Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Alexander Grodzinski]

Von Quartet:

Quartet Records, in collaboration with Universal Music Publishing Italia and EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s fascinating score for Folco Quilici’s OCEANO (1971), a pseudo-documentary film about a young Polynesian, Tanai, who goes in search of the island of his dreams. On an epic sea voyage from Polynesia to Alaska, aboard a tiny fragile raft, he is guided by the voices of his ancestors.

Morricone’ score for OCEANO seeks to merge nature with mythology. It breathes, vibrates, transmits, and is characterized by its episodic and atmospheric structure, taking the form of an evocative soundscape. The composer draws on resources that recall a primitive, spiritual component: tribal percussion (tablas and bongos), solo woodwinds (flutes and clarinets), guitar, sitar, clanging metal and harp. The fusion of timbres in this instrumentation is unconventional. He expressively sets to music ideas associated with wind or nature, sound textures that construct Tanai’s intimate journey: we hear the sea, we feel the air roaring over the sail of his canoe, the danger lurking in the ocean, his loneliness. The music is another character that gives the film a lyrical dimension and complements the visual element, transcending its narrative function to become a gateway to meditation on the mystery of the sea and existence. Through his unmistakable style, Morricone invites us to immerse ourselves in a world of introspection, beauty and silent emotion.

The original 40-minute program was released on vinyl in 1971 in Italy and Japan, and both LPs quickly became collector’s items. The same program was reissued by RCA on CD in 1993 paired with Morricone’s score for L’AVVENTURIERO. In 2010, the complete 70-minute score with all the music recorded by Morricone was released on CD by the GDM label, which quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original master tapes. The beautiful package includes in-depth liner notes by Miguel Ángel Órdóñez.

1. Oceano 4:03
2. Isola di Pasqua 2:01
3. Vulcano 1:01
4. Speranza per una Terra Amica 1:36
5. Le Maschere Morte 2:43
6. Il Vento è il Vento e Soffia Dove Vuole 4:47
7. Tanai 2:18
8. Odissea 1:58
9. Notte 1:40
10. Piccola Ouverture 1:46
11. Viaggio 3:03
12. Il Sole è il Sole e Brucia Ciò Che Vuole 3:30
13. Partenza 2:14
14. Il Vento è il Vento e Soffia Dove Vuole (#2) 10:42
15. Viaggio (#2) 1:23
16. Oceano (#2) 2:03
17. Isola di Pasqua (#2) 4:11
18. Notte (#2) 4:24
19. Partenza (#2) 1:13
20. Odissea (#2) 3:34
21. Oceano (#3) 6:19

Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of Ennio Morricone’s iconic poliziesco score for Sergio Sollima’s REVOLVER (1973), a violent Italian-French thriller starring Oliver Reed and Fabio Testi. In the film, a prison warden is forced to exchange a French criminal for his kidnapped wife, but they soon find themselves on the trail of a larger conspiracy.

For REVOLVER, Morricone created the original song “Un Amico,” performed by Daniel Beretta, which is possibly one of the most beautiful melodies written by the Roman maestro (it was included by Tarantino in a key sequence of INGLOURIOUS BASTERDS). Morricone also provides a wistful and playful love theme (“Anna”) and several background source cues in his inimitable style.

 Another major ingredient of the score is a cue titled “Revolver” or “Inseguimento e Fuga” (Chase and Escape). Morricone composed a 12-minute version of this dynamic piece as well as other varied arrangements to fit different moments in the film. “Revolver” is a driving, staccato piece of music for piano and orchestra that repeats and builds, creating a dark, propulsive atmosphere in the style that became Morricone’s shorthand for crime and gangster action. He took very similar approaches in the American gangster films STATE OF GRACE, THE UNTOUCHABLES and BUGSY.

The original LP of REVOLVER was released in 1973 by General Music in Italy and reissued in 1977 in Japan. Subsequently, the same program was reissued on CD several times, in Germany (Allhambra), Italy (Dagored), and Japan (Seven Seas). An expanded edition with virtually all the music recorded by Morricone for the film was releaased by GDM in 2006 and quickly sold out. This is a reissue of that edition, supervised by Dániel Winkler and Claudio Fuiano, and completely remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by film music writer Jeff Bond.

1. Un amico 2:39
2. Revolver 12:44
3. Anna 2:09
4. Quasi un Vivaldi 1:58
5. Pericolo per Anna 1:50
6. Un amico (Titoli) 2:39
7. Inseguimento e fuga 3:42
8. In un bar 2:26
9. Rapimento 2:31
10. In un altro bar 2:12
11. Un amico (Versione con chitarra 12 corde) 1:15
12. Revolver (Suspense) 1:47
13. Anna (#2) 4:39
14. Quasi un Vivaldi (#2) 3:09
15. Inseguimento e fuga (#2) 3:29
16. In un altro bar (#2) 2:08
17. Rapimento (#2) 1:40
18. Un amico (Versione tromba) 2:34
19. In un altro bar (#3) 2:54
20. Inseguimento e fuga (#3) 3:38
21. Un amico (Versione synth) 2:47

Quartet Records, in collaboration with EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1973 romantic drama QUESTA SPECIE D’AMORE, directed by Alberto Bevilacqua. The film is about Federico (Ugo Tognazzi), who is married to Giovanna (Jean Seberg), a rich and attractive woman who has guaranteed him an excellent social position. His father, Giuseppe, on the other hand, is an anti-fascist and works as a craftsman.

Following in the footsteps of his previous collaboration with Bevilacqua on LA CALIFFA, Morricone wrote a radiantly passionate score for QUESTA SPECIE D’AMORE, featuring one of his most heartfelt and profound love themes and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines Federico’s loneliness and the breakdown of his marriage.

The original album program was released on vinyl in 1973 by General Music. The same program had its first digital release by GDM on CD in 1993, paired with Morricone’s score for MADDALENA. In 2000, Screen Trax issued an expanded edition in Italy. The first complete edition with all the music recorded by Morricone for the film was released solely in Japan by Verita Note in 2007, which was quickly sold out. This is a reissue of that release, supervised by Dániel Winkler and Claudio Fuiano, and entirely restored and remastered by Chris Malone from the original tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez.

1. Questa Specie D’Amore 2:37
2. Federico e la Sua Solitudine 2:44
3. Roma Baldracca 5:06
4. La Terra del Padre 2:54
5. Giovanna e Federico 4:01
6. Al Popolo di Parma 2:46
7. La Madre 3:55
8. Ouverture del Mattino 5:28
9. Questa Specie D’Amore (#2) 3:24
10. La Terra del Padre (#2) 1:20
11. Roma Baldracca (#2) 1:47
12. Giovanna e Federico (#2) 2:30
13. La Terra del Padre (#3) 1:19
14. Questa Specie D’Amore (#3) 1:26
15. Federico e la Sua Solitudine (#2) 2:44
16. La Terra del Padre (#4) 1:19
17. Questa Specie D’Amore (#4) 1:44

Total Disc Time: 47:13

Quartet Records, in collaboration with EMI Music Publishing, presents a remastered reissue of Ennio Morricone’s impressive, epic score for Gillo Pontecorvo’s ambitious, slavery-condemning 1969 production QUEIMADA (aka BURN!), starring Marlon Brando. The film tells the story of a British mercenary who in 1844 helped the slaves of an Antilles island colony revolt and gain independence for the island from Portugal, but later returned to hunt down a local rebel leader and former protégé.

Because they previously worked together with great success on THE BATTLE OF ALGIERS, the next collaboration between Morricone and Pontecorvo was eagerly awaited. The composer rose to the occasion, writing a monumental score, led by the freedom hymn “Aboliçao”, a kind of beat Luba-mass. The music of QUEIMADA is characterized by its rich textures, dramatic contrasts, and a fusion of European, African, and Latin American elements. Morricone avoids falling into decorative folklore, instead creating a deeply emotional score, using both traditional orchestra and choir, organ, tribal percussion, electric guitars and Hammond organ, generating a fascinating hybrid soundscape.

In 1969, only a 45-rpm single was released in Italy and France with the hit “Aboliçao.” The score was not released on LP until 1971 when United Artists Records issued it in the U.S .and Japan. The CD has had different editions in Italy, from a weird selection of just nine cues on the ViviMusica label, along with some spaghetti western themes, to a first expanded edition of 26 cues in 2001 and the complete 31-cue score in 2012, both by GDM. This is a reissue of the latter, supervised by Dániel Winkler and Claudio Fuiano, and completely restored, edited and remastered by Chris Malone from the original master tapes. The package includes in-depth liner notes by Miguel Ángel Órdóñez.

1. Aboliçao 5:06
2. Queimada Prima 1:28
3. Queimada (Anche i Portoghesi Muiono) 1:19
4. Queimada (Pezzo Classico #1) 0:44
5. Queimada (Libertà) 1:42
6. Verso il Futuro 4:36
7. Josè Dolores 1:27
8. Queimada (La Civittà dei Blanchi) 2:22
9. Josè Dolores (#2) 0:43
10. Queimada (Una Nuova Nazione) 0:41
11. Verso il Futuro (#2) 0:58
12. Queimada Seconda 4:03
13. Preparazione 1:45
14. Josè Dolores (Generalissimo) 1:27
15. Queimada (Pattuglia) 2:31
16. Osanna 4:18
17. Verso il Futuro (#3) 1:14
18. Queimada (Canna da Zucchero) 1:11
19. Verso il Futuro (#4) 1:59
20. Queimada (William e Josè) 1:45
21. Josè Dolores (#3) 1:27
22. Verso il Futuro (#5) 1:58
23. Queimada (Pezzo Classico #2) 0:48
24. Studi per un Finale 3:26
25. Preparazione (#2) 3:15
26. Queimada (Marcia) 1:11
27. Verso il Futuro (#6) 1:58
28. Queimada Seconda (#2) 0:42
29. Queimada (William e Josè #2) 1:13
30. Verso il Futuro (#7) 4:53
31. Studi per un Finale (#2) 1:55

Total Disc Time: 65:03

[Scorist]

Sehr nette Überraschung zum Wochenende, da ich vor kurzem auch erstmalig die Serie gesehen habe und die Musik schmerzlich vermisst habe: WaterTower bringt heute die (leider nur digitale) Expanded Edition zu Jeff Beals ROME - ab sofort zu hören beim Musik-Streamer seines Vertrauens:

1. Rome (Main Title Theme) (1:37)
2. The Forum (1:43)
3. Niobe’s Theme (3:25)
4. Caesar Returns to Rome (2:37)
5. Octavian (2:38)
6. Riot in the Senate (1:14)
7. Farewells (3:32)
8. Servilia’s Curse (5:46)
9. Hell Hath No Fury (2:26)
10. Martial Law (3:03)
11. All I’ve Got (2:10)
12. Bravery and Battle (1:54)
13. Crossing the Rubicon (3:31)
14. Death of Pompey (3:32)
15. The Raft (2:58)
16. Cleopatra’s Opium Pipe (2:47)
17. Caesar and Cleopatra (3:16)
18. Triumph (3:58)
19. Erastes (1:07)
20. The Evening Is Over (2:10)
21. Pullo Addresses the Gods (1:54)
22. Vorenus Saves Pullo (3:49)
23. Anthony and Atia (2:25)
24. Eirene and Pullo (1:37)
25. Brutus (2:20)
26. Secrets and Lies (2:45)
27. The Murder of Julius Caesar (1:24)
28. Vorenus Holds Niobe (3:52)
29. War on Philippi (5:40)
30. Servilia Is Punished (1:21)
31. The Battlefield (2:43)
32. Octavian Leaves (2:58)
33. The Kiss (2:16)
34. Ritual Blood and Orgies (3:25)
35. End It Tomorrow (1:37)
36. Anthony and Cleopatra (3:37)
37. Children by Vorenus (0:58)
38. About Your Father (1:50)

 

[Alexander Grodzinski]

Und wieder mal Dragon's Domain:

SPECIAL NOTE: The First 50 copies purchased from buysoundtrax.com will be autographed by the Composer

Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for three short films from his extensive filmography.

A defining trait of composer Christopher Young’s early career has been his unwavering engagement with the experimental musical languages of the postwar avant-garde. Few composers brought these idioms into the Hollywood system as boldly or as consistently as he did. As he began to earn recognition as a mainstream composer capable of delivering accomplished and influential large-scale scores, he also looked for opportunities to experiment, which he found in more obscure and independent projects. Many of these smaller projects offered a rare opportunity to explore new facets of his writing, without any pressure from producers, studios, etc.

CHRISTOPHER YOUNG: THE SHORTS includes suites from three such highly diverse scores that were composed either for a television series such as VIETNAM WAR STORY or short student films such as THE MINSTREL’S SONG and THE TOWER. All three showcase his distinctive voice, though each emphasizes a different dimension of his style. From the merging of electronics with acoustic Japanese instruments and the development of polyrhythmic structures, to a taste for colorful instrumentation and semi-stylized historical pastiche, to the dissection and transformation of waltz-like melodic material.

VIETNAM WAR STORY originally aired on HBO between 1987 and 1988 and was an anthology series based on short stories written by U.S. veterans of the Vietnam conflict. Young contributed scores to two of the series’ nine episodes. His music for VIETNAM WAR STORY is a hybrid work in which he used electronics along with a wide range of acoustic instruments of Japanese origin. Originally released in 1993 by Intrada Records as part of a collection, the composer has returned to VIETNAM WAR STORY to revisit his work.

THE MINSTREL’S SONG was a graduation short film directed by Chris C. Hopkins, an aspiring filmmaker who would later become a noted prop artist and set designer. The music was composed and recorded by Young during his UCLA years. Also released on the same collection as VIETNAM WAR STORY, his music for THE MINSTREL’S SONG draws it’s influences from the Renaissance era, with the music played by a small ensemble.

THE TOWER was a short film marking the directorial debut of music editor E. Gedney Webb and holds a special place in Young’s heart. Webb is the composer’s nephew and they had collaborated on scores such as THE DARK HALF and DREAM LOVER. The film tells the story of a burned-out forty-year old man who encounters the ghost of a woman imprisoned in the tower of his summer home by Lake Michigan. Released by Intrada in 2002, THE TOWER was initially presented as forty-minute chamber symphony in five movements. Years later, the composer would return to the material and revise it into the current suite, inviting guitarist, songwriter and longtime friend Mark Hanson to provide lyrics for the principal melodic ideas. The orchestration includes string quartet, piano, harp, solo female voice and electronics.

Golden Globe-nominated composer Christopher Young has scored over 100 films, including films such as HELLRAISER, JENNIFER 8, MURDER IN THE FIRST, COPYCAT, SPECIES, THE HURRICANE, SWORDFISH, THE SHIPPING NEWS, THE HURRICANE, THE CORE, THE GRUDGE, THE EXORCISM OF EMILY ROSE, SPIDER-MAN 3, UNTRACEABLE and the forthcoming films, THE UNINVITED and DRAG ME TO HELL. Born in Red Bank, New Jersey, Young graduated from Massachusetts Hampshire College with a BA in music and did post-graduate work at North Texas State University, studying big band writing and classical composition before moving to Los Angeles in 1980. While enrolled at UCLA, he studied with famed film composer David Raksin. In addition to his career as a film composer, he has also taught composition at UCLA.

Dragon’s Domain Records presents CHRISTOPHER YOUNG: THE SHORTS, featuring music composed by Christopher Young for VIETNAM WAR STORY, THE MINSTREL’S SONG and THE TOWER. The music has been newly remastered by Digital Outland. The liner notes have been written by Andrea Bruno and provide important information about each project, with the composer’s participation.

1. Vietnam War Story Opening (2:55)

2. Vietnam War Story Part 1 (2:00)

3. Vietnam War Story Part 2 (3:53)

4. Vietnam War Story Part 3 (2:08)

5. Vietnam War Story Part 4 (1:21)

6. Vietnam War Story Part 5 (3:11)

7. Vietnam War Story Closing (3:46)

8. The Minstrel's Song Part 1 (3:10)

9. The Minstrel's Song Part 2 (1:41)

10. The Minstrel's Song Part 3 (2:41)

11. The Minstrel's Song Part 4 (1:19)

12. The Minstrel's Song Part 5 (2:05)

13. The Minstrel's Song Part 6 (0:57)

14. The Tower (18:42)
 

Total Time: 51:27

Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography, CRY BABY KILLER and MACHINE-GUN KELLY, two early crime dramas produced by Roger Corman and released in 1958.

Released in 1958, CRY BABY KILLER was directed by Justus Addiss, starring Jack Nicholson in his film debut, along with Brett Halsey, Carolyn Mitchell, Harry Lauter, Lynn Cartwright, Ralph Reed, John Shay, Barbara Knudson, William A. Forester, John Weed and an uncredited Roger Corman. CRY BABY KILLER follows Jimmy Wallace (Nicholson) as he confronts Manny (Halsey) and his friends after being beaten up by them over a girl named Carole (Mitchell). Jimmy challenges Manny to a fight outside a café but during the struggle, Jimmy grabs a gun from one of Manny’s friends. After firing off some shots, a nearby police officer corners Jimmy and he is forced to take hostages. A tense standoff ensues...

Also released in 1958, MACHINE-GUN KELLY was directed by Roger Corman, starring Charles Bronson, Susan Cabot, Morey Amsterdam, Richard Devon, Jack Devon, Jack Lambert, Frank De Kova, Connie Gilchrist, Wally Campo, Barbara Morris, Lori Martin, Michael Fox and Larry Thor. MACHINE-GUN KELLY chronicles the criminal activities of the real-life gangster George ‘Machine-Gun' Kelly and features Charles Bronson in his first lead in a feature film. In the film, George Kelly, nicknamed ‘Machine-Gun’ by his partner in crime, Flo Becker (Cabot), robs a bank and then achieves status as a public enemy. Tensions soon rise among his inner circle, and Kelly becomes easily manipulated by Flo. After a botched robbery leaves their partner, Michael Fandango (Amsterdam) without an arm, Kelly is influenced by Flo to kidnap the daughter of a wealthy businessman for ransom. Fandango reveals Kelly's identity to the police only to be killed by one of Kelly's other associates as the house is surrounded. Ultimately, Kelly intends to surrender to receive a more lenient sentence and avoid execution. However, Flo questions his courage, leading to a final confrontation.

Fried’s scores for these projects were masterfully composed for jazz ensembles, featuring some of Hollywood’s most accomplished studio musicians of that era. In CRY BABY KILLER, the title song stands out, written and performed by the talented Dick Kallman, who, alongside Fried, brought the piece to life through intricate arrangements and production that resonated with the film's edgy themes. The scores themselves utilize Jazz not only as a rhythmic and propulsive force but also as a dynamic backdrop that enhances the film’s action sequences, along with rich, sensual interludes that highlight the performances of the female leads.

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.

Dragon’s Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried for CRY BABY KILLER and MACHINE-GUN KELLY for the 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. Kenmer and Scott Davis.

GERALD FRIED: THE CRIME DRAMAS is a limited edition release. GERALD FRIED: THE CRIME DRAMAS is expected to begin shipping the week of Aug 25th, 2025

CRY BABY KILLER

1. Main Title – Cry, Baby Cry (2:12)

2. Fugue (1:32)

3. Rock, Baby Rock (3:34)

4. Calypso Girlfriend (1:52)

5. Come in Out of the Rain (3:39)

6. The Shack and the Boy (1:45)

7. Lonely Rhapsody (2:21)

8. Tender (2:22)

9. Still Lonely and Waiting (1:29)

10. Love Me Awhile (2:16)

11. Violence (1:28)

12. Cry Baby Mambo (3:53)

13. Last Chance (1:00)

14. End Title – Cry, Baby, Cry (1:33)

MACHINE GUN KELLY
15. Main Title (1:49)
16. Robbery (1:39)
17. Escape (2:46)
18. Lion (1:59)
19. Tiptoe (3:13)
20. Charleston (2:50)
21. God of Death Fandango (2:23)
22. Blues (2:59)
23. Convertible Bank (4:47)
24. Crossbones (:51)
25. Hot (2:37)
26. Kidnapping (2:12)
27. Butterfly Waltz (4:07)
28. Good Man Rhumba (4:17)
29. Bar (2:28)
30. Flight (1:60)
31. Pick-Up (1:57)
32. Sleeping – End Title (2:48)

Total Time: 78:47

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE. The years 1957-58 were Albert Glasser’s busiest as a film composer, scoring fifteen films that saw release in 1957 and ten in 1958. With this sixth collection of the composer’s music, we are pleased to explore two films that Glasser scored in the 1950s: 1953’s THE NEANDERTHAL MAN, and 1958’s TEENAGE CAVEMAN.

Released in 1953, THE NEANDERTHAL MAN tells the tale of Professor Groves, a modern expert in prehistoric life, who seeks to prove his bizarre theories with an extract that will first regress a cat to a saber-tooth tiger and then, a man – himself – into a Neanderthal. Robert Shayne stars in the title role as Clifford Groves, a manifestly belligerent and unlikable scientist who finds himself ridiculed for his bizarre theories on evolution. Glasser’s score for THE NEANDERTHAL MAN includes a compelling melody induced by unrestrained brass over thunderous drumming, matching the primitivity of the title character when Groves reverses evolution and turns himself into a Neanderthal troglodyte.

Released in 1958, TEENAGE CAVEMAN, was originally filmed as PREHISTORIC WORLD and also known as OUT OF THE DARKNESS in the UK. TEENAGE CAVEMAN stars Robert Vaughn as a young man who defies his tribal laws and searches for answers about the history of his people and what lies in the uncharted jungles beyond his tribe’s campsite and beyond. Glasser’s music for TEENAGE CAVEMAN has a little more finesse in its support of the mild-mannered young caveman and his search to experience wisdom beyond the horizon. Horns and strings interact gracefully and set up a romantic flavoring. In contrast, sturdy brass strengthens the cut-on footage of costumed lizards imported from ONE MILLION B.C. and UNKNOWN WORLD the dinosaur fights. This is a Roger Corman film after all...

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE, featuring original music composed by Albert Glasser for THE NEANDERTHAL MAN and TEENAGE CAVEMAN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson.

THE ALBERT GLASSER COLLECTION VOLUME 6: SCIENCE FICTION III – BACK TO THE STONE AGE is a limited edition release and is expected to begin shipping the week of Aug 25, 2025.

1. The Neanderthal Man Credits (1:04)

2. Panorama Narrator / Lab Mayhem (1:43)

3. Coffee And The Cat / Close Encounter / Sabre Tooth On Prowl (1:45)

4. Strange Noises / Discouraged Scientist (2:25)

5. Ross And Oakes Go Hunting (2:06)

6. Ruth Confronts Cliff (3:56)

7. Primitive Man Emerges (3:00)

8. Guilt, Diary Entry (3:41)

9. The Finale (1:45)

10. AIP Emblem / Prologue (0:58)

11. Teenage Caveman Main Title / The Caveman / Return To The Cave (4:35)

12. The Symbol Makers / The Great Hunt (4:57)

13. Across The River / Pan Whistle / Sinking Earth (4:48)

14. Squirrel Hunt / Bow And Arrow (4:46)

15. Bathing / Symbol Of God (4:16)

16. A Place To Lie Down / A Time To Act (3:30)

17. Pursuit (2:23)

18. The Book / Atom Narration / End Title (4:34)

19. Wild Vibes (0:47)

20. Bathing Tim Whistle (0:50)

21. Teenage Caveman (1958) Theatrical Trailer (1:59)

Total Time: 60:46

 

Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, including music from four films in the composer’s extensive filmography, JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and the world premiere release of music from HONKY TONK.

Airing in 1974, HONKY TONK was directed by Don Taylor, written by Douglas Heyes, starring Richard Crenna, John Dehner, Will Geer, Margot Kidder, Geoffrey Lewis, James Luisi, Gregory Sierra, Dennis Fimple, Richard Evans and Stella Stevens as Gold Dust. HONKY TONK was a pilot film for a potential series starring Richard Crenna as ‘Candy’ Johnson, an Old West con artist who was out to fleece as many gullible cowboys as possible before moving on to the next town.

Released in 1971, JOHNNY GOT HIS GUN was written and directed by Dalton Trumbo, based on his own book, starring Timothy Bottoms, Kathy Fields, Marsha Hunt, Jason Robards, Charles McGraw, Sandy Brown Wyeth, Don ‘Red’ Barry and Donald Sutherland as Christ. From a pacifistic point of view, the film tells the story of a young soldier horribly maimed in the First World War. Joe Bonham (Bottoms) has lost his legs, arms and face after being hit by an exploding shell. The doctors, convinced that nothing can be done and that the unknown soldier has no capacity left to think or feel, decide to keep him alive in an isolated part of a military hospital. Slowly, incredibly, we come to realize that the soldier's brain is fully functional and that he's trying to work out where he is and what has happened... With JOHNNY GOT HIS GUN, Fielding was able to repay the debt of faith he owed to Trumbo for recommending him years back to Otto Preminger for ADVISE AND CONSENT.

Aired in 1972, A WAR OF CHILDREN is set in the Northern Ireland city of Belfast, where it dramatized the turmoil between Catholics and Protestants in that very bitter time. Directed by George Schaefer, written by James Costigan and starring Vivien Merchant, Jenny Agutter, John Ronane, Anthony Andrews, Oliver Maguire, Aideen O’Kelly, David Meredith and Danny Figgis. Fielding's music for A WAR OF CHILDREN hints at the Irish locale and the British military presence but also focuses on the personal side of the story.

Airing in 1979, MR. HORN was a two-part, four-hour mini-series directed by Jack Starrett, written by William Goldman, starring David Carradine, Richard Widmark, Karen Black, Richard Masur, Clay Tanner, Pat McCormick, Jack Starrett, John Durren, Jeremy Slate, Enrique Lucero, Stafford Morgan, Don Collier and James Oliver. MR. HORN was the first of two competing biographies of the legendary Indian scout and gunfighter Tom Horn, played again later by Steve McQueen in the feature film TOM HORN. David Carradine plays Horn, Widmark as his mentor and friend, Al Sieber and Karen Black as Ernestina, Horn's sometime lover, whom he encounters again years later after his celebrated career as a Pinkerton detective.

Dragon’s Domain Records presents THE JERRY FIELDING COLLECTION: VOLUME 1, featuring music composed by Jerry Fielding for JOHNNY GOT HIS GUN, A WAR OF CHILDREN, MR. HORN and HONKY TONK. Originally released in the early 1990s by Bay Cities as limited edition compact discs, Dragon’s Domain Records is excited to bring these scores back to the marketplace, remastered by James Nelson at Digital Outland and THE JERRY FIELDING COLLECTION: VOLUME 1 also includes the world premiere release of Fielding’s music for HONKY TONK. The album includes liner notes written by noted author Jon Burlingame and reprises original album notes by Nick Redman.
 

THE JERRY FIELDING COLLECTION: VOLUME 1 is a limited edition release and is expected to begin shipping the week of August 25th. 

HONKY TONK

01. Main Title / Escape To New Town (3:01)

02. Into Brazo’s Place / You Had A Winner / Dud / Grand Opening (1:25)

03. The Judge Loses / Shoots Self / The Letter (2:52)

04. She Faints / Breakfast At Fred Harvey’s (1:08)

05. The Hard Ride / Stage Driver Killed (2:41)

06. We Better Get Out / Unless What? / Piggy Back / Money Is Hid (4:05)

07. She Cuts Him Loose / I’m Fightin’ It (2:21)

08. Gone At Dawn / Merry Chase to Bank Robbers (1:50)

09. Bank Hold Up / Money Gone Again / Lucy The Pitchman (2:33)

10. So, Goodbye (1:22)

JOHNNY GOT HIS GUN

11. Battlefield (2:35)

12. Nightmare Train / Don’t Take My Legs (3:30)

13. The Nurse (3:14)

14. S.O.S. / Help Me (4:17)

A WAR OF CHILDREN

15. Opening Titles (3:38)

16. The Troubles (2:17)

17. I Want the World to See This (2:08)

18. Finale (2:55)

MR. HORN

19. Opening Credits (2:14)

20. The Indian Wars (2:52)

21. Tom (3:41)

22. The Indians (4:34)

23. Horn’s End (1:28)

Total Time - 63:44

 

Downloads include choice of MP3, WAV, or FLAC

BSXDG0186

Includes Digital Booklet

BSX DIGITAL presents music from the first original motion picture soundtrack for THE BIRTH OF A NATION, the 1915 period epic directed by the legendary D.W. Griffith, written by Thomas Dixon, Jr., Frank E. Woods and Griffith, starring Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph Henabery, Elmer Clifton, Josephine Crowell, Spottiswoode Aitken, George Beranger, Maxfield Stanley, Jennie Lee and Donald Crisp.

THE BIRTH OF A NATION is a landmark in film history, lauded for its technical virtuosity. It was the first non-serial American 12-reel film ever made. The plot of the film, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years, the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. THE BIRTH OF A NATION was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. 

Joseph Carl Breil Joseph was the first of four children born to Joseph and Margaret Breil of Pittsburgh. Breil graduated from Duquesne University (then the Pittsburgh Catholic College of the Holy Ghost) in 1888. He later composed the alma mater for the university, which was first performed in October 1920. He also pursued studies at St Fidelis College and Curry Commercial College in Pittsburgh before being sent by his family to the University of Leipzig to study law. While in Leipzig, he began to study music composition and singing at the Leipzig Conservatory. These were followed by singing lessons in Milan and Philadelphia. Breil toured as principal tenor of the Emma Juch Opera Company before returning to Pittsburgh to teach singing and to direct the choir of St Paul's Cathedral. From 1897 to 1903, he was music director for several theatre companies. Breil was one of the earliest American composers to compose specific music for motion pictures. His first film was LES AMOURS DE LA REINE ÉLISABETH, starring Sarah Bernhardt. He later composed and arranged scores for several other early motion pictures, including INTOLERANCE and THE PRISONER OF ZENDA, as well as scoring the preview version of THE PHANTOM OF THE OPERA.

Clyde Allen was born in Los Angeles, California and is an internationally recognized authority on music for silent films. He began his musical training privately with piano lessons at the age of three. At the age of seven, he commenced classes at the former Los Angeles Conservatory, subsequently studying violin, harpsichord and harp. Allen was composing early and, by the age of 14, had not only authored piano and choral works, but had also begun writing an opera. At 15, he performed solo piano parts in the world premieres of several works by Peter Schickele (also know as "P.D.Q. Bach"). At 16, while still in high school, he was simultaneously admitted to UCLA. Privately, Allen studied composition with Eugene Zador, electronic synthesis with Paul Beaver, and conducting with Fritz Zweig. For many years, he was music director and conductor for the Los Angeles Ballet, as well as music director for classical music stations KFAC AM/FM in Los Angeles. He also served as music director for the Los Angeles International Film Exposition (FILMEX). Allen is a trustee of the Ballet of Los Angeles, the Native American Ballet (of which he is the founder), and the Society for the Preservation of Film Music. He received the Golden Halo Award in recognition of his contribution to the performing arts with the release of this recording of the original 1915 score for THE BIRTH OF A NATION. 

BSX Digital presents THE BIRTH OF A NATION, featuring music composed by Joseph Carl Breil, performed by the New Zealand Symphony Orchestra, conducted by Clyde Allen. Originally released on vinyl in 1985 by Fifth Continent Music and later in the early days of compact discs by Label X, this recording of Joseph Breil’s music marked the first time that an American orchestral score for a silent film had ever been released commercially. This recording also marked the first time a digital recording was ever made in New Zealand. The music for this new release has been remastered by James Nelson at Digital Outland and carries over the original liner notes by conductor Clyde Allen.

 

Downloads include choice of MP3, WAV, or FLAC

FJDG005

Includes Digital Booklet

Five Jays Records is proud to present music composed by Joe Harnell (THE INCREDIBLE HULK) for the television series HOT PURSUIT, created by Kenneth Johnson (THE BIONIC WOMAN, V, ALIEN NATION) and starring Kerrie Keane, Eric Pierpoint, Dina Merrill and Michael Preston.

Originally airing on NBC in 1984 and 1985, HOT PURSUIT follows Kate Wyler (Keane), a highly successful engineer, and Jim (Pierpoint), her devoted veterinarian husband, as they are forced to go on the run to track down a mysterious woman who bears a striking resemblance to Kate and was hired to frame her for a murder she did not commit. To make things even more dire, they not only have to avoid local and federal law enforcement, but Alec Shaw (Preston), a hired assassin, is on their trail as well.

Joe Harnell frequently teamed up with producer/creator Kenneth Johnson on several memorable TV projects that included THE INCREDIBLE HULK, CLIFFHANGERS!, the original “V” mini-series and the pilot for ALIEN NATION and HOT PURSUIT was a continuation of their collaboration.

Born in The Bronx, New York, Joe Harnell was the son of a vaudeville performer. His professional career began early at age 14 playing piano with his father’s jazz and klezmer (traditional Ashkenazi Jewish music) groups. Upon completion of a music scholarship at the University of Miami, he entered military service in 1943, joining the United States Army Air Forces where he frequently performed as a member of Glenn Miller’s Army Air Force Band.

During the 1950s, Harnell was as a “pianist for hire” for several major artists including Judy Garland, Marlene Dietrich, and Peggy Lee, with whom he became her full-time accompanist. He joined ASCAP in 1959, scoring pop hits with “Cinderella Twist” and “Funny Bunny.” His arrangement of “Fly Me to the Moon” in 1963 became a major hit, winning a Grammy Award for “Best Pop Instrumental Performance.”

As in-house pianist on THE DINAH SHORE CHEVY SHOW, Harnell would frequently appear on-screen during sing-along segments. After a turn as Musical Director for THE MIKE DOUGLAS SHOW, Harnell relocated to Hollywood for new opportunities. He soon teamed up with writer/producer Kenneth Johnson on several memorable TV projects including THE BIONIC WOMAN, THE INCREDIBLE HULK, CLIFFHANGERS!, the original V mini-series, HOT PURSUIT and the pilot for ALIEN NATION (1989). Harnell also composed music for the soap opera SANTA BARBARA.

Five Jays Records presents the premiere release of HOT PURSUIT, featuring over two hours of music composed and conducted by Joe Harnell. The music has been mastered by James Nelson at Digital Outland and includes liner notes by author David Hirsch.

Hot Pursuit Main Title

Jim And Kate's Love Theme _From Pilot_

Breakout _ Shaw In Hot Pursuit _From Pilot_

The Joy Of Birth _From Pilot_

Finale _ End Credits _From Pilot_

Life On The Run _From Dead Game_

Investigation _From Dead Game_

In Custody And Escape _From Dead Game_

Back On The Road _From Dead Game_

Lost Love In Ballard _From Gillian_

Dodging Shaw In Federal Way _From Gillian_

Aurora Avenue Interlude _From Gillian_

Pike Place Pursuit _From Gillian_

Departure On I-5 _From Gillian_

Jim Arrested _From Steel Trap_

Kate And The Kid Save Jim _From Steel Trap_

On The Ranch _From Riding High_

Avoiding The Cops _From Riding High_

Eluding Shaw Again And Finale _From Riding High_

The Journey Home _From Home Is The Heart_

The Feds Give Chase _From Home Is The Heart_

Family Reunion _From Home Is The Heart_

I Love You _ Final Visit _From Home Is The Heart_

Bumpers _From Dead Game_

Bumpers _From Steel Trap_

Manhunt And Captured _From Home Is The Heart_

Family Ties _From Home Is The Heart_

Shaw’s Pursuit _From Home Is The Heart_

Rescuing Jim _From Home Is The Heart_

Conclusion _From Home Is The Heart_

A Very Bad Girl _From Portrait Of A Lady Killer_

Interrogating Estelle _From Portrait Of A Lady Killer_

Shaw Rescues Estelle _ Private Time _From Portrait Of A Lady Killer_

Two Couples _From The Okay Chorale_

Time To Hit The Road _From The Okay Chorale_

Army Buddies _From Goodbye I Love You_

Wartime Flashbacks _From Goodbye I Love You_

Take Care Of Yourself _From Goodbye I Love You_

Narrow Escape _From Identity Crisis_

Princess Lilly _From Identity Crisis_

Reading The Cards _From Identity Crisis_

Following The Clues _From Identity Crisis_

Carnival Chaos _From Identity Crisis_

New Jobs _From Twilight Home_

Shaw In Town _From Twilight Home_

Good Deeds _From Twilight Home_

The Wyler’s Head Into The Sunset _From Twilight Home_

Hot Pursuit Demo Theme

Dance (Source)

Visitor's Disco