Oliver79
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Von Howlin' Wolf Records kommt eine CD mit Richard Einhorns Score für den Slasher The Prowler.
ZitatHowlin' Wolf Records proudly presents THE PROWLER by composer Richard Einhorn (SHOCK WAVES, DON'T GO IN THE HOUSE). At the height of the success of slasher films came THE PROWLER (1981), one of the many independently produced entries in the subgenre. The film was directed and co-produced by Joseph Zito, best known for films including FRIDAY THE 13th: THE FINAL CHAPTER and action films MISSING IN ACTION, INVASION USA, and RED SCORPION. THE PROWLER is also known for its hard-edged violence with special effects by Tom Savini.
Composer Richard Einhorn's early work in film scores was primarily electronic. With THE PROWLER, the composer transitioned to using live acoustic instruments. The score for THE PROWLER is full of lush orchestrations for strings, winds, and brass. While THE PROWLER does incorporate some electronic studio effects, they are used to enhance the impact of certain moments rather than be the focal point. Assembled and mastered for CD by Ian Zapczynski from 15 ips master tapes, THE PROWLER features the complete score in 35 tracks.
With liner notes by Ian Zapczynski based on research and an in-depth interview with Richard Einhorn, THE PROWLER showcases a 16-page full-color booklet including Nestor Puchetti's original illustrations with art direction and designs by Luis Miguel Rojas. THE PROWLER is a limited pressing.
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Von Beat Records kommen am 30. April zwei neue CDs mit Scores von Francesco De Masi bzw. Giacomo Dell'Orso.
ZitatBeat Records is excited to release on CD, for the first time ever, the original soundtrack by Francesco De Masi for Fuga Dal Bronx, directed in 1983 by Enzo G. Castellari. It's a wonderful score that until now was only available on vinyl, released by our publishing group at the time of the film's release. For this soundtrack, Maestro de Masi skillfully weaved electronics with a real orchestra to great effect, riding the high-energy wave of the synthesizers and a powerhouse orchestral ensemble, arranged with true talent.
The CD is in our Classic Collector Releases (CDCR) series, with mastering by Enrico De Gemini, graphic layout by Daniele De Gemini and liner notes by Filippo de Masi. Also coming soon is a special video made in celebration of this release, featuring an interview by Filippo de Masi with Enzo G. Castellari, living icon of Italian cinema. Keep an eye on our socials so you don't miss the show!
ZitatIn our DDJ series, dedicated to funky cinema sounds, we are proud to present on CD the previously-unreleased score for the episodic movie directed by Domenico Paolella in 1979, Belli e brutti ridono tutti. The pen behind the soundtrack belongs to a Maestro very dear to us, Giacomo Dell’Orso, husband of the divine Edda and a fine musician, orchestra conductor and arranger for his friend, Maestro Nico Fidenco. After the Main Titles featuring a cool Rock ‘n’ Roll tune, we have a score dominated by the Disco sound, a vein that exploded worldwide and which sees the prominent voice of Giancarlo Balestram in the end credits over a vibrant rhythmic tapestry. The CD is packaged in a standard jewel case, with mastering by Enrico De Gemini, liner notes by Marco Ferretti and graphic layout by Daniele De Gemini. Also coming soon in celebration of this release is a video interview by Marco Ferretti with Giacomo Dell’Orso about his career in film music.
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Das japanische Label Kojima Rokuon hat ein Album mit den von Somei Sato komponierten Scores für Like the Dyer's Hand (2019) und Foujita (2015) veröffentlicht.
ZitatOriginal soundtracks from two films music composed by Somei Sato. LIKE THE DYER'S HAND is a award winning documentary film about the life of a legendary Chinese Poet and literary woman, Chia-ying Yeh. FOUJITA is a biography film about Japanes-born French painter, Tsuguharu Fujita.
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GAD Records haben zwei CDs mit weiteren Scores von Andrzej Korzynski veröffentlicht. Der
ZitatFenders Klavier, analoger Synthesizer, pulsierender Bass und Echo, Echo, Echo ... Musik aus Andrzej Jerzy Piotrowskis psychologischem Film ist ein hypnotisches Mysterium, das von denselben Musikern gespielt wird, die hauptsächlich unter dem Namen Arp Life aufgenommen haben.
Die verworrene persönliche Intrige mit Leonard Pietraszak und Małgorzata Braunek in den Hauptrollen bleibt bis heute eines der besten Bilder in der Produktion des Regisseurs (auf dem Niveau der "Geschäftsreise" des Fernsehens). Andrzej Korzyński mit innovativer und ansprechender Musik im zeitgenössischen Film. Zu diesem Zeitpunkt gewann das Arp Life-Projekt eine besondere Bedeutung für seine Leistungen - die Aufnahmen für "The Grand System" sind in der Tat eine weitere Session, die von diesem legendären Projekt durchgeführt wird. Es besteht aus Stücken voller Angst, basierend auf einem aggressiven Synthesizer-Puls und Themen, die in Reverbs getaucht sind und Fenders psychedelisches Klavier enthüllen. Dies ist die gleiche Richtung wie Man of Marble, die sechs Monate später realisiert wurde - nur viel mutiger und seltsamer.
"Wielki System" erscheint in einer überarbeiteten Ausgabe der Originalbänder aus den Archiven des CeTA Audiovisual Technology Center in Wrocław. Dies ist eine weitere Frucht (nach der Musik aus der Serie "Czterej pancerni i pies" und den Aufnahmen von Wojciech Kilar aus den Filmen "Cała naprzód" und "Giuseppe in Warschau") der Zusammenarbeit mit den Hütern der Erinnerung an den Wrocław Fabular Film Studio. Die CeTA-Sammlung umfasst über 10.000 einzigartige Filmkostüme und unveröffentlichte Filmmusik von Wojciech Kilar, Adam Sławiński, Piotr Hertl, Włodzimierz Nahorny und Jerzy Derfl.
ZitatEin Film voller Angst und dunkler Geheimnisse. Ein psychologisches Spiel, das sich auch in bewegender Musik widerspiegelt und oft in ebenso dunklen Farben gemalt wird. Einer der interessantesten Soundtracks von Andrzej Korzyński aus den 90ern des letzten Jahrhunderts kehrt auf das Album zurück - in einer völlig neuen Version.
"Panna Nobody" ist einer der bekanntesten Filme der 90er Jahre. Basierend auf dem Roman von Tomasz Tryzna erzählt er von einem 15-jährigen Mädchen, das vom Land in die Stadt zieht und sich nicht in der neuen Realität wiederfinden kann . Neu getroffene Freunde haben einen erheblichen Einfluss auf ihre Psyche und ziehen sie in ein gefährliches Spiel. Das dunkle Gemälde wurde von der faszinierenden Musik von Andrzej Korzyński begleitet, der als eine seiner größten Errungenschaften dieses Jahrzehnts gilt. Es handelt sich hauptsächlich um elektronische Musik, die auf monotonen, düsteren Sequenzen basiert und mehreren lyrischen Themen gegenübergestellt wird, die Korzyńskis melodischen Sinn enthüllen.
Die ursprünglichen Aufnahmesitzungen während des Soundtracks des Films wurden stark bearbeitet. Einige dieser Maßnahmen wurden anlässlich der ersten CD-Version wiederholt, die 1996 vom Koch-Verlag veröffentlicht wurde. Den Aufnahmen wurden Fragmente von Dialogen aus dem Film und Soundeffekten hinzugefügt, und einige Themen wurden durch zusätzliche Instrumentalparts und Loops ergänzt . Diese Ausgabe wiederholt einige der aus der ersten CD-Veröffentlichung bekannten Materialien, lässt jedoch Fragmente aus, die sich ausschließlich auf Dialoge und Sounddesign konzentrieren. Stattdessen erscheinen (soweit möglich) die Originalversionen der Themen und anderer Kompositionen, die unter Berücksichtigung des Films erstellt wurden.
"Panna Nikt" erscheint in einer überarbeiteten Form, angereichert mit einer neuen Broschüre. Dies ist ein weiteres Album von GAD Records mit Filmmusik, das zu einem der Schlüsselelemente des Verlagskatalogs geworden ist. Dies wird durch die in den letzten Monaten veröffentlichten Alben von Wojciech Kilar, Adam Sławiński, Adam Walaciński und Henryk Kuźniak bestätigt. Die nächsten werden bereits vorbereitet.
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Music Box am 1. April: "Rare Soundtracks Vol. 4", Serge Franklin & Nicolas Erréra
ZitatOriginal Motion Picture Soundtracks: LÉGITIME VIOLENCE, MESRINE, TWIST AGAIN À MOSCOU, MES MEILLEURS COPAINS, LE SANG DES AUTRES, LE CRIME D'AMOUR, L'EMPREINTE DES GÉANTS
World Premiere CD Release. 3-CD set.
16-page CD booklet with French and English liner notes by Albéric Marsolet.In collaboration with AMC, Amplitude, Larghetto, Studiocanal and EMI Music Publishing, Music Box Records presents a 3-CD set featuring seven French soundtracks composed between 1979 and 1989: Légitime Violence (Quest for Justice) composed by Jean-Marie Sénia, Mesrine composed by Jean-Pierre Rusconi, Twist again à Moscou (Twist Again in Moscow) and Mes meilleurs copains (My Best Pals) both composed by Michel Goglat, Le Sang des autres (The Blood of Others) composed by Matthieu Chabrol, Le Crime d'amour composed by Jean Wiener and L'Empreinte des géants (The Imprint of Giants) composed by Karl-Heinz Schäfer.
This fourth Rare Soundtracks boxset puts the spotlight on the 1980s in all their political and social harshness, with their sense of self-derision but also their nostalgic side. Between the French vigilante movie (Légitime violence) and the comedy movies of Jean-Marie Poiré (Twist again à Moscou and Mes meilleurs copains), Music Box Records once again offers film music as eclectic as it is rare and cult. As for the soundtrack of Mesrine by Jean-Pierre Rusconi, it is the Grail whose release will delight many fans of this music which draws its inspiration from Giorgio Moroder and Ennio Morricone. This present edition also features the father-son partnership from the Chabrol family (Le Sang des autres, a lesser-known film adaptation of Simone de Beauvoir's novel, with Jodie Foster in the leading role), Jean Wiener (Le Crime d'amour by Guy Gilles, with a song performed by Macha Méril), as well as Karl-Heinz Schäfer (L’Empreinte des géants, with the sensitive bandoneon of Juán José Mosalini).
This remastered 3-CD boxset includes a 16-page booklet with liner notes by Albéric Marsolet, discussing the films and the scores. The release is limited to 350 units.
ZitatWorld Premiere Release.
Remastered edition.
8-page CD booklet with French and English liner notes by Sylvain Pfeffer.In collaboration with Warner Chappell Music France, Warner Music and Sony ATV, Music Box Records proudly presents the fourth volume of the collection Great Television Soundtracks dedicated to two original television soundtracks composed by Serge Franklin: Des grives aux loups (Thrushes to the Wolves, 1984) and Le juge est une femme - Le secret de Marion (The Judge Is a Woman - The Secret of Marion, 1995).
In 1984, Pathé and the French channel Antenne 2 decide to adapt Claude Michelet’s regionalist novel, Des grives aux loups, into a TV series. Broadcasted in six fifty-two-minute-long episodes, the series attracted a large audience and was awarded the 7 d’Or for Best TV series and was nominated in the Best Original Score category. Des grives aux loups marked the reunion between Philippe Monnier (L'Enfant des loups) and French composer Serge Franklin after two lesser-known television films. Recorded in Rome, this relatively intimate score is built around three reoccurring themes. The main theme is a bright and stirring waltz. Sung by Charles Dumont, the theme opens each episode of the TV series. The second theme is in line with the pastoral tradition through its use of the oboe. The third theme is associated with the Vialhe family. Sadder and more nostalgic, it is mainly performed by oboes and an accordion. This theme is also adapted as a song, Un peu d’enfance, performed by Charles Dumont.
For Le secret de Marion, an episode from the TV series Le juge est une femme, directed by Didier Albert and written by Daniel de Saint-Hamont (a frequent collaborator with director Alexandre Arcady), Serge Franklin delivers a dynamic score, sometimes jazzy, with an array of electronic drum loops, which reminds Sandra, princesse rebelle composed the same year.
Remastered from the original recording sessions, the program has been supervised by Serge Franklin. The 8-page booklet features an essay by Sylvain Pfeffer discussing the series and the scores based on an original interview with the composer. The release is limited to 300 units.
ZitatWorld Premiere CD Release.
8-page CD booklet with liner notes by Daniel Schweiger.In collaboration with Enka, Music Box Records presents the premiere CD release of the original soundtracks of Chinese director Larry Yang’s two feature films composed by Nicolas Errèra (The Butterfly, Adoring): Mountain Cry (2015) and My Other Home (2017).
Adapted from the award-winning novel by Ge Shuiping, Larry Yang’s acclaimed 2015 Chinese film Mountain Cry is both mystery and love story as the blame for the explosive death of a mute’s husband falls upon the wastrel bachelor Han Chong (Ziyi Wang). Mountain Cry’s lush score was recorded at Angel Studios in London, with the film premiering as the closing presentation at South Korea’s Busan International. With his poetic score, French composer Nicolas Errèra powerfully speaks to these depths and heights of human nature, as communicated in melody both intimate and emotionally sweeping.
Errèra's second collaboration with Yang titled My Other Home is about former NBA player Stephan Marbury based on his journey to China to find a new, winning destiny as the star player for The Beijing Ducks. Errèra’s tender melodies bring Marbury new hope, the melancholy tone of piano, violin and a subtle electronic beat rising with noble, brass determination that makes for this winningly inspirational sports film about team spirit.
The 8-page booklet features liner notes by Daniel Schweiger, discussing the films and the scores, based on new comments by Nicolas Errèra and Larry Yang
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Die am 20. Juli bei Blue Underground erscheinende neue limitierte Blu-Ray von Gary Shermans Horrorfilm Dead & Buried wird auch eine Bonus-CD mit der bisher unveröffentlichten Filmmusik von Joe Renzetti enthalten.
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Ab dem 29. März von Dragon's Domain Records:
ZitatDragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE LEE HOLDRIDGE COLLECTION, VOLUME 2 featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for two feature films from his extensive filmography, AFRICA and e’LOLLIPOP.
Lee Holdridge has scored a wide range of feature films, TV movies, television series and documentaries over the last four decades, with more than 220 projects, brimming with memorable and affecting music. Holdridge is particularly known for his lyrical, harmonic orchestral music but he’s also highly adept at dramatizing action and adventure. Dragon’s Domain Records celebrates two more of them in this second collection of his work; neither of them has been released commercially until now.
Released in 1999, AFRICA tells the story of a drug-troubled fashion model struggling to survive after a harrowing car accident leaves her stranded in the African bush. Holdridge composed a sultry score featuring soprano sax infused with West African percussion and copious synthesizers for the project. However his score was ultimately not used in the finished film. As are a lot of film scores that are unceremoniously tossed out, Holdridge’s music for AFRICA is a worthy listening experience on its own.
Released in 1975, e’LOLLIPOP tells the tale of two young boys—a young white orphan named Jannie and a black boy from the local village named Tsepo who meet face-to-face in Apartheid-stricken South Africa. After his parents tragically perish in a car accident, Jannie is temporarily sent to a missionary station near Tsepo’s village until more permanent housing arrangements can be made. Jannie and Tsepo share a lollipop through the missionary window and immediately become inseparable friends. After a serious playtime injury threatens Jannie’s life, Tsepo, his fellow villagers, and the missionary doctors work tirelessly to proffer ten-year-old Jannie special medical treatment in the United States. Stricken with guilt, Tsepo takes it upon himself to travel to New York City in search of Jannie and aide his recovery. e’LOLLIPOP was directed by Ashley Lazarus starring José Ferrer, Karen Valentine, Norman Knox, and Muntu Ndebele. An alternate version of e’LOLLIPOP retitled FOREVER YOUNG, FOREVER FREE featuring a truncated version of the film was released to audiences in the United States.
Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.
Dragon’s Domain Records is excited to bring e’LOLLIPOP and AFRICA to compact disc for the first time as part of the LEE HOLDRIDGE COLLECTION, VOLUME 2, newly remastered by James Nelson at Digital Outland. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite with the participation of the composer.
THE LEE HOLDRIDGE COLLECTION, VOLUME 2 is a limited edition release of 500 units. THE LEE HOLDRIDGE COLLECTION, VOLUME 2 will begin shipping the week of March 29, 2021.
ZitatDragon’s Domain Records, to be distributed by BuySoundtrax, will be releasing KILLER PARTY for the first time, featuring music composed by John Beal (TERROR IN THE AISLES, THE FUNHOUSE) for the 1986 horror comedy directed by William Fruet, written by Barney Cohen and starring Martin Hewitt, Ralph Seymour, Elaine Wilkes and Paul Bartel.
Written by Barney Cohen of FRIDAY THE 13TH: THE FINAL CHAPTER fame, KILLER PARTY is a Canadian supernatural slasher film with comedic tongue-in-cheek overtones directed by William Fruet. A native of Alberta, Canada, Fruet directed a stream of low-budget horror flicks throughout the 1970s–80s including THE HOUSE BY THE LAKE, FUNERAL HOME, and SPASMS, before venturing into television to direct episodes of FRIDAY THE 13TH: THE SERIES, WAR OF THE WORLDS, and GOOSEBUMPS.
Released the same year as the seminal slasher APRIL FOOL’S DAY, KILLER PARTY lacerates the traditional April Fool’s joke to the nth degree. After a series of false introductions, the real plot of the movie revolves around a trio of young ladies who make a pact to pledge Sigma Alpha Pi, a popular sorority at their university during Hell Week. In spite of Mrs. Henshaw’s warning, the sorority sisters decide to hold their annual April Fool’s Night hazing ritual at Pratt House anyway. And the body count starts to rise…
The music for KILLER PARTY was composed and conducted by John Beal. A combat veteran of the United States Marine Corps, Beal is a prolific composer and conductor internationally recognized for his work with major recording artists including Elton John, Gladys Knight, Olivia Newton-John, Ella Fitzgerald, B.B. King, and Deadmau5 to name a few. As principal conductor of the Hollywood Symphony Orchestra, Maestro Beal has traveled the world directing orchestral performances in cities including London, Tokyo, Antwerp, Prague, Taipei, Kuala Lumpur, and Luxembourg. In addition to his extensive conducting experience, Beal is also an accomplished composer having scribed scores for forty-five theatrical motion pictures including THE FUNHOUSE, TERROR IN THE AISLES and multiple television series.
Beal’s eclectic score for KILLER PARTY is the quintessential amalgam of 1980s synthesizer technology fused with live performances. Composed in just two weeks with the help of trusted friend and orchestrator Douglas Timm), Beal amassed fifty hefty minutes of avant-garde horror music far surpassing the strict budgetary limitations. An arsenal of high-tech gadgets including a Yamaha DX7, Fairlight CMI, and a mellotron were intermixed with a modest string section comprised of eight musicians and one player each performing trumpet, trombone, and tuba.
Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of KILLER PARTY, featuring music composed by John Beal, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite, with the participation of the composer.
KILLER PARTY is a limited edition of 500 units. KILLER PARTY is expected to start shipping the week of March 29th.
ZitatDragon’s Domain Records, to be distributed by BuySoundtrax, will be releasing DIE, MOMMY DIE! for the first time, featuring music composed by Dennis McCarthy (STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, V: THE FINAL BATTLE, MACGYVER) for the 2003 comedy directed by Mark Rucker, written by Charles Busch, starring Charles Busch, Natasha Lyonne, Jason Priestley, Angela Paton, Frances Conroy and Philip Baker Hall.
DIE MOMMIE DIE! (2003) is a romantic comedy/murder mystery written by and starring female impersonator Charles Busch. Created as a parody/homage to 1950s and ‘60s women’s melodramas, the film is lightly humorous with plenty of dark comedy as it tells the story of fallen pop diva Angela Arden, who schemes to murder her inattentive and berating husband Sol in order to be with her young gigolo lover Tony, only to have his daughter Edith and their son Lance interfere with her carefully wrought plans.
The film’s musical score is the work of Dennis McCarthy, best known for scoring more than 250 episodes of STAR TREK across four iterations after the original series, THE NEXT GENERATION, VOYAGER, DEEP SPACE NINE and ENTERPRISE. During the 1980’s through the 2000’s, McCarthy was among the most durable and dependable TV composers in the business. From his experience scoring romantic suspense TV movies, McCarthy immediately understood the kind of musical treatment this film needed. McCarthy’s music budget for this film accommodated an orchestra of some 30 instruments; to that group he added a 15-player rhythm section to handle unique flavors and beats as needed. While the orchestral ensemble creates the tension, drama, and mood of the story, the rhythm section defines the period and maintains the rhythm, color, and groove throughout the music cues.
Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of DIE, MOMMY, DIE!, featuring music composed by Dennis McCarthy, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall Larson, featuring the participation of the composer.
DIE, MOMMY, DIE! is a limited edition of 500 units. DIE, MOMMY, DIE! is expected to start shipping the week of March 29th.
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Auf dem FSM-Board hatte die auch treue Fans, aber bis vor kurzem standen da wohl auch Lawrence selbst keine Tapes zur Verfügung, mal schauen, was sie jetzt für die Veröffentlichung verwendet haben. Stilistisch erinnert der Score schon ein wenig an Michael Smalls "Klute".
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Nope, da schaue ich eher selten bis gar nicht rein. Dachte da geht es wirklich v. a. um Spencer-und-Hill-Score und die sind mir ja ziemlich egal.
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Und wie ich gestern gesehen habe, bringt Beat Records neben Vamos a matar, companeros nun auch nochmals Il mio nome e nessuno.
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=BCM9595&uscita=prox
Auf den Bacalov bin ich schon neugierig, dürfte sein einziger Ausflug ins Horror-Genre gewesen sein (?).
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Von Digitmovies kommt am 24. März schon das nächste Neuheiten-Trio mit Scores von Franco Bixio, Stelvio Cipriani und Ivan Vandor.
ZitatIvan Vandor (Pécs, 1932) has written many OSTs like “I giorni contati” (1962), “Nudi per vivere” (1964), “Amori pericolosi” (1964), “Andremo in città” (1966), “Se sei vivo spara” (1967). “Death on the run” commentary has all the classic features of Eurospy genre: jazz, blues, latin, Balcan music, a wild shake, love themes and orchestal passages full of tension and violence. A young Stelvio Cipriani vigorously conducts the Orchestra. For this 57:00-minutes-long CD of ours we used Recording Session’s mono masters.
ZitatWe are very happy to release a double CD with three completely unpublished soundtracks of our great friend Stelvio Cipriani, based on costume erotic comedies influenced by antique novels of Decameron and Boccaccio. This thrilogy was formerly supposed to be a quadrilogy with “...E continuavano a mettere lo diavolo ne lo inferno”, but unfortunately the master tapes were lost. Thanks to stereo master tapes, we used every single note recorded back then, with a result of 140 minutes of music. The author composed many themes that go from classical passages to more modern ones, from holy to profane, both funny and dramatic with the intervention of Nora Orlandi’s vocalisms and her notorious choir.
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Von Cinema-Kan kommen am 19.05. zwei neue CDs:
Retreat from Kiska (Ikuma Dan)
Velvet Hustler (Hajime Kaburagi)
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Waxwork Records veröffentlichen im April die von Stephen Lawrence komponierte Musik für den 1976er Horrorfilm Alice, Sweet Alice auf CD und LP.
ZitatWaxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow.
In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family.
The film’s chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread inducing and utterly haunting.
Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram “Yellow Rain Coat with Blood Red Splatter”, deluxe packaging with new artwork by Steven Reeves, old style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.
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Bei Télé 80 erscheint am 26. März Shuki Levy und Haim Sabans Musik für Musclors et She-Ra. Der Text der Ankündigung ist etwas undeutlich, keine Ahnung ob es sich hier um Musik aus den TV-Serien oder den Score zu dem Feature The Secret of Sword aus dem Jahr 1985. Enthalten sind jedenfalls die französischsprachigen Fassungen der Songs.
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Von Plantsounds kommt ein Album mit dem vom Jazz-Musiker Fuzzy komponierten Score für den dänischen Animationsfilm H. C. Andersen & Den Skæve Skygge aus dem Jahr 1998.
ZitatWhat happens when you allow one of your countries finest composers to score a film about the most beloved author from that very same country?
The answer is right here:H. C. Andersen & Den Skæve Skygge (Eng.: The Long Shadow) is one of many wonderful collaborations between composer Fuzzy (real name Jens Vilhelm Pedersen) and director Jannik Hastrup.
Together they have produced some of the most well known animated films from Denmark in the 80’s and 90’s, and this movie is no exception.Not as light-hearted as many had expected, the film failed at the boxoffice upon it’s release in 1998, and has been largely forgotten since then.
The film is not without merit though, and was certainly a very ambitious one!
This is especially evident when listening to Fuzzy’s orchestral score.
In fact, this may well be the most ambitious film score ever composed for a Danish feature film?Recorded in Prague, by the Prague Philharmonics under the guidance of conductor Mario Klemens, this 44 minute score shows what an orchestra can do when performing the music composer by a true master.
And Fuzzy is nothing less than just that: A masterful composer!Long hailed as one of Europes leading contemporary composers, his ability to write big lush themes and intricate orchestral textures is in full display here, and we are very proud to give this score the attention it deserves.
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Derzeit scheint es, als das man die nur über GAD direkt beziehen kann. Bei ebay gibt es die Scheibe nur zum Wucherpreis: https://www.ebay.de/itm/WOJCIECH-KILAR-CALA-NAPRZOD-GIUSEPPE-W-WARSZAWIE-CD-GAD-RECORDS-RARE-OOP/265073969223?hash=item3db7a3c847:g:yosAAOSw55ZgPrKA
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GAD Records haben am letzten Freitag ein Album mit Wojciech Kilars Scores für die von Stanislas Lenartowicz inszenierten Komödien Cala naprzód (1967) und Giuseppe w Warszawie (1964) veröffentlicht.
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Immerhin mal wieder ein interessantes Projekt für Desplat. Edmund Gouldings Erstverfilmung aus dem Jahr 1947 mit Tyrone Power und Joan Blondell ist einer der bemerkenswertesten Film-Noirs der klassischen Ära.
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Ach soooo... ich hatte mich schon gewundert, dass vom Halbmond bisher keine eigene CD gekommen ist. Das erklärt natürlich die Situation.
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Danke für die Erläuterungen, dass bei der Ankündigung keiner der italienischen Verlage sondern nur Paramount erwähnt wurde, hat mich auch verwundert.
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ZitatQuartet Records presents the world premiere release of Riz Ortolani’s obscure killer masterpiece for the equally obscure home invasion drama directed by Yves Allégret, L’INVASIONE
Starring Michel Piccoli and Lisa Gastoni, the plot centers around an architecture professor who invites close to a dozen students to his home for a discussion. The meeting soon turns into a home invasion as the students refuse to leave and threaten their bourgeois teacher; even his wife turns against him. As the night undermines their relationship, important lessons are learned on all sides.
Riz Ortolani’s tuneful score is built on a strong main theme, largely associated with the students’ attack: a psychedelic rock anthem with guitar and saxophone working together to underscore the brash lifestyle of the teenaged troublemakers. In contrast, the love theme sounds like it’s coming from the world of the older generation of cocktail parties and marital infidelities. The score is rounded out by a number of self-contained experimental, funky soundscapes, including sound collages and an organ piece.
Produced and sequenced by Claudio Fuiano and mastered by Chris Malone from pristine stereo first-generation masters, courtesy of the Riz Ortolani estate, the CD includes an eight-page booklet featuring liner notes by Gergely Hubai covering both film and score.
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ZitatQuartet Records and Paramount Pictures present the world premiere release of the highly requested score by Ennio Morricone and Bruno Nicolai for Alberto de Martino’s gangster film BANDITS IN ROME (aka ROMA COME CHICAGO)
The film stars John Cassavetes as professional hold-up man Corda, who teams up with hot-headed Enrico to carry out his heists. Corda has principles – as a family man, he refuses to kill anyone – but when he is arrested after their latest heist, his uncontrolled companion starts wreaking havoc in the underworld. Since Enrico has no qualms about shooting a few people, his bloody rampage puts pressure on the Commissioner to catch him as well.
Following their work on de Martino’s notoriously nepotistic spy spoof OK CONNERY, Ennio Morricone and Bruno Nicolai share co-composer credit on this funky soundtrack that features raunchy jazz cues for the heists, an achingly beautiful love theme for our lead gangster and the idyll he wants to achieve with his girlfriend, plus a few cool dance cues for the gangsters’ hideout that also doubles as a go-go disco.
Until now, BANDITS IN ROME was one of the most significant gaps in the Morricone and Nicolai discography. This 18-track CD – featuring all the surviving material in mono (although the film uses the music in a very liberal fashion) – was supervised by Claudio Fuiano, and restored and mastered by Chris Malone. The richly illustrated 12-page booklet includes liner notes by Gergely Hubai, who discusses both film and score.
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Ah, danke... hatte die Ankündigung auch bei Ark gesehen, aber die Tracklistings nicht mit den vorherigen Ausgaben verglichen. Danke für den Hinweis.
Piero Piccioni
in Komponisten Diskussion
Geschrieben
Ich erinnere mich noch, wie ich vor vielen Jahren mal von einer Party nach Hause kam und beim Zappen durchs TV-Programm auf Cadaveri eccellenti stieß. Die Titelmusik hat mich damals sehr beeindruckt und dürfte auch meine erste Begegnung mit der Musik von Piccioni gewesen sein. Allein wegen der Titelmusik wollte ich mir am nächsten Tag die CD zulegen, aber die war damals in der Tat schon bei sämtlichen Händlern vergriffen. Meine Debüt-CD von Piccioni wurde dann halt der ganz anders geartete Puppet on a Chain.