Oliver79
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Auch ein Album, dass mir noch fehlt. Aber toll, dass du hier auch Fusco erwähnst. Auch so ein Komponist, der viel zu wenig gewürdigt wird, wohl auch deshalb weil sein Wirken in den heute populären Italo-Genres eher gering war.
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Zumindest mal eine ungewöhnliche Komponisten-Wahl.
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vor 19 Stunden schrieb Stefan Schlegel:
Ein Grund könnte der sein, daß Abrbeitskräfte in Italien damals deutlich billiger waren und die Orgeln deshalb auch weitaus günstiger erworben werden konnten als in anderen europäischen Ländern. Beim bekanntesten Hersteller dieser Orgeln in Italien, nämlich Farfisa, war dies so:
"The company was formed after three Italian accordion manufacturers combined to form a single company. They began to produce electronic instruments in the late 1950s, and combo organs were introduced in response to similar instruments such as the Vox Continental. The relatively inexpensive Italian labour allowed Farfisa to sell their products cheaper than the competition, which led to their commercial success."
https://en.wikipedia.org/wiki/FarfisaBei Rustichelli selbst kommt eine besondere Vorliebe für das Orgel-Instrument an sich hinzu, da er bereits von KInd an begeistert Orgel gespielt hatte. Bei den Filmmusiken hat das Musikbudget dann wohl eh nicht immer für eine richtige Orgel ausgereicht - und dann hat man sich eben mit einer elektrischen begnügt, die eh im Aufnahmestudio (wie etwa bei Fonolux) ab Ende der 50er bereits zum festen Inventar zählte.
Ah, super! Vielen Dank für die Antwort.
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Ich habe eigentlich auch kein Problem mit den E-Orgeln, aber mich würde schon interessieren woher die Begeisterung der italienischen Komponisten jener Zeit für das Instrument kommt. In anderen Ländern hat es ja (zumindest in der Filmmusik) anscheinend nicht so eine Popularität erlangt.
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Soundtrack Pub haben letzte Woche ein Album mit Takeo Watanabes Musik für die japanische TV-Serie Miracle Girl veröffentlicht.
Zitat[ARK SOUNDTRACK SQUARE exclusive] The world premier release of the original soundtrack featuring songs and background music from the 1980 TV drama "Miracle Girl"!
"Miracle Girl" is a Toei-produced action drama along the lines of "Playgirl" and "The Supergirl". Starring Kaoru Yumi in the lead role, the film depicts the activities of seven female detectives (Miracle Girls) belonging to the detective agency "Office Miracle" with a light touch.
Music by Takeo Watanabe of "Lone Wolf and Cub", "Lady Georgie" and "Mobile Suite Gundam". The film's brilliant sounds, including stylish music using an electric piano and Hammond organ, dynamic action music, and lyrical music typical of Takeo Watanabe, enlivened the activities of the female detectives.
This album contains digitally mastered rare sound recordings from surviving music tapes, and all BGM is being released for the first time! Also including two theme songs, "Me and Women" and "Sexy Tonight," sung by Kaoru Yumi.
The booklet includes a music commentary, data on the film, a BGM list, a music list written by Takeo Watanabe, the melody score of the theme song, and other valuable images! -
Ja, ich denke, dass ist auch wieder einer jener Titel, wo vermutlich gar nicht so sehr die eigentliche Filmmusikklientel zuschlagen wird, sondern eher die Fans von Genre-Kultfilmen. Wobei die sich freilich erstmal auf die Mondo-LP stürzen dürften.
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Beim Durchlesen des Ankündigungstextes hatte ich mich auch schon gefragt, ob du etwas mit der Info zu tun hattest. So etwas dürfte den meisten ja wohl doch unbekannt sein.
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Und auch neue Italo-CDs von Chris' Soundtrack Corner: Carlo Savinas Ingrid sulla strada sowie Sans sommation und Il sorriso del ragno, beide von Daniele Patucchi.
ZitatChris' Soundtrack Corner proudly presents the CD soundtrack to INGRID SULLA STRADA (Ingrid on the Road), a 1973 Italian psychological drama. The film was written and directed by Brunello Rondi, known primarily as a script-writer and script consultant who had often collaborated with Federico Fellini. Rondi's directorial debut came in 1961 with the film VIOLENT LIFE and he went on to make a number of psychological/sexual dramas of which INGRID SULLA STRADA was one of the last.
The film is a kind of drama in which young Ingrid leaves her home after being raped by her father and arrives in Rome, where she prostitutes herself and has various adventures until everything becomes too much and she commits suicide. It's not a real happy story, but it wasn't necessarily meant to be. Aside from its cruel turns of plot, INGRID SULLA STRADA served as Rondi's commentary and condemnation of bourgeois conventions, much in the way Fellini and Pasolini used extreme cinematic drama to express their dissatisfaction with Italian society. Thus the film has a deeper sociological component than the simplistic brutality its plot might suggest, although the film makes for difficult entertainment at best.
Swedish model and actress Janet Agren stars as Ingrid, who ventures out of the pure Nordic snowscape at the beginning of the film to arrive into the cruel depravity of modern, claustrophobic Rome. There she befriends Claudia (Francesca Romana Coluzzi), the wild and noble hooker-with-a-heart-of-gold who helps Ingrid navigate the seamier side of Roman adventure. Additional cast members include Enrico Maria Salerno as depraved bourgeois Urbano, Bruno Corazzari as Alessandro the painter, and Franco Citti as Renato the local Neo Nazi leader.
The movie features a score by Carlo Savina (1919-2002), who at the time was nearly at the midpoint of his film music career. While the movie is largely forgotten, it contains one of Savina's loveliest melodies and is one of his most interesting scores. His score is largely built around a single main theme, which Savina adapted from a sumptuous melody he originally composed for 1964's AMORE MIO, which nicely accommodates INGRID's less affectionate romantic story - essentially serving as "Ingrid's Theme." Savina provides a likable amount of arrangements and variances of this theme to fit the intricacies of the storyline and treat the listener to a variety of instrumentations.
Chris' Soundtrack Corner is delighted to make this score available for essentially the first time. Only the Main theme and the pop organ track, "Walking Through the Falling Leaves," have been previously released. It's a deliciously engaging score from Carlo Savina, its thematic development nicely reflecting the story of the friendship between Ingrid and Claudia both in the beauty of its melody and, ultimately, our coming to know the heartbreak that leads Ingrid to surrender her soul. 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 film music journalist Randall D. Larson, who deconstructs the score's elements in detail.
ZitatChris' Soundtrack Corner proudly presents the CD soundtrack to the 1973 German-French-Italian co-production SANS SOMMATION (called WITHOUT APPEAL in the UK, worldwide English title WITHOUT WARNING), helmed by French director Bruno Gantillon and featuring a score by Daniele Patucchi. The film is an entertaining thriller that plays out satisfactorily.
Maurice Ronet stars as discredited police inspector Raoul Maury, who made the mistake as a policeman of going after a politician's nephew on drug charges. This resulted in his demotion to an archivist in the police records office. But when it is learned that he has a remarkable resemblance to Lt. Kieffer, an associate of wanted mercenary Pierre Capra, Maury is reinstated and assigned to impersonate Kieffer in order to get close to Capra and assassinate him. But during the assignment, Maury finds Capra to be a noble man and is caught up in shifting loyalties. The story is one of suspicion and trust, the contrast between two men, one resentful over failure and lost opportunity, the other craving loyalty and bitterly vengeful over betrayal.
Patucchi's music for SANS SOMMATION is one of more than 35 European movie soundtracks he composed throughout the 1970s and '80s. His gift for tuneful, pop-oriented melodies have served him well in this film and many others. The SANS SOMMATION score is a mixture of a single primary theme and a harsh, driving action motif – a score that maintains both emotive sympathy and energetic forward motion for the crime story. There is also a variety of pleasing diegetic source music. Patucchi's lovely main theme never grows old or unwelcome; it's one of his nicest melodies, enhanced by the softness of the featured keyboard.
Chris' Soundtrack Corner is delighted to make this score available, for essentially the first time, in a 15-track collection. Only five of Patucchi's score tracks have been released previously (as, of course, has the popular standard "Midnight, The Stars and You"). The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Aletta Heinsohn and 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.
ZitatChris' Soundtrack Corner proudly presents the CD soundtrack to Il Sorriso Del Ragno, composed by Daniele Patucchi. The title of this 1971 Italian film is properly translated into English as "The Spider's Smile," but the film, if known at all, is probably best recognized by its International English title, Web Of Deception. It's the only film directed by Massimo Castellani, who had better success as a script supervisor and a second unit or assistant director.
Based on a script written by Italo Gasperini and Armando Morandi, with dialogue provided by Fabio Piccioni, Il Sorriso Del Ragno is a crime thriller disguised as a travelogue. Ranging from location shooting in France and multiple regions of Greece, cinematographer Giorgio Tonti – not to mention the film's cast – must have certainly enjoyed the opportunity filming in the many picturesque Aegean landscapes used in the film.
The story follows private investigator and ladies' man Tony Driscoll; he's got a good record at recovering stolen goods, and so when thieves make off with $5 million in jewels from a French bank, the insurance agency covering the stolen gems hires him to get them back. Or, is he just out for himself? The plot makes the most of this question, and its eventual solution.
A self-taught musician and composer, Daniele Patucchi was born in 1945 in Turin. By the time he began writing and performing music professionally he was adept in a wide range of styles, from jazz and rock to classic and also knew his way around a bank of digital synthesizers. With a gift for tuneful, pop-oriented melodies which served him well across more than 35 movie soundtracks. His music for Il Sorriso Del Ragno is organized around five central musical ideas. Three of them – Main, Suspense, Action themes – form the lion's share of the score's thematic architecture and serve to enhance the adventure, tension, and intrigue as the story plays out. Additional musical ideas cover the film's adventures in Corinth and provides for source music for other settings the characters visit.
Il Sorriso Del Ragno is an effective and enjoyable score. It possesses a complementary thematic unity through recurrences of its primary motifs, which proffer enough variation in their treatment to make for a compelling – and often toe-tapping – listen away from the film itself.
Chris' Soundtrack Corner is pleased to make this score available for essentially the first time (only three tracks have been previously released). Additionally, six tracks that were not used in the movie have been added as bonus tracks: alternate or varied presentations composed for the movie or re-arranged for use on one of CAM's promotional library music records.
The Il Sorriso Del Ragno soundtrack album is produced by Christian Riedrich and mastered 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. -
Von Kronos kommen demnächst weitere CDs: Piero Umilianis Musik für TV-Doku Storia e preistoria, Laurent Eyquems Score zu dem Historiendrama Blood on the Crown und Andre Matthias Hörspiel-Komposition Farewell Gulsary.
ZitatKronos Records is proud to present the soundtrack to the STORIA E PREISTORIA docu-film composed by none less than legendary PIERO UMILANI (composer of ARAGOSTA A COLAZIONE, AFRICA TO-DAY)
This title was released on vinyl in 1972 and since than an absolute rarity and coveted gem, on the Omicron label, A true collector's item. The music on STORIA E PREISTORIA can be best described as an the mystichal romanticised atmospheres of civilizations bygone as viewed through 1972 Made In Italy viewing spectacles, all with a very heavy personal Umiliani feel to it. A real gem that you cannot afford to miss. A real must for Piero Umiliani fans and fans of 1970's Italian scores, documentaries and library music!
This is the first time ever that STORIA E PREISTORIA is releaseds on CD format and it is strictly Limited To 300 Copies.
ZitatKRONOS RECORDS is proudly present the soundtrack to BLOOD ON THE CROWN ("STORBJU" from 2021), the story of which deals with the events that lead to the 7th June 1919 Maltese uprising against their British colonizers; that went down in history books as "Sette Giungo"; a revolt that started as a protest against the price of bread, that years later culminated with independence of the Maltese islands. The film stars 2 giants of cinema, iconic British actor Malcolm McDowell (star of classics like TIME AFTER TIME, STAR TREK: GENERATIONS, CALIGULA ,CAT PEOPLE and Stanley Kubrick's A CLOCKWORK ORANGE among others) and Harvey Keitel of Martin Scorsese's MEAN STREATS and TAXI DRIVER fame, THE DUELLISTS, THELMA &LOUISE, star of THE PIANO, Tarantino's RESERVOIR DOGS and PULP FICTION) and the direction of Davide Ferrario.
The music was written by none less than French multi-award winning composer LAURENT EYQUEM, famous for his work on scores like NOSTALGIA, COPPERHEAD, CLASH OF FUTURES, MOMENTUM, RABID DOGS and many others; who wrote a truly beautiful score, highly eclectic and dramatic, as the events of the film. It dives into the psyche of the protagonists and also the brooding moods, the turns and events in both the smaller and larger scale of the story. The more tranquil pieces have a European flavour to them with a hint of Middle Eastern touches, reflecting very much the Maltese being at the centre of Mediterranean Sea, a nation invaded through the millenia but also a hub of European, African and Eastern commerce and culture cross pollination, even most of the more uptempo tracks have ethnic style percussions keeping them in rhythm, anchoring it more in 1919 Malta! The composer simply nailed it!
It is our privilege to work this immensely talented composer on this first release together, the first but sure no the last, hang on in there for more to come!
ZitatKRONOS RECORDS proudly presents the soundtrack to FAREWELL GULSARY (2021). Famous Kyrgyz writer Chingiz Aitmatov's novel “Farewell, Gulsary!“ deals with old age, loss, and disenchantment but at the same time celebrates the beauty of life and what we make of it. On this long night in the mountains Tanabai reflects on his life while we in turn learn about Gulsary's, told from the perspective of the horse itself. Sensitively written by Aitmatov and first published in 1963, the wistful story was adapted as a two-part radio play for German MDR radio by award winning director Heike Tauch under the title “Abschied von Gülsary“ in 2021.
The music is the work of our friend Andre Matthias (THE LIGHT THIEF, FOUR ASSASSINS, WISH YOU WERE HERE, GAZA MON AMOUR). As always Andre delivers the goods with his beautiful, heartfelt score for this radio play. The music has an ethnic flavour to it, transporting you to the mountains of Kyrgyzstan but more precisely into Gulsary and Tanabai's hearts and souls.
The first 50 people to purchase this CD along 2 full priced CDs directly from our website will also receive the CD of Andre Matthias' CONTROL for free! We highly recommend checking out THE LIGHT THIEF, FOUR ASSASSINS and GAZA MON AMOUR) if you are not familiar already with the music of this amazing composer.
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Ja, die kenne ich. Besser als nichts, aber doch nicht wirklich befriedigend. Ich frage mich ob man Judex so einfach neu einspielen kann. Gerade diese schlank besetzten frühen Jarres hatten schon irgendwie einen bestimmten Sound, ich weiß nicht, ob man den so einfach in einer neuen Aufnahme reproduzieren kann.
Danke für die Info mit Les yeux, hatte mich immer gefragt, woher das Material für die CD kam.
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vor 11 Stunden schrieb Stefan Schlegel:
Es ist natürlich schon eine nette Sache, alle frühen Jarre-EPs bis 1962 jetzt mal vereint auf einer Doppel-CD zu haben. Wenn ich mich noch daran erinnere, wie teuer damals in den 80ern und 90ern fast alle diese französischen EPs waren bzw. wie überteuert sie auf dem Second Hand-Markt angeboten wurden, dann ist so was wie diese Veröffentlichunng natürlich auf jeden Fall ein echter Gewinn. Bin daher auch am Überlegen, ob ich mir das zulege, da ich zwar ein paar der Original-EPs wie LA GÉNÉRATION DU DÉSERT oder THÈRÉSE DESQUEYROUX in der Sammlung habe, aber nicht alle und von manchen nur uralte Kassetten-Aufnahmen.
Ca. 50% der Sachen findet man zudem auf der alten PlayTime-CD, von der es aber zwei Versionen gab. Selbst habe ich die erste CD-Version von 1995 mit dem Titel "Musiques des Films 1958-1964" - zu dieser sehr schönen CD hatte ich an 1995 auch eine Rezension in Jordan Jurtschaks damals Scoretime-Heftchen geschrieben gehabt. 10 Jahre später kam dann ebenfalls von PlayTime eine Neuauflage heraus mit dem Titel "Maurice Jarre - Ma période francaise". Die beiden CDs unterscheiden sich dahingehend, daß die von 1995 die vier EP-Tracks aus LA MAIN CHAUDE enthielt, während diese auf der Neuauflage fehlten und durch die Tracks aus LES ANIMAUX ersetzt wurden. Eine merkwürdige Entscheidung. Zudem enthält die Neuauflage noch die 5 Minuten aus dem 1956er-Kurzfilm L´UNIVERS D´UTRILLO, die erstmals Mitte der 50er schon auf dem Vega-LP-Sampler "25 Ans de Musique de Cinéma" veröffentlicht worden waren (den Vega--Sampler gab es später dann auch als Disques Cinémusique-CD).
Komischerweise ist die Neuauflage der PlayTime-CD bei Discogs teurer als die Erstauflage von 1995. Die Erstausgabe ist durchaus erschwinglich:
https://www.discogs.com/de/release/10228239-Maurice-Jarre-Musique-De-Films-1958-1964Ah, ausgezeichnet ich hatte immer nur die neuere Playtime im Blick! Mir geht es ja v. a. um Yeux, daher würde es die auch tun. Schade nur, dass es seinerzeit "Judex" auf keine EP geschafft hat.
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vor 1 Stunde schrieb Lars Potreck:
Die Webseite von KeepMoving Records ist aktuell nicht erreichbar. Ich hatte meine CDs glücklicherweise auch noch bekommen.
Die ist in der Tat schon seit Wochen nicht mehr aktiv.
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Ja, dass ist natürlich alles richtig. Und letztendlich habe ich mir die CD ja auch mal auf meine Liste gepackt, allein weil ich die frühen Sachen von Jarre auch mag. Die Playtime-CD kostet bei Discogs inzwischen auch schon mindestens 50 Euro, die neue Fremeaux macht diese Veröffentlichung auch nicht überflüssig, da anscheinend ja nur dort das Material aus "Les yeux sans visage" zu finden ist.
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vor 5 Stunden schrieb Stefan Schlegel:
Obwohl Fremeaux eigentlich ein offizielles Label ist, scheint man sich inzwischen auch hier - wie schon bei ihrer Delerue-Doppel-CD vom letzten Jahr - nicht mehr die Mühe zu machen, noch lange erst nach Originalbändern zu suchen und kopiert lieber ab ohne groß noch Lizenzen zu zahlen, da alle Scores auf dieser Doppel-CD eh längst Public Domain sind in Europa. Durch die ganzen Digital-Vorlagen der Bibliothèque Nationale de France (BNF) mit ihrer "collection sonore", die seit mehreren Jahren auf allen Streaming-Plattformen und auch auf Youtube abrufbar sind, ist es natürlich auch ein leichtes Spiel geworden, diese alten französischen EPs von Ende 50er/Anfang 60er nurmehr von dort zu rippen. Ich nehme daher stark an, daß bei dieser Doppel-CD überwiegend die BNF-Digital-Downloads als Vorlage gedient haben, an die jeder inzwischen so einfach rankommt.
Insofern dürfte diese Edition im Endeffekt kaum besser ausfallen als die Jarre-Doppel-CD vom französischen Bootleg-Label RDM von 2019, auf der ca. 90% derselben Tracks wie auf der Fremeaux-CD bereits enthalten waren:
https://www.rdm-edition.fr/fr/cd-musique/maurice-jarre-maurice-jarre-musiques-de-films-a001647192-3125127211423-2144.html?search_query=maurice+jarre&results=6Ja, habe ich auch schon vermutet, auch bei einigen der jüngsten NST-Veröffentlichungen des Labels, wie etwa der Yma-Sumac-Compilation sah das alles nicht so wirklich koscher aus.
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Von Fremeaux & Associes kommt am 8. April das Doppelalbum 'Maurice Jarre - Bandes Originales de Films 1959 - 1962' - Compilation mit EP-Programmen früher Jarre-Filmkompositionen:
ZitatMaurice Jarre est le grand compositeur de musiques de films français, ses bandes originales auront marqué le cinéma mondial de toute la seconde moitié du XXe siècle. Cette sélection réalisée par Olivier Julien revient sur sa première période, lorsqu’il est alors le jeune directeur musical du TNP de Jean Vilar et qu’il signe son premier succès hollywoodien. Il compose pour Georges Franju, Jean-Pierre Mocky ou Gérard Oury et se fait remarquer à l’international avec la musique du Jour le plus long. Un passage clé dans la vie du compositeur, qui enregistrera ensuite pour David Lean, Alfred Hitchcock, Luchino Visconti ou encore Clint Eastwood. Patrick FRÉMEAUX
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Im Mai bringen Invada Records nun doch noch eine CD mit dem Score.
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Von Waxwork Records kommen in diesem Monat die CD-Premieren von zwei Horror-Scores aus den 1980er Jahren: Jerry Lamberts The Texas Chainsaw Massacre 2 (auch auf Vinyl) und David Hughes und Martin Coopers C.H.U.D.
Zitat"Incoming mail!" Waxwork Records is thrilled to present the Chainsaw Family with some prime meat! THE TEXAS CHAINSAW MASSACRE PART 2 Original Motion Picture Score by Jerry Lambert! Written and directed by Tobe Hooper, THE TEXAS CHAINSAW MASSACRE PART 2 is a 1986 dark comedy horror film starring Dennis Hopper, Caroline Williams, Bill Moseley, and Jim Siedow. The plot follows a radio host that is victimized and captured by Leatherface and his cannibalistic family while a former Texas Marshall hunts them down.
Waxwork Records is proud to release the complete original film score by composer Jerry Lambert for the very first time in any format. Sourced from the original 1986 master tapes and then mixed and sequenced into a cohesive album listening experience by the composer himself, the score features over 90 minutes of dark musique concréte by utilizing musical cues, synthesizers, drones, field recordings, audio manipulation, wind, tape loops, animal snarls, and sampling.
Waxwork Records is excited to present the official TEXAS CHAINSAW MASSACRE PART 2 score on CD with new artwork by Robert Sammelin.
The Texas Chainsaw Massacre Part 2 Original Morion Picture Score Features:
THE COMPLETE 1986 FILM SCORE BY JERRY LAMBERT ON CD
AVAILABLE FOR THE VERY FIRST TIME IN ANY FORMAT
SOURCED, MIXED, AND MASTERED FROM THE ORIGINAL MASTER TAPES BY THE COMPOSER
NEW ARTWORK BY ROBERT SAMMELIN
ZitatWaxwork Records is proud to present C.H.U.D. Original Motion Picture Soundtrack! In close partnership with the film's composers Martin Cooper and David Hughes, we located the original 1984 master tapes, restored them, and mixed and mastered the complete film music to create the definitive and official C.H.U.D. soundtrack album release.
Released in 1984, C.H.U.D. has gained a devoted cult following amongst B-Movie Horror fans. The film is widely referenced in pop culture via The Simpsons, Archer, and most recently, Jordan Peele's Us. C.H.U.D. has also served as a launching pad for several actors such as John Goodman (Roseanne, The Big Lebowski, Raising Arizona), Daniel Stern (Home Alone), and John Heard (Home Alone).
The primitive electronic score composed and performed by Martin Cooper and David Hughes captures the seedy, grim landscape that embodied early 1980s NYC via synth drones, sound design, loops, and arpeggiated notes.
Waxwork is thrilled to present the complete film music to C.H.U.D. on CD package featuring art by Ghoulish Gary Pullin, gatefold jackets with matte satin coating, and more.
C.H.U.D. Original Motion Picture Soundtrack Features:
Re-Mastered From The Original 1984 Master Tapes
Artwork By Ghoulish Gary Pullin
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Von Dragon's Domain Records gibt es im März die 'Ernest Gold Collection - Vol. 1' mit seinem späten Score für Safari 3000 (1982) sowie den überlebenden Cues aus früheren Arbeiten der 1940er und 1950er Jahre, David Spears' Exterminator 2 (1984) sowie Lee Holdridges Musik für die Miniserie Atomic Train (1999).
ZitatDragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold (EXODUS, TOM HORN, WALLENBERG: A HERO’S STORY) from several projects in his rich filmography for the very first time.
While the composer is best remembered for his acclaimed scores for Stanley Kramer and Otto Preminger, the B-movie projects earlier in his career presented plenty of musical gold of their own and with the first volume of THE ERNEST GOLD COLLECTION, we are pleased to offer a sampling of these, ranging from his second film score in 1946 to one of his last works in 1982. These tracks demonstrate Gold’s versatility in a number of different motion pictures throughout three decades of film scoring.
THE ERNEST GOLD COLLECTION, VOLUME 1 includes music from EXPOSED, SMOOTH AS SILK, THE NAKED STREET, UFO, MAN ON THE PROWL, WINK OF AN EYE and concluding with his score to SAFARI 3000, also known as TWO IN THE BUSH from 1982.
Ernest Gold came to the United States from Vienna in 1938, prompted by Hitler’s invasion of Austria, and started working as a piano accompanist and as a popular songwriter in New York City. Growing disillusioned by songwriting, Gold headed west in 1945, following an interest in writing music for Hollywood films. Within two weeks of his arrival in early July, Gold was quickly put to work scoring THE GIRL OF THE LIMBERLOST for Columbia Pictures. He would score forty B-movies of all types for numerous studios through the late 1950s for a variety of studios. Gold never lost track of his Viennese musical heritage and contributed first-rate musical scores to dozens of films big and small.
He began studying with composer George Antheil in 1947, early in his Hollywood career. During the 1950s he began orchestrating Antheil’s scores, and when Antheil began scoring Stanley Kramer’s pictures, Gold came along with him. When Antheil died before finishing the score for Kramer’s next film, the post-apocalypse drama, ON THE BEACH (1959), Gold assumed his role as Kramer’s primary composer, scoring such films as INHERIT THE WIND (1960), JUDGMENT AT NUREMBERG (1961), and Kramer’s blockbuster comedy, IT’S A MAD, MAD, MAD, MAD WORLD (1963). Meanwhile, his association with Kramer led to other A-list movies, including Otto Preminger’s EXODUS (for which Gold won an Academy Award for best score and two Grammys for best soundtrack album and best song) and Sam Peckinpah’s war movie CROSS OF IRON (1977). Gold's contributions were recognized with four Academy Award nominations and three Golden Globe nominations. His work for ON THE BEACH also won Gold a Grammy Award. The Hollywood Walk of Fame has also recognized him with a star on the famed Hollywood Boulevard. Gold composed the music for the 1968 Broadway musical I’M SOLOMON. His classical works also included a piano concerto, a string quartet, and a piano sonata.
Dragon’s Domain Records presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold from several projects in his filmography,appearing 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 Randall Larson.
THE ERNEST GOLD COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE ERNEST GOLD COLLECTION, VOLUME 1 is expected to begin shipping the week of March 16th, 2022.
ZitatDragon’s Domain Records, to be distributed through buysoundtrax.com, presents EXTERMINATOR 2 , featuring music composed by David Spear for the sequel to THE EXTERMINATOR, written and directed by Mark Buntzman, starring Robert Ginty, Frankie Faison, Deborah Geffner and Mario Van Peebles as X.
Released in 1984, EXTERMINATOR 2 features the return of war veteran John Eastland (Ginty), now in New York City, who nightly patrols the city streets with his army-grade flame thrower strapped to his back and trademark welder’s mask to protect his identity. After a gang of thugs brutally murders an elderly couple inside their convenience store, the Exterminator introduces himself by cooking some of them alive while they try to escape. Their leader, X (Van Peebles), vows revenge on him. At the same time, Eastland reconnects with an old war buddy, Be Gee (Faison), who drives a trash truck for the city. By chance, Be Gee recently foiled another heist by the same gang when he rammed his truck into an armored car while X and his boys were cleaning it out. X takes his revenge on Eastland by murdering his girlfriend (Geffner), which prompts Eastland to team up with Be Gee and convert his trash truck into a hulking war machine. The climax of the film takes place in an abandoned factory where the Exterminator and his friend go medieval on X and his associates, providing enough revenge carnage for at least two sequels.
The music for EXTERMINATOR 2 was composed by David Spear, a prolific composer, conductor and orchestrator who worked on a hefty slate of films throughout the 1980s including AIRPLANE!, HEAVY METAL, AN AMERICAN WEREWOLF IN LONDON, GHOSTBUSTERS, MY SCIENCE PROJECT, THREE AMIGOS!, NO RETREAT, NO SURRENDER 2, MORTUARY ACADEMY and MAD DOG AND GLORY.
Spear composed and produced the music for EXTERMINATOR 2 entirely with synthesizers. He was brought aboard the project by agent Richard Kraft who at the time was employed at Cannon Films and was responsible for hiring the composers. The two main instruments Spear used to produce the score were the Yamaha DX-7 and an Oberheim DX drum machine. In addition to the underscore composed for the picture, Spear also penned a delightful love song with the help of Steve Goldring who wrote the lyrics and sang the duet with vocalist Lisa Donovan.
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 EXTERMINATOR 2, 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.
EXTERMINATOR 2 is a limited edition release of 500 units. EXTERMINATOR 2 is expected to begin shipping the week of March 16, 2022. Composer David Spear will sign the first 50 copies of EXTERMINATOR 2 sold through the website.
ZitatDragon’s Domain Records, to be distributed through buysoundtrax.com, presents ATOMIC TRAIN, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for the 1999 television mini-series directed by David Jackson and Dick Lowry, starring Rob Lowe, Kristin Davis, Esai Morales, John Finn, Mena Suvari, Don S. Davis and Edward Herrmann as The President.
Airing on the NBC network in 1999, ATOMIC TRAIN begins when a disposal services worker sneaks a nuclear bomb onto a freight train in order to avoid the few thousand dollars it would cost for a legitimate, secure transportation delivery. Unfortunately, the freight train he chooses is having a bad day, becoming a runaway when its brakes fail which leads to its derailing outside downtown Denver. When the bomb is discovered and eventually explodes during the rescue process, most of Denver is left in ruins. In the middle of this disaster, NTSB investigator John Seger (Lowe) helicopters to the rushing train to try and fix its brakes while his family happens to be at home in the threatened blast area and are waiting for his return.
In 1999 composer Lee Holdridge (THE BEASTMASTER, SPLASH, THE MISTS OF AVALON, OLD GRINGO) was in the midst of a prolific run of scoring made-for-TV movies after beginning his scoring career in 1970 with a variety of feature films. ATOMIC TRAIN was the first of two disaster miniseries Holdridge would score for NBC (followed in 2004 by the Seattle earthquake movie 10.5). The score is built around two distinctive themes – the first is a very effective percussively-driven suspense/danger motif with low brass filtering. The second is a warm theme for the family which heightens their bond and their struggle to reconnect when John is in danger on the train and later, when his family are threatened by the bomb.
Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.
Dragon’s Domain Records is excited to bring ATOMIC TRAIN to compact disc for the first time, mastered by James Nelson at Digital Outland under the composer’s supervision. The booklet includes exclusive liner notes written by author Randall Larson with the participation of the composer.
ATOMIC TRAIN is a limited edition release of 500 units. ATOMIC TRAIN will begin shipping the week of March 16th, 2022. The first 50 copies will be autographed by composer Lee Holdridge.
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ZitatQuartet Records, in collaboration with MovieScore Media, presents the original soundtrack album from the comedy feature film directed by Roger Michell, featuring Jim Broadbent, Helen Mirren and Matthew Goode.
In 1961, Kempton Bunton, a 60 year old taxi driver, steals Goya’s portrait of the Duke of Wellington from the National Gallery in London.
The five time Academy Award-nominated composer George Fenton has been writing for the cinema for more than 40 years. For some, he is known for his powerful political biopics, such as Gandhi and Cry Freedom; for others, he is the man behind the spirited music of comedies like Groundhog Day and You’ve Got Mail, or the sensually charged Dangerous Liaisons and Final Analysis. Over his career, his list of regular collaborators include Richard Attenborough, Neil Jordan, Ken Loach, Terry Gilliam, Stephen Frears and Andy Tennant. In the field of television, Fenton had scored most of the classic David Attenborough documentaries, such as Blue Planet and Planet Earth, which had also been turned into successful concert series. MovieScore Media released Fenton’s score for Trevor Nunn’s Red Joan (2019) starring Dame Judi Dench and Sophie Cookson.
In words of the composer “I was a child when the story told in The Duke actually happened, even though I can’t remember it. However, working on the film I frequently thought ‘there aren’t enough Kempton Buntons around now’ in any walk of life including my own – music. The wonderful eccentricity of the man against the backdrop of sixties Britain – so beautifully drawn in Roger Michell’s film. I tried to reflect that as well as the period and the social context in the sound of the score. It feels like an era of comparative simplicity and innocence. The story though is shot through with its own regrets about things unresolved and it’s that which finally lies at the heart of the film. I hope that comes through in the music too. We definitely need more Kempton Buntons and hopefully for me more films like The Duke.”
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ZitatNewly remastered edition. World Premiere CD release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 350 units.In collaboration with EMI Music Publishing and MK2 Films, Music Box Records proudly presents the premiere CD release of two Gabriel Yared scores: Zone rouge (Zone Red, 1986) and La Java des ombres (Shadow Dance, 1983).
In the 1980s, between two films for the younger generation of directors (Betty Blue, Camille Claudel...), Gabriel Yared also worked with more experienced filmmakers during this prolific era (Robert Enrico and Romain Goupil). For both films, the synthetic and often surprising sonorities invented by Yared and his close collaborator Georges Rodi give an unexpected feel to the whole – one that could be described as metallic or chilling, groovy or dreamlike. The marriage of different musical colours between the synths and acoustic instruments expresses the beautiful weirdness of these two unconventional scores.
Supervised by Gabriel Yared, this present edition has been fully remastered from complete scoring session elements. The package includes a 8-page booklet featuring exclusive liner notes by writer Nicolas Magenham, discussing the films and the scores. This is a limited edition of 350 units.
https://www.musicbox-records.com/en/cd-soundtracks/11441-zone-rouge-la-java-des-ombres.html
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ZitatIn collaboration with Camera One, Winds and Gaumont, Music Box Records presents on CD the original motion picture soundtrack of the documentary Le Chêne et ses habitants (Heart of Oak, 2022) composed, orchestrated and conducted by Cyrille Aufort (Splice, A Perfect Man, Ice and the Sky).
Once upon a time, there was the story of a 210-year-old oak tree and its kingdom. The film gathers an extraordinary cast: squirrels, insects, birds, ants, field mice… A vibrant, humming and marvellous world whose entire destiny revolves around this oak.
For this ode to life and biodiversity, Cyrille Aufort composed a very delicate score, based on a lyrical melody for choir and orchestra. The composer mixed some electronic textures in his orchestral palette in order to represent the sensory and poetic world of the animals that inhabit the oak tree. The album also features Tim Dup's original song written for the film and arranged by Cyrille Aufort.
Le Chêne et ses habitants, directed by Laurent Charbonnier and Michel Seydoux, is released in French theaters in February 23, 2022.
https://www.musicbox-records.com/en/cd-soundtracks/11442-le-chene-et-ses-habitants.html
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ZitatQuartet Records, in collaboration with Mercury Music Publishing Ltd. and the Carlo Savina estate, is proud to present the worldwide premiere release of fan-favorite giallo score from Mario Bava’s cult movie LISA AND THE DEVIL (1974), with an iconic score by Carlo Savina.
Mario Bava’s LISA AND THE DEVIL stars Telly Savallas along with Elke Sommer as the titular Lisa, who gets tangled in the web of a deranged family of noblemen who might be getting help from the devil himself. Bava’s movie actually exists in two versions. After Bava completed his own cut, producer Alfredo Leone re-edited and re-entitled it as THE HOUSE OF EXORCISM (this was after the success of THE EXORCIST). The new version featured newly shot scenes with Sommer (the only original cast member to return) and Robert Alda playing the priest tasked with the exorcism. Bava’s movie was spliced into this story only as flashbacks.
Long thought to be lost, Carlo Savina’ score is a wonderful romantic horror score with a main theme inspired by Joaquín Rodrigo’s “Concierto de Aranjuez” (Bava used to play the piece on the set, so its appearance is not surprising). The thematically engaging score features a music box theme for the appearance of the nefarious Leandro and Edda dell’Orso’s vocals are used in haunting flashback scenes. The CD features only music written for LISA AND THE DEVIL, since THE HOUSE OF EXORCISM cut features all kinds of uncredited contributions that do not mesh well with Savina’s score.
The program features all the music written by Savina for the film in beautiful pristine stereo. Produced and assembled by Claudio Fuiano, mastered by Chris Malone, the package includes an 8-page booklet with liner notes by Gergely Hubai discussing the film’s complicated history and, of course, the score.
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ZitatQuartet Records, in collaboration with Sermi Film Edizioni Musicali and Sonor Music Editions, presents a remastered and expanded CD edition of Riz Ortolani’s erotic thriller score for Umberto Lenzi’s COSI DOLCE’… COSI’ PERVERSA.
In 1969/1970, Umberto Lenzi helmed a trilogy of three giallo thrillers, all starring American-born actress Carroll Baker. The middle film of the trilogy, COSI DOLCE’… COSI’ PERVERSA (aka SO SWEET, SO PERVERSE) stars Jean-Louis Trintignant as a man who escapes his icy marriage with a mysterious blonde, played by Baker. Trying to help the woman out of an abusive relationship, our hero finds himself in a web of deceit that he is not prepared to handle…
The middle part of this trilogy was scored by Riz Ortolani. The score is anchored by the title song “Why?” with lyrics by Norman Newell. A lyrical version of the theme appears three times during the movie – besides the beginning and the end, it appears once in the middle for Jean and Nicole’s idyllic holiday of water-skiing and diving. But is far from being a monothematic score – besides the song and its variations, it also offers thrilling suspense cues and wild party music for some daring erotic escapades.
Previously released on CD by Hexacord in 2001 but long out of print, this expanded edition has been produced by Claudio Fuiano, mastered by Chris Malone, and includes an 8-page booklet with liner notes by Gergely Hubai.
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ZitatQuartet Records, in collaboration with Beat Records, presents a premiere CD edition of classic Piero Umiliani scores for Umberto Lenzi’s double-bill ORGASMO and PARANOIA.
In 1969/1970, Umberto Lenzi helmed a trilogy of three giallo thrillers, all starring American-born actress Carroll Baker. The first film in the trilogy is ORGASMO (entitled PARANOIA in the USA, which has always caused confusion between the two films), which stars Baker as a woman who takes in the troublesome young driver Lou Castel – who soon brings along his half-sister and the duo quickly starts gaslighting their host. The third film, entitled PARANOIA (aka A QUIET PLACE TO KILL), features Baker as a female race car driver who strikes up an unusual friendship with her ex-husband’s new wife, realizing that she might be the one for her.
Besides Baker, the two films are connected by the scores of Piero Umiliani, though contractual obligations lead to him not receive due credit on PARANOIA, which was credited to the Spanish composer Gregorio García Segura (who was not involved with the film at all). The music for ORGASMO features two recurring songs – “Fate Had Planned It So” and “Just Tell Me” – that were used as part of the mental games played on Baker’s character.
Previously released on two separate LPs by Four Flies Records, this program features all the music available from both movies. Mastered by Enrico De Gemini and Claudio Fuiano, with additional restoration by Chris Malone, the package includes a 12-page booklet with liner notes by Gergely Hubai.
Music Box Records: Un homme amoureux / Premier voyage (Georges Delerue)
in Scores & Veröffentlichungen
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https://www.musicbox-records.com/en/cd-soundtracks/11789-un-homme-amoureux-premier-voyage.html