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Thomas Nofz

Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

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vor 4 Minuten schrieb ronin1975:

nicht billig das Set, aber scheint ja auch expanded zu sein. Müsste jede CD ja glatt 70min gehen... so lange waren die alten CDs meine ich nicht.

die waren 51, 61 und 61 minuten lang. meiner meinung nach auch völlig ausreichend.

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paar Bonus Tracks jetzt wohl dabei, aber ja das reichte eh... naja, wer sie noch nicht hat... sind schöne Scores! ich schau mir das Set mal im Laden an... 

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE CONRAD POPE COLLECTION, VOLUME 1 featuring music composed and conducted by Conrad Pope (PAVILION OF WOMEN, MY WEEK WITH MARILYN, TIM’S VERMEER) for four feature films from his filmography.

Conrad Pope is one of Hollywood’s most in-demand orchestrators, known for his numerous collaborations with composers John Williams, James Horner, Howard Shore, Alexandre Desplat, James Newton Howard, Alan Silvestri, John Powell, Mark Isham, Danny Elfman, and many others. Pope also has a resume of some 18 original film scores to his credit. His talent in many aspects of movie music and his dexterity on scoring paper and concert stage alike has given him a sought-after reputation in Hollywood that has remained durable and dependable for thirty-five years.

GHOST SHIP was based on the true story about a Spanish galleon in 1863 that was swept up the flooding Colorado River from San Diego, and was stranded and wrecked far inland in the Salton Sea. The fictional part of the story has to do with seven kids, who learn of the lost galleon and turn a boring school rock-collecting trip into a quest for a shipload of lost pirate treasure. Somehow the filmmakers were able to fund $100,000 to record the score with a 75-piece orchestra, an unheard of amount for an independent movie. Pope’s score is grandly adventurous with large orchestral gestures, a Coplandesque motif setting the tone for a late 19th Century adventure involving eager kids.

Released in 1994, TEMPTATION is a potboiler about insurance fraud and murder. The director was looking for music along the lines of Jerry Goldsmith’s BASIC INSTINCT. His score for the film emphasizes fluid string lines and is built around a main theme for the primary character, along with a surging action motif for brass and a suspended electronic choral element. Pope composed both the electronic and the orchestral music for the film; the latter was recorded with a 52-piece orchestra.

1995’s science fiction thriller PROJECT: METALBEAST is about a group of scientists who create a super soldier by injecting the subject with the blood of a werewolf. Naturally, the experiment goes massively awry and the manufactured lycanthrope is cryogenically frozen for 20 years—after which it’s revived by the surviving member of the original project, who enhances the were-soldier with a synthetic metallic skin that makes it virtually indestructible. Thanks, Doc. Pope’s music for the film is grandly powerful, with an especially glorious finale.

UNDER THE MOON was made in late 1993, but you won’t find it listed on IMDB or anywhere else, because it had a single showing and then disappeared from the face of the Earth. The film was a passion project from a group of young would-be filmmakers from El Paso and tells the (at the time) unthinkable story of a man whose girlfriend, a school teacher, breaks up with him and he becomes so enraged that he comes down to the school and shoots her in her classroom, taking some of the children hostage and ultimately making an escape in a school bus.

The four film scores included on this collection all stem from 1992-95 and are the first movie scores Conrad Pope wrote. The music reflects the influence of the composers Pope orchestrated for, but they also exhibit what he could do with that inspiration when left to his own creativity. All four of the scores on this album were performed by a contracted orchestra in Salt Lake City, Utah.

Dragon’s Domain Records is excited to bring the contents of THE CONRAD POPE COLLECTION, VOLUME 1 to compact disc for the first time. The music has been mastered by James Nelson at Digital Outland, with liner notes written by author Randall Larson, including the participation of composer Conrad Pope.

THE CONRAD POPE COLLECTION, VOLUME 1 is a limited edition release of 500 units. Composer Conrad Pope will sign the first 100 copies of THE CONRAD POPE COLLECTION, VOLUME 1 sold through the website.

(Original Score)
01. Overture - Call to Adventure (1:50)
02. Action on the High Seas (1:46)
03. The Pirate’s Sword (2:52)
04. March of the Galleons (4:05)
05. Hidden Treasure (2:08)
06. Magic Caverns (4:12)
07. Finale-All’s Well (5:17)

(Original Score)
08. Prelude, Theme and Escape (5:21)
09. Confrontation (2:33)
10. Variations on a Theme (1:33)
11. Bloody Murder (0:45)
12. Light the Fuse (1:31)
13. Aftermath (1:21)

(Original Score)
14. Inner Sanctum (3:10)
15. The Deadly Chase (1:24)
16. Revelation (0:49)
17. The Resurrection (2:15)
18. Crossing the Icy Styx (1:55)
19. The Hunted (1:03)
20. Transformation (0:58)
21. Dawn (1:29)
22. No Turning Back (1:01)
23. Survivors (1:42)

(Original Score)
24. Day of Judgment (3:08)
25. The Rod and Reproof (2:41)
26. Bitter Memories (0:49)
27. The Careening Bus (0:53)
28. A Mother’s Tear (1:07)
29. Mad Matt’s Inner Demons (3:30)
30. Requiem (3:03)
31. The Family Reunited (3:08)
Total Time: 72:49



Dragon’s Domain Records, to be distributed through buysoundtrax.com, will be releasing AGATHA – MUSIC INSPIRED BY THE MOTION PICTURE featuring music composed and conducted by Howard Blake (THE DUELLISTS, THE RIDDLE OF THE SANDS, THE SNOWMAN) but ultimately not used for the 1979 feature film directed by Michael Apted (21 Up series, GORILLAS IN THE MIST, THUNDERHEART, ENIGMA) and starring Vanessa Redgrave, Dustin Hoffman, Timothy Dalton, Helen Morse and Celia Gregory.

In 1926, legendary mystery writer Agatha Christie disappeared for 11 days. To this day, no one knows the details of what she did during that period of time. AGATHA presents a fictional account of Christie’s time away, showing her as a woman fleeing from her own life following the death of her mother and the announcement from her husband that he’s leaving her. Fleeing to a spa in Harrowgate while the whole country is looking for her, American reporter Wally Stanton (Hoffman) finds her and ultimately tries to help her.

Howard David Blake was born in the London borough of Enfield in 1938. At the age of eighteen, he was awarded the Hastings Festival Scholarship and attended the Royal Academy of Music where he studied piano and composition. His interest in the cinema led him to a number of outside jobs and he worked as a projectionist at the National Film Theatre. Turning down a second scholarship from the British Film Institute, Blake instead became a piano session player, arranger and orchestrator at Abbey Road and other studios for several composers, including Stanley Myers, Quincy Jones and Bernard Herrmann. It was Herrmann who introduced Blake to Laurie Johnson, staff composer for THE AVENGERS, leading to his first television scoring assignment in 1967. His work in television and advertising music continued and his frequent collaboration with celebrated commercials director Ridley Scott led to his scoring of the director’s debut feature THE DUELLISTS in 1977.

Blake’s most prolific film composing period followed with a string of features including THE RIDDLE OF THE SANDS, S.O.S. TITANIC, FLASH GORDON, THE LORDS OF DISCIPLINE. In 1982, Blake accepted the invitation to write the music and lyrics for an animated film, THE SNOWMAN. Instantly hailed as a classic, the score topped the British pop charts and the concert work is still regularly performed around the world each Christmas.

In 1989, he won the BFI Anthony Asquith Award for Best Musical Score for A MONTH IN THE COUNTRY. Since the mid-1980s, Howard Blake has been the Musical Director of the Sinfonia of London, a leading film session orchestra. The composer was awarded the Order of the British Empire in 1994 for his artistic contributions in music.

Dragon’s Domain Records presents the world premiere release of Howard Blake’s music for AGATHA. While his music was ultimately not used in the film, it was composed during one of his most prolific years and worthy of preservation. The booklet contains liner notes written by noted author Randall Larson, including insights by composer Howard Blake on the creation of the score.

AGATHA – MUSIC INSPIRED BY THE MOTION PICTURE is a limited edition release of 500 units.  The first 50 copies sold through our website will include an autograph by the composer.

1. Prelude (3:00)
2. Look At Me / Breakfast /
Agatha in Bed / Car Accident (4:48)
3. Agatha on Train / Agatha’s Room (3:00)
4. Pierrot’s Old School Tie / Certainly Not (2:45)
5. Schnee (2:32)
6. Yes Sir / Date (1:17)
7. Following Baths (2:53)
8. Agatha and Wally (4:06)
9. Wally on the Phone / Appointment Book (1:54)
10. Agatha Asleep (3:29)
11. Therapy Room Door (2:05)
12. The Notebook and Climax (5:52)
13. They Don’t Believe / Closing (6:06)
14. Dixieland Stomp (0:40)
Total Time: 45:04



The Airstrip One Company presents film music composed and conducted by Howard Blake (THE AVENGERS, THE SNOWMAN, FLASH GORDON) for two of his most sought-after film scores.

The first film score represented is THE DUELLISTS, the 1977 period drama directed by Ridley Scott, based on the story 'The Duel' by Joseph Conrad, starring Keith Carradine and Harvey Keitel, Albert Finney, Edward Fox and Cristina Raines. During the Napoleonic Era, Lieutenant d'Hubert (Carradine), an officer in the French army accidentally offends another officer, Lieutenant Feraud (Keitel) and sets off a life-long enmity that finds the two crossing swords time and again in an attempt to achieve “justice” and preserve their “honor.”

The second film score represented is THE RIDDLE OF THE SANDS, the 1979 WWI spy adventure directed by Tony Maylam, based on the then-popular espionage novel written by Erskine Childers, starring Michael York, Simon MacCorkindale and Jenny Agutter. In 1901, two British yachtsmen stumble upon a German plot to invade the east coast of England with a flotilla of specially designed barges. To thwart the German plot, they will have to outwit not only the best sailors in the German Navy but the Kaiser himself.

Both scores contain beautiful lush orchestral music written by a classically-trained composer at the top of his game, performed by the National Philharmonic Orchestra.

Includes a deluxe booklet with many rare stills from both films, liner notes that include an introduction by director Ridley Scott and retrospectives by actor Michael York and director Tony Maylam and insights into the making of both productions. This release contains over 70 minutes of music.

1. The Duellists-Main Theme (3:01)
2. Mme. deLeon's Salon (2:38)
3. Opening Titles (0:59)
4. Military Life (0:23)
5. Laura (1:47)
6. Armand & Adèle (1:32)
7. I Renounce Love (0:59)
8. Tarot (1:31)
9. Cellar Duel (0:58)
10. Cavalry Duel (2:13)
11. Jubilation (0:29)
12. Russian Winter (6:21)
13. The Chateau (1:11)
14. The Marriage (1:35)
15. The Challenge (0:49)
16. Pistols (1:05)
17. Final Duel in the Woods (3:29) 
18. The Lonely Walker (2:44)
19. End Credits (3:17)

20. The Riddle of the Sands (4:29)
21. A Walk in the Dunes (1:41)
22. The Dulcibella (1:10)
23. Sailing (4:46)
24. The Inn - Rowing Ashore (1:57)
25. Barge Building (3:51)
26. The Kormoran Moves In (1:12)
27. Into the Fog (1:26)
28. Carruthers Investigates the Barn (1:48)
29. The Train to Emden
30. Carruthers Reboards the Train (2:22)
31. Rehearsal for Invasion (5:03)
32. Sink the Dulcibella! (1:36)
33. End Titles (2:23)


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Den Conrad Pope Sampler gab es bislang nur als Promo/Bootleg (?)  unter dem Titel 'Conrad Pope - Recopilacion' - schön, daß das jetzt mal offiziell kommt

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Am 20. März veröffentlichen Silva Screen Records ein Album mit Barry Grays Musik aus der Gerry-Anderson-Serie Supercar.



Barry Gray’s original Television score for Gerry Anderson's Supermarionation show.

Following from Four Feather Falls, Supercar was the second Gerry Anderson show to use the Supermarionation technique. Based on the Czech style of marionette puppetry, Supermarionation was Gerry and Sylvia Anderson’s development of the technique to include synchronisation of puppet’s lip movements with pre-recorded dialogue.

Between 1961 and 1962, thirty-nine episodes were produced. Due to lack of funding and speed of production, Barry Gray had to produce music fast; he composed a series of ‘themes’ for locations, situation and characters. The main star of the show, the Super car, was given the heroic theme, whilst the rest of the score is at times whimsical and charming to support the dialogue and at others menacing when underlining the drama. The orchestra was comprised of forty instrumentalists and was conducted by Barry himself.

Barry Gray was amongst the first composers to use electronic instruments in music for television. One such instrument was the Ondes Martenot, used to produce otherworldly musical motifs and fragments and later to create electronic sound effects in his future score for Captain Scarlet and the Mysterons. Other shows he later used this instrument for include Doppelganger and Doctor Who films Dr Who and the Daleks and Daleks’ Invasion Earth 2150 AD.

On this album, the 20 themes featured create a coherent listening experience. They guide the listener through the music map of the show.


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Quartet Records and Gruppo Sugar presents the premiere releases of two Carlo Savina psychedelic cult classics.

Manuel Mur Oti’s PERVERSIONE (also know as Diary of an Erotic Murderess and La encadenada) stars Marisa Mell as a seductress getting involved with both father and son in order to inherit a huge estate. The film’s score is largely based around a piano theme for the character of the son – actor Anthony Steffen was actually an accomplished pianist and had played musicians in several of his films. The depraved hallucinations feature the incomparable vocal solos of Edda dell’Orso.

Corrado Prisco’s STRESS stars Lou Castel who carved out his own niche in playing troubled youth – this time, a young university student who returns home, but the political indoctrinations at student rallies might have sent him too far down the rabbit hole… Savina’s score is quite short and is largely characterized by a baroque feel reinforcing the ideas of the prodigal son’s returning with children’s vocals, lullabies and a cembalo. The main and end credits featuring Edda dell’Orso are available for the first time as they were replaced with classical and folk music respectively.

Mastered by Claudio Fuiano, the CD comes with 8-page booklet with Gergely Hubai discussing the films, the composer and the scores.


1. Perversione (Titoli) (3:06)
2. Perversione (falsa tranquillità) (1:26)
3. Perversione (sensualità) (2:43)
4. Perversione (voce per un amore) (1:34)
5. Perversione (attesa) (0:57)
6. Perversione (Titoli versione ritmica) (2:47)
7. Perversione (momento sacro) (1:09)
8. Perversione (Titoli ripresa) (1:14)
9. Perversione (intimità) (2:52)
10. Perversione (attimi romantici) (1:10)
11. Perversione (insicurezza) (3:43)
12. Perversione (tensione) (2:51)
13. Perversione (Titoli versione ritmica 2) (2:51)
14. Perversione (al buio) (2:42)
15. Perversione (dubbio) (2:04)
16. Perversione (brividi) (5:36)
17. Perversione (vocal) (3:01)
18. Perversione (finale) (1:55)

19. Stress (Titoli) (2:07)
20. Stress (momento d’amore) (2:28)
21. Stress (serenità) (0:56)
22. Stress (nel profondo dei sensi) (1:15)
23. Stress (allucinazione) (6:08)
24. Stress (atmosfera calma) (3:01)
25. Stress (sexy buffo) (2:57)
26. Stress (allegrotto) (1:00)
27. Stress (pensieri) (2:23)
28. Stress (barocco) (2:30)
29. Stress (Finale) (2:15)



Quartet Records and Beat Records presents the highly requested re-release of fan favorite Nora Orlandi score.

LO STRANO VIZIO DELLA SIGNORA WARDH (also known as The Strange Vice of Mrs. Wardh, Blade of the Ripper and Next Victim) was the first entry of filmmakers Luciano and Sergio Martino into the field of giallo. Featuring Luciano’s wife, Edwige Fenech in the title role, Mrs. Wardh is an exquisite erotic thriller featuring the hunt for a razor-wielding serial killer who seems to have started to blackmail the heroine. But are the two crimes really related?

Hot on the heels of her score for IL DOCE CORPO DI DEBORAH, composer Nora Orlandi unleashes the full power of Dies Irae, the legendary Medieval melody usually associated with death and murder. Not since Ennio Morricone’s I PUGNI IN TASCA have we encountered so many playful adaptations of the classic melody. The score is augmented by cool psychedelic organs, frantic rhythms, and a number of jazzy and lounge source cues for the lavish parties attended by Mrs. Wardh.

Slightly remastered, the CD comes with 8-page booklet with Gergely Hubai discussing the film, the composer and the score.

  1. Lo Strano Vizio Della Signora Wardh Seq. 1 (1:13)
  2. Lo Strano Vizio Della Signora Wardh Seq. 2 (1:08)
  3. Lo Strano Vizio Della Signora Wardh Seq. 3 (1:52)
  4. Lo Strano Vizio Della Signora Wardh Seq. 4 (3:08)
  5. Lo Strano Vizio Della Signora Wardh Seq. 5 (4:09)
  6. Lo Strano Vizio Della Signora Wardh Seq. 6 (0:29)
  7. Lo Strano Vizio Della Signora Wardh Seq. 7 (1:07)
  8. Lo Strano Vizio Della Signora Wardh Seq. 8 (2:10)
  9. Lo Strano Vizio Della Signora Wardh Seq. 9 (0:32)
  10. Lo Strano Vizio Della Signora Wardh Seq. 10 (1:58)
  11. Lo Strano Vizio Della Signora Wardh Seq. 11 (2:08)
  12. Lo Strano Vizio Della Signora Wardh Seq. 12 (1:09)
  13. Lo Strano Vizio Della Signora Wardh Seq. 13 (0:56)
  14. Lo Strano Vizio Della Signora Wardh Seq.14 (0:58)
  15. Lo Strano Vizio Della Signora Wardh Seq.15 (1:04)
  16. Lo Strano Vizio Della Signora Wardh Seq.16 (2:06)
  17. Lo Strano Vizio Della Signora Wardh Seq.17 (2:02)
  18. Lo Strano Vizio Della Signora Wardh Seq. 18 (1:52)
  19. Lo Strano Vizio Della Signora Wardh Seq. 19 (1:07)
  20. Lo Strano Vizio Della Signora Wardh Seq. 20 (0:49)
  21. Lo Strano Vizio Della Signora Wardh Seq. 21 (2:13)
  22. Lo Strano Vizio Della Signora Wardh Seq. 22 (3:36)
  23. Lo Strano Vizio Della Signora Wardh Seq. 23 (1:23)
  24. Lo Strano Vizio Della Signora Wardh Seq. 24 (1:17)
  25. Lo Strano Vizio Della Signora Wardh Seq. 25 (1:18)
  26. Lo Strano Vizio Della Signora Wardh Seq. 26 (1:59)
  27. Lo Strano Vizio Della Signora Wardh Seq. 27 (0:57)
  28. Lo Strano Vizio Della Signora Wardh Seq. 28 (2:08)
  29. Lo Strano Vizio Della Signora Wardh Seq. 29 (0:48)
  30. Lo Strano Vizio Della Signora Wardh Seq. 30 (2:06)
  31. Lo Strano Vizio Della Signora Wardh Seq. 31 (1:52)


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