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Douglass Fake, Prolific Soundtrack Producer, Has Died at 72 Douglass Fake, an independent record producer (with over 700 credits) and a champion of classic film music restoration for four decades, died after an extended illness on Saturday morning, July 13, in Richmond California. Mr. Fake’s many producing credits include the first complete restoration of Leonard Bernstein’s On the Waterfront, a massive 5-CD release of Elmer Bernstein conducting his music from The Ten Commandments and the premiere of a half-dozen Henry Mancini underscores including Breakfast at Tiffany’s (previously only available in abridged pop recordings). He also supervised the re-recording of a dozen albums of classic film music, most recently Bernard Herrmann’s music for Alfred Hitchcock’s The Man Who Knew Too Much, as well as Miklos Rozsa’s Ivanhoe, Julius Caesar, and Spellbound. Mr. Fake was born on February 23, 1952, in Massachusetts to Charles and Jeanne Fake, an Air Force family that moved frequently from east to west coast and back again. Colonel Fake served as an SAC wing commander, and notably pushed the launch button on John Glenn’s historic orbital mission in 1962. That also placed Douglass, his older brother, Glenn, and younger sister, Peggy, in the middle of the Cuban Missile Crisis at Patrick AFB south of Cape Canaveral. His experience would be immortalized musically in one of the record albums he produced, Jerry Goldsmith’s Matinee. Like many fans turned professional, Mr. Fake’s passion emerged at an early age. His sister Peggy recalls, ”We shared a bedroom in grade school, and Doug played the soundtrack to Taras Bulba on repeat endlessly, while slashing the air (conducting most likely) with his plastic sword.” The theaters on base changed programs almost daily, so he spent more time at the movies than watching TV, studying the credits on screen, scrutinizing the posters hung in the lobby and humming the tunes he heard as he searched the small record shop at the base PX. He bought every soundtrack LP he could find, but many film scores he sought were unavailable. Mr. Fake was a boxer and trumpet player in high school, and enrolled in the University of Colorado to study music in 1970. His brass instructor was Hugh “Mac” McMillan, a fearsome professor who reputedly told a young Glenn Miller that he “had no future in music.” Fake survived the ordeal, and met a fellow band student by the name of Mary Ann Jacobs—after a “meet cute” involving the schools’ real life and stuffed Buffalo mascots, they became friends and eventually married in 1974. While in college, Douglass wrote and recorded a number of symphonic band pieces, and for a while it looked as though Mr. Fake might follow in Mac’s footsteps as a music teacher. His then-current job at the Discount Records chain was not enough to support the family, so when Mary Ann was offered a job as a CPA, they relocated to San Francisco. Mr. Fake soon set up shop with a table of used and rare soundtrack LPs in a movie poster shop called Cine Monde on Vallejo street. But over the course of a few years, his sales were sufficient to assume the store’s lease and rename the shop Intrada. The only problem? There was a vast, unreleased catalog of film music that he and other aficionados sought to hear apart from the movies. So, in 1985 he assembled a small band of investors and cold-called composer Basil Poledouris, who had risen to prominence after writing the score to Conan the Barbarian. He introduced them to MGM music supervisor Harry V. Lojewski and a deal was struck to release the label’s very first soundtrack—Red Dawn starring Patrick Swayze and Lea Thompson. That LP sold for a whopping $40 at the time, but it proved that there was a market for albums more focused on underscore than pop songs. More importantly, it led to a crucial introduction that would launch the fledgling label and a lifelong friendship. Mary Ann Fake recalled the stunned look on her husband’s face as she handed him the receiver over the dinner table. “Doug, Jerry Goldsmith is on the phone. Yes, that Goldsmith!” The storied composer of Patton and Chinatown had learned that Intrada was willing to release his next score, Poltergeist II, and wanted to talk to the producer personally. It was a huge financial risk for Fake, but it led to 85 releases of Goldsmith music, many produced shoulder-to-shoulder by the two men. Notably, they premiered three favorite scores in new recordings, including Islands in the Stream, which led to an ongoing series of albums presenting music otherwise lost to the ages. Intrada’s success with Goldsmith opened the doors to many other partnerships, including Laurence Rosenthal, an Oscar nominee for Becket, with 19 albums on the label including The Miracle Worker and Clash of the Titans. Bruce Broughton, an Oscar nominee for Silverado, followed with 50 albums including the best-selling Tombstone, still in print. Oscar-winner James Horner of Titanic fame released 40 albums on Intrada, including Troy and several of his animated films. Sara Horner recalls the pleasure the association brought her late husband. “Doug meant a great deal to James. He always supported his music, both technically and artistically, with great care. For James, this support was invaluable.” This care extended even to Horner’s modest first score, The Lady in Red, which premiered on the label 45 years after the film’s debut. Fake was generous with colleagues and competitors alike, often helping to source missing parts, explain historical anomalies, and tackle projects near and dear to his heart—even if they ended up on someone else’s label. “Doug was a true pioneer who kindled the passion for film music when it was a mere ember,” says Lukas Kendall, producer for Film Score Monthly. “He was also a mentor and collaborator who was endlessly knowledgeable with an incredible ear for detail. I will always remember his enthusiasm for a new album, score or composer.” Considering his ear for soundtracks and musical skill, it may seem surprising that Douglass never seriously pursued composing for film. He got the opportunity from Jeff Johnson, his store manager since 1990, to write music for an indie feature called Holly vs. Hollywood. Johnson chuckles as he remembers, “The movie never got a proper release, but we sold a lot of copies of the soundtrack at the store! I told him that he could have a successful career in the industry, working as an orchestrator.” His success led to some interest from an agent in Los Angeles, but ultimately Douglass chose to focus on his family, which had now grown to include two daughters, his store and label. Running a retail operation in the 1990s was harrowing, especially with traditional distribution methods that required shipping thousands of copies in small batches to stores around the world—only to wait months for reimbursement or, worse, returns of unsold, shopworn CDs. This led Mr. Fake and his team to close up shop in San Francisco, move to a new location in the Oakland Hills near his home, and take their business online. The resulting economies set the stage for his most prolific years, averaging 40 albums a year for a decade. Big sellers like Alan Silvestri’s Back to the Future and Goldsmith’s Alien kept the operation afloat and enabled Mr. Fake to pursue more obscure favorites. In addition to being an artist-friendly label, Mr. Fake was scrupulous in all business dealings, so that he was able to work with every major film studio in Hollywood, starting with 20th Century Fox, Warner Bros., Paramount, Sony, MGM/UA and Universal. His reputation even led to an unprecedented offer from Walt Disney—which customarily does not license soundtracks—but led to physical media releases of new titles like The Avengers and Toy Story 3 as well as chestnuts like Hocus Pocus and 20,000 League Under the Sea. As the market for streaming music explodes, the collectors who prefer CDs cling to their physical media, and with good reason: more than half of Intrada’s output is still unavailable on streaming platforms, and may never be. But because of Mr. Fake’s efforts, the studios now possess pristine digital copies of what were often decaying, unplayable tapes, acetates and ancient film that have been lovingly restored and returned to their vaults. So maybe one day, it all could be available again. But why does someone commit themselves to what must be acknowledged to be a niche market, and obscure interest? Millions of people enjoy the movies, but a relatively small percentage actually recall the underscore, if they notice it at all. No less an authority than Bernard Herrmann once said “No one knows why films need music, but no film is complete without it.” Douglass Fake had his reasons. At the 30th anniversary celebration of his company, before a crowd of more than 100 composers, professionals and fans in LA’s Walt Disney Concert Hall, Fake said, “I had a disagreement with an instructor in college about film music vs. concert music. He actually threw me out of class when I proved that Ralph Vaughn Williams’ Seventh Symphony had its origins as a soundtrack (in Scott of the Antarctic). I vowed then to prove that film music was as substantial as any classical composition, and deserved to be brought from the background into the foreground. And that’s what we do.” Today, there remains a healthy slate of projects in various stages of completion at Intrada, all bearing Douglass Fake’s influence if not direct participation. Roger Feigelson, VP of business affairs, says “We plan to continue operation of the store and label well into next year, to celebrate Intrada’s 40th anniversary. We’re excited to share some titles that have been in development for a long time. The business is healthy. the market is stable—it just won’t be as much fun without Doug. We miss him already.” Mr. Fake is survived by his sister Peggy, his wife Mary Ann, daughters Regina and Veronika, and granddaughter Amelia. A celebration of his life and other tributes will be announced shortly. For more information visit Intrada.com Joe Sikoryak, July 15

Kommt am 19.09. von Intrada:

Kommt am 8. August auf 3 CDs

Kommt am 18. Juli

THE FACULTY Composed and Conducted by MARCO BELTRAMI INTRADA ISC 485 For the 1998 Miramax horror film The Faculty, composer Marco Beltrami pulled out all the stops to deliver a scary, exciting and sometimes reflective score. The score features orchestral chaos and cacophony, strange whisperings and explosive action, as well as some moments of beauty. Hypnotic, Bernard Herrmann-like suspense cues appear, as well as a melancholy, a reflective theme for the bullied main character. At the core is a defiant students-strike-back theme, first brought in somewhat romantically, then later fully unfurled in larger form. A laid-back but determined anthem growls on electric guitar, then more gently on acoustic, over a slow-jam rock groove which pulses all through the score. Beltrami only had a few moments in between all of the mayhem to break out this theme, which reprises with heroic relief in the climactic action sequence, so he extended and developed it as a stunning concert piece for the end credits. For this release, Buck Sanders and Scott Williams pulled together the program from the original session masters recorded at Skywalker Sound in crisp, detailed sound quality. The 2-CD set features the 88-minute score plus a couple of extras. Check out the soundtrack trailer here: https://www.youtube.com/watch?v=MiwF55I3exU&t=1s In the film, the angsty teens of Herrington High are mean, brooding monsters and preyed-upon victims, roaming the halls every day spitting on, cursing, and being generally horrible to each other. So they were arguably asking for it when a mysterious extraterrestrial virus infected the faculty lounge and began to spread violently throughout the school, turning adults and classmates alike into ghoulishly grinning hosts that mask giant squid creatures. It’s a loud enough wake-up call for a small crew of misfit students to set aside their mutual loathing and band together to fight back—thus enacting a common high school wish fulfillment—killing those pesky teachers. CD 1 01. The Shadow (0:31) 02. Forget The Keys (1:20) 03. Offensive Coach (3:48) 04. Exchanging Glances (2:52) 05. Marybeth’s Fishing (0:30) 06. Casey (0:45) 07. Coach And Casey (2:05) 08. Teacher’s Eye (0:34) 09. She’s A Breeder (0:54) 10. Worm Takes A Dip (2:49) 11. Stan Quits (0:46) 12. Spring Shower (1:01) 13. Hot For Teacher (1:34) 14. Lounge Lizards (4:44) 15. Tattletale (1:57) 16. Parental Guidance (3:12) 17. Roof Surfing (1:07) 18. Casey Enters School (1:44) 19. Heavy Drinkers (0:44) 20. Ear Exam (4:45) 21. Library Talk (1:53) 22. Convincing Stan (0:43) 23. Pop. Pop. Fizz. Fizz (2:07) 24. Too Cool For School (2:38) CD 1 Total Time: 45:59 CD 2 01. Zeke’s Lab (5:53) 02. Just Say No (5:43) 03. Spectator Sport (1:05) 04. Drake’s A Fake (1:49) 05. Death Pose (0:41) 06. Drake And Bake (0:43) 07. Stan Has A Fan (1:34) 08. Stanning Tall (2:45) 09. Zeke And The Geek (2:31) 10. Ridden Hard (2:21) 11. Prep Talk (1:30) 12. Love Me Tender (1:55) 13. Marybeth’s Best (0:43) 14. Modest Mary (3:10) 15. Drugs Kill (4:18) 16. The Kids Are Alright (2:15) 17. Extra Credit (2:59) Total Score Time: 88:33 THE EXTRAS 18. Casey (Alternate Version) (0:46) 19. Too Cool For School (Demo Version) (2:31) Total Extras Time: 3:19 CD 2 Total Time: 46:00 https://store.intrada.com/s.nl/it.A/id.12771/.f

THE FUNHOUSE Music Composed and Conducted by John Beal Label: Intrada Special Collection Volume ISC 484 Film Date: 1981 Album Date: 2023 Time: 77:35 Tracks: 33 Complete score presented courtesy of Universal, mastered from the 24-track session tapes recorded by Rick Riccio, mixed by Matt La Point. Score recorded at Evergreen Studios in November 1980. Orchestrations by John Beal, Miles Goodman, Richard Ellis, Don James. Graphic CD package designed by Kay Marshall, informative booklet notes by John Takis. John Beal composes, conducts. Intrada Special Collection CD available while quantities and interest remain! Tracklist: 01. Funhouse – Theme (Main Title) (5:50) 02. God Is Watching (1:12) 03. Embryo (1:58) 04. No Escape (1:31) 05. Crystal Ball (0:16) 06. Scary Stuff (0:21) 07. All Alone No. 1 (1:31) 08. Too Serious (1:11) 09. Zena Dies (1:47) 10. Bad Idea (3:07) 11. The Unmasking (1:21) 12. No Place To Be (1:50) 13. Hang-Up (0:33) 14. Hatchet Job (1:19) 15. Liz And The Knife (3:13) 16. The Last Of Liz (0:55) 17. Losing Battle (4:54) 18. Manic Montage (2:29) 19. Monster Mashed (5:00) 20. All Alone No. 2 (0:54) 21. Funhouse – Theme (End Title) (1:32) Total Score Time: 43:28 THE EXTRAS 22. Funhouse – Theme (Alternate Main Title) (2:41) 23. Carousel March (2:50) 24. Carousel Waltz (2:54) 25. Merry-Go-Rag (1:47) 26. Zena’s Zingaresa (2:27) 27. Eatery Source (3:24) 28. Stripper Source (2:26) 29. Tee-And-A-Tease (4:46) 30 Organ Loop #9 (2:34) 31. Dementia Rag (1:02) 32. Cockeyed Calliope (John Berkman) (5:19) 33. Funhouse – Theme (End Title – Alternate Take) (1:31) Total Extras Time: 33:58 Total CD Time: 77:35 https://store.intrada.com/s.nl/it.A/id.12769/.f

https://store.intrada.com/s.nl/it.A/id.12393/.f Jay Chattaway Label: Intrada Special Collection Volume ISC 486 Film Date: 1985 Album Date: 2023 Time: 56:08 Jay Chattaway horror score is newly expanded on CD! Paramount releases, Dino De Laurentiis presents, Stephen King scripts from his own novelette, “Cycle Of The Werewolf”, Daniel Attias directs, Gary Busey, Everett McGill, Corey Haim star. Disabled pre-teen Marty Coslaw is convinced he knows who - or what - is behind the numerous grisly murders happening in his small home town in Maine. Wheeling about in his motorized wheel chair, given to him by his alcoholic Uncle Red and christened the Silver Bullet, Marty seeks proof of the existence of werewolves. Needing convincing are Marty’s loving but frustrated sister, his mom, the town Sheriff, the reverend and especially Uncle Red. One of those individuals is indeed a bona fide werewolf. King’s tale melds terror with friendship in equal doses, with tinges of family nostalgia tucked behind the scares. Composer Jay Chattaway anchors his score around a highly melodic major-key theme for the Silver Bullet that plays both in scenes with Marty on the move and serves as a freewheeling vocal. Another more emotional layer of the score comes with a minor-key theme, gentle and melancholy, which brings a sweet-sad timbre in key scenes, particularly when Marty’s sister seeks evidence supporting his claims and, in a highlight, when Uncle Red has another Silver Bullet prepared, the kind that shoots from a gun. In balance are the intense cues surrounding the mysterious killings, including some riveting chase cues, culminating in a fierce showdown between Marty with Uncle Red vs. the werewolf. The score covers considerable territory but remains cohesive via the primary musical motifs that recur throughout. Intrada presents Chattaway’s score courtesy Paramount Pictures, expanded from the previous issue and remastered from the original three-channel stereo mixes made by Alec Head in April & May 1985 at The Carriage House. John Takis offers informative notes, Kay Marshall designs strong packaging with flipper-style booklet cover. Orchestrations by Barb Luby. Jay Chattaway composes, conducts. Intrada Special Collection CD available while quantities and interest remain! 01. Main Title (1:58) 02. Arnie (1:27) 03. Marty’s Entrance (0:40) 04. Driving Home (0:39) 05. Marty’s Apology (1:55) 06. Stella And The Beast (2:24) 07. Marty Escorts Tammy (0:50) 08. Marty And Uncle Red (0:55) 09. Coming After Milt (3:38) 10. Town Paranoia (0:54) 11. Brady Gets It (1:11) 12. Red And Marty’s Drive (0:54) 13. The Hunt (1:42) 14. The Bog (3:00) 15. Bad Dream (1:17) 16. Silver Bullet Reveal (0:29) 17. Joyride (1:19) 18. Sneakout (1:31) 19. On The Bridge/Night Escape (2:32) 20. Looking For Mr. One Eye (3:00) 21. Garage Search (1:03) 22. The Reveal (1:34) 23. Teamwork (1:28) 24. The Ball Game and The Chase (4:02) 25. Reverend Approaches Bridge (2:20) 26. Garage Presence (2:19) 27. Making The Silver Bullet (1:13) 28. Beast Outside (2:02) 29. Fight To The Finish (1:50) 30. Transformation/Finale/Joyride Reprise (5:09)

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8905

https://store.intrada.com/s.nl/it.A/id.12576/.f Den Film mit Safan's Score gibt es auf YT, hatte Stefan Jania hier gepostet

https://store.intrada.com/s.nl?it=A&id=12349 CD3 und 4 hätten ja wohl auch auf einen Tonträger gepasst...

Hier kann man ruhig einen eigenen Thread dazu starten, oder?

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8736

Intrada

Erscheint am 28. Januar auf Intrada. Sehr schöne Ausgrabung eines TV-Movie Scores aus dem CBS-Katalog. https://www.dropbox.com/s/ofy70ljzqltl2df/Power and the Glory.mp3?dl=0

Hallo Board, ich trenne mich nach langen Überlegungen nun doch von meiner doch recht großen Sammlung (bis auf einige Ausnahmen). Es ist viel von Intrada, LA-LA LAND, FSM, Quartet dabei, viele OOP oder Sold outs. Wer Interesse hat kann mir gern eine Nachricht mit Preisvorschlägen senden. Ich bin mit jedem auf dem Board bis jetzt einig geworden ? Nach und nach werde ich die Liste auch mit eigenen Preisvorstellungen füllen aber mir fehlt die Zeit dafür momentan. https://www.dropbox.com/s/uolwux67gp7sucl/Verkauf.xlsx?dl=0 Den Zustand "Neu" als neuwertig interpretieren. Oft aus Folie ausgepackt 1-2 mal gehört und seitdem unangetastet. Frohes stöbern!

http://store.intrada.com/s.nl?it=A&id=11453 Habe ich ja mit den ca 75 Minuten recht gehabt...daß dann die Promo noch als Zugabe kommt...na ja...

http://www.intrada.net/phpBB2/viewtopic.php?f=12&t=7912

Nun auch Teil 3.

Neben dem Goldie gab es von Intrada auch noch diese 4 CD-Box. Disc 3 Count Your Blessings (1959) 01. Main Title (2:29) 02. Dinner Date (0:32) 03. London Tour (2:29) 04. Honeymoon (3:27) 05. The Carpet (0:31) 06. The Duke (1:04) 07. Charles Is Back (3:08) 08. Sigi/Sigi Can’t Sleep (5:20) 09. Good Morning (0:45) 10. Biarritz (1:50) 11. The Measles (2:04) 12. Sigi’s New Room (1:09) 13. The Long Carpet (1:04) 14. The Other Place (0:51) 15. The Visit (0:51) 16. Outing With The Duke/The Duke’s Wife (4:24) 17. The Museum (0:43) 18. Revolt (0:46) 19. Paris Tour With Sigi (2:08) 20. Man To Man Talk (0:18) 21. Sigi Runs Away (4:52) 22. End Title (0:19) Score Time: 41:13 The Extras 23. Should I (Nacio Herb Brown & Arthur Freed) (2:25) 24. Liebestraum No. 3 In A-Flat Major (Franz Liszt) (1:34) 25. Swan Lake Ballet Act I – Excerpts (Pyotr Ilyich Tchaikovsky) (3:21) Extras Time: 7:22 Total Time: 48:41 Love on the Run (1936) 26. Main Title/Running Bride (2:05) 27. Ox Cart/Newspaper Montage (1:07) 28. The Castle (1:36) 29. The Statue (1:22) 30. The Ghost/Sally Alone (2:26) 31. Love Scene/Nice (2:11) 32. Gone (3:02) 33. Gone (Continued) And End Title (1:29) Total Time: 15:39 Fury (1936) 34. Opening Title Music (1:51) 35. Chatter Music (2:29) 36. At Joe’s Home (0:23) 37. Ghosts (1:03) 38. End Title And Cast (0:38) Total Time: 6:38 Disc 4 Suspicion (1941) 01. Main Title (1:00) 02. Honeymoon Montage (0:45) 03. Melbeck’s Office (3:22) 04. Looking For Johnnie (2:36) 05. Lina Alone (4:27) 06. Morning Mail (3:19) 07. Too Fast (1:12) 08. Finale (1:02) Total Time: 18:00 The Devil-Doll (1936) 09. Main Title (1:37) 10. Little Dog/Big Dog (1:07) 11. Laschna (2:40) 12. Buying Flowers (1:00) 13. First Victim/Revenge (1:04) 14. Nightmare/Jewel Thief (5:30) 15. In The Restaurant (1:43) 16. Lorraine And Her Father/Finale (4:36) Total Time: 19:32 King of the Roaring 20’s – The Story of Arnold Rothstein (1961) 17. Opening Scene And Main Title (2:51) 18. Young Arnold (1:38) 19. Rothstein And Burke (1:30) 20. Three Times Raided (1:29) 21. Rector’s Restaurant (4:42) 22. Goodnight, Carolyn (1:03) 23. Visit With Papa (2:15) 24. Goodbye, Papa (1:13) 25. Champagne (0:55) 26. Interrupted Romance (2:01) 27. That Feels Good (1:52) 28. Doublecross (0:54) 29. Down And Out/Burke’s Death (4:27) 30. It’s Midnight (3:32) 31. Montage (0:45) 32. No Dice (0:56) 33. Speakeasy Charleston 3 (1:05) 34. The Last Deal (1:07) 35. The Last Walk (1:15) 36. Hospital Scene And End (1:57) Total Time: 37:55

Jetzt hat sich auch Intradas Chef Doug Fake offiziell geäußert und bereits die Cover gepostet. Am 5.12.17 erscheint Damnation Alley

Intrada veröffentlicht eine 2 CD Fassung von Horners TROY. Wieder ein Release, was ich ziehen lasse. Das alte Album reicht da vollkommen, meiner Meinung nach.