Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Oliver79]

Von Notefornote Music gibt es eine CD mit Steve Dorffs Score zu einem religiösen Erweckungsdrama aus dem Jahr 2017.

Zitat

 

CD & Digital bundle - CD now shipping with a bonus 16/44khz download available upon purchase.

The Meanest Man In Texas: Original Motion Picture Soundtrack
Music Composed by Steve Dorff
Featuring the song, "Grace (Will Lead Me Home)" performed by Mary Millben
NFN Catalog # NFN-9028
UPC: 850001545266

Based on the bestseller, "The Meanest Man in Texas" is the true story of Clyde Thompson. In 1928, a young Clyde finds himself in the wrong place, at the wrong time and in the wrong company.

After shooting two men in self-defense, Clyde is convicted of murder and sentenced to death. Just hours before execution by electric chair, the Governor spares him the death penalty, but he is shipped to the Texas Prison Farm to serve hard labor, where he gains the moniker "The Meanest Man in Texas". The story follows Clyde's journey as his personal roller-coaster ride takes him on some life-changing highs and lows, but ultimately leads him to redemption.

The Meanest Man In Texas features an original score by acclaimed music producer, composer and songwriter Steve Dorff and one song by singer Mary Milben.

Original Score Composed, Orchestrated and Conducted by Steve Dorff

 

 

[Oliver79]

Neben dem De-Angelis-Score kommen von Beat Records am 10. Juni noch eine Italo-Western-Score von Vasco Vassil Kojucharov und eine Morricone-Neuauflage:

 

Zitat

Directed by Sergio Garrone, Django il bastardo (1969) is considered by critics to be one of his best films. Here we have one of the most iconic Spaghetti Western characters, Django, in one of his final movies, this time played by Anthony Steffen.

It's not the first time Vasco Vassil Kojucharov (a Maestro very dear to our publishing group) scored this character. Thanks to the Nomus association, archivist of the Kojucharov fund, we retrieved four master tapes and many documents from the recording session for this soundtrack, which—coming as no surprise, being a representative example of its genre—reveals all of the musical skills of the Maestro. His immensely creative vein is evident from the main titles, which—performed with typical instrumentation for Italian Western movies—winks an eye to the spy genre.

A wonderful unreleased score, finally available for your listening pleasure. The CD comes in a jewel case, with mastering by Enrico De Gemini, a 12-page booklet with graphic design by Daniele De Gemini and liner notes by Alessandro Bratus (English-language translation edited by Josh Mitchell).

L'agnese va a morire is one of the most successful collaborations between director Giuliano Montaldo and composer Ennio Morricone. The composer, availing himself of exceptional soloists such as De Gemini on harmonica, Carnini on organ, Valdambrini on flugelhorn, Enrico Pierannunzi on piano and the dramatic vocals of Clara Murtas to create the appropriate atmosphere to describe life turned upside-down by Nazism during WWII, during the 8 months preceding the liberation of Italy from German occupiers. Morricone alternates sacral moments with dissonance to describe this dark period of Italian history. We used a first-generation stereo master prepared in 1977 for a 33rpm that was never released, now fully restored for an exceptional listening experience.

The CD is released in the classic CDCR series with mastering by Daniel Winkler and Claudio Fuiano, liner notes by Patrick Bouster and graphic design by Daniele De Gemini, featuring the original poster art by Renato Casaro on the cover.


- Beat Records

[Angus Gunn]

Den Morricone kenne ich noch gar nicht. Habe mir gerade einen Track davon auf YT angehört, und der hat sehr gefallen. Gerade Valdambrini mit seinem Flügelhorn ist mir bei Morricone schon oft positiv aufgefallen.

[Stefan Schlegel]

vor einer Stunde schrieb Angus Gunn:

Den Morricone kenne ich noch gar nicht. Habe mir gerade einen Track davon auf YT angehört, und der hat sehr gefallen.

Ist auch ein ganz schöner elegischer Morricone mit mehreren einschmeichelnden Themen. Nicht überragend, aber die Musik hat ihre Meriten. Einzig das 6-minütige, sehr monotone "Immagini della guerra" bietet recht herbe experimentelle Kost, die nicht so recht zum Rest passen will. Valdambrini kommt hauptsächlich im Titeltrack zum Einsatz,  in den anderen Tracks dominieren dagegen andere Solo-Instrumente.
Allerdings muß man diese Neuauflage schon auch ein wenig als typische Morricone-Bauernfängerei bezeichnen, da sie den zweiten Score GOTT MIT UNS (dessen wunderbares "Lontano"-Thema eine starke Ähnlichkeit zum "Canzone della nostalgia"-Track bei AGNESE aufweist) der Screen Trax-CD von 1997 nun ganz einfach unterschlägt und somit nur noch eine Laufzeit von 28 Minuten aufweist.
Die Kopplung vor mehr als 20 Jahren war sehr gut, da es sich beides Mal um Kriegsfilme handelte und beide auch von Giuliano Montaldo inszeniert worden sind..
Deshalb empfehle ich, statt dieser neuen Beat-CD die alte Screen Trax-CD zu kaufen, denn etwa bei Discogs wird die durchaus noch angeboten:
https://www.discogs.com/de/Ennio-Morricone-LAgnese-Va-A-Morire-Gott-Mit-Uns-Original-Soundtracks/release/1760872

[Stefan Schlegel]

Boah, bei Digitmovies wirds ja nun wirklich ganz eng. Das ganze Programm bis in Juli hinein liegt bereits vor und es werden nur noch alte, vor ein paar Jahren gut gelaufene Kamellen neu aufgelegt. Und alles nur noch aus dem RCA/Universal Music Publishing-Katalog. Der CAM Katalog und gleichzeitige Corona-Lockdown schlägt voll durch. Jetzt wird echt zur Holzhammermethode gegriffen.

Einzige Neuheit nur der Franco Pisano-Score zur Erotik-Komödie ANIMA MIA, der auf der SVERGOGNATA-CD nun den zuvor dort enthaltenen Savina SUGGESTIONATA ersetzt.

Kaum zu glauben, was hier abgeht. So was habe ich auch noch nicht erlebt.
Selbstverständlich alles sowohl auf CD wie auf LP erscheinend:

- GENOVA A MANO ARMATA (Micalizzi - CD + LP)  Ende Mai:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM308&uscita=prox -

- LA POLIZIA ACCUSA: IL SERVIZIO SEGRETO UCCIDE (Michelini - CD + LP) Ende Mai:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=LPDM031&uscita=prox

- PREPARATI LA BARA (Reverberi - CD + LP) Ende Mai:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM311&uscita=prox

- LA BANDA DEL GOBBO (Micalizzi - CD + LP) Mitte Juni:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM303&uscita=prox

- POLIZIOTTO SENZA PAURA (Cipriani - CD + LP) Mitte Juni:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM312&uscita=prox

- DA CORLEONE A BROOKLYN (Micalizzi - CD + LP) Anfang Juli:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM307&uscita=prox

- LA SVERGOGNATA/ANIMA MIA (B. Pisano/F. Pisano- CD + LP) Anfang Juli:
http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDDM309&uscita=prox

[magnum-p.i.]

vor 18 Stunden schrieb Stefan Schlegel:

Boah, bei Digitmovies wirds ja nun wirklich ganz eng. Das ganze Programm bis in Juli hinein liegt bereits vor und es werden nur noch alte, vor ein paar Jahren gut gelaufene Kamellen neu aufgelegt. Und alles nur noch aus dem RCA/Universal Music Publishing-Katalog. Der CAM Katalog und gleichzeitige Corona-Lockdown schlägt voll durch. Jetzt wird echt zur Holzhammermethode gegriffen.

Einzige Neuheit nur der Franco Pisano-Score zur Erotik-Komödie ANIMA MIA, der auf der SVERGOGNATA-CD nun den zuvor dort enthaltenen Savina SUGGESTIONATA ersetzt.

 

Och schade! Da legen die schon so einen Haufen Zeug neu auf, aber "Eine Faust geht nach Westen " ist nicht dabei.

[Stefan Schlegel]

vor 1 Stunde schrieb magnum-p.i.:

Och schade! Da legen die schon so einen Haufen Zeug neu auf, aber "Eine Faust geht nach Westen " ist nicht dabei.

Warum sollte er auch? Rechtlich gehört EINE FAUST NACH WESTEN Cinevox. Auffällig ist aber doch vor allem, daß sämtliche 8 Titel aus der Liste oben dagegen aus dem italienischen RCA-Katalog kommen. Kein einziger Cinevox-Titel ist da mit von der Partie.
Es scheint also ein regelrechtes RCA-Gesamtpaket geschnürt worden zu sein, um so bei den Lizenzkosten eventuell dank einer Mengen-Rabattierung auch noch etwas günstiger wegzukommen..

[magnum-p.i.]

vor 1 Stunde schrieb Stefan Schlegel:

Warum sollte er auch? Rechtlich gehört EINE FAUST NACH WESTEN Cinevox. Auffällig ist aber doch vor allem, daß sämtliche 8 Titel aus der Liste oben dagegen aus dem italienischen RCA-Katalog kommen. Kein einziger Cinevox-Titel ist da mit von der Partie.
Es scheint also ein regelrechtes RCA-Gesamtpaket geschnürt worden zu sein, um so bei den Lizenzkosten eventuell dank einer Mengen-Rabattierung auch noch etwas günstiger wegzukommen..

Hätte ja sein können, weil Digitmovies "Eine Faust geht nach Westen" schon einmal rausbrachte. Ob der ganze oben aufgelistete Kram von RCA oder sonstwo herkommt, ist mir persönlich egal. Aber "Faust" fehlt mir halt noch in meiner Sammlung und Digit hatte damals eine schöne CD rausgebracht.

[Stefan Schlegel]

vor 41 Minuten schrieb magnum-p.i.:

Hätte ja sein können, weil Digitmovies "Eine Faust geht nach Westen" schon einmal rausbrachte. Ob der ganze oben aufgelistete Kram von RCA oder sonstwo herkommt, ist mir persönlich egal.

Es geht hier aber ja nun nicht um Deine persönlichen Wünsche, sondern allein darum, wie Digitmovies auf möglichst billige Art und Weise derzeit noch ein wenig Geld machen kann. Da bietet sich dann für die eben so ein Paket an mit neu aufgelegten Titeln eines italienischen Musikverlags, die sie eh alle vor 10-15 Jahren schon mal auf CD gebracht haben.
Und nicht zu vergessen dabei: Diese ganzen Polizeifilm-Titel aus den 70ern sind für Digit beileibe nicht nur "Kram" gewesen, sondern sie haben sicherlich genausoviel Geld für das Label in die Kasse gespült wie irgendein von Dir vielleicht mehr geschätzter Bud Spencer-Score - denn Fans dafür gab und gibt es weltweit genügend.

[Oliver79]

Gleich vier neue CDs mit Arbeiten von Komponisten wie Paul Chihara, Richard Band, Graham Tardif, Allan Zavod und William T. Stromberg kommen am 25. Mai von Dragon's Domain Records. 

[scorefun]

Warum müssen die BSX/Dragon's Domain Covers immer so schrecklich aussehen...? Photoshop-Azubi?

 

[Alexander Grodzinski]

vor 18 Stunden schrieb scorefun:

Warum müssen die BSX/Dragon's Domain Covers immer so schrecklich aussehen...? Photoshop-Azubi?

 

Viele davon macht Mark Banning selbst.

[JuergenH]

Am 14.5.2020 um 14:33 schrieb Oliver79:

Gleich vier neue CDs mit Arbeiten von Komponisten wie Paul Chihara, [...] kommen am 25. Mai von Dragon's Domain Records. 

 

 

 

 

 

Hat sich eigentlich jemand von Euch näher mit den anderen CDs aus der Reihe Paul Chihara Collection beschäftigt? Selbst habe ich nur Vol. 1 (The Mississippi) - der mit seiner Americana-Musik insgesamt durchaus seine Reize hat und man sich gut anhören kann.

Vol. 2 - 4 sind ja filmisch und somit wohl musikalisch ganz anders gelagert. Gibt es Empfehlungen hierzu, oder sind diese VÖ bei Euch unter dem Radar verlaufen?

Zur Erinnerung, die anderen CDs sind:

Vol. 2:  A WALK ON THE MOON / THE LAST DAYS OF FRANK & JESSE JAMES / NOON WINE

Vol. 3:  FAMILY OF SPIES / A DEADLY BUSINESS

Vol. 4 -> s.o.

 

[Gast Stefan Jania]

Am 15.5.2020 um 16:29 schrieb Alexander Grodzinski:

Viele davon macht Mark Banning selbst.

Ich war ja einmal Band-Fan. Exorcism At 60,000 Feet hat viele "Vorlagen". Natürlich Mike Oldfields "Tubular Bells", dann Bernsteins "Airplane" und etliches an Bernard Herrmann. Der komplette Film ist aktuell auf YouTube (sehr gute Qualität, aber arabische Untertitel). Ich habe ihn gesehen und nicht einmal gelacht.  Können auch Lance Henriksen, Kevin J. O'Connor und Adrienne Barbeau nicht rausreißen.

https://www.youtube.com/watch?v=nFt7CAdzYkY

[Max Liebermann]

 

vor 33 Minuten schrieb Stefan Jania:

Ich war ja einmal Band-Fan.

 

Ich auch, aber ohne Orchester ist Band leider schnell entzaubert. "House on sorority row", "Ghost Warrior", "Gholies", "Mutant", den ganzen 80er-Kram höre ich nach wie vor gerne.

[Oliver79]

Von Cinema-Kan sind letzte Woche zwei Alben mit Nobuyoshi Koshibes Musik aus der japanisch-französischen Animationsserie Die mysteriösen Städte des Goldes (1982 - 83) erschienen.

[queenofthefoovultures]

Klingt interessant. ist die Serie gut? 

[Oliver79]

Von Music Box Records kommen am 8. Juni zwei CDs mit Scores von Éric Dermarsan:

Zitat

 

In collaboration with Cinétévé and Mediawan Rights, Music Box Records is proud to present on CD the original score composed by Éric Demarsan for the French television series Romance (Wonderland, 2020) directed by Hervé Hadmar and starring Pierre Deladonchamps, Olga Kurylenko, Pierre Perrier, Barbara Schulz, Simon Abkarian and Anne-Sophie Soldaini.

This new series from Hervé Hadmar explores his preferred genres of thriller and fantasy, as seen in his previous works (Forgotten Girls, Pigalle, la nuit and Witnesses). This is a story about a mysterious woman, pretty as a picture. A woman in danger. A woman who refuses to love and to be loved. Of a man who travels, from Paris to Biarritz, and finds himself lost during the summer of 1960.

The score of Romance, composed by Éric Demarsan, is mysterious and lyrical, revealing his ability to capture the universe of this romantic thriller series.

This limited edition CD comes with an 8-page booklet featuring director Hervé Hadmar's statement.

 

 

Zitat

 

World Premiere CD Release.
Remastered and expanded edition.
8-page CD booklet with French and English liner notes by Sylvain Pfeffer.

In collaboration with Universal Publishing Production Music and Éric Demarsan,, Music Box Records presents the premiere CD release of the original soundtracks of Jean Pourtalé’s only two feature films composed by Éric Demarsan (Army of Shadows, Attention, the Kids Are Watching): Demain les mômes (Tomorrow's Children, 1976) and 5% de risque (1980).

For Demain les mômes, Éric Demarsan uses synthesizers and electronic effects which are perfectly suited to the post-apocalyptic atmosphere of the film. Two themes dominate the score: Philippe’s theme and the kids’ theme. The first one (Thème de Philippe) is played on the piano with reverb effects. Doubled with strings (Demain les mômes) and completed with the intervention of a harmonica, this piece gives a certain Western-like quality to some of the scenes. With very few dialogues, the film leaves a lot of room for the music to express iself.

For 5% de risque, the score is based on two themes. The first one, which can be heard as early as the opening credits (Générique début), is built on five notes inscribed in a bitonality that creates a climate of strangeness and unease. The tracks La trace and Le chasseur develop the second motif, characterized by chords suites favouring unpredictability in the harmonic progression.

The two scores have been fully mastered and expanded from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Sylvain Pfeffer and new comments by Éric Demarsan on his collaboration with Jean Pourtalé. Limited edition of 300 units.

 

 

[Oliver79]

Von Cinema-Kan kommen im Juni und Juli drei weitere Veröffentlichungen:

A Cold Is My Passport - Harumi Ibe

 

Cyborg 009 / Cyborg 009 - Monster War (2 CDs) - Taichiro Kosugi

 

 

Ogôn batto - The Golden Bat - Shunsuke Kikuchi

[Alexander Grodzinski]

Zitat

Dragon’s Domain Records presents a new release of THE DAY TIME ENDED, to be distributed through buysoundtrax.com. THE DAY TIME ENDED features music composed by Richard Band (RE-ANIMATOR, FROM BEYOND, GHOST WARRIOR, TROLL) for the 1979 science fiction/adventure film directed by John ‘Bud’ Cardos, written by Wayne Schmidt, J. Larry Carroll and David Schmoeller, starring Jim Davis, Bentley Mitchum, Dorothy Malone, Marcy Lafferty, Natasha Ryan and Scott Kolden.                 

Composer Richard Band emerged in the late 1970s as a horror music specialist. It was an appropriate legacy, being the son of prolific filmmaker Albert Band and the younger brother of Empire Pictures/Full Moon Entertainment’s genre specialist Charles Band. Richard began his association with film music in 1978 with the unique electronic score to LASERBLAST. The score was composed in collaboration with Joel Goldsmith, son of movie maestro Jerry Goldsmith. Band’s second score was for Charles’ production of THE DAY TIME ENDED, produced in 1978 but not released until 1980 by Compass International Pictures.

The film’s small cast of just six people make up a kind of extended nuclear family whose escape from city life for the high desert becomes a struggle against the strange and bizarre situations they encounter. As their remote ranch home is invaded by a miniature gremlin, a compact, heat-ray-armed spaceship the size of a large toaster, buzzed by glowing flying saucers, and threatened by pudgy, battling monsters, they are finally transported through a space/time warp into another planet or perhaps dimension, gathering together to perhaps share a bright new future in a shining city of light.

Because LASERBLAST had pleased both Compass International and Charles Band Productions, Richard was brought in to the production, but not initially as its composer. His function was more as a line producer. Having done LASERBLAST, Band’s compositional credit was good, even with a credit of just one score, and he got along well with director Bud Cardos. They would work together again a few years later on MUTANT. Cardos was willing to have him write the film’s music and to record it with an orchestra. Remarkably, Band was able to get a 35 piece orchestra in London to record the score. Band had worked with music producer Don Perry on several projects previously, and it was Perry who set up the session at the Music Center in Wembley, London. Perry brought in British music contractor John Watson, who put together the musicians and also conducted the orchestra for two three-hour recording sessions. Joel Goldsmith served as the score’s sound mixer.

A challenge Band faced on this score was figuring out how to make a small orchestra sound big, knowing he was restricted to just 35 players. The answer was in the way he orchestrated the music. Band kept the orchestration relatively simple, mainly because he knew he had a lot of music to record in those two three-hour sessions, so it couldn’t be too complicated. He also orchestrated it in a way that the keys and instrumentations were a little bit thicker than they would be in certain other keys, making the sound a bit richer. Band took composing the music for the film very seriously, focusing on the emotional resonance of the characters and their situation to serve the storyline, such as it was. He creates a very structured score, essentially allowing his music to speak for what the final shooting script does not.

Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER and Disney's SING ME A STORY series.

Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich. In more recent years, Richard has also enjoyed scoring a variety of family and comedy films for Viacom and Paramount Pictures as well as hundreds of animated vignettes for the WB kid's network all of which were scored with orchestra. His musical talents can also be heard on several amusement park rides including ALIENS - THE RIDE as well as several Vegas venues. Among the many interactive games Richard has scored the music for STAR TREK, WATERWORLD, CASPER, STONEKEEP, DECENT UNDER MOUNTAIN, CLAYFIGHTER and INVICTUS: THE SHADOW OF OLYMPUS.

For this new remix of Richard Band’s THE DAY TIME ENDED, Dragon’s Domain Records has gone back to the original 24-track master from CTS in London, offering for the first time the unparalleled depth of sound remixing the score from that original master could achieve, digitally remastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer.

THE DAY TIME ENDED is a limited edition release of 500 units. THE DAY TIME ENDED is expected to begin shipping the week of June 26, 2020 and can be ordered at www.buysoundtrax.com . The first 50 copies ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge.

01. Nova and Main Title 4:59
02. The Family Arrives 1:20
03. Jenny In The Corral 1:26
04. The Pyramid 3:22
05. Anna And The Mirror 1:27
06. The Gremlin 4:29
07. Grant Checks The Barn 3:28
08. The Probe 5:32
09. The Wolf Lizard 1:36
10. Graveyard of Ships 2:00
11. The Vortex 1:34
12. The Horse 0:56
13. “I Left Hours Ago” 0:59
14. Three Suns 1:21
15. Arrivaderci, Earth 6:20
16. End Credits 3:55
17. Beyond the Time Warp 1:38
18. Into the Vortex
(Outtake Suite) 4:52
Total Time: 52:01

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 , featuring music composed by Edward David Zeliff for several projects from his filmography.

Edward David Zeliff has spent many years in the religious, student, and secular film communities composing and conducting scores for short subjects and features, leading studio orchestras in London and Los Angeles. He is a composer, pianist, arranger, and conductor, having completed his Bachelor of Music in Composition at the California Institute of the Arts, and earning his Masters and Doctor of Musical Arts degrees in Composition from Claremont Graduate University. Dr. Zeliff's catalogue features an extensive collection of choral works that have been performed nationally and internationally by many distinguished ensembles and conductors.

In addition to his vast concert library of choral, piano, solo vocal, instrumental, and orchestral works, Zeliff has composed a handful of film scores, most of them made by and for Christian audiences. THE EDWARD DAVID ZELIFF COLLECTION presents some of these scores for the first time on compact disc.

Released in 1981, BEYOND THE NEXT MOUNTAIN was a feature-length biopic shot on 35mm in remote locations of India, Hawaii, and rural California. The film began its existence with the title UNDER FIRE, for which Zeliff composed, recorded and delivered a completed score. Upon completion, UNDER FIRE sat on the shelf for almost a year until the financiers came to the conclusion it was not reflective of the narrative tone and artistic vision they were ultimately striving for. They replaced the original director, reshot additional footage, and rehired Zeliff to rescore a radically altered cut of the picture. Now called BEYOND THE NEXT MOUNTAIN, the film was quite a departure from its original manifestation, telling the tale of a tribe of hawkish headhunters situated in the eastern mountainous region of India on the border with Burma. Against admonitions from his own government, a British missionary journeys to the area and wielding the Gospel of John, single-handedly converts the tribe to Christianity effectively ending their warmongering ways.

All of the cues Zeliff composed for BEYOND THE NEXT MOUNTAIN were recorded at Abbey Road Studios in London, England by Eric Tomlinson (STAR WARS, 1977; RAIDERS OF THE LOST ARK, 1981). UNDER FIRE was recorded at CTS Studios in Wembley, England by John Richards. Both scores are complete in chronological order based on their appearance in the film.

THE LIVING WORD was a feature length documentary film produced by World Wide Pictures, a film distributor and production company established as a subsidiary of the Billy Graham Evangelistic Association. The producers and director were so impressed with Zeliff’s music for BEYOND THE NEXT MOUNTAIN, they hired him to score their film comprised of exquisitely shot 35mm footage of various Renaissance artworks, landmarks, and locales scattered throughout the Holy Land. A southern preacher narrates various stories related to the Biblical account of each image. Zeliff’s enlightening forty-minute orchestral score, backed by an eight-voice female chorus were recorded together at the same time in the sanctuary of a gorgeous church in Los Angeles, California.

EZEKIEL FILE was a twenty-four minute multi-media presentation put on display at a museum in Israel. Utilizing multiple mediums including projected slides and 16mm film footage, the exhibit included three coordinated projectors—left, center, and right—giving the viewer an immersive aural and visual experience. Zeliff’s music had to be written to sound like one continual piece of music, but was broken up to reflect the various segments of the exhibit.

PILATE’S EASTER was a clever thirty-minute 16mm religious program which the composer refers affectionately as a “church basement” film because it was intended to be shown to religious groups of various Christian denominations as “faith reinforcement” pieces. The presentation of PILATE’S EASTER was told in the style of THIS IS YOUR LIFE. In this spiritual adaptation, PILATE’S EASTER pits Pontius Pilate and his wife Procula against a host who carries them through the trials and tribulations of their lives. Pilate was played by Brian Dennehy early in his acting career. PILATE’S EASTER provided Zeliff with an opportunity to compose a wide variety of different styles of music to support the film.

Both scores for EZEKIEL FILE and PILATE’S EASTER were recorded by Tony Smyles in the fellowship hall of St. Joan of Arc Catholic Church in Los Angeles, California.

Dragon’s Domain Records presents THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1, featuring music composed by Edward David Zeliff presented for the very first time on two compact discs. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer.

THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 is expected to begin shipping the week of June 26, 2020. Composer Edward David Zeliff will sign the first 50 copies old through the website.

CD ONE
BEYOND THE NEXT MOUNTAIN (1981)
(Original Score)
01. Prelude / Main Title / Into the Hills (4:46)
02. The Jungles of Manipur (1:14)
03. Capture / Pursuit / Interrogation (3:56)
04. Horizons / The Journey Begins (5:00)
05. War Runner I / Silchar / War Runner II (3:43)
06. Nehru’s Gardens (1:37)
07. Letters (1:23)
08. The Journey Continues (3:34)
09. Chicago / The Work Never Ends (5:24)
10. Going to Mr. Youngman /
Memories (3:29)
11. Return to India (2:17)
12. Finale / End Titles (5:48)

UNDER FIRE (1979)
(Original Score)
13. Main Title (1:12)
14. The Child Rochunga (2:52)
15. War Runner (9:23)
16. After The War (3:20)
17. Chicago (2:02)
18. Return to India (2:23)
19. Finale / End Titles (5:05)
Total Time CD 1: 69:18

CD TWO
THE LIVING WORD (1981)
(Original Score)
01. The Living Word Main Title (2:26)
02. Discovery (1:46)
03. Creation / Noah / Abraham (7:34)
04. The People Israel (2:19)
05. Moses / Jericho (5:40)
06. David / Solomon / Babylon (4:35)
07. The Promise and the Child (2:04)
08. From the Child to the Man (3:36)
09. From the Garden to the Cross (3:54)
10. Pietà (0:55)
11. Risen / Spread the Gospel (1:38)
12. The Living Word Finale
and End Titles (3:09)

EZEKIEL FILE
A NEW PROPHECY (1977)
(Original Score)
PART ONE: THE SANDS OF TIME
13. From the Beginning of Time (2:18)
14. A Desert of Ruins and Bones (1:13)
15. A People Without a Home (2:44)
PART TWO: ISRAEL REBORN
16. Enter the Hope (1:21)
17. Enter the People (2:16)
18. Enter the Spirit (2:24)
PART THREE: A NEW THREAT
19. Another Foe (2:27)
20. The Enemies Unite (2:10)
21. Building the Invasion (2:02)
PART FOUR: A NEW HOLOCAUST
22. Atomic War (3:07)
23. A Desolate Land Once Again (2:17)

PILATE’S EASTER (1980)
(Original Score)
24. TV Roll Up / Back In Time / Pilate’s Villa (2:09)
25. Procula and Pilate (3:11)
26. Trial / Deliberation / Judgement (3:05)
27. Doubt and Understanding (3:39)
28. End of Broadcast (0:45)
Total Time CD 2: 77:35

Zitat

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents 10.5 featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for the 2004 television mini-series directed by John Lafia, written by Christopher Canaan and Ronnie Christensen, starring Kim Delaney, Fred Ward, Ivan Sergei, Dulé Hill, John Schneider, Kaley Cuoco, Rebecca Jenkins, David Cubitt, Brian Markinson, John Cassini, Kim Hawthorne and Beau Bridges as the President of the United States.

10.5 was a 2004 NBC television mini-series directed by John Lafia (CHILD’S PLAY 2, MAN’S BEST FRIEND, THE RATS, episodes of BABYLON 5, FREDDIE’S NIGHTMARES, THE DEAD ZONE), who is also co-credited with the screenplay along with Christopher Canaan (WALKER TEXAS RANGER, BRIDGE OF TIME) and Ronnie Christensen (PASSENGERS, DARK RIDE, INCARNATE). The mini-series was acclaimed for its visual effects, and deservedly so. From the toppling of Seattle’s Space Needle, a passenger train swallowed up by a giant crack in the earth, and the Golden Gate Bridge collapse to the film’s catastrophic 10.5 earthquake which separates a large portion of California’s southwestern coast to float off into the Pacific.

By the time he composed 10.5 in 2004, Lee Holdridge had 34 years of experience composing music for films and television. Holdridge’s experience scoring for television, in particular, had given him a reputation as a competent and dependable composer. It was his association with NBC television that brought him in to score 10.5. Holdridge had scored a handful of dramatic mini-series prior to 10.5, mostly historical subjects, but his 1999 NBC mini-series ATOMIC TRAIN, an action thriller about a disposal company transporting an atomic bomb who conceals the device on a freight train to save money, gave him a chance to flex his action movie chops.

Holdridge had been primarily an orchestral composer when it came to film scoring and higher-budgeted TV movies and mini-series, but 10.5 didn’t have the budget for a fully orchestral score. This was the era where television production companies didn’t have the kind of budgets that permitted full orchestras, so the bulk of 10.5’s score was recorded via MIDI. But Holdridge did manage to bring in a few live instruments to sweeten an otherwise electronic score. Most of the score was performed recording digital instruments into MIDI, allowing Holdridge and Robert Irving to manipulate the sounds and give the disaster music its proportional sonic size. The electronic foundation of 10.5’s score benefits from Holdridge’s experience as an orchestral composer and conductor when it came to realizing an authentic orchestral sound via digital means.

Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.

Dragon’s Domain Records is excited to bring 10.5 to compact disc for the first time, mastered by James Nelson at Digital Outland under the composer’s supervision. The booklet includes exclusive liner notes written by author Randall Larson with the participation of the composer.

10.5 is a limited edition release of 500 units. 10.5 will begin shipping the week of June 29th, 2020

01 10.5 Main Title / Goodbye, Space Needle 3:18
02 Train Wreck Sequence 2:07
03 Heading to Los Angeles 1:26
04 Hill’s Theory 2:14
05 Aftermath 2:12
06 Fault Search / Sinkhole 4:39
07 Father and Daughter On the Road 2:02
08 Goodbye Golden Gate Bridge 3:02
09 Let’s Use Nukes!!! 2:32
10 Presidential Order to Evacuate 1:15
11 Presidential Speech 1:39
12 Governor and Rachel Under Wreckage 1:53
13 Doc Calls Home / Rachel Dies 4:05
14 The First Nuke 4:58
15 L.A. Evacuation / Rachel Didn’t Make It 3:58
16 Truck Run 1:37
17 I Never Got Over Your Mom / The Camp 2:10
18 Rachel’s Message / Owen Finds His Family 1:56
19 Quake at Warhead Site #6 / Losing the Nuke 2:42
20 Going Down the Drill Hole /
Trapped by the Bomb 4:33
21 A Father’s Farewell 4:34
22 Detonating the Nukes / Wrong Way River 3:46
23 The Big One!!! 5:21
24. The Big Finish 1:24
25 It’s Over / 10.5 End Credits 3:50
Total Time: 74:14

 

[Gast Stefan Jania]

Da lag ich zumindest mit Holdridge ja nicht falsch.

Bei Bands Day Time Ended, immer noch einer meiner Lieblinge von ihm, ist der Mix im Main Title immer noch fad. Das Trompeten-Solo (im Clip oben so ab 1:35), das auf der LP und im Film dominant hervorsticht, ist hier wie schon bei Intrada nur im Hintergrund ahnbar. Sehr schade. Das Stück "Beyond The Time Warp" ist wahrscheinlich das Stück "The Atmosphere" der LP,  das es nicht auf der Intrada-CD gab. Die Laufzeit passt. Ist aber mehr Synth/Sound-Design.

Hier der Film komplett. Dort ist die Passage ab 1:10 zu hören. Auch interessant: nach den Credits wurde die Musik von einem "John Watson" dirigiert. Intrada hat mir nie auf die Frage geantwortet, wer das denn war.  Soundmixer des Films war (laut Abspann) ein "Joel Goldsmith". ?

 

 

[Stefan Schlegel]

Ich hätte nicht gedacht, daß es Edward David Zeliff´s THE LIVING WORD mal noch auf CD schafft. Denn wer außer ein paar wenigen alten Hasen kennt das heute überhaupt noch? Die Musik galt ähnlich wie die Sachen von Dwight Gustafson, die Caldera kürzlich veröffentlicht hatte, in den frühen 80ern als absoluter Geheimtipp für Freunde sinfonischer Filmmusik. Die LP davon erschien 1982 auf AEI Records und ich habe sie selbst auch seit damals. Es ist eine sehr anspruchsvolle und großangelegte epische Komposition für diesen obskuren missionarischen Billy Graham-Dokumentarfilm, die man jedem nur empfehlen kann. Wer das nicht kennt und meint, aufgrund des merkwürdigen Films werde das wohl kaum der Rede wert sein, wird auf alle Fälle sehr überrascht vom insgesamt sehr hohen Niveau dieser Bibelmusik.
Hebräisches und orientalisches Kolorit läßt stellenweise an den Goldsmith von WIND AND THE LION oder MASADA denken, es ist einiges mit Chor dabei, stellenweise sogar bombastisch angelegt, aber auch mit erlesenen romantischen Cues. Der eindrucksvolle Score läßt sich mit Genuß an einem Stück durchhören und funktioniert eigentlich fast als eigenständiges sinfonisches Werk.
Man hat sich damals in den 80ern immer gewundert, was denn wohl aus diesem Mr. Zeliff geworden ist, von dem sonst dann nie wieder mehr was auf LP oder CD erschien.
Bei der LP waren keine Zeitangaben dabei, aber sie hat eine Spielzeit von rund 40 Minuten, dürfte also (auch von der Sequenzierung her, obwohl die Tracks nun ein paar Mal leicht anders betitelt sind) ziemlich deckungsgleich sein mit dem, was auf dieser jetzigen Doppel-CD enthalten ist.
LIVING WORD macht natürlich schon auch sehr neugierig auf die anderen orchestralen Arbeiten Zeliffs, die auf dieser Doppel-CD nun greifbar sind. Ich erinnere mich, daß der bekannte Filmmusikkritiker Page Cook sogar die Musik zum Kurzfilm PILATE´S EASTER in seiner Liste der fünf besten Scores von 1980 dabei hatte. Auch LIVING WORD wurde von Cook damals in "Films in Review" natürlich stark promotet.
Jedenfalls mal eine ziemlich interessante Ausgrabung von Dragon´s Domain abseits dessen, was dieses Label einem sonst so alles vorsetzt.

[Mephisto]

Danke für diese Ausführung, nach der WAXMAN-CD nun das nächste Pflicht-Album von Dragon's Domain für mich

[nordfriesede]

vor 48 Minuten schrieb Stefan Schlegel:

Man hat sich damals in den 80ern immer gewundert, was denn wohl aus diesem Mr. Zeliff geworden ist, von dem sonst dann nie wieder mehr was auf LP oder CD erschien.
Bei der LP waren keine Zeitangaben dabei, aber sie hat eine Spielzeit von rund 40 Minuten, dürfte also (auch von der Sequenzierung her, obwohl die Tracks nun ein paar Mal leicht anders betitelt sind) ziemlich deckungsgleich sein mit dem, was auf dieser jetzigen Doppel-CD enthalten ist.
LIVING WORD macht natürlich schon auch sehr neugierig auf die anderen orchestralen Arbeiten Zeliffs, die auf dieser Doppel-CD nun greifbar sind. Ich erinnere mich, daß der bekannte Filmmusikkritiker Page Cook sogar die Musik zum Kurzfilm PILATE´S EASTER in seiner Liste der fünf besten Scores von 1980 dabei hatte. Auch LIVING WORD wurde von Cook damals in "Films in Review" natürlich stark promotet.
Jedenfalls mal eine ziemlich interessante Ausgrabung von Dragon´s Domain abseits dessen, was dieses Label einem sonst so alles vorsetzt.

Auf der Webseite von Mr. Zeliff kann man in 3 seiner Scores hören. Es sind die kompletten LP´s zu Beyond the next Mountain, Hairline und The Living Word. Auf der sehr umfangreichen Webseite finden sich auch seine klassischen Werke.

https://www.edwardzeliff.com/film-music

[Stefan Schlegel]

vor 23 Minuten schrieb nordfriesede:

Auf der Webseite von Mr. Zeliff kann man in 3 seiner Scores hören. Es sind die kompletten LP´s zu Beyond the next Mountain, Hairline und The Living Word. Auf der sehr umfangreichen Webseite finden sich auch seine klassischen Werke.

https://www.edwardzeliff.com/film-music

Ah, danke für den Hinweis, Bernd!
Allerdings gab es nur von THE LIVING WORD eine offizielle LP. Von BEYOND THE NEXT MOUNTAIN oder HAIRLINE sind zu einem früheren Zeitpunkt nie irgendwelche Platten veröffentlicht worden. Auch auf Discogs oder Soundtrack Collector wird man deshalb nur die LIVING WORD-LP finden und sonst nichts.
DIe Tracks zu BEYOND THE MOUNTAIN und HAIRLINE dürfte Zeliff daher vermutlich nur für seine Webseite erstellt haben.