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Von Waxwork Records kommt eine Neuauflage von John Massaris Killer Klowns from Outer Space auf CD und als Doppel-LP.
ZitatKILLER KLOWNS FROM OUTER SPACE have finally landed at Waxwork Records! After much anticipation, we are thrilled to present the official 1988 Original Motion Picture Soundtrack by John Massari for the very first time on vinyl! Would you believe someone if they told you a circus tent-shaped spaceship landed in your small town and was abducting your neighbors to store them in cotton candy cocoons? In this '80's cult classic, teens Mike Tobacco (Grant Cramer) and Debbie Stone (Suzanne Snyder) have to fight both the diabolical bozos and the local law enforcement's disbelief to save themselves and their community!
The original score to Killer Klowns From Outer Space is kicked off by the classic 80’s horror movie theme track, Killer Klowns (From Outer Space) by California punk band, The Dickies. The ‘nightmare merry-go-round’ continues with a smattering of menacing electronic brass sections, electric guitar, bombastic drum machine beats, & harpsichord combined with sci-fi synth elements to capture the ultra-specific origins of the antagonists. Massari's score to Klowns is a retro-synth joyride from start to finish featuring immediately recognizable cues from the beloved 80's cult-classic!
Waxwork Records is thrilled to present the official Killer Klowns From Outer Space on CD with artwork by Ruiz Burgos and liner notes by John Massari and Stephen Chiodo.
KILLER KLOWNS FROM OUTER SPACE Original Motion Picture Soundtrack Features:
The Complete 1988 Film Score by John Massari
Available on CD
Exclusive Liner Notes by Composer John Massari
Exclusive Liner Notes by Killer Klowns Co-Creator Stephen Chiodo
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Klaatu Records veröffentlichen Anfang Oktober mit Paul Zazas Hello Mary Lou: Prom Night II (1987) ihre zweite CD.
ZitatShe’s dying to get even!
Klaatu Records proudly presents the world premiere release to the score for the cult-classic horror film sequel, HELLO MARY LOU: PROM NIGHT II by composer Paul Zaza (Prom Night franchise, My Bloody Valentine, A Christmas Story).
HELLO MARY LOU: PROM NIGHT II is the 1987 horror film directed by Bruce Pittman. Thirty years after her accidental death at her 1957 senior prom, the tortured spirit of prom queen Mary Lou Maloney returns to seek revenge.
Most of Paul Zaza’s original score he wrote for the film was heavily edited and chopped up in the final film. For this release, Paul personally selected and edited the tracks to create a more listenable experience. The audio was mastered by Collin Jordan with artwork direction by Luis Miguel Rojas. Album was produced by Logan Johns and Ryan Graveface.
Pre-Order is now available and will start shipping the first week of October.
Limited Edition release of 200 units.
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Nicht übel, aber schon irgendwie deprimierend, dass davon anscheinend bis jetzt noch immer keine CD angekündigt wurde.
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Dragon's Domain im August: Craig Safans Over Her Dead Body aka Enid Is Sleeping (1990), 'The Peter Bernstein Collection Vol. 2' mit den TV-Scores Kicks (1985) und She Stood Alone - The Tailhook Scandal (1995) sowie Richard Bands Initiation: Silent Night, Bloody Night 4 (1990).
ZitatDragon’s Domain Records presents the world premiere release of the soundtrack for OVER HER DEAD BODY, featuring music composed by Craig Safan (THE LAST STARFIGHTER, REMO WILLIAMS: THE ADVENTURE BEGINS, THE LEGEND OF BILLIE JEAN), written and directed by Maurice Phillips, A.J. Tipping and James Whaley, starring Elizabeth Perkins, Judge Reinhold, Jeffrey Jones, Maureen Mueller, Rhea Perlman, Henry Jones, Michael J. Pollard and Brion James.
Released in 1990, OVER HER DEAD BODY, also known as ENID IS SLEEPING, revolves around two sisters named Enid (Mueller) and June (Perkins). Enid is shackled to Harry (Reinhold) in an unloving marriage and returns home one day to find her husband in bed with her June. In a fit of violent rage, Enid whips out Harry’s pistol preparing to fire when June smashes a vase over her head, apparently killing her stone dead. In a state of guilt-stricken panic, the pair conspire to make it look like Enid’s death was an unfortunate accident. Like WEEKEND AT BERNIES, hijinks ensue when Harry’s partner Floyd (Jones) unwittingly becomes involved.
The wonderfully off-kilter and eclectic music for OVER HER DEAD BODY was composed by Craig Safan, known for composing quirky and unique scores, often with unpredictable combinations of instruments that defy expectations and barricade conventions. The score was recorded at The Village Recorder in Los Angeles with Joel Moss engineering the sessions.
Emmy-nominated and eight-time ASCAP award-winning composer Craig Safan has scored more than one hundred feature films, television and documentaries, has had more than 50 soundtrack albums of his music produced, as well as having three original albums of his own impressionistic music released. He’s been commissioned to compose for ballet as well as for live performance of silent films and was given the Poledouris Film Music Legend Award at the 2014 International Film Music Festival in Cordoba, Spain.
Dragon’s Domain Records presents the premiere release of OVER HER DEAD BODY on compact disc, featuring Craig Safan’s music mastered by James Nelson of Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite and includes comments from the composer.
OVER HER DEAD BODY is a limited edition release of 500 units. The first 50 copies sold will be autographed by composer Craig Safan.
ZitatDragon’s Domain Records presents THE PETER BERNSTEIN COLLECTION, VOLUME 2 , featuring music composed by Peter Bernstein for two projects from his filmography, KICKS and SHE STOOD ALONE: THE TAILHOOK SCANDAL.
Released in 1985, KICKS was a television movie produced by ABC Circle Films, directed by William Wiard, written by David Levinson and starring Anthony Geary, Shelley Hack, Tom Mason, Ian Abercrombie, Susan Rutan and James Avery. KICKS tell s the story of Martin (Geary), a wealth man living life on the edge by engaging in dangerous life-threatening activities. Martin becomes involved with Maggie (Hack), a university professor who has the same proclivities. Martin and Maggie start playing games to feed their dangerous addictions, games with ever escalating stakes. During one of these games, a staged robbery, a guard is killed, shaking Maggie back to a frightening reality. When she tries to confess the crime, Martin turns on her and begins to hunt her. If she wants to survive, she’s going to have to rely on her wits.
KICKS was Bernstein’s ninth film and third TV movie score, following 1984’s THE EWOK ADVENTURE and preceding MY SCIENCE PROJECT and EWOKS: THE BATTLE OF ENDOR and others later in 1985. The score for KICKS is a blending of small orchestra and electronic elements. This score was recorded at Evergreen Studios in Burbank. Bernstein also produced an arrangement of the Paul Revere and the Raiders’ song “Kicks,” from which the film takes its name.
Airing on television in 1995, SHE STOOD ALONE: THE TAILHOOK SCANDAL was directed by Larry Shaw, written by Suzette Couture and starring Gail O’Grady, Bess Armstrong, Cameron Bancroft, Matt Clark, Hal Holbrook, James Marshall, Robert Urich and Rip Torn. SHE STOOD ALONE tells the story of Lt. Paula Coughlin (O’Grady) when she was assigned as an Admiral’s assistant at Tailhook, an annual US Navy convention held in Las Vegas. Attended predominantly by male officers who frequently get out of control like they are on leave, Coughlin is subjected to ‘The Gauntlet’, where she is man-handled and harassed relentlessly by these male officers. Refusing to be a silent victim, Coughlin fights for her rights and to bring her attackers to justice.
Bernstein was brought into this project through producer William Greenblatt, who he had worked with previously on NIGHTBREAKER and would work with again on TARGET EARTH. Bernstein’s score is very eloquent in its treatment, which featured a live group of musicians. The score is built around a noble main theme for brass, associated with Paula’s dedication to the Navy. In addition to the main theme for solo trumpet or French horn, several cues for marching snare and bass drums convey additional militaristic elements. The TAILHOOK score was recorded in Salt Lake City with a small orchestra, overdubbed in a few places by synths.
The son of Academy Award winning film composer Elmer Bernstein (THE MAN WITH THE GOLDEN ARM, THE TEN COMMANDMENTS, THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD, GHOSTBUSTERS), Peter Bernstein grew up around recording stages, watching his father work and absorbing as much as he could. His musical education began with piano lessons. He eventually decided he wanted to be a bass player and studied bass with Carol Kaye, a member of the legendary ‘Wrecking Crew’ group of LA studio musicians. Around the same time, Peter was also studying with pioneering electronic music composer Morton Subotnick. He began his professional career as a rock n’ roll bass player at age 14 and worked in the record business as a touring bass player, band member, session player, arranger and record producer for the next 20 years. As time passed it became clear that there was going to be more opportunity for him as a composer and Peter began by working for other composers as an orchestrator and arranger. He orchestrated all or part of almost all of his father’s scores from 1974-1986, while still working in the rock n roll record business. Orchestration credits from the era include ANIMAL HOUSE, TRADING PLACES and GHOSTBUSTERS, as well as the scored portions of Michael Jackson’s THRILLER video. His credits as composer include HOT DOG… THE MOVIE, BOLERO, THE EWOK ADVENTURE, MY SCIENCE PROJECT, EWOKS: THE BATTLE FOR ENDOR, THE ALAMO: THIRTEEN DAYS TO GLORY, FIFTY/FIFTY, CANADIAN BACON and PUPPET MASTER VS DEMONIC TOYS. For television, his credits include 21 JUMP STREET, BOOKER, FALLEN ANGELS, CHICAGO HOPE, ROUGH RIDERS, MOWGLI: THE NEW ADVENTURES OF THE JUNGLE BOOK and HONEY, I SHRUNK THE KIDS: THE TV SHOW.
Dragon’s Domain Records presents THE PETER BERNSTEIN COLLECTION, VOLUME 2, featuring music composed and produced by Peter Bernstein for KICKS and SHE STOOD ALONE: THE TAILHOOK SCANDAL, presented for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson, with the participation of the composer.
THE PETER BERNSTEIN COLLECTION, VOLUME 2 is a limited edition release of 500 units. THE PETER BERNSTEIN COLLECTION, VOLUME 2 is expected to begin shipping the week of August 8, 2022. Composer Peter Bernstein will sign the first 50 copies of THE PETER BERNSTEIN COLLECTION, VOLUME 2 sold through the website.
ZitatDragon’s Domain Records presents the original motion picture soundtrack release of SILENT NIGHT, DEADLY NIGHT 4: INITIATION, to be distributed through buysoundtrax.com. SILENT NIGHT, DEADLY NIGHT 4: INITIATION features music composed by Richard Band for the 1990 horror film directed by Brian Yuzna (RE-ANIMATOR, SOCIETY, THE DENTIST), written by Zeph E. Daniel, Richard N. Gladstein and Arthur Gorson, starring Clint Howard, Neith Hunter, Tommy Hinkley, Hugh Fink, Richard N. Gladstein, Reggie Bannister, Allyce Beasley and Maud Adams.
SILENT NIGHT, DEADLY NIGHT 4: INITIATION is the third sequel to the original SILENT NIGHT, DEADLY NIGHT, which was released in 1984. The plot revolvedaround a young boy named Billy Chapman whose parents were brutally murdered by a drunken dime-store Santa Claus on the way home from visiting Billy’s grandfather. The orphaned boy lives out his childhood raised by Catholic nuns who continue to foster his fear of Santa Claus. Eventually teenage Billy snaps, dresses up as Santa Claus, and begins slaughtering people during the Christmas season.
SILENT NIGHT, DEADLY NIGHT 4: INITIATION was released on home video in 1990. Abandoning all previous characters and plot points from the previous three films, INITIATION tells the story of Kim Levitt (Hunter), an aspiring journalist who writes for an LA newspaper as a classified ads editor. Her boss Eli (Bannister) seems to favor and promote only her male co-workers. When a woman shows up burnt to a crisp on the sidewalk, Kim decides to pursue the story without her boss’s approval. Through her investigations, Kim is kidnapped by Ricky (Howard). Ricky and his coven of witches perform a secret ritual on Kim. Eventually, Kim escapes with Ricky in pursuit who tries to prevent her from uncovering all of their murder-cult exploitations.
The music for SILENT NIGHT, DEADLY NIGHT 4 was composed by Richard Band. His all-synth underscore is particularly unique for a Christmas horror film. In all honesty, the Christmas elements in the film are an afterthought and not a major catalyst in the inspiration behind the music. Band infuses his music with heaping helpings of percussion and include the use of the waterharp, a bowed metallic object sporting long tines with water in its base, which perfectly evoke the rituals and indoctrinations of an ancient cult.
Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band, brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films.
As a composer, his work is extremely prolific and he has consistently evolved with the ever-changing needs and tastes of the entertainment industry. He has worked on over 140 film and TV projects and has had his works recorded with some of the most renowned orchestras in the world including the London Symphony Orchestra, the Royal Philharmonic Orchestra and the Rome Symphony Orchestra.
In addition to being a composer, Richard finds time to educate and mentor aspiring composers and musicians in all areas related to composition, the music industry and music production process. His knowledge and experience in film music, mastering, album producing, and intellectual property rights has proven to be invaluable to many.
Dragon’s Domain Records presents the original motion picture soundtrack to SILENT NIGHT, DEADLY NIGHT 4: INITIATION, mastered by James Nelson at Digital Outland. SILENT NIGHT, DEADLY NIGHT 4: INITIATION is a limited edition release of 500 units. SILENT NIGHT, DEADLY NIGHT 4: INITIATION is expected to begin shipping the week of August 8th, 2022.
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Auf dem japanischen Label King Records ist das Album 'Lanterns on Blue Waters" mit neu eingespielten Suiten aus Filmmusiken von Toru Takemitsu erschienen:
ZitatA new definitive recording of Toru Takemitsu, one of Japan's leading composers, who celebrated the 25th anniversary of his death last year, is now available! This new recording is a collection of his masterpieces composed for films, which the world-famous Toru Takemitsu loved. Conducted by Tadaaki Otaka and performed by The NHK Symphony Orchestra. Session recording by the splendid performing ensemble.
Release Date: 2022.7.20Track List
1 The Diary of Yumechiyo
2 Alone on the Pacific
3 Jose Torres II
4 Black Rain
5 The Face of Another
6 Lanterns on Blue Waters -
ZitatQuartet Records, in collaboration with Sonor Music Editions, announces a CD release pairing scores by Alberto Baldan Bembo for two Roberto Ivaldi erotic comedies starring Roberto Cenci and Carmen Villani.
L’AMICA DI MIA MADRE is about Billy, a teenager who gets frustrated by his girlfriend Andrea’s interest in cock fighting and generally asexual nature. The arrival of his mother’s recently divorced friend (Barbara Bouchet) may be exactly what he needs… Baldan Bembo underscores the madcap life of the exasperated teen with catchy Latino dance tunes.
ECCO LINGUA D’ARGENTO features the same couple, Billy and Andrea. The story moves to Egypt and involves psychologist Emmanuelle (no relation, of course) in resolving frustrations that have been running between the couple for years. Similar to the concurrently released VELLUTO NERO, Baldan Bembo provides a wonderful, African funk vibes score to the proceedings.
The two scores were originally released on very limited and hard-to-find LPs, lately reissued by Sonor. While there was a prior CD release on the Easy Tempo label, it omitted several tracks from both scores – so this marks the first-ever CD release of both complete LP programs. The album is produced by Claudio Fuiano and mastered by Chris Malone. The richly-illustrated booklet includes liner notes by Gergely Hubai discussing the film, the composer and the scores.
https://quartetrecords.com/product/lamica-di-mia-madre-ecco-lingua-dargento/
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ZitatQuartet Records, in collaboration with Universal Music Publishing Italia and GDM, presents the premiere release of the score by Alberto & Dario Baldan Bembo for the cult classic starring Laura “Emanuelle Nera” Gemser.
Shot mostly on location in Egypt, VELLUTO NERO uses clever stunt casting by pairing ebony beauty Laura Gemser with 20-year old French model Annie Belle, who was best known for her slender figure, porcelain complexion and close-cropped hydrogen-blonde hairstyle. Together they form the perfect ying-yang of erotic fantasies as they get more involved in each other’s lives.
The score by brothers Alberto & Dario Baldan Bembo is a balancing act between the European characters and the African continent. Tribal funk and slinky instrumentals work together for the two women’s descent into an erotic cult. Recurring themes with different orchestrations (often featuring choirs and organ) make this a must have for collectors of Italian cult cinema scores.
This is the first-ever complete release of the original soundtrack, produced by Claudio Fuiano and mastered by Chris Malone. The richly illustrated booklet includes liner notes by Gergely Hubai discussing the film, the composers and the score.
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Von Buysoundtrax kommt außerdem eine remasterte Neuauflage von Tangerine Dreams Musik für The Park Is Mine auf CD.
ZitatBuySoundtrax Records presents the soundtrack release of THE PARK IS MINE, featuring music composed by Tangerine Dream (SORCERER, THIEF, RISKY BUSINESS) for the 1985 action drama directed by Steven Hilliard Stern (THE GHOST OF FLIGHT 401, MAZES AND MONSTERS, DRAW!), based on the novel by Stephen Peters and starring Tommy Lee Jones, Helen Shaver, Yaphet Kotto, Lawrence Dane, Peter Dvorsky, Eric Peterson, Gale Garnett, Denis Simpson, Reg Dreger, Louis Di Bianco, Carl Marotte and Dennis O’Connor.
Airing on HBO in 1985 and notable for being the first movie made for the cable channel, THE PARK IS MINE tells the story of Mitch Garnett (Jones), a Vietnam veteran who is bequeathed an arsenal of military weapons and a series of complex plans to take over and occupy Central Park in New York City. Fired-up by his frustrations with the federal government’s neglect of its military veterans, Garnett picks up where his recently deceased friend left off and carries out his plans to fruition, successfully emptying and securing all 843 acres of Central Park (without causing harm to civilians). Garnett plans to get his message out to the public via the local news agencies—stay out of the area for seventy-two hours, after which he will relinquish the park and peacefully turn himself over to the authorities. Meanwhile, Eubanks (Kotto), a tenacious police sergeant schemes to forcefully expunge Garnett from the park grounds and return the sanctuary to the city before Garnett’s self-imposed deadline expires.
The music for THE PARK IS MINE was composed by the pioneering German electronica band Tangerine Dream. Founded in 1967 by Edgar Froese, Tangerine Dream is a ground-breaking musical act that veered away from the influence of traditional Anglo-American rock/pop and instead relied upon hypnotic rhythms, sustained drones, musique concrète, tape-music looping techniques, and the proliferation of early synthesizers. For THE PARK IS MINE, the band included the classic lineup of Edgar Froese, Christopher Franke, and Johannes Schmoelling. After completing THE PARK IS MINE, Tangerine Dream would continue to score many Hollywood pictures including SHY PEOPLE, NEAR DARK, THREE O’CLOCK HIGH, MIRACLE MILE, DEAD SOLID PERFECT, CATCH ME IF YOU CAN, RAINBOW DRIVE and THE MAN INSIDE. Throughout their seven-decade existence (which continues to this day) the band has released over eighty-five studio, extended play, or mini albums, fifty-two motion picture scores, and a handful of episodic television or video game scores.
An early compact disc release and very scarce, BuySoundtrax Records is excited to bring THE PARK IS MINE back to the marketplace, remastered by James Nelson at Digital Outland from the best available elements. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite.
THE PARK IS MINE is a limited edition release of 500 units. THE PARK IS MINE is expected to begin shipping the week of 7/14/2022.
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Von Télé 80 kommt eine CD mit Haim Saban und Shuki Levys Musik für die französische Fassung der japanischen TV-Serie Bomber X.
ZitatBomber X : Diffusée en 1983 à la télévision, Bomber X est une série japonaise réalisée à partir de marionnettes animées, dans la lignée des célèbres Thunderbirds. Spécialement créées pour le marché français, les musiques sont produites par Haim Saban et composées par Shuki Levy. On reconnait le style particulier de ce duo qui a déjà travaillé sur Les Mystérieuses cités d’or, Les Minipouss ou encore Inspecteur Gadget. Retrouvez-les dans une nouvelle édition entièrement remasterisée.
Cette bande originale contient également le fameux générique interprété par Lionel Leroy, deux chansons dont une par Noam et des génériques étrangers et des titres inédits Japonais en bonus.
https://www.musicbox-records.com/en/cd-soundtracks/11961-bomber-x.html
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Bei Chris ist die CD bereits gelistet.
http://www.soundtrackcorner.de/occhio-alla-penna-expanded-p9040.htm
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Mitte Juli erscheint bei Howlin' Wolf Records Matt Cannons Musik für Force to Fear auf CD.
ZitatHowlin' Wolf Records is proud to present Matt Cannon's multiple award-winning soundtrack for FORCE TO FEAR. Released in 2020 and co-written/directed by Zane Hershberger and Chad Bruns, the film pays homage to great action horror films of the '80s such as SILENT RAGE.
The score "has both inventive and innovative qualities, but above all contains a sound that we readily associate with horror films from the '80s and evokes memories of such composers as Jay Chattaway, Alan Silvestri, Brad Fiedel, Harold Faltermeyer, and Alan Howarth. There was a distinct sound that became standard during that decade and Matt Cannon has successfully re-created this sound, whilst also placing his own inimitable musical fingerprint upon the production, fusing both styles and putting them to effective and affecting use."
John Mansell, Movie Music International
For FORCE TO FEAR, composer Matt Cannon used an impressive array of synth and synth plug-ins, including OPX-PRO II (Oberheim) TAL-U-NO-LX (Juno 60) TAL-SAMPLER, VI FM SUITE (DX1, Dx7), UVI EMULATOR II (Emulator II), ARTURIA MINI V (MiniMoog), UVI PX10 (PROPHET 10), UVI Darklight (farlight). The soundtrack concludes with the fantastic track "Judge and the Jury" by the band Voltheque from their EP VERDICT.
FORCE TO FEAR features a 28-page booklet with a foreword by filmmaker Zane Hershberger, liner notes by writer John Mansell, and composer's notes and track summaries by Matt Cannon, all presented with vivid '80s-vibe imagery, color pallets, and original cover artwork by Austin Hinderliter (Creepy Carves). The packaging designs are beautifully crafted by Howlin' Wolf Records' renowned Art Director Luis Miguel Rojas.
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Am 10. Juli erscheint bei Beat Records eine CD mit Detto Marianos bisher unveröffentlichten Scores zu den Komödien La casa stregata (1982) und Mia moglie e una strega (1980).
ZitatAfter IL RAGAZZO DI CAMPAGNA another release dedicated to Maestro Detto Mariano, with this CD release featuring two unreleased soundtracks, LA CASA STREGATA and MIA MOGLIE E’ UNA STREGA.
Two movies with a common male protagonist, Renato Pozzetto, facing some esoteric plots, in the former movie in a bewitched mansion, in the latter having married a right a witch. Co-star gorgeous Gloria Guida and beautiful Eleonora Giorgi.
Two scores waited since a long time by Maestro’s fans, finally available in full displaying the typical sound of this never too much celebrated artist, unfortunately recently late, to whom we dedicate this release.
The music of LA CASA STREGATA and MIA MOVLIE E’ UNA STREGA are in jewel case with a 16 pages deluxe booklet, liner notes by Andrea Morandi, master by Claudio Fuiano, graphic layout by Daniele De Gemini.
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=DDJ21DLX&uscita=prox
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Kommt als Doppel-LP von Waxwork Records.
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Silva Screen setzen ihre Gerry-Anderson-Reihe mit einem neuen Album von The Secret Service von Barry Gray fort. Ab dem 29. Juli erhältlich.
ZitatThe origins of the series The Secret Service began in 1968 whilst working at Pinewood Studios, Gerry Anderson bumped into a familiar face of stage and screen: comic actor Stanley Unwin. With his whimsical charm and hilarious gibberish double talk (playfully christened ‘Unwinese’) Unwin had earned great popularity throughout the 50s and 60s and the Anderson’s immediately knew that they had found someone to base their next puppet series on. For several years the Century 21 team had toyed with directly basing a puppet character on a real-life actor, now the time had come to make it a reality. Duly, the Andersons developed a premise around Unwin, returning to their ‘unlikely spy’ scenario which had worked so well with Joe 90, they created ‘Father’ Unwin, a kindly priest who, despite outwardly disappearing into whimsy, doubles as a determined agent for British Intelligence. In the series the lines would be blurred even further between the miniature Supermarionation world and reality, as live action footage of Stanley Unwin would also be used in the series.
To appropriately reflect the The Secret Service’s premise and compliment the gentle title sequence created to introduce the series, Barry Gray decided step completely away from his usual attention-grabbing themes and write a three-part fugue in the style of the Baroque composer Bach. To perform the vocals, the Mike Sammes Singers were hired, the vocal group who Gray had used on the Supercar theme back in 1961. Once coupled with soft organ and minimalist percussion, a truly unique piece of inventive music was born to bookend Father Unwin’s adventures, which perfectly captured the off-beat nature of the series.
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Hmh, das wäre mal eine Überlegung wert! Ich mag auch den dazugehörigen Film.
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Oh, mann.
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ZitatA 2-CD set.
Newly remastered and expanded edition.
12-page CD booklet with liner notes by Sylvain Pfeffer.Music Box Records proudly presents a 2-CD edition of two original motion picture soundtracks composed and conducted by Jean-Claude Petit for Henri Verneuil's films: Mayrig (1991) and 588, rue Paradis (1992).
Mayrig and 588, rue Paradis were Henri Verneuil’s last feature films and gave Jean-Claude Petit the opportunity to compose a powerful and poignant score for duduk, choir and orchestra. The lyrical score is built around two main themes. The theme of Délé Yaman, based on a popular Armenian melody, can be heard as early as the opening credits of Mayrig. The melody opens slowly on flute notes supported by a choir, the duduk performed by Levon Minassian and the voice of the mezzo-soprano Sonia Nigoghossian, embodying the voice of an ancestral and timeless Armenia. For the main theme, the composer wrote a great waltz theme, played by the duduk and strings, expressing Henri Verneuil’s bondless love for his family. 588, rue Paradis allows the composer to introduce new motifs, including a short and dynamic theme on the piano, associated with Astrig, Azad’s new love interest and danceable jazz pieces for piano and strings accompanying the scenes from Pierre Zakar’s new play.
Supervised by Jean-Claude Petit, the program has been remastered from the composer’s original master tapes and includes the premiere CD release of 588, rue Paradis. The CD comes with a 12-page booklet with liner notes by Sylvain Pfeffer, discussing the films and the scores including new comments by Jean-Claude Petit on his collaboration with Henri Verneuil. The release is limited to 500 units.
https://www.musicbox-records.com/en/cd-soundtracks/11894-mayrig-588-rue-paradis.html
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ZitatNew remastered and expanded edition.
12-page CD booklet with French and English liner notes by Gérard Dastugue.In collaboration with Warner Chappell Music France, Music Box Records continues to explore the collaboration between Philippe Sarde and Alain Delon, and presents the complete score composed and recorded for Mort d’un pourri (Death of a Corrupt Man), which Georges Lautner directed in 1977. It was adapted from Raf Vallet’s novel.
Mort d’un pourri is a great film, remarkably adapted by Michel Audiard and supported by the meticulous direction of Georges Lautner who, with this movie, went off the beaten track of comedy to take the chilling incisiveness of Les Seins de glace (1974) a step further – this film had been his first collaboration with Alain Delon.
The music does not go for the expected codes of the thriller genre: there is little action, few effects, few twists and turns. It is almost the opposite of the teeming music written by Claude Bolling for Trois Hommes à abattre or Philippe Sarde’s more lyrical one for Le Choc. In Jean-Patrick Manchette or, here, in Raf Vallet’s works, a man must fight alone against an organization that is trying to stop him. This great score is one of Philippe Sarde’s most beautiful and emblematic works, performed by the famous London Symphony Orchestra and carried by Stan Getz’s saxophone, the musical embodiment of a solitary character and the archetypal instrument of the American film noir.
Produced and supervised by Philippe Sarde and Édouard Dubois, this edition, presented here in a whole new program, has been fully remastered from all-new hi-res transfers of original stereo mixes and features previously unreleased tracks. The package includes a 12-page booklet featuring exclusive liner notes by writer Gérard Dastugue and new comments by Philippe Sarde. This release is limited to 750 units.
https://www.musicbox-records.com/en/cd-soundtracks/11895-mort-d-un-pourri.html
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ZitatQuartet Records, in collaboration with Universal Music Publishing Italia, releases a remastered, expanded CD edition of the original cult score by Piero Piccioni (COLPO ROVENTE, IL DIO SOTTO LA PELLE, CAMILLE 2000, THE 10TH VICTIM) for INGHILTERRA NUDA – as originally conceived by the composer.
Directed by Vittorio De Sisti, INGHILTERRA NUDA was inspired by the same concept as mondo movies, but applied to British culture. It poses the question, “Are these Brits really as reserved as we think they are?” The answer is not straightforward, but it will certainly take a lot of nudity to get there. The Italian version was narrated by Giuseppe Rinaldi, while Edmund Purdom provided the English dub.
The score features the mixture of cool tunes that one would expect from a mondo – especially from Piero Piccioni, who scored relatively few titles in this genre. In fact, a lot of the original music he wrote for the film wasn’t included in the film; a former sound editor, Vittorio De Sisti, used several previous Piccioni cues for other movies to create the score heard in the film, so even key cues such as the main title are actually only available on the soundtrack album.
INGHILTERRA NUDA was previously released on CD in 2005 in a limited edition by the Japanese label Avanz Records. While that release had more tracks, it’s bonus material was actually tracks from other Piccioni scores that De Sisti edited into the film. This CD features only the complete score recorded specifically for INGHILTERRA NUDA, mastered by Chris Malone from first-generation stereo master tapes recently discovered at the Piero Piccioni estate. The album has been produced by Claudio Fuiano, and the liner notes by Gergely Hubai discuss the film and the use of music in greater detail.
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Von Dragon's Domain am 16. Juli: 'The Albert Glasser Collection Vol. 4' mit den Scores zu The Cyclops und Beginning of the End, John Beals Zero to Sixty und David Spears' The Ratings Show.
ZitatDragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 4: SCIENCE FICTION: ATOMIC MUTATION I. With this fourth collection of the composer’s music, we are pleased to explore two films that he scored for director Bert I. Gordon in 1957. Most of Gordon’s celebrated work is in the idiom of giant monster films. Albert Glasser consistently made musical magic out of limited resources and onrushing deadlines as one of Hollywood’s most prolific B-movie composers. THE ALBERT GLASSER COLLECTION, VOLUME 4 features expanded releases of Glasser’s music for THE CYCLOPS and BEGINNING OF THE END.
The years 1957-58 were Albert Glasser’s busiest as a film composer, having scored fifteen B-movies that saw release in 1957, and ten in 1958. The films included Glasser’s celebrated science fiction/monster films MONSTER FROM GREEN HELL, THE AMAZING COLOSSAL MAN in ’57, and GIANT FROM THE UNKNOWN, ATTACK OF THE PUPPET PEOPLE, WAR OF THE COLOSSAL BEAST, and THE SPIDER from the following year, as well as a slew of Westerns, adventure sagas, crime, and juvenile gang movies.
THE CYCLOPS tells the story of Susan Winter (Gloria Talbot), a young woman who undertakes a mission into remote Mexico to find her fiancée, missing for three years after a plane crash. She and her unlikely cohorts – scientist Russ Bradford (James Craig), pilot Lee Brand (Tom Drake), and a uranium mining expert with his own agenda, Martin Melville (Lon Chaney Jr.), fly into unknown territory and soon discover a lost world of oversized animals and, of course, Susan’s surviving fiancée, now grown to gigantic proportions due to radiation in the area.
BEGINNING OF THE END was made after THE CYCLOPS but preceded it into theaters. Intrepid journalist Audrey Ames (Peggie Castle) is determined to get the scoop on enormous grasshoppers that were accidentally created at the Illinois State experimental farm, and she races to save Chicago despite a military cover-up. For its day, the film was a typical but below-average giant-insects-versus-humanity drive-in film, but its internal story logic and special effects have not weathered the years well.
Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 4: SCIENCE FICTION ATOMIC MUTATION I, featuring original music composed by Albert Glasser for THE CYCLOPS and BEGINNING OF THE END, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson.
ZitatDragon’s Domain Records presents ZERO TO SIXTY, featuring music composed by John Beal (TERROR IN THE AISLES, THE FUNHOUSE) for the 1978 action comedy directed by Don Weis, written by Darren McGavin, from a story by Peg Shirley and Judith Bustany, starring McGavin, Sylvia Miles, Joan Collins, Denise Nickerson, Lorraine Gary, David Huddleston and Lyle Waggoner.
Released in 1978, ZERO TO SIXTY is an action farce featuring 70’s comedy/music trio The Hudson Brothers along with a number of cameos from then-popular comics like Dick Martin (of ROWAN & MARTIN), Lorraine Gary, and Lyle Waggoner and a mélange of frenetic car stunts. In ZERO TO SIXTY, Michael Nolan (McGavin) finds himself down on his luck following a divorce settlement, which has left him with nothing. During the repossession of his car, he makes chase all the way to the auto repo company. His persistence impresses the owner (Miles), who hires him on the spot. Nolan is teamed up with Flo’s top repossesser, a feisty 16 year old girl named Larry (Nickerson [Violet Beauregarde from WILLY WONKA AND THE CHOCOLATE FACTORY]). As Nolan settles into his new career, he continually finds himself troubled by women, shrugging off young Larry’s unwanted flirtations while winding up in bed with perennially delinquent car owner Gloria (Collins), as well as facing the fury of gangsters whose repossessed limo turns out to contain a dead body in its trunk.
The music for ZERO TO SIXTY was composed and conducted by John Beal. The score was created with a big band, using players who were some of the period’s most acclaimed jazz all-stars, including Lee Ritenour on guitar, Abraham Leboriel on bass, and Ralph Humphrey on drums. In addition to the jazz band, Michael Boddicker came in to provide some synthesizer elements to the musical palette.
A combat veteran of the United States Marine Corps, John 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.
Dragon’s Domain Records presents the world premiere release of ZERO TO SIXTY, featuring music composed and conducted by John Beal, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall D. Larson, with the participation of the composer.
ZitatDragon’s Domain Records presents THE RATINGS GAME , featuring music composed by David Spear for the 1984 romantic comedy directed by Danny DeVito (HOFFA, MATILDA, WAR OF THE ROSES), written by Jim Mulholland and Michael Barrie, starring Danny DeVito, Rhea Perlman, Gerrit Graham, Barry Corbin, Basil Hoffman, Kevin McCarthy, Michael Richards, Ron Rifkin, Joe Santos and Vincent Schiavelli.
Premiering on the Showtime network in December 1984, THE RATINGS GAME revolves around a New Jersey trucking magnate named Vic DeSalvo (DeVito) who pulls up stakes and moves to Hollywood, California in hopes of striking it rich as a big-shot television producer. The “fake-it-till-you-make-it” script hawk bounces around Los Angeles pitching pathetic proposals for programs which are all rejected. DeSalvo eventually crosses paths with an executive at a cellar-dwelling network called MBC who was fired for promoting a show that attracted zero viewers. To avenge himself, the disgruntled executive uses his last day on the job to greenlight a pilot based on DeSalvo’s script for SITTIN’ PRETTY, a show about an average schlub (portrayed by DeSalvo himself) who becomes roommates with a pair of blonde bombshell twins at a college dormitory. After Vic signs the deal to helm (and star in) the pilot of SITTIN’ PRETTY, he meets Francine (Perlman), a statistician at the most reliable ratings agency in town called Computron. The twosome fall in love and then conspire to manipulate the ratings of SITTIN’ PRETTY by setting up hired henchmen in Nielsen households to skew the results. The scam works and DeSalvo becomes the hottest television producer and star in Hollywood… but for how long?
One of the purely joyful experiences of THE RATINGS GAME is its cornucopia of eclectic television theme songs which parody the various MBC programs. All of these faux trailers featured on-target ditties scribed by Bruce Kimmel, an actor, writer, director and composer known for THE FIRST NUDIE MUSICAL and THE CREATURE WASN’T NICE. When it came time to hire a composer to pen the arrangements and eventually compose the underscore for the edited picture, Kimmel recommended Spear, a composer he had recently collaborated with. An important ingredient in Spear’s score is the Yamaha DX7. This synthesizer had just come out in 1983 and was already a signature staple on countless television scores. He incorporated the DX7 with harp, string quartet and small chamber ensemble.
David Spear began his career orchestrating many film scores for Elmer Bernstein including AIRPLANE, ANIMAL HOUSE, HEAVY METAL and GHOSTBUSTERS. After his Broadway debut as Music Director of MERLIN, THE MAGICAL MUSICAL, Spear wrote scores for three Academy Award nominated films: RAINBOW WAR, BALLET ROBOTIQUE, and THE COURAGE TO CARE. He composed the music for the Emmy Award winning National Geographic documentary, SURVIVING EVEREST. One of his first major scores was for the 1981 vampire thriller FEAR NO EVIL, composed in collaboration with the film’s writer/director Frank LaLoggia. He led the Indianapolis Symphony for the 2008 premiere of THE LANGSTON HUGHES PROJECT featuring Ice-T and the Ron McCurdy Quartet. A dedicated educator, Spear served as faculty at Berklee College of Music (1991-1995), USC Thornton School of Music (1995-2006), NYU (2009-2013), and at Portland State as 2017 Artist-in-Residence. His work in academia and industry thrives on decades of creative collaboration with many notable artists, directors and scholars.
Dragon’s Domain Records presents THE RATINGS GAME, featuring music composed by David Spear for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer.
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Ein neuer Score von Yared zu einem griechischen Jugenddrama.
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ZitatBROADWAY
(Original Motion Picture Soundtrack)
Director Christos Massalas
Music by Gabriel Yared
Song “Snow Leopard” by Sillyboy’s Ghost Relatives
Label Plaza Mayor Company Ltd
Nelly has escaped from her wealthy and controlling family. As she dances in a strip club, she meets Markos, a small yet charismatic gangster, who helps her run away from her stepfather’s henchmen. Markos soon becomes her protector and lover. He brings her into Broadway, Athens, an abandoned entertainment complex squatted by a small community of dancers, tramps, thieves and a captive monkey.
For a while, everything goes well, even when Broadway hosts a mysterious man, injured and covered with bandages, wanted dead by Athens’ most dangerous mafia. However, when Markos gets arrested and imprisoned, the newcomer will take an unexpectedly important place in the gang.
For years, I have admired the work of Gabriel Yared.
I wished that one day I could have the privilege to work with him, even though such a scenario didn’t seem very likely, given the scale of films produced in Greece. I would never have imagined that the stars would align for this to happen in my first feature film.
For the music of “Broadway”, I envisioned a mixture of pre-existing dance songs (from “Fame” to Greek pop songs of the 70s) with an orchestral score that would convey the mysterious and romantic intonations of the story.
“Broadway” is a film, which draws from different genres – it is a thriller, a love story, a variété of sorts – so the music plays a key part in bridging these different traditions and moods.
The idiom of Gabriel Yared’s work was exactly what this tale called for. His music is always surprising, modulating between ever-changing climates: mysterious and yet deeply romantic; sharp and precise in composition, but fluid in its emotional resonance.
In ‘Broadway’, the music is not just underscoring the events. It is a force that drives the story, weaving a web of dramatic possibilities. It is the fuel, which sets the characters in motion, leading them through the twists and turns of chance.
And yet, like all great works, Gabriel’s music has a narrative of its own and will live and reverberate far beyond the screen.
Christos Massalas
https://www.sergentmajorcompany.com/soundtrack-shop/broadway-original-motion-picture-soundtrack
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Dachte die neuen CDs von Chris' Soundtrack Corner wären hier schon gepostet worden, aber scheint doch nicht der Fall zu sein. Neu im Programm sind Carlo Savinas La donna della calda terra und Roberto Pregadio und Carlo Cristallinis I gabbiani volano basso, beide aus dem Jahr 1978.
ZitatChris' Soundtrack Corner proudly presents the CD soundtrack to José María Forqué's LA DONNA DELLA CALDA TERRA (aka LA MUJER DE LA TIERRA CALIENTE, or FURY, as it's sometimes known in the English market). This 1978 film was a product of the resurgence of erotic cinema that took place during the 1970s, spearheaded by Sylvia Kristel's EMMANUELLE (1974). Among that film's many imitators is LA DONNA DELLA CALDA TERRA, starring Laura Gemser. Best known for BLACK EMANUELLE, Gemser gets paired up here with Stuart Whitman, one of Hollywood's top leading men of the 1960's. The film tells the story of two unnamed characters, The Man and The Woman, who end up hiding in the bed of a truck together during a long journey. Despite their different social backgrounds and a considerable age difference, the couple eventually share an intimate relationship but then lose touch with one another. When The Man finally tracks down the truck they'd been travelling in, there doesn't seem to be any trace of The Woman. Only a bottle of beer they shared gives him hope that what he experienced wasn't just a fever dream and they have a chance at reuniting.
The musical score for LA DONNA DELLA CALDA TERRA was composed by Carlo Savina, whose filmography covers almost every genre Italian cinema had to offer from the 1950s through the 1980s. His music here has an unusual distinction in that the score was heavily rethought during the editing and eventually the first half hour is left without music, except for the opening titles. Thus, Savina's score begins when the film changes up the narrative structure and instead of telling the stories on two parallel storylines, they start to intercut them more frequently in order to draw stronger parallels between The Man and The Woman. While there is a stronger focus on Gemser's storyline, the switch to a hunting trip in the Man's storyline helps to reframe the girl's next romance. Though our hero manages to catch up with the truck, The Woman isn't there anymore – but one final reprise of the main theme in the "End Title" gives us a hope that the couple will eventually meet up again.
Chris' Soundtrack Corner is delighted to make this score available for essentially the first time. With literally half the score going unused in the beginning of the film, this soundtrack album offers the first opportunity to enjoy the composer's playful variations of catchy thematic material, sensual tropical exotica, and even some highly melodramatic masterpieces wrapped up in a colourful package. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes by Gergely Hubai, who explores the making of the film and its score in detail.
ZitatChris' Soundtrack Corner proudly presents the CD soundtrack to I GABBIANI VOLANO BASSO (aka SEAGULLS FLY LOW, 1978), directed by Giorgio Cristallini (under the Americanized pseudonym George Warner). The movie was influenced by the number of Vietnam Vet dramas coming out of the United States in 1978 such as THE DEER HUNTER and COMING HOME, and the Italian cinema didn't waste any time in seizing the opportunity to get in on the commercial potential of such films.
Starring Italian actor Maurizio Merli, who was often typecast in "tough cop" roles, I GABBIANI VOLANO BASSO tells the story of a Vietnam war veteran (Merli) who finds his post-war career in the private assassination business. After succeeding in a hit in Rome, using various aliases, the war vet gets into an altercation that leads to a wild chase involving the police, other killers, and a third shady business partner who wants to get the whole company for himself. While on the run, Merli's character hooks up with Isabelle (Nathalie Delon), the lonely owner of a Roman boutique shop who helps with his escape. But with the two other killers in tow, our hero must make an important decision between getting away safely while leaving Isabelle behind in danger, or making the ultimate sacrifice for the only woman who helped him selflessly.
The music for I GABBIANI VOLANO BASSO was written by Roberto Pregadio, one of the few Italian Silver Age composers who also made a career as a television personality. In most of his film scoring collaborations, it was Pregadio's job to flesh out or transcribe the musical ideas of his co-composers who usually didn't have the necessary musical training to do so. Such was the case with I GABBIANI VOLANO BASSO, where Pregadio is actually credited together with two members of the director's family, Paola and Carlo Cristallini, though only the latter is given credit. Besides the music that's in the film, the soundtrack also includes some major discoveries from the score that weren't even heard in the film itself.
This release from Chris' Soundtrack Corner marks the first ever presentation of any of the music from I GABBIANI VOLANO BASSO. Certain aspects of the recording indicate that the production was prepared for the release of an eventual soundtrack album that never materialized. One of these clues is that certain cues were recorded in shorter film versions as well as extended versions that would be more at home on a soundtrack or exploited on a later library LP, but that was never released. Among the differences preserved on the CD is "Titoli – versione disco" – aka the record version of the opening music; this version is not only half a minute longer when compared with the film version, but it's actually mixed differently with a more prominent focus on the keyboard and the pop percussion, both of which appear in a more subdued fashion in the movie. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes on the film and its score by Gergely Hubai, who explores the making of the film and its score in detail.
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Von Beat am 25. Mai: Fabio Liberatores Acqua e sapone und Piero Piccionis Anastasia mio fratello auf zwei CDs.
ZitatFollowing our releases of Bianco Rosso e Verdone and Sono pazzo di Iris Blond OSTs, we are glad to announce a new tribute to the music for the great cinema of Carlo Verdone with the release on vinyl of the original motion picture soundtrack of Acqua e sapone, composed by Maestro Fabio Liberatori, the artist who features the greatest number of collaborations with the Roman director.
Shot in 1983 it’s the story of Rolando Ferrazza (Verdone) who, stolen the identity of Father Spinelli, finds a job as private teacher for Sandy Wash (Natasha Hovey), a young teen-ager model with whom he will soon fall in love. The story will come to a bittersweet conclusion, in the typical style of its director, for sure more bitter than sweet, with the unavoidable separation of the two lovers and the return to normal life, now permanently marked by the experience.
A movie that, like many others shot by Verdone, was a landmark of an era, portrayed through the humanity of it protagonists, their forbidden dreams, great delusions and tragic daily life, everything narrated through a biting poetic style and delicate irony in a guise that made Verdone’s cinema a unique genre.
The wonderful music by Fabio Liberatori, previously partially available through a compilation dedicated to his soundtracks, now finally released for the first time in a complete edition dedicated to this score with a great electronic frame, a sound that the musician skillfully masters chiseling a series of moods throughout the story.
A soundtrack which deserved since too many time a full edition, at the dawn of its 40th year of age, now available in this de-luxe release, featuring a 180 grams colored vinyl with the wonderful original artwork by Renato Casaro on the cover, with the two protagonists’ faces.
This release has been possible through the collaboration with Cecchi Gori which gave access to Maestro Fabio Liberatori’ score, remastered under his supervision by Gianrico La Rosa, and with Sony Music Italy which authorized us to add STADIO’s songs, “Acqua e Sapone” and “C’é”, which could not be missing from a tribute to this movie. Editing by Claudio Fuiano, graphic layout by Daniele De Gemini, limited edition to 500 copies available from May 25 2022.
Zitat“Anastasia mio fratello ovvero il presunto capo dell’Anonima Assassini” (aka “My Brother Anastasia”) is a crime drama directed by Steno in 1973 and starring Alberto Sordi and Richard Conte. Don Salvatore Anastasia, brother of Alberto (called “Big Al”), leaves Calabria to go to New York. Welcomed with great respect, he was hired as an assistant pastor by don Michele in the parish of St. Lucia in Little Italy. Alberto is entrusted to Sonny Boy, his bodyguard, but the naive priest believes that the success achieved and the esteem with which he feels surrounded are due to his personal gifts.
The discovery and the frank denunciation of the mess hidden behind a lottery force don Gennaro, boss of “Mamma Oil,” to try to eliminate the unwary Don Salvatore, who is saved thanks to Big Al. In 1973, RCA issued a 33 rpm album (RCA OLS 20) containing 13 tracks in stereo selected by the composer himself. In 2010, thirty-seven years after the release of the film in theaters, the specialty label GDM released this prestigious OST (CD CLUB 7091) for the first time on CD, with 14 unreleased tracks in addition to the vintage album program. For this new edition, we were able to use the stereo masters of the original recording session, which allowed us to create a special double-disc set: on CD 1, the original album program, and on CD 2, the bonus tracks of the previous GDM CD plus ten unreleased tracks that appear here for the first time ever, for a total length of 99:20. For this dramatic film that straddles the line between gangster movie and comedy, Piero Piccioni composed an OST for a large orchestra with American sounds incorporating funk, jazz and blues, beginning with “Surprise pastorale” and alternating with romantic music for orchestra and choir in “America dreaming.” Maestro Piccioni uses swing in “New York! New York!” (with splendid intervention by Cantori Moderni) and in “Swingin ‘at Savoy,” classic rock ‘n roll in “Rockin’ chair stomp” and warm South American rhythms in “Sweet marimbas” and “Mariposa rosada.” The most dramatic scenes are underlined with exciting, policelike sounds such as the recurring “Gunz concert, pt.1,” where the organ emerges in the orchestra (such a piece would not have been out of place in “Live and Let Die”, the first time by Roger Moore filled the role of James Bond), among other things from the same year. The romantic side of Piccioni returns in “Love in Brooklyn, pt.1,” for piano and large orchestra. The sensual voice of Shawn Robinson, frequent collaborator of the Maestro, performs “Feeling low blues.” The listener will remain in the company of the elegant music of Piero Piccioni for about an hour and forty minutes, each time with evergreen admiration, as we continue to be amazed by the greatness of this beloved artist.
Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.
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ZitatWorld Premiere CD Release. Limited Edition of 300 units.
12-page CD booklet with liner notes by Sylvain Pfeffer.Music Box Records presents on the same CD two original motion picture soundtracks for Costa-Gavras's films: Section spéciale (Special Section, 1975) composed by Éric Demarsan and Clair de femme (Womanlight, 1979) composed by Jean Musy.
The cynical humour that pervades the film Section spéciale inspired the composer Éric Demarsan to write a main theme in the shape of an old-fashioned and light-hearted waltz, a perfect evocation of the parody of justice implemented by Vichy government during World War II. The score also features percussive tracks with tense strings, and melodic pieces with romantic flute.
For Clair de femme, Jean Musy wrote three themes that emphasize the loneliness and emotional distress of the two main characters (Yves Montand and Romy Schneider). The touching, slow melody of the main theme is played on the panpipes. The album is rounded out by some pieces of source music and a lively pop version of Tomaso Albinoni’s Adagio in G minor that gives a sparkly touch of color to this grief-ridden movie.
The two scores have been fully remastered from the original master tapes. The package includes a 12-page booklet featuring exclusive liner notes by writer Sylvain Pfeffer discussing the films and the scores, based on new comments by Éric Demarsan and Jean Musy on their collaboration with Costa-Gavras. The release is limited to 300 units.
https://www.musicbox-records.com/en/cd-soundtracks/11788-section-speciale-clair-de-femme.html
Michael Abels - Nope
in Scores & Veröffentlichungen
Geschrieben
Kommt im September bei Waxwork Records auf CD und LP.
https://waxworkrecords.com/collections/cd/products/nope-cd