Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[ronin1975]

grossartige Musik zum grossartigen HUNDREDS OF BEAVERS... zum irre witzigen Slapstick-Stummfilm-Kracher gibt es ein paar originale Kompositionen und pre<existierende Stücke, die der Regisseur zusammengesucht hat. Endlich hat man die Rechte geklärt und eine schöne Compilation erstellt. Herrlich verrückte, "alte" Musik, bisschen wie Bruce Broughton und sowas. Kurioserweise ist das Stück für die finale und wirklich umwerfence Verfolgungsjagd von Frederic Talgorn sogar! Keine Ahnung wo das Stück eigentlich herkommt...

 

https://music.apple.com/de/album/hundreds-of-beavers-original-motion-picture-soundtrack/1785977162

 

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and Finross, presents a remastered reissue of the expanded edition of TRE COLONNE IN CRONACA, one of the great Ennio Morricone efforts of the early ’90s for the film of Carlo Vanzina, starring Gian Maria Volontè. The film is a chronicle of the dark maneuvers made by a politician to seize an opposition newspaper. A Muslim terrorist receives the order to kill a stockbroker, which triggers a series of blackmail and deception. A brave journalist intends to shed light on all these murky matters, but the politician has no scruples and knows how to move with extraordinary skill.

Being a great admirer of Elio Petri’s work, and in particular of INVESTIGATION OF A CITIZEN ABOVE SUSPICION, Vanzina relied on the actor (Volontè), the editor (Ruggero Mastroianni), the cinematographer (Luigi Kuveiller) and the composer of that film to draw a line of reference to his movie. Morricone assumes the principles that govern his work for Petri, reformulating them. There is no bold experimentation, but the subversive elements, intensity and expressiveness remain. The music has a grotesque, sly and perverse character, a nod to the sensationalism of the front pages.

The album of TRE COLONNE IN CRONACA was released in 1990 on LP and CD in a short program of less than 30 minutes. In 2002, GDM CD Club released an expanded limited edition, supervised by the composer, and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film and it quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone. The booklet includes liner notes by Miguel Angel Órdóñez discussing the film, the music and the composer.

1. Tre Colonne In Cronaca (Titoli) 1:25
2. Ultime Notizie 1:00
3. Prima Pagina 0:24
4. Tre Colonne In Cronaca (#2) 3:16
5. Ultime Notizie (#2) 1:46
6. Prima Pagina (#2) 4:12
7. Tre Colonne In Cronaca (#3) 2:08
8. Ultime Notizie (#3) 4:58
9. Lettere Al Direttore 3:54
10. Ultime Notizie (#4) 1:28
11. Terza Pagina 3:09
12. Lettere Al Direttore (#2) 1:15
13. Ultime Notizie (#5) 1:42
14. Ultime Della Notte 3:10
15. Tre Colonne In Cronaca (#4) 2:31
16. Tre Colonne In Cronaca (#5) 0:54
17. Lettere Al Direttore (#3) 1:09
18. Corsivo 3:53

Total Disc Time: 43:12

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered and expanded edition of Riz Ortolani’s masterful score for the Damiano Damiani thriller CONFESSIONE DI UN COMMISSARIO DI POLIZIA AL PROCURATORE DELLA REPUBBLICA (aka CONFESSIONS OF A POLICE CAPTAIN), starring Franco Nero and Martin Balsam. This was one of the first films about the Mafia in which the fight is hopeless because “the polyp’s feelers” reach everything and everybody. A police inspector and a deputy public prosecutor try to prove that the city’s construction magnate is a member of the legendary criminal organization.

Far from showing an idealized and traditional Mafia (as Nino Rota would do a year later in THE GODFATHER), Riz Ortolani’s innovative score is based on fast and contemporary rhythms, in an extension of the hustle and bustle of an overpopulated Palermo. Between pop, jazz and funk, the music becomes the showcase of an aggressive and real metropolis. Ortolani uses an omnipresent main theme that underscores the narrative like a repeated echo. But the variations, short notes and transpositions of the melody follow each other in an increasingly rarefied atmosphere: the electric guitar distorts, the strings are strangely tuned, the winds and keyboard are unsettling.

Ortolani’s score was released on a now-sought-after LP by RCA, reissued a few years ago by Four Flies Records in vinyl. It appeared on the digital market in the 1990s, pairing the same LP program with NELLA STRETTA MORSA DEL RAGNO, and subsequently had an expanded edition on GDM CD Club. Returning to the original stereo master tapes, this new edition, supervised by Claudio Fuiano and mastered by Chris Malone, includes every note Ortolani recorded for the film in 1971, making it the most comprehensive edition of this classic Italian score. The booklet includes an essay by Miguel Ángel Ordóñez on the film, the music and the composer.

1. Confessione di un Commissario (Titoli) 3:13
2. Visita al manicomio 3:04
3. Il ricordo di Serena 2:39
4. Ossessione di un delitto 2:51
5. Promessa di Giustizia 3:58
6. Pedinamento e Agguato 2:15
7. Serena e Lomunno 2:47
8. Colloquio decisivo 2:59
9. I travestiti 2:48
10. La morte del Commissario 3:11
11. Ossessione di un delitto (#2) 3:45
12. Confessione di un Commissario (#2) 2:54
13. Il ricordo di Serena (#2) 3:32
14. Promessa di Giustizia (#2) 2:44
15. Pendinamento e Agguato (#2) 3:19
16. Serena e Lomunno (#2) 2:54
17. Promessa di Giustizia (#3) 3:41
18. I travestiti (#2) 2:13
19. Pendinamento e Agguato (#3) 3:57
20. La morte del Commissario (#2) 3:37
21. Confessione di un Commissario (#3) 2:21
22. Pendinamento e Agguato (#4) 2:09
23. I travestiti (#3) 1:16
24. Promessa di Giustizia (#4) 1:32
25. La morte del Commissario (#3) 2:56
26. Promessa di Giustizia (#5) 1:54

Total Disc Time: 74:42

[ronin1975]

Presence - Zack Ryan

zu Soderberghs Geisterfilm gibts einen Goldsmith-artigen ‚Grusel‘-Score. Geht nur 16min, ist aber sehr hübsch geworden… 

(sorry kann grad keine  link posten)

 

[ronin1975]

Love Hurts - Dominic Lewis

Zum Actionfilm mit Ke Huan Quan in seiner ersten Hauptrolle hat Dominic Lewis wieder einen gewohnt lustigen Actionscore geschrieben... hat wohl  seine Nische gefunden und is bei 87 North Studio der Hauskomponist geworden. Gefällig:

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and EMI General Music, presents a remastered reissue of the ultimate edition of VERUSCHKA (1971), one of the most beautiful and heartbreaking scores Ennio Morricone composed during the busiest period of his career. The film is a weird production by fashion photographer Franco Rubartelli—a visually lush and moody head vehicle about European supermodel Veruschka.

Composed a year before MADDALENA, Ennio Morricone’s soundtrack has a certain connection to the later film, especially in the sacred aura evoked by using mystical organ and the timbre of the female voice. It is one of Morricone’s most elegant and best-remembered works in the realm of lounge music, where Edda dell’Orso’s vaporous voice is filtered through unusual timbres, swaying over sensual rhythms devoid of thick instrumentation.

The album of VERUSCHKA has been released several times on LP and CD since its first appearance in the mid-nineties on the Point label (only a single with two cues was released concurrently with the film). In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Órdóñez discussing the movie, the music and the composer.

1. Veruschka 6:44
2. Intervallo I 3:50
3. La Bambola 2:14
4. Astratto i 3:39
5. La Spiaggia 8:16
6. Dopo L’intervista 2:27
7. Poesia di una Donna 5:01
8. Le fotografie 1:01
9. La Bambola (#2) 3:14
10. Intervallo II 3:55
11. Magia 2:44
12. Astratto III 1:46
13. Veruschka (#2) 2:54
14. Astratto II 1:14
15. Veruschka (#3) 2:54
16. Astratto IV 1:24
17. La Bambola (#3) 3:41
18. Astratto V 3:35
19. Poesia di una Donna (#2) 2:42
20. La Spiaggia (#2) 4:41
21. Astratto VI 1:59
22. Poesia di una Donna (#3) 2:54
23. La Bambola (#4) 1.49
24. Veruschka (#4) 3:32

Total Disc Time: 78:02

Quartet Records, in collaboration with GDM and EMI General Music, presents a remastered reissue of the ultimate edition of the obscure Ennio Morricone score for CUORE DI MAMMA, a dramatic, grotesque story directed by Salvatore Samperi in 1969. It is the story of Lorenza (Carla Gravina), a mother of three children who is unable to communicate. Her attitude is childish, impassive, conformist in form and substance. A mother with a heart of stone, she is harassed by political extremism from different sides.

The fascinating score of CUORE DI MAMMA stands out for its distinctive thematic variety recognizable as Morricone in a feverish state in the most prolific period of his career. The film, with a recurrent gaze toward a children’s universe that has lost its innocence and a focus on conflict and violence, has its musical equivalent in a lullaby whose function is to contradict the image, to openly oppose it.

No album of CUORE DI MAMMA was released at the time, but the mock-up album prepared by Morricone was first released in the mid-nineties on the Point label. Subsequently, in 2004, an expanded edition was released on the Saimel label, including virtually all the music recorded by the composer for the film. That same selection, supervised by Dániel Winkler and Claudio Fuiano, is here revised and mastered by Chris Malone from the first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Órdóñez discussing the movie, the music and the composer.

1. Ricreazione divertita (Titoli) 3:01
2. La Sveglia 3:29
3. Giorno di Lavoro 2:43
4. Cominciano I Problemi 2:52
5. Ninna Nanna per Adulteri 3:04
6. Cuore di Mamma (Quartetto) 2:12
7. Ouverture del Mattino 5:22
8. Cominciano I Problemi (#2) 3:25
9. Ninna Nanna per Adulteri (#2) 4:06
10. Suoni per un Clavicembalo 1:24
11. Ricominciano Gravi, I Problemi 2:55
12. Cuore di Mamma (Marcia del Generale Graziosi) 1:24
13. Ninna Nanna per Adulteri (#3) 3:48
14. Ricominciano Gravi, I Problemi (#2) 4:50
15. La Sveglia (#2) 2:21
16. Ninna Nanna per Adulteri (#4) 3:15
17. Ricreazione Divertita (Finale) 2:01

Total Disc Time: 53:10

 

[Alexander Grodzinski]

Neu von Dragon's Domain/BSX:

Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of the score on compact disc, composed by Gil Mellé (NIGHT GALLERY, THE ANDROMEDA STRAIN, THE DELIBERATE STRANGER) for the 1977 science fiction film written and directed by Ed Hunt, starring Robert Vaughn (THE MAN FROM U.N.C.L.E., THE MAGNIFICENT SEVEN, BULLITT, HUSTLE), Christopher Lee (THE WICKER MAN, THE THREE MUSKETEERS, THE LORD OF THE RINGS, HORROR OF DRACULA), Daniel Pilon, Tiiu Leek, Helen Shaver, Henry Ramer and Victoria Johnson.

STARSHIP INVASIONS is a Canadian science-fiction film written, directed and produced by Ed Hunt, it was originally titled WAR OF THE ALIENS, then ALIEN ENCOUNTER to avoid confusion with other similar-themed movies released that same year (and eventually again retitled as PROJECT GENOCIDE for home video). Hunt based many of the spacecraft and costume designs on actual alien encounter cases.

Released in 1977, the plot revolves around The Legion Of The Winged Serpent, a rogue alien group lead by Captain Rameses (Lee). The Legion must colonize the Earth before their home planet, Alpha, is destroyed by a supernova. Rameses plans to use a device that broadcasts a signal causing humans to commit mass suicide. Opposing them is The Intergalactic League Of Races, an alliance of advanced aliens from Zeta Reticuli who have been observing humans from a secret underwater base.

Pretending to be fellow members upholding The Galactic Treaty, which prohibits human contact, Rameses and his crew attack their base and sabotage most of the League’s Earthbound saucers. One surviving League ship contacts Professor Allan Duncan (Vaughn) for help. Duncan is a world-renowned ufologist.

The score composed by Gil Mellé stands out for its innovative use of synthesizers combined with jazz elements, creating a unique sound for a genre movie. Notably, many sequences have minimal dialogue, as the alien characters communicate telepathically, which benefited Mellé in his composition.

For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, WORLD WAR III, and many others.  Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score for the TV movie PERILOUS VOYAGE.

Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of music composed by Gil Mellé for this project on compact disc. The music has been newly mastered by James Nelson at Digital Outland and the liner notes have been written by author G.B. Kemner.

STARSHIP INVASIONS is a limited edition release of 500 units. STARSHIP INVASIONS is expected to begin shipping the week of March 24th, 2025.

01. Main Title (2:25)
02. Abduction Of The Farmer (3:46)
03. Abduction Of The Family (3:27)
04. Suicides / Underwater Alien Base (5:08)
05. Rameses Seizes Control (8:01)
06. Allan’s Close Encounter (3:45)
07. Data Control Center (2:47)
08. New Allies Pursued Past The Moon (5:37)
09. Suicide Epidemic (2:46)
10. Outer Space War (4:24)
11. Betty’s Suicide Attempt (2:58)
12. Android Durbel Destroys Rameses’ Fleet (5:21)
13. Resolution and End Titles (4:59)
14. Alternate Cue Suite (2:22) 

Time: 58:21

Dragon’s Domain Records proudly presents the second volume in a new ongoing series of music from classic horror films from the Golden Age, featuring a trilogy of world premiere releases of music from THE SHUTTERED ROOM, THE DEATHHEAD VIRGIN and HAND OF DEATH.

Released in 1967, THE SHUTTERED ROOM tells the story of Susannah Whately Kelton, a woman raised in foster care (Carol Lynley) who discovers that her birth parents have died and left her their estate, located on Dunwich Island off the Massachusetts coast. When she and her husband (Gig Young) arrive there, they find the surrounding community to be leery of outsiders and steeped in local superstitions. Befriending her aunt Agatha (Flora Robson), the young wife is cautioned against rebuilding the old mill, where a shuttered attic room contains a horror from her childhood. 

The music for THE SHUTTERED ROOM was composed by Basil Kirchin. Kirchin was born in Blackpool, England in August, 1927. He began his professional career at the age of 13 playing drums in his father Ivor’s big band orchestra during the second World War. Kirchin continued working within the genre until the late 1950s, when the public’s musical tastes shifted to rock & roll. 

Released in 1962, HAND OF DEATH tells the story of scientist Alex March (John Agar), who is determined to develop a nerve agent that will safely paralyze enemy troops and render them susceptible to counter commands. When a local man is unwittingly exposed at a test site and recovers without ill effects, March recklessly plows ahead to perfect the formula. Accidentally getting the powerful liquid on his hands, he begins to mutate into a hulking monster whose mere touch can kill...

The score for HAND OF DEATH was provided by Joseph Francis Burke, known professionally as “Sonny.” Sonny was born in Scranton, Pennsylvania and after a year playing football at the University of Detroit, he transferred to Duke University where he created and led a big band jazz orchestra. By the 1950s, he began to write songs for several Disney features and short-subjects, most notably LADY AND THE TRAMP, which featured the voice of Peggy Lee.

Released in 1973,  The plot of THE DEATHHEAD VIRGIN centers on the search for lost treasure on a sunken 1850s Spanish man o’ war hidden within a reef. Predictably, there’s a curse involved that threatens anyone who dares to search for the lost booty. However, this doesn’t prevent a pair of American salvagers (Gaynor and Ward) from making an attempt. Entering the wreck, Ward forces his way into a locked cabin, where he discovers a female skeleton with flowing black hair chained to the deck. The removal of jewels from the corpse sets in motion the revival of a vengeful virgin princess, who had been captured and brutally raped by the conquistadors a century before...

This second volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 2 is a limited edition release and is expected to begin shipping the week of February 24th, 2025.

SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings.

 

THE SHUTTERED ROOM (1967)
Music by Basil Kirchin
01. Prologue / A Child’s Nightmare (2:07)
02. Main Title (2:03)
03. Ferry Crossing / The Locals (2:30)
04. Arrival At The Lighthouse / Family Reunion (2:13)
05. The Old Record / Murder Music (1:40)
06. Aunt Agatha Finds The Body / Summer Sun / Susannah And The Mill (3:30)
07. Susannah Opens The Red Door / Ocean Walk / Sex Pests (4:35)
08. Pursued / The Fight / Ethan Gets It / Finale   (4:53)
09. The Shuttered Room (1967) Theatrical Trailer (2:33)

HAND OF DEATH (1962)
Music by Sonny Burke
10. Intro / Main Title (3:09)
11. L.A. / Dangerous Experiment (2:38)
12. Evil Unleashed / Setting Fire To The Lab  (3:41)
13. Gas Station & Transformation (1:43)
14. Strange Evidence / Killer Escapes (4:58)
15. The Boy On The Beach / Finale (5:27)
16. Hand Of Death (1962) Theatrical Trailer (1:46)

THE DEATHHEAD VIRGIN (1974)
Music by Richard LaSalle
17. Exploring The Sunken Wreck / Evil Freed (5:20)
18. Flight / Scalping The Girl (2:37)
19. Water Play / Strange Happenings (3:54)
20. Murderous Pursuit / Frank Is Dead (3:56)
21. Virgin Princess Attacks / Boat Hijacked / A Woman Under Suspicion ( 4:28)
22. Swim To The Boat / Vengeance Of The Princess / Finale (2:37)

Total Time 73:21

Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION: VOLUME 1, featuring the world premiere releases of two scores composed by Gil Mellé from his lengthy filmography.

Released in October, 1985, HOT TARGET was a UK/New Zealand co-production directed by Dennis C. Lewiston, starring Simone Griffeth, Bryan Marshall and Steve Marachuk. The screenplay was written by Lewiston and Gerry O’Hara. HOT TARGET follows Christine (Griffeth) who is the trophy wife of a successful businessman in New Zealand.  Her seemingly idyllic descends into chaos when she meets Greg (Marachuk), a mysterious American. Their chance encounter in the park reveals a dark tapestry of deceit and ulterior motives that begins to slowly unravel, leading ultimately to a shocking murder. Mellé’s score is a masterful blend of orchestral richness and electronic innovation, featuring vibrant jazz influences.

Airing on television in 1984, JEALOUSY was written and directed by Jeffrey Bloom (BLOOD BEACH), starring Angie Dickinson, Paul Michael Glaser, Bo Svenson, Susan Tyrell, France Nuyen, Richard Mulligan and David Carradine. JEALOUSY is presented through three interconnected vignettes, each exploring the profound impact of jealousy on a woman’s life. While two of the segments were scored by prolific television composer Jimmy Haskell, the first segment, ‘Georgia’, featured music composed by Gil Mellé, who also provided the opening and closing titles. Mellé's score is rhythmically captivating and beautiful, perfectly encapsulating the essence of Dickinson’s dark fantasies.

For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, STARSHIP INVASIONS, WORLD WAR III, and many others.  Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score.

Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION – VOLUME 1, featuring the world premiere releases of music composed by Gil Mellé for HOT TARGET and JEALOUSY PART 1. James Nelson has mastered the music at Digital Outland.

THE GIL MELLÉ COLLECTION – VOLUME 1 is a limited edition release of 500 units and is expected to begin shipping the week of February 24th, 2025.

HOT TARGET
1. Night Chase / Opening Titles (1:52) 
2. Dog Park (1:55) 
3. The Party (3:43) 
4. Shower (1:35) 
5. Afternoon Tryst (1:45) 
6. Bedroom Muzak (2:19) 
7. I’m A Criminal (2:43) 
8. Cocktail Party (6:43) 
9. Tree Tryst (3:05) 
10. Girl Talk (1:30) 
11. Horse Show (1:29) 
12. The Robbery (4:44) 
13. Fight And Death (3:48) 
14. Restless Night (1:16) 
15. Police Tail And Chase (3:17) 
16. The Apartment and Fight To The Death (3:07) 
17. Dangerous Drive (3:58) 
18. Finale (3:28) 
JEALOUSY: GEORGIA
19. Opening Credits (1:49)
20. Why Not Have A Little Fun? (1:42)
21. Out For A Drive (1:55)
22. Georgia’s Fantasies (3:57)
23. Georgia’s Descent Into Madness (4:36)
24. End Credits (0:55)
Total Time: 68:12

Dive beneath the waves as BSX Records presents a double feature of Bukimisha’s thrilling “a capella’ recreations of Akira Ifukube’s complete scores to the special effects extravaganzas ATRAGON and LATITUDE ZERO.

ATRAGON follows the threat from the villainous undersea kingdom of  the Mu Empire and the surface world’s only hope is from a secret super-submarine. The maestro’s score draws on many of his established martial themes, some originally created during the Second World War. A counterpoint is “Makoto’s Theme,” a gentle, longing melody for estranged daughter of the boat’s captain.

LATITUDE ZERO is an usual pulp-style adventure that was shot in English and starring Hollywood heavyweights Joseph Cotton, Cesar Romero, and Richard Jaeckel. Here, a trio of explorers stumble upon an hidden utopia at the bottom of the sea. They’re under  threat from a mad scientist and his army of mutant creatures. Ifukube’s score for this film quite different from his earlier work, but fear not, his theme for the Black Shark submarine is still imbued with his more familiar menacing style.

This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali. This CD set is a limited run.

ATRAGON (1963)
  1. Toho Logo  0:16
  2. Appearance of the Steam Person  0:44
  3. Main Title  1:20
  4. The Submarine Rises to the Surface  1:51
  5. The Delivered Film  0:16
  6. Warning from Mu   1:54
  7. Emergency UN Conference Convenes  0:16
  8. Challenge from Mu  1:06
  9. Worldwide Terror  0:26
10. The Red Satan  1:59
11. The Submarine Returns to Port  0:40
12. Communication Ball  0:11
13. Gotengo Defense Force  0:21
14. Makoto’s Theme I  0:56
15. The Undersea Battleship’s Test Run I  0:38
16. The Undersea Battleship’s Test Run II  2:13
17. The Undersea Battleship’s Test Run III  0:48
      (Film Version)
18. Makoto’s Theme II  1:47
19. Unno’s True Colors  0:56
20. The Prayer of the Mu Empire  3:15
21. Guardian Dragon Manda   0:19
22. The Mu People on Mount Mihara  1:00
23. The Declaration of Mu  1:00
24. The Undersea Battleship Attacks I   0:26
25. The Undersea Battleship Attacks II  0:46
       (Film Version)
26. Marunochi Collapses  0:32
27. Tokyo Bay Conflagration   0:44
28. Tokyo Bay and the Undersea Battleship  1:31
       (Film Version)
29. The Rescue  2:11
30. The Undersea Battleship vs. Manda  1:51
31. Volunteer Corps Moves Out  2:08
      (Film Version)
32.  Ending   1:11
LATITUDE ZERO (1969)
33. Main Title  2:49
34. Anomalies in the Deep Sea  1:42
35. The Undersea Volcano  0:47
36. The Submarine Alpha  2:15
37.  Mackenzie 0:25
38. The 164-Year Voyage 0:48
39. Bloodrock 0:35
40. The Alpha vs. the Black Shark I  1:03
41. Black Shark Chase  1:12
42. Tracking Missile  1:34
43. Projected Image  0:55
44. The Entrance to Latitude Zero  1:15
45. The Alpha Enters Port  2:51
46. Utopia - Latitude Zero I  0:44
47. Utopia - Latitude Zero II  1:42
48. Utopia - Latitude Zero III  2:56
49. A Meal at Latitude Zero  0:21
50. Attack of the Black Shark  0:39
51. The Kidnapping of Dr. Okada  0:57
52. Immunization Bath  1:00
53. Malik and Dr. Okada   1:23
54. Bloodrock Trap  1:22
55. Griffon  0:27
56. Bloodrock Monsters  1:42
57. The Mackenzie Invasion  0:35
58. Lucrecia’s Last Moments  0:25
59. Black Shark Appearance  1:37
60. Pieces of Metal  0:16
61. The Alpha vs. the Black Shark II  1:51
62. Griffon and the Black Shark 1:11
63. Noisy Ground   0:20
64. Ending  0:24

Total Time: 73:40

Dragon’s Domain Records presents music from the original score to THE PRIVATE NAVY OF SGT. O’FARRELL, composed by Harry Sukman (FORTY GUNS, DR. KILDARE, THE HIGH CHAPARRAL, SALEM’S LOT) for the 1968 war comedy directed by Frank Tashlin (SON OF PALEFACE, THE GEISHA BOY), written by Robert M. Fresco, John L. Greene and Tashlin, starring Bob Hope, Phyllis Diller, Jeffrey Hunter, Gina Lollobrigida, Mako, Dick Sargent, Michael Burns and Robert Donner.

THE PRIVATE NAVY OF SGT. O’FARRELL takes place during the closing months of World War II and follows an Army sergeant named Dan O’Farrell (Hope) stationed at Camp Funapee in the South Pacific, who files a request to boost the morale of his men by replenishing their dwindling stocks of beer and aspirin. To O’Farrell’s utter dismay, a Japanese submarine torpedoes a single supply ship in a naval convoy headed back to the United States... the ship carrying his beer! After O’Farrell stumbles upon a sunken stash of suds washed up on the coast of Camp Funapee, he partners up with a stranded Japanese-American soldier named Calvin Coolidge Ishimura (Mako) and hoards the copious cans of liquid bread for themselves and a ragtag gaggle of Army friends. O’Farrell and his cohorts discover and reclaim a small abandoned Japanese naval vessel which he pilots, against formidable resistance from his superior officers, to retrieve the remainder of the torpedoed beer lost in the ocean.

The music for THE PRIVATE NAVY OF SGT. O’FARRELL was composed by Harry Sukman, an American composer, conductor, and pianist. Born December 2, 1912 in Chicago, Illinois, Sukman exhibited prodigious piano skills and a keen ear for harmony at a young age and would further develop an innate passion for melody and rhythm at the Chicago Conservatory of Music. He moved to Hollywood, California, in the 1940s where he began a prolific career as a composer for film and television. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA.

Sukman’s rousingly patriotic score for THE PRIVATE NAVY OF SGT. O’FARRELL is a complex balance of recognizable war anthems mixed with shades of sarcasm. His flag-waving main theme is ripe with twangs of tropical island bliss blended with an unabashed spread-eagle military march that would make even the most jingoistic Americans blush.

Dragon’s Domain Records presents THE PRIVATE NAVY OF SGT. O’FARRELL, featuring music composed by Harry Sukman, 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 and composer Brian Satterwhite.

THE PRIVATE NAVY OF SGT. O’FARRELL is expected to begin shipping the week of February 24th, 2025.

01. Opening Credits (3:18)
02. Sarge and Johnny / Beach Flashback (4:11)
03. Clean-up Montage (1:30)
04. The Map / MPs Chase Sarge (3:58)
05. Beer Cans / Hung Over (2:05)
06. Krause Tries To Seduce Sarge (2:40)
07. The Boat / Blowing Up The Still (3:58)
08. Adeline Sails / Finding Maria and Gabby (3:51)
09. Welcome Pretty Lady (0:44)
10. John and Sarge / Romeo and Juliet (3:00)
11. Girls On The Beach / Another Hangover (2:01)
12. Japanese Sub (1:11)
13. On The Periscope / Sub Fight (5:42)
14. Taps / Memorial Service (2:36)
15. Beach Reunion / Finale (So Long My Darling Reprise) (3:44)
16. Welcome Pretty Lady Version A (0:09)
17. Welcome Pretty Lady Version B (0:14)
18. Opening Credits Version B (2:45)
19. The Map / MPs Chase Sarge Version B (4:13)
20. Finale Version B (5:08)

Total Time: 57:47

Dragon's Domain Records presents the original soundtrack to the 1988 romantic adventure film THE LADY AND THE HIGHWAYMAN, directed by John Hough (TWINS OF EVIL, THE LEGEND OF HELL HOUSE, THE AVENGERS) written by Barbara Cartland and Terence Feely, starring Emma Samms, Hugh Grant, Michael York, Oliver Reed, Claire Bloom, Robert Morley and Lysette Anthony. The soundtrack features music composed and conducted by Laurie Johnson (THE AVENGERS, DR. STRANGELOVE, FIRST MEN IN THE MOON) .

Produced for television b and based on Barbara Cartland’s 1952 romance novel, CUPID RIDES PILLION, the film is also known as DANGEROUS LOVE. The story is set in England during the Restoration of King Charles II to the throne. THE LADY AND THE HIGHWAYMAN provided composer Laurie Johnson with the perfect canvas to showcase his talents, allowing him to draw from a rich tapestry of inspiration, channeling the styles of celebrated composers from Hollywood’s Golden Age, including Sir William Walton, Franz Waxman, Max Steiner, Erich Wolfgang Korngold, and his esteemed friend, Bernard Herrmann. The score includes a principal heroic theme for Hugh Grant’s enigmatic highwayman, Lucius Vyne, and a delicate, recurring love theme that captures the essence of the principal characters' various romantic encounters, forming the emotional backbone of this captivating narrative. The score is brought to life through a traditional symphony orchestra, recorded in England with a talented ensemble of musicians, many of whom Johnston had collaborated with over the years.

Born in Hampstead, London, in 1927, Laurie Johnson undertook his musical studies at the Royal College of Music, where he would later return as a professor. He embarked on a professional musical career at the age of 21, composing and arranging for a variety of big bands, a love which continues to this day with his jazz ensemble, The London Big Band. Johnson began scoring films and television in 1956, and soon proved to have an affinity for quirky and fantastic films with his scores for Stanley Kubrick’s DR. STRANGELOVE (1963) and FIRST MEN IN THE MOON (1964). In addition, Johnson scored episodes of THRILLER and THE AVENGERS for television, including the latter’s popular title theme. Johnson also became associated with the legendary Hollywood composer, Bernard Herrmann towards the end of Herrmann’s career.

Dragon’s Domain Records presents THE LADY AND THE HIGHWAYMAN, featuring music composed by Laurie Johnson, 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 G.B. Kemner and Scott Davis.

THE LADY AND THE HIGHWAYMAN is a limited edition release of 500 units. THE LADY AND THE HIGHWAYMAN is expected to begin shipping the week of February 24th, 2025

01. Opening Credits (1:31)
02. Opening Narration (0:49)
03. Chasing Lucius (4:35)
04. Lady Panthea Vyne (1:53)
05. Silver Blade Appears And The Duel (5:57)
06. Panthea And Emma (0:30)
07. Fanfares For The King (1:58)
08. Court Intrigue (1:49)
09. Silver Blade At Work (1:58)
10. Where Is He Hiding (4:00)
11. Panthea And Lucius (3:19)
12. This Is My Home (2:06)
13. The Truth About Lady Panthea Vyne (2:24)
14. The Verdict And Attempted Escape (1:58)
15. Awaiting Execution (2:58)
16. Battle At The Gallows And The Wedding (Finale) (7:18)
17. Closing Credits (0:53)
18. Bumpers (0:18)
Total Time: 47:00

[Alexander Grodzinski]

Und von Music Box Records:

Remastered edition. Limited edition of 750 units.
12-page CD booklet with French and English liner notes by Sylvain Pfeffer.

2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with SND and TF1 Studio, Music Box Records proudly presents on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: L’Été meurtrier (One Deadly Summer, 1983) and La Reine blanche (The White Queen, 1991).

Adapted from Sébastien Japrisot’s eponymous novel, One Deadly Summer (a box-office success in 1983), starring Isabelle Adjani and Alain Souchon, marks the return of director Jean Becker to cinema, after a break of almost twenty years. Georges Delerue composed a dark and tormented score for the movie, including some pieces that are reminiscent of his scores for François Truffaut’s last films (The Woman Next Door and Confidentially Yours). The dark gem of the score is the jazz theme associated with Éliane (Elle) and accentuates the young woman’s aura of sensuality. In order to characterize the mechanical piano, a central element of the plot, Georges Delerue and Jean Becker chose an arrangement of the love song Roses de Picardie, becoming the obsessive and disturbing reminiscence of the rape. The score was nominated for the César Awards in 1984.

Jean-Loup Hubert’s fifth film The White Queen, starring Catherine Deneuve, Bernard Giraudeau and Richard Bohringer, is set in the post-war era, in the Nantes area in Western France, three years after the critical and popular success of The Grand Highway (1987). Georges Delerue provided a nostalgic score, filled with restrained emotion. The main theme, heard as early as the opening credits, develops a simple folk-like melody reminiscent of the sea shanties of sailors gone to face the open seas. The second theme (Jean), with a sadder tone, conveys the regrets of characters faced with the consequences of their past choices.

Supervised by Colette Delerue, this present edition features the two remastered original soundtrack albums. The package includes a 12-page booklet with liner notes by Sylvain Pfeffer, discussing the films and the scores. The CD release is limited to 750 units.

L’ÉTÉ MEURTRIER

1. Lello et son piano (Générique début) (2:06)

2. Elle (1:36)

3. Le samedi soir (1:58)

4. Nue dans la grange (1:38)

5. L'enfance (1:04)

6. Le viol (5:27)

7. Les souvenirs de Cognata (1:58)

8. Après le viol (3:36)

9. Chez L'ophtalmo (2:26)

10. Elle pleure (1:02)

11. Pin Pon console Elle (1:30)

12. La course cycliste (1:42)

13. Chez Ferraldo (0:51)

14. Elle malade (2:15)

15. L'hôpital et la mort (1:26)

16. La détermination de Pin Pon (1:14)

17. Gabriel et Elle (3:57)

Time • 35:56

 

LA REINE BLANCHE

18. Le Sainte-Marie (2:39)

19. Le retour (0:29)

20. Jean (1:31)

21. Les retrouvailles (0:57)

22. Lili (2:14)

23. Bamboulas sambas (1:56)

24. Yvon (1:25)

25. Rouge baiser (2:04)

26. Le jeu de puces (2:18)

27. La kermesse (2:41)

28. Les petits ballons (3:11)

29. L'aveu (3:17)

30. La robe fantôme (2:45)

31. Le pardon (1:04)

32. Le cha-cha de la Reine (1:32)

33. La fuite de Jean (1:05)

34. Le bar des îles (3:02)

35. Chez Rita (2:56)

36. Les adieux (1:41)

37. La petite récompense (0:42)

38. L'enfance (2:50)

Time • 42:30

Total Album Time • 79:44

Remastered edition. Limited Edition of 500 units.
8-page CD booklet with French and English liner notes by Gilles Loison.

2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with EMI Music Publishing France and Newen, Music Box Records proudly presents the tenth volume of the collection Great Television Soundtracks dedicated to three original television soundtracks composed and conducted by Georges Delerue: Histoires extraordinaires (Edgar Allan Poe’s Extraordinary Tales, 1981), Les Cousins de la Constance (1970) and Là-haut, les quatre saisons (1973).

For these three mini-series, Georges Delerue's gift for melody and enormous versatility are once again demonstrated with these stunningly colourful scores and intimate writing for nostalgic themes.

In the early 1980s, Maurice Ronet, a great admirer of the works of Edgar Allan Poe, produced a TV series of six Extraordinary Tales. Delerue was commissioned to set two episodes to music (The Fall of the House of Usher and The Purloined Letter), showcasing a wide range of dramatic passages and suspenseful musical cues. For The Purloined Letter, he created an atmosphere of mystery with harpsichord, flute, harp and cello while The Fall of the House of Usher features a beautiful romantic waltz used with several variations for the oboe, flute and piano as well as the guitar.

For Les Cousins de la Constance by Robert Mazoyer (Les Gens de Mogador), Delerue chose the accordion, an essential instrument of Breton musical tradition, to accompany the joys, anxieties and sorrows of the sailors and their families. 

Là-haut, les quatre saisons by Guy Lessertisseur is based on the director's childhood memories in the Alps. Throughout the four seasons, a Protestant minister and a young Catholic woman learn to know each other through sharing their conflicting views on life, death and religion. Delerue chose to translate the rural atmosphere through the use of a solo flute, harp arpeggios and strings.

Remastered from the original scoring session elements courtesy of Delerue's archives, this present edition features the world premiere release of these three gorgeous television scores. The CD comes with an 8-page booklet with liner notes by Gilles Loison. The CD release is limited to 500 units.

HISTOIRES EXTRAORDINAIRES (1981)

La Chute de la maison Usher

1. Valse de Madeline (1:00)

2. Souvenirs d’enfance (1:45)

3. La chevauchée d’Allan (0:59)

4. La guitare de Roderick (1:20)

5. Mort de Madeline (1:11)

6. Madeline et Allan (1:39) 

7. L’âme de la maison Usher (2:03)

8. L’amour empoisonné de Rod et Madeline (2:25)

La Lettre volée

9. Le voyage en train (1:49)

10. L’enquête de Dupin (1:39)

11. La maison du ministre (1:52)

12. Dupin échafaude son plan (2:26)

13. La petite vengeance de Dupin (1:01)

Time • 21:17

 

LES COUSINS DE LA CONSTANCE (1970)

14. Générique début (1:26)

15. Le retour (2:21)

16. Le bateau (2:05)

17. Épluchage (1:29)

18. La noce (2:22)

19. L'automne (0:58)

20. Générique fin (2:05)

Time • 12:50

 

LÀ-HAUT, LES QUATRE SAISONS (1973)

21. L’été (Générique début) (3:16)

22. L’étoile de Noël (1:48)

23. Pierre et Nicole (3:01)

24. Fantaisie de Pierre (1:25)

25. Conseils de Pierre (2:41)

26. Les questions de Marc (1:12)

27. Rêve de Nicole / Feu de camp (1:17)

28. Mort de Marie-Louise (1:00)

29. Le printemps (Générique fin) (1:07)

Time • 16:48

Total Time • 51:55

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Gérard Dastugue.
Limited Edition of 300 units.

In collaboration with Universal Publishing Production Music and StudioCanal, Music Box Records presents the premiere CD release of the original soundtracks of Sébastien Japrisot’s only two feature films composed and conducted by Éric Demarsan (Army of Shadows, Special Section): Juillet en septembre (July in September, 1988) and Les Mal Partis (The False Start, 1976). 

For Juillet en septembre, Éric Demarsan provides a thunderous score with a touch of melancholy, referring the imagination of the main character, who has dreams about the United States and wide open spaces. The saxophone/guitars/bass guitar/drums combination dominates sharp strings and powerful rhythmic basses, creating a surprising cocktail. This ambiguous ballet where dangerousness, strangeness and softness cohabit creates a surprising mirror effect between an intimate drama and a thriller. 

For Les Mal Partis, it tells the story of a 14-year-old boy who has a passionate love affair with a nun during the German Occupation in France. Éric Demarsan provides this haunting, melancholy yet joyous theme whistled by Michel Ganot. Japrisot asked his friend Darry Cowl to compose the main title theme, arranged by Jean-Michel Defaye. 

The two scores have been fully remastered by Christophe Hénault from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Gérard Dastugue and new comments by Éric Demarsan on his collaboration with Sébastien Japrisot (author of One Deadly Summer and A Very Long Engagement). The CD release is limited to 300 units. 

JUILLET EN SEPTEMBRE
1. Juillet en septembre (Générique début) (1:48)
2. Première victime (2:25)
3. L’étrangleur (2:37)
4. Juillet sur la plage (2:33)
5. Domino  (1:39)
6. La voisine (2:10)
7. Deuxième victime (2:32)
8. Marche américaine (0:38)
9. Coucher de soleil (0:34)
10. Reflets dans le miroir (1:07)
11. Le phare (0:31)
12. Bord de mer (3:39)
13. La dispute (0:51)
14. Femme fatale (2:34)
15. Juillet et Domino (5:43)
16. Deux solitaires (3:23)
17. Face à face (0:56)
18. Juillet en danger (1:30)
19. Les adieux (2:11)
20. En route pour l'Amérique (4:38)
Time • 44:11

LES MAL PARTIS
1. Thème Denis (2:51)
2. Thème Clotilde (3:20)
3. Thème d’amour (3:16)
4. Denis et Clotilde (3:25)
5. Thème Clotilde #2 (1:38)
6. Thème Denis #2 (1:59)
7. Thème d’amour #2 (2:03)
8. Les Mal Partis (4:13)
9. Thème Les Mal Partis* (3:10)
*Composed by Darry Cowl and Jean-Michel Defaye
Time • 25:57

Total Time • 71:08

[Alexander Grodzinski]

Und noch was von Quartet:

Quartet Records, in collaboration with Cinevox, presents a remastered CD reissue of Pino Donaggio‘s terrific suspense score for Dario Argento’s DO YOU LIKE HITCHCOCK? (2005)

The film is about Giulio, a film student whose passion for the films of Hitchcock will take him to the site of a grisly murder. Obsessed with his beautiful neighbor Sasha, Giulio is distraught to learn that the girl’s mother was slain in a gruesome murder that would fit in a Hitchcock thriller. Knowing that Sasha didn’t like her overprotective mother, and that she had just seen STRANGERS ON A TRAIN, our hero deduces that she made a switch and had someone else commit the murder—but this also means that she will kill someone in return. Giulio launches a VERTIGO-inspired investigation on the streets of Turin and is shocked to learn that he was wrong—it  was another Hitchcock film that inspired the plot! Can you guess which one?

Filled with dozens of references to REAR WINDOW, STRAGERS ON A TRAIN, DIAL M FOR MURDER, VERTIGO and MARNIE, Dario Argento’s pastiche is a nice exercise from the giallo maestro, exercising his skills while paying homage to his favorite director.

Pino Donaggio’s score (his third for the director) is an exciting blend of Herrmann-inspired suspense, interspersed with seductive siren-like vocals for scenes of voyeurism. Performed by the Bulgarian Symphony Orchestra and conducted by Natale Massara, Donaggio’s music for DO YOU LIKE HITCHCOCK? is one of his best scores in the genre that brought him many adoring film music fans.

This CD includes the entire Donaggio score, but whereas the previous 2013 edition was mastered from a DAT with 2-track mixes prepared for a cancelled 2005 album (with some anomalies), this time we started with the stereo mixes engineered by Marco Streccione from the original master tapes transferred in high resolution, carefully edited and mastered by Chris Malone and approved by the composer, presenting the music in greater detail. The new package includes the original liner notes written by our much-missed friend Gergely Hubai.

1. Prologue 5:29
2. Peeping Eyes 1:38
3. Rainy Night 4:59
4. Bloody Hammer 3:48
5. Young Lovers 1:00
6. Runaway in the Rain 3:10
7. Try and Kill 1:00
8. Window on the Yard 2:57
9. The Yard 2:26
10. Wrong Key 0:59
11. The Funeral 1:16
12. Friends Can Kill 3:29
13. Quotation 1:53
14. Homage to Hitchcock 1:12
15. The Staircase 3:15
16. The Lift 2:09
17. Suspected 1:25
18. Look Down the Street 3:16
19. Bad Dream 1:03
20. Back on the Crime Scene 4:27
21. The Roof 3:42
22. Madness and Sensuality 1:56
23. Exercise 0:56
24. Hollywood Memorabilia 2:08

Total Disc Time: 60:33

[ronin1975]

Von Flying Lotus gibts zum wilden Space SF Horrorfilm ASH (bei dem er auch Regie führte) einen trippy 80er Jahre Synthie Score:

 

[Alexander Grodzinski]

Von Quartet:

Quartet Records, in collaboration with GDM and EMI Music Publishing Italia, presents a remastered, expanded edition of Ennio Morricone’s avant-garde score for Elio Petri’s UN TRANQUILLO POSTO DI CAMPAGNA (aka A QUIET PLACE IN THE COUNTRY) (1968). The film, a psychological thriller-drama starring Franco Nero and Vanessa Redgrave, is about a renowned and neurotic painter (Nero), who after moving into a dilapidated rural villa to reinvigorate his creative energies, becomes obsessed with an uninhibited countess who died there many years prior.

The film inspired one of Morricone’s most fascinating scores, and one of his favorites. The composer based his ideas on two different musical styles: one more phantasmagorical, ethereal, and the other experimental, aggressive, with an essential contribution from the famous avant-garde group of which Morricone was a member: Gruppo D’improvisazione Nuova Consonanza. This musical duality allows Morricone to reflect how sanity gradually and irretrievably loses ground to madness in Franco Nero’s character.

Although the score was very striking at the time—and led Elio Petri, who had always changed composers in previous films, to rely on Ennio Morricone as an essential collaborator in all his remaining movies—it was not released commercially. We had to wait a decade for a suite to be included on a compilation LP that brought together some of the composer’s most experimental work for the cinema. In 2003, the Saimel label released the first official edition of the soundtrack, with a generous running time of 64 minutes and a program supervised by Morricone himself. The sound was entirely in mono, just as the tapes had survived. A few years later, GDM released a 40-minute CD with the recently discovered mock-up program for a General Music record that had been planned in 1968 and eventually canceled. It had less music, but it was all in stereo. For this Quartet edition, remastered by Chris Malone from the original master tapes, we have included the program for the stereo album, followed by a suite in four movements, the first three of which contain the music as presented in the movie, including unreleased cues, followed by a fourth movement containing unused and alternate tracks. Supervised by Claudio Fuiano, the release features a booklet that includes Simeone’s famous original painting on the cover and an essay by Miguel Ángel Ordóñez discussing the film and the score.

1. Fantasma 6:46

2. Un tranquillo posto di campagna 4:02

3. Il fantasma di Wanda 2:34

4. Frenesia 3:32

5. L’Automobile della contessina 1:11

6. Vuoi essere felice 2:24

7. I sogni dell’artista 1:09

8. Delirio primo 0:46

9. Lo spirito di Wanda 2:10

10. Delirio secondo 5:26

11. Un amore violento 3:02

12. Musica per undici violini 6:48

13-16. Un tranquillo posto di campagna (suite) 34:12

Total Disc Time: 78:59 

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered reissue of the ultimate edition of Ennio Morricone’s score for Elio Petri’s 1971 social drama LA CLASSE OPERAIA VA IN PARADISO (aka THE WORKING CLASS GOES TO HEAVEN), a robust social drama about a conscientious factory worker who becomes a political activist after accidentally cutting off his finger while working on a machine. Starring Gian Maria Volonté, the film won the Palme d’Or at the 1972 Cannes Film Festival, with a special mention for Volonté as Best Actor.

As he had done for other filmmakers, Morricone created a particular sound for Petri’s social cinema, based on grotesque forms and adding profane elements to the music itself. In LA CLASSE OPERAIA VA IN PARADISO, Morricone composed one of his most famous main themes: a grotesque, cartoonish march that defines the alienated work of a factory, to which he added sound effects, electric guitars, violin, piano and the noises of machines and drills.

Released on a limited promotional LP in Italy in 1971 and reissued in France in 1982, the soundtrack was later released on CD by RCA in the 1990s, and an expanded edition containing virtually the entire score recorded by Morricone was released by GDM in 2009. This is a reissue of that, but freshly remastered by Chris Malone from the original master tapes and supervised by Claudio Fuiano. The package includes, for the first time, the original cover art of the coveted promotional vinyl and an essay by Miguel Ángel Ordóñez discussing the film and the score.

The Original Album (stereo)

1. La classe operaia va in Paradiso 5:23

2. Metamorfosi 2:13

3. Sinfonia dell’ottimista 8:22

4. Inventario 3:02

5. Tempi di lavorazione 4:10

6. Il sogno 4:42

7. Pazzia di lavoro 2:28

8. Alienazione 3:51

Film Versions (mono)

9. La classe operaia va in Paradiso (#2) 3:43

10. Metamorfosi (#2) 1:59

11. Sinfonia dell’ottimista (#2) 10:35

12. Alienazione (#2) 5:48

13. Inventario (#2) 2:30

14. La classe operaia va in Paradiso (#3) 6:29

Total Disc Time: 65:21

[Alexander Grodzinski]

Neu von Music Box:

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 1000 units.

In collaboration with Carthago Films, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Par où t’es rentré… On t’a pas vu sortir (How Did You Get In? We Didn't See You Leave, 1984) composed and conducted by Alan Silvestri.

It was while watching Robert Zemeckis's Romancing the Stone that director Philippe Clair had the idea to contact American composer Alan Silvestri for his own film, the cult classic Par où t’es rentré… On t’a pas vu sortir – starring Jerry Lewis. The future composer of Back to the Future, Who Framed Roger Rabbit and Forrest Gump brought out the big guns for this comedy set between Paris and Tunisia. He provides a fiery mix of orchestral music and pop rock pieces for particularly muscular action tracks, sophisticated parodies, as well as aerobic music. Clair / Silvestri: an unlikely meeting in the service of energetic and effective music. 

This present edition features the original soundtrack album (without the song High Energy not composed by Silvestri), remastered by Christophe Hénault from pristine condition stereo master tape. In regard to the bonus tracks, we only gained access to the monaural music stem of the complete soundtrack - including the isolated score. We did our best to fix the fluctuating volume levels and the quality of the sound. The package includes an 8-page booklet with liner notes by Nicolas Magenham. The release is limited to 1000 units.

PAR OÙ T’ES RENTRÉ… ON T’A PAS VU SORTIR (HOW DID YOU GET IN? WE DIDN'T SEE YOU LEAVE)

1. Les Inspaghettibles contre le Front de résistance du couscous (3:59)

2. Aérobic poids lourds (4:01) 

3. Le laveur de vitres (2:28)

4. Kasbah City (5:18) 

5. Règlement de comptes à Kasbah City (0:59)

6. Les Inspaghettibles reçoivent leur parrain (1:18)

7. La fuite à Orly (2:45)

8. Soirée Jet Society (0:51)

9. Les filles à la piscine (4:35)

10. Le PDG des chiffons est menacé (4:10)

11. Fin de la guerre des gangs (2:18)

BONUS TRACKS :

12. Aérobic super poids lourds (1:20)

13. Portes coulissantes (1:36)

14. Cha-cha Blaireau (2:02)

15. Boogie-woogie Blaireau (1:53)

16. Soirée d’adultère (1:42)

17. Call-girl (2:55)

18. Piscine de rêve (1:15)

19. Villa de Ben Burger (1:20)

20. Entraînement militaire (0:41) 

21. Attaché-case (2:02)

22. Chambre des tortures (1:37)

23. Prosper et Clovis déguisés (1:09)

24. Les partisans du couscous (0:45)

25. À la poursuite de Prosper et Clovis (1:39)

26. La fosse aux lions (0:47)

27. Assaut chez Ben Burger (4:37)

28. Générique de fin (2:39)

Total Time • 63:50 

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 500 units.

In collaboration with Carthago Films and Warner Chappell Music France, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Plus beau que moi, tu meurs (1982) composed and conducted by Armando Trovajoli.

Philippe Clair directed two successful films with leading actor Aldo Maccione in the early 1980s: Tais-toi quand tu parles (1981 – OST previously released by Music Box Records in 2015) and Plus beau que moi, tu meurs. This album focuses on the second film, a burlesque Mediterranean comedy about two brothers who are total opposites. After Tais-toi quand tu parles, the music is also composed by Armando Trovajoli, an Italian composer famous for his work with Ettore Scola and Dino Risi. The soundtrack is a patchwork of sophisticated disco and funky tracks, sarcastic refrains, a twirling tango, and heavenly themes. The present edition features the famous film's theme song, performed by Maccione himself and written by Philippe Clair. An instant classic!

The whole program has been fully remastered by Christophe Hénault from the complete scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Nicolas Magenham discussing the film and the score. The CD release is limited to 500 units. 

PLUS BEAU QUE MOI, TU MEURS

1. Plus beau que moi, tu meurs (2:51) Vocal : Aldo Maccione

2. Avenir, Avenir (4:30) Vocal : Sharky

3. Souvenirs d'enfance (1:06)

4. La grande vie (1:01)

5. Club privé (2:14)

6. La femme du sénateur (0:45)

7. Avenir, Avenir (Slow) (1:39)

8. Retrouvailles en Tunisie (1:15)

9. Le palace (2:48)

10. Leçon de classe (2:51)

11. La traque (0:58)

12. Inspecteur Tétard (2:09)

13. Funkyproquo (1:51)

14. Adultère (2:36)

15. Avenir, Avenir (Instrumental) (4:22)

16. Indigestion (1:41)

17. Aldo et Julia (1:05)

18. Amis de 20 ans (0:45)

19. Avenir, Avenir (Slow Club) (2:57)

20. Aldo et la Gioconda (1:07)

21. L'attaque du fort (3:25)

22. Plus beau que moi, tu meurs (Générique) (1:11)

23. Avenir, Avenir (Version film) (2:55)

24. Plus beau que moi, tu meurs (Playback) (2:51)

Total Time • 51:54

[Stese]

vor 48 Minuten schrieb Alexander Grodzinski:

Neu von Music Box:

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 1000 units.

In collaboration with Carthago Films, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Par où t’es rentré… On t’a pas vu sortir (How Did You Get In? We Didn't See You Leave, 1984) composed and conducted by Alan Silvestri.

It was while watching Robert Zemeckis's Romancing the Stone that director Philippe Clair had the idea to contact American composer Alan Silvestri for his own film, the cult classic Par où t’es rentré… On t’a pas vu sortir – starring Jerry Lewis. The future composer of Back to the Future, Who Framed Roger Rabbit and Forrest Gump brought out the big guns for this comedy set between Paris and Tunisia. He provides a fiery mix of orchestral music and pop rock pieces for particularly muscular action tracks, sophisticated parodies, as well as aerobic music. Clair / Silvestri: an unlikely meeting in the service of energetic and effective music. 

This present edition features the original soundtrack album (without the song High Energy not composed by Silvestri), remastered by Christophe Hénault from pristine condition stereo master tape. In regard to the bonus tracks, we only gained access to the monaural music stem of the complete soundtrack - including the isolated score. We did our best to fix the fluctuating volume levels and the quality of the sound. The package includes an 8-page booklet with liner notes by Nicolas Magenham. The release is limited to 1000 units.

PAR OÙ T’ES RENTRÉ… ON T’A PAS VU SORTIR (HOW DID YOU GET IN? WE DIDN'T SEE YOU LEAVE)

1. Les Inspaghettibles contre le Front de résistance du couscous (3:59)

2. Aérobic poids lourds (4:01) 

3. Le laveur de vitres (2:28)

4. Kasbah City (5:18) 

5. Règlement de comptes à Kasbah City (0:59)

6. Les Inspaghettibles reçoivent leur parrain (1:18)

7. La fuite à Orly (2:45)

8. Soirée Jet Society (0:51)

9. Les filles à la piscine (4:35)

10. Le PDG des chiffons est menacé (4:10)

11. Fin de la guerre des gangs (2:18)

BONUS TRACKS :

12. Aérobic super poids lourds (1:20)

13. Portes coulissantes (1:36)

14. Cha-cha Blaireau (2:02)

15. Boogie-woogie Blaireau (1:53)

16. Soirée d’adultère (1:42)

17. Call-girl (2:55)

18. Piscine de rêve (1:15)

19. Villa de Ben Burger (1:20)

20. Entraînement militaire (0:41) 

21. Attaché-case (2:02)

22. Chambre des tortures (1:37)

23. Prosper et Clovis déguisés (1:09)

24. Les partisans du couscous (0:45)

25. À la poursuite de Prosper et Clovis (1:39)

26. La fosse aux lions (0:47)

27. Assaut chez Ben Burger (4:37)

28. Générique de fin (2:39)

Total Time • 63:50 

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 500 units.

In collaboration with Carthago Films and Warner Chappell Music France, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Plus beau que moi, tu meurs (1982) composed and conducted by Armando Trovajoli.

Philippe Clair directed two successful films with leading actor Aldo Maccione in the early 1980s: Tais-toi quand tu parles (1981 – OST previously released by Music Box Records in 2015) and Plus beau que moi, tu meurs. This album focuses on the second film, a burlesque Mediterranean comedy about two brothers who are total opposites. After Tais-toi quand tu parles, the music is also composed by Armando Trovajoli, an Italian composer famous for his work with Ettore Scola and Dino Risi. The soundtrack is a patchwork of sophisticated disco and funky tracks, sarcastic refrains, a twirling tango, and heavenly themes. The present edition features the famous film's theme song, performed by Maccione himself and written by Philippe Clair. An instant classic!

The whole program has been fully remastered by Christophe Hénault from the complete scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Nicolas Magenham discussing the film and the score. The CD release is limited to 500 units. 

PLUS BEAU QUE MOI, TU MEURS

1. Plus beau que moi, tu meurs (2:51) Vocal : Aldo Maccione

2. Avenir, Avenir (4:30) Vocal : Sharky

3. Souvenirs d'enfance (1:06)

4. La grande vie (1:01)

5. Club privé (2:14)

6. La femme du sénateur (0:45)

7. Avenir, Avenir (Slow) (1:39)

8. Retrouvailles en Tunisie (1:15)

9. Le palace (2:48)

10. Leçon de classe (2:51)

11. La traque (0:58)

12. Inspecteur Tétard (2:09)

13. Funkyproquo (1:51)

14. Adultère (2:36)

15. Avenir, Avenir (Instrumental) (4:22)

16. Indigestion (1:41)

17. Aldo et Julia (1:05)

18. Amis de 20 ans (0:45)

19. Avenir, Avenir (Slow Club) (2:57)

20. Aldo et la Gioconda (1:07)

21. L'attaque du fort (3:25)

22. Plus beau que moi, tu meurs (Générique) (1:11)

23. Avenir, Avenir (Version film) (2:55)

24. Plus beau que moi, tu meurs (Playback) (2:51)

Total Time • 51:54

Megageile VÖs. Speziell den Silvestri finde ich eine schöne VÖ-Überraschung. Ich finde seine Synthscores genau so gut wie seine großorchestralen Werke. 
Musicbox und auch Quartet bringen für mich immer wieder Überraschungen raus.

Zwei wirklich kostbare Label, die wir hier in Europa haben! ❤️

[ronin1975]

Thrillerscore aus Vietnam, ganz gefällig von Christopher Wong: 

 

[ronin1975]

The Surfer - Francois Tetaz

Zum neuen bizarren Thriller mit Nicolas Cage gibts einen bizarren Score. Wenn ich's nicht wüsste, würd ich sagen der is von Cristobal Tapia de Veer oder Christopher Young in seinen wilden Phasen...

 

 

[Stese]

Am 29.4.2025 um 15:03 schrieb Alexander Grodzinski:

Neu von Music Box:

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Nicolas Magenham.
Limited Edition of 1000 units.

In collaboration with Carthago Films, Music Box Records proudly presents the premiere CD release of the original motion picture soundtrack of Philippe Clair's Par où t’es rentré… On t’a pas vu sortir (How Did You Get In? We Didn't See You Leave, 1984) composed and conducted by Alan Silvestri.

It was while watching Robert Zemeckis's Romancing the Stone that director Philippe Clair had the idea to contact American composer Alan Silvestri for his own film, the cult classic Par où t’es rentré… On t’a pas vu sortir – starring Jerry Lewis. The future composer of Back to the Future, Who Framed Roger Rabbit and Forrest Gump brought out the big guns for this comedy set between Paris and Tunisia. He provides a fiery mix of orchestral music and pop rock pieces for particularly muscular action tracks, sophisticated parodies, as well as aerobic music. Clair / Silvestri: an unlikely meeting in the service of energetic and effective music. 

This present edition features the original soundtrack album (without the song High Energy not composed by Silvestri), remastered by Christophe Hénault from pristine condition stereo master tape. In regard to the bonus tracks, we only gained access to the monaural music stem of the complete soundtrack - including the isolated score. We did our best to fix the fluctuating volume levels and the quality of the sound. The package includes an 8-page booklet with liner notes by Nicolas Magenham. The release is limited to 1000 units.

Habe die CD jetzt mehrmals durch. Megageiler Up-Beat Soundtrack von Alan Silvestri, wie ich ihn mag.

Für mich ein Jahreshighlight an Veröffentlichung, die sehr überraschend kam.

Danke Musicbox!

[Alexander Grodzinski]

Neu von BSX/Dragon's Domain:

Dragon’s Domain Records presents BATTLE OF NERETVA, featuring music composed by Bernard Herrmann (CITIZEN KANE, PSYCHO, TAXI DRIVER) for the 1969 historical epic directed by Veljko Bulajic, written by Ugo Pirro, Stevo Bulajic, Ratko Djurovic and Veljko Bulajic, starring Yul Brynner, Hardy Krüger, Franco Nero, Sylva Koscina, Orson Welles, Curd Jürgens, Anthony Dawson, Milena Dravic, Sergey Bondarchuk, Ljubisa Samardzic and Bata Zivojinovic.

To film this epic chronicle of raw courage and stubborn savagery, executive producers Henry T. Weinstein and Anthony B. Unger chose Veljko Bulajic, the renowned Yugoslav director noted for his adroit handling of large-scale subject matter. Military experts from [the former] Yugoslavia, Germany, and Italy each contributed to the battle scenes with tanks, artillery, planes and cannons. Special effects were provided by Barrandow Studios in Prague, while the [former] U.S.S.R. supplied a team of pyrotechnicians. Four 1943 Bosnian villages and a complete fortress were constructed for destruction by aerial bombardment.

For the director’s cut of BATTLE OF NERETVA, Vladimir Kraus-Rajteric composed the original score where the music is sparsely utilized, primarily to drive the human drama and not the action sequences. It is not a typical Hollywood-style score, which often serves to romanticize war as heroic conflict. Rather, it emphasized the suffering. Kraus-Rajteric’s music, frequently interpolated with partisan songs, was also retained in edits created for Germany and Italy. Due to the extensive editing for the English-language versions, Kraus-Rajteric’s score was rejected as it could not be effectively altered to fit the new interpretation, and Bernard Herrmann was engaged to compose a replacement score that would be more familiar to our audiences. For the score, Herrmann chose the London Philharmonic Orchestra, augmented by a large brass and percussion section, a total of 120 pieces, to perform this epic work under his direction.

Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others.

Born on December 14, 1924 in Zagreb, Croatia (now part of the former Yugoslavia), Vladimir Kraus-Rajteric is best known for NIGHTS AND DAYS and the anti-war ATOMIC WAR BRIDGE. He passed away on July 29, 1996.

Originally released in the early days of compact disc, Dragon’s Domain Records is excited to bring BATTLE OF NERETVA back to the marketplace, featuring music composed and conducted by Bernard Herrmann, performed by the London Philharmonic Orchestra, newly remastered by James Nelson at Digital Outland.  For the first time, selections from Vladimir Kraus-Rajteric's score from BATTLE OF NERETVA are presented on this release from the best possible elements. The booklet includes liner notes written by author David Hirsch.

BATTLE OF NERETVA is a limited edition release of BATTLE OF NERETVA will begin shipping the week of  May 19th, 2025.

01. Prelude (2:33)

02. The Retreat (3:42)

03. Separation (4:02)

04. From Italy (3:18)

05. Chetniks’ March (1:49)

06. Farewell (1:51)

07. Partisan March (1:31)

08. Pastorale (2:00)

09. The Turning Point (5:18)

10. The Death of Danica (2:14)

11. Victory (2:35)

BONUS TRACKS

12. Danica’s Theme (3:26)

The Roland Shaw Orchestra

BATTLE OF NERETVA EUROPEAN SUITE

Music Composed by Vladimir Kraus-Rajteric

13. Part 1 (4:27)

14. Part 2 (3:11)

15. Part 3 (3:23)

 

Total Time: 46:01

 

Dragon’s Domain Records presents RETURN FROM THE RIVER KWAI, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for the 1989 war drama directed by Andrew V. McLaglen (THE DEVIL’S BRIGADE, THE UNDEFEATED, THE WILD GEESE), written by Joan Blair, Clay Blair, Jr. And Sargon Tamimi, starring Timothy Bottoms, Nick Tate, George Takei, Edward Fox, Denholm Elliott, Richard Graham, Chris Penn and Tatsuya Nakadai.

Released theatrically in 1989 everywhere except the United States, RETURN FROM THE RIVER KWAI was based upon the book of the same name published by Simon & Shuster in 1989 and written by Clay Blair, Jr. with the assistance of his wife, Joan. It was a re-account of one of the last untold stories of World War II. Considered a work of non-fiction, the book tells the factual account of what happened to the 2,218 Australian and British POWs, and a lone American soldier, who survived what came to be known as ‘the Death Railway’.

Father and son producers Kurt and Daniel Unger engaged composer Lalo Schifrin to compose the score for RETURN FROM THE RIVER KWAI. As an addition to the Schifrin score, a further theme was commissioned for the film from Japanese New Age composer Kitarô. Recording of the Lalo Schifrin score took place in July, 1988 at the Studio Palais de Congrès in Paris. The ‘Japanese Theme’ by Kitarô was recorded by the composer at his home in Tokyo. A few years later, Kitarô would be hired by Oliver Stone to score his film HEAVEN AND EARTH.

As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career.

Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE.

Originally released on compact disc in 2008 and very scarce, Dragon’s Domain Records brings RETURN FROM THE RIVER KWAI back to the marketplace, featuring music composed by Lalo Schifrin, including the Japanese Theme composed by Kitarô, performed by the Paris Philharmonic Orchestra. The music has been newly mastered by James Nelson at Digital Outland and the liner notes written for the previous release by Darren Allison have been reprised.

RETURN FROM THE RIVER KWAI is a limited edition release of and is expected to begin shipping the week of May 19th, 2025 .

01. Main Title (2:24)

02. Destroyed Bridge / Meo Tribesmen (1:46)

03. Firing Squad / Time and Change (2:07)

04. Headman / Crawford (2:39)

05. No Glory In Dying (3:47)

06. Miller’s Head / Final Mission (2:12)

07. Cambodia (1:47)

08. Brasil Maru (2:55)

09. Rickshaw / Runaway (3:04)

10. Crash Position / Gangplank / Japanese Theme** (3:10)

(** - Kitarô)

11. Stretcher (1:19)

12. Dive / Like A Shark (2:55)

13. The Take (3:03)

14. Sit Tight / Anchor Chain (3:25)

15. Escort Hit / Abandon Ship / Sinking (6:17)

16. End Titles / Pack Up Your Troubles In Your

Old Kit Bag and Smile, Smile, Smile*** (2:46)

(*** - Felix Powell, George Asaf)

17. Japanese Theme** (6:34)

Performed by Kitarô

18. Rule, Britannia* (0:45)

(Thomas Augustine Arne)

 

Total Time: 53:42

 

 

Dragon’s Domain Records presents THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN, featuring music composed by Bernard Herrmann and including music from the films CITIZEN KANE, THE MAGNIFICENT AMBERSONS, THE DAY THE EARTH STOOD STILL, THE KENTUCKIAN, THE NIGHT DIGGER, SISTERS, BATTLE OF NERETVA and more.

THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN consists of new recordings (from the late 1980s and early 1990s) performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner, the National Philharmonic Orchestra, conducted by Fred Steiner, in addition to the original soundtrack recordings performed by the Sessions Of London Orchestra, conducted by the composer, the London Studio Orchestra, conducted by the composer and the London Philharmonic Orchestra, also conducted by the composer.

Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others.

Originally released on compact disc in 1992, Dragon’s Domain Records is excited to bring THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN back to the marketplace, newly remastered by James Nelson at Digital Outland.  THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN also includes a specially reconstructed presentation from THE NIGHT DIGGER, assembled from the available elements of the music.

The booklet includes the original extensive liner notes written by John Steven Lasher for the

 album. Many decades later, THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is an important compilation and an excellent introduction to the music of one of the greatest film composers of them all.

THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is a limited edition release. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN will begin shipping the week of April 9th, 2025  

1. CELLULOID FANFARE #1: BERNARD HERRMANN 0:48

Composed by John Steven Lasher

CITIZEN KANE

2. Suite: The Inquirer 6:54

3. Theme and Variations (Breakfast Montage) 3:20

4. Salaambô’s Aria 4:23

Soprano - Rosamond Illing

THE MAGNIFICENT AMBERSONS

5. Theme and Variations / George’s Homecoming 6:24

6. First Nocturne 4:04

Soloist, Violin - Neville Tawell

7. Second Nocturne 3:18

Soloist, Cello [Violincello] - Henry Wenig

THE DAY THE EARTH STOOD STILL

8. Lincoln Memorial / Arlington 3:00

THE KENTUCKIAN

9. Prelude / The Steamboat / The Stagecoach / Victory / The Forest 6:49

10. Nocturne / Night Sounds 5:11

11. Scherzo / Miss Susie 4:01

12. The Rope / Finale 3:23

WILLIAMSBURG: THE STORY OF A PATRIOT

13. Overture / Exit Music 2:37

THE NIGHT DIGGER

14. Portrait of the Road Builder 7:32

15. A New Beginning and Ending 4:05

Harmonica - Tommy Reilly

Viola D’Amore - Rosemary Greene

SISTERS

16. Cake Death 3:37

BATTLE OF NERETVA

17. Prelude 2:33

18. Chetnik’s March 1:47

19. Partisan March 1:31

20. Victory! (Finale) 2:34

Total Time: 78:55

 

Dragon’s Domain Records presents TOO LATE THE HERO, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1970 war film directed by Robert Aldrich (THE DIRTY DOZEN, EMPEROR OF THE NORTH, THE FLIGHT OF THE PHOENIX), written by Aldrich, Robert Sherman and Lukas Heller, starring Michael Caine, Cliff Robertson, Ian Bannen, Harry Andrews, Ronald Fraser, Denholm Elliott, Percy Herbert, Patrick Jordan, Harvey Jason and Henry Fonda.

TOO LATE THE HERO takes place in 1942, in the Pacific Theatre of World War II and follows Lieutenant Junior Grade Sam Lawson (Robertson), a Japanese-language interpreter who, so far, has been able to avoid combat. Captain Nolan (Fonda), his commanding officer, unexpectedly cancels his leave and informs Lawson that he is being assigned to a British infantry commando unit in the New Hebrides Islands for a combat mission... The British base at this location is located in the middle of a large open field, several hundred yards from the edge of the jungle. On the other side of the jungle is a Japanese observation post. The commando group is led by Captain Hornsby (Elliott). Hornsby’s commando group is instructed to destroy the Japanese radio transmitter at the observation post before they can sound the alarm on an American naval convoy that is scheduled to appear on the horizon in just a few days. During the course of executing their mission, they discover the existence of a secret Japanese airfield and planes ready for action...

The music for TOO LATE THE HERO was composed by Gerald Fried. This was a continuation of his collaboration with director Robert Aldrich, which also included THE KILLING OF SISTER GEORGE, WHATEVER HAPPENED TO AUNT ALICE? and THE GRISSOM GANG. The score for TOO LATE THE HERO is one of Fried’s most exciting and impressive orchestral works, constructed for large orchestra (including an expanded percussion section) and implemented with synthesizers and numerous exotic instruments. TOO LATE THE HERO offers a splendid example of Fried’s unique ability to derive fascinating motives from unusual rhythm patterns.

Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.

After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television.

Originally appearing on compact disc nearly three decades ago and very scarce, Dragon’s Domain Records brings TOO LATE THE HERO back to the marketplace, featuring music composed and conducted by Gerald Fried. The music has been remastered by James Nelson at Digital Outland and reprising the liner notes written by D.L. Fuller for the original release.

TOO LATE THE HERO is a limited edition release.  TOO LATE THE HERO is expected to begin shipping the week of May 19th, 2025 

01. Overture (3:15)

02. Opening Titles (4:03)

03. British Flag (1:03)

04. Trevor's Return / The Crossing / Five Of Them (3:41)

05. Not Going That Way / Other Casualties / Jungle March (3:32)

06. Lap Officer / Death Scream (2:17)

07. Lawson's Trick (2:51)

08. Scavenger / Jungle Trek (2:16)

09. Old Army Boots / Shrine (1:58)

10. Move Out / Good Luck (3:47)

11. Radio Shack (2:07)

12. The Approach / Scott Shot / Light On / Firefight (5:42)

13. Quick Exit / Post Grenade (2:21)

14. Overture Act II (2:53)

15. Air Strip / Camouflage Caper / Smokey Japs / River Journey (3:50)

16. The Speakers (3:17)

17. Thornton's Ambush / Thornton's Free Ride / Another Shrine (3:53)

18. How To Help A Buddy (3:59)

19. Ring Job / Revolver / Jungle Pursuit (3:54)

20. Camp / Getting The Gooch (4:18)

21. You Zig, I'll Zag / Final Run (4:44)

22. Finale (1:42)

23. Exit Music (2:42)

Total Time: 75:02

 

Dragon’s Domain Records presents THE RISE AND FALL OF THE THIRD REICH, a dramatic cantata composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) based on the Emmy-nominated 1968 television documentary” instead of “for the 1968 directed by Jack Kaufman, produced by David L. Wolper, featuring the narration of Richard Basehart.

David L. Wolper was one of television’s most respected and honored producers. The winner of three Emmys (nominated for eight more), the Oscars’ Jean Hersholt Humanitarian Award and a member of the Television Hall of Fame, Wolper gave us ROOTS, THE THORN BIRDS, NORTH AND SOUTH, the NATIONAL GEOGRAPHIC Specials, WILLY WONKA AND THE CHOCOLATE FACTORY and dozens of other projects over a 40-year career in films and television.

Among his landmark television documentaries was THE RISE AND FALL OF THE THIRD REICH, which aired on ABC over three nights in March 1968. Based on journalist William L. Shirer’s best-selling, award-winning 1960 chronicle of the history of Nazi Germany, it was the result of two years of research and examining more than five million feet of film to tell the story of Adolf Hitler’s rise to power and his eventual downfall at the end of World War II.

Lalo Schifrin had already scored his NATIONAL GEOGRAPHIC “The Hidden World of Insects” and earned an Emmy nomination for the music for THE MAKING OF THE PRESIDENT in 1964. Schifrin’s imagination was sparked by the subject and what followed was unprecedented in the history of music for television: a major concert work performed by a leading American orchestra, debuting eight months before the program that inspired it. THE RISE AND FALL OF THE THIRD REICH cantata debuted at the Hollywood Bowl on Thursday, August 3, 1967.

As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career.

Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Later scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE.

Originally released on vinyl by MGM Records in 1967 with the addition of Laurence Harvey's narration, Dragon’s Domain Records brings THE RISE AND FALL OF THE THIRD REICH to compact disc for the first time, featuring music composed by Lalo Schifrin, performed by members of the Los Angeles Philharmonic, the Gregg Smith Singers and conducted by Lawrence Foster. The music for THE RISE AND FALL OF THE THIRD REICH Cantata appears here minus the narration, music newly mastered by James Nelson at Digital Outland and featuring liner notes written by noted author Jon Burlingame.

THE RISE AND FALL OF THE THIRD REICH is a limited edition release  and is expected to begin shipping the week of May 19th, 2025.

01. Prologue (3:33)

02. The Teutonic Gods (3:08)

03. A Pact with Satan (3:24)

04. The Devil's Spawn (4:31)

05. Nazis March (1:29)

06. Mother Earth Mourns (5:15)

07. Bonfires (2:02)

08. The War Begins (1:29)

09. Destruction and Sorrow (2:37)

10. Madness and Murder (2:32)

11. Innocent Victims (3:45)

12. The Allies Rally (1:14)

13. The Tide Turns (2:06)

14. Seventy Million Dead (3:40)

15. Epilogue (4:56)

Total Time: 45:49

 

BSXDG0185
Includes Digital Booklet

BSX DIGITAL presents the original soundtrack for THE PASSAGE, featuring music composed by Michael J. Lewis (JULIUS CAESAR, THEATRE OF BLOOD, SPHINX, FFOLKES), for the British action film directed by J. Lee Thompson (THE GUNS OF NAVARONE), written by Bruce Nicolaysen and Stephen Oliver, starring Anthony Quinn, James Mason, Patricia Neal, Kay Lenz, Paul Clemens, Christopher Lee, Michael Lonsdale and Marcel Bozzuffi.

Released in 1979, THE PASSAGE is set against the backdrop of World War II as a resilient Basque farmer (Quinn) is called upon by the French resistance to help facilitate the escape of John Bergson (Mason), a brilliant scientist, and his family across the treacherous Pyrenees mountains to the safety of neutral Spain. In pursuit is Captain Von Berkow (McDowell), a ruthless SS officer who perhaps enjoys his work a little too much...

THE PASSAGE is accompanied by a sweeping symphonic score that propels its narrative forward and heightens the palpable sense of danger throughout its key moments. Lewis’ compositions are expansive and lush, beautifully reflecting the breathtaking snowy landscapes where the film takes place. At the 70th Annual Academy Awards, the evocative ‘Apassionata’ from this score was used during the ‘In Memoriam’ segment, conducted by the great Jerry Goldsmith.

Michael J. Lewis is an Emmy award-winning composer of film, television, Broadway and choral works. Born in Aberystwyth, Ceredigion, Wales, he studied harmony, counterpoint, and composition at the Guildhall School of Music and Drama. After a brief teaching career in North London, he became a full-time composer at the age of 24.

Lewis was incredibly prolific in the late 1970s and early 1980s. His filmography includes THEATRE OF BLOOD, THE MEDUSA TOUCH, THE LION, THE WITCH AND THE WARDROBE, for which he earned an Emmy, JULIUS CAESAR, THE MAN WHO HAUNTED HIMSELF, 11 HARROWHOUSE, THE MADWOMAN OF CHAILLOT, NORTH SEA HIJACK also known as FFOLKES, THE ROSE AND THE JACKAL and YES, GIORGIO, a shared music credit with composer John Williams.

In addition, Lewis began writing music for British

 TV commercials for British Rail, Tesco, 7 Up, Ford, and Audi and after relocating to the United States, he scored national TV campaigns for IBM, Lipton, Kentucky Fried Chicken, 3M, and Connecticut National Bank.

Following the passing of his daughter in 1994, the composer shifted his interest from film to the writing and adapting of music and vocals, both sacred and secular, from his native homeland. Michael J. Lewis currently resides and composes amidst the pines of Mississippi, the birthplace of American music, and continues to record in New Orleans, home of the Blues.

BSX Digital presents THE PASSAGE, featuring music composed and conducted by Michael J. Lewis, meticulously remastered by James Nelson at Digital Outland, honoring the composer’s original vision by following the intended order of the music.

 

[Stese]

Da muss ich Dragon’s Domain mal loben: Wirklich tolle Auswahl. Wobei die Wahl nicht schwer, sondern leicht fällt: Herrmann, 2x Schifrin, Fried (jetzt nur auf die CD-Ausgaben bezogen).

Die landen alle im Warenkorb! 👍