Alexander Grodzinski

INTRADA Announces: A LEAGUE OF THEIR OWN Composed by HANS ZIMMER INTRADA ISC 520 Intrada presents the premiere score-only release of Hans Zimmer's A League of their Own. The delightfully witty film deserved a similarly tongue-in-cheek score. Zimmer's music artistically represents not only the film's period, but the onscreen antics as the first-ever women's baseball team is formed, while retaining a sense of gravity and reverence for this historic and unfortunately short-lived episode in American baseball. The film gave Zimmer the opportunity to create a score that blends nostalgic Americana with his inimitable style, resulting in a mix of swing/jazz numbers that complement his rousing orchestral music. Although the film is party comedy, Zimmer narrows in on the heart of the story—the camaraderie of the players and the emotional depth of the story— while also capturing the WW II era. Zimmer's main challenge in scoring the film was understanding the game itself, which was relatively foreign to him. But through trial and error he figured it out, even while on the recording stage: “Well, I don’t understand baseball,” said Zimmer in conversation with director Penny Marshall. She responded, “It’s really simple. When they hit the ball, that’s good.” It’s funny, I remember we were at the scoring session and I did this big build up, and then they hit the ball. It’s like fireworks, it’s glorious, and angels singing. She taps me on the shoulder, and she says, “Wrong team.” A song compilation was released at the time of the film's theatrical run, featuring a generous 15-minutes of score. For this new release, Intrada presents nearly 60 minutes of Zimmer's score. Produced by Zimmer connoisseur Stéphane Humez and edited and mastered by Maxime Marion, this Intrada release presents the definitive edition of Zimmer's delightful score, adorned with liner notes by Kaya Savas. View the album's trailer here - https://www.youtube.com/watch?v=IvYe5_LwJKE&t=1s The 1992 film is a sports comedy-drama (or dramedy) inspired by the real-life All-American Girls Professional Baseball League (AAGPBL) during World War II. The story follows sisters Dottie Hinson (Geena Davis) and Kit Keller (Lori Petty) as they join the Rockford Peaches, one of the league’s teams, alongside a diverse group of women players. Managed by the initially reluctant, washed-up former player Jimmy Dugan (Tom Hanks), the team faces challenges on and off the field while proving that women’s baseball is more than just a wartime novelty. INTRADA ISC 520 Retail Price: $22.99 Bar Code: 7 20258 55200 6 Starts Shipping Now! 01. Prologue (2:12) 02. Newsreel (1:08) 03. Sibling Rivalry (1:04) 04. Plucking Cows (1:58) 05. Marla’s Goodbye (3:07) 06. Tryouts (2:32) 07. Take Me Out To The Ballgame/Jimmy Manages (1:15) 08. Black And White Into Color (1:42) 09. Batting Practice (1:05) 10. Mixed Signals/No Crying (1:53) 11. Life Magazine Montage (5:35) 12. Not Happy/Kit’s Frustrated (2:21) 13. Telegram (4:38) 14. Dottie Leaves/Newsreel Montage (2:25) 15. The Prayer (1:17) 16. Final Game (13:00) 17. Locker Room (2:49) 18. Hall Of Fame (3:10) 19. Final Goodbyes And Hellos (5:44) Total CD Time: 59:04

Horner hatte ja zuvor für die Regiearbeiten Gibsons die Musik gemacht (und danach kam er wieder zum Einsatz für Gibsons APOCALYPTO). Daher schien es wohl logisch, dass er auch PASSION machen würde. Aber entweder konnte er nicht oder wollte er nicht oder Gibson wollte etwas anderes. Letzteres geht aus der Vorproduktion als am Wahrscheinlichsten hervor. Gibson hatte zuerst Jack Lenz als Komponisten gewählt. Dieser begann sehr früh mit der Arbeit an der Musik, noch bevor die Dreharbeiten abgeschlossen waren. Er reiste sogar in den Mittleren Osten, um Klänge und Instrumente aufzunehmen, da Gibson sich eine "organische" Musik vorstellte. Eventuell kam deswegen Horner nicht zum Einsatz. Denn ob der Lust und Zeit gehabt hätte, um zur Recherche um die halbe Welt zu reisen, glaube ich nicht. Gibson engagierte sogar Lisa Gerrard, die mit Patrick Cassidy Musik für den Film aufnahm, die aber nicht verwendet wurde. Letztendlich war sich Gibson doch nicht so sicher, was er sich musikalisch vorstellte, weshalb auch Lenz nicht weiter an der Musik arbeitete und John Debney zum Einsatz kam. Es ist aber noch Musik von Lenz im Film zu hören.

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

Das stimmt natürlich. Ich war auch etwas überrascht, als ich das über Russell gelesen habe. Einfach deshalb, weil er den Berichten zufolge schon sehr rechts gerichtet eingestellt zu sein scheint. Teilweise wurden da recht bizarre Dinge berichtet, die Russell angeblich am Set gesagt haben soll. Das ging schon über normale politische Ansichten hinaus, hatte eher etwas vom betrunkenen Mel Gibson. Carpenter ist da einfach der totale Gegenpol. Dennoch kommen beide bis heute miteinander aus. Russell war ja nun auch Gastredner bei der Zeremonie für Carpenters Stern auf dem Walk of Fame.

Carpenter hat nun auch seinen Stern auf dem Walk of Fame.

John Carpenter und Kurt Russell haben auch mehrere Filme miteinander gedreht und sind immernoch befreundet. Auf der einen Seite der links-liberale Hippie Carpenter und auf der anderen Seite der erzkonservative Russell. Carpenter meinte mal, das Geheimnis ist, dass sich die beiden so gut wie nie über Politik unterhalten. Und dass es am Set manchmal schon hitziger wurde, wenn jemand anderes Russell in eine politische Diskussion verwickelt hat. Diesen „Fehler" hat Carpenter immer vermieden.

Wohl auch kein Aprilscherz.

Man kann das Set bestellen, also wohl kein Aprilscherz LA-LA LAND RECORDS PRESENTS APRIL 1, 2025 NEW RELEASE available to order NOW at www.lalalandrecords.com !!! “GLADIATOR: 25th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (3-CD SET)” Music by Hans Zimmer and Lisa Gerrard Limited Edition of 3500 Units RETAIL PRICE: $39.98 STARTS SHIPPING LATE APRIL SHIPPING NOTICE: We will be steadily working through orders in the sequence in which we have received them, so please be patient – your order will eventually be fulfilled and you will receive a shipping confirmation e-mail once your order has shipped. We respectfully ask customers wait 4 weeks to inquire about packages/deliveries not yet shipped and/or received. All such inquiries should be made to info@lalaland-ent.com – Thank you. NOTE: New orders may not be combined with previous or current orders. GLADIATOR: 25th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (3-CD SET) LLLCD 1670 Music by Hans Zimmer and Lisa Gerrard Limited edition of 3500 Units RETAIL PRICE: $39.98 STARTS SHIPPING LATE APRIL Order yours NOW at www.lalalandrecords.com La-La Land Records, Paramount Pictures and Geffen Records proudly present GLADIATOR: 25th ANNIVERSARY LIMITED EDITION (3-CD SET), a deluxe remastered and expanded re-issue of renowned composer Hans Zimmer (THELMA & LOUISE, BLACK HAWK DOWN) and acclaimed vocalist/composer Lisa Gerrard’s original motion picture score to the 2000 Best Picture GLADIATOR, starring Russell Crowe, Joaquin Phoenix and Connie Nielsen, and directed by Ridley Scott. This definitive limited edition release marks the 25th Anniversary of the landmark film and its iconic, Oscar-Nominated score. Hans Zimmer and Lisa Gerrard’s original score is the beating heart of GLADIATOR. Strikingly modern, yet organically evocative of the film’s Ancient Rome setting, the score expertly weaves a mesmerizing tapestry of thundering action and intimate character drama, resulting in an exhilarating and thematic musical odyssey. This special, 3-disc presentation fully illustrates the masterwork’s brilliance, sounding better than ever and expanded with never-before-released music. Produced by Stéphane Humez and edited and mastered by Maxime Marion from studio vault materials and composer archives, under supervision of Hans Zimmer and Lisa Gerrard, this deluxe re-issue showcases the Score Presentation, as written for the film by the composers, across Disc One and Disc Two. Disc Three features The GLADIATOR Sketchbook, showcasing exclusive, never before released sketches from Hans Zimmer’s archives, as well as Additional Music tracks, including alternate cues and more! There is no spoken dialogue in this presentation. Limited to 3500 units, the packaging features rousing art design by Dan Goldwasser and includes a 32 page booklet that contains exclusive liner notes by writer Kaya Savas, featuring new in-depth interviews with composers Hans Zimmer and Lisa Gerrard. “Are we not entertained!!!” TRACK LISTING: DISC I SCORE PRESENTATION 1. Opening – Fields 1:40 2. The Wheat (Film Version)* 1:00 3. The Battle (Film Version) 10:36 4. Commodus – After The War 2:46 5. Marcus & Lucilla 2:06 6. Tell Me About Your Home** 1:07 7. Lucilla & Maximus 2:20 8. Patricide (Film Version) 4:00 9. Emperor Is Dead** 2:21 10. A Soldier's Death – Home 4:03 11. The Bodies** 1:27 12. To Marrakesh++ 4:07 13. I Salute You 7:23 14. Rome 2:20 15. The Greatness Of Rome 1:33 16. Six Man Fight 2:47 17. Win The Crowd 2:38 18. Reunion** 1:15 19. Slaves To Rome (Film Version) 2:07 20. He Sleeps So Well*** 1:00 21. Afraid Of Dark 1:11 22. Walk To Colosseum 0:54 23. Maximus & Lucius Meet** 1:36 DISC TIME 62:19 DISC II SCORE PRESENTATION CONTINUED 1. Barbarian Horde (Film Version)+++ 9:17 2. I Think I'll Meet Him 4:32 3. I'm Vexed 1:21 4. I Knew A Man Once 1:00 5. Tiger Fight – Waiting For Judgment 2:18 6. You Simply Won't Die 2:57 7. Figurines (Film Version)* 1:10 8. They Love Maximus 1:30 9. We Will Lie Still°° 2:03 10. Wish Of A Dying Man° 4:25 11. Secrets (Film Version)** 2:59 12. The Kiss 2:07 13. Busy Bee*** 3:32 14. The Trap – Escape Fails 4:12 15. Am I Not Merciful? (Film Version) 6:37 16. Flashback** 0:46 17. Elysium (Film Version)** 3:00 18. Honor Him 1:20 19. Now We Are Free*** 4:15 DISC TIME 59:24 DISC III THE GLADIATOR SKETCHBOOK 1. Duduk Of The North 5:35 2. Gladiator Waltz (Demo) 8:28 3. Rome Is The Light*** 2:44 4. After The War 4:42 5. Opening Soldiers (feat. Lisbeth Scott) 5:21 6. Sister Theme 3:31 7. Roman & Spanish++ 6:32 8. After The War (Guitar Variation) 3:55 ADDITIONAL MUSIC 9. The Wheat (Alternate)* 1:18 10. The Battle 10:03 11. The Bodies (Alternate)+ 1:27 12. To Marrakesh (Alternate Opening Version 1)++ 1:33 13. To Marrakesh (Alternate Opening Version 2) 1:36 14. Marrakesh Marketplace† 0:44 15. Win The Crowd (Alternate)** 1:30 16. Afraid Of Dark (Alternate)*** 0:49 17. Figurines+ 1:03 18. Figurines (Alternate) 1:10 19. Busy Bee (Alternate)** 3:46 20. The Trap – Escape Fails (Alternate) 3:20 21. Now We Are Free (Alternate Version 1)*** 5:06 22. Now We Are Free (Alternate Version 2)*** 4:01 DISC TIME 78:17 TOTAL COLLECTION TIME 200:00 *Written by Lisa Gerrard **Written by Lisa Gerrard & Klaus Badelt ***Written by Hans Zimmer, Lisa Gerrard & Klaus Badelt +Written by Hans Zimmer & Lisa Gerrard ++Written by Hans Zimmer & Djivan Gasparyan +++Written by Hans Zimmer & Nick Glennie-Smith °Written by Hans Zimmer & Klaus Badelt °°Written by Klaus Badelt †Written by Jeff Rona This is a CD format release

Rechtliche Gründe sicherlich und auch die Kosten. Denn die Bilder müssten alle ebenfalls lizenziert werden und verzögern dann auch den Prozess, da das Coverdesign dann ebenfalls von allen Seiten abgenommen werden muss. Bei den Akte-X-Boxen beispielsweise musste das Artwork wohl sogar von den Schauspielern abgenommen werden, da sie darauf zu sehen sind. Deshalb setzt auch BSX/Dragon's Domain oft auf Eigenkreationen und günstigere Stockfotos, um Zeit und Geld zu sparen.

Kommt wohl demnächst.

John Carpenter Sheet Music Collection - Piano Book Dive into the haunting world of John Carpenter's iconic film scores with this comprehensive sheet music collection. Set for release on January 1, 2025, this paperback book features 19 of Carpenter's most popular movie themes arranged for piano solo. Key Features: 19 classic John Carpenter themes Arranged for piano solo Includes music from films like Halloween, Escape from New York, The Fog, and They Live Paperback format with cardboard cover for durability Product Details: ISBN: 978-1-7051-7257-5 Publisher: Hal Leonard Publishing Corporation Release Date: January 1, 2025 Language: English Publisher's Article No.: HL00946239 Perfect for pianists and film score enthusiasts, this collection allows you to bring Carpenter's atmospheric and groundbreaking soundtracks to life at the piano. Whether you're a fan of his horror classics or action thrillers, this book offers a diverse selection of Carpenter's most memorable compositions.

Snow Files of the Week: "Prologue and Opening Titles/I’m Pregnant/End Credits" aus dem TV-Film "In the Line of Duty: Smoke Jumpers" (1996). Eine Elite-Einheit von Feuerwehrleuten springt aus Hubschraubern, um Feuer zu bekämpfen: die "Smoke Jumpers". In diesem TV-Film aus der "In the Line of Duty"-Reihe muss sich einer der "Smoke Jumpers" zwischen der Liebe zu seiner Familie und seiner Pflicht, im Einsatz sein Leben zu riskieren, entscheiden. Mark Snow komponierte dafür einen heroischen Score für Orchester, der leider etwas am typischen Spar-Orchester für TV-Filme in den 90ern leidet. Nichtsdestotrotz gibt es ein tolles Hauptthema und auch lyrische Passagen für die Familienszenen. Ein Track aus dem Score wurde bereits 1997 auf dem Sampler "The Snow Files" veröffentlicht. Dragon's Domain veröffentlichte den Score, gekoppelt mit Snows Score zu "The Little Kidnappers", auf einer CD. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, celebrates the 60th anniversary of the iconic score composed by John Barry for the classic Richard Lester film THE KNACK… AND HOW TO GET IT, winner of the Palme d’Or at the Cannes Film Festival in 1965—a symbol of its generation, a true witness of its time. The “Swinging Sixties” marked a period of significant social, cultural and innovative change in the UK. John Barry played a pivotal role in shaping the cultural revolution of the era, swiftly becoming one of England’s most influential and sophisticated film composers. His GOLDFINGER soundtrack even surpassed The Beatles, reaching number 1 on the Billboard charts in March 1965. Barry’s music for THE KNACK is vibrant, funny, powerfully melodic and well-remembered as an icon of the “Swinging London” movement. The recording took place at CTS Studios in Bayswater with engineer Eric Tomlinson, the composer’s favorite combination of the era. It seems John Barry elected to make separate takes for the film and album as no two appear identical. Given the consistency in orchestra size, overall performance and acoustic, it seems that these were recorded concurrently rather than days or weeks apart. The soundtrack album of THE KNACK was released on LP by United Artists Records at the time of the film’s release. It was reissued on CD by Ryko in 1998 and by us in 2011 but has been out-of-print for the last 14 years. Both releases were mastered from 2-track stereo tapes, but the recent discovery of the original 3-track, 15 ips, first- generation master tapes has given us the opportunity to transfer it in high resolution and offer a more precise and detailed stereo mix. Whatever the reason for the difference, we are now able to proudly premiere almost all the film-specific recordings, amounting to 21 minutes, derived from the film’s monophonic music and effects (M&E) track. Even though the most critical listeners will hear some anomalies, we have employed every available technique to remove sound effects and ensure the music is as clear and enjoyable as possible. The result is convincing, and it’s the only way to listen to the long-lost, historical original film recording. We kindly invite you to listen to our samples and make your own decision about the sound quality before you buy. We have also included organist Alan Haven’s 45-RPM single version, arranged and conducted by John Barry for Fontana Records. And we conclude with lead actor Michael Crawford’s performance of the Leslie Bricusse lyrics with accompaniment conducted by David Whitaker. This was also the first-ever recording by the brilliant future star of THE PHANTOM OF THE OPERA and BILLY. The entire collection has been painstakingly produced, remixed, restored, assembled and mastered by Chris Malone. The package includes a 20-page booklet with an indepeth essasy by film music journalist and writer (and major Barry connoiseur) Jon Burlingame. Now, celebrating the film’s 60th anniversary, enjoy John Barry’s THE KNACK, music that is as fresh, vibrant and inventive as ever. The Soundtrack Album 1. The Knack – Main Theme 3:15 2. Here Comes Nancy Now! 2:59 3. Photo Strip 2:42 4. Three On A Bed 5:33 5. Blues And Out 2:54 6. And How To Get It 3:10 7. Something’s Up! 2:18 8. Doors And Bikes And Things 2:44 9. Ecstasy! 2:38 10. End Title – The Knack 2:40 11. The Knack Vocal: Johnny De Little 2:52 Film Versions 12. Main Title (Film Version) 3:28 13. Here Comes Nancy Now! (Film Version) 1:46 14. Tolen’s Bedroom / Try It On! / Colin’s Bedroom 1:11 15. Carpentry Job 1:41 16. Here Comes Nancy Again! 1:01 17. Three On A Bed (Film Version) 5:18 18. Doors And Bikes And Things (Film Version) 2:56 19. End Title – The Knack (Film Version) 3:49 Bonus Tracks 20. The Knack Organ by Alan Haven 2:25 21. The Knack Vocal: Michael Crawford 2:15 Total Disc Time: 59:44

Worum es in dem Film gehen sollte, entschied sich wohl auch erst kurz vor knapp. Und selbst während der Dreharbeiten wurde das Drehbuch noch umgeschrieben. Wenn die Dreharbeiten bis März gingen, dann dürfte Silvestri vor April auch nicht viel Filmmaterial zu sehen bekommen haben, auf das er komponieren konnte. Ich vermute, dass er Anfang 2003 verpflichtet wurde und dann im April mit der Arbeit begann. Zimmer sagt nicht konkret, worauf sich diese zehn Tage beziehen, die er zur Verfügung hatte. Ich vermute, bis dahin musste der Score stehen, damit ihn das Orchester aufnehmen konnte. Das und das Mixing dauert ja auch noch seine Zeit. Verbinski verbrachte wohl 18-Stunden-Tage im Schnitt nach dem Dreh, um den Film bis zum Juni fertig zu bekommen. ILM begannen bereits vor Ende der Dreharbeiten mit den Special Effects, damit auch die rechtzeitig fertig wurden. Ich gehe auch davon aus, dass die Postproduktion insgesamt sehr stressig war. Wer weiß, wie oft manche Szenen noch umgeschnitten wurden und dann auch musikalisch wieder angepasst werden mussten. Vielleicht bemerkte Silvestri auch irgendwann, dass er dieses Pensum mit einem vollorchestralen Score gar nicht alleine schaffen würde. Am Ende arbeiteten bei Zimmer insgesamt 15 Komponisten/Arrangeure an der Musik, um das alles fertig zu bekommen. Die Orchesteraufnahmen wurden ja auch noch mal mit Synthies verstärkt.

Überschneidungen mit anderen Projekten sind ja keine Seltenheit. Vielleicht wollte Bruckheimer tatsächlich eigentlich Rabin haben, der dann nicht konnte oder wollte. Eventuell könnte Zimmer dann schon der nächste Ansprechpartner gewesen sein. Der konnte aber eigentlich auch nicht wegen LAST SAMURAI. Also schlug wohl Verbinski Silvestri vor. Und der muss dann zumindest zu dem Zeitpunkt fest eingeplant gewesen sein, als die ersten Poster gedruckt wurden. Irgendwann beginnt eben die PR für den Film. Die Dreharbeiten gingen bis März 2003 und im Juni wurde der Film bereits veröffentlicht. Das war also so oder so eine knappe Kiste, egal, wer die Musik machen würde.

Zu diesem Zeitpunkt war Silvestri allerdings auch Gore Verbinskis Stammkomponist. Sicherlich hat er Silvestri dazu geholt und versucht, ihn zu halten, bevor Bruckheimer sich dann doch durchsetzte.

Ich glaube, dass das augenzwinkernd von Zimmer gemeint war und auch gar keine Kritik an Silvestris Musik. Die Aussage war wohl eher sprichwörtlich, so nach dem Motto "Jemand musste gehen und wir holen jetzt die Kohlen aus dem Feuer".

Laut Zimmer hatten er und sein Team nur zehn Tage Zeit für die Musik. Das sagt er zu John Carpenter, der ihn zu dem Zeitpunkt mit Franka Potente für die Doku „Durch die Nacht mit..." im Studio besucht. Er sagt dazu, im übertragenen Sinne, dass es jemand nicht geschafft hat und er und seine Leute jetzt die Leichen loswerden müssen. Mit dem Jemand kann er ja nur Silvestri meinen. Man sieht dann auch Badelt und Djawadi in einem anderen Raum an der Musik arbeiten. Man sieht auch Heitor Pereira in einem anderen Raum, aber der arbeitete wohl an etwas anderem. Aber das zeigt durchaus, dass Silvestri da noch bis kurz vor knapp wohl dran gearbeitet hat.

Kommt nächste Woche:

Es existiert ja angeblich auch nichts mehr von dem nicht verwendeten Filmmaterial, außer auf miserablen VHS-Kopien. Da sind zumindest die Bilder, auf denen man die blutig verstümmelten Crew-Mitglieder bei ihren „Höllenqualen" sieht, voll zu sehen. In der Endfassung sieht man davon nur noch kurze Schnippsel. Auch andere blutigere Szenen sollen einst länger gewesen sein, beziehungsweise expliziter. Anderson spricht, glaube ich, auch im Audiokommentar darüber, dass er gern einen Director's Cut machen würde. Aber einerseits hat das Studio kein Interesse daran, der Film war ja auch ein Flop, und andererseits gibt es eben kein Material mehr in den Archiven von Paramount. Und klar, in Zeiten von SAW und TERRIFIER dürften die blutigen Szenen von EVENT HORIZON nur noch ein müdes Lächeln verursachen.

Intrada presents its 12th album recording project—Abbott and Costello Meet Frankenstein/Abbott and Costello Meet the Keystone Kops. The project was generously funded through a Kickstarter campaign, and again proudly features the Royal Scottish National Orchestra under the baton of William T. Stromberg. It was an oft-requested title ever since Stromberg conducted scores to earlier titles in the horror series, including House of Frankenstein, Ghost of Frankenstein, Son of Frankenstein, The Wolf Man and many more. The recording occurred in early September 2024, with a delighted orchestra commenting on how refreshing and fun it was to perform the music. The score was reconstructed by the late and sorely missed John Morgan, Bill Stromberg and Anna Stromberg. The album was mixed and edited by Leigh Phillips and mastered by Ray Faiola and Chris Malone, featuring liner notes by Faiola as well. It's the long-awaited release of some truly effervescent film music. For scoring duties on Frankenstein, composer Frank Skinner, who had worked on earlier pictures in the series, largely kept it serious. His sophisticated score is the straight man to the antics on screen, giving the film a rich dimension by following in the footsteps of Franz Waxman and Hans Salter, while at the same time making everything even funnier. As a bonus, Intrada is pleased to include the hyped-up antics of Abbott and Costello Meet the Keystone Kops, featuring theme and score by Henry Mancini with additional scoring by William Lava and Herman Stein. It's a packed album full of vigorous and inspired performances by the RSNO and a proud addition to Intrada's Excalibur Collection. A huge thank you to all Intrada's Kickstarter contributors, without whom this release truly would not have been possible. Play all clips ABBOTT AND COSTELLO MEET FRANKENSTEIN 01. Main Title (From Abbott And Costello Meet Frankenstein) (1:44) 02. Monster #1 (1:01) 03. Just A Wolf (1:10) 04. The House Of Horrors (1:16) 05. Dracula’s Legend/Dracula Rises (6:31) 06. Frankenstein’s Monster/Out-Monstered (3:24) 07. Simple Brain (3:45) 08. Wilbur The Hypnotist (0:30) 09. Almost A Wolf (1:49) 10. The Monster’s Lap (2:45) 11. It’s Swing Again (0:48) 12. The Diary Of Life And Death (0:50) 13. Master (1:44) 14. Sandra The Vampire (0:30) 15. Broussard Jr. (1:57) 16. Dracula Hits The Jackpot (1:40) 17. The Bloodhounds (1:43) 18. Preparing The Monster (1:32) 19. Wilbur Trapped (1:09) 20. Shortchanging The Monster/Monster Chase End Title And End Cast (From Abbott And Costello Meet Frankenstein) (8:17) 21. The Monster’s Lap (Alternate) (2:40) Abbot and Costello Meet Frankenstein Total Time: 46:45 ABBOTT AND COSTELLO MEET THE KEYSTONE KOPS 22. Main Title (From Abbott And Costello Meet The Keystone Kops) (1:24) 23. Willy, Studio Owner (1:21) 24. Walking On The Railroad (0:32) 25. Amateur Hobos (2:57) 26. Willy Was A Lady (1:22) 27. Cops And Robbers (4:15) 28. Keystone Chase (10:11) 29. End Title And End Cast (From Abbott And Costello Meet The Keystone Kops) (0:49) Abbott and Costello Meet the Keystone Kops Total Time: 22:51 Total CD Time: 69:38

Snow Files of the Week: "Memories of Youth/Motiv-8/Rectal Palpitation" aus der Serie "The Lone Gunmen" (2001). Das kurzlebige Akte-X-Spin-off war natürlich nicht so düster wie die Mutterserie und bediente sich viel mehr humoristischer Anteile. David Duchovny tauchte als Gaststar in der Serie auf und nachdem sie abgesetzt wurde, nahm die neunte Staffel der X-Akten den Cliffhanger der letzten Folge in deren Folge "Jump the Shark" auf. Marks Musik war insgesamt ebenfalls fröhlicher und kombinierte abgedrehte Comedy mit etwas Suspense und Agentenmusik. Eine Auswahl an Musik der Serie wurde von LLL veröffentlicht, gepaart mit Musik aus der vierten Chris-Carter-Serie "Harsh Realm". Die CD ist auf 2.000 Exemplare limitiert und ist ausverkauft. Viel Spaß beim Hören!

Und noch was von Quartet: Quartet Records, in collaboration with Cinevox, presents a remastered CD reissue of Pino Donaggio‘s terrific suspense score for Dario Argento’s DO YOU LIKE HITCHCOCK? (2005) The film is about Giulio, a film student whose passion for the films of Hitchcock will take him to the site of a grisly murder. Obsessed with his beautiful neighbor Sasha, Giulio is distraught to learn that the girl’s mother was slain in a gruesome murder that would fit in a Hitchcock thriller. Knowing that Sasha didn’t like her overprotective mother, and that she had just seen STRANGERS ON A TRAIN, our hero deduces that she made a switch and had someone else commit the murder—but this also means that she will kill someone in return. Giulio launches a VERTIGO-inspired investigation on the streets of Turin and is shocked to learn that he was wrong—it was another Hitchcock film that inspired the plot! Can you guess which one? Filled with dozens of references to REAR WINDOW, STRAGERS ON A TRAIN, DIAL M FOR MURDER, VERTIGO and MARNIE, Dario Argento’s pastiche is a nice exercise from the giallo maestro, exercising his skills while paying homage to his favorite director. Pino Donaggio’s score (his third for the director) is an exciting blend of Herrmann-inspired suspense, interspersed with seductive siren-like vocals for scenes of voyeurism. Performed by the Bulgarian Symphony Orchestra and conducted by Natale Massara, Donaggio’s music for DO YOU LIKE HITCHCOCK? is one of his best scores in the genre that brought him many adoring film music fans. This CD includes the entire Donaggio score, but whereas the previous 2013 edition was mastered from a DAT with 2-track mixes prepared for a cancelled 2005 album (with some anomalies), this time we started with the stereo mixes engineered by Marco Streccione from the original master tapes transferred in high resolution, carefully edited and mastered by Chris Malone and approved by the composer, presenting the music in greater detail. The new package includes the original liner notes written by our much-missed friend Gergely Hubai. Prologue 5:29 Peeping Eyes 1:38 Rainy Night 4:59 Bloody Hammer 3:48 Young Lovers 1:00 Runaway in the Rain 3:10 Try and Kill 1:00 Window on the Yard 2:57 The Yard 2:26 Wrong Key 0:59 The Funeral 1:16 Friends Can Kill 3:29 Quotation 1:53 Homage to Hitchcock 1:12 The Staircase 3:15 The Lift 2:09 Suspected 1:25 Look Down the Street 3:16 Bad Dream 1:03 Back on the Crime Scene 4:27 The Roof 3:42 Madness and Sensuality 1:56 Exercise 0:56 Hollywood Memorabilia 2:08 Total Disc Time: 60:33

Und von Music Box Records: Remastered edition. Limited edition of 750 units. 12-page CD booklet with French and English liner notes by Sylvain Pfeffer. 2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with SND and TF1 Studio, Music Box Records proudly presents on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: L’Été meurtrier (One Deadly Summer, 1983) and La Reine blanche (The White Queen, 1991). Adapted from Sébastien Japrisot’s eponymous novel, One Deadly Summer (a box-office success in 1983), starring Isabelle Adjani and Alain Souchon, marks the return of director Jean Becker to cinema, after a break of almost twenty years. Georges Delerue composed a dark and tormented score for the movie, including some pieces that are reminiscent of his scores for François Truffaut’s last films (The Woman Next Door and Confidentially Yours). The dark gem of the score is the jazz theme associated with Éliane (Elle) and accentuates the young woman’s aura of sensuality. In order to characterize the mechanical piano, a central element of the plot, Georges Delerue and Jean Becker chose an arrangement of the love song Roses de Picardie, becoming the obsessive and disturbing reminiscence of the rape. The score was nominated for the César Awards in 1984. Jean-Loup Hubert’s fifth film The White Queen, starring Catherine Deneuve, Bernard Giraudeau and Richard Bohringer, is set in the post-war era, in the Nantes area in Western France, three years after the critical and popular success of The Grand Highway (1987). Georges Delerue provided a nostalgic score, filled with restrained emotion. The main theme, heard as early as the opening credits, develops a simple folk-like melody reminiscent of the sea shanties of sailors gone to face the open seas. The second theme (Jean), with a sadder tone, conveys the regrets of characters faced with the consequences of their past choices. Supervised by Colette Delerue, this present edition features the two remastered original soundtrack albums. The package includes a 12-page booklet with liner notes by Sylvain Pfeffer, discussing the films and the scores. The CD release is limited to 750 units. L’ÉTÉ MEURTRIER 1. Lello et son piano (Générique début) (2:06) 2. Elle (1:36) 3. Le samedi soir (1:58) 4. Nue dans la grange (1:38) 5. L'enfance (1:04) 6. Le viol (5:27) 7. Les souvenirs de Cognata (1:58) 8. Après le viol (3:36) 9. Chez L'ophtalmo (2:26) 10. Elle pleure (1:02) 11. Pin Pon console Elle (1:30) 12. La course cycliste (1:42) 13. Chez Ferraldo (0:51) 14. Elle malade (2:15) 15. L'hôpital et la mort (1:26) 16. La détermination de Pin Pon (1:14) 17. Gabriel et Elle (3:57) Time • 35:56 LA REINE BLANCHE 18. Le Sainte-Marie (2:39) 19. Le retour (0:29) 20. Jean (1:31) 21. Les retrouvailles (0:57) 22. Lili (2:14) 23. Bamboulas sambas (1:56) 24. Yvon (1:25) 25. Rouge baiser (2:04) 26. Le jeu de puces (2:18) 27. La kermesse (2:41) 28. Les petits ballons (3:11) 29. L'aveu (3:17) 30. La robe fantôme (2:45) 31. Le pardon (1:04) 32. Le cha-cha de la Reine (1:32) 33. La fuite de Jean (1:05) 34. Le bar des îles (3:02) 35. Chez Rita (2:56) 36. Les adieux (1:41) 37. La petite récompense (0:42) 38. L'enfance (2:50) Time • 42:30 Total Album Time • 79:44 Remastered edition. Limited Edition of 500 units. 8-page CD booklet with French and English liner notes by Gilles Loison. 2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with EMI Music Publishing France and Newen, Music Box Records proudly presents the tenth volume of the collection Great Television Soundtracks dedicated to three original television soundtracks composed and conducted by Georges Delerue: Histoires extraordinaires (Edgar Allan Poe’s Extraordinary Tales, 1981), Les Cousins de la Constance (1970) and Là-haut, les quatre saisons (1973). For these three mini-series, Georges Delerue's gift for melody and enormous versatility are once again demonstrated with these stunningly colourful scores and intimate writing for nostalgic themes. In the early 1980s, Maurice Ronet, a great admirer of the works of Edgar Allan Poe, produced a TV series of six Extraordinary Tales. Delerue was commissioned to set two episodes to music (The Fall of the House of Usher and The Purloined Letter), showcasing a wide range of dramatic passages and suspenseful musical cues. For The Purloined Letter, he created an atmosphere of mystery with harpsichord, flute, harp and cello while The Fall of the House of Usher features a beautiful romantic waltz used with several variations for the oboe, flute and piano as well as the guitar. For Les Cousins de la Constance by Robert Mazoyer (Les Gens de Mogador), Delerue chose the accordion, an essential instrument of Breton musical tradition, to accompany the joys, anxieties and sorrows of the sailors and their families. Là-haut, les quatre saisons by Guy Lessertisseur is based on the director's childhood memories in the Alps. Throughout the four seasons, a Protestant minister and a young Catholic woman learn to know each other through sharing their conflicting views on life, death and religion. Delerue chose to translate the rural atmosphere through the use of a solo flute, harp arpeggios and strings. Remastered from the original scoring session elements courtesy of Delerue's archives, this present edition features the world premiere release of these three gorgeous television scores. The CD comes with an 8-page booklet with liner notes by Gilles Loison. The CD release is limited to 500 units. HISTOIRES EXTRAORDINAIRES (1981) La Chute de la maison Usher 1. Valse de Madeline (1:00) 2. Souvenirs d’enfance (1:45) 3. La chevauchée d’Allan (0:59) 4. La guitare de Roderick (1:20) 5. Mort de Madeline (1:11) 6. Madeline et Allan (1:39) 7. L’âme de la maison Usher (2:03) 8. L’amour empoisonné de Rod et Madeline (2:25) La Lettre volée 9. Le voyage en train (1:49) 10. L’enquête de Dupin (1:39) 11. La maison du ministre (1:52) 12. Dupin échafaude son plan (2:26) 13. La petite vengeance de Dupin (1:01) Time • 21:17 LES COUSINS DE LA CONSTANCE (1970) 14. Générique début (1:26) 15. Le retour (2:21) 16. Le bateau (2:05) 17. Épluchage (1:29) 18. La noce (2:22) 19. L'automne (0:58) 20. Générique fin (2:05) Time • 12:50 LÀ-HAUT, LES QUATRE SAISONS (1973) 21. L’été (Générique début) (3:16) 22. L’étoile de Noël (1:48) 23. Pierre et Nicole (3:01) 24. Fantaisie de Pierre (1:25) 25. Conseils de Pierre (2:41) 26. Les questions de Marc (1:12) 27. Rêve de Nicole / Feu de camp (1:17) 28. Mort de Marie-Louise (1:00) 29. Le printemps (Générique fin) (1:07) Time • 16:48 Total Time • 51:55 World Premiere CD Release. 8-page CD booklet with French and English liner notes by Gérard Dastugue. Limited Edition of 300 units. In collaboration with Universal Publishing Production Music and StudioCanal, Music Box Records presents the premiere CD release of the original soundtracks of Sébastien Japrisot’s only two feature films composed and conducted by Éric Demarsan (Army of Shadows, Special Section): Juillet en septembre (July in September, 1988) and Les Mal Partis (The False Start, 1976). For Juillet en septembre, Éric Demarsan provides a thunderous score with a touch of melancholy, referring the imagination of the main character, who has dreams about the United States and wide open spaces. The saxophone/guitars/bass guitar/drums combination dominates sharp strings and powerful rhythmic basses, creating a surprising cocktail. This ambiguous ballet where dangerousness, strangeness and softness cohabit creates a surprising mirror effect between an intimate drama and a thriller. For Les Mal Partis, it tells the story of a 14-year-old boy who has a passionate love affair with a nun during the German Occupation in France. Éric Demarsan provides this haunting, melancholy yet joyous theme whistled by Michel Ganot. Japrisot asked his friend Darry Cowl to compose the main title theme, arranged by Jean-Michel Defaye. The two scores have been fully remastered by Christophe Hénault from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Gérard Dastugue and new comments by Éric Demarsan on his collaboration with Sébastien Japrisot (author of One Deadly Summer and A Very Long Engagement). The CD release is limited to 300 units. JUILLET EN SEPTEMBRE 1. Juillet en septembre (Générique début) (1:48) 2. Première victime (2:25) 3. L’étrangleur (2:37) 4. Juillet sur la plage (2:33) 5. Domino (1:39) 6. La voisine (2:10) 7. Deuxième victime (2:32) 8. Marche américaine (0:38) 9. Coucher de soleil (0:34) 10. Reflets dans le miroir (1:07) 11. Le phare (0:31) 12. Bord de mer (3:39) 13. La dispute (0:51) 14. Femme fatale (2:34) 15. Juillet et Domino (5:43) 16. Deux solitaires (3:23) 17. Face à face (0:56) 18. Juillet en danger (1:30) 19. Les adieux (2:11) 20. En route pour l'Amérique (4:38) Time • 44:11 LES MAL PARTIS 1. Thème Denis (2:51) 2. Thème Clotilde (3:20) 3. Thème d’amour (3:16) 4. Denis et Clotilde (3:25) 5. Thème Clotilde #2 (1:38) 6. Thème Denis #2 (1:59) 7. Thème d’amour #2 (2:03) 8. Les Mal Partis (4:13) 9. Thème Les Mal Partis* (3:10) *Composed by Darry Cowl and Jean-Michel Defaye Time • 25:57 Total Time • 71:08

Dragon’s Domain Records presents STAR TREK: A SYMPHONIC CELEBRATION, featuring music composed for STAR TREK: THE ORIGINAL SERIES (1966-1969), performed by the Royal Philharmonic Orchestra, conducted by Tony Bremner. STAR TREK: A SYMPHONIC CELEBRATION presents music composed by Sol Kaplan, Samuel Matlovsky, Jerry Fielding, Joseph Mullendore and George Duning from all three seasons of the beloved show that starred William Shatner, Leonard Nimoy and DeForest Kelley. It’s hard to imagine now as, for over a decade now, all of the music written and recorded for the original 1966 series has been available on CD and digital formats. But for more than a decade and a half after the show had been in cancelled in 1969, not a note of music from the show was available to listen to in any format. That began to change abruptly in 1985 when several record labels began to release Star Trek music. Producer John Steven Lasher was the first to release two volumes of Star Trek music during this time. He employed the Royal Philharmonic Orchestra and had arrangements made for this symphonic ensemble, giving the scores a lusher sound and arranging the short cues into lengthy suites for an improved listening experience. STAR TREK: A SYMPHONIC CELEBRATION presents music from the following episodes: ‘The Enemy Within’, ‘I, Mudd’, ‘Spectre Of The Gun’, ‘The Conscience Of The King’, ‘The Paradise Syndrome’ and ‘Is There No Truth In Beauty’. Originally presented as suites across two separate volumes on vinyl and compact disc on Label X, those volumes have become scarce over the years. Dragon’s Domain Records is proud to bring these recordings back into the marketplace in a TWO DISC presentation with the suites separated and the music newly remastered by James Nelson at Digital Outland along with new liner notes written by author Jeff Bond including the classic notes written for these albums, featuring comments from the producers and composers Gerald Fried and George Duning. STAR TREK: A SYMPHONIC CELEBRATION is a limited edition release and is expected to begin shipping the week of March 24th, 2025 CD 1 01. STAR TREK - THE ORIGINAL SERIES: Main Title (1:02) Composed by Alexander Courage and Gene Roddenberry Performed by Meridian Productions THE ENEMY WITHIN - Composed by Sol Kaplan 02. The Rock Slide / Evil Kirk (1:16) 03. The Tired Captain / Bruised Knuckles / An Imposter / Indecisive / Alter Ego / Another Brandy (6:00) 04. Double Dog Death / Help Me / Thank You Yeoman (5:56) I, MUDD - Composed by Samuel Matlovsky 05. Alice In Wonderland / Mudd’s Series (1:42) 06. Tired Of Happiness / Stella (3:07) 07. The Last Straw / Stella 500 (3:46) SPECTRE OF THE GUN - Composed by Jerry Fielding 08. Melkot’s Warning / Tombstone / Teeth Pulling / My Name / Doc Holiday (8:54) 09. Love Scene In The Old West / Chekov Gets Killed / Ten Minutes / We’re Trapped / Final Curtain (6:17) Total Time CD 1 - 38:25 CD 2 01. STAR TREK - THE ORIGINAL SERIES: Main Title (1:02) Composed by Alexander Courage and Gene Roddenberry Performed by Meridian Productions THE CONSCIENCE OF THE KING - Composed by Joseph Mullendore 02. Spaceship Titles / Lenore / Lenore’s Kiss / Everything is Later / Ophelia Mania / Last Cue (8:38) THE PARADISE SYNDROME - Composed by Gerald Fried 03. Pine Trees / The Amerinds / Tahiti Syndrome / The Brain Wash (4:02) 04. Miramanee / Breath Of Life / The New God (4:42) 05. Dilithium Problem (1:15) 06. Wash Day / Salish Fluffed / Potter Kirk / Naming The God / Joining Day / Challenge / The Ceremony / Birth Announcement / False God (8:44) 07. Death Of Miramanee (3:08) IS THERE IN TRUTH NO BEAUTY? - Composed by George Duning 08. Enter Miranda / Ambassador’s Arrival (2:16) 09. McCoy’s Toast / Quite A Woman / Marvick Pleads / Marvick Mad / Marvick Berserk / Marvick Dies (8:20) 10. Sentimental Jim / Blind Miranda / No Change / Miranda Mad (7:23) 11. Miranda’s Farewell (3:04) Total Time CD 2 - 53:05