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

[Alexander Grodzinski]

Kam von Quartet schon auf CD, nun auch auf LP:

Quartet Records presents the premiere complete vinyl edition of cult soundtrack by Ennio Morricone for the 1983 police thriller COPKILLER (aka ORDER OF DEATH). 

Coproduced between Italy, France and the U.S., and directed by longtime Morricone collaborator Roberto Faenza, the film stars Johnny Rotten (famous punk-star from the group Sex Pistols), Harvey Keitel and Nicole Garcia. The plot is about a pair of corrupt cops spending their illegal cash on an uptown New York City apartment. 

Morricone’s score comes from the composer’s fertile period of poliziotteschi thrillers and his collaborations with Henri Verneuil in Belmondo’s French polars in the early 1980s. The music features the psychedelic, percussion-heavy and often ostinato-based cues that Morricone typically reserved for the steamy chaos of his crime-film scores. 

General Music released the score on LP in France and Germany in 1983 with 10 tracks. This new Quartet Records edition contains the complete scorw with 16 tracks. 

This limited LP edition, pressed on audiophile 140 GM yellow vinyl, has been specially restored and mastered by Chris Malone from the first-generation stereo master tapes. The luxurious artwork features the artistry of Mac. 

SIDE A

1. Sinfonia d’una Città I 4:29
2. Sinfonia d’una Città II 4:53
3. Sinfonia d’una Città III 2:44
4. Sinfonia d’una Città IV 2:51
5. Tchaikovsky’s destruction 3:38
6. Copkiller 2:58
7. Nelle strade del centro  3:04
8. Periferia 1:49

SIDE B

1. Momento totale 2:43
2. Copkiller (#2) 2:58
3. Sinfonia d’una Città I (alternate version) 1:43
4. Sinfonia d’una Città II (alternate version) 3:04
5. Sinfonia d’una Città II (alternate #2) 3:03
6. Momento totale (alternate version) 2:44
7. Copkiller (#3) 0:47
8. Copkiller (Rock music) 1:20

[ronin1975]

netter "US-Wüsten"-Score von David Fleming:

 

[Alexander Grodzinski]

Wieder Dragon's Domain:

BSX DIGITAL presents music composed by David Newman (THE PHANTOM, HOFFA, MR. DESTINY, GALAXY QUEST) from the original score to THE RUNESTONE, the 1991 horror comedy directed by Willard Carroll (PLAYING BY HEART, THE BRAVE LITTLE TOASTER, TOM’S MIDNIGHT GARDEN), written by Carroll and Mark E. Rogers, starring Peter Riegert, Joan Severance, William Hickey, Tim Ryan, Mitchell Laurance, Lawrence Tierney, Dawan Scott, Chris Young and Alexander Godunov. 

Based on an unpublished novella by Mark E. Rogers, THE RUNESTONE unfolds as the clocks in the shop of a mysterious clockmaker suddenly stop at three o’clock as a Norse runestone is removed from the depths of a coal mine in Western Pennsylvania. Archaeologist Martin Almquist (Laurance) oversees the runestone’s move to his New York City laboratory. Excited by his discovery, Martin calls his former girlfriend, Marla (Severance), an artist now married to Sam Stewart (Ryan) and asks them to return to New York so that Sam, also an archeologist who is working in Maine, can decipher the runestone. Meanwhile, Lars Hagstrom (Hickey) finds Martin and warns him about the runestone, but Martin believes Hagstrom is crazy. Sam and Marla believes this has some connection to Martin. A young boy named Jacob is haunted by terrifying nightmares of what is coming and his family explains these dreams through stories from Norse legend, which say that the only one who can destroy Fenrir is Tyr, the Norse god of war, who is prophesied to return to fight the creature...

Conceived in 1990, the music for THE RUNESTONE was recorded at Columbia Studios, while an electronic musical score was also recorded at D & K Studios. Newman’s score is robust as it parallels the storyline, from tense strings and horns, percussive timbres, horns, and drums to strings to rushing horns and harsh string notes. Intricate keyboard tonalities, low up-and-down sonic whispers, percussive striations, and low percussion raging into heavy tonal contrasts, suspenseful drums, grappling tension segueing into eerie, soft, fast-trumpet notes, anticipating the composer’s amazing musical accomplishments in the next several decades of American cinema.

David Newman is one of today’s most accomplished creators of music for film. The son of nine-time Oscar-winning composer Alfred Newman, David Newman was born in Los Angeles in 1954. He trained in violin and piano from an early age and earned degrees in orchestral conducting and violin from the University of Southern California. From 1977–1982, he worked extensively in the motion picture and television industry as a violinist, playing on such films as E.T., TWILIGHT ZONE – THE MOVIE, and the original Star Trek film, STAR TREK: THE MOTION PICTURE. 

In his 25-year career, he has scored over 100 films, ranging from WAR OF THE ROSES, MATILDA, BOWFINGER and HEATHERS, to THE SPIRIT, and SERENITY, BEHAVING BADLY and TARZAN. Newman’s music has brought to life the critically acclaimed dramas BROKEDOWN PALACE and HOFFA; comedies NORBIT, SCOOBY-DOO, GALAXY QUEST, THE NUTTY PROFESSOR, THE FLINTSTONES, THROW MAMA FROM THE TRAIN; and award- winning animated films ICE AGE, THE BRAVE LITTLE TOASTER and ANASTASIA.

Newman is also a highly sought-after conductor and appears with leading orchestras throughout the world, including the Los Angeles Philharmonic, Royal Philharmonic Orchestra, The Boston Symphony, The Philadelphia Orchestra, The Chicago Symphony and the New York Philharmonic. He has led subscription weeks with the Los Angeles Philharmonic at Walt Disney Concert Hall and regularly conducts the Hollywood Bowl Orchestra at the Hollywood Bowl. Passionate about nurturing the next generation of musicians, Newman serves on the Board of the American Youth Symphony, a 55-year-old pre-professional orchestra based in Los Angeles

BSX Digital presents THE RUNESTONE, featuring music composed by David Newman. Previously released on compact disc by Perseverance Records in 2010, the music has been newly remastered by James Nelson at Digital Outland and includes new liner notes by noted author Randall Larson.

This release is dedicated to the memory of Krystyna Newman.

 

This is the original musical score for the BIG FINISH audio drama titled "V-UK: Occupation," the second chapter of the audio drama series produced by Big Finish Productions and masterfully composed and performed by the talented Joe Kraemer. 

This audio drama draws inspiration from the iconic miniseries "V," originally created by Kenneth Johnson. The miniseries first premiered on television in 1983, captivating audiences with its compelling narrative and innovative storytelling. "V explored themes of resistance and survival in the face of an alien invasion, leaving a lasting impact on the science fiction genre. The audio drama serves as a continuation of that rich universe, blending Kraemer's evocative composition with the familiar existential battles and moral dilemmas that defined the original series.

Joe Kraemer wrote his first film score in 1986 when, at 15, he was acting in an independent feature for director Scott Storm.  Since then, he has composed music for over 100 feature films, documentaries, television episodes and movies.  He is perhaps best known for his award-winning score to MISSION: IMPOSSIBLE — ROGUE NATION (2015 Action Score of the Year, IFMCA) and JACK REACHER in 2012.  Other notable works include THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT, THE WAY OF THE GUN, TV series such as PANDORA, CREEPED OUT, and COMRADE DETECTIVE, plus the documentary about the films of director Larry Cohen, KING COHEN.  In 2016, he composed a new score for F.W. Murnau’s 1927 silent film SUNRISE, which premiered live-to-picture in Dallas and has since been performed all over the world.

BSX Records is proud to present the premiere release of V UK: OCCUPATION AUDIO DRAMA, featuring original music composed by Joe Kraemer and mastered by James Nelson at Digital Outland. 

Dragon’s Domain Records presents THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES, a compilation of music composed by John Charles from several projects in his filmography, including THE QUIET EARTH, UTU and IRIS.

Celebrating it’s 40th anniversary this year, THE QUIET EARTH has become a cult classic among sci-fi film buffs and is frequently shown at art cinemas around the world. Released in 1985, the film was directed by Geoff Murphy, written by Craig Harrison, Bill Baer and Bruno Lawrence, starring Lawrence, Alison Rutledge, Pete Smith, Anzac Wallace, Norman Fletcher and Tom Hyde. THE QUIET EARTH follows scientist Zac Hobson (Lawrence), who is awoken early one morning in his oceanside motel room to witness Operation: Flashlight, an effect whereby through a giant energy blast, there are suddenly no people anywhere. Zac attempts to contact other survivors without success. He decides to enjoy “the good life,” moving into an elegant mansion, treating himself in style to goods in local supermarkets and shopping centers. Eventually he locates two other people in his new world — Joanne (Routledge) and Api (Smith). The usual tension, which develops in the two-men-one-woman scenario, gives way to the realization that the urgency of their very survival is paramount. The film’s empty streets, quiet countrysides and deserted buildings create otherworldly landscapes, augmented by John Charles’ elegant score, employing a large symphony orchestra and judicious use of electronics.

Airing on television in 1984, IRIS was directed by Tony Issac, written by Keith Aberdein, starring Helen Morse, Philip Holder, John Bach, Donogh Rees, David Ashton, Elizabeth McRae, Roy Billing and Peter Hambleton. IRIS relays the life of New Zealand writer Iris Wilkinson, international novelist, poet and journalist who wrote under the name of Robin Hyde. IRIS is played by Helen Morse, fondly remembered for her work in A TOWN LIKE ALICE. John Charles composed one of his finest works for IRIS, chamber score, very much in style of the 20th-century impressionists such as Debussy, Ibert and Ravel.

Released in 1983, UTU was directed by Geoff Murphy, written by Murphy and Keith Aberdeen, starring Anzac Wallace, Bruno Lawrence, Tim Elliot, Kelly Johnson, Tania Bristowe, Ilone Rodgers, Martyn Sanderson, John Bach, Sean Duffie and John Malcolm. UTU is a visually stunning, well-paced and powerfully acted adventure film, dealing with passion and revenge between the European settlers and native Māoris in late nineteenth century New Zealand. UTU was well received by the major critics at the time of its initial release. Charles’ rich and evocative original score, drawn from folk music and traditional Māori material, evokes the period of the drama with orchestration reminiscent of classical music of the nineteenth century.

John Charles was born in Wellington, New Zealand, in 1940. During his first year at University of Victoria Wellington, where he enrolled for a BA in 1958, he joined the UVW Jazz Club and began playing jazz regularly as their pianist. In 1963, after two years at New Zealand Broadcasting Service, he returned to UVW to complete his study for a Bachelor of Music degree. In 1967 he was appointed producer for NZBC television. There he produced and directed various live current affairs, documentary music, ballad and jazz programs, and broadcasts of the New Zealand Symphony Orchestra (1970-1973). He moved to Australia in 1974 and for the next four years worked in the Music Department at ABC-TV, directing broadcasts of the Sydney Symphony Orchestra and the series MUSIC OF AUSTRALIA and WILFRED LEHMAN CONDUCTS. His cinema music credits include GOODBYE PORK PIE, CONSTANCE, A SOLDIER’S TALE , ZOMBIE BRIGADE and TAKING LIBERTIES, the television movies MAN OF LETTERS, THE PERFECTIONIST and the mini-series HEART OF THE HIGH COUNTRY.

Previously released on compact disc by Label X in 1993, Dragon’s Domain Records brings together the scores for THE QUIET EARTH and UTU, along with IRIS, newly remastered by James Nelson at Digital Outland, carrying over the original liner notes from producer John Stephen Lasher. 

THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES is a limited edition release. THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES will begin shipping on September 29th, 2025

THE QUIET EARTH

01. Sunrise (3:24)

02. Empty Town (1:27)

03. Moving Up In The World (2:13)

04. Zac Takes Over (0:51)

05. Going Down (1:24)

06. Born Again / There Are Others (2:33)

07. The Effect Continues (1:33)

08. Trio (1:44)

09. Taking Off (1:07)

10. Road Block (1:14)

11. Alarm (1:04)

12. Last Love Scene (1:14)

13. Finale / Saturn Rising (4:14)

 

IRIS

14. Opening Music (2:28)

15. You’ve Been With Spring (1:41)

16. Backstage (0:50)

17. Thunder In The Night / Sandhills (2:06)

18. A Ride With Simone (1:36)

19. We Are Two Ghosts / A Real Accident (2:02)

20. All Night Long (1:21)

21. Sleep, Sweet Sleep (1:55)

22. The Wanderer (2:15)

23. God’s Matchless Vault / But The Last Black Horse of All (2:12)

24. Take Me Home (2:06)

 

UTU

25. Theme From Utu (2:09)

26. Patrol / Destroyed Village* (2:59)

(*trad. chant sung by Rangi Dewes)

27. Te Wheke Stalks Emily (2:42)

28. Moko (2:16)

(trad. chant sung by Joe Malcolm)

29. The Raid After The Raid / Williamson Retaliates (4:17)

30. Quadruple Barrelled Shotgun* / The Army Approaches Te Puna (3:57)

(*composed by S.C. Foster / arr. John Charles)

31. Henare / Night Sentry / Fishing After The Battle (4:18)

32. Williamson Reflects / Te Wheke’s Trek / Williamson Prepares For Utu (2:57)

33. Death Of Te Wheke (Lament*) And Finale (2:33)

(*trad. chant sung by Rangi Dewes)

34. Drummers (0:44)

35. Waiata Tangi (2:37)

(trad. chant sung by Jane & Paul Makura)

Total Time: 77:36

 

Dragon’s Domain Records presents the premiere release of original music composed by Harry Lubin for the second season of THE OUTER LIMITS. Originally broadcast on the American television network ABC from 1963 to 1965, THE OUTER LIMITS was one of many series influenced by THE TWILIGHT ZONE and SCIENCE FICTION THEATRE, though it ultimately proved influential in its own right. 49 Episodes were produced.

When the familiar dulcet tones of the ‘Control Voice’ welcomed viewers back to THE OUTER LIMITS on for the second season premiere, few, if any, were aware of the behind-the-scenes turmoil that had caused the departure of several key staff members. But something was different. In particular, there was a new signature tune that was lonely, sad, and claustrophobic. Despite its current reputation as a cult classic, the original ABC run of THE OUTER LIMITS was not the ratings blockbuster the network had been hoping for. Creator Leslie Stevens and fellow writer Joseph Stefano continually struggled to bring their personal visions of “extraordinary people in extraordinary circumstances” to life each week, despite being gifted with an ensemble of first-class actors, directors, and stunning noir photography. Network executives constantly interfered, trying to make the show more formulaic and easily marketable.

The perpetual battles between Stevens and ABC over what the network classified as “questionable content,” along with frequent budget overruns, eventually led ABC to demand that several conditions be met in order for them to commission a second season. These conditions included a time slot change and cutting the budget.

Season 1 combined science fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring ‘scary monster’ motif of Season 1. Each episode in Season 1 was to have a monster or creature as a critical part of the story line in a villain of the week format. Season 1 writer and producer Joseph Stefano believed this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as ‘the bear.’ This device was, however, mostly dropped in Season 2 after Stefano left. Also gone were Leslie Stevens and composer Dominic Frontiere. ABC then installed one of their own executives, Ben Brady, as the new producer. No stranger to television production, Brady had come to the network after a successful run on the first two seasons of PERRY MASON. Brady’s limited resources for the second season required him to rely on the talents of another former co-worker to provide an impactful, but cost-effective musical score.

Harry Lubin was an accomplished composer, arranger and conductor who began his career as a piano accompanist for Feodor Chaliapin, Sr. At only 20 years old, Lubin became musical director of the Irving Palace Theater in New York City before spitting his time between Broadway shows and locally-produced radio drama. Eventually, he transitioned into television as musical director for THE LORETTA YOUNG SHOW, a long-running anthology series that allowed him to experiment with early electronic instruments like the theremin. He further expanded his palette of unusual instrumentation while scoring the horror/science-fiction anthology ONE STEP BEYOND, which pre-dated THE OUTER LIMITS.

Though there were some new recordings done for the second season of THE OUTER LIMITS, much of the second season’s 17 episodes featured thematic material edited from multiple variations within the vast library Lubin had amassed from his earlier series. To create this compilation, Dragon’s Domain Records has carefully selected and grouped together the most memorable musical themes for the episodes in which they were initially used. So turn out the lights, sit back and allow us to control all that you hear from as we take you back to…THE OUTER LIMITS.

Dragon’s Domain Records presents THE OUTER LIMITS: SEASON 2, featuring the premiere release of original music from the second season composed by Harry Lubin. The album includes liner notes written by authors David Hirsch and Sam Scali. The music has been mastered by James Nelson at Digital Outland.

THE OUTER LIMITS: SEASON 2 is a limited edition release and is expected to begin shipping the week of September 29th, 2025.

01. Main Title (0:55)

02. Suite From SOLDIER (9:20)

03. Suite From COLD HANDS, WARM HEART (9:55)

04. Suite From BEHOLD, ECK! (3:44)

05. Suite From EXPANDING HUMAN (6:19)

06. Suite From DEMON WITH A GLASS HAND (5:32)

07. Suite From CRY OF SILENCE (3:37)

08. Suite From WOLF 359 (6:30)

09. Suite From THE INHERITORS Pt. 1 (4:15)

10. Suite From THE INHERITORS Pt. 2 (7:27)

11. Suite From KEEPER OF THE PURPLE TWILIGHT (6:26)

12. Suite From COUNTERWEIGHT (4:23)

13. Suite From THE PREMONITION (3:10)

14. End Title (0:54)

Total Time: 73:20

 

Dragon’s Domain Records presents music from the original score to TIME AFTER TIME, composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1979 science fiction thriller directed by Nicholas Meyer (THE DAY AFTER, STAR TREK II: THE WRATH OF KHAN), written by Karl Alexander, Steve Hayes and Meyer, starring Malcolm McDowell, Mary Steenburgen and David Warner.

TIME AFTER TIME starts with the premise that H.G. Wells actually constructed the time machine which he wrote about in his classic novel. TIME AFTER TIME is a romantic thriller in which Wells (McDowell), the scientific genius, tracks Jack the Ripper (Warner), the criminal genius, from 19th-century London to 20th-century San Francisco in order to bring the Ripper to justice. When Wells is transported in his time machine to modern San Francisco, he seems to be more of a babe in the woods than a sophisticated Victorian gentleman. What he finds is that some of his predictions have come true, while others, like a utopian society, have not...

Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others.

Originally released on vinyl by Entr'acte at the time of the film’s release, this presentation of the score is a rerecording produced by the composer and performed by the Royal Philharmonic Orchestra.  Southern Cross would release this program later on compact disc in the early days of the format. In 2009, Film Score Monthly released a compact disc with the original film tracks for the first time.

Dragon’s Domain Records presents this new release of TIME AFTER AFTER, featuring the rerecording produced by the composer, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by director Nicholas Meyer and John Lasher. Following the original album program is a selection of bonus tracks of additional music composed by Miklós Rózsa, including music from PROVIDENCE, THE LOST WEEKEND, SPELLBOUND, THAT HAMILTON WOMAN and THE PRIVATE FILES OF J. EDGAR HOOVER.

TIME AFTER TIME is a limited edition release of 500 units. TIME AFTER TIME will begin shipping the week of  Sept. 29th, 2025

01. W.B. Fanfare* And Prelude (2:09)

(* - Max Steiner)

02. Search For The Ripper/ Decision (2:06)

03. Vaporizing Equalizer / The Time Machine (2:12)

04. Time Travel (1:33)

05. Bank Montage (1:08)

06. Utopia (1:34)

07. The Ripper / Pursuit (3:29)

08. The Time Machine Waltz (4:01)

(Eric Parkin: piano)

09. Man Before His Time (1:56)

10. Redwoods (2:32)

11. Frightened (1:45)

12. Murder (1:45)

13. The Fifth Victim (1:35)

14. The Last Victim (1:46)

15. Nocturnal Visitor (1:38)

16. Dangerous Drive (3:08)

17. Journey’s End And Finale (3:59)

BONUS TRACKS

18. Time After Time: Pocket Watch (0:28) (The Meridian Studio Ensemble)

19. Providence: Valse Crèpusculaire (3:58)

(Gregg Nestor, William Kanengiser: Guitar)

20. The Lost Weekend: Love Theme (5:10)

(The National Philharmonic Orchestra)

21. Spellbound: Theme From “Spellbound” (4:46)

(Sinfonia of London)

22. That Hamilton Woman: Love Theme (4:46)

(The London Symphony Orchestra)

23. The Private Files of J. Edgar Hoover:

Main Title / Dr. King / End Titles (9:33)

(Conducted by Miklós Rózsa)

Total Time: 67:50