Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Oliver79]

Von Parco Della Musica kommt am 19.04. ein 3-CD-Set mit Franco Piersantis Musik aus der TV-Reihe Il Commissario Montalbano:

 

 

[Oliver79]

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack for 976 EVIL II, featuring music composed by Chuck Cirino for the 1991 sequel to 976-EVIL, directed by Jim Wynorski, written by Erik Greenberg and Rick Glassman, starring Debbie James, René Assa, Patrick O’Bryan, Philip McKeon, Leslie Ryan, Rod McCary, Paul Coufos, Karen Mayo-Chandler and George ‘Buck’ Flower. 976-EVIL II continues the longtime collaboration between filmmaker Jim Wynorski and composer Chuck Cirino, which includes films such as CHOPPING MALL, DEATHSTALKER II, NOT OF THIS EARTH, TRANSYLVANIA TWIST, A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and, most recently, A DOGGONE ADVENTURE.

Cinetel’s 1988 horror thriller 976-EVIL, in which people who dial that telephone number receive supernatural powers and turn into satanic killers, was not a critically successful film but its modest box office returns were good enough for the production company to approve a direct-to-video sequel. Thus 976-EVIL II, also known as 976-EVIL II: THE ASTRAL FACTOR was released to home video in the UK in December 1991, and in the US the following April. In the second film, rather than dialing the phone number to receive your horrid horoscope, the devil himself phones you, offering the awful astrological announcement when you answer. While short on logic, 976-EVIL II offers a lot of fun for its low-budget proficiency. 976-EVIL II stars the first movie’s Patrick O’Bryan, once more playing Spike, now a drifter and still tormented by his experiences from the first film. Here he pairs up with wholesome coed and “final girl” Robin (Debbie James), trying to convince the local cops that creepy college professor Mr. Grubeck (René Assa) is murdering the locals, an accusation made rather difficult when the murders continue even after the Prof is locked in jail. As he’s sleeping, though, a disembodied astral projection of himself roams free, decimating the community and soon targets Robin and Spike.

976-EVIL II was Chuck Cirino’s tenth film score for Jim Wynorski. The two had met in New York City due to their mutual love for Ennio Morricone, and they reconnected when both wound up in Los Angeles and Jim asked Chuck to score his 1986 movie, CHOPPING MALL. With Cinetel came a larger budget than usual and it was Chuck’s idea, rather than to score the movie wholly with synthesizers, as he had done with all his previous scores, to take advantage of the budget and bring in a small orchestra to enhance his synths. “What I had in mind is emulating what Jerry Goldsmith and Bernard Herrmann had done back in THE TWILIGHT ZONE days, with small orchestras,” Cirino said in a new interview for the liner notes. He hired orchestrator Tim Simonec, who created the orchestral parts. For 976-EVIL II, Chuck was able to craft some highly effective and unique electronic sound structures that enhanced the film’s moments of horror and made some of its more audacious sequences immensely exciting and fun.

Regarding the score, director Jim Wynorski had asked for a Spaghetti-Western influenced sound for the main title track, which fit the introduction of Spike, riding into town on his motorcycle in the style of the Man with No Name on his donkey. Cirino composed a standalone piece in the proper vibe, with Ed Tomney performing the guitar solo on the track. The score itself is constructed around a Gothic main horror theme. There is also a winsome romantic theme for Spike and Robin. Beyond these two recurring themes, the score consists of a lot of texturally layered motifs and intricate sonic spookery that maintain a continual tension and scariness throughout the film. 

Chuck Cirino did not start his career as a composer, but rather as a programmer in Stroudsburg, Pennsylvania for a Public Access cable TV station, where he learned how to create TV shows by himself, without a crew. In his spare time, he experimented with the station’s video equipment and created a series of genre productions that allowed him the opportunity to learn how to incorporate special effects into his work. After relocating to California, Cirino transitioned into directing high-end special effects television commercials. His first work as composer was for the 1980 cult film GYPSY ANGELS, which starred Vanna White and Richard Roundtree. Since then he has scored films for Roger Corman, directed music videos for bands like Earth, Wind & Fire and The Dickies’ KILLER KLOWNS FROM OUTER SPACE, and has recorded over 40 music soundtracks for feature films including SORCERESS, HARD TO DIE, TRANSYLVANIA TWIST, and many others. Most recently, he has scored A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and A DOGGONE ADVENTURE.

Chuck has worked as a producer, director, filmmaker, videographer, animator, special effects technician, editor, and composer. He executive produces and directs WEIRD TV, a television series featuring weird Americans, bizarre news, unbelievable events and outlandish skits. Chuck’s credits also include executive producer and director of the Sci Fi Channel projects, WORLDWIDE WEIRD and WARPED IN SPACE, and BABERELLAS, an independent Sci Fi feature distributed by Xenon Pictures.

Dragon’s Domain Records is excited to bring 976-EVIL II to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall Larson, with the participation of the composer and the director. 976-EVIL II is a limited edition release of 500 units. As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge. 976-EVIL II, to be distributed through buysoundtrax.com, is expected to begin shipping on the week of April 8th.

 

 

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the PAUL CHIHARA COLLECTION, VOLUME 2, featuring music composed, conducted and produced for three films by Paul Chihara (DEATH RACE 200O, PRINCE OF THE CITY, CHINA BEACH). Composer Paul Chihara has had one foot in film scoring (having composed scores for over 90 motion pictures and television series) and the other in concert music for more than 45 years. Currently, at the age of 80, he shows no signs of slowing down, remaining active composing concert music and interacting with music, musical theater, and musicians throughout the world.

The three scores collected on this second volume of Chihara’s film music have a lot in common, musically. Each are from the mid 1980s, each demonstrates the composer’s deft articulation with melody, harmony, and the seamless integration of popular, folk, and classical styles, although the movies themselves are quite different.

Set in 1969, A WALK ON THE MOON tells the story of an idealistic Peace Corps volunteer named Everett Jones (Kevin Anderson) who is happy to be assigned to a remote Colombian village. When he arrives, he is confused by the cynical attitude of his predecessor (Terry Kinney) and the apathy the villagers seem to hold toward him, but he manages to take up with a shy native girl named India (Patrice Martinez) as he becomes more immersed in their native culture. This adventure drama was directed by Raphael D. Silver (his daughter Dina Silver produced) and was filmed in Mexico, standing in for the landscape of Colombia. The film was nominated for Best Feature at the 1987 Chicago Film Festival, and nominated for the Grand Jury Prize at 1987’s Sundance Film Festival.

A WALK ON THE MOON is a splendid score with engaging textures and a remarkable contrast between North American country/folk and South American ethnic music which serves the story’s meeting of the two worlds as much as it presents a compelling listening experience on its own. As the music follows Everett from 1960’s New York City to the lushly forested foothills of western Colombia and the northern Andes, Chihara’s music follows suit. The score is primarily monothematic with a single theme. As the movie progresses, the music becomes by measures more ethnic in quality until Everett, having absorbed the culture and people, must face a bittersweet farewell to the village he’s grown to care for but is unable to stay within.

Airing on television in 1986, THE LAST DAYS OF FRANK AND JESSE JAMES was a Western biopic with a casting novelty – the main cast was made up almost entirely of country music stars – Johnny Cash played Frank James, Kris Kristofferson played Jesse, June Carter Cash co-starred as the mother of both James boys, while Willie Nelson and David Allan Coe were featured in supporting roles. Actress Marcia Cross co-starred as Sarah Hite, Jesse’s romantic partner. Filmed in Springfield, Tennessee, the movie was directed by William A. Graham, a veteran director of TV episodes and movies, with a handful of feature films to his credit), from a script by William Stratton, who was known for writing for TV movies and series episodes throughout the ‘70s and ‘80s.

Although Chihara wrote a full score for the film, only four tracks could be located to include on this collection. The first is a rendition on tack piano based on the 19th-century American folk first recorded in 1911 by Bentley Ball and subsequently by many others (including Johnny Cash). The tack piano was recorded for use as a source cue, heard in a tavern scene. “The melodies that I composed for this film were based on my studies of old cowboy tune collections,” Chihara said. “They sound authentic, but also like good old fashioned Hollywood movies by Max Steiner and Dimitri Tiomkin, they are the musical role models in this score.”

Part of the PBS “American Playhouse” series, NOON WINE aired in 1985 and was the second filmed version of renowned American writer Katherine Anne Porter’s popular short novel. The film stars Fred Ward, Stellan Skarsgård, Lise Hilboldt, and Pat Hingle, and is an effectively nuanced psychodrama set in 1890s Texas, when a stranger from North Dakota arrives at a small dairy farm seeking work. The family who owns the farm hires him and the farm flourishes. After many years a second North Dakotan stranger arrives, which puts into motion events that wind up having a tragic outcome for all.

The score is a mix of folk and country, favoring guitar and mandolin, which adds to the film’s conceptualization as a Western-styled tale of conflict. The score describes and contrasts the narrative’s sense of shifting claustrophobia and enigmatic characterizations. Unlike the gentle, harmonic treatment of the other two films, the music for NOON WINE is complex, sometimes spare, and frequently as intense as the unfolding drama and the psychological underpinnings of the socially uneasy characters who populate the saga while remaining within the pop and classical musical idioms. Among the notable performers on this score are mandolin player Andy Statman and legendary harmonica player Toots Thielemans.

Dragon’s Domain Records is excited to bring Paul Chihara’s music for A WALK ON THE MOON, THE LAST DAYS OF FRANK AND JESSE JAMES and NOON WINE to compact disc for the first time on THE PAUL CHIHARA COLLECTION, VOLUME 2, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall D. Larson, including the participation of the composer. THE PAUL CHIHARA COLLECTION, VOLUME 2 is a limited edition of 500 units.  As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge. The  album, to be distributed through buysoundtrax.com, is expected to begin shipping the week of April 8th.

[scorefun]

Stephen Price & Geoff Alexander - The Philharmonia Orchestra London

OUR PLANET - Music from the Netflix original Series

Zu allen 8 Episoden gibt es auch Einzel-Alben - klingt sehr gut...

[Oliver79]

Neben dem von Stefan in einem anderen Thread vorgestellten L' ossessa veröffentlichen Digitmovies am 5. Mai auch eine Neuauflage von Ennio Morricones Ruba al prossimo tuo auf CD und LP.

 

[Oliver79]

Von Cinema-Kan kommen weitere Doppelalben mit verlängerten Fassungen japanischer Scores: Isao Tomitas Prophecies of Nostradamus, Kan Ishiis Gorath sowie Yasushi Akutagawas Mount Hakkoda.

 

[Oliver79]

Im Juni kommt von Rustblade Records eine erweiterte Fassung von Simon Boswells Demoni 2 auf CD und LP:

[Alexander Grodzinski]

Zitat

THE FIRST 25 UNITS PURCHASED DIRECTLY FROM OUR ONLINE STORE WILL BE AUTOGRAPHED BY THE COMPOSER.

Quartet Records presents a new, cool soundtrack composed by Fernando Velázquez (A Monster Calls, The Orphanage, Ozzy, Que baje Dios y lo vea, Thi Mai) in his third collaboration with director Koldo Serra after The Backwoods and Gernika.

For this comedy-action-drama about a woman who, while trying to raise money to ransom her kidnapped daughter, is trapped in a bank assault, Velázquez provides a non-stop, surprising score. The music is infected by groove and funky sounds, colored by electrifying reminiscences of Lalo Schifrin, Quincy Jones and Jerry Fielding, and influenced by Ennio Morricone and Michael Small. It is an explosive cocktail that represents a new step in the career of this talented young maestro.

The CD was recorded and mixed by Marc Blanes. The 8-page, full-color booklet includes a statement by director Koldo Serra about the music and the recording. This CD is a limited edition of 500 units.

01. NortCaja (1:38)

02. Atraco (3:04)

03. Hay un notas ahí (2:16)

04. ¿Qué has hecho tío? (1:42)

05. Garay y Domínguez (1:35)

06. Si queda algo atrás que sea la calderilla (2:25)

07. ¿Puedo pedirte un favor? (3:56)

08. La madera pizzera (3:59)

09. Un alma imprevisible (1:37)

10. Nada tiene que fallar (2:50)

11. Ya era hora (2:53)

12. Que se vaya (1:28)

13. Te lo dije (1:28)

14. Recuerda, esta sigue aquí (3:35)

15. Cinco minutos (7:18)

16. Abre bien las orejas (1:54)

17. La cuarta palabra (1:14)

18. 70 Binladens (1:46)

Limited Collector’s Edition of 500 units.

 

 

[Oliver79]

Network DVD bringt am 3. Mai drei Alben mit Musik aus britischen TV-Shows der 60er Jahre:

 

[Trekfan]

Network hat auch Suiten dazu zur Verfügung gestellt:

 

 

 

[Alexander Grodzinski]

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the world premiere compact disc release of JAGUAR LIVES, featuring music composed by Robert O. Ragland (10 TO MIDNIGHT, Q, THE WINGED SERPENT, GRIZZLY) for the 1979 action film directed by Ernest Pintoff, written by Yabo Yablonsky, starring former world heavyweight karate champ Joe Lewis as Jaguar, along with Christopher Lee, Donald Pleasance, Barbara Bach, Capucine, Joseph Wiseman, Woody Strode, John Huston and Anthony De Longis.

Released in 1979, JAGUAR LIVES! tells the story of Jonathan Cross, international spy and agent of organization G-6 as he pursues Esteban, the mysterious leader of an international drug cartel. The film begins with G-6 agents Jonathan Cross and Bret Barrett as they race through the Spanish highlands towards the famous Basílica de la Santa Cruz del Valle de los Caídos (Basilica of the Holy Cross of the Valley of the Fallen) monument, trying to reach it in time to keep a bomb from exploding at its base. Cross races to grab the bomber, only to have Barrett shoot his partner in the back, allowing the bomb to go off and destroy the monument. Wounded, Cross survives and Barrett is presumed killed in the explosion. After being double crossed by nearly every contact he encounters in his globe-trotting hunt for Esteban, Cross finally tracks him down only to discover he’s actually his old partner, Bret Barrett, alive and literally kicking. The two compatriots have a final throwdown in an old castle and only the film’s title can reveal who the ultimate winner can be…

Robert Ragland’s score for JAGUAR LIVES! is based around a single heroic theme, which is introduced in the main title. Ragland uses this theme throughout the score in various interpretations and arrangements, nearly all of which will maintain the bold, flying tempo with which it’s initially introduced. Apart from his many variations on the theme, Ragland provides a handful of additional cues for specific moments in the movie. Softly strummed acoustic guitar heard as source music when Cross visits a large Spanish villa. An eloquent piano performance is also used as source music. There is also a great motif for building tension via pensive strings, acoustic guitar, and woodwinds, along with clusters of burbling brass, along with a vintage love theme, as Cross takes some time to frolic with an agent disguised as a nun in Macau.

JAGUAR LIVES! was intended to launch a new martial arts franchise but, despite the best intentions of director Ernest Pintoff and screenwriter Yabo Yablonsky, the film failed to conquer its audience or its box office. A small budget prevented the film from meeting its intended potential. All the same, the movie has its moments of fun and features a fine cast. Producers Derek Gibson, Sandy Howard, and Fred Weintraub brought together an impressive cast; Five of the guest stars were selected because of their association with James Bond films. The producers were unable to film the movie in all of the many locations the story called for. Jaguar’s globe-trotting traipsing about in pursuit of Esteban, the mysterious leader of an international drug cartelwould take him through Morocco, New York, Hong Kong, Rome, Istanbul, Macao, Tokyo, and a few other places that don’t actually exist but the production made due mostly with locations in Madrid, Spain, with second units filming in Tokyo, the U.S., and Hong Kong.

Playing the piano at the age of five set the tone for Robert O. Ragland’s lifelong interest in music. Throughout his school years, he performed and organized dance bands. After graduation from Northwestern University, Ragland served as an arranger for the Dorsey Brothers Orchestra. Later, he attained degrees in music from the American Conservatory of Music in Chicago and attended the Academy of Music in Vienna. Following the death of Tommy Dorsey, Ragland officially left the music business for his stint in advertising. But the urge to write film music overwhelmed him so he came to California.

Some of Robert O. Ragland’s diverse credits include RETURN TO MACON COUNTY, PONY EXPRESS RIDER, SHARK’S TREASURE, PROJECT: KILL, ABBY, MANSION OF DOOM, GRIZZLY, Q, THE WINGED SERPENT, MESSENGER OF DEATH, 10 TO MIDNIGHT, THE FEAR, ORION’S KEY, TOP OF THE WORLD and MOTEL BLUE. Ragland passed away in 2012 at the age of 80. In his later years, Ragland also conducted the music for many live awards shows including the Oscars and the Emmys.

Dragon’s Domain Records presents JAGUAR LIVES! on compact disc for the first time, featuring music composed by Robert O. Ragland. The music is presented from archival sources as the master tapes have been lost to time.

JAGUAR LIVES! is a limited edition release of 500 units. JAGUAR LIVES! is expected to begin shipping the week of May 6th, 2019.

01 Jaguar Lives-Main Title 2:07

02 Sunset in Istanbul 1:11

03 Never Die Jaguar* 2:59

04 Spanish Town 1:35

05 Secret Galley 1:05

06 Jonathan Cross 3:31

07 Wiles of Love 1:57

08 Murder Trap 1:33

09 Beyond the Border 1:52

10 Terry 2:52

11 General Villanova 2:00

12 Getting Away 3:37

13 Battle at the Castle* 5:21

14 Jaguar Lives-End Credits 2:50

* - Includes Sound Effects

Total Time: 35:05

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE DENNIS McCARTHY COLLECTION, Vol. 1: The Television Movies. Best known for scoring episodes of television’s STAR TREK series, from NEXT GENERATION through VOYAGER, McCarthy has also composed music for features films and numerous TV movies.

This collection focuses on the latter, presenting the music McCarthy wrote for a quartet of television movies in the ‘80s and ‘90s. STAYING AFLOAT (1993) was a TV pilot starring Larry Hagman as a troubled heir who becomes an FBI informant in order to make ends meet. McCarthy composed a cool Henry Mancini-esque jazz score that was light and frothy and kept the show upbeat and fun. SWORN TO SILENCE (1987) starred Peter Coyote and Dabney Coleman as attorneys defending a serial killer; when the suspect informs them where he buried the bodies they realize he’s guilty, but as his lawyers they are unable to reveal the information. The drama featured a very dark score that mixed orchestra with electronics. This was one of the scores that McCarthy used as a demo that got him hired to score STAR TREK: THE NEXT GENERATION.

IN THE NAME OF LOVE: A TEXAS TRAGEDY (1995) is a crime of passion story about the grandson of a rich Texas oil tycoon who falls in love with a poor girl from the wrong side of the tracks. Complications arise and someone ends up being murdered as tensions heat up; the movie was loosely based on a true story. McCarthy focused on the Texas location and went back to his country/pop roots to create a bluesy/bluegrass/country music score that underlines the day-to-day lives of the characters while reinforcing the tragic storyline as it unravels. The Lifetime TV-movie IN HER SISTER’S SHADOW (1997) is about a woman who secretly dates her sister’s ex-boyfriend, gradually realizing he is unstable and dangerous. McCarthy’s orchestral score ran the line between romantic music and suspenseful tension as the story plays out.

Each of these scores was written for relatively small ensembles, but it’s a testament to McCarthy’s talent that he makes them sound so much more than that. None of the scores have been released before. Dragon’s Domain Records is excited to present these scores for the first time and allow them to be appreciated. The album has been mastered by James Nelson at Digital Outland and features exclusive liner notes by author Randall D. Larson. THE DENNIS McCARTHY COLLECTION, VOLUME 1: THE TELEVISION MOVIES is presented in a limited edition of 500 units. As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge. The album, to be distributed through buysoundtrax.com, is expected to begin shipping the week of May 6th.

STAYING AFLOAT (1993) (Original Score) 
01. Staying Afloat - Main Title (4:02) 
02. Cat Killer (1:19) 
03. El Quashio (1:12) 
04. On The Road (1:29)
05. Searching For Clues (2:17) 
06. The Cat Prowls About (1:06) 
07. Sneaking Around (1:57) 
08. Welcome to Bermuda (2:18) 
09. The Cat Falls Asleep (2:21) 
10. Catching The Bad Guy (2:48) 
11. Happy Ending (1:33)

SWORN TO SILENCE (1987) (Original Score) 
12. Fanfare (1:01) 
13. Main Title and the Murders (2:01) 
14. Interlude (1:16) 
15. Finding The Bodies (5:17) 
16. Nobility (2:19) 
17. Finale and End Title (0:59)

IN THE NAME OF LOVE A TEXAS TRAGEDY (1995) (Original Score) 
18. Opening Titles (2:06) 
19. Laurette and Luke (3:32) 
20. After Laurette (1:43) 
21. Bad Ass (0:56) 
22. Reunion (2:59) 
23. Finale (2:32)

IN MY SISTER’S SHADOW (1997) (Original Score) 
24. The Story Begins (0:54) 
25. Sisterly Tension (2:26) 
26. Joan and Laurie (3:24) 
27. Discovery (3:51) 
28. Betrayal and Sorrow (5:54) 
29. Sisters Before Psychos (4:36) 
30. Confrontation / Finale (6:03)

Total Time: 77:10

 

[Oliver79]

Neben den beiden separat vorgestellten Titeln haben Quartet Records am Freitag noch zwei aktuelle Arbeiten von Bruno Coulais und James Griffiths veröffentlicht.

[neo]

Leise und unauffällig hat das Label "Digital River" den Filmscore von "Silent Hill" von Jeff Danna und "Wind Chill" von Clint Mansell und paar andere Alben digital veröffentlicht. Bin gespannt was da sonst noch unveröffentlichtes kommt

https://digitalriver.bandcamp.com/

 

Weitere Titel:

The Spanish Prisoner (Soundtrack) 
Carter Burwell 

Rosewood Lane (Soundtrack) 
Bennett Salvay
 
Beneath the Dark (Soundtrack) 
Daniel Licht 

The Assignment (Soundtrack) 
Normand Corbeil
 
Alien Cargo (Soundtrack) 
Patrick O'Hearn 

Mystery, Alaska (Soundtrack) 
Carter Burwell 

Joseph: King of Dreams (Soundtrack)
Danny Pelfrey
 
Bloodsport (Expanded Soundtrack) 
Paul Hertzog 

Such A Long Journey (Soundrack) 
Jonathan Goldsmith

Bearbeitet 2. Mai 2019 von neo

[TheRealNeo]

Ach gab es die bisher gar nicht?

Aber nur digital...

[Alexander Grodzinski]

BLOODSPORT gibt es auf CD von Perseverance Records (oder eben von Edel, wenn man das alte Album sucht). Perseverance haben auch Hertzogs KICKBOXER veröffentlicht. Kann ich beide empfehlen, wenn man auf 80er-Jahre-Kampfsport-Pop-Scores steht.

[Oliver79]

Von GDM kommt am 10. Mai eine erweitertes Album mit Mokadelics Musik für die TV-Serie Gomorra.

 

[Lars Potreck]

seit dem 03.05.19 als Download erhältlich

The Intruder - Geoff Zanelli

https://www.amazon.de/Intruder-Original-Motion-Picture-Soundtrack/dp/B07RCWBMQM/ref=sr_1_7?__mk_de_DE=ÅMÅŽÕÑ&keywords=geoff+zanelli&qid=1557231912&s=gateway&sr=8-7

[Oliver79]

Eine Komplett-Fassung eines Claude-Bolling-Scores auf 2 CDs sowie ein neuer und ein wieder aufgelegter Score von Rob sind neu im Programm von Music Box Records:

 

[Mephisto]

Was weiß man denn so über LOUISIANE?

[Stefan Schlegel]

vor 3 Stunden schrieb Mephisto:

Was weiß man denn so über LOUISIANE?

Erwarte da bloß keine große Sinfonik. Das ist zum Teil recht jazzig wie üblich bei Bolling und in den orchestralen Passagen entweder langweilig dahinplätschernd oder recht holprig zusammengefügt. Ich habe mir vor Jahren deshalb die alte LP schon nicht gekauft als ich damals bei einem Freund reingehört hatte. Für mich war das eher enttäuschend. Und das jetzt auch noch ins Endlose gestreckt - um Gottes willen.

[Stese]

Bereits im November 2018 von Network / Anderson Entertainment erschienen: SPACE PRECINCT (4-CD-BOX) OST von Crispin Merrell:

Zitat

Gerry Anderson, the hugely influential creator of UFO and Space: 1999, made a spectacular return to television in the early 1990s with Space Precinct – an incredibly exciting series that mixed live action drama with state-of-the-art prosthetics and animatronics to give a police procedural with a definite twist!

Now – for the first time – composer Crispin Merrell's memorably thrilling soundtrack is available to enjoy on this highly collectable four-disc set. Alongside episodic suites of music and a 64-page set of track notes, this definitive soundtrack release also features alternate and unused takes of the series' outstanding title music.

296 Minuten Musik auf 4 CDs. Sehr zuverlässig und schnell (da schon öfters dort bestellt) ist networkonair.com:

https://networkonair.com/all-products/2937-space-precinct-original-soundtrack

Dort kostet die Edition 14,17 GBP, zuzüglich 5,50 GBP Versand nach Deutschland.

[Mephisto]

vor 10 Stunden schrieb Stefan Schlegel:

Erwarte da bloß keine große Sinfonik. Das ist zum Teil recht jazzig wie üblich bei Bolling und in den orchestralen Passagen entweder langweilig dahinplätschernd oder recht holprig zusammengefügt. Ich habe mir vor Jahren deshalb die alte LP schon nicht gekauft als ich damals bei einem Freund reingehört hatte. Für mich war das eher enttäuschend. Und das jetzt auch noch ins Endlose gestreckt - um Gottes willen.

Gut zu wissen, dann lasse ich die mal getrost ziehen.

[Stefan Schlegel]

Ich nehme an, daß Du bezüglich französischer Filmmusik ohnehin recht schwach bestückt ist. Und dann gar mit so was wie Bollings LOUISIANA einzusteigen nur weil der gerade aktuell irgendwo mal wieder veröffentlicht wird, wäre für Dich mit Sicherheit der völlig falsche Weg. Wenn Du Dir wirklich was Gutes tun und  herausragende französische Filmmusiken aus der Zeit der frühen 80er suchst oder Dir zulegen willst, dann solltest Du so was wie FORT SAGANNE von Philippe Sarde, LES MISÉRABLES von Michel Magne oder L´AFRICAIN von Georges Delerue kaufen - und wenn Du es denn auch mal avantgardistischer haben willst, dann eben DANTON von Jean Prodromidès. Das sind CDs, die sich für Dich lohnen würden. Und ich nehme halt kaum an, daß Du die bereits hast.

[Mephisto]

Da liegst Du völlig richtig. Was französische Filmmusik angeht, habe ich lediglich die FANTOMAS-Musiken, die Vladimir-Cosma-Boxen, einige Universal-France-Veröffentlichungen und die ersten drei Asterix-Spielfilm-Vertonungen, die ich sehr schätze. LOUISIANE hätte ja auch eine schöne Breitwandmusik werden können, gemessen am Plakat.

[TheRealNeo]

Nichts von Alexandre Desplat?

[Stefan Schlegel]

vor 22 Minuten schrieb Mephisto:

Da liegst Du völlig richtig. Was französische Filmmusik angeht, habe ich lediglich die FANTOMAS-Musiken, die Vladimir-Cosma-Boxen, einige Universal-France-Veröffentlichungen und die ersten drei Asterix-Spielfilm-Vertonungen, die ich sehr schätze. LOUISIANE hätte ja auch eine schöne Breitwandmusik werden können, gemessen am Plakat.

Das hatte ich mir schon so gedacht und das ist natürlich viel zu wenig.

Das hier ist eine superbe Breitwandmusik - absolutes Must-Have: