Oliver79
-
Gesamte Inhalte
692 -
Benutzer seit
-
Letzter Besuch
Beiträge von Oliver79
-
-
Neu von Beat Records:
Cannibal Holocaust (complete) - Riz Ortolani
ZitatAlmost 40 years after its theatrical debut, Beat Records is proud to present—for the first time on CD—the complete original motion picture soundtrack to one of the most controversial Italian genre movies of all time: CANNIBAL HOLOCAUST, directed by Ruggero Deodato and featuring a beautiful score by Riz Ortolani. Considered the founder of the "Found Footage" subgenre, Cannibal Holocaust follows the research by some adventurous filmmakers who disappear in the Amazonian "Green Inferno" while searching for another group of explorers who'd also recently gone missing. The discovery of the missing filmmakers' footage unveils the atrocities that took place in the forest as well as the moral poverty of the protagonists from the "civil" world who become the real villains of the story.
The music of this absolute cult classic, composed by one of the greatest Italian musicians of all time—Riz Ortolani—is among his fans' favorites. Long out of print and available only in its original album presentation, the complete score is finally here, a wonderful contrast to the images for which it was composed, one of the most disquieting musical experiments ever created for scenes with such violence.
After Porno Holocaust and Zombi Holocaust, Beat Records unleashes its third Holocaust, this time Cannibal, available in the DDJ series, packaged in a jewel case with a 12-page booklet designed by Daniele De Gemini, with mastering by Claudio Fuiano and liner notes by Fabio Babini.La professoressa di lingue - Lallo Gori
ZitatBeat Records continues exploring the discography of a fine musician, Lallo Gori, pulling from the shelves the score from this movie shot in the late '70s starring the divine Femi Benussi in the guise of an English teacher giving extra summer lessons to the young boy of a wealthy family. The story will soon shed some clothing and derail onto more comedic tones.
The Romagnan musician is one of those composers (such as Maestro Kojucharov) whose music has been released almost exclusively by Beat Records, part of a group of great composers for cinema whose music we present in order to shine a spotlight on hidden corners of Italian film music.
To the collection of his wonderful scores for Westerns (Inginocchiati straniero… I cadaveri non fanno ombra, Con lui cavalca la morte, Buckaroo il winchester che non perdona), cop movies (Ritornano quelli della calibro 30, Il commissario di ferro), thrillers (A.A.A. Massaggiatrice bella presenza offresi) and comedies (002 Operazione luna, il clan dei due borsalini), we now add this diversion into the sexy comedy genre that provides the context for the divine Femi's curves, a soundtrack that begins lightly with apparently simple themes given surprising development throughout the course of the movie, becoming almost difficult to recognize by the end of the film, wide and open, a nice musical document to expand our knowledge of this great Maestro through its pleasant, one-hour listening experience.
The CD, part of the DDJ series, is packaged in jewel case with graphic layout by Alessio Iannuzzi, liner notes by Fabio Babini and mastering by Enrico De Gemini.
-
Am 7. Februar kommen zwei neue CDs von Digitmovies:
Simon Bolivar (expanded) - Carlo Savina & Aldemaro Romero
ZitatWe are pleased to release the complete edition CD of the OST by Carlo Savina and Aldemaro Romero for the historical film "Simon Bolivar." The film was presented at the XI Festival of Moscow (1969) where it won the Special Jury Prize.
SOUNDTRACK
Carlo Savina and Aldemaro Romero work together on this symphonic score dominated by the charming sounds of Latin America. The historical figure of Simon Bolivar is emphasized through heroic passages for orchestra and chorus which alternate with a romantic love theme and music for the battle scenes. C.A.M. originally released a vinyl LP (SAG 9022) with eighteen stereo selections (lasting 33:09min) which was reissued for the first time on CD (CSE 092) in 1992 in the C.A.M. Soundtrack Encyclopedia series. Thanks to the stereo master tapes from the original recording session, which were kept in excellent condition, we discovered about forty minutes of previously unreleased material such as alternative mixes and film versions.
DIRECTOR AND CAST
Directed in 1969 by Alessandro Blasetti. Starring: Maximilian Schell, Francisco Rabal, Rosanna Schiaffino, Ángel del Pozo, Luis Dávila, Tomas Enriquez, Sancho Gracia, Manuel Gil, Elisa Cegani, Manuel Otero, Julio Peña, Mirella Pamphili, Conrado San Martín, Fernando Sancho.
PLOT
At the beginning of the 1800s in Venezuela the first rebel groups start a guerrilla war against the Spanish rulers. Simon Bolivar, who the indigenous people admire, manages to unite various revolutionary groups together into an army and guide them to victory against the invaders. After the country is freed, Bolivar soon enters into opposition with the representatives of the new political class, who oppose his plan to make all of Latin America independent and united. When congress allows him to begin his arduous venture in the hopes that he will fail and his popularity will go down, Bolivar moves his army towards Peru. At the news of the Venezuelan leader's new victory, the incredulous members of congress can't help but applaud with enthusiasm.Duri a morire - Stelvio Cipriani
ZitatWe are pleased to release the complete edition OST by Stelvio Cipriani for the action film "Tough to Kill" ("Duri a morire") for the absolute first time on CD.
SOUNDTRACK
Stelvio Cipriani composed an OST where funk music, which was typical at the time, blends with Latin American sounds. The wild dance song in the opening credits (Tr.1) is reprised in a fast version (Tr.5, Tr.11), a slow version with South American rhythms (Tr.3, Tr.13) and then contrasted with sad and dramatic strings (Tr.2, Tr.17). Electronic and rhythmic suspense pieces are perfect to describe the hidden dangers waiting for the protagonists of the story (Tr.4, Tr.12, Tr.15). There is no lack of piano pieces performed by the composer (Tr.6, Tr.10), Greek folk music (Tr.7) and military themes (Tr.8, Tr.14). For this CD (total running time 42:31min), the restored stereo master tapes from the original recording session were used.
DIRECTOR AND CAST
Directed in 1979 by Joe D'Amato (aka Aristide Massaccesi). Starring Luc Merenda, Donald O'Brien, Alessandro Haber, Percy Hogan, Lorenza Rodriguez, Laurence Stark, Wolfango Soldati, Piero Vida.
PLOT
Secret agent Martin (Merenda) enlists in the mercenary forces that Major Hagerty is training on behalf of an African country. Martin's goal is to capture the highly sought-after international Sergeant Léon "dead or alive," and make the million-dollar bounty his own. Although he is the only one to know the details of Léon's delivery and the only to have the identikit, his mission is not completely secret and the Major, the Polish man and another mercenary want in on the action. The most cunning character of all is Wabu, a friendly villager who pretends to be ignorant and offers to be Martin's devoted lackey.
Hagerty receives the order to blow up a dam and takes some of the mercenaries with him. At just the right moment he separates Leon from the others, but they are pursued by enemy forces and start to get at each other's throats. The "bounty hunters" have thinned out when the Major and the seriously injured Martin finally reach their destination. They get rid of Hagerty but are then played for fools by Wabu who, finally speaking in perfect English, reveals his plan to proceed to Switzerland to get the reward.
-
Neu von Dragon's Domain Records:
Josef Mengele - The Final Account - Joe Harnell
ZitatDragon’s Domain Records, to be distributed by buysoundtrax.com, presents JOSEF MENGELE: THE FINAL ACCOUNT, featuring music composed by Joe Harnell for the 1995 documentary directed by Dan Setton, written by Ron Frank, based on the books written by Gerald Posner and John Ware about the infamous German officer and physician. During World War II, Mengele was assigned to the Auschwitz concentration camp, where he conducted torturous experiments on its prisoners, showing no consideration for the suffering of these human specimens. As a member of the team in charge of selecting persons to be sent to the gas chambers, Mengele condemned hundreds of captive Jews and other “undesirables” to their deaths, many after suffering torturous experimentation.
Once hostilities ended in 1945 and war trials were likely to take place against members of the Reich, Mengele fled to South America, lived under assumed names, and avoided capture for some thirty years. In February 1979 he suffered a stroke while swimming in the ocean and drowned. Six years later his suspected remains were unearthed and a forensic exam positively identified the bones as those of Mengele.
The score for JOSEF MENGELE: THE FINAL ACCOUNT is performed by a handful of instruments – piano and synth keyboards, an oboe and cello, mostly if not wholly created via digital samples. Much of the music was meant to be present beneath narration, so Harnell focused on rhythmic arrangements, spare melodies, and recurring and cyclical motifs that wouldn’t conflict with spoken commentary and witness accounts. This atmospheric approach also serves the film’s structure by maintaining a fairly unobtrusive sonic ambiance that is felt more than it is made perceptible. Harnell’s music was provided to the production primarily as a series of library tracks, which Dan Setton (who also served as film editor) then inserted into the film wherever he saw fit. The full tracks as recorded by Harnell are presented here in a historically chronological format, which paint a more coherent musical picture.
JOSEF MENGELE: THE FINAL ACCOUNT was among the final scores Harnell would compose. In fact, Harnell’s last five scores were all for fugitive Nazi documentaries: THE HUNT FOR ADOLF EICHMANN (1994), MENGELE: THE FINAL ACCOUNT (1995), and ANGELS OF VENGEANCE (1995) were directed by Dan Setton for his production company, Set Productions. JOSEF MENGELE: MEDICAL MADMAN OF AUSCHWITZ (1996) was produced by Greystone Communications Inc. for the A&E Network’s BIOGRAPHY television series, and ADOLF EICHMANN - THE SECRET MEMOIRS (2002), Harnell’s last film score, was produced by veteran documentarians Nissim Mossek and Alan Rosenthal for their Biblical Productions company.
Joe Harnell was born in 1924, in the Bronx. He began studying piano at the age of 6. His professional career started at age 14 as jazz pianist playing with name bands while continuing serious musical studies. In high school, he began arranging and studying orchestral instruments. He received a scholarship to the University Of Miami for piano and trombone. In 1943, he entered the Air Force, where he soon began touring with the Glenn Miller Air Force Band, serving both in the United States and Europe. While still in the service, he attended composition classes with Nadia Boulanger in Paris, then later with William Walton in London at the Trinity College Of Music. He returned to the United States and was discharged from the Air Force in 1946. During the summers of 1949 – 1951, he continued his studies in composition with Aaron Copland at Tanglewood. He also held the post of musical director with Grey Advertising in New York City for three years. Joe resumed his professional career as a pianist and arranger and began a new career as musical director for many celebrated singers. Shortly thereafter, he took on a new role as recording artist himself and, to date, recorded 18 albums – among them his Grammy winning “Fly Me To The Moon”.
From 1967 to 1973, Joe was the musical director for THE MIKE DOUGLAS SHOW. Following his success with THE MIKE DOUGLAS SHOW, Joe came to California, where he began his career as a composer of film and television music. Joe composed music for numerous television movies and series including CLIFFHANGERS, HOT PURSUIT, THE INCREDIBLE HULK, V – THE ORIGINAL MINI-SERIES and ALIEN NATION. He has been nominated for an Emmy on three separate occasions for Best Dramatic Score. In his lifetime, he composed over 400 hours of original music for television and motion pictures. His scores for THE BIONIC WOMAN and THE INCREDIBLE HULK heavily influenced the scoring of all Universal television programs in the late 1970’s. His scores used a traditional orchestral approach (influenced by his Jazz roots) using a 32 piece orchestra. He frequently conducted scores from the piano during recording sessions and he performed all the piano and keyboard solos in all of his scores. Joe remained active composing and performing until his passing on July 15th, 2005 from heart failure at the age of 80.
Dragon’s Domain Records presents the original soundtrack recording to JOSEF MENGELE: THE FINAL ACCOUNT in loving memory of the great Joe Harnell. JOSEF MENGELE: THE FINAL ACCOUNT is limited to 500 units and professionally mastered by Digital Outland, including liner notes written by author Randall Larson. Ships the week of January 28th.
For the Term of His Natural Life / The Wild Duck - Simon Walker
ZitatDragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of FOR THE TERM OF HIS NATURAL LIFE/THE WILD DUCK, featuring music composed and conducted by Simon Walker for two projects for Australian television and film.
FOR THE TERM OF HIS NATURAL LIFE aired on Australian television in 1983 as a two part series directed by Rob Stewart, starring Colin Friels, Anthony Perkins, Patrick Macnee, Diane Cilento and Samantha Eggar. FOR THE TERM OF HIS NATURAL LIFE was based on the novel by Marcus Clarke, first serialized in Australia in the late 1800s and the subject of an early feature film in 1927. The mini series tells the story of a young English gentleman (Friels) wrongfully convicted of murder and sentenced to life imprisonment at a Tasmanian penal settlement. Adopting the name “Rufus Dawes” to protect his family, he tries to survive the rigors of hard labor but gradually becomes a hardened convict. His manner is softened when he falls in love with the young daughter of an officer at the colony. When Dawes learns that his English title and inheritance have been stolen from him during his incarceration, he escapes and seeks revenge on those who wronged him.
Simon Walker was hired to score FOR THE TERM OF HIS NATURAL LIFE because the filmmakers had been impressed by the music he’d written on previous films. The result is a large scale orchestral score largely centered on Walker’s main theme, a heraldic melody favoring brass, strings, and rolling percussion and also including a rapturous love theme for Dawes and Sylvia, along with a spritely woodwind and violin motif associated with the character of Reverend Meekin (Perkins).
THE WILD DUCK was Simon Walker’s first feature film score, based on Norwegian playwright Henrik Ibsen’s tragicomedy. Directed by French-born Australian filmmaker Henri Safran and adapted and anglicized by the director along with Tutte Lemkow and John Lind with “additional material” by Peter Smalley, the film starred Jeremy Irons, Liv Ullmann, Lucinda Jones, Arthur Dignam, and Michael Pate. Set in a small industrial Australian town THE WILD DUCK concerns a couple, Harold and Gina (Irons and Ullmann), who are forced to answer for the legitimacy of their adolescent daughter Henrietta (Jones) when her true father, Gregory (Dignam), comes to town. Figuring into the drama is a wild duck that has been wounded by Gregory's father (Pate) and rescued by Henrietta; its symbolism looms over the stifling household as personalities reach a heartrending climax.
It was Walker’s score to FOR THE TERM OF HIS NATURAL LIFE that led to being hired for THE WILD DUCK. While his instincts were to score THE WILD DUCK with a very gentle small scale orchestral score, the producer and the director had other ideas and preferred a full blown symphonic score with lots of strings. His score for THE WILD DUCK is written in a warm, Romantic style like FOR THE TERM OF HIS NATURAL LIFE and includes a main theme that is thoroughly engaging, coloring the drama and reflecting the conflicts of the story.
Simon Walker was born in Sydney in 1961, and by the age of twelve he had developed a keen interest in music after tinkering with the family piano. He attended the Sydney Boys High School (1974-1980) as a selective student (for academic achievements) and was heavily involved in the music department during his years there. At the age of 17, Walker won the Australian Broadcasting Corporation’s “Young Composers Competition” with his entry “Fibres,” which was later performed in concert by the Sydney Symphony. Like many composers starting out, Walker’s first film scores were for student productions in the late 1970s. His first professional commission came in 1979, to score THE THINGS WE WANT TO KEEP, a Film Australia documentary about the richness and variety of the country’s national heritage. By the early 1980s Walker was an in-demand composer, scoring a number of notable films and TV movies, including a series of animated films based on popular literary novels for Burbank Films Australia which were shown on American television. By his untimely death at the age of 48, after a career that lasted only sixteen years, Walker had composed dozens of films and television episodes and was among the most respected of Australian film composers.
Both FOR THE TERM OF HIS NATURAL LIFE and THE WILD DUCK were released previously in the early days of the compact disc format and have been difficult to find over the years. Dragon’s Domain Records is pleased to bring these wonderful scores back into the marketplace now newly remastered by Digital Outland for new listeners to discover Simon Walker’s incredible talent and including liner notes by author Randall Larson.
-
Gern geschehen.
Die Korzysnski-CD ist zumindest historisch gar nicht mal uninteressant, da man ja mit Veröffentlichungen zu DEFA-Produktionen auch nicht gerade totgeworfen wird.
-
Zwei neue Alben vom polnischen Label GAD Records:
Andrzej Korzynski - Orwo Years: Music from the Movies by Celino Bleiweiss
ZitatIn the 70s, Andrzej Korzyński was a sought-after composer of film music. Not only in Poland, as he created equally interesting works in the German Democratic Republic. To back up this claim, take his long-lost, yet recently found, scores for four movies by Celino Bleiweiss.
These Andrzej Korzyński’s works, hitherto unknown outside of Germany, are a testimony to the unique imagination of the composer. The lyrical strings, pop-rock guitar themes, experimental synthesisers, tribal drums and early music stylistic elements? You will find it all here – performed with great gusto by musicians associated with the DEFA studios, directed by Manfred Rosenberg. The disc contains scores from TV films “Die schwarze Mühle” (1975), “Absage an Viktoria” (1977), “Ich Will Nach Hause” (1980) and “Wilhelm Meister Teatralische Sendung” (1982).
The entirety was remastered from the original tapes off the private archive of the composer’s. The booklet contains a brief outline of the artistic partnership between Korzyński and Celino Bleiweiss, as well as pictures of the film director.
Zycie Kamila Kuranta - Wojciech Gluch
ZitatThe memorable adaptation of Zbigniew Uniłowski’s prose was one of the more interesting Polish TV series of the first half of the 80s. This is one of the most important achievements in the oeuvre of Wojciech Głuch – now available in its full glory as a remaster of the original tapes.
Although he has been living in Sweden for years, where he is active as a musician, Wojciech Głuch always guaranteed high quality of every Polish project in which he participated throughout the decades. He was a composer, director and pedagogue. He worked in the Teatr Rozmaitości and STS, created soundtrack to poetic TV shows and supervised the recording of the theme tune for “Pszczółka Maja” on behalf of the Studio Opracowań Filmowych. He also composed theatre and film music – one of his crowning achievements in this field is the soundtrack to the “Życie Kamila Kuranta”. Chamber music, full of lyricism and ascetic yet convincing arrangement, enriched with several excellent themes, ideally matching the plot, which takes place at the beginning of the 20th century.
It is the first time ever that the “Życie Kamila Kuranta” has been published on disc. The material was remastered from the original tapes recorded during the studio sessions, which tapes are kept in the archives of the TVP; besides the motifs known from the series, it contains music which was not included in the final version of the show. The booklet contains a brief outline of the score and stills of the series.
-
Zitat
Our next limited edition release is the debut CD release of the soundtrack for The Other Side Of The Mountain Part 2, by multiple award winning composer Lee Holdridge. The film was the sequel to the successful 1975 box office hit, The Other Side Of The Mountain. The score features a beautiful love theme, which is heard in variations throughout the album, as well as in two songs sung by Merrily Webber (arranged by the composer). The album was transferred from analog tape from the composer’s archive. Fans have requested this score for years.
-
Und schön, dass da noch mehr aus dem Archiv von Fried kommt. One Potato, Two Potato wurde ja anscheinend schon bei FSM bestätigt.
-
Drei neue CDs von Chris' Soundtrack Corner:
Si può essere più bastardi dell'Ispettore Cliff? - Riz Ortolani
ZitatChris' Soundtrack Corner proudly presents for the first time the complete soundtrack to Massimo Dallamano's 1973 crime thriller, SI PUÒ ESSERE PIÙ BASTARDI DELL'ISPETTORE CLIFF? (which loosely translates as Can Anyone be More [of a] Bastard than Inspector Cliff?), also known by its American release title, MAFIA JUNCTION). The film features a powerful, jazz-based score composed by internationally-popular Italian film composer Riz Ortolani (1926-2014).
Ortolani may be best known internationally for his easy-listening and lounge-pop soundtracks whose gently lyrical scores were as popular in Europe as well as the USA, but in fact he was an articulate and versatile composer whose career since 1961 and its 225+ film scores spanned every genre. His provocative scores for poliziottesco (Italian police thriller) films were authentically drawn from big band and modern jazz traditions, and MAFIA JUNCTION is a thoroughly credible and entertaining score that catches all the right elements of the genre.
Serbian-born actor Ivan Rassimov plays American Narcotics officer Cliff Hoyst, who we soon learn is anything but an honest cop. Unlike most poliziottesco's tough, above-the-law but morally upright cops, Cliff plays two sides against a third, intending to walk away a rich man when it's all over. He's supposedly gone undercover as an enforcer for a drug smuggling crime boss but his inclination to follow his own agenda readily answers the question posed in the film's wordy Italian title: "Non c'è modo!" ["No way!"].
Riz Ortolani's score saturates MAFIA JUNCTION with a persuasive, propulsive, and totally absorbing pop/jazz score that both defined the genre as well as the flashy, charismatic, self-confident character of Inspector Cliff. There is one primary theme that runs throughout the score, two minor themes that appear in association with subordinate characters or situations, and four standalone tracks associated with individual sequences but are not repeated.
This CD is the first release of Riz Ortolani's MAFIA JUNCTION score in its entirety. Only two tracks have been issued previously and as a bonus track we've also included Ortolani's full-length instrumental arrangement of the famously unattributed "Romance Anónimo" (Anonymous Romance), which is heard briefly in the film. The album is produced by Christian Riedrich and remastered by Stefan Betke. The CD is accompanied by a 12-page illustrated booklet designed by Aletta Heinsohn featuring detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson, who deconstructs the score's elements in detail.Scorticateli vivi - Stelvio Cipriani
Zitat1978's Scorticateli vivi is a cynical mercenary exploiter that was the last of four films Stelvio Cipriani scored for director Mario Siciliano. The film is best known in the US under the rather grotesquely alluring title Skin 'Em Alive, even though no one actually gets skinned alive in the movie; it is also known under its 1980 Philippines English language release title, Wild Geese Attack, in an attempt to suggest to theatergoers that it was a direct sequel to the 1978 Andrew V. McLaglen film The Wild Geese. While Scorticateli vivi was indeed inspired by the success of the McLaglen film, it's in no way narratively connected even though both pictures have to do with mercenaries operating in Africa.
Scorticateli vivi is situated about the midway between the popularity and the waning of what has become known as Euro War films – this subgenre of European movies emerged in the early-1960s and petered out by the end of the '80s. Most of them were co-productions shared between two or three European studios, with Italy carrying the lion's share.
Stelvio Cipriani's score ranges from vibes, traditional jazz, and bongo-driven percussion runs to rock beats, poignant electric guitar soloing, and driving bass. The music frequently shifts gears and changes palettes as if the composer is trying to keep up with, or make sense out of, the film's abrupt changes in tone. Several tracks that were written for Scorticateli vivi wound up being excised from the film and replaced with music Cipriani had written for earlier films, adding to the seeming disarray of musical material. But it's to Cipriani's credit that the score nevertheless works; there's a cohesiveness to it created by recurring bass rhythms and riffs and the confluence of harmonic jazz/pop sensibilities that allows the score to do what it needs to do in spite of the unbalanced pace with which the story is advanced. With his upbeat tempos and catchy tunes there's a commonality of purpose in the music that enables Cipriani to impart to the film a coherent musical soul that effectively drives its breakneck velocity.
While the film may be forgettable (and that's been the consensus of most critics and online reviewers), Stelvio Cipriani's score remains quite a treasure. Its variety of musical styles and their engaging interaction as the story plays out is both effective and likeable. Only six of the tracks have been released before and only two of those commercially - the other tracks on this album from Chris' Soundtrack Corner are all previously unreleased. Many of Cipriani's score tracks were edited and shortened within the film, which makes presenting them at their full length on this world premiere release of the Scorticateli vivi score on CD especially gratifyingBuitres sobrela ciudad - Stelvio Cipriani
ZitatAvvoltoi sulla città – known in Spain and Latin America as Buitres sobre la ciudad, and translated from the Italian as Vultures Over The City – is a kinetic 1981 crime thriller film starring Maurizio Merli as a journalist investigating local Mafia activities. When he gets too close to the gangsters responsible for a local assassination, he winds up paying a terrible price – but revenge will be his by the time the last bloody corpse crumples onto the ground.
This Spanish-Italian-Mexican co-production was filmed in Spain and directed by Gianni Siragusa, an Italian filmmaker known for rough and rugged action films, beginning with the 1976 Antonio Sabato euro-crime heist thriller (4 minuti per 4 miliardi/4 Billion In 4 Minutes); Avvoltoi sulla città was his second film; it was followed by the captive women exploiter Hell Behind Bars and its sequel, Hell Penitentiary (both 1984). Italian tough guy star Maurizio Merli plays journalist Mark; he was launched into stardom in the 1970s because he resembled star Franco Nero, which led to his becoming one of the poliziotteschi genre's most prominent actors, starring in almost a dozen of the distinctive Italian crime thrillers. Avvoltoi sulla città also features Mexican horror star Hugo Stiglitz as Spencieri's photographer, Lilli Carati as his girlfriend Isela, and American star Mel Ferrer in a small role as the local police commander.
Since he left the world of jazz, where he first found professional success, and became a film composer in 1967, Stelvio Cipriani has adroitly navigated the stylistic idiosyncrasies of the Western, the horror thriller, the war film, the romantic drama, and the police thriller through each genre's distinct Italian interpretation. With Avvoltoi sulla città arriving quite late in poliziotteschi's prime (it would, in fact, be the composer's last film in the genre), Cipriani provided a thoroughly supportive score for Siragusa which bolsters the film's wild action and lends an assertive tonality to hero and villains alike. Cipriani's adeptness in arranging motifs is well evident in his score for Avvoltoi sulla città. The score is grounded in four recurrent themes, three of which are closely related in tone and style, and each is given a wide range of variations suited for different settings and situations, along with a handful of standalone cues for specific sequences unrelated to the developing thematic material.
Chris' Soundtrack Corner is pleased to present Stelvio Cipriani's complete score to AVVOLTOI SULLA CITTA' here on a soundtrack album for the first time. The music is presented in its original film sequence, with one or two exceptions which were made for optimum listening pleasure.
Grosses Bild anzeigen
-
Super Veröffentlichung!!
-
Bereits vor zwei Wochen hat das Klassiklabel Ondine eine vollständige Einspielung von Armas Järnefelts Musik für den von Mauritz Stiller inszenierten Stummfilm Song of the Scarlet Flower aus dem Jahr 1919 veröffentlicht. Die einzige Filmmusik Järnefelts zählt zu den frühesten überlieferten Originalscores aus den Nordischen Ländern.
-
Hatte mich auch gewundert, dass der damals nicht von Prometheus gekommen ist, und den Umstand immer auf fehlende Tapes geschoben. Allerdings darf man auch nicht vergessen, dass der Film im Ausland wohl nicht ganz das Standing wie in Germanien. Jedenfalls einer der besseren Scores des doch oft eher biederen Ferguson.
-
Zitat
In collaboration with Yad Music, Music Box Records presents the remastered and expanded edition of Gabriel Yared’s score to the 1983 drama film The Moon in the Gutter (La Lune dans le caniveau), starring Gérard Depardieu, Nastassja Kinski, Victoria Abril and Vittorio Mezzogiorno, and directed by Jean-Jacques Beineix (Diva, Betty Blue).
The Moon in the Gutter is Jean-Jacques Beineix’s second feature film, after Diva (1980), a work that paved the way for a new aesthetic movement in French cinema. Shot in the Cinecittà studios, this extremely ambitious film, adapted from David Goodis’ eponymous novel, tells the story of a docker who wants to find the man who raped his sister, an assault that caused her to commit suicide.
For the score, Gabriel Yared mixes artfully languages (acoustic and electronic sounds) as well as genres coming from various periods and countries (a flamboyant fugue, a strange and heart-breaking Argentinean tango, a neo-romantic waltz, exotic textures, experimental pieces with a larger ensemble of strings). Gabriel Yared provides blending melodies that speak directly to the heart with more atmospheric themes/orchestrations, at the frontier of the “ambient” genre.
The Moon in the Gutter was issued on various LP and CD editions with 34 minutes of music organized into 11 tracks. In 2005, Cinéfonia label released an expanded edition of his score with 44 minutes of music. This current 2 CD edition has been fully restored and remastered by Christophe Hénault from the recording session tapes and adds about 40 minutes of brand new material featuring pre-production demos, film version cues and additional source cues. The sound has been also greatly improved. The 12-page booklet by Gabriel Yared gives insight into the scoring process. This is a limited edition of 500 units.
-
Zitat
A 2-CD set.
Remastered edition supervised by Claudio Fuiano.
12-page CD booklet with liner notes by Nicolas Magenham.In collaboration with Gruppo Sugar and EMI Music Publishing France, Music Box Records is pleased to present, for the first time on a 2-CD set, the French release of the three original motion picture soundtracks of the iconic trilogy La Cage aux folles (Il vizietto, Il vizietto II and Matrimonio con vizietto) composed, orchestrated and conducted by Ennio Morricone.
La Cage aux folles (Birds Of A Feather) is a 1978 Franco-Italian comedy film based on a 1973 play by French actor Jean Poiret. It is co-written and directed by Édouard Molinaro (Oscar, L'Homme pressé) and stars Ugo Tognazzi and Michel Serrault. The film was followed by two sequels: La Cage aux Folles 2 also directed by Molinaro, and La Cage aux folles 3: The Wedding (1985), directed by Georges Lautner. (Mort d'un pourri, Le Professionel).
Between emotion and light-heartedness, austerity and glitter, seriousness and irony, Ennio Morricone’s music for the three Cage aux folles is one of his most sympathetic works. This diversity is precisely what makes these scores so powerful and enables them to add their own layer of craziness to the films.
Supervised by Claudio Fuiano and newly restored by Christophe Hénault, this present edition features the three previously released programs approved by Ennio Morricone. The 12-page booklet features an essay by Nicolas Magenham discussing the films and the scores. The release is limited to 500 units.
-
Zwar größtenteils in mono, aber wenn man an die Schreckensmeldungen aus dem Columbia-Archiv denkt, ist es doch verblüffend, dass man dort überhaupt noch verwendbares Material aufgetrieben hat.
-
Allerdings muss ich die vorwarnen: Von beiden Scores existieren wohl keine vollständigen Master Tapes mehr, die fehlenden Tracks stammen von der Tonspur der Filme. Scheinen aber nicht all zu viele Stücke betroffen zu sein.
-
Im Januar kommt von The Omega Productions Records ein Album mit Philippe D'Arams Scores für die Jean-Rollin-Filme La fiancée de Dracula und La morte vivante.
-
Von Silva Screen Records kommt am 14.12. ein Album mit Roger Limbs Musik für die Fantasyserie The Box of Delights aus dem Jahr 1984.
-
Digitmovies am 10.12.
-
Ende dieser Woche bringt Early Dawn Records die CD-Premiere des Album-Programms von Georges Garvarentz' Score für den Thriller Un beau monstre mit Helmut Berger, Virna Lisi und Charles Aznavour in den Hauptrollen.
ZitatGreek born composer and conductor George Garaventz really complies with any expectations on his 1970 album for the French movie ,Un beau monstre" (A beautiful monster).
This is a rather atmospheric and moody effort and except for the opening tunes of both sides this is entirely instrumental despite a few wordless female choirs adding an even deeper atmosphere to the compositions.
The luscious arrangements and insistent melodies truly drag one into a colourful world of their own.
Pop, psychedelic with elements of Indian raga, chanson and orchestral music melt into another.
Sound and performance are of the highest order. Dreamy, dramatic and acid drenched sections follow each other in a rather short distance.
-
Am 3.11.2018 um 21:15 schrieb Stefan Schlegel:
Ja, die Infos gibt es. Die Komponistenwahl geht eindeutig auf Kirk Douglas zurück, der nach Abschluß der Dreharbeiten in München (überwiegend war in den Münchner Bavaria-Ateliers gedreht worden!) Nascimbene dorthin einlud und ihm nach dem Gespräch dann auch den Vertrag nach Rom zuschickte. Ausschlaggebend für die Wahl dürfte sicherlich Nascimbenes bereits 1956 entstandene archaische Musik für den Monumentalfilm ALEXANDER THE GREAT von Robert Rossen gewesen sein, die damals schon einen gehörigen Eindruck auch in den USA hinterließ..
THE VIKINGS wurde ohnehin ja von Douglas´ 1955 gegründeter eigener Firma Bryna Productions produziert, insofern war er hier der maßgebend Verantwortliche in fast allen Belangen.Maurice Jarre hat übrigens drei Scores für Richard Fleischer-Filme komponiert - nicht nur CRACK IN THE WORLD stammt von ihm, sondern auch noch MANDINGO und THE PRINCE AND THE PAUPER. Auch Morricone hat als weiterer europäischer Filmkomponist mit RED SONJA eine Musik für einen Fleischer-Film an 1985 beigesteuert.
Jarre hat sogar vier Filme für Fleischer vertont. 1961 schrieb er auch die Musik zu Fleischers Afrika-Abenteuer "The Big Gamble".
-
Im Film funktioniert das allemal, aber ansonsten hat der Score den zahlreichen 80s-Elektro-Hommagen der letzten Jahre nichts hinzuzufügen. Habe den Film am Freitag bei einer einmaligen Aufführung im hiesigen Kino gesehen und war durchaus angetan.
-
1
-
-
Neben der bereits in einem Extra-Thread vorgestellten neuen Donaggio-CD haben Quartet Records am letzten Freitag auch noch zwei verlängerte Neuauflagen veröffentlicht:
Ultime grida dalla savana - Carlo Savina
ZitatQuartet Records and Gruppo Sugar presents an expanded and remastered CD of memorable mondo mayhem with music by Carlo Savina (L’assassino ha riservato nove poltrone, The Legend of Blood Castle, Simon Bolivar, L’ira di Achille)
Directed by original Mondo Cane cinematographer Antonio Climati in 1974 (together with editor Mario Morra), Ultime grida dalla savana was the cornerstone of the second mondo wave as it discusses the story of hunting from many different aspects, including the notorious Pit Dernitz lion mauling sequence.
Carlo Savina score follows mondo traditions by juxtaposing shocking visuals with great exotica and pop tunes. Besides the percussion-heavy segments for the raw hunting sequences, Savina also provides some lyricism with English language songs co-written with lyricist Gilbert Kapland: "My Love" is sung by Ann Colling during a political rally, while Kapland sings "Leave the Rest to Me" and "For You and Me."
A 40-minute LP of the soundtrack was released on CAM in 1974 and reissued later in CD by the same company (paired with the sequel Savana Violenta). For this premiere complete edition, we have included the remastered album program, and also another 40 minutes of previously unreleased tracks. Produced by Claudio Fuiano, the richly illustrated booklet includes liner notes by Gergely Hubai discussing the film, the composers and the score.
Savana violenta - Guido & Maurizio de Angelis
ZitatQuartet Records and Gruppo Sugar presents an expanded and remastered CD of memorable mondo mayhem with music by Guido and Maurizio de Angelis (Zorro, Orzowei, Sandokan, Killer Fish, Continuavano a chiamarlo Trinitá)
Based on originally shot material and outtakes from the Ultime Grida Dalla Savana, the follow-up entitled Savana Violenta (1976) is a more light-hearted and less-focused mondo film that discusses even more facets of the relationship between humans and animals - with a few shocking examples thrown in for good measure.
Popular brothers Guido and Maurizio de Angelis follows mondo traditions by juxtaposing shocking visuals with innocent-sounding tunes. Their most memorable contribution is “Let's Sing a Song”, an innocent children’s tune with lyricist Susan Duncan Smith providing a kindergarten's worth of fun. Brazilian percussionist / crossover artist Mandrake is giving credited contributions to the core.
A 40-minute LP of the soundtrack was released on CAM in 1976 and reissued later in CD by the same company (paired with the predecessor Ultime grida della Savana). For this premiere complete edition, we have included the remastered album program, and also another 37 minutes of previously unreleased tracks. Produced by Claudio Fuiano, the richly illustrated booklet includes liner notes by Gergely Hubai discussing the film, the composers and the score.
-
Von Beat Records / Penta Music kommen noch diese Woche
Expanded
2 CDs mit der Live-Aufnahme von Frizzis Austin-Konzert.
Re-Issue ohne bisher unveröffentlichte Stücke.
-
Neu von Digitmovies:
La notte brava - Piero Piccioni
ZitatFor the absolute first time on complete edition CD, we are releasing the OST by Piero Piccioni for the drama "The Big Night" (aka "Bad Girls Don't Cry," original title "La Notte Brava").
SOUNDTRACK
Piero Piccioni (Turin, December 6, 1921 - Rome, July 23, 2004) wrote and directed this score where jazz and blues create the right atmosphere for the young protagonists of the story. Originally, not a single note was released from this prestigious soundtrack. Our CD, lasting a total of 70:27 minutes, was possible thanks to the mono master tapes from the original recording session.
Maestro Piccioni composed a recurring main score which is introduced in the opening credits (Tr.1) and reprised in different versions: slow for bassoons (Tr.4), with horns (Tr.5), a fast swing (Tr.17) and with the addition of female voices (Tr.21). Piero Piccioni alternates this with numerous dance melodies like the mambo (Tr.2, Tr.12, Tr.26), rock'n'roll (Tr.3), swing (Tr.7), tango (Tr.20, Tr. 25) and the song with a female voice, "Hello you," (Tr.9, Tr.24) which is reprised in an instrumental version (Tr.18, Tr.29). The inner side of the main characters is emphasized by very evocative passages like in Tr.14, Tr.15, Tr.19. This album is another masterpiece by Piero Piccioni which has finally been recovered and preserved on CD forever.
DIRECTOR AND CAST
Directed in 1959 by Mauro Bolognini. Starring: Jean-Claude Brialy, Anna Maria Ferrero, Franco Interlenghi, Laurent Terzieff, Rosanna Schiaffino, Tomas Milian, Mylène Demongeot, Antonella Lualdi, Elsa Martinelli, Mimmo Poli, Marcella Valeri, Maurizio Conti, Sergio Palmisano, Franco Balducci, Mario Meniconi, Cristiano Miniello, Isarco Ravaioli.
PLOT
Scintillone (Brialy) and Ruggeretto (Terzieff) are two Roman working class men who are unemployed. After committing a robbery, they try to sell the stolen goods with the help of some other guys: Gino, nicknamed Bella-Bella (Interlenghi), and Supplizia (Lualdi) and Anna (Martinelli)- two prostitutes. After pocketing the money, the men entertain themselves with the women and then try to cheat them out of their money and leave them in the middle of nowhere. Once the three guys are back in town, they realize that the women had actually robbed them of all their money. After trying in vain to track them down again, they attempt to steal a camera out of a luxury car, which fails when the owner of the car arrives with his two friends. They end up in a fight, but then everyone makes peace and goes to the luxurious apartment of Achilles (Milian), the rich owner of the car. Bella-Bella goes around Achilles' apartment and then steals 200,000 lira and runs away with his two friends. Deciding how to divide up the money causes another fight and the money ends up with Scintillone, who takes Rossana (Schiaffino) to a night club. Ruggeretto has started looking for the two and arrives just in time to see his friend get arrested and taken away by the police. Ruggeretto and Rossana spend all of the money stolen from Achille's house. After taking Rossana back at dawn, Ruggeretto returns home and finds the last of the money while fumbling in his pockets. Disgusted, he throws it away.Là dove non battle il sole / Un animale chiamato uomo - Carlo Savina
ZitatWe are pleased to release the OST by Carlo Savina for the Spaghetti Westerns "The Stranger and the Gunfighter" (original title: "Là dove non batte il sole")and "An Animal Called Man" (original title: "Un animale chiamato uomo")for the absolute first time on CD, in complete edition.
THE STRANGER AND THE GUNFIGHTER
SOUNDTRACK
Carlo Savina wrote an enjoyable OST lasting 40:08 minutes, dominated by three main themes. One is a vibrant orchestral motif in Western-style beat for the character of Dakota, the mature gunslinger played by Lee Van Cleef. It is introduced in the opening credits (Tr.1) and reprised in Tr.10, Tr.13, Tr.21. The second is an oriental style theme for the character of young Wong-Kiang (Lo) with sounds which are sometimes dramatic and heroic (Tr.2, Tr.6, Tr.7, Tr.8, Tr.15). And finally a pleasant love theme for Wong-Kiang and the beautiful Lia-Kua, where the wonderful voice of Edda Dell'Orso (Tr.9, Tr.12) chimes in. There is also no shortage of lounge music like a pop bossa (Tr.3), action music (Tr.19) and the guaranteed saloon pieces (Tr.11, Tr.18). For this recovery and preservation, the stereo master tapes from the original recording session were used.
DIRECTOR AND CAST
Directed in 1974 by Antonio Margheriti. Starring Lee Van Cleef, Leih Lo, Patty Shepard, Femi Benussi, Karen Yeh, Julián Ugarte, Erika Blanc, Goyo Peralta, Al Tung, Barta Barry, Alfredo Boreman, Paul Costello, Manuel de Blas, Anita Farra, Ricardo Palacios, Georges Rigaud, Lionel Stander.
PLOT
Wong, a wealthy Chinese banker living in California, gets killed by a thief (Dakota) who is trying to rob him. But in Wong's safe Dakota only finds a thousand dollars and pictures of four women. Meanwhile, a rich warlord who lives in China takes the Wong family hostage and threatens to kill them unless they give back all the money he had entrusted to Wong in hopes of getting rich in America. So Wong's nephew, Wong-Kiang, who is an expert wrestler, leaves for California to find his uncle's fortune. He teams up with Dakota to follow the clues to the fortune which are tattooed on the 4 women from the pictures. Eventually they manage to track down the women, the last of which is a Chinese girl named Lia-Kua (Yeh). Once Wong-Kiang is back in China, he finds the treasure inside a statue that his uncle had sent to China. After he returns the fortune to the warlord, his family is released and Wong-Kiang marries Lia-Kua.
AN ANIMAL CALLED MAN
SOUNDTRACK
Carlo Savina wrote an upbeat OST lasting 24:29 minutes, where an amusing and light hearted motif comes through. It is introduced in the opening credits (Tr.22), and is then reprised slower and faster (Tr.23), and as a shake with organ (Tr.27). It is alternated with a romantic love theme with the voice of Nora Orlandi (Tr.25) as well as with saloon pieces (Tr.24, Tr.28, Tr.30). For this recovery and preservation, the stereo master tapes from the original recording session were used.
DIRECTOR AND CAST
Directed in 1972 by Roberto Mauri. Starring Vassili Karis, Gilberto Galimberti, Craig Hill, Carla Mancini, Paolo Magalotti, Gillian Bray, Omero Capanna, Sergio Serafini.
PLOT
Linguaveloce (fast tongue), named for his ability to throw punches even though he has a speech impediment, and Bill Manolesta come to Silver City, which is under the control of Mark Foster and his gang of money extortionists. Manolesta gets in a shooting contest against Foster and wins five hundred dollars and a beautiful girl, Yvette ("First Prize"), who had come from Paris with a hint of hope and a degree in medicine. Manolesta and Linguaveloce come up with a plan to contend with Foster by pretending to be his collectors. Linguaveloce has some doubts about the plan, but Manolesta convinces him to let him do it because he says he'll give back the ill-gotten gains. A series of fights with Foster and his gang follows, along with ambushes, brawls and some casualties. Foster is assassinated by his lieutenant and the two heroes kill off the rest of the gang, then give in to the wishes of the townsfolk who reward them but beg them to leave forever, fearing that they will turn from liberators into tyrants. Yvette goes with them.
- DigitmoviesLe aventure di Pinocchio (3 CDs, Re-Issue) - Fiorenzo Carpi
ZitatWe rerelease, on a triple CD set, the complete OST and in full stereo by Fiorenzo Carpi for the TV drama, directed in 1972 by Luigi Comencini "Le avventure di Pinocchio" (aka "The Adventures of Pinocchio").
CAST & CREW
Based on the International novel by Carlo Collodi. The first episode of the six was transmitted by Italian TV on April 8, 1972. In addition to Comencini and Carpi, other great names are linked to this fabulous television program (produced by San Paulo Film, Cinepat, Rai TV, Bavaria Film, ORTF of Munich): Suso Cecchi D'Amico for the screenplay, Armando Nannuzzi for photography, Nino Baragli for editing, Massimo Patrizi for scenery, Piero Gherardi for costumes. This was the famous drama starring Nino Manfredi, Andrea Balestri, Gina Lollobrigida, Ciccio Ingrassia, Franco Franchi, Orazio Orlando, Lionel Stander, Ugo D'Alessio, Vittorio De Sica, Mario Adorf, Enzo Cannavale, Domenico Santoro, Carlo Bagno, Zoe Incrocci, Vera Drudi, Mario Scaccia, Jacques Herlin, Siria Betti, Nerina Montagnani, Luigi Leoni, Mimmo Olivieri, Pietro Entili, Mario Colombaioni, Riccardo Billi, Clara Colosimo.
PLOT
The carpenter Geppetto (Manfredi) makes a wooden puppet, which he names Pinocchio (Balestri). The Blue Fairy (Lollobrigida), his patron, immediately turns him into a real boy, asking him to promise her that he will be a "good boy", obedient and scholarly, a prop for his parents' old age. As the boy, has kept the lively and rebellious character of the puppet, and he gets up to all sorts of trouble, the Fairy turns him back into wood to punish him. The transformations will happen several times, and once, Pinocchio will even become a donkey. The story ends before the end of the book, that is when Geppetto and Pinocchio come out of the belly of the whale: almost a return to life, a final touch with reality.
SOUNDTRACK
At the time the C.A.M. issued a 33 rpm (SAG 9038) containing eighteen tracks (38:07 minutes duration) and a 45 rpm single with two tracks (AMP 26). The album material was re-released in France on an LP (EMI Pathé 2C 064-13044) and on another vinyl with music and dialogues narrated by Genevieve Casile (Ades - Le Petit Ménestrel ALB 367). C.A.M. reissued on CD for the first time ever, the content of the vintage 33 rpm in 1991, in its series CAM'S SOUNDTRACK ENCYCLOPEDIA and in 2005 with a brand new music suite of minutes 8:31. For the production of our triple box set (total time 200:04 minutes) we were able to access the master tapes in full stereo of the Recording Session of the time which allowed us to use every note recorded in 1972, under the direction of the fabulous' orchestra conductor Bruno Nicolai (who had also handled the arrangements). An open sea of ​​music... we almost felt like the puppet Pinocchio who desperately swims in front of the monstrous jaws of the whale; experience of recovery, edit, sequence, and restoration really tiring and unprecedented for the rest of us, which led finally to the realization of our ambitious project.
CD 1 (minutes 68:54) contains the material of the historic 33 rpm, followed by TV versions and alternate takes, CD 2 (minutes 62:54) continues with many other TV versions and alternate takes, the CD 3 (minutes 69:16) contains TV versions, alternate takes, and test versions sung by Andrea and Nino Manfredi Balestri with the orchestra of the brothers De Angelis (published on 45 rpm It ZT 7031). The magnitude of Fiorenzo Carpi and Bruno Nicolai is highlighted by the impressive number of different arrangements of the main themes (the most attentive audiophiles will notice even the presence of certain sonic atmospheres typical of Nicolai for the Italian Thriller!) That lead the listener into the magical world of Pinocchio, thanks to a popular flavour of music, strong in its extreme simplicity. An absolute masterpiece that wants to pay homage to Nino Manfredi in one of his most intense performances, the director Luigi Comencini and of course the musical art of Fiorenzo Carpi and Bruno Nicolai Good, long listen to you all!
.jpg.d45a6d9ddf8fe0294f966e241bf8977c.jpg)
Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen
in Scores & Veröffentlichungen
Geschrieben
Neu von Rosetta Records
El lado oscuro del corazón - Osvaldo Montes