Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Stefan Schlegel]

Bei Discogs kann man beide Varèse-Alben sehen. Das von 1985 mit der Etikettierung auf dem Front Cover "Varèse Sarabande Digital" und dem zusätzlichen Hinweis auf dem Back Cover "Recorded with One Stereo Microphone":
https://www.discogs.com/de/release/28812466-Bernard-HerrmannLondon-Studio-Symphony-Orchestra-Laurie-Johnson-Alfred-Hitchcocks-North-By-Northwest

Und dann die andere Version ebenfalls mit der Labelnummer VCD 47205 wohl von 1988 ohne diesen Hinweis auf dem Back Cover, also die analoge Version, die Du ja auch hast:

https://www.discogs.com/de/release/2369280-Bernard-Herrmann-Laurie-Johnson-The-London-Studio-Symphony-Orchestra-Alfred-Hitchcocks-North-By-Nort?srsltid=AfmBOorH7pzg_gzo_rudOciX_g97kwxn84ai6M11qCog9YhMupfIpI2t

Auf der Varèse-Wikipedia-Seite gibt es ebenfalls noch eine kleine Info dazu:
"First pressing of CD was a digital recording which is stated on the booklet as a "digital recording". However, later pressings utilized the analog tape sources due to problems with the original digital recording. The digital recording notation was deleted from all future pressings."

[Angus Gunn]

Am 14.5.2026 um 09:54 schrieb Alexander Grodzinski:

A notable aspect of ESCAPE TO ATHENA is its musical score, which blends bold orchestration and Mediterranean color. For ESCAPE TO ATHENA, Schifrin created music that balances suspense and playfulness,reflecting the film’s mixture of wartime danger and comic adventure. The score incorporates lively percussion, brass flourishes, and melodic passages that evoke the Greek island setting.

Da kommt der einfach so  kaum beachtet mal auf CD raus. Den Score empfinde ich als echtes Highlight in Schifrins Schaffen. Habe mich schon früher immer gefragt, warum das so lange dauert. Die japanische LP trug damals den Titel OFFSIDE 7, ein Titel, der mir niemals sonst irgendwo begegnet ist. Ich finde auch keinen Hinweis darauf, ob der Film seinerzeit in Japan  unter diesem Titel bekannt war. Ein Mysterium. 

[Stefan Schlegel]

vor 6 Stunden schrieb Angus Gunn:

Die japanische LP trug damals den Titel OFFSIDE 7, ein Titel, der mir niemals sonst irgendwo begegnet ist. Ich finde auch keinen Hinweis darauf, ob der Film seinerzeit in Japan  unter diesem Titel bekannt war. Ein Mysterium. 

Der japanische Filmtitel von ESCAPE TO ATHENA war damals OFUSAIDO 7 - von daher das OFFFSIDE 7.

[ronin1975]

Heute ist eine schöner Filmmusikfreitag, neben den langerwartetm Scream 7 und Youngs Passenger (und dem unerwarten Paesano-Kracher) gibts von Anthony Willis einen schönen Drama/Thriller Score… ich mag Willis irgendwie einfach.

 

[neo]

LOST Season 3 kommt am 24. Juli auf Vinyl und kann ab jetzt vorbestellt werden.

https://varesesarabande.com/collections/vinyl/products/lost-season-3-original-television-soundtrack-forest-green-2-lp

[neo]

Der neue Europhoria Soundtrack vom Hans ist raus. Hört sich recht gut an.

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and Universal Music Publishing Italy, celebrates the centenary of Maestro Riz Ortolani with the ultimate edition of his classic, killer score for DAY OF ANGER (I giorni dell’ira, 1967), an iconic spaghetti western directed by Tonino Valerii and starring Lee Van Cleef and Giuliano Gemma. The film, one of the most beloved by fans of the genre, is about a scruffy street sweeper who becomes the pupil of a famed gunfighter, and the stage for confrontation is set when the gunman overruns the boy’s town through violence and corruption.

Riz Ortolani’ score finds him at the height of his creative powers, blending sweeping orchestral themes, tense action motifs and moments of surprising lyrical beauty into a uniquely sophisticated musical experience.

While Ennio Morricone’s influence often dominates discussions of music for Italian westerns, Ortolani’s approach to DAY OF ANGER reveals a distinct voice—elegant, dramatic and melodic. The unforgettable main theme (rediscovered by Tarantino and included in his film Django Unchained) captures the film’s atmosphere of revenge, ambition and moral conflict, while recurring motifs demonstrate the composer’s remarkable ability to balance raw tension with emotional depth.

Albums were released by RCA in 1967 in mono (the Italian LP) and stereo (the U.S. edition). Both featured the same track listing, though with different mixes, takes and edits on some tracks. That LP program was subsequently released on CD, but always in the Italian mono version until the two most recent reissues, which also included the film score in stereo. For this new 2-CD edition, we have included the complete score in stereo, in addition to the mono and stereo albums, from their respective original elements. The audio for this release (supervised by Claudio Fuiano) has been restored and mastered by Chris Malone; the package includes an essay by Jeff Bond.

This soundtrack remains an essential chapter in the history of the Italian western and a shining example of Riz Ortolani’s extraordinary legacy as one of Europe’s greatest film composers.

DISC 1. THE ORIGINAL ALBUM (STEREO)

1. I Giorni Dell’Ira 3:07

2. Senza Pietà 2:21

3. Una notte serena 2:49

4. L’arma del killer 1:29

5. Fino all’ultimo colpo 2:56

6. I Giorni Dell’Ira (#2) 1:21

7. Fino all’ultimo colpo (#2) 3:00

8. Violenza, odio 1:34

9. Una notte serena (#2) 3:34

10. Un uomo forte 2:28

11. Fino all’ultimo colpo (#3) 1:26

THE ORIGINAL ALBUM (MONO)

12. I Giorni Dell’Ira 3:07

13. Senza pietà 2:21

14. Una notte serena 2:49

15. L’arma del killer 1:29

16. Fino all’ultimo colpo 2:56

17. I Giorni Dell’Ira (#2) 1:21

18. Fino all’ultimo colpo (#2) 3:00

19. Violenza, odio 1:34

20. Una notte serena (#2) 3:34

21. Un uomo forte 2:28

22. Fino all’ultimo colpo (#3) 1:26

Total Disc Time: 52:02

 

DISC 2. THE FILM SCORE (STEREO)

1. I Giorni Dell’Ira (#3) (Original Main Titles) 3:08

2. Una notte serena (#3) 2:50

3. L’arma del Killer (#2) 1:30

4. I Giorni Dell’Ira (#4 Saloon) 1:46

5. I Giorni Dell’Ira (#5) 1:49

6. Violenza, odio (#2) 1:28

7. Fino all’ultimo colpo (#4) 2:56

8. I Giorni Dell’Ira (#6) 1:22

9. I Giorni Dell’Ira (#7) 1:21

10. I Giorni Dell’Ira (#8 Saloon) 1:20

11. Violenza, odio (#3) 1:14

12. Una notte serena (#4) 2:05

13. Senza pietà (#2) 1:19

14. Un uomo forte (#2) 2:30

15. Violenza, odio (#4) 0:51

16. Fino all’ultimo colpo (#5) 3:01

17. I Giorni Dell’Ira (#9) 1:56

18. Una notte serena (#5 Harmonica) 1:28

19. I Giorni Dell’Ira (#10) 1:25

20. Violenza, odio (#5) 1:40

21. Fino all’ultimo colpo (#6) 1:25

22. Una Notte Serena (#6) 2:52

23. L’arma del killer (#3) 1:49

24. Una notte serena (#7 Harmonica) 1:16

25. I Giorni Dell’Ira (#11) 1:51

26. I Giorni Dell’Ira (#12) 1:56

27. Una notte serena (#8) 1:50

28. I Giorni Dell’Ira (#13) 1:04

29. I Giorni Dell’Ira (#14 Demo Song) 2:11

Total Disc Time: 53:12

Total 2-CD Time: 105:14

Quartet Records, in collaboration with Errekappa Edizioni and the Riz Ortolani estate, celebrates the centenary of Maestro Riz Ortolani with a special 2-CD set that showcases three scores focused on Mafia and gangster movies that had long been eagerly awaited by his fans.

Among Riz Ortolani’s most remarkable contributions to the world of Italian crime cinema are his scores for THE VALACHI PAPERS (1972), BANDITI A MILANO (1968) and IO HO PAURA (1977). Although each soundtrack reflects a different facet of the poliziottesco and gangster genres, all three display Ortolani’s extraordinary ability to combine dramatic intensity with sophisticated musical writing.

For THE VALACHI PAPERS, directed by Terence Young and starring Charles Bronson and Lino Ventura, Ortolani crafted a powerful and elegant score that captures both the brutality and tragic dimension of organized crime, blending sweeping orchestral passages with darker, tension-filled material. In BANDITI A MILANO, directed by Carlo Lizzani and starring Tomas Milian and Gian Maria Volonté, his music mirrors the film’s raw realism and urban violence through dynamic rhythms and urgent orchestral textures, creating one of the defining musical statements of late-1960s Italian crime cinema. Finally, IO HO PAURA, directed by Damiano Damiani and staring Volonté and Mario Adorf, reveals a more mature and introspective approach, balancing suspense, melancholy and psychological depth in a score that perfectly complements Damiani’s politically charged thriller.

Together, these works confirm Riz Ortolani as one of the most versatile and distinctive voices in European film music, capable of elevating genre cinema through melody, atmosphere and dramatic sophistication.

This album has been produced by Claudio Fuiano from the original elements courtesy of the Ortolani estate, restored and mastered by Chris Malone. The package includes an in-depth essay by film music specialist Miguel Ángel Ordóñez.

DISC1

THE VALACHI PAPERS

1. Main Title Theme 2:54

2. A Generous Girl 2:41

3. Murder in the Street 3:15

4. Tarantella Party 2:18

5. Engagement of Joe and Maria 3:31

6. Power and Violence 2:58

7. Valachi Theme 3:25

8. Awaiting 2:05

9. I te vurria Vasà 2:54

10. End Titles Valachi 3:20

11. Murder in the Street (#2) 1:46

12. Main Theme 0:29

13. Murder in the Street (#3) 2:16

14. Main Theme (#2) 3:18

15. Murder in the Street (#4) 1:17

16. Main Theme (#3) 1:11

17. Power and Violence (#2) 5:34

18. Power and Violence (with dialog) 1:19

Total disc Time: 46:41

 

DISC 2

IO HO PAURA

1. Titoli 5:15

2. Ansia urbana 2:13

3. Amore e dolore 1:18

4. Radio 1:56

5. Sofferenza dell’anima 2:01

6. Atmosfera di morte 2:16

7. Attesa 1:41

8. Ludovico e Gloria 1:20

9. Sospetti 1:50

10. Nell’ombra 2:21

11. You and Me 2:42

12. Spaziale 3:26

13. Finale 4:22

BANDITI A MILANO

14. Shake criminale 1:02

15. Nel locale notturno 1:59

16. Discoteque Shake 2:21

17. Shake Criminale (#2) 0:49

18. Strange World (Vocal: Katyna Ranieri) 3:04

19. Shake Criminale (#3) 3:07

20. Strange World (Instrumental) 2:32

21. Shake Criminale (#4) 1:51

22. Strange World (Instrumental slow) 3:04

Total Disc Time: 52:43

Total 2-CD Time: 99:34

Quartet Records, in collaboration with GDM and Universal Music Publishing Italy, presents a remastered reissue of Ennio Morricone’s score for STATO INTERESSANTE, a 1977 comedy-drama by Sergio Nasca. This is a thoughtful and unconventional film that explores the experiences of three women confronting pregnancy, motherhood and the changing social realities of contemporary Italy. Balancing intimate character study with broader social observation, the film reflects the evolving cultural landscape of the late 1970s through a sensitive and deeply human perspective.

Ennio Morricone composed a lyrical and emotionally nuanced score in his mature style. Far removed from the experimental edge of many of his contemporary works, the music combines delicate orchestral writing with graceful thematic development and a profound sense of emotional intimacy. The score unfolds with elegance and restraint, perfectly capturing the hopes, uncertainties and personal struggles experienced by the film’s protagonists.

Although STATO INTERESSANTE is less widely known than many of Morricone’s celebrated masterpieces, this release offers listeners the opportunity to rediscover a hidden gem from one of cinema’s greatest musical voices.

Originally produced by Claudio Fuiano and Dániel Winkler and presented from the best available stereo sources carefully mastered by Chris Malone, this edition restores the full beauty of Morricone’s score, allowing collectors and admirers alike to appreciate a work that deserves recognition among the composer’s finest dramatic achievements of the 1970s. The package includes in-depth liner notes by Miguel Ángel Ordóñez.

1. È mejo de morì che restà qui (Strumentale) 4:03
2. Morale ipocrita borghese 2:46
3. Per Annabella 2:40
4. Una bossa a cena 3:07
5. Una famiglia povera 2:40
6. Mezza luce 1:53
7. Un salotto troppo elegante 1:54
8. Per l’amore si farà 2:56
9. Morale ipocrita borguese (#2) 5:22
10. Controluce 2:56
11. Per Annabella (#2) 3:15
12. Una famiglia povera (#2) 1:53
13. Morale ipocrita borghese (#3) 0:39
14. È mejo de morì che restà qui (vocal) 4:03

Total Disc Time: 41:11

[Alexander Grodzinski]

Neu von Dragon's Domain/BSX:

Dragon’s Domain Records presents THE MORTON STEVENS COLLECTION: Volume 3 featuring the premiere release of music from the original scores for two films from the composer’s extensive filmography, M STATION: HAWAII and MEMORIES NEVER DIE.

 

Airing on television in 1980, M STATION: HAWAII blended espionage, tropical adventure, and Cold War intrigue into a compact action thriller. Directed by Jack Lord, it was filmed in 1979 just prior to the start of filming the twelfth and final season of the original HAWAII FIVE-O. M STATION: HAWAII introduces a covert intelligence unit operating out of the Hawaiian Islands and the cast included Jared Martin, JoAnn Harris, Andrew Duggan, Dana Wynter, Andrew Prine and Lord as Admiral Henderson. Intended as a pilot for an ongoing series, M STATION: HAWAII was not picked up and eventually was broadcast over a year later. The film would also be Jack Lord’s final performance. As the director, Lord utilized much of the crew he had been working with for over a decade on HAWAII FIVE-O, which included composer Morton Stevens. For M STATION: HAWAII, the composer brings a strong sense of rhythmic energy and dramatic color to the score, blending driving orchestral action cues with subtle touches suggesting the Pacific setting.The result is a soundscape that supports both suspenseful espionage scenes and the film’s scenic Hawaiian backdrop.

 

Airing on television in 1982, MEMORIES NEVER DIE was directed by Sandor Stern, written by Zoa Sherburne, Ken Trevey and Stern, starring Lindsay Wagner, Gerald McRaney, Melissa Michaelsen, Peter Billingsley, Barbara Cason, Richard McKenzie, Richard Yniguez, Jay Robinson and Barbara Babcock. MEMORIES NEVER DIE is a gripping melodramatic thriller that explores the trauma of a family that must contend with the return of its matriarch, Joanne Tilford (Wagner) who has spent the last six years in a psychiatric hospital. Her husband, Howdy (McRaney) is suffering from his own health issues and is desperate to reintegrate Joanne back into the family.Their children however are unwilling to accept her, as well as practically everyone else they know because of a terrible tragedy at the heart of the family drama. For MEMORIES NEVER DIE, the composer provides an appropriately dramatic orchestral score to play on these emotional conflicts.

 

Born In Newark, New Jersey in 1929,Morton Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICEWOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he bothreceived Emmy nominations.

 

Dragon’s Domain Records presents the premiere soundtrack release of THE MORTON STEVENS COLLECTION: Volume 3,featuring music composed by Morton Stevens for M STATION: HAWAII and MEMORIES NEVER DIE. The liner notes are written by Scott Davis. The music has been mastered by James Nelson at Digital Outland.

 

THE MORTON STEVENS COLLECTION: Volume 3 is a limited edition release and is expected to begin shipping the week of June 29th, 2026.

 

M STATION: HAWAII
01. Titles (0:50)
02. Recovering The Bodies (3:40)
03. Welcome To M Station (2:29)
04. Russian Frogmen (3:09)
05. Welcome Aboard / Out To Sea (2:09)
06. Maggie Arrives / Back To The Surface (2:05)
07. Russian Meeting / Thank-You Comrade (1:46)
08. Undersea Search (1:34)
09. There It Is! (2:19)
10. Dangerous Dive (3:18)
11. Your Husband / Kidnapping And Firey Explosion (3:57)
12. The Morgue (4:19)
13. Incoming Sub / To The Rescue (2:48)
14. Race To The Sub (5:11)
15. Escape From The Sub And Finale (4:21)
16. Closing Credits (1:01)
17. Bumpers (0:18)

MEMORIES NEVER DIE
18. Joanne's Journey (Main Titles) (2:18)
19. Arriving At The House / Enter Louise (2:03)
20. Kathy’s Insincere Apology / Please Don't Interfere / Horses (1:34)
21. Joanne’s First Flashback / Howard and Joanne / I Am Glad You Are Here (3:18)
22. Joanne’s Second Flashback / Louise Eavesdrops / Exchanging Pleasantries (3:01)
23. The Art Studio / Goodnight Mom (2:30)
24. Pre-Surgery Kiss / Telling Kathy The Story (2:13)
25. Joanne Packs Her Bags / Daddy-Daughter Talk (1:18)
26. Joanne Remembers Everything (2:45)
27. Howard’s Heart Attack (3:08)
28. Kathy Apologizes / Hospital Finale (3:38)
29. End Credits (0:43)

Total Time: - 75:06

Dragon’s Domain Records presents FORCE: FIVE, featuring music composed by William Goldstein for the 1981 martial arts action film directed by Robert Clouse, written by Clouse, Emil Farkas and George Goldsmith, starring Joe Lewis, Sonny Barnes, Richard Norton, Benny Urquidez, Ron Hayden, Pam Huntington, Michael Prince, Bob Schott, Amanda Wyss, Tom Villard and Master Bong Soo Han as the Reverend Rhee.

 

In FORCE: FIVE, William Stark, a top government agent, assembles a force of five martial arts experts to carry out a near-impossible assignment. They must infiltrate a religious cult led by the Reverend Rhee (Soo Han), one of the world’s most powerful religious leaders. Rhee lives on an island, surrounded by an army of trained mercenaries and fighters, his cult attracting the children of the world’s wealthiest people so that he can convince them to relinquish their inheritance and sign them over to Rhee.

 

Clouse started out his career strong, directing Bruce Lee in ENTER THE DRAGON and made many martial arts driven films afterwards, including BLACK BELT JONES, GAME OF DEATH, BATTLE CREEK BRAWL, GYMKATA and CHINA O’BRIEN, among others. His films featured many well known actors who were also skilled martial artists, including Jim Kelly, Jackie Chan and Cynthia Rothrock. While many martial arts action films of the time would focus on one or two fight styles, FORCE: FIVE represented an opportunity to feature a rich diversity of fighting styles with the fight choreography.

 

FORCE: FIVE was scored by composer William Goldstein. He has been a recording artist for Motown and CBS Masterworks. Goldstein has scored over 50 Movie and Television projects, including FAME & THE MIRACLE WORKER. He has been a pioneer in the use of computers and electronic instruments in music. His most distinguishing characteristic as a composer / pianist is his gift of “Instant Composition”, which he shares with audiences through master classes, recitals and albums.

 

Goldstein early on established himself as a composer who was comfortable all over the musical map. In addition to film scoring, recording and concert scores performed from Carnegie Hall to Symphony Hall Boston, he established himself as an innovator of New Technology.

 

In addition to his professional activities in music and film, Mr. Goldstein is a founder of the Museum of Contemporary Art in Los Angeles, a founding director of the California State Summer School for the Arts, and served for many years on both the music branch executive committee of the Academy of Motion Picture Arts and Sciences, as well as its foreign language (now International film) committee. He has also been a visiting artist for the Academy, lecturing from the Far East to the Middle East on contemporary aesthetics as well as music in film.

 

His filmography includes music for films such as THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS, AN EYE FOR AN EYE, FORCED VENGEANCE, FAME, UP THE CREEK, SAVING GRACE, HELLO AGAIN, INTIMATE POWER, SHOCKER, BLOOD RIVER, THE QUARREL, Danielle Steele’s ZOYA and THE MIRACLE WORKER, as well as contributing music on television for NATIONAL GEOGRAPHIC,THE TWILIGHT ZONE, RIPLEY’S BELIEVE IT OR NOT, THE MAGICAL WORLD OF DISNEY and OCEANQUEST.

 

Dragon’s Domain Records presents FORCE: FIVE, featuring music composed by William Goldstein 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 Mike Joffe.

 

FORCE: FIVE is a limited edition release. FORCE: FIVE is expected to ship on the week of June 29th, 2026.

 

01. Force: Five Opening (3:38)
02. Lookin’ Around Montage (3:16)
03. Where’s The Action (Reprise Theme) / March & Chase (7:16)
04. Still Time For Romance (1:43)
05. On The March Again (1:36)
06. Still Time For Fun (Bossa Nova) (3:17)
07. Back To Business (4:22)
08. Laurie’s Song (2:42)
09. High Drama Unfolds (5:11)
10. There’s Still Laurie (1:41)
11. Bring It On! (Reprise Theme) (3:06)
12. Going Home (Reprise Theme) (1:41)
13. Final Battle (4:26)
14. Finale & End Titles (4:10)

Total Time: 48:38

Citadel Records, a division of the BSX Group, presents THE THIEF OF BAGDAD, featuring music composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1940 fantasy adventure classic, conducted on this release by the great Elmer Bernstein (THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD) for the film directed by Ludwig Berger, Michael Powell and Tim Whelan, written by Miles Malleson and Lajos Biro, starring Conrad Veidt, Sabu, June Duprez, John Justin, Miles Malleson, Morton Selten, Mary Morris Hay Petrie, Allan Jeayes as the Story Teller and Rex Ingram as the Djinn.

 

Released in 1940, THE THIEF OF BAGDAD is a British fantasy film classic remake of the 1924 classic of the same name. The film remains a timeless cinema masterpiece with groundbreaking technical achievements and Oscar-winning special effects that still dazzle today. The fantastical elements of the film create spectacular visual splendor, enhanced by gorgeous Technicolor cinematography. Fans of the Disney versions of Aladdin can see many of its successful elements appearing here for the first time and for composer Miklós Rózsa, THE THIEF OF BAGDAD is one of the films that established his reputation both in Europe and America. And he was only 30 years old when he wrote it...

 

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.

 

From 1974 to 1979, composer Elmer Bernstein, a great believer in preserving the film music of the past, indulged an expensive whim: Re-recording excerpts from memorable scores by esteemed colleagues ranging from Alfred Newman and Miklós Rózsa to Alex North and Bernard Herrmann. This collection would span fourteen LPS and include many previously unreleased film scores, including the first recording of Herrmann’s lost score to TORN CURTAIN. Later, these historic recordings were released on compact disc by Film Score Monthly in 2006 in a limited edition box set that has continued to become scarce over the years.

 

Citadel Records, a division of the BSX Group, is proud to bring these recordings back into the marketplace, under license from the composer’s estate with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer. THE THIEF OF BAGDAD features Miklós Rózsa’s music conducted by Elmer Bernstein, performed by the Royal Philharmonic Orchestra and the Saltarello Choir.

 

THE THIEF OF BAGDAD is a limited edition soundtrack release. THE THIEF OF BAGDAD is expected to begin shipping the week of June 29th, 2026.

 

01. Main Title / Harbour Scene And I Want To Be A Sailor (Sailor's Song) (4:02)
02. The Chase (1:55)
03. Abu And Achmad And Abu's Song (2:06)
04. Horseman's Fanfare (1:01)
05. Love Song / The Pool / The Prince And The Princess (5:54)
06. The Sultan's Toys And Galop Of The Flying Horse (3:23)
07. Storm At Sea / The Seashore (3:34)
08. The Djinn (3:17)
09. The Skeleton Room / Duel With The Spider / The Return (8:27)
10. The Blue Rose / Fight And Capture Of Achmad (3:29)
11. The Golden Tent (3:38)
12. Abu To The Rescue / Death Of Jaffar / Finale (3:01)

Total Time: 44:16

Dragon’s Domain Records presents THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1979 adventure drama directed by Guy Green, written by Michael Berk, Joe Fineman and Douglas Schwartz, starring Lindsay Wagner, Jane Wyman, Andrew Duggan, Gary Lockwood, Brock Peters, John Reilly, Charles Tyner, Dorothy McGuire, Woodrow Parfrey, Peggy Walton-Walker, Kath Soucie, Tracey Gold and James Woods as Sin Eater.

 

Airing on television in 1979, THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL follows Meg Laurel (Wagner), a recent graduate of Harvard Medical School in 1932 who runs afoul of a corrupt and powerful local judge. Worried about the damage the judge might cause to both of their careers prompts Meg to make the decision to leave her husband in Boston and return to the orphanage where she was raised to visit her friend, Effie (McGuire). Meg learns that the orphanage has been closed and Effie has returned to her hometown of Eagle’s Nest high in the Blue Ridge Mountains. When she arrives at Effie’s home, she finds her friend on her deathbed under of the care of the local healer, Granny Arrowroot (Wyman). Meg’s arrival is immediately met with suspicion and hostility. Meg is unable to save Effie using her modern medical knowledge but Effie asks her to stay in Eagle’s Nest to help her people. Meg immediately clashes with Granny because of their different approaches to healing but overtime they are able to compromise and learn from each other.

 

For THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, Gerald Fried provides music that underscores both the drama faced by Meg and her humanity. His score avoids melodrama instead emphasizing warmth, lyricism and quiet determination. Gentle string themes accompany Meg’s moments of compassion and resolve while darker harmonies highlight the suspicion and tension within the town.

 

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 the world premiere release of THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis.

 

THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL is a limited edition release. THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL is expected to begin shipping the week of June 29th, 2026

 

01. Main Title (2:12)
02. Bad Dream (1:20)
03. Journey To Eagle’s Nest (4:29)
04. Hungry Guest (2:47)
05. Stalking Mountain Lion / Cliffhanger (3:52)
06. Mean Harley Moon / Effie Webb’s Bedside (3:29)
07. Effie’s Funeral (2:42)
08. Sin Eater (2:31)
09. A New Home / Granny Arrowroot (3:25)
10. The Kite / Bee Attack (2:50)
11. Curing Laurie (6:04)
12. Harley’s Rampage / Sin Eater’s Lair (5:17)
13. Letter To John / Dressing For Wedding / Granny Makes House Calls (4:39)
14. Caesarean (5:50)
15. Meg Sick / Delirium (3:39)
16. Watching Over Meg / Harley Finds The Medicine (3:30)
17. Meg At Death’s Door (3:20)
18. Folks Rally Around Meg / Lonely Sin Eater (4:03)
19. Thom’s Surprise Visit / Sin Eater’s Confession / Clinic Dedication (5:13)
20. End Title (1:05)

Total Time: 72:58