Alexander Grodzinski

Snow Files of the Week: "Ernest saves Christmas/Christmas Spirit" aus dem Film "Ernest Saves Christmas" (1988). Die Vorweihnachtszeit ist bereits in vollem Gange, Zeit auch für Mark Snow, um ein wenig "Christmas Spirit" zu verbreiten. Der Score zu "Ernest Saves Christmas" ist wohl einer von Snows leichtfüßigsten Scores, eingespielt mit Orchester und voller weihnachtlicher Stimmung. Die "Ernest"-Reihe ist in Amerika sehr populär, es gibt eine ganze Reihe von Filmen davon (z. B. "Ernest Goes To Camp" oder auch "Ernest Goes To Jail"). Marks Score wurde bisher nicht offiziell veröffentlicht, es existiert nur eine Promo-CD davon. Vielleicht wird sich eines der kleinen Label irgendwann mal dieses Scores annehmen. Viel Spaß beim Hören!

Nicht nur bei Musik. Auch TV-Anstalten haben damals beim Bandmaterial gespart und ausgestrahlte Sendungen auch wieder überspielt. Die BBC hat das auch gemacht, weshalb wohl auch Sachen wie einige der ersten Doctor-Who-Folgen verloren sind. Und Terry Jones hat Anfang der 70er die Bänder mit den Folgen von Monty Python's Flying Circus von der BBC gekauft. Sonst wären die auch überspielt worden.

Nachdem ich mir die neue Doppel-CD geholt habe, möchte ich das alte Album auf CD gern abgeben. Also, wenn jemand möchte... First come, first served

1. Born of Blood (Then) (1:45) 2. Headed for Trouble (0:51) 3. Blood Club Voices (1:25) 4. Party Crasher (1:08) 5. Quinn Stapled and Torched (1:30) 6. Quinn Chows Down (1:12) 7. Daywalker (1:27) 8. The House of Lords (3:34) 9. Karen Awakens (1:24) 10. The Injection (2:07) 11. There’s a War Going On Out There (2:22) 12. The Slap (1:01) 13. Glyphs (0:42) 14. Somebody’s Gonna Take You Out (1:42) 15. You’ve Gotta Learn to Pull the Trigger (0:56) 16. Stakeout (0:32) 17. High Tech Lair (0:58) 18. The Translation Completed (0:24) 19. Pearl Fries (0:44) 20. The Book of Erebus (0:53) 21. Blade Captured (1:03) 22. Whistler’s a Mother (0:23) 23. The Subway (2:20) 24. History (1:27) 25. Sunblock (1:33) 26. The Last Dawn (1:28) 27. A Pain in the Neck (1:08) 28. Man in the Street (0:27) 29. Top of the Food Chain (2:01) 30. The Beating (0:51) 31. Death of Whistler (1:54) 32. A Hurricane’s Coming (0:47) 33. Intruder (2:46) 34. One Big Happy Family (1:46) 35. Temple of Light (4:40) 36. Curtis Isn’t Himself Today (1:58) 37. Blood Relations (2:36) 38. The Bleeding Stone (1:49) 39. The Ritual Continues (1:59) 40. The Thirst Always Wins (3:24) 41. The Wraiths Emerge (2:03) 42. Defrosted (1:01) 43. Quinn Loses His Head (0:46) 44. The Blood God (3:15) 45. It’s Not Over (2:34) 1. Blood Bank Creeps (1:34) 2. Nomack the Knife (1:16) 3. Blade II Main Titles (3:05) 4. Moo Cow (1:21) 5. Wheel and Deal (0:50) 6. Wet Whistler (2:22) 7. Waiting for the Sun (3:38) 8. Suckheads Infiltrate (3:31) 9. Caliban by Helicopter (2:04) 10. Big D Hosts Big B (2:37) 11. The Imp ‘n Pimp (1:06) 12. Meet the Bloodpack (3:19) 13. Let’s Go to the H.O.P. (1:56) 14. Reapers in the Kitchen (1:41) 15. I.H.O. Paincakes (7:43) 16. Scaffolding Fight (3:20) 17. Priest Splits (1:30) 18. Little Boy Blue (1:21) 19. Bath Time (1:38) 20. Nyssa Needs a Napkin (3:45) 21. Suckpuppy Nut Juice (1:50) 22. Sewer Pickles (5:11) 23. Let the Sun Shine In (0:40) 24. B Slice (1:47) 25. Charge oftThe Light Grenade (2:33) 26. Blade’s Discharge (2:05) 27. Crispy Reapers (1:22) 28. Nyssa Swallows (3:02) 29. Who’s the Man? (5:51) 30. Big D Educates (3:35) 31. Nomack Snacks (2:30) 32. Blood Bath (1:00) 33. Reinhart Splits (1:10) 34. Family Feud (3:25) 35. Smackdown (4:59) 36. Nyssa Over Easy (2:39) 37. Abayo (0:14) 38. End Credits (2:57)

Von Music Box Records: ARSÈNE LUPIN (EXPANDED 20TH ANNIVERSARY EDITION) Format Digital Brand Music Box Records Reference MBD-234 Condition New Music Composed by Debbie Wiseman Music Box Records (digital) Newly remastered and expanded edition. 8-page CD booklet with French and English liner notes by Sylvain Pfeffer. Limited Edition of 500 units. In collaboration with EMI Music Publishing France, Music Box Records presents the newly remastered and slightly expanded edition of Ennio Morricone’s score to the 1983 adventure film Le Ruffian, starring Lino Ventura, Bernard Giraudeau and Claudia Cardinale. Le Ruffian, the twelfth feature film of director and writer José Giovanni is an action-filled adventure movie shot in the Canadian Rocky Mountains, with the majestic Wapta Falls as its main natural setting. The score allowed Ennio Morricone to pick up various elements from his melodic and instrumental palette in order to deliver a colorful and catchy score. According to his usual method, the Italian maestro proposed several themes, notably for the main theme. This album allows listeners to discover for the first time four never-before-released tracks, including two unused versions of Le Ruffian’s theme, revealing a more nostalgic approach than the glib melody that was actually chosen for the movie. The final score of the film is built around three recurring themes for which Morricone collaborated again with harmonica player Franco de Gemini. The composer summoned up the iconic pieces of his repertoire from the 60s/70s and infused José Giovanni’s pictures with the Western-like sound he had coined. This newly remastered edition features the complete program already released on the Italian label Beat Records in 2004 with all the alternate versions. The album also presents the original 1983 General Music soundtrack album, remastered from a new pristine condition stereo master tape, and also includes for the first time four never-before-released demo tracks which were vaulted at EMI Music Publishing France. The package includes an 8-page booklet with liner notes by Sylvain Pfeffer, discussing the film and the score. The CD release is limited to 500 units. LE RUFFIAN ORIGINAL SOUNDTRACK ALBUM 1. Western ? (3:39) 2. Ricordo rosa (2:58) 3. Amici come pochi (2:39) 4. Sotto le rapide... poi l'oro (1:52) 5. L'oro come pericolo (4:22) 6. Viaggio in 4 (3:33) 7. Sporco ma distinto (1:56) 8. Un pomeriggio solo mio (2:38) 9. Le ruffian (4:08) 10. Un'orchestra un po'pazza (2:56) BONUS TRACKS 11. Viaggio in 4 (#2) (1:56) 12. L'oro come pericolo (#2) (2:18) 13. Le ruffian (#2) (1:10) 14. Western ? (#2) (1:55) 15. L'oro come pericolo (#3) (1:41) 16. Western ? (#3) (0:59) 17. Amici come pochi (#2) (1:40) 18. Sporco ma distinto (#2) (1:41) 19. Amici come pochi (#3) (1:46) 20. Ricordo rosa (#2) (1:46) 21. Le ruffian (#3) (1:58) 22. Western ? (#4) (1:44) 23. Ricordo rosa (#3) (2:39) 24. Western ? (#5) (2:23) 25. L'oro come pericolo (#4) (3:30) 26. Western ? (#6) (3:18) 27. Sotto le rapide... poi l'oro (#2) (3:23) 28. Ricordo rosa (demo #1) (3:07) - Previously Unreleased 29. Le ruffian (demo #2) (1:49) - Previously Unreleased 30. La danse du ruffian (demo #3) (2:21) - Previously Unreleased 31. Le ruffian (demo #4) (1:38) - Previously Unreleased Total Time • 76:40 Remastered CD reissue. 12-page CD booklet with liner notes by Daniel Schweiger. Limited Edition of 1000 units. In collaboration with Edward R. Pressman Film Corporation, Music Box Records proudly follows their IFMCA award-winning release of Bernard Herrmann’s 1976 Oscar-nominated score for Obsession by now going back to his collaboration, one that relaunched his career as well as boldly announcing a new Master of Suspense. Almost forgotten when editor Paul Hirsch was inspired to use Psycho as temporary music, the resulting collaboration between him, filmmaker Brian De Palma and Herrmann showed just how much diabolically inventive energy was left to his talent with 1973’s Sisters. Weathering the storm that the legendarily combustible musician brought to this tale of an innocent model and her possession by a seemingly dead twin (both played by Margot Kidder). The result of Herrmann’s outraged inspiration was one of his great, theme-filled scores. Particularly striking as it brought a new Moog electronic sensibility to join with his symphonic swings between romance and terror, Sisters once again brought the composer into the Hollywood eye while joltingly announcing the arrival of a stylistically fresh, homage-filled auteur of modern suspense cinema. With Sisters’ complete scoring session elements proving lost after an exhaustive search in collaboration with the Edward R. Pressman Film Corporation, Music Box Records has painstakingly remastered the original CD edition to reprise its original album program with a knife-striking, bell-ringing orchestral malice that no mad doctor can rend asunder. Extensive liner notes by Daniel Schweiger (Obsession) features a new interview with Paul Hirsch on the turbulent scoring process with Bernard Herrmann that brought an iconically thrilling legend back to Hollywood life. The CD release is limited to 1000 units. SISTERS 1. Prelude (Main Title) (1:36) 2. The Dressing Room (1:19) 3. The Ferry / The Apartment / Breton (3:40) 4. The Scar / The Pills / Duo (2:50) 5. The Cake / The Car / The Candles (2:40) 6. Phillip's Murder / Window View (3:05) 7. Clean-Up / Split Screen / The Search (2:58) 8. The Plastic Bag / The Dress / The Cake Box (2:48) 9. Apartment House / The Windows (2:44) 10. The Couch (1:06) 11. The Siamese Twins (2:36) 12. The Solution / The Clinic / Hypnotic Trance (3:54) 13. The Dream / The Syringe (4:21) 14. Separation Nightmare / Breton's Murder / Dirge (4:08) 15. Aftermath / Finale (2:16) Total Time • 42:11 World Premiere CD Release. 12-page CD booklet with French and English liner notes by Sylvain Pfeffer. Limited Edition of 500 units. Music Box Records proudly presents the premiere CD release of Philippe Sarde's lyrical score to the 2006 drama film Le Grand Meaulnes. The movie, based on the classic novel by Alain-Fournier, marks the reunion between Jean-Daniel Verhaeghe and composer Philippe Sarde, nine years after Stendhal’s The Red and the Black (available on Music Box Records), the director’s previous adaptation of another masterpiece of French literature. Charmed by what Sarde had come up with for The Red and the Black, Verhaeghe completely trusted him on Le Grand Meaulnes, leaving him free to make his own choices regarding the musical orientation of the score. Philippe Sarde built his score around Yvonne de Galais’s theme. The long melody expands endlessly, oscillating between introverted intimacy and flamboyantly lyrical style. A second motif, both elegant and touching, illustrates the strong friendship that binds the main characters together. The score, performed by the 90 musicians of the Pro Arte Orchestra and recorded in London by John Timperley at the Abbey Road Studios, revives the early 20th century musical era. The music of Le Grand Meaulnes lavishly and truthfully celebrates the joys and pains that build up, little by little, the sturdiest of friendships. Supervised by Philippe Sarde, the whole program has been assembled by Édouard Dubois and fully remastered from the complete scoring session elements. The package includes a 12-page booklet featuring exclusive liner notes by writer Sylvain Pfeffer discussing the film and the score, based on new comments by Philippe Sarde. The CD release is limited to 500 units. LE GRAND MEAULNES 1. Prologue (Rentrée des classes) (3:37) 2. Feux d'artifice (0:40) 3. Baignade dans la rivière (0:55) 4. Sauvetage (1:15) 5. Sur les toits (1:14) 6. Les grandes manœuvres (1:56) 7. Fuite du Grand Meaulnes (2:47) 8. Yvonne de Galais (1:21) 9. La fête (1:18) 10. Le serment (2:17) 11. Les Sablonnières (1:18) 12. Départ d'Augustin (1:02) 13. La lettre d’Augustin (1:14) 14. La barque / Le bal (2:41) 15. La tourelle (0:36) 16. François et Yvonne (1:17) 17. Retrouvailles (2:11) 18. Le mariage (1:29) 19. Repas de noces (1:41) 20. L'avion (1:14) 21. Yvonne enceinte (1:27) 22. Mort d'Yvonne (2:29) 23. Augustin et sa fille (1:55) 24. Mobilisation (1:28) 25. In memoriam (5:05) 26. Finale (Générique de fin) (4:21) Total Time • 49:53

Wer weiß, wie lange die Veröffentlichung schon in der Mache war. Der Fall wurde 2007 entschieden und Warner musste sogar eine öffentliche Entschuldigung abgeben.

Intrada announces the premiere release of one of Maurice Jarre's most requested scores: the Universal Pictures supernatural drama Resurrection (1980). The score is in pure Jarre tradition, composed for full orchestra. But Jarre's affinity for the American South also manifests in several ways: instrumentation (banjo, steel guitar, dulcimer and especially harmonica are all on display); source music, such as the bluegrass number for the picnic scene; and underscore, all to reconnect our main protagonist to her rural roots. Jarre develops most of his score from four distinct melodies, all of which liner note writer John Takis analyzes in the album's program notes. Listeners will be surprised by the wealth of music they haven't heard before. As Takis writes, "For all the thematic richness and emotional heft of Resurrection’s score, even listeners who have seen the film many times will have experienced a mere portion of what Jarre wrote and recorded. Much of his music was not used in the film, and other cues were either shortened or moved from their intended position." This release was produced and mastered by Chris Malone, who also mixed the original 24-track sessions that were stored at Universal in perfect condition. This long overdue release of Jarre's magnificent score, some 44 years after the film's release, could not sound better. The dramatic film, directed by Daniel Petrie, stars Ellen Burstyn as Edna McCauley, a woman who undergoes a profound spiritual transformation after a near-death experience. Following a car accident, Edna discovers she has the ability to heal others, which leads her to grapple with her newfound gift and its implications. As she helps those in need, she faces skepticism, personal struggles and moral dilemmas, ultimately seeking to understand the true meaning of her powers and her place in the world. The film explores themes of faith, healing, and the intersection of the physical and spiritual realms. THE SCORE 01. Resurrection (1:47) 02. Sad News (4:20) 03. Esco (3:57) 04. Faith (5:13) 05. You’ll Be Leaving Again (2:37) 06. Healing Cal (3:49) 07. What Else Can You Feel In Me? (3:44) 08. Another Miracle (4:06) 09. Father’s Death (5:16) 10. Chasing The Devil (3:07) 11. Abandoned House (7:24) Total Score Time: 45:19 THE EXTRAS 12. The Tunnel (2:40) 13. Sad News (Alternate – Violin, Viola And Flute) (1:58) 14. Healing Cal (Film Version) (3:01) 15. Laser Beam (0:41) 16. Resurrection–End Title (Alternate) (3:21) 17. Picnic Bluegrass (2:59) 18. Drought Bluegrass (2:55) 19. Resurrection–Theme (Bluegrass Version) (3:49) 20. Reunited (3:29) 21. California Dreamin’ (2:00) 22. If I Said You Had A Beautiful Body Would You Hold It Against Me (3:02) 23. Resurrection – Theme (Pop Version) (2:52) Total Extras Time: 32:49 CD Total Time: 78:07

War nicht auch der Grund, warum Terence nicht AUCH DIE ENGEL ESSEN BOHNEN gemacht hat, dass er zur gleichen Zeit MEIN NAME IST NOBODY drehte?

Damals scheinbar schon. Goldenthals Klage, die auch noch erfolgreich war, war ja so eine Art Präzedenzfall in der Richtung. Und man kann ja gut sehen, wie schnell er danach aus Hollywood verschwand. Und ja, wenn mich mein Gedächtnis nicht täuscht, hat MV damals auch so etwas erwähnt, als es um BATMAN & ROBIN ging. Da war Goldenthal ein rotes Tuch. Ob das immernoch so ist, keine Ahnung. Aber Warner hat ja so oder so seine Tore geschlossen.

Das hast du falsch verstanden. Geklagt hat Goldenthal, wie beschrieben, natürlich, als man TITUS in 300 verwurstet hat. Das war ja lange nach BATMAN & ROBIN. Aber aufgrund seiner Klage wurde Goldenthal quasi zur unerwünschten Person bei Warner. Und deshalb ist das Studio Warner wohl auch sehr unkooperativ, wenn ein Label wie LLL einen Goldenthal-Score von Warner, wie eben BATMAN & ROBIN, veröffentlichen will. Eben, um mit Goldenthal nichts mehr zu tun haben zu müssen, geschweige denn, ihm noch mal Geld abgeben zu müssen. Wobei sich das Thema Warner für die Label mittlerweile sowieso erledigt hat. Aber als die noch kooperativ waren, hat MV natürlich auch wegen BATMAN & ROBIN angefragt.

Snow Files of the Week: „Suicide/Nancy gets wormed", aus „The X-Files", Episode „Ice" (1993). Eine weitere Klassiker-Episode aus der ersten Staffel. Es war im Grunde genommen die X-Files-Version der Kurzgeschichte „Who goes there?" von John Campbell, auf der auch „John Carpenter's The Thing" basiert. In einer Forschungsstation in Alaska kommt es zu einem Mord-Selbstmord-Szenario unter den Wissenschaftlern. Mulder und Scully fliegen nach Alaska, um die Vorkommnisse zu untersuchen. Die Wissenschaftler haben eine Lebensform im Eis entdeckt, in einem Krater, der scheinbar vor 250.000 Jahren von einem Meteor verursacht wurde. Diese Lebensform, kleine, wurmartige Wesen, dringen in die Wirtskörper ein und übernehmen die Kontrolle über Denken und Handeln. Schon bald traut in der Station keiner mehr dem anderen und auch zwischen Mulder und Scully kommt es zu Spannungen. In den ersten Staffeln der Serie war Marks Musik noch wesentlich mehr auf Klangcollagen ausgelegt. Das war eine Vorgabe von Chris Carter, der keine „zu aufdringliche" Musik wollte. So musste Mark noch mal zusätzlich kreativ werden, um nicht jede Woche einfach nur die gleiche Spannungsmusik abzuliefern. Das hat er über eine Dekade X-Akten auch vortrefflich geschafft. So hebt sich auch die Musik zu „Ice", trotz fehlender Themen, durch die Sounds, die Mark verwendet, ab. Seine Klangflächen sind eiskalt und ein Sound, der mit einem Echoeffekt immer wieder auftaucht, unterstreicht die Isolation in der Station, eingeschlossen vom Eis und nicht wissend, wer schon infiziert ist. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Stück limitiert ist. Viel Spaß beim Hören!

Der Score in der Filmversion wäre dann wohl auch eher ein Studienobjekt. Denn da sind schon einige recht offensichtlich Musikschnitte drin. Beispielsweise gleich der Main Title. Da hört man doch sehr deutlich, dass der Anfang des Spider-Man-Themas noch Elfmans Aufnahme ist, bevor dann mit einem Schnitt Youngs neue Themen einsetzen. Wenn man genau hinhört, bemerkt man auch, dass sich der Klang des Orchesters etwas ändert.

Dazu kommt noch, dass Elfman zumindest damals auf seine Tantiemen gepocht hat, da sein Material verwendet wurde. Und das wollte das Studio eben nicht auch noch unterstützen, indem sie ein Score-Album veröffentlichen. Vermutlich ein ähnlicher Fall wie bei Goldenthal, der damals ja sogar geklagt hat, als man seinen TITUS-Score in 300 nachgebaut hat, ohne ihn entsprechend dafür zu bedenken und entlohnen. Sowas sieht das Studio natürlich nicht gern, wenn ein „Angestellter" auf sein Recht pocht. Für Goldenthal war das quasi das Ende seiner Hollywood-Karriere. Elfman war nach den schlechten Erfahrungen bei SPIDER-MAN 2 ja auch sauer auf das Studio und hat eben auch auf sein Recht gepocht, für den dritten Film ebenfalls entsprechend entlohnt zu werden. Denn die Musik, die im Film zu hören ist, ist maßgeblich Elfmans Material. Das war ja der Knackpunkt an der Sache: SPIDER-MAN 2 war hauptsächlich mit Elfmans Musik aus dem ersten Film im Rohschnitt unterlegt worden und das gefiel dem Studio so gut, dass sie Elfman auftrugen, im Grunde nur neue Arrangements seiner Musik zu machen, damit sie auf die Szenen passt. Das fand Elfman aber nicht sonderlich spannend und er versuchte diesen schmalen Grat zu gehen. Also neue Musik zu schreiben und gleichzeitig die Musikvorgaben des Temp Tracks zu erfüllen. Das stellte sich aber als sehr frustrierend heraus und der großen Knall kam dann eben, als Elfman dieses Stück aus Youngs HELLRAISER, welches ebenfalls im Temp Track war, einfach kopieren sollte. Er machte mehrere Versionen davon, um dem Stück so nahe wie möglich zu kommen, ohne es einfach zu kopieren, aber das Studio war nicht zufrieden und wollte im Grunde dieses Stück so, wie es war. Dazu kam dann der fehlende Rückhalt von Raimi, der sich dem Studio unterordnete, vermutlich, um seine gerade gestartete Hollywood-Karriere nicht zu riskieren. Und es ging dann ja weiter, dass Elfman auch für andere Szenen, wie eben die Zugsequenz, immer wieder neue Versionen schreiben musste, aber das Studio immer noch nicht zufrieden war. Das Ende vom Lied war dann eben, dass Young und Debney (und sogar Raimis alter Kumpel Joseph LoDuca) geholt wurden, um zusätzliche Musik zu schreiben oder Elfmans Musik umzuschreiben. Young ist es dann bei SPIDER-MAN 3 ebenso ergangen, eigentlich noch schlimmer. Er schrieb einen kompletten Score, verwendete natürlich auch Elfmans Themen, aber brachte auch neue Themen ein. Das gefiel dem Studio aber wieder nicht und so engagierten sie Elfmans Orchestrator Steve Bartek (vielleicht hatte Elfman selbst auch gar keine Lust mehr, beziehungsweise wurde er selbst gar nicht gefragt, weil er sich dem Studio gegenüber nicht mehr so koopertiv verhalten hat), der Elfmans Material neu für den Film arrangierte. Im Film sind über weiter Teile daher nur Spuren von Youngs Musik übrig geblieben (sein neues Love Theme beispielsweise ist ganz rausgeflogen). Und natürlich hat Elfman dann auf finanzielle Entschädigung bestanden, da sein Material verwendet wurde. Was eben noch mehr geworden wäre, hätte das Studio ein Score-Album veröffentlicht. Aus „Rache" an Elfman hat man dann aber eben auf ein Album verzichtet. Hat MV nicht mal etwas ähnliches über Goldenthals BATMAN & ROBIN gesagt? Dass Goldenthal quasi beim Studio nach seiner Klage unten durch war und man deshalb auch den Score nicht veröffentlichen will. Auch aus „Rache", um Goldenthal quasi nicht nochmal was bezahlen zu müssen. So oder so wäre eine Veröffentlichung von SPIDER-MAN 3 tatsächlich eine Herausforderung. Denn es gibt eben einen Score, wie ihn Young geschrieben hat, einen Score, wie er im Film vorkommt (mit allen Schnitten und neuen Arrangements) und sicherlich tonnenweise Alternates. Ob da drei Discs reichen würden?

AUCH DIE ENGEL MÖGEN'S HEISS ist wohl zumindest inoffizieller Teil des Spencer/Hill-Universums. Gemma nimmt die Rolle des Sonny aus AUCH DIE ENGEL ESSEN BOHNEN wieder auf, ihm zur Seite steht ein Bud-Spencer-Ersatz und Regisseur Enzo Barboni kehrte ebenfalls zurück. Dazu natürlich die Musik der Oliver Onions. Das Label 3L, welches einige Spencer/Hill-Filme erstmals auf Blu-ray veröffentlichte, hat AUCH DIE ENGEL MÖGEN'S HEISS ebenfalls in diese Reihe aufgenommen. Es suggeriert also zumindest eine Zugehörigkeit.

Am interessantesten dürften hier wohl die zusätzlichen/alternativen Tracks von Christopher Young und John Debney sein, die natürlich nicht auf dem alten Album sind. Ging damals in der Post-Pro ja heiß her und führte zum zwischenzeitlichen Zerwürfnis zwischen Raimi und Elfman. Young vertonte die Zugsequenz komplett neu, nachdem Elfman bereits mehrere Versionen davon geschrieben hatte. Das Stück aus HELLRAISER von Young scheinen sie aber weggelassen zu haben.

Parker arbeitete vorher schon mit dem Produzenten des Films zusammen. Williams war wohl auch im Gespräch, der war aber zu beschäftigt, unter anderem mit RETURN OF THE JEDI. Parker reichte zwei Demo-Tracks ein und wurde daraufhin engagiert. JAWS 3D war sein erster Kinofilm-Score.

SPIDER-MAN 2 – 20th ANNIVERSARY MOTION PICTURE SCORE: EXPANDED & REMASTERED LIMITED EDITION (3-CD SET) LLLCD 1658 Music by Danny Elfman Limited Edition of 3000 Units RETAIL PRICE: $39.98 STARTS SHIPPING NOV 12 La-La Land Records, Columbia Pictures and Sony Music proudly celebrate the 20th Anniversary of the classic 2004 motion picture SPIDER-MAN 2 with a remastered and expanded 3-CD deluxe presentation of renowned composer Danny Elfman’s (BATMAN, DARKMAN, MISSION: IMPOSSIBLE, SPIDER-MAN) original score. This revered follow-up to 2002’s top box office hit reunited stars Tobey Maguire and Kirsten Dunst with director Sam Raimi and would ultimately be praised by many as one of the great comic-book films of all time - and it would further expand and evolve the strikingly creative collaboration between director Raimi and composer Elfman. Building on his notable work for the first film, Elfman’s SPIDER-MAN 2 score slings and swings even higher and farther. Big, bold, thematic – this is blockbuster superhero music at its most dynamic. Full of action, courage and danger, yet remarkably emotional and focused on character, heart and romance, the composer’s work is a revelation within this long overdue, deluxe presentation which finally unleashes the score in all its brilliance, remastered and greatly expanded with a treasure trove of previously unreleased material! DISC 1 features the original 2004 score-only soundtrack assembly plus two bonus tracks, while DISCS 2 and 3 showcase the expanded film Score Presentation along with Additional Music and Additional Score Cues. Produced by Neil S. Bulk and Dan Goldwasser, and mastered by Doug Schwartz from studio vault elements, this special release is limited to 3000 units and features a 32-Page booklet with exclusive in-depth liner notes by writer Jeff Bond and heroic art direction by Dan Goldwasser. TRACK LISTING: DISC 1 ORIGINAL SCORE ALBUM 1. Spider-Man 2 Main Title 3:21 2. MJ's New Life / Spidus Interruptus 2:32 3. Doc Ock Is Born 2:23 4. Angry Arms / Rebuilding 2:51 5. A Phone Call / The Wrong Kiss / Peter's Birthday 2:07 6. The Bank / Saving May 4:27 7. The Mugging / Peter's Turmoil 3:22 8. Doc Ock's Machine 1:42 9. He's Back! 1:50 10. Train / Appreciation 6:16 11. Aunt May Packs 2:51 12. Armageddon / A Really Big Web! 6:28 13. The Goblin Returns 1:37 14. At Long Last, Love 2:56 TOTAL ORIGINAL SCORE ALBUM TIME 44:45 BONUS TRACKS 15. Spidey Suite (ALBUM VERSION) 4:00 16. Doc Ock Suite (ALBUM VERSION) 3:53 TOTAL BONUS TIME 7:53 DISC TIME 52:44 DISC 2 SCORE PRESENTATION 1. Spider-Man 2 Main Title 3:26 2. Pizza Man 1:39 3. Book Troubles 0:34 4. Riding To May's / Peter's Birthday 0:57 5. Harry Remembers / Responsible One 1:21 6. Backyard Revisited 2:01 7. Apartment Transition 0:30 8. Theatre Montage 2:01 9. Cops And Robbers 1:25 10. MJ's New Life / Spidus Interruptus (FILM VERSION) 2:08 11. Draggin' / A Phone Call 1:19 12. The Reveal 1:16 13. Blue Light 1:05 14. Fusion 1:47 15. Mayhem / Aftermath 1:26 16. Doc Ock Is Born (FILM VERSION) 2:49 17. Angry Arms 2:20 18. The Bank / Saving May (FILM VERSION) 5:17 19. Spider Fall / Rebuilding 2:30 20. Uncle Ben 2:17 21. Happy Montage 1:55 22. Peter Appeals To MJ / Newspaper 1:30 23. A Mugging / Spider-Gone 1:39 24. Doc Ock's Machine 1:44 25. Rooftop Rendezvous 1:24 26. The Fire 2:35 27. Peter's Turmoil 1:46 28. Aunt May Packs 2:56 29. Not Back Yet 1:09 30. The Wrong Kiss / Almost A Kiss 2:20 31. A Hostage 1:58 32. He's Back! (FILM VERSION) 2:01 33. Train / Appreciation (EXTENDED VERSION) 6:30 DISC TIME 68:30 DISC 3 SCORE PRESENTATION CONTINUED 1. Out For The Count 2:06 2. The Trouble With Harry 0:17 3. On The Case 2:34 4. Armageddon / A Really Big Web! (FILM VERSION) 7:59 5. The Goblin Returns (FILM VERSION) 2:38 6. At Long Last, Love 2:56 SCORE PRESENTATION CONT. TIME 18:36 TOTAL SCORE TIME 1:27:08 ADDITIONAL MUSIC 7. Harry Remembers (ALTERNATE 1) 0:47 8. Harry Remembers (ALTERNATE 2) 0:38 9. MJ's New Life / Spidus Interruptus (WITH ALTERNATE SECTION) 2:07 10. A Phone Call (ALTERNATE) 0:54 11. The Reveal (ALTERNATE) 1:16 12. Doc Ock's Machine (ALTERNATE MIX) 1:44 13. Peter's Turmoil (ALTERNATE) 2:01 14. He's Back! (ALTERNATE ENDING) 1:59 15. The Trouble With Harry (ALTERNATE) 0:18 16. Armageddon (ALTERNATE) 5:39 17. The Goblin Returns (ALTERNATE MIX) 2:37 18. Bridal Chorus* 2:11 19. At Long Last, Love (ALTERNATE ENDING) 2:55 TOTAL ADDITIONAL MUSIC TIME 25:30 ADDITIONAL SCORE CUES 20. Special Delivery** 0:53 21. Open Heart** 1:03 22. The Demonstration, Part I † 1:23 23. The Demonstration, Part II † 1:07 24. The Demonstration, Part III † 2:36 25. Cake Girl** 1:25 26. Runaway Train, Part I † 2:30 27. Runaway Train, Part II † 2:11 TOTAL ADDITIONAL SCORE CUES TIME 13:20 DISC TIME 57:41 TOTAL COLLECTION TIME 2:58:55 * Composed by Richard Wagner ** Composed by John Debney † Composed by Christopher Young and Danny Elfman

JURASSIC PARK III: REMASTERED & EXPANDED LIMITED EDITION Original Themes by John Williams New music composed and conducted by Don Davis Limited Edition of 3000 Units RETAIL PRICE: $31.98 STARTS SHIPPING NOV 12 La-La Land Records, Universal Pictures, Amblin Entertainment, Universal Music Group and Decca Records present JURASSIC PARK III, a limited edition 2-CD remastered and expanded presentation of acclaimed composer Don Davis’ (THE MATRIX, THE MATRIX RELOADED, BOUND) original motion picture score to the blockbuster second sequel in the legendary JURASSIC PARK franchise, starring Sam Neill, William H. Macy and Tea Leoni, and directed by Joe Johnston. Expertly interpolating, and building on, maestro John Williams’ iconic JURASSIC themes, composer Davis propels the film’s excitement even further with his own powerhouse, original orchestral material. Expanded and sounding better than ever, JURASSIC PARK III shines brilliantly – it’s robust, thematic high-octane film scoring that finally gets to shine in full within this deluxe release. Produced by Mike Matessino and Neil S. Bulk, newly edited by Bulk and mixed and mastered by Matessino from the original 24 bit film mixes, this 2-CD presentation showcases the original 2001 soundtrack release remastered on Disc 1, with the expanded film score spread across both discs, concluding with additional tracks on Disc 2. The exclusive, in-depth liner notes are by John Takis, including new comments from the composer, while the sharp art design is by Jim Titus, continuing the eye-catching style he employed for our JURASSIC PARK and THE LOST WORLD re-issues. This is a limited edition of 3000 Units. TRACK LISTING: DISC 1 ORIGINAL SOUNDTRACK ALBUM (54:28) 1 Isla Sorna Sailing Situation 4:21 2 The Dinosaur Fly-By 2:13 3 Cooper’s Last Stand 1:59 4 The Raptor Room 2:35 5 Raptor Repartee 3:04 6 Tree People 2:00 7 Pteranodon Habitat 3:01 8 Tiny Pecking Pteranodons 3:34 9 Billy Oblivion 2:49 10 Brachiosaurus On The Bank 2:05 11 Nash Calling 3:36 12 Bone Man Ben 7:18 13 Frenzy Fuselage 3:58 14 Clash Of Extinction 1:39 15 The Hat Returns / End Credits 5:07 16 Big Hat, No Cattle 4:24 Performed by Randy Newman SCORE PRESENTATION (85:07) 17 Isla Sorna Sailing Situation (Film Version) 4:26 18 Dinosaur Man 1:43 19 Udesky, Nash And Cooper 2:29 20 The Raptor Bone 1:18 21 Raptor In The Cabin 1:52 22 The Dinosaur Fly-By (Film Version) 2:28 23 Cooper’s Last Stand (Extended Version) 2:52 24 Frenzy Fuselage (Extended Version) 4:08 25 Clash Of Extinction 1:40 DISC 1 TOTAL TIME: 77:40 DISC 2 SCORE PRESENTATION CONT’D 1 Kirby Paint And Tile Plus 4:07 2 Bone Man Ben (Film Version) 3:39 3 Raptor Eggs 2:54 4 The Raptor Room (Film Version) 2:44 5 Raptor Repartee (Film Version) 3:28 6 Eric To The Rescue 1:52 7 Tree People (Film Version) 2:02 8 Nash Calling 3:36 9 Party Crasher 3:16 10 Pteranodon Habitat 3:01 11 Tiny Pecking Pteranodons (Film Version) 3:24 12 Billy Oblivion (Film Version) 2:54 13 Brachiosaurus On The Bank 2:05 14 Reaching For Glory 2:32 15 River Rampage 2:13 16 Paul Makes The Leap 2:59 17 River Reminiscence 1:07 18 Raptor Harassment 3:41 19 The Hat Returns / End Credits (Extended Version) 10:02 ADDITIONAL MUSIC (13:14) 20 Dinosaur Man (Alternate) 1:43 21 Raptor In The Cabin (Alternate) 1:52 22 Cooper’s Last Stand (Alternate) 2:38 23 Clash Of Extinction (Alternate Opening) 1:46 24 River Rampage (Alternate Ending) 2:11 25 River Reminiscence (Alternate Ending) 1:08 26 Dinosaur Man (With Choir) 1:44 DISC 2 TOTAL TIME: 75:18 TOTAL 2-DISC TIME: 2:32:58 This is a CD format release.

THE GODFATHER PART II: 50th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1652 Music by Nino Rota Limited Edition of 5000 Units RETAIL PRICE: $31.98 STARTS SHIPPING NOV 12 La-La Land Records, Paramount Pictures and Geffen Records proudly present a remastered and expanded Limited Edition 2-CD release of acclaimed composer Nino Rota’s (8 1/2, LA DOLCE VITA, THE GODFATHER) Oscar-winning original motion picture score to the 1974 masterpiece THE GODFATHER PART II starring Al Pacino, Robert Duvall, Diane Keaton and Robert DeNiro, and directed by Francis Ford Coppola. This deluxe release of Nino Rota’s brilliant score marks the 50th Anniversary of the classic second film in THE GODFATHER saga - arguably the greatest sequel of all time - and its iconic music, both of which have cemented themselves into our culture for eternity. Beyond the composer’s artful reprisals and interpretations of first film’s legendary waltz and love themes, the music of PART II soars further with Rota’s emotional new themes and explorations that enrich the film’s epic nature. And the Academy took note - among the film’s eleven Oscars, including Best Picture, the composer won for Best Original Score. Produced by Dan Goldwasser and Neil S. Bulk, mixed by Chris Malone from original multi-track material, and mastered by Doug Schwartz, this special 2-CD release, limited to 5000 units, includes previously unreleased and unused music and has been approved by Francis Ford Coppola and American Zoetrope. Disc One showcases the film’s expanded score presentation along with Nino Rota source music and additional material, while Disc Two presents the remastered Original Soundtrack Album and also source cues, showcasing music by Carmine Coppola, as well as a rare Nino Rota demo recording! The exclusive, in-depth liner notes are by writer Tim Greiving and the sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Main Title / The Immigrant (FILM VERSION) 2:02 2. Anthony’s First Communion 1:03 3. After The Party (EXPANDED)* 1:17 4. Finding The Man** 0:59 5. The Search Continues / Found* 1:38 6. Michael And Anthony 2:31 7. Vito And Abbandando 2:39 8. A New Carpet (FILM VERSION) 1:31 9. A Visit To Roth 1:45 10. Kay (FILM VERSION) 1:11 11. The Little Plane 0:22 12. The Godfathers At Home 2:35 13. Fredo Brings The Bread* / Ola’s Death / Roth Is Next* / Busetta’s Death* 3:33 14. Fredo’s Panic 1:30 15. Ninna-Nanna A Michele 1:04 (feat. Nino Palermo) 16. Intermezzo* 2:48 17. The Corleone Estate 0:27 18. Michael Comes Home 2:06 19. Fredo’s Stay Of Execution 1:13 20. Michael And His Mother 1:28 21. The Landlord / We’re In Business 1:08 22. Remember Vito Andolini (FILM VERSION) 4:38 23. The Brothers Mourn** 3:21 24. Reflections On Romans / Death Of Three 4:29 25. New England* 0:35 26. End Titles 3:56 TOTAL SCORE TIME 52:30 NINO ROTA SOURCE CUES 27. I’ve Got A Girl In Reno* 2:37 28. Havana 2:34 29. Calles De Havana* 0:56 30. Intermezzo Pt. II* 0:50 31. Clar-I-Notes* 2:58 32. The Forties 4:42 33. The Forties (ALTERNATE) 1:41 TOTAL NINO ROTA SOURCE CUES TIME 16:26 ADDITIONAL MATERIAL 34. The Search Continues (WILD TAKE) 0:30 35. The Little Plane (ALTERNATE) 0:23 36. Ninna-Nanna A Michele (ORCHESTRA ONLY EXCERPT) 0:24 37. Ninna-Nanna A Michele (ALTERNATE ENDING) 1:14 (feat. Nino Palermo) 38. The Godfather Epilogue 1:49 TOTAL ADDITIONAL MATERIAL TIME 4:27 TOTAL DISC TIME 1:13:31 DISC 2 ORIGINAL SOUNDTRACK ALBUM 1. Main Title / The Immigrant 3:28 2. A New Carpet 1:59 3. Kay 2:58 4. Ev’ry Time I Look In Your Eyes / After The Party 2:35 5. Vito And Abbandando 2:39 6. Senza Mama (feat. Livio Giorgi) / Ciuri-Ciuri / Napule Ve Salute 2:36 7. The Godfathers At Home 2:35 8. Remember Vito Andolini 2:54 9. Michael Comes Home 2:22 10. Marcia Stilo Italiano 2:02 11. Ninna-Nanna A Michele (feat. Nino Palermo) 2:21 12. The Brothers Mourn 3:21 13. Murder Of Don Fanucci 2:51 14. End Title 3:56 TOTAL ORIGINAL SOUNDTRACK ALBUM TIME 39:00 SOURCE CUES 15. The Fiddler 0:14 16. Italian Eyes (EXCERPT) 0:14 17. Napule Ve Salute (Lassanno Napule) (EXTENDED) 1:31 18. Senza Mama (EXTENDED) (feat. Livio Giorgi) 2:41 19. My Tropical Love (CONSISTING OF “LA PALOMA”) 3:12 20. Marcha Reale Italiana 0:22 21. The Star-Spangled Banner 0:19 22. Marcia Religioso (EXTENDED) 3:51 23. Marcia Sinfonica* 0:51 24. Celeste Aida 1:05 25. Godfather’s Calypso* 2:36 26. Nino Rota Demo Tape 7:18 TOTAL SOURCE CUES TIME 24:34 TOTAL DISC TIME 1:03:40 TOTAL COLLECTION TIME 2:17:11 *NOT USED IN FILM **CONTAINS MATERIAL NOT USED IN FILM This is a CD format release

Kann man mittlerweile auch bei Amazon und JPC bestellen, Doppel-CD und Doppel-Vinyl.

Neu von Quartet: Quartet Records present the soundtrack album of Martin Scorsese’s production ESCAPE, the new collaboration between Victor Reyes (Emmy Award winner for the score of THE NIGHT MANAGER) and multi-awarded director Rodrigo Cortés, following their previous successful films together: THE CONTESTANT, BURIED, RED LIGHTS, DOWN A DARK HALL and LOVE GETS A ROOM. ESCAPE is an unclassifiable film. It’s not a comedy, it’s not a drama, it’s not an action film, but it’s all of them at the same time, or maybe not. It’s about a young man who wants to live in prison and will do whatever it takes to get there, raising questions such as whether those who care about him will be able to stop him from committing more and more serious crimes. Victor Reyes also provides an unusual, unclassifiable score—highly melodic, urban, intimate, acoustic. It is performed basically with school and toy instruments (to which he adds the sound of a cello that speaks as the protagonist) along with strings, harmonium, guitar, drums, percussion and piano. The CD comes with a lavish 16-page booklet that includes liner notes by film director Rodrigo Cortés. Así habló Zaratrusta – Inicio 1:56 Mudito 2:02 Vamos a hacer una cosa 2:36 N. 2:32 Tiene que arrestarme 1:29 Zorcico triste 1:42 Eres libre 4:50 Marcha del preso 6672 1:25 Buenas tardes – Qué ha sido eso 1:38 Esta prohibido 1:08 Planta -2 4:57 Hábleme de su mujer 2:46 Me llamo Julián 1:24 Fuga nocturna 1:04 Aislamiento 1:17 Jota 1:58 Feliz 2:07 ¡Es importantísimo! 2:43 El milagro de la vida 3:28 Escape 4:33 Así habló Zaratrusta – Fin 1:27 Quartet Records, in collaboration with GDM and Sony EMI Italia, presents a completely revised, restored and remastered edition of THE DESERT OF THE TARTARS, Ennio Morricone’s masterpiece for the no less masterful film by Valerio Zurlini from 1976. Co-produced between Italy, France, Germany and Spain, the film features a large cast of European film stars that includes Jacques Perrin, Vittorio Gassman, Giulianno Gemma, Helmut Griem, Fernando Rey, Francisco Rabal, Philippe Noiret, Max Von Sydow and Jean-Louis Trintignant. Based on the novel by Dino Buzzati, it’s an intimate epic about Lieutenant Giovanni Drogo, who is assigned to the isolated old Bastiani border fortress where he expects an imminent attack by nomadic, fearsome Tartars. Although Zurlini worked assiduously with composer Mario Nascimbene, for this, his last film, he required the collaboration of Ennio Morricone for the film’s score. Morricone wrote a score for a large orchestra, using the organ as a lead instrument to describe the immensity of the desert. Mystical, romantic, nostalgic, THE DESERT OF THE TARTARS is one of the Roman maestro’s greatest works and one of his personal favorites. A General Music LP appeared in 1976 with an extensive selection of the score, but unfortunately its first appearance on the digital market with the 1997 CD was disappointing, as the sound was sourced from vinyl since the master tapes were apparently missing. GDM’s subsequent release in 2011 recovered the master album in good stereo sound and added a handful of mono bonus tracks and film versions taken from the music stems. For this edition, Chris Malone has restored and remastered the stereo album master tapes and the stems from the ground up, including the same material as the previous GDM release. The album is produced by Dániel Winkler and Claudio Fuiano, and the package includes a 16-page booklet with in-depth liner notes by film music writer John Takis. Il deserto come estasi 4:10 Proposta 1:42 Minaccia continua 2:58 Il deserto come minaccia 3:30 Un cavaliere all’orizZonte 1:07 La casa e la giovinezza 3:24 Una Fortezza su una frontiera morta 3:07 Stillicidio 4:05 Le stagionI, gli anni… 4:48 Il deserto come poesia della fine 3:34 Il cavallo bianco dei Tartari 1:27 La cena degli ufficiali 3:46 Marcia nella tormenta 2:40 La vestizione e l’addio 7:10 Caccia al Cinghiale 1:02 Il deserto come poesia della fine #2 1:26 La cena degli ufficiali #2 1:15 Le stagioni, gli anni… #2 0:49 La cena degli ufficiali #3 3:21 Marcia nella tormenta #2 1:16 Le stagionI, gli anni… (Finale) 2:30 Total Disc Time: 60:19 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered and expanded edition of Riz Ortolani’s famous score for the shocking and successful mondo movie ADDIO ZIO TOM, directed by Gualtiero Jacopetti and Franco Prosperi in 1971. This epic re-creation of the atrocities of the American slave trade was both condemned as depraved exploitation and hailed as an unprecedented cry of black anguish and rage. The DETROIT CHRONICLE hailed it as “a graphic, moving, nerve-racking film.” Legendary film critic Pauline Kael called it “the most specific and rabid incitement to race war.” It became one of the most reviled films of its time, despite being an international success. Composer Riz Ortolani’s versatile career needs little introduction, especially when it comes to mondo films. He has been the genre’s foremost composer since his conception of MONDO CANE and his Grammy-winning, Oscar-nominated song “More.” Ortolani’s filmography includes several mondo movies such as AFRICA ADDIO, MONDO CANDIDO, BRUTES AND SAVAGES and the most quintessential example of the genre, CANNIBAL HOLOCAUST. While the quality of the films may have varied over the years, Ortolani created a solid, almost foolproof recipe for adorning these colorful shock documentaries with a fitting score. ADDIO ZIO TOM’s iconic theme song, titled “Oh My Love,” was performed by the composer’s wife, Katyna Ranieri, and became a hit, being performed by various singers over the years. Instrumental versions of the theme are interspersed throughout the movie, usually reserved for some of the more poetic images. The composer provides everything from dramatic motifs to prog rock, driving rhythms and even circus marches, in an ironic counterpoint that bridges historical differences, used to show the amoral ways of contemporary society, while it is also memorably used for a slave escape sequence. The original 13-track program (RCA OLS 😎 was released on CD in Japan in 1994 (RCA BVCP 1042), and the first European reissue added five more tracks (GDM CD CLUB 7089). This edition presents another five previously unreleased tracks, bringing the total to 50 minutes and making it the most complete presentation of ADDIO ZIO TOM. The album was conceived by Claudio Fuiano, restored and mastered by Chris Malone from the original stereo master tapes, and includes liner notes by the much-missed Gergely Hubai in one of his last collaborations with us. Oh myLove 2:52 Maple 2:24 Mister Ling 1:48 Rito di Mezzanotte 2:35 Mamie 1:11 Sosta Nel Lago 3:33 Addio Zio Tom 2:36 Il Mercato Degli Schiavi 3:28 La Fiera Delle Meraviglie 2:50 Oh my Love (Solo Orchestra) 2:51 Fort Bastille 3:11 Cadets’ Waltz 3:01 Miami 2:38 Oh my Love (Solo Orchestra #2) 1:42 Miami (# 2) 1:22 Oh my Love (Solo Orchestra #3) 1:18 Miami (#3) 1:22 Addio Zio Tom (#2) 1:05 La Fiera Delle Meraviglie (#2) 2:25 Il Mercato Degli Schiavi (#2) 2:05 La Fiera Delle Meraviglie (#3) 4:06 Miami (#4) 1:34 Il Mercato Degli Schiavi (#3 – Alt. Mix) 1:10 Total Disc Time: 52:56

Ich verkaufe die Vinyl von NIGHT AFTER NIGHT, das Shyamalan-Album von James Newton Howard. Der Preis ist 18 Euro, inklusive Versand. Bei Interesse einfach PN.

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde, limitiert auf 1000 Stück. Happy Halloween!

Kommt am 11.11. von Intrada.

Snow Files of the Week: "Alarm/X-Fyles" aus "MillenniuM", Episode "Somehow, Satan got behind me" (1998). Darin Morgan schrieb einige der sarkastischsten und witzigsten Folgen der "X-Files" (Humbug, War of the Coprophages, Jose Chung's From Outer Space). Für die zweite Staffel von "MillenniuM" kehrte Darin zurück, um zwei Folgen zu schreiben und zu inszenieren. "Jose Chung's Doomsday Defense" war das erste Crossover der beiden Shows. In "Somehow, Satan got behind me" geht es um vier Dämonen, die in der Gestalt alter Männer sich nachts in einem Diner treffen, um dort darüber zu reden, welche armen Seelen sie in der vergangenen Woche zur Hölle haben fahren lassen. "Alarm" ist ein schrulliges Stück Musik, welches erklingt, als die Dämonen sich im Diner treffen. Eine der armen Seelen ist ein TV-Zensor, der in einem TV-Studio-Komplex Amok läuft. In einem der Studios sieht man eine rothaarige Frau und einen großen Mann mit dunkelbraunen Haaren, die eine Autopsie durchführen, welche gerade gefilmt wird. Mark begleitet die Szene mit einer leicht "schiefen" Version seines X-Files-Themas. Die Stücke befinden sich auf dem ersten Set mit "MillenniuM"-Musik, welches von LLL veröffentlicht wurde. Das Set ist auf 1.000 Stück limitiert. Viel Spaß beim Hören!