Alexander Grodzinski

Snow Files of the Week: "Fries and Faith/Discreet Distance" aus "The X-Files", Episode "Talitha Cumi" (1996). Noch ein Staffelfinale, dieses Mal Staffel 3. Der Wunderheiler Jeremiah Smith hat in dieser Folge seinen ersten Auftritt und mehr Details über die Beziehung zwischen Mulders Mutter und dem "Raucher" werden enthüllt. Der Cliffhanger der Folge ist ein Treffen zwischen Mulder, Scully und Smith, zu dem plötzlich auch der ausserirdische Kopfgeldjäger stößt. Für die Staffelfinale der einzelnen Staffeln hat sich Mark musikalisch noch mal mehr ins Zeug gelegt, so auch hier. Seine düsteren, brodelnden Ambient-Klanglandschaften treffen auf seine tollen Piano-Themen und sphärische Chor-Passagen. Diese beiden Stücke stammen vom zweiten Box-Set mit X-Files-Musik von LLL. Es ist auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

Und live spielt er auch wieder. His films define modern horror cinema. His music brings unforgettable nightmares to life. And this fall, Director John Carpenter will perform live for four nights only at The Belasco in Downtown L.A., a rare experience for movie and music fans. This special concert event also features Cody Carpenter and Daniel Davies , and marks the first time John Carpenter has performed live since 2018. Presale for tickets to JOHN CARPENTER LIVE, his first-ever music residency, begins today for fans who have pre-registered, with tickets available to the general public beginning at 10am PT on Friday, January 31. Dates are Oct. 24 and Oct. 25; plus Halloween night, Oct. 31, and Nov. 1. John Carpenter has partnered with PLUS1 so that $2 per ticket goes to the Anti-Recidivism Coalition (ARC), supporting incarcerated firefighters, and Best Friends Animal Society, helping animals impacted by the Los Angeles wildfires. “I’ve been setting my nightmares, dreams and visions to music for a very long time, and there’s a lot to choose from. That means every night of this event will offer something different and unexpected.” - John Carpenter" https://theofficialjohncarpenter.com/tour

Zum Zehnjährigen erscheint das Album LOST THEMES noch einmal mit neuem Artwort und exklusiv mit einer 7"-Single. Darauf sind zwei bisher unveröffentlichte neue Tracks aus den Recording Sessions des Albums. In celebration of the 10th anniversary of Lost Themes, we are thrilled to present an expanded art edition of the album with art by Greg Ruth. This special release includes an additional 7-inch featuring two previously unreleased tracks from the original recording session - “Cruisin’ With Mr. Scratch” and “Dominator.” and is a one time limited pressing. Upon its initial release, Lost Themes was praised for its evocative soundscapes ranging from horror to science fiction, each track conjuring a distinct atmosphere without the need for accompanying visuals. The expanded edition of Lost Themes not only celebrates a decade of Carpenter’s standalone musical journey but also enriches the album’s legacy with new material that captures the spirit of its original sessions. Whether revisiting this masterpiece or experiencing it for the first time, listeners will find themselves immersed in Carpenter’s hauntingly beautiful worlds once again.

Zum Zehnjährigen erscheint das Album noch einmal mit neuem Artwort und exklusiv mit einer 7"-Single. Darauf sind zwei bisher unveröffentlichte neue Tracks aus den Recording Sessions des Albums. In celebration of the 10th anniversary of Lost Themes, we are thrilled to present an expanded art edition of the album with art by Greg Ruth. This special release includes an additional 7-inch featuring two previously unreleased tracks from the original recording session - “Cruisin’ With Mr. Scratch” and “Dominator.” and is a one time limited pressing. Upon its initial release, Lost Themes was praised for its evocative soundscapes ranging from horror to science fiction, each track conjuring a distinct atmosphere without the need for accompanying visuals. The expanded edition of Lost Themes not only celebrates a decade of Carpenter’s standalone musical journey but also enriches the album’s legacy with new material that captures the spirit of its original sessions. Whether revisiting this masterpiece or experiencing it for the first time, listeners will find themselves immersed in Carpenter’s hauntingly beautiful worlds once again. Gibt es sogar mit Carpenter-Büste.

Snow Files of the Week: „Lifeboat/Wolf At The Door" aus „The X-Files", Episode „Død Kalm" (1995). Diese Episode ist eine weitere Klassiker-Episode der Serie. An Bord des US-Zerstörers „Ardent" kommt es scheinbar zu einer Meuterei. Teile der Mannschaft verlassen in einem Rettungsboot das Schiff. Als sie wenige Stunden später gefunden werden, sind sie rapide gealtert, manche von ihnen bereits gestorben. Mulder und Scully machen sich auf, um die Vorkommnisse auf dem Schiff zu untersuchen und werden bald selbst Opfer eines rapiden Alterungsprozesses. Snows Score ist wahrlich eiskalt. Dazu verwendet er eine dumpf hallende Percussion, die das Gefühl des Gefangenseins unter Wasser im weiten Meer deutlich verstärkt. Die Tracks stammen vom vierten Set von LLL. Das Set ist auf 2.000 Exemplare limitiert. Viel Spaß beim Hören!

Natürlich überschattet vom Tode David Lynchs, aber er soll dennoch nicht vergessen werden: Auch Jeannot Szwarc ist gestorben. Zwar eher ein Mann aus der zweiten Reihe, aber seine Filme JAWS 2, SUPERGIRL und SANTA CLAUS mag ich nach wie vor sehr gerne.

Snow Files of the Week: Suite aus „Shadows Of Desire" (1994). Ein weiterer TV-Film, den Mark vertonte, als er bereits an den X-Akten arbeitete. Obwohl seine Trademark-Sounds auch hier zu hören sind, besticht der Score durch ein recht folkiges Feeling. Dafür sorgt die Solo-Violine, die hier noch anders klingt als die zwei Jahre später von Snow gesampelte Violine für „MillenniuM". Dazu gesellen sich noch eine Akustikgitarre und Mundharmonika-Samples, die das Ganze abrunden. Dennoch erinnert das Hauptthema an das der „MillenniuM"-Folge „Luminary" aus der zweiten Staffel. Die Musik stammt von der Volume 3 der „Mark Snow Collection" von Dragon's Domain Records. Die CD ist auf 500 Exemplare limitiert. Viel Spaß beim Hören!

Vor allem bei seinen Actionsachen fiel es mir schwer, das am Stück anzuhören. Weil er da oft sehr bildbezogen komponiert und gefühlt jeder Schlag, jeder Schuss, jeder Stunt, jede Explosion musikalisch entsprechend vertont wird. Dadurch wirkt seine Musik auf mich sehr sprunghaft, was im Film noch gut funktionieren mag. Aber als Hörerlebnis fand ich das auf Dauer immer etwas anstrengend. Gleichzeitig finde ich aber auch, dass er schon eine sehr markante Tonsprache hat. Man erkennt seinen Stil in seinen Orchestrationen und Motiven recht gut. Selbst bei den Sachen, die er beispielsweise für Pink Floyd gemacht hat, bei denen die Band ja eigentlich im Vordergrund steht, erkennt man ihn an den Streichern und Arrangements sofort. Wodurch ich dann auch finde, dass er eher ein Händchen für Motive und Akkordfolgen hatte, weniger für komplette Themen. Auch, wenn es die bei ihm natürlich auch gab.

David Lynch ist mit 78 Jahren gestorben. Vielleicht macht er jetzt wieder zusammen mit Angelo Musik.

LLLCD 1661 Music by Nile Rodgers Limited edition of 1500 units RETAIL PRICE: $22.98 La-La Land Records and Paramount Pictures present the world premiere release of acclaimed composer Nile Rogers’ original motion picture score to the 1994 feature film BEVERLY HILLS COP III, starring Eddie Murphy and Judge Reinhold and directed by John Landis. This second sequel in the legendary BEVERLY HILLS COP franchise would mark Eddie Muprhy’s third turn as the iconic Axel Foley while bringing on a new composer to the series, the acclaimed Nile Rodgers (COMING TO AMERICA). Rodgers honors the classic Axel F Harold Faltermeyer themes in fine fashion, giving them a whole new orchestral and rhythmic spin with his bold and inventive approach to the film’s score. This is big, orchestra-centric and exciting 90’s era action film music – a revelation as presented in this long-overdue release. Produced by Dan Goldwasser and mastered by Doug Schwartz, this special CD release is limited to 1500 units and, along with the film’s score presentation, features additional material, including Wonderland Theme Park music and demos! The exclusive, in-depth liner notes are by author Jeff Bond and feature new comments from composer Nile Rodgers and director John Landis. The art design is by Dan Goldwasser. TRACK LISTING: SCORE PRESENTATION 1. Axel F (version 1) 2:56 2. Chop Shop Raid 1:12 3. Your Cooperation* / Back To Beverly Hills† 1:25 4. Welcome To WonderWorld§ 0:36 5. Axel Saves The Kids (version 3) 3:53 6. Annihilator 2000 1:29 7. Raid On Truck 0:42 8. Axel Okey Dokey 0:32 9. Janice Falls In Love 1:19 10. Secret Room / Axel In Mirror† 2:54 11. Chase Through Park** 1:22 12. Axel & Dave† / Axel, Ellis & Dave† 2:22 13. Not The First Time / Bright Light† / Axel Out Of Bullets† 2:26 14. Axel Changes Matrix / Fool Named Axel / Sanderson Dies 1:59 15. Axel Fox§† 1:21 TOTAL SCORE TIME: 26:17 ADDITIONAL SCORE 16. Chop Shop Raid (alternate opening)* 0:40 17. Axel Saves The Kids (orchestral version 1A)* 1:40 18. Axel Saves The Kids (orchestral version 1B)* 2:07 19. Axel Saves The Kids (orchestral version 1C)* 2:38 20. Axel Saves The Kids (orchestral version 1DE)* 2:17 21. Axel Saves The Kids (version 2)** 4:08 TOTAL ADDITIONAL SCORE TIME: 13:25 WONDERWORLD THEME PARK 22. Wonderful WonderWorld (Instrumental) 2:06 23. American Patrol Carousel 2:21 24. Happy Train (Instrumental) 0:27 25. WonderWorld Marching Band 1:01 26. Wonderful WonderWorld #1 Orchestral Version 1:42 27. Prehistoric Ride #1 1:21 28. Over The Waves Carousel 1:54 29. WonderWorld Calliope 1:43 30. The Thunderer Carousel 1:42 31. Washington Post March Carousel 1:39 32. WonderWorld Calliope - Waltz Version 2:59 33. Prehistoric Ride #3* 1:38 TOTAL WONDERWORLD TIME: 20:09 UNUSED CUE DEMOS 34. DDOJSIOC (demo version 1)* 1:00 35. DDOJSIOC (demo version 2)* 0:58 36. Just This (demo)* 0:38 37. Need A Weapon (demo)* 0:17 TOTAL DEMOS TIME: 2:51 BONUS TRACK 38. Axel F (version 3 with horns) 2:56 TOTAL ALBUM TIME: 67:02 † Contains “Axel F” composed by Harold Faltermeyer § Contains “Wonderful WonderWorld” composed by Richard M. Sherman and Robert B. Sherman * not used in film ** contains material not used in film This is a CD format release

LLLCD 1646 Music by Trevor Jones Limited edition of 5000 Units La-La Land Records and The Jim Henson Company present an expanded 3-CD soundtrack set of renowned composer Trevor Jones’ (CLIFFHANGER) original motion picture score to the 1982 landmark fantasy feature film THE DARK CRYSTAL, directed by Jim Henson and Frank Oz. THE DARK CRYSTAL was a boundary-exploding feat of puppetry and cinema, re-inventing what had been previously thought possible and resulting in a breathtaking achievement of immersive world-building that still retains its power and wonder to this day. A vital part of this endeavor’s success is composer Trevor Jones’ outstanding original music score – a tremendous accomplishment that has also stood the test of time. Now, for the first time ever, this deluxe 3-CD release, conceived, assembled and produced by Trevor Jones himself, features the bounty of music the maestro composed for the initial, longer cut of THE DARK CRYSTAL, in its original intended order. Copies of the master tapes recorded at CTS Wembley were digitized along with the composer’s entire body of work, which is now archived at the University of Leeds. Jones personally reassembled and remastered the audio at Abbey Road for this special presentation. Produced by Trevor Jones and Tim Greiving, and mastered by Andrew Walter under the composer’s sole supervision and approval, this release includes a wealth of previously unreleased music within its newly Expanded Score Soundtrack presentation, which is spread across two discs, while the original 1982 soundtrack program is featured on Disc 3. Limited to 5000 units, this deluxe set includes a 32-page booklet containing exclusive, in-depth liner notes by Greiving (featuring new interviews with Trevor Jones and Frank Oz) and rare artwork and photos from the Henson Archive. The sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 (46:58) 1. Power Ceremony And Main Title 4:35 2. Jen Plays Pipes And Mystic Master Dies 3:02 3. Skeksis Funeral Ceremony 2:06 4. Mystics Funeral Ceremony 3:25 5. Jen’s Journey And Council Chamber 2:04 6. Skeksis Fight Duel 3:29 7. Chamberlain Is Disrobed And Garthim Pursues Jen 3:53 8. Jen Encounters Aughra 1:29 9. Mystics 9-Tone Chant And The Observatory At Night 3:15 10. Garthim Attack Observatory And Mystics Leave Valley 4:08 11. Jen And Kira In Forest 2:29 12. Mindspeech, Nebrie And Mystics Journey 3:56 13. Skeksis Celebratory Banquet 3:03 14. Jen & Kira Duet 2:24 15. Introduction And Pod Dance 3:38 DISC 2 (48:54) 1. Kira Brings Down The Bat-Bird And Garthim Attack Pod Village 2:12 2. Jen & Kira Love Theme 4:12 3. In The Ruins Of The Gelfling Village 3:56 4. Landstriders Introduction And Journey 1:49 5. Chamber Of Life 3:29 6. Landstriders Battle With Garthim And The Second Mystics Journey 3:25 7. In The Sewer Of The Castle 1:55 8. Kira Removed To The Council Chamber 2:07 9. Kira In The Chamber Of Life 3:47 10. Kira Is Freed And Jen In The Garthim Lair 2:13 11. Jen And Aughra In The Chamber Of Life 1:48 12. Skeksis Panicked By Gelfling And Jen In The Crystal Chamber 4:25 13. The Great Conjunction And The Arrival Of The Mystics 4:53 14. The Mystics And Skeksis Fuse To Become The UrSkeks 5:22 15. Pod Dance (Reprise) And Finale 3:18 DISC 3 (41:04) 1. Overture 3:13 2. The Power Ceremony 3:54 3. The Storm 1:03 4. The Mystic Master Dies :51 5. The Funerals; Jen’s Journey 5:27 6. The Skeksis’ Duel 2:44 7. The Pod Dance 3:12 8. Love Theme 3:18 9. Gelfling Song 2:20 10. The Gelfling Ruins 2:45 11. The Landstrider Journey :43 12. The Great Conjunction 4:14 13. Finale 7:19 Total Album Time: 136:56 This is a CD format release

Neu von Quartet: Quartet Records, in collaboration with GDM and Finross, presents a remastered reissue of the expanded edition of TRE COLONNE IN CRONACA, one of the great Ennio Morricone efforts of the early ’90s for the film of Carlo Vanzina, starring Gian Maria Volontè. The film is a chronicle of the dark maneuvers made by a politician to seize an opposition newspaper. A Muslim terrorist receives the order to kill a stockbroker, which triggers a series of blackmail and deception. A brave journalist intends to shed light on all these murky matters, but the politician has no scruples and knows how to move with extraordinary skill. Being a great admirer of Elio Petri’s work, and in particular of INVESTIGATION OF A CITIZEN ABOVE SUSPICION, Vanzina relied on the actor (Volontè), the editor (Ruggero Mastroianni), the cinematographer (Luigi Kuveiller) and the composer of that film to draw a line of reference to his movie. Morricone assumes the principles that govern his work for Petri, reformulating them. There is no bold experimentation, but the subversive elements, intensity and expressiveness remain. The music has a grotesque, sly and perverse character, a nod to the sensationalism of the front pages. The album of TRE COLONNE IN CRONACA was released in 1990 on LP and CD in a short program of less than 30 minutes. In 2002, GDM CD Club released an expanded limited edition, supervised by the composer, and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film and it quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone. The booklet includes liner notes by Miguel Angel Órdóñez discussing the film, the music and the composer. Tre Colonne In Cronaca (Titoli) 1:25 Ultime Notizie 1:00 Prima Pagina 0:24 Tre Colonne In Cronaca (#2) 3:16 Ultime Notizie (#2) 1:46 Prima Pagina (#2) 4:12 Tre Colonne In Cronaca (#3) 2:08 Ultime Notizie (#3) 4:58 Lettere Al Direttore 3:54 Ultime Notizie (#4) 1:28 Terza Pagina 3:09 Lettere Al Direttore (#2) 1:15 Ultime Notizie (#5) 1:42 Ultime Della Notte 3:10 Tre Colonne In Cronaca (#4) 2:31 Tre Colonne In Cronaca (#5) 0:54 Lettere Al Direttore (#3) 1:09 Corsivo 3:53 Total Disc Time: 43:12 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered and expanded edition of Riz Ortolani’s masterful score for the Damiano Damiani thriller CONFESSIONE DI UN COMMISSARIO DI POLIZIA AL PROCURATORE DELLA REPUBBLICA (aka CONFESSIONS OF A POLICE CAPTAIN), starring Franco Nero and Martin Balsam. This was one of the first films about the Mafia in which the fight is hopeless because “the polyp’s feelers” reach everything and everybody. A police inspector and a deputy public prosecutor try to prove that the city’s construction magnate is a member of the legendary criminal organization. Far from showing an idealized and traditional Mafia (as Nino Rota would do a year later in THE GODFATHER), Riz Ortolani’s innovative score is based on fast and contemporary rhythms, in an extension of the hustle and bustle of an overpopulated Palermo. Between pop, jazz and funk, the music becomes the showcase of an aggressive and real metropolis. Ortolani uses an omnipresent main theme that underscores the narrative like a repeated echo. But the variations, short notes and transpositions of the melody follow each other in an increasingly rarefied atmosphere: the electric guitar distorts, the strings are strangely tuned, the winds and keyboard are unsettling. Ortolani’s score was released on a now-sought-after LP by RCA, reissued a few years ago by Four Flies Records in vinyl. It appeared on the digital market in the 1990s, pairing the same LP program with NELLA STRETTA MORSA DEL RAGNO, and subsequently had an expanded edition on GDM CD Club. Returning to the original stereo master tapes, this new edition, supervised by Claudio Fuiano and mastered by Chris Malone, includes every note Ortolani recorded for the film in 1971, making it the most comprehensive edition of this classic Italian score. The booklet includes an essay by Miguel Ángel Ordóñez on the film, the music and the composer. Confessione di un Commissario (Titoli) 3:13 Visita al manicomio 3:04 Il ricordo di Serena 2:39 Ossessione di un delitto 2:51 Promessa di Giustizia 3:58 Pedinamento e Agguato 2:15 Serena e Lomunno 2:47 Colloquio decisivo 2:59 I travestiti 2:48 La morte del Commissario 3:11 Ossessione di un delitto (#2) 3:45 Confessione di un Commissario (#2) 2:54 Il ricordo di Serena (#2) 3:32 Promessa di Giustizia (#2) 2:44 Pendinamento e Agguato (#2) 3:19 Serena e Lomunno (#2) 2:54 Promessa di Giustizia (#3) 3:41 I travestiti (#2) 2:13 Pendinamento e Agguato (#3) 3:57 La morte del Commissario (#2) 3:37 Confessione di un Commissario (#3) 2:21 Pendinamento e Agguato (#4) 2:09 I travestiti (#3) 1:16 Promessa di Giustizia (#4) 1:32 La morte del Commissario (#3) 2:56 Promessa di Giustizia (#5) 1:54 Total Disc Time: 74:42

Ob wohl auch die Demos, die David Arnold noch erstellt hat, mit dabei sind?

Snow Files of the Week: "Prologue/Main Title/The Boys Find The Cave/The Kiss/Happy Ending" aus dem TV-Film THE LITTLE KIDNAPPERS (1990). Für diese Disney-Channel-Produktion konnte Mark mal wieder auf ein volles Orchester zurückgreifen. Der von einer Solo-Flöte eingeleitete "Main Title" mausert sich im weiteren Verlauf zu einem schwelgerischen Stück Musik und das Thema taucht auch immer wieder im Score auf. Die Musik betritt dann sogar beschwingte Kinderabenteuer-Pfade in Tracks wie "The Boys Find The Cave". Alles in allem ein klangschöner Abenteuer-Drama-Score, der wieder einmal zeigt, dass Snow auch abseits der X-Akten musikalisch durchaus zu überzeugen weiß. Die Musik ist, gekoppelt mit Snows Musik zu IN THE LINE OF DUTY: SMOKE JUMPERS, auf der "Mark Snow Collection Volume 1" von Dragon's Domain Records erschienen. Die CD ist auf 500 Exemplare limitiert. Viel Spaß beim Hören!

Kommt am 20.01. von Intrada:

Jetzt auch auf Vinyl: Quartet Records present the vinyl edition of its brand-new recording of John Barry’s complete score for SÉANCE ON A WET AFTERNOON (1964), a major work previously missing from the composer’s discography. It was one of his masterpieces for Bryan Forbes that, unfortunately, remained unreleased due to the absence of master tapes. Composed for a small ensemble featuring vibrant percussion and woodwinds, it’s a mysterious, suggestive, unsettling score, reaching its culmination in the long rescue sequence. It showcases John Barry’s great ability to work with small, almost chamber-like ensembles, seeking the specific sound of each story without being an intrusive voice. Leigh Phillips has painstakingly reconstructed and orchestrated the score, which was performed by the prestigious Orquesta de Córdoba conducted by Fernando Velázquez. Recorded and mixed by Marc Blanes, the audio has been meticulously mastered by Chris Malone and the spirit of Barry’s original recording. With elegant design by Nacho B. Govantes and cover art designed by Jim Titus presented in a hard tip-on sleeve, it includes liner notes by Jon Burlingame. The discs are pressed in 140 GM black vinyl and it’s limited to 500 units only. SIDE A 1. Main Title 2:14 2. The Room 0:41 3. The Plan 0:22 4. Myra Remembers 5:26 5. Billy Leaves 0:55 6. Kidnapped 1:24 7. The Ransom Letter 1:01 8. The Prayer / Good Morning, Amanda 1:04 SIDE B 1. The Drop (Part 1) 2:09 2. The Drop (Part 2) 2:44 3. The Drop (Part 3) 3:02 4. We’re Mad 0:33 5. Mrs. Clayton’s Reading / The Woods 1:21 6. The Final Reading 1:21 7. Arthur’s Waiting 0:54 8. Finale 1:51 9. Theme From Séance On A Wet Afternoon 1:55

Quartet Records, in collaboration with Universal Music Enterprises, presents a 3-CD box set consisting of the three legendary albums that John Barry recorded for Polydor Records between 1972 and 1976, as well as some singles and curiosities. These beautifully designed albums contain some of the composer’s best-known themes, newly arranged and performed, and—in the case of AMERICANS—an original musical work for jazz soloists and orchestra. Ahead of his first public appearance conducting a symphony concert in October 1972, John Barry prepared a series of suites from some of his most successful triumphs, in a lavish and new symphonic orchestration, specially arranged to be performed by the Royal Philharmonic Orchestra under his baton. An extensive James Bond suite, a delightful suite from ALICE’S ADVENTURES IN WONDERLAND, the themes from MIDNIGHT COWBOY and MARY, QUEEN OF SCOTS, the theme from the TV series THE ADVENTURER, and two suites from his two Oscar-winning scores of the 1960s: BORN FREE and THE LION IN WINTER. For reasons still unknown, the suite from THE LION IN WINTER was omitted from the original LP, but since it was recorded and included on the master tape, we happily premiere it on this CD. John Barry’s next album, PLAY IT AGAIN, was recorded during several sessions over the course of an entire year beginning in July 1973. Most of these would be recorded with a smaller orchestra and many would be newly conceived arrangements. Barry took the chance to revisit some pieces that were originally conceived as songs, featuring new instrumental arrangements: THE DOVE, THE TAMARIND SEED, MONTE WALSH, as well as songs from his stage musicals LOLITA, MY LOVE and BILLY. He also provided new arrangements of major works such as WALKABOUT, BOOM!, and previously unreleased themes from TV films such as LOVE AMONG THE RUINS and THE GLASS MENAGERIE, as well as the theme from the TV series ORSON WELLES’ GREAT MYSTERIES. During the same period, Barry recorded other similar arrangements for Polydor, which were either released as singles or included on later compilations and reissues of PLAY IT AGAIN, such as A DOLL’S HOUSE, THE WHISPERERS, FOLLOW ME, and different arrangements of his iconic themes for DIAMONDS ARE FOREVER and THE ADVENTURER. The last album in this collection is perhaps the most special: his first concept album. AMERICANS, released in 1976, was a 36-minute compilation of impressions of the sights and sounds of America, written for orchestra and top jazz musicians. It was an ambitious work rooted in the composer’s love of jazz, American movies and the country itself. Barry recruited seven outstanding West Coast jazz soloists: Tony Terran, trumpet; Dick Nash, trombone; Ronnie Lang, alto sax; Jerome Richardson, tenor sax; Artie Kane, keyboards; Mike Rubin, bass; and John Guerin, drums. Israel Baker was concertmaster of the 42-piece orchestra, which was recorded over three days at Glen Glenn Sound on the Paramount Pictures lot. With little promotion and almost no reviews, Americans disappeared quickly from record bins and became a sought-after rarity. But for John Barry, who many years later called it “a thrilling experience,” it was an important artistic achievement—and one of the finest orchestral jazz albums of the era. He would employ alto sax player Ronnie Lang frequently thereafter, especially on jazz-based 1980s scores, and in the late 1990s, Barry would revisit the concept-album idea with his albums The Beyondness of Things and Eternal Echoes. The collection has been painstakingly produced and mastered by Chris Malone from original master tapes. The albums come in three separate jewel cases, housed—along with a separate 24-page booklet—in a handsome hardcover slipcase. Film music journalist and writer, and major Barry connoisseur, Jon Burlingame, provides exclusive, in-depth liner notes. CD1. THE CONCERT JOHN BARRY 1. James Bond Suite 17:59 -Goldfinger -James Bond Theme -From Russia With Love -Thunderball -007 -You Only Live Twice -On Her Majesty’s Secret Service -Diamonds Are Forever 2. Born Free 4:11 3. Alice’s Adventures in Wonderland 7:06 -Curiouser And Curiouser -I’ve Never Been This Far Before -The Me I Never Knew 4. Midnight Cowboy 3:47 5. Mary, Queen of Scots 3:19 6. The Lion in Winter 3:58 -Suite 7. The Adventurer 2:23 Total Disc Time: 43:06 CD2. JOHN BARRY PLAY IT AGAIN 1. Sail the Summer Winds 3:42 (From the Film “The Dove”) 2. Walkabout 3:14 3. Play it Again 2:27 (From the Film “The Tamarind Seed”) 4. Billy 2:43 (From the Stage Musical “Billy”) 5. The Good Times Are Coming 3:01 (From the Film “Monte Walsh”) 6. Lolita 3:02 (From the Stage Musical “Lolita, My Love”) 7. Orson Welles’ Great Mysteries 2:20 (From the TV Series “Orson Welles’ Great Mysteries”) 8. Love Among the Ruins 3:24 9. We Have all the Time in the World 2:27 (From the Film “On Her Majesty’s Secret Service”) 10. This Way Mary 3:30 (From the Film “Mary, Queen of Scots”) 11. Boom! 2:37 (From the Film “Boom!”) 12. The Gglass Menagerie 2:49 13. The Adventurer 2:10 (From the TV Series “The Adventurer”) 14. Follow, Follow 2:34 (From the Film “Follow Me”) 15. Diamonds Are Forever 3:01 (From the Film “Diamonds Are Forever”) 16. A Doll’s House 2:50 17. Curiouser and Curiouser 2:13 (From the Film “Alice’s Adventures in Wonderland”) 18. The Whisperers 2:10 Total Disc Time: 50:56 CD3. JOHN BARRY AMERICANS 1. Yesternight Suite 17:51 2. Downtown Walker 4:27 3. Scorpio 3:02 4. Social Swing 4:10 5. Strip Drive 3:21 6. Speaking Mirrors 2:36 Total Disc Time: 35:46

Snow Files of the Week: "The Smell of Zombies/The End of the Crusade" aus der X-Files-Folge "Millennium" (1999). Chris Carters zweite Serie "MillenniuM" endete vor dem Jahr 2000 (das Finale der Serie spielt im Mai 1999 und endet eigentlich mit einem Cliffhanger). Also suchten Carter und sein Team nach einer Möglichkeit, die Geschichte um Frank Black und der MillenniuM-Gruppe abzuschliessen. So kam es zu einer Crossover-Folge in der siebten Staffel der X-Akten. Trotz großer Enttäuschung vieler Fans über das Crossover (nach drei Staffeln „MillenniuM" mit seinem ganzen „story arc" endet es mit Mulder und Frank Black, die in einem Keller Zombies erschiessen), bleibt der herausragende Score von Mark Snow. Es gab ihm die Möglichkeit, die klagende Violine aus „MillenniuM" mit den Klanglandschaften der X-Files zu kombinieren. Und als Mulder und Scully sich endlich küssen, während sie im Fernsehen die Feierlichkeiten zum neuen Jahr 2000 verfolgen, baut Snow das traditionelle „Auld Lang Syne" in seine Musik ein, die mit einem raren Aufblitzen des X-Files-Themas endet. Die Musik wurde auf dem ersten 4-CD-Box-Set von LLL veröffentlicht, welches auf 2.000 Exemplare limitiert ist. Einen guten Rutsch und frohes neues Jahr!

Snow Files of the Week: "Delete/Branches-Angels" aus "MillenniuM", Episode "Midnight of the Century" (1997). "Midnight of the Century" ist die Weihnachtsfolge der zweiten Staffel "MillenniuM". Sie ist eine der beliebtesten Folgen unter Fans und wird zu Weihnachten gerne nochmal hervorgeholt. In der Folge geht es um den Tod von Frank Blacks Mutter als er noch ein Kind war und um das zerrüttete Verhältnis zu seinem Vater. Eine sehr berührende Folge, die man auch ohne große Vorkenntnisse der Serie gut anschauen kann. Marks Musik trägt zur melancholischen und magischen Stimmung der Folge bei. Er komponierte ein sanftes Thema für die Streicher und kombinierte das mit sanften Chorpassagen, um Franks Reise in seine eigene Vergangenheit zu begleiten. Das Stück "Delete" fand bereits Verwendung in der Akte-X-Folge "Emily" und wurde für "Midnight of the Century" von Marks Music Editor Jeff Charbonneau etwas neu arrangiert. Die Tracks befinden sich auf dem ersten Volume MillenniuM-Musik von LLL, welches auf 1000 Stück limitiert ist. Viel Spaß beim Hören und frohe Weihnachten!

Post aus Frankreich: Scheinbar gilt diese dreimonatige Exklusivität, während der man die Bond-CDs nur bei LLL direkt oder auf der 007-Seite bestellen kann, nur für die USA. Denn auch schon GOLDFINGER hat Music Box sofort verschickt. Oder es ist Music Box egal. Auf der anderen Seite bedeutet das ja auch, dass LLL die Händler weltweit ebenfalls sofort beliefert und nicht erst nach drei Monaten. So oder so: Schön, dass die CDs noch vor Weihnachten kamen.

Snow Files of the Week: "Joyride" aus der "Windham Hill's Winter Solstice On Ice" Show (1999). Mal etwas ganz anderes für Mark. Das Stück "Joyride" komponierte er für eine Eiskunstlauf-Gala. Es erschien zusammen mit den anderen Kompositionen, unter anderem von W.G. Snuffy Walden, auf der Compilation "Winter Solstice On Ice". Viel Spaß beim Hören!

Noch ein Update: Our most recent update appears to have caused more speculation than clarity, so we'd like to take this opportunity to give you, our backers, additional information to bring you up-to-date. As you well know, this ambitious project has not gone according to any plan or timeline that we had ever hoped. There has been a truly monolithic domino effect of issues, delays, and debacles—some of it purely unforeseen logistical challenges, some of it personal mistakes in judgment, and others the result of a breakdown in relationships and longstanding partnerships. It has sadly gotten very heated and contentious at times, and one of the reasons we have not been as transparent with you as we should have been is because it would have involved airing dirty laundry about a lot of interpersonal drama and unhappiness. However, we also recognize that the overall absence of transparency has led to wild speculation. To clarify, this was never a con or a scheme to steal your money. All along we have had every intention to deliver on our promises: we love and believe in Jeff's book as much as all of you do. But behind the scenes, significant errors that were made in the editing, layout, and pre-production phase had to be (expensively) corrected; key individuals who had been working on the project made the decision to leave abruptly, which complicated the workflow and necessitated the hiring of new contractors; and finally, the twin dilemmas of printing—as stated in previous updates, has become exorbitantly expensive—and the actual storing/processing/shipping of the books (including shipping overseas) have put us in a lengthy and almost paralyzing stalemate. We can assure you that the money that was gathered for this project went into the continued, unexpected costs of this project. Still, we openly admit that multiple mistakes were made, not the least of being an undeserved lack of communication with you, and we can do nothing but apologize. Jerry Goldsmith, and the backers of this campaign, deserved better. We are working tirelessly to finally get these books printed and delivered to you. All we can ask, again, is that you please be patient with us as we round the final bend; you WILL have these books in your hands in 2025. Sincerely, Taylor White

Snow Files of the Week: "Search your heart/Passing the Torch" aus "Ernest Saves Christmas" (1988). Und wir setzen die weihnachtliche Zeit fort mit einem weiteren Trackpaar aus "Ernest Saves Christmas". Für Freunde altmodischer Weihnachtsscores ist das genau das Richtige, Snow erschafft mit seinem Orchester einen einschmeichelnden Wohlfühlscore mit einigen Slapstick-Einwürfen. Nachdem MV von LLL in einer Nachricht vor längerer Zeit den Film "Ernest Saves Christmas" erwähnte, hatte ich schon Hoffnungen, dass das vielleicht mal ein Weihnachtstitel von LLL sein könnte. War leider nicht so, aber man soll die Hoffnung ja nicht aufgeben und muss so lange eben die Promo-CD pflegen. Viel Spaß beim Hören!

Da geht es wohl weniger ums Verhindern als alleine darum, dass das Studio einfach kein Interesse an so einer Veröffentlichung hat. Das ist doch auch nichts Neues. Wenn man es so sieht, wären viele Scores überhaupt nicht veröffentlicht worden, wenn es nicht die Special Labels geben würde. Vom Studio 20th Century Fox aus gab es beispielsweise keinerlei Bestreben, so viel oder überhaupt noch Musik der X-Akten zu veröffentlichen. Da musste erst LLL kommen. Von sich aus hätte Fox das nie gemacht. Und so ist es eben auch hier. Die Musik zu einem drei Jahrzehnte alten Film, von einem Komponisten, den selbst in unseren Kreisen kaum einer kennt und die sich ein paar hundert Leute auf Platte kaufen (von denen ein großer Teil wohl einfach nur das Cover an die Wand hängt, ohne die Platte jemals zu hören), da steht bei einem großen Filmstudio wohl niemand auf der Matte und möchte das unbedingt digital veröffentlichen. Vielleicht hat das Label aber auch einen Deal mit dem Studio, dass das Album der Exklusivität wegen nur auf Vinyl erscheint. Oder es erst nach einer Sperrfrist digital erscheint. Auf der anderen Seite sieht man ja auch, wie viele Scores zu Blockbustern heute gar nicht mehr auf CD, höchstens noch als Vinyl, physisch veröffentlicht werden. Weil man scheinbar auf die paar Euro verzichten kann, die das zusätzlich bringt.

Den Film mag ich auch sehr, vielleicht sogar mehr als den ersten. Das Album ist auf die gesamte Laufzeit aber tatsächlich eine kleine Geduldsprobe. Sowas spricht aber auch nur einen wirklich kleinen Sammlerkreis an. Und der kauft eben eher Vinyl als CD. Was das Streamen angeht: MV meinte mal, dass die Rechte, eine CD oder LP zu produzieren, ganz andere sind, als etwas digital zu veröffentlichen. Man müsste zweimal verhandeln und natürlich auch zweimal zahlen. Die digitalen Rechte verbleiben normalerweise beim Studio. Es gibt Ausnahmen, aber besonders bei älteren Katalog-Titeln scheinen die digitalen Rechte recht teuer zu sein, beziehungsweise lizenziert die ein Studio normalerweise nicht an Dritte. Daher kann nur das Studio selbst so ein Album auf die Streaming-Plattformen bringen, nicht aber das Label, welches das physische Album veröffentlicht hat. Ich bekomme auf unserer Mark-Snow-Seite auf Facebook beispielsweise auch immer wieder Nachfragen, warum es die LLL-Box-Sets der X-Files nicht zum streamen gibt. Auch hier kann LLL die Sets nicht digital veröffentlichen, das muss über das Studio laufen.