the breakdown of his marriage. The original album program was released on vinyl in 1973 by General Music. The same program had its first digital release by GDM on CD in 1993, paired with Morricone’s score for MADDALENA. In 2000, Screen Trax issued an expanded edition in Italy. The first complete edition with all the music recorded by Morricone for the film was released solely in Japan by Verita Note in 2007, which was quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez. Questa Specie D’Amore 2:37 Federico e la Sua Solitudine 2:44 Roma Baldracca 5:06 La Terra del Padre 2:54 Giovanna e Federico 4:01 Al Popolo di Parma 2:46 La Madre 3:55 Ouverture del Mattino 5:28 Questa Specie D’Amore (#2) 3:24 La Terra del Padre (#2) 1:20 Roma Baldracca (#2) 1:47 Giovanna e Federico (#2) 2:30 La Terra del Padre (#3) 1:19 Questa Specie D’Amore (#3) 1:26 Federico e la Sua Solitudine (#2) 2:44 La Terra del Padre (#4) 1:19 Questa Specie D’Amore (#4) 1:44 Total Disc Time: 47:13 Quartet Records, in collaboration with EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s impressive, epic score for Gillo Pontecorvo’s ambitious, slavery-condemning 1969 production QUEIMADA (aka BURN!), starring Marlon Brando. The film tells the story of a British mercenary who in 1844 helped the slaves of an Antilles island colony revolt and gain independence for the island from Portugal, but later returned to hunt down a local rebel leader and former protégé. Because they previously worked together with great success on THE BATTLE OF ALGIERS, the next collaboration between Morricone and Pontecorvo was eagerly awaited. The composer rose to the occasion, writing a monumental score, led by the freedom hymn “Aboliçao”, a kind of beat Luba-mass. The music of QUEIMADA is characterized by its rich textures, dramatic contrasts, and a fusion of European, African, and Latin American elements. Morricone avoids falling into decorative folklore, instead creating a deeply emotional score, using both traditional orchestra and choir, organ, tribal percussion, electric guitars and Hammond organ, generating a fascinating hybrid soundscape. In 1969, only a 45-rpm single was released in Italy and France with the hit “Aboliçao.” The score was not released on LP until 1971 when United Artists Records issued it in the U.S .and Japan. The CD has had different editions in Italy, from a weird selection of just nine cues on the ViviMusica label, along with some spaghetti western themes, to a first expanded edition of 26 cues in 2001 and the complete 31-cue score in 2012, both by GDM. This is a reissue of the latter, supervised by Dániel Winkler and Claudio Fuiano, and completely restored, edited and remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez. Aboliçao 5:06 Queimada Prima 1:28 Queimada (Anche i Portoghesi Muiono) 1:19 Queimada (Pezzo Classico #1) 0:44 Queimada (Libertà) 1:42 Verso il Futuro 4:36 Josè Dolores 1:27 Queimada (La Civittà dei Blanchi) 2:22 Josè Dolores (#2) 0:43 Queimada (Una Nuova Nazione) 0:41 Verso il Futuro (#2) 0:58 Queimada Seconda 4:03 Preparazione 1:45 Josè Dolores (Generalissimo) 1:27 Queimada (Pattuglia) 2:31 Osanna 4:18 Verso il Futuro (#3) 1:14 Queimada (Canna da Zucchero) 1:11 Verso il Futuro (#4) 1:59 Queimada (William e Josè) 1:45 Josè Dolores (#3) 1:27 Verso il Futuro (#5) 1:58 Queimada (Pezzo Classico #2) 0:48 Studi per un Finale 3:26 Preparazione (#2) 3:15 Queimada (Marcia) 1:11 Verso il Futuro (#6) 1:58 Queimada Seconda (#2) 0:42 Queimada (William e Josè #2) 1:13 Verso il Futuro (#7) 4:53 Studi per un Finale (#2) 1:55 Total Disc Time: 65:03

Snow Files of the Week: "M. Magdalene/Divine Daughter" aus "MillenniuM", Episode "Anamnesis" (1998). Dies ist eine von nur zwei Episoden der ganzen Serie, bei der Frank Black seiner Frau Catherine die Bühne überlässt. Zusammen mit Lara Means ermittelt Catherine im Fall eines Schulmädchens, welches angeblich Visionen hat, die sie direkt von Jesus bekommt. Marks Musik passt sich dem religiösen Thema der Folge an. Es gibt ein sanftes Piano-Thema für das Mädchen und sphärische Chorgesänge für ihre Visionen. Ebenso kommt die gesampelte Flöte aus der Folge "Luminary" wieder zum Einsatz. Die Stücke stammen vom zweiten Set von LLL, welches auf 2000 Stück limitiert ist. Das Set ist ausverkauft. Viel Spaß beim Hören!

Scheinbar 47 US-Dollar.

Auf Discogs geht es momentan bei 129 Euro los Es wurde allerdings auch schon ein Exemplar für 86 Euro verkauft.

Bei Music Box gibt es sie auch. Wobei der Herrmann dort gerade nicht auf Lager ist.

Snow Files of the Week: „Origins/Base Camp", aus „The X-Files", Episode „Firewalker" (1994). Der Wissenschaftler Dr. Pierce überwacht die Übertragung des Forschungsroboters „Firewalker", der vulkanische Aktivitäten im Mount Avalon dokumentieren soll. Während der Übertragung entdeckt Dr. Pierce auf den Bildern die Leiche des Forschungsleiters Erickson. Und einen Schatten, der sich dort scheinbar bewegt, was aufgrund der hohen Temperaturen für jedes Lebewesen tödlich wäre, bevor die Kamera des Roboters zerstört wird. Mulder und Scully werden auf den Fall angesetzt und schon bald entdeckt Mulder, dass die Wissenschaftler scheinbar einen fremdartigen Organismus in den Tiefen des Mount Avalon gefunden haben. Mark webt das Titelthema in den Track „Origins" ein, während „Base Camp" ein an die 80er Jahre erinnerndes, sphärisches Stück Musik ist. Beide Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

Snow Files of the Week: "A Message of Faith" aus "Night Sins" (1997). Die Musik zu diesem TV-Thriller ist natürlich geprägt von Snows damaligen aktuellen Arbeiten zu "X-Files" und "MillenniuM". Ein schönes Hauptthema begleitet den Hörer durch den Score, welches in diesem Track seine schönste Präsentation bekommt. Snow reichert das Stück durch einen sphärischen Chor an und zeigt außerdem mal wieder, dass er einfach tolle Piano-Themen schreiben kann. Die Musik zu "Night Sins" wurde von BSX veröffentlicht, limitiert auf 1.000 Stück. Viel Spaß beim Hören!

Geht mir mit der Musik auch so. Das Thema ist ein typisches Elfman-Ding, das ist ganz cool, aber die Musik insgesamt verliert sich mir doch zu oft in reiner Hintergrund-Untermalung. Vielleicht liegt es auch ein wenig an der Laufzeit des Albums, bei dem mal wieder weniger mehr gewesen wäre. Über die gesamte Laufzeit finde ich diese langen Suspense-Passagen, die immer mal wieder vom Thema und/oder Chorpassagen durchbrochen werden, doch etwas ermüdend. Zumal das oft einfach kurze Spitzen sind, weil die Musik eben auf ein entsprechendes Ereignis in der Serie reagiert, um dann wieder in die reine Hintergrund-Untermalung zu verfallen. Immer wieder verfällt die Musik dann ins andere Extrem, dann ist sie sehr vital und „quirky", aber oft ohne einen thematischen Faden, was das Ganze dann auf Dauer sehr rumpelig wirken lässt. Das liegt vielleicht auch ein wenig am Spotting. Wir haben gestern die ersten zwei Folgen der neuen Staffel geschaut und da ist echt viel Musik drin, kaum mal eine Szene ohne. Da wird es dann eben schwierig, wenn die Musik so zur Dauerberieselung wird. Und dann braucht der Komponist eben lange Passagen mit Musik, die einfach nur im Hintergrund während der Dialoge mitlaufen muss, ohne diese zu sehr zu stören.

Also die Burton-Folgen, wie ich mir gedacht habe Ja, eine Serie ist immer noch etwas anderes als ein Film. Die Terminpläne sind noch enger. Das muss man auch als Komponist schon wollen, so zu arbeiten. Dafür muss man wohl geboren sein. Mark Snow beispielsweise hat ja jahrelang teils parallel an zwei Serien gearbeitet. Während The X-Files lief, gab es noch drei Staffeln MillenniuM, eine Staffel Harsh Realm und eine Staffel The Lone Gunmen. Und dazwischen schrieb Snow auch noch die Musik für den einen oder anderen TV-Film. Das hat er aber alles hinbekommen, natürlich auch durch Mithilfe seines Music Editors Jeff Charbonneau, der mit Snows Material immer wieder zusätzliche Musik beisteuerte. Interessanterweise hatte Snow dann erst bei den beiden neuen Staffeln X-Files offizielle "additional music"-Leute. Unter anderem Louis Febre, der ihn ja auch schon bei Smallville nach der Hälfte der Serie abgelöst hat, weil Snow das alles zu viel wurde. Als Grund wurde auch bei den neuen X-Files der Zeitplan angegeben, den Snow alleine wohl nicht hätte einhalten können.

Schon die Musik zur ersten Staffel dürfte hauptsächlich von Bacon gewesen sein. Viel mehr als die Themen kamen scheinbar nicht von Elfman. Das erscheint zumindest so bei den Tracks auf dem Album zur ersten Staffel. Und wenn beide genannt werden, dann ist es meist ein Track, in dem Elfmans Themen auftauchen. Burton hat ja auch nicht alle Folgen selbst inszeniert. Könnte mir denken, dass Elfman nur bei den Burton-Folgen stärker involviert war. Im Vorspann der zweiten Staffel steht nun auch "Theme by Danny Elfman, Music by Chris Bacon".

Zumindest bei Music Box waren die Bond-CDs immer kurz nach Bekanntgabe auf der Seite bestellbar. Und wurden dann eben sofort verschickt, sobald die Lieferung von LLL eingetroffen war.

Nachdem der Score zum HALLOWEEN-Reboot seinerzeit relativ kurz nach Kinostart in einer expandierten Form veröffentlicht wurde, folgen nun auch die Scores zu HALLOWEEN KILLS und HALLOWEEN ENDS in erweiterter Form. Es gibt die drei Scores einzeln auf CD und Vinyl (hier natürlich wieder in verschiedenen Farben/Layouts) oder zusammen in einer Box, ebenfalls auf CD und Vinyl. John Carpenter’s soundtracks for the most recent Halloween trilogy, made alongside his frequent collaborators Cody Carpenter and Daniel Davies, marked the legendary director and composer’s return to film scoring after nearly two decades away. 2018’s Halloween, 2021’s Halloween Kills, and 2022’s Halloween Ends were all directed by David Gordon Green, who engaged Carpenter early in the pre-production process, ultimately enlisting him as both an executive producer and soundtrack composer for the trilogy. In listening to the recent Halloween scores, the collaborative spirit among the composing trio is one of the first things that jumps out. The now-famous bowed guitar part on Halloween’s “The Shape Hunts Allyson,” like all the guitar parts strewn across the trilogy, is played by Daniel Davies. John calls Daniel “the adventurer” of the group, and credits him with introducing sounds he’d never have considered. Cody, who his father refers to as a “musical savant,” is an equally essential presence. It’s his steady, methodical hand that helps give shape to the ideas that fly around when these three get in a room together. The scores for the new films may be centered on familiar themes, but they’re also a lot more sonically diverse and musically audacious than anything John could have pulled off in 1978, when he made the original Halloween. In addition to the individual expanded releases, the Halloween Expanded Trilogy will be available as part of a deluxe limited box set, offered in 6xLP and 3xCD formats. These editions feature exclusive new packaging and artwork by Chris Bilheimer, along with expansive liner notes by music critic Brad Sanders, which include exclusive interviews with John Carpenter and director David Gordon Green. Also included on both box sets are three collectible posters designed by Creepy Duck, a box set-exclusive poster design by Chris Bilheimer, and a deluxe lenticular cover that brings the artwork to life. An essential release for Carpenter collectors & film score fans. - Includes all 3 Expanded Editions of the Halloween Trilogy - All with new artwork & packaging by Chris Bilheimer - 121 tracks out of which 35 unreleased tracks across 6xLPs / 3x digipak CDs - Exclusive liner notes & interviews with John Carpenter & David Gordon Green - Each expanded edition comes with a poster designed by Creepy Duck - Plus a boxset-exclusive poster design by Chris Bilheimer - Features deluxe lenticular cover art HALLOWEEN (2018) 1. Intro 2. Aaron Meets Michael 3. Halloween Theme 4. Laurie's Theme 5. Aaron and Dana Enter Laurie's Compound 6. Laurie's Past 7. Prison Montage 8. Laurie Breaks Down 9. Karen's Flashback 10. Lumpy Explores Crash 11. Michael Kills 12. Hawkins Arrives at Crash Site 13. Dana's in the Shower 14. The Story of Judith's Death 15. The Gas Station 16. Michael Kills Again 17. Gas Station Aftermath 18. The Shape Returns 19. The Boogeyman 20. The Shape Kills 21. Hawkins Called to Babysitter's House 22. Laurie Sees the Shape 23. Babysitter Aftermath 24. Sartain Meets Laurie 25. Looking for Allyson 26. Wrought Iron Fence 27. The Shape Hunts Allyson 28. Talking to Cops 29. Allyson Discovered 30. Gun Closet 31. Halloween Theme (I've Got Eyes) 32. Sartain's Gone Mad 33. Say Something 34. Through the Woods 35. Ray's Goodbye 36. The Shape Attacks Laurie 37. The Shape Is Monumental 38. Searching for the Shape 39. Mannequin Panic 40. Death Drum 41. The Shape and Laurie Fight 42. The Grind 43. Trap the Shape 44. The Shape Burns 45. Halloween Triumphant HALLOWEEN KILLS 1. Logos Kill 2. Hawkins Discovered * 3. Flashback * 4. Spit * 5. Hey Kid * 6. The Myer’s House 7. Cops Explore * 8. First Attack 9. Stand Off 10. Halloween Kills (Main Title) 11. Let It Burn 12. He Appears 13. From the Fire 14. Strodes at the Hospital 15. Cruel Intentions 16. Phone Call * 17. Massacre * 18. Someone’s in the Car * 19. Halloween Trick * 20. Back at the Hospital * 21. Goodbye Michael * 22. Gather the Mob 23. Rampage 24. Frank * 25. Search * 26. Frank and Laurie 27. Evil Dies Tonight * 28. The System Failed * 29. Blood on the Door * 30. Disturbed Man * 31. Violent Return * 32. Hallway Madness 33. It Needs to Die 34. Look At Me * 35. Reflection 36. Hunting a Killer * 37. Righteous Intention * 38. Morbid Discovery * 39. Unkillable 40. Payback 41. Michael’s Legend 42. Back to His Sister’s Room * 43. Final Kill * 44. Michael Answers * 45. Halloween Kills (End Titles) HALLOWEEN ENDS 1. Where is Jeremy? 2. Halloween Ends (Main Title) 3. Laurie’s Theme Ends 4. The Cave 5. Tire Slash * 6. Cool Kid 7. Drags to the Cave 8. Evil Eyes 9. Transformation 10. Because of You 11. Walk With Me * 12. Requiem For Jeremy 13. In the Restaurant * 14. Bridge Fight * 15. Kill The Cop 16. Corey and Allyson * 17. Side of the Road * 18. Corey and Michael 19. Slap * 20. Corey’s Requiem 21. Take the Mask * 22. The Junk Yard 23. Where Are You? 24. Suicide * 25. What Did You Do? * 26. Bye Bye Corey 27. The Fight 28. Before Her Eyes 29. The Procession 30. Cherry Blossoms 31. Halloween Ends

Hat für Europa scheinbar noch nie gegolten. Ich habe die Bond-CDs immer bei Music Box in Frankreich bestellt und hatte sie immer relativ kurz nach Veröffentlichung. Was natürlich auch bedeutet, dass LLL die anderen Händler ebenfalls sofort beliefert. OHMSS kam auch schon vor über zwei Wochen hier an.

Eher letzteres. Der Vinyl-Markt boomt weiterhin in den USA. Auch 2024 wurden dort wieder mehr Schallplatten als CDs verkauft. Wobei man dazu sagen muss, dass der Verkauf physischer Tonträger insgesamt wieder angezogen hat. Aber eben in bestimmten Bereichen, also eher Pop/Rock. Filmmusik dürfte davon weniger profitieren, zumal die meisten Filmmusik-Sammler wohl eher CD als Vinyl bevorzugen. Aber scheinbar ist auch in diesem Bereich der Absatz von Vinyl noch so hoch, dass sich für viele Label CDs nicht lohnen. Die Gewinnspanne dürfte bei einer Schallplatte auch höher sein, wenn man sich die stetig steigenden Preise dafür ansieht. Dazu kommt, dass viele jüngere Leute, die gar keinen Plattenspieler mehr haben, sich Vinyl als Deko für die Wand kaufen. Deshalb gibt es vor allem bei Filmmusik diese extra dafür gestalteten Cover, die eben poppig und „cool" sein sollen. Und das Geschäftsmodell geht ja auch auf, wenn man sich ansieht, wie schnell diese limitierten Vinyl-Auflagen von Mondo oder Waxwork ausverkauft sind. Von solch schnellen Abverkäufen einer Auflage träumen Label wie LLL mittlerweile nur noch. Wobei die leider immer noch nicht die Bekanntheit und Reichweite anderer Special Labels wie eben Mondo haben. Aber ähnlich wie im Filmbereich, wo oftmals nach den teureren Box-Sets, Mediabooks und Steelbooks in zeitlichem Abstand (nach Abverkauf der limitierten Sets) doch noch normale Amarays erscheinen, gibt es das auch bei der Filmmusik immer wieder. Aktuelles Beispiel ist Elfmans BEETLEJUICE BEETLEJUICE, der nun im Oktober von Mondo, nachdem es die Vinyl-Auflagen des Song-Samplers und des Scores schon länger gibt, auch auf CD erscheinen wird. Bezeichnenderweise erschien zum Filmstart letztes Jahr erst der Song-Sampler auf Vinyl und sogar auf CD. Erst in der ersten Jahreshälfte 2025 kam der Score dann auch auf Vinyl und im Oktober nun eben auch auf CD. Vielleicht gibt es das für die FANTASTIC FOUR dann auch.

Snow Files of the Week: „Shackles/Dark Vision", aus „The X-Files", Episode „Mind's Eye" (1998). In dieser Folge aus der fünften Staffel geht es um die blinde Marty Glenn, gespielt von Lili Taylor, die Visionen von Morden hat, während diese passieren. Als sie dann an einem Tatort aufgegriffen wird, scheint der Fall für die Polizei klar zu sein. Doch wie könnte eine blinde Frau diese Morde verübt haben? Auch Mulder hat seine Zweifel und entdeckt ein tragisches Geheimnis. Für Marty komponierte Snow ein melancholisches Piano-Thema, welches immer wieder auftaucht. Dieses durchbricht immer wieder die düsteren Klanglandschaften, die Martys Visionen begleiten. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

So ist es. Zum Film erschien nur ein Song-Sampler. Neu von Quartet: Quartet Records and Universal Pictures Film Music Classics Collection proudly present the world premiere release of Ennio Morricone’s charming score for Virna Lisi’s 1967 romantic-comedy ARABELLA, directed by Mauro Bolognini and also starring Terry-Thomas (in multiple roles), James Fox and Margaret Rutherford. This was Morricone’s first collaboration with Bolognini, marking the beginning of a long relationship spanning three decades and producing some of the Roman maestro’s finest and most romantic scores. In ARABELLA, Morricone tapped into the Jazz Age setting to craft a score immersed in the sounds of the 1920s, including the tango and Charleston, all in his own distinctive style. He also provided a silky, elusive love theme that glides along on smooth strings and wordless chorus. Morricone augmented this theme with harpsichord and synth to create a slight feeling of unreality connected with Arabella’s daring intrigues. Until now, the score of ARABELLA has never been released in any format. Not a single cue was ever included in any of the countless Morricone compilations, and for a long time the music was considered lost. Fortunately, a set of 1/4″ tapes with the complete recording sessions was located in the Universal vaults, in mono, and in very good condition. The album was produced by Neil S. Bulk and the GRAMMY®-nominated producer Mike Matessino, sequenced by Dániel Winkler and mastered by Matessino. The package includes detailed liner notes by film music writer John Takis. Main Titles (From Arabella) 3:59 Giorgio’s Home 3:52 Arabella Arrives Home 2:21 Driving Off With The Duke 2:36 Visiting Filiberto 2:20 Tea-Room Quartet 5:19 The Bedroom 1:12 The General 0:47 Arabella Prepares Graziella / The Attic 1:37 Emma Sees Ghosts / The Safe / Emma Meets Saverio 1:04 Manager Smashes Toilet / Saverio Attacks Arabella 2:02 Arabella Installs Graziella / Saverio Appears 2:52 Arabella And The Duke 3:21 Arabella Runs After Giorgio 1:30 Giorgio Affirms His Love 2:11 Arabella Rehearses 2:32 Hotel Orchestra 1:08 Arabella And The General Swimming 1:34 The Casino 1:30 Arabella Leaves 1:14 Arabella Talks To Granny 1:06 The Morning After / The Fire 0:57 End Titles (From Arabella) 2:07 Total Disc Time: 49:37 Quartet Records, in collaboration with JAY Productions, presents the premiere CD release of Paul Chihara’s noir score for Sidney Lumet’s masterful PRINCE OF THE CITY (1981), starring Treat Williams, Jerry Orbach and Carmine Caridi. The film is about a New York City narcotics detective (Williams) who reluctantly agrees to cooperate with a special commission investigating police corruption; he soon realizes he’s in over his head and that nobody can be trusted. Lumet chose Maestro Chihara, widely acclaimed in the field of contemporary music, and with more than 100 film and television credits to his name, to compose the score for his broadly political epic lasting almost three hours. Chihara wrote a beautiful noir theme for saxophone, reminiscent of those in TAXI DRIVER, FAREWELL MY LOVELY and CHINATOWN, but in his own style, accompanying the loneliness of the detective in his struggle between duty and feelings. More avant-garde music with impressionistic colors and a sense of fatality round out one of the composer’s best scores, and one of his personal favorites. Due to a musicians strike in the United States, Chihara was forced to record the music in Paris, where the orchestra was conducted by none other than his friend Georges Delerue, with the participation of the famous French saxophonist Pierre Gossez. The score was released on vinyl in 1981 by Varèse Sarabande for the US and Canada, and TER for the rest of the world. This is its first CD release, mastered by Chris Malone from the album master provided by JAY Productions. The package includes detailed liner notes by film music writer Daniel Schweiger, including quotes from an exclusive interview with composer Paul Chihara. Overture 2:50 The Set-Up (Fugue) 1:54 Little Italy 0:54 Portrait of Danny 8:33 The Decision / The Ride 5:38 The Investigation (Double Fugue) 1:33 Buddies 1:55 Betrayal 4:08 Spanish Harlem 1:11 I Did Some Things 1:49 Alone Again 3:14 The Confession 2:01 I’m OK 1:13 Epilogue 2:37 Total Disc Time: 39:36 Quartet Records, in collaboration with JAY Productions, presents the premiere CD release of John Morris’ score for his second collaboration with Mel Brooks, THE TWELVE CHAIRS (1970), starring Ron Moody, Frank Langella, Dom DeLuise and Brooks himself in the role of Tykon. Other scores by Morris include YOUNG FRANKENSTEIN, THE IN-LAWS, THE ELEPHANT MAN and CLUE. Based on a 1928 Russian-language novel by Soviet satirists Ilya Ilf and Evgeny Petrov, THE TWELVE CHAIRS is a bittersweet comedy about 1920s Soviet Russia, when a fallen aristocrat, a priest and a con artist search for a treasure of jewels hidden inside one of twelve dining chairs, lost during the Revolution. After their success together a few years earlier in THE PRODUCERS, the Brooks-Morris duo reunited here, allowing the composer to work on arrangements of the song composed by Brooks (“Hope For the Best”), based on a popular melody previously adapted by Brahms. Morris provides an emotional score, not without hints of parody, and frenetic passages of comedy à la russe. Morris’ masterful score was orchestrated and conducted by Stephen Sondheim’s longtime collaborator Jonathan Tunick and recorded at CTS Studios in London by John Richards. No album was released in 1970, and only four cues were included in a Warner Bros. Records compilation in 1976 in Australia, along with a selection of themes from THE PRODUCERS and BLAZING SADDLES. The score was first released on vinyl in 1983 by Varèse Sarabande for the US and Canada, and TER for the rest of the world. This is its first CD release. Mastered by Chris Malone from the master provided by JAY Productions, the package includes detailed liner notes by film music writer and historian John Takis. Hope For The Best – Main Title 2:38 The Little Chair-Chase 1:31 Vorobyaninov’s Theme 2:43 The Big Chair-Chase 2:13 The Band Aboard The Boat 1:42 The Little Sad Train Goes To Big Happy Moscow 2:33 Hope For The Best – Instrumental 2:38 Cafe Music 1:48 The Walk Across Russia 3:17 The Circus Band 1:16 Finale – Hope For The Best 3:59 Total Disc Time: 26:27

Intrada presents the long-sought after expanded edition of The Secret of NIMH (1982). While Intrada's previous edition was slightly expanded, it still came up short around 8 minutes of score due to missing elements. Since that previous release, MGM was able to locate the original 35mm stems that included their own stereo audio music tracks of everything as heard in the film. CD Producer Chris Malone took these new elements and blended them with the rest of the score to create the expanded program including all the bits for which collectors have been pining. As with Intrada's First Blood album, the first disc presents the score in film order, removing much of the album assembly that Goldsmith had prepared for the original album. Disc 2 includes Goldsmith's original album program as he assembled it to preserve all the creative decisions that he made. It's never sounded better. The CD features new cover art by Stéphane COËDEL and an additional Tech Talk by Roger Feigelson. It's no secret now that Goldsmith took the scoring assignment under the condition that he could score the feature like a live-action film. “As I told the producers, if they wanted a Disney-like, synchronize-every-cut type of score I couldn’t do it. I wanted to score it as a live-action film, and they agreed.” The score features as many as eight different themes for the film’s major characters and situations. As the composer described it: “They go from pure romanticism to impressionism, everything. It’s sort of an animated Peter and the Wolf, but it all hangs together cohesively. It’s a much more conservative score than, say, Omen or Outland or Alien or even Poltergeist, but it’s still diversely styled, musically, and it all seems to tie together very well.” In the film, two stories run in parallel. Mrs. Brisby is a widow, and one of her four children, Timothy, is sick with pneumonia. She is desperate to move her home away from the farmer’s fields, where it will soon be destroyed by plowing, but her family can’t move while her son is ill. The second story involves a group of rodents—rats and mice—being held at a facility run by the National Institute of Mental Health (NIMH). After experimental drug treatments alter the rodents’ DNA and render them intelligent, they escape—with the help of Mrs. Brisby’s husband—and form a colony underneath the farmer’s lawn. Because Mr. Brisby is killed while drugging the farmer’s cat, Dragon, he is a revered figure to the rats, who eventually help Mrs. Brisby and her family move their home. Play all clips CD 1 THE SCORE 01. Main Title (Film Version) (3:21) 02. Potion* (1:42) 03. Allergic Reaction (Film Version) (2:14) 04. Athletic Type (Film Version) (0:40) 05. Flying Dreams (Vocal By Sally Stevens) (Film Version) (3:21) 06. The Tractor (3:02) 07. No Thanks (2:06) 08. Step Inside My House (4:46) 09. In Disguise (Film Version) (2:47) 10. The Sentry Reel (Film Version)** (2:33) 11. At Your Service (3:42) 12. Tied Up* (1:34) 13. Be Brief* (0:42) 14. The Story Of NIMH (Film Version) (4:06) 15. Escape From NIMH (Film Version) (2:24) 16. New Resolve* (2:10) 17. In Disguise* (1:32) 18. A Better Mousetrap* (1:09) 19. Moving Day (8:01) 20. House Raising (4:38) 21. Flying High/Flying Dreams (Film Version)/End Title (Film Version)** Total Score Time: 63:03 THE EXTRAS 22. Flying Dreams – Demo (Piano Duet) (3:25) 23. Flying Dreams – End Title Demo (Vocal By Sally Stevens) (3:17) 24. Flying Dreams – Demo (Vocal By Paul Williams) (3:21) 25. Flying Dreams – End Title Foreign Language Version (Vocal By Sally Stevens)* (3:29) Total Extras Time: 13:39 Total CD 1 Time 75:46 CD 2 ORIGINAL SOUNDTRACK ALBUM (2015 Edition) 01. Main Title (3:19) 02. Allergic Reaction/Athletic Type (2:44) 03. Flying Dreams (Vocal By Sally Stevens) (3:20) 04. The Tractor (3:02) 05. The Sentry Reel/The Story Of NIMH (6:08) 06. Escape From NIMH/In Disguise (5:04) 07. Flying Dreams (Vocal By Paul Williams) (3:24) 08. Step Inside My House (4:46) 09. No Thanks (2:06) 10. Moving Day (8:01) 11. House Raising (4:38) 12. Flying High / End Title (2:41) Total CD 2 Time: 49:42 *Previously Unreleased **Includes Previously Unreleased Material

Bear sieht sich in der neuesten Folge von „Best of the Worst" schlechte Filme mit den YouTubern von Red Letter Media an. Und am Ende „verbessern" sie sogar einen der Filme (TALOS) durch besseres ADR, Sound Effekte und tatsächlich Musik von Bear, die er extra dafür aufgenommen hat.

Für den Animationsfilm BULLET TIME hat Elfman einen (scheinbar kurzen) Score geschrieben. Er erscheint von Waxwork auf Single-Vinyl und Kassette.

Ich höre mich die Tage ein wenig durch Snows Werke. Daher kam ich auch mal wieder zu THE NEW MUTANTS. Mein Eindruck von damals hat sich nicht viel verändert. Die Musik wirkt immernoch zerfahren und ohne roten Faden. Allerdings ist mir nun auch verstärkt aufgefallen, welche Tracks überhaupt von Snow sind (oder sein könnten). Und ich habe erst jetzt in den Credits entdeckt, dass neben den beiden ursprünglichen Komponisten noch ein dritter Name unter "additional music" auftaucht: Jonas Friedman. Der arbeitet seit 20 Jahren hauptsächlich im TV-Bereich, hat dabei viel für FOX/Disney und sogar Marvel gemacht. Und er wird ebenfalls als zusätzlicher Komponist bei der elften X-Files-Staffel gelistet. Bei Staffel 10 war er auch schon dabei und half Snow mit den Programmings. Somit lag ich mit meiner Vermutung doch nicht ganz so falsch, dass Snow hier keinen komplett neuen Score geschrieben, sondern nur die Lücken in der bereits existierenden Musik geschlossen hat. Was das "Music by Mark Snow" auf dem Cover schon etwas zu einem Etikettenschwindel werden lässt. Und tatsächlich entdeckt man bei genauem Hinhören, dass so ziemlich alle ruhigeren Stücke von Snow sein müssten, da sie von den Sounds her und dem Stil, den Akkordfolgen, unverkennbar er sind. Dagegen dürfte die ganze Actionmusik nicht von ihm sein, da diese stilistisch überhaupt nicht nach ihm klingt, auch von den Samples her. Ebenso die kalten Industrial-Suspense-Stücke. Die gibt es zwar in ähnlicher Form in der elften X-Files-Staffel, aber klangen da schon überhaupt nicht nach ihm. Daher gehe ich davon aus, dass diese Tracks von Jonas Friedman sind. Und dann gibt es einige Tracks, die manche von Snows Samples haben, die er schon in den 90ern bei den X-Files verwendet hat, aber ansonsten ebenfalls in dieses Industrial-Ambient-Bett eingewoben sind. Auch die könnten von Friedman stammen, der diese Samples von Snow verwendet hat. Dieser Mischmasch aus der Musik der beiden ursprünglichen Komponisten und der zusätzlichen Musik von Snow und Friedman sorgt dann eben auch dafür, dass der Score so uneinheitlich wirkt. So oder so war Snow eine kuriose Wahl für den Film. Eventuell kam er auch nur über Friedman zum Projekt, weil der mit Disney/Marvel schon verbunden war und Snow vielleicht vorgeschlagen hat, nachdem er mit ihm schon an den X-Files gearbeitet hat.

Snow Files of the Week: Suite from "MillenniuM - Season Three" (1998/99). Trotz des düsteren und apokalyptischen Finales der zweiten Staffel kam "MillenniuM" für eine dritte Staffel zurück und damit natürlich auch Mark Snow. Während die Violine immer noch das Hauptinstrument ist in Marks Musik, fügte er für die finale Staffel viele neue Sachen hinzu. Da ist der himmlische Gesang in der Weihnachtsfolge "Omerta", das traurige Piano-Thema für Agent Emma Hollis und die düstere und brodelnde Ambient-Musik für das Finale. Das erste Set mit Musik aus "MillenniuM" veröffentlichte LLL 2008. Zwei Jahre später war es ausverkauft, aber 2015 wurde es, zusammen mit dem zweiten Set, neu veröffentlicht. Viel Spaß beim Hören!

Neu von Dragon's Domain: Dragon’s Domain Records presents the premiere release of music composed by Don Davis (THE MATRIX films, JURASSIC PARK III, BEHIND ENEMY LINES) for the 1996 television mini-series PANDORA’S CLOCK, based on the novel by John Nance, written by David Israel, directed by Eric Laneauville, starring Richard Dean Anderson, Daphne Zuniga, Jane Leeves, Richard Lawson, Stephen Root, Tim Grimm, Robert Guillaume, Robert Loggia, Jerry Hardin, Kurt Fuller, Jennifer Savidge, Grant Goodeve, Vladimir Kulich, Michael Winters and Edward Herrmann as the President. Airing in two parts on television in 1996, PANDORA’S CLOCK follows a man infected with a deadly virus aboard a Boeing 747-200 who is traveling from Frankfurt to New York’s JFK Airport. The story begins in Bavaria, where Professor Ernest Helms (Winter), a wildlife documentarian, has a violent incident with a stranger attempting to break into his rental car. After treating a minor wound and despite exhibiting symptoms of an illness, Helms boards International Flight 66, piloted by Captain James Holland (Anderson). Shortly after takeoff, Helms suffers cardiac arrest. Flight attendants perform CPR, and the crew attempts to divert the flight to London, but their request is denied as the authorities have become aware of a potential virus outbreak. As tensions escalate, the U.S. President tries to reroute the flight to RAF Base Mildenhall but the British government mobilizes their forces to block the landing. Eventually, the flight is allowed to land at a U.S. base in Iceland, where a passenger is shot while attempting to break quarantine. Captain Holland takes off again in an attempt to land in Mauritania, only to face off against a Learjet armed with a missile. Anderson manages to outwit the enemy plane and land safely on an isolated volcanic island. The music for PANDORA'S CLOCK is entirely composed using electronic elements, produced by composer Don Davis. This innovative score is meticulously designed to enhance the action, from the thrilling opening chase scene featuring an infected individual, to a climactic tension-filled conclusion. Don Davis began playing trumpet and piano at the age of nine and started writing music at twelve. As his affinity for music grew, so did his aspirations and soon he was composing and arranging orchestral charts for local jazz ensembles that he also performed with. After graduation from high school, Davis furthered his study of music at UCLA, majoring in music theory and composition, playing trumpet in college jazz ensembles and orchestras. Although Davis' primary interest had been jazz and rock, he found himself enamored with the avant-garde side of modern music. UCLA introduced Davis to a new world of musical possibilities, and before long he'd begun to plan his future as a composer with an eye toward film music. After graduation from UCLA, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced the young Davis to film and television composer Joe Harnell, best known for his work on TV shows such as V and THE INCREDIBLE HULK. Harnell was immediately impressed by Davis' attention to orchestral detail, especially as evidenced by a chamber symphony Davis was writing at the time and became a mentor to Davis and introduced him to the professional world of film and television scoring. His filmography includes music for films such as HYPERSPACE, BOUND, WARRIORS OF VIRTUE,THE MATRIX films, HOUSE ON HAUNTED HILL, ANTITRUST, VALENTINE, JURASSIC PARK III, THE UNSAID, BEHIND ENEMY LINES and THE MARINE. Dragon’s Domain Records presents the premiere release of PANDORA’S CLOCK, featuring music composed by Don Davis, with liner notes written by author G.B. Kemner and Scott Davis. The music has been mastered by James Nelson at Digital Outland. Starts Shipping week of July 23, 2025 PANDORA'S CLOCK is a limited edition release. 01. The Delirious Encounter (3:22) 02. Heart Attack (7:00) 03. Nowhere To Land (2:06) 04. Bad News (2:43) 05. Presidential Physician / Lisa Meets Her Creator (3:26) 06. Tarmac Of Terror (5:04) 07. The Roth Encounter (3:36) 08. Cabin Sadness / Yuri At The Station / Yuri's Evil Deed (3:46) 09. Message Of Mystery (5:22) 10. The Wrath Of Roth (6:15) 11. Sanders On The Run (1:55) 12. The Sanders Discovery (4:49) 13. Roth Inscrutable (4:18) 14. Rachel And Holland (1:06) 15. Yuri Again (1:50) 16. Homesick / A Flurry Of Yuri (4:45) 17. Evacuation / Forty-Eight Hours (2:27) Total Time - 78:21 Dragon’s Domain Records presents the premiere release of the original motion picture score composed by Steve Edwards (BRIDGE OF DRAGONS, NINJA, FEAST) for the 1998 action film directed by Dean Semler, written by Michael Sussman and John Kingswell, based on the novel by ‘The Last Canadian’ by William Heine, starring Steven Seagal, L.Q. Jones, Gailard Sartain, Camilla Belle, Whitney Yellow Robe, Brad Leland, Philip Winchester and Leonard Mountain Chief. Released in 1996, THE PATRIOT follows Dr. Wesley McClaren, a local doctor and former government research immunologist, also a weapons and self-defense expert with an interest in herbal medicine as he is called to a hospital where people start dying from an unknown and very deadly disease. After determining that the cause is a highly dangerous airborne virus, he calls in a Biological Response team who proceed to seal off the town while doctors start to treat patients with a vaccine. The source of the virus is traced to Floyd Chisholm (Sartain), a local militia leader. Chisholm gives himself up at the end of a long siege but not before ingesting the virus himself. Appearing court, he spits on the judge and starts the rapid spread of the disease... Floyd’s followers attack the prison where Floyd is being held and break him out. Floyd and his men proceed to lay siege to the hospital where patients are being treated and take hostages, including McClaren and his daughter, Holly. Can McClaren find a cure for the virus with all these distractions before it’s too late? Composer Steve Edwards’ music education began at an early age, with training by his mother, Rosalie Edwards. His musical passions broadened and deepened during his years as a student at Interlochen followed by studies at Lawrence University, where he received a Bachelor of Music in piano performance. While studying at Lawrence, Edwards won the Outstanding Classical Soloist award sponsored by Downbeat magazine and the All-American College Orchestra National Talent Search sponsored by Disney World. He was honored with the school’s Nathan M. Pusey Young Alumni Achievement Award. Edwards continued his studies at the Dick Grove School of Music in Los Angeles. As one of Hollywood’s most prolific composers, Edwards’ original compositions are featured in top grossing films including DALLAS BUYERS CLUB, NOMADLAND, AVA, SOUTHPAW, THE MECHANIC, AMELIA, I LOVE YOU, PHILIP MORRIS and many other films in genres ranging from comedy to action, martial arts and documentaries. His original songs and instrumental compositions can be heard on television series such as TWO AND A HALF MEN, IT’S ALWAYS SUNNY IN PHILADELPHIA, MAD MEN, THE BLACKLIST, ER, TRANSPARENT and many other series. Edwards is founder and artistic director of Source in Sync, an independent production music library that licenses music to NBC, CBS, ABS, Fox, WB, Paramount, and many other television and movie studios worldwide. He also co-founded mVibe in 2019, which is the largest licensing platform in the world for cover recordings of hit songs. Dragon’s Domain Records presents THE PATRIOT, featuring the premiere release of music from the original score composed by Steve Edwards, performed by Symphony Seattle. The album includes liner notes written by composer and author Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland. THE PATRIOT is a limited edition release and is expected to begin shipping the week of July 23, 2025. 01. The Patriot Main Title (2:26) 02. Riding Home (2:19) 03. Meet Floyd / Floyd's Tirade / Real Americans (2:13) 04. Strangers At The Court / Plastic Beakers / Everybody's Sick (3:21) 05. Caravan (2:44) 06. Frank's Grimace / Military Action / We Got Work To Do (2:31) 07. Burn The Shit (2:12) 08. Floyd's Lawyer (3:09) 09. Wesley Escapes / Militia Regroups (2:43) 10. Fake ID (2:48) 11. Frank Attack / Frank Dies / Militia Looks For Cure (4:06) 12. Grandpa's House / Look Ma, No Bullets / Ride / Red Medicine (3:12) 13. Finding The Cure / Look Floyd, We're On TV (4:03) 14. Don't Die / Cure Found (4:32) 15. The Patriot End Credits (5:33) 16. The Patriot Main Title (Piano Version) (2:49) Total Time: 51:22 Dragon’s Domain Records presents the premiere release of the unused score for TABLE FOR FIVE composed by John Morris (BLAZING SADDLES, YOUNG FRANKENSTEIN, THE ELEPHANT MAN, THE SCARLET LETTER) for the 1983 drama directed by Robert Lieberman, written by David Seltzer, starring Jon Voight, Richard Crenna, Marie-Christine Barrault, Millie Perkins, Roxana Zal, Robby Kiger, Son Hoang Bui and Maria O’Brien. Released in 1983, TABLE FOR FIVE follows a divorced couple at odds over the welfare of their three children. Jon Voight plays J.P. Tanner, a former professional golfer, who is estranged from his children and longs to re-enter their lives. J.P. comes up with the idea of springing a surprise Mediterranean cruise to Egypt on them, in spite of his ex-wife Kathleen’s acquiescing and contrarian instincts. On the cruise, J.P. uses the time to reacquaint himself with his children while also pursuing a romance with Marie (Barrault), a French archaeologist. The plot thickens when news reaches the boat that Kathleen has been killed in a terrible car accident back in New York, leaving J.P. in conflict over the fate of the children with Mitchell (Crenna), Kathleen’s surviving husband. John Morris was the original composer brought on to compose the music for TABLE FOR FIVE. For reasons not publicly known, the majority of his music went unused in the final cut of the film and the filmmakers brought in composer Miles Goodman to provide additional music. Morris’ score is lush and full of kaleidoscopic orchestral color, in contrast with Goodman’s music for the film. John Morris was born in Elizabeth, New Jersey, to Thomas and Helen. He became interested in music as early as three years old when he started learning to play the piano and visiting friends in The Bronx with his parents. His family moved to Independence, Kansas, while he was young, and Morris continued studying piano. By the late 1940s, he moved back to New York City, where he studied at both Juilliard School and at The New School for Social Research. From the 1950s through the 1970s, Morris helped to compose incidental music and dance numbers for a number of Broadway productions. Morris worked with Mel Brooks, starting with Brooks' first film THE PRODUCERS. Prior to this, the two had worked together on two musicals, SHINBONE ALLEY and ALL-AMERICAN. Morris did the original arrangement for ‘Springtime for Hitler’ and the rest of the film's underscore. Morris would continue to work with Brooks on many of his films, including those produced by his production company, Brooksfilms. His filmography includes THE PRODUCERS, THE TWELVE CHAIRS, BLAZING SADDLES, YOUNG FRANKENSTEIN, THE ADVENTURE OF SHERLOCK HOLMES’ SMARTER BROTHER, SILENT MOVIE, THE LAST REMAKE OF BEAU GESTE, HIGH ANXIETY, THE IN-LAWS, THE ELEPHANT MAN, CLUE, HAUNTED HONEYMOON and IRONWEED. Dragon’s Domain Records presents TABLE FOR FIVE, featuring the premiere release of music from the original score composed and conducted by John Morris. The album includes liner notes written by composer and author Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland. TABLE FOR FIVE is a limited edition release and is expected to begin shipping the week of July 23, 2025. 01. The Ship Goes To Sea (2:38) 02. Touring The Ship (1:03) 03. Love Theme and Montage (2:41) 04. No Way To Talk To Children (2:01) 05. The Accident and Bad News (4:03) 06. In Shock (2:44) 07. The Finest (1:54) 08. Grief (5:28) 09. Travel To The Sphinx (3:09) 10. To Your Mom (3:47) 11. Leaving The Sphinx / White Kangaroo (2:54) 12. Cocktail Time (2:06) 13. Another Cocktail (2:11) 14. Greek Chase (2:10) 15. Fathers Like You (2:24) 16. I’m Keeping Them (2:36) 17. Closing (0:55) 18. Ernie’s Disco (3:42) 19. Radio Cairo (2:11) 20. Tunis Radio (2:07) 21. Tunisia (2:04) 22. Italian Marching Band (2:44) 23. Dixieland (1:23) 24. Accordion Waltz (2:29) 25. I’m Keeping Them (Alternate Version) (2:36) Total Time: 65:02 Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION – VOL. 2, featuring the world premiere releases of two scores composed by Gil Mellé from his lengthy filmography. Released in 1981, THE LAST CHASE is a dystopian science fiction film directed by Martyn Burke (POWER PLAY), written by Christopher Crowe, Roy Moore and Burke, starring Lee Majors, Chris Makepeace, Burgess Meredith, Alexandra Stewart, Diane D’Aquila, George Touliatos and Harvey Atkin. Set in a post-apocalyptic 2011, the United States has become a police state that outlaws private vehicles. Franklyn Hart, (Majors) a former race car driver who lost his family to a virus, secretly restores his orange Porsche to escape to 'Free California' with electronics expert Ring McCarthy (Makepeace). Their journey symbolizes the resistance against an oppressive regime, drawing huge public support. Initially tasked with stopping them, Air Force pilot J.G. Williams (Meredith) ultimately sacrifices himself to aid their escape. Gil Melle's score for THE LAST CHASE combines a full symphony orchestra with custom synthesizers, capturing themes of adventure and freedom. Airing on television in 1976, DYNASTY was written by James Michener (HAWAII, CENTENNIAL, TALES OF THE SOUTH PACIFIC) and Sidney Carroll, starring Stacy Keach, Harris Yulin, Harrison Ford, Sarah Miles, Gerritt Graham, Tony Swartz, Amy Irving, Charles Weldon, John Carter and Rayford Barnes. DYNASTY was a television movie that chronicled the rivalry between the Blackwood brothers over a period of 35 years. Gil Mellé's score for DYNASTY was composed for a large chamber orchestra, evoking a style reminiscent of Aaron Copland, effectively capturing the film's historical setting and the complex personal relationships within. For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, STARSHIP INVASIONS, WORLD WAR III, and many others. Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score. Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION – VOL. 2, featuring the world premiere releases of music composed by Gil Mellé for THE LAST CHASE and James Michener’s DYNASTY. This release includes liner notes written by G.B. Kenmir and the music has been mastered by James Nelson at Digital Outland. THE GIL MELLÉ COLLECTION – VOL. 2 is a limited edition release. THE GIL MELLÉ COLLECTION – VOL. 2 is expected to begin shipping the week of July 23 2025. THE LAST CHASE 1. Main Title / The World Is Out Of Gas (2:55) 2. The Hacker (1:46) 3. Digging Up The Porsche / The Nightclub (3:20) 4. Ring Vs. The Student Body (1:35) 5. Escape From Boston (5:30) 6. Back In Uniform / The Outbackers (2:33) 7. The Last Jet (3:00) 8. Roadblock (1:09) 9. Eagle One In Flight (2:22) 10. The Last Chase Begins (7:49) 11. Escaping The Jet Attack (Unused) (3:24) 12. Native Land (Unused) (4:44) 13. Aircraft Boneyard / Escape Into The Desert (3:45) 14. Attacking The Laser (2:16) 15. The Wreck Of Eagle One / Into California (1:33) 16. End Title (2:42) JAMES MICHENER’S DYNASTY 17. Prologue And Titles (2:10) 18. The Blackwoods (3:19) 19. Going To Work (3:15) 20. The Years Pass (3:40) 21. A New Love (2:26) 22. A Family Divided (1:27) 23. Finale (1:43) 24. End Credit (1:19) 24. Bumpers (0:16) Total Time: 71:03

Snow Files of the Week: eine Suite aus der X-Files Episode „Post-Modern Prometheus (Der große Mutato)" (1997). Für diese Episode aus der fünften Staffel der X-Akten komponierte Mark einen ungewöhnlichen Score. Das Hauptthema, eine Art Zirkus-Tanzmusik, würde man eher von Danny Elfman vermuten. Mark verbindet das Thema mit dem eher düster-melancholischen Rest seiner Musik und begleitet den "Großen Mutato" so auf seiner schmerzvollen Suche nach etwas, wonach wir uns alle sehnen: Liebe. Im Grunde greift die Episode die Frankenstein-Geschichte auf, in der das Monster eine Partnerin sucht. Am Ende der Episode, während Mutato seinen Monolog vor den Dörflern mit den brennenden Fackeln hält, erklingt in Snows Musik wieder ein Stück von Tschaikowskis "1812 Overtüre", welches auch in seiner Musik zur „MillenniuM"-Episode „Lament" zu hören ist. Die Musik erschien zuerst als Promo-CD, später dann war sie ein Teil des ersten X-Files-Box-Sets von LLL. Ausserdem erschien sie auf der CD "The X-Files 20th Anniversary", welche 2013 von BSX veröffentlicht wurde. Allerdings handelt es sich bei den Aufnahmen auf der CD um Re-Recordings. Die CD selbst ist auf 1.000 Stück limitiert und auch als Download erhältlich. Viel Spaß beim Hören!