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Thomas Nofz

Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

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Hab da mal reingehört bei HIRED TO KILL by Spotify - erinnert mich irgendwie an Jay Chattaways Mission in Action
Ein paar Goldsmith-Anleihen sind durchaus vorhanden - Track 20 z.B.

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Das digitale Album von Moviescore Media, das dann vor einem Jahr rauskam (siehe meinen anderen Beitrag weiter oben, 19.7.2019), habe ich schon zweimal oder dreimal gehört. Ist eine solide Musik eines mir völlig unbekannten Komponisten, die ich mir auch auf einem der typischen Edel-/Silva-Alben seinerzeit hätte vorstellen können. Aber einen Drang jetzt noch die CD zu kaufen verspüre ich nicht mehr. Für Freunde von Lack und Leder Papier und Plastik trotzdem schön. ;) 

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vor 2 Stunden schrieb Stefan Jania:

Die Frage ist, ob es das woanders auch gibt - außer als MP3 bei amazon. Bei Qobuz ist es (noch) nicht gelistet.

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Na ja, bei Apple ist er auch schon gelistet. 😀 Ist ebenfalls nichts für Fans von lossless-Veröffentlichungen, wie mich. Ich glaube aber, dass das Album auch über die Händler mit besserer Qualität erhältlich sein wird. Genau weiß man das aber erst im November. Auf der UCM-Seite steht noch zum Soundtrack:

Zitat

Soundtrack (Limitierte Vinylauflage & digital)

A-Seite:
1. Die Schlangengrube und das Pendel
2. Der Moritatensänger
3. Mysteriöse Einladung
4. Karfreitagprozession
5. Kutschfahrt in Sandertal
6. Ungewöhnliche Reisegesellschaft
7. Der Leichenwald
8. Erinnerungen    

B-Seite:
1. Schloss Anomie
2. Liebende in Bedrängnis
3. Graf Regula
4. In den Katakomben)
5. Eigenartiger Geistlicher
6. Das Pendel des Todes
7. Blut von dreizehn Jungfrauen
8. Flucht aus dem Schloss (Finale)

Die auf 500 Stück limitierte LP erscheint mit rotem Vinyl (180g), ist maschinell nummeriert mit Sticker sowie enthält ein bedrucktes Inner Sleeve. Das Album wird zudem weltweit auch digital erhältlich sein.


Erscheinungstermin: 13. November 2020

Der Soundtrack wird von UCM.ONE auf dem Label M-Square in Zusammenarbeit mit Schacht Musikverlag erstmalig weltweit veröffentlicht. Ein großer Dank geht zudem an Walter Potganski, der als Quellmaterial die alten Original Bänder wieder orten konnte und so erst eine Rekonstruieren der benutzen Musiktitel möglich machte. Bis kurz vor seinem Tod am 17. Mai 2020 hat der legendäre Filmkomponist Peter Thomas noch die Rekonstruktion begleitet.

Quelle

Somit hat die digitale Fassung noch zwei Tracks mehr als das Vinyl ("Unaufhörlich läuft die Sanduhr" und die Suite).

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vor 53 Minuten schrieb Stefan Jania:

Na ja, bei Apple ist er auch schon gelistet. 😀 Ist ebenfalls nichts für Fans von lossless-Veröffentlichungen, wie mich. Ich glaube aber, dass das Album auch über die Händler mit besserer Qualität erhältlich sein wird. Genau weiß man das aber erst im November. Auf der UCM-Seite steht noch zum Soundtrack:

Quelle

Somit hat die digitale Fassung noch zwei Tracks mehr als das Vinyl ("Unaufhörlich läuft die Sanduhr" und die Suite).

Ich hoffe es ;) 50 EUR für einen Soundtrack sind schon heftig (also wenn man nur die CD haben will). Da sind wir schon bei Stylotone-Preisen 😆

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Am 9.10.2020 um 15:16 schrieb ronin1975:

Sicher is Gangs of London nich originell, passt aber gut. Und du verpasst was bei der Serie... allein Folge 5 toppt das Meiste, was man im Hollywoodkino an Action bekommt. Irre.

ansonsten neu bei spotify:

Haunting of Bly Manor - Newton Brothers

score führt den von Hil House weiter. Bisschen grösser vielleicht. Schon sehr dasselbe aber. Trotzdem hübsch.

Hab mir die BR nun auch besorgt. Unglaublich rasant inszeniert. Folge 5 lief gerade im Player...atemberaubend.

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WRWTFWW Records aus der Schweiz, sonst eher bekannt für eher nischige Titel wie der Musik aus der Animationsserie The Shadoks oder einem Album mit SF-Scores des Musique-Concrete-Komponisten Bernard Parmegiani, bringen zwei CD-Reissues von Horrorscores aus der Feder von Richard Band.

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Zitat

 

EARLY BIRD PRICE: SAVE 20% BY ORDERING BEFORE NOVEMBER 6th 2020!

*this is a pre-order - ships around November 6th 2020*

The ultimate jewel case CD with bonus ORGAN TRACK (from the dinner scene)!
With video store sticker! Liner notes! And more!

Includes digital pre-order of Ghoulies (Full Uncut Original Soundtrack). You get 8 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

shipping out on or around November 6, 2020

Pre-order Compact Disc  €10 EUR or more 

 

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Zitat

 

EARLY BIRD PRICE: SAVE 20% BY ORDERING BEFORE NOVEMBER 6th 2020!

*this is a pre-order - ships around November 6th 2020*

The ultimate jewel case CD!
With video store sticker! Liner notes! And more!

Includes digital pre-order of Troll (Original Soundtrack). You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

shipping out on or around November 6, 2020

 

Beide Scores erscheinen auch auf auf LP, TerrorVision erhält sogar nur eine Vinyl-Only-Auflage.

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Zitat

Albert_Glasser_Presentation_Pack_1024x10

2 CD set comes with digital download - 24 Bit Wav, MP3, Digital PDF)

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALBERT GLASSER COLLECTION, VOLUME 1 , featuring music composed and conducted by Albert Glasser (THE CISCO KID, I SHOT JESSE JAMES, THE AMAZING COLOSSAL MAN, THE SPIDER) for HUK! And TOKYO FILE 212, two films from his extensive filmography.

HUK! is a 1956 United Artists action film directed by John Barnwell, written by Stirling Silliphant, and starring George Montgomery, Mona Freeman, John Baer, James Bell, Teddy Benavides and Mario Barri. Set and filmed in the Philippines, HUK! follows American planter Greg Dickson (Montgomery) who returns to the Philippines in 1951 intending to sell his dead father's plantation. When he arrives in the country, he finds that it has been overrun by Huk guerrillas, including the rebel leader who killed his father. With the aid of buddy Bart (Baer) and Bart's wife, Cindy (Freeman), Greg helps defend the local people from the rebels.

TOKYO FILE 212 is a noirish detective adventure set during the Korean War but taking place in Japan. The RKO picture was directed by Dorrell & Stuart E. McGowan and starred Robert Peyton (aka Lee Frederick), Florence Marly, Katsuhiko Haida, and Reiko Otani. Released in 1951, TOKYO FILE 212 is about a Communist spy ring in Tokyo hard at work trying to sabotage the American war effort using kidnapping, murder, and a disturbed former kamikaze pilot. A U.S. secret agent (Peyton), posing as a reporter, is dispatched to Tokyo to put a stop to these nefarious activities, while befriending a shady woman (Marly).

Born January 25, 1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television, he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN.

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 1, featuring music composed and conducted by Albert Glasser for HUK! And TOKYO FILE 212 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 noted author Randall Larson.

THE ALBERT GLASSER COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE ALBERT GLASSER COLLECTION, VOLUME 1 is expected to begin shipping the week of November 9th, 2020.

CD 1 - HUK!
01 Opening and Forward 1:37
02 Main Title 1:56
03 The Calessa Ride 3:43
04 They Pass Bataan 1:38
05 Kulak Attacks The Boat 1:39
06 Coming Into Harbor 2:49
07 His Old Room 3:01
08 The Swimming Scene 3:16
09 The Underwater Fight 1:24
10 At the Cemetary 3:43
11 The Music Box 1:41
12 A Huk Climbs the Tower 1:22
13 The First Attack 2:51
14 Kulak Swears Vengeance 0:57
15 In the School Room 1:09
16 Huks Kill Pop 0:36
17 John Gets the Bad News 2:34
18 The Big Retreat 1:17
19 The School Yard Scene 2:53
20 School Yard Scene - Pt. 2 1:43
21 The Boat Pulls Out 1:18
22 Huks Hit the Water 0:56
23 The Big Fight/Swim to Shore/
End Title 5:47
Total Time 50:49
.
CD 2 - TOKYO FILE 212
01 Main Title 1:44
02 This is Tokyo 2:37
03 Jim Meets Steffi 2:07
04 Source Montage 1:43
A. Virgin Wood Nightclub
B. Knickerbocker Club
C. Hula Club
05 Jim Sees Taro 1:24
06 Steffi is Tired 1:57
07 Kamikazi Class 2:05
08 The Telegram 1:36
09 The Big Shrine 3:15
10 At the Russian Consulate 1:34
11 The Kubuki Theater 1:18
12 Jim Gets the Third Degree 1:18
13 Newspaper Headline 0:28
14 Hello, Mamiko 1:13
15 Mamiko is Kidnapped 0:52
16 Taro In Hospital 3:25
17 Steffi Cries 2:10
18 Jim Gives Her a Gun 1:18
19 Railroad Strike 0:32
20 Mamiko Dies in Taro’s Arms 1:42
21 Taro Gets Caught 1:19
22 Taro Commits Suicide 0:59
23 End Title 0:18
Total Time 37:50

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Munchie_Presentation_Pack_1024x1024.jpg?

(CD comes with Digital Download - 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to MUNCHIE, featuring music composed by Chuck Cirino for the 1992 family comedy directed by Jim Wynorski, written by R.J. Robertson and Wynorski, starring Lonnie Anderson, Andrew Stevens, Jamie McEnnan, Monique Gabrielle, Ace Mask, Lenny Juliano, John Henry Richardson, Fred Olen Ray, Toni Naples, Mike Simmrin, Scott Ferguson, Jennifer Love Hewitt, George ‘Buck’ Flower, Arte Johnson as Professor Cruikshank and Dom DeLuise as the voice of Munchie. MUNCHIE 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.

The popular success of Joe Dante’s GREMLINS in 1984 quickly spawned a torrent of contentious pint-size creatures from the minds of moviemakers hoping to feast on box office revenue as satisfying as that of the original GREMLINS. A sequel in name only to MUNCHIES, released earlier in 1987, MUNCHIE was inspired by a 1955 Warner Bros. cartoon short made by Chuck Jones called ONE FROGGY EVENING, about a guy who struggles to make his fortune with a frog that sings and dances, but only when it is alone with the owner. Wynorski and his co-writer of the time, the late R. J. Robertson, developed a script based on that premise, except instead of being a frog, Munchie was a friendly gremlin-like creature that dressed like a lounge singer, sounded like a stand-up comedian and had magic powers. Gabriel Bartalos, a veteran Jack-of-all-trades in the film business, designed and created Munchie’s creature costume, which was made out of foam rubber. It was based on an illustration by co-scripter R. J. Robertson.

Wynorski hired a fine cast, bringing in the beautiful girls who’d been regular stars of his previous R-rated fantasy and horror films, as well as TV stars Loni Anderson, Andrew Stevens, Artie Johnson, and the first appearance of a young Jennifer Love Hewitt, who would appear in several of Wynorski’s subsequent family movies. To play the voice of Munchie, Roger Corman was willing to pay a princely sum for this most important role. Dom DeLuise was suggested, and agreed to take the part.

To write the film’s score, Jim brought in his long-time friend and regular composer, Chuck Cirino. Inspired by a theme Chuck had briefly used in RETURN OF SWAMP THING, Jim asked Chuck to revisit the tune and make it the main thematic foundation of the film. Cirino reworked the piece, added some new elements, and boom—there was the catchy, centerpiece melody for MUNCHIE. Without any musical references with which to model this score after, Cirino essentially had to invent the musical style for the movie. At that time, Cirino’s musical toolbox was equipped with what was then state-of-the-art synthesizers and early musical samplers like the Proteus sampler, Prophet 2000, Roland D50. MUNCHIE possesses a carnivalesque type of score that is effervescent and tuneful, with a variety of colorful and catchy timbres that keep the music fun, with occasional forays into attitude for Munchie himself.

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 MUNCHIE 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. 

MUNCHIE 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.

MUNCHIE is expected to begin shipping the week of November 9th, 2020.

1. Opening Chase (3:53)
2. Munchie Main Titles (2:11)
3. Dreaming of Andrea (1:15)
4. If You Need a Friend / Western Fantasy (2:12)
5. Funeral Fantasy (3:40)
6. Gage Finds Munchie (1:50)
7. Hello, My Baby (0:42)
Vocal: Dom Deluise
8. Gage Tells Munchie His Wish List (1:26)
9. Unidentified Flying Pizza (Finiculi Finicula) (1:42)
10. Munchie is Gone (3:07)
11. Munchie Changes Grades (3:01)
12. Gage Punches Out the Bully (3:23)
13. He’s Out of Commission (2:29)
14. Just Leave Me Alone, Munchie (1:18)
15. Elliot’s Hot Foot (1:00)
16. Munchie’s Phone Fraud (1:18)
17. Mom’s Dinner Date (1:23)
18. Elliot Discovers Munchie (1:51)
19. The Chase is On / Elliot Crashes (4:25)
20. Airport Goodbyes / Finale (2:38)
21. Munchie End Credits Suite (5:00)
22. Stingers (0:18)
23. Outtakes Suite (3:23)
Total Time: 54:24

Zitat

From_Beyond_Presentation_Pack_1024x1024.

(CD comes with digital download, 24 bit Wav, MP3 and Digital PDF)

Dragon’s Domain Records presents a new release of FROM BEYOND, to be distributed through buysoundtrax.com. FROM BEYOND features music composed by Richard Band (RE-ANIMATOR, GHOST WARRIOR, TROLL) for the 1986 science fiction/adventure film directed by Stuart Gordon, adapted by Brian Yuzna from the short story by H.P. Lovecraft, starring Jeffrey Combs, Barbara Crampton, Ted Sorrel and Ken Foree. The music has been newly mixed and mastered from the original 24 hour track elements.

Written in 1920, Lovecraft’s short story is told from the first-person perspective of an unnamed narrator who is associated with scientist Crawford Tillinghast, who creates an electronic device that emits a resonance wave, allowing the experimenters to perceive planes of existence outside the scope of our accepted reality. When they turn this machine on, they not only perceive the horrific creatures that occupy a parallel dimension that overlaps their reality but Crawford then realizes that the effect works both ways, and allows the denizens of the alternate dimension to perceive and then feed upon those observing from our dimension. FROM BEYOND expands on Lovecraft’s concepts beyond the original short story, developing a storyline true to its original author’s intent and substance but developing into a modern story in which Tillinghast (Combs), here the assistant to the Resonator’s inventor Dr. Pretorius (Sorel), is similarly accused of the scientist’s murder when Pretorius is killed, by creatures from another dimension, Crawford insists, resulting in his immediate admittance to a mental hospital. After psychiatrist Katherine McMichaels (Crampton) and detective Bubba Brownlee (Foree) take the case, they escort Crawford back to the laboratory in an attempt to corroborate his account by re-creating the experiment.

Composer Richard Band’s career scoring films began in 1978 and is still going strong in 2020. His film-musical repertoire has largely consisted of science fiction and horror films. He had previously scored Stuart Gordon’s RE-ANIMATOR, embracing a humorously affectionate nod toward Bernard Herrmann in his jaunty treatment of PSYCHO’s main theme that fit Gordon’s wildly farcical approach to Lovecraft’s tale of Herbert Gordon West and his mistreatment of dead things. Band rejoined Gordon for the equally blood-splattered FROM BEYOND and went on to compose both CASTLE FREAK and DREAMS IN THE WITCH HOUSE, earning an Emmy nomination for his music for the latter. Band also composed Gordon’s ambitious revision of Edgar Allan Poe’s THE PIT AND THE PENDULUM in 1991.

The score for FROM BEYOND was created with a mixture of early synthesizers and a small orchestra of around 40 string players and some percussion. Band made a point of combining the electronics with the orchestra in an integrated manner, rather than using orchestra and the electronics as separate entities.

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.

For this new release of Richard Band’s FROM BEYOND, Dragon’s Domain Records has gone back to the original 24-track master and had engineer Matt La Point completely remix the score from the ground up, under the supervision of composer Richard Band, digitally remastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer. In addition to the eighteen tracks that make up the score’s track order, this new release of FROM BEYOND includes three bonus tracks. The goal on this one was to bring out a lot of detailing that had been obscured in the original mix and everything that came afterwards and also take advantage of advances in audio technology that have come out since the original Mix which greatly improved the score on a sonic level.

FROM BEYOND is a limited edition release of 500 units. FROM BEYOND is expected to begin shipping the week of November 9th, 2020. The first 50 copies ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge.

01. From Beyond Original Main Title 2:37
02. Prologue: The Resonator 1:25
03. “Something’s Coming” 4:03
04. From Beyond Main Title 2:11
05. “We Saw Creatures 1:58
06. Back to 666 Benevolent Street
And Crawford Remembers 4:59

07. “Pretty, Isn’t She?” 1:06
08. They’ll All See and “Quite Enough” 4:38
09. First Kiss and The Cellar (Revised) 4:05
10. Katherine Suits Up 2:51
11. Fuses Blow 0:59
12. The Swarm 3:17
13. Bubba’s Death and Resonator Starts Up (Again) 3:48
14. French Eye Kiss, Paramedics and Hospital Escape 6:13
15. Return to the Resonator and Gland Eater 2:20
16. Final Battle in the Beyond 4:46
17. Katherine Survives, But... 1:30
18. From Beyond End Credits
(Original Version with
Electronic Effects & Reverb) 2:32

BONUS TRACKS
19. Stingers and Such 1:07
20. The Cellar (Original Version) 1:50
21. Katherine’s Dark Desires 1:24
22. From Beyond End Credits (Film Edit) 3:33
Total Time: 64:09

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Demon_Presentation_Pack_1024x1024.jpg?v=

(CD comes with digital download, 24 bit wav, MP3 and digital PDF)

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents DEMON IN A BOTTLE, featuring the world premiere release of music composed by John Morgan for the 1996 children’s adventure film directed and co-written by Randall William Cook, starring Ashley Tesoro, Michael Malota, Rahi Azizi, Michael Dubrow and the director himself in multiple roles.

Produced by Charles Band and Albert Band of Full Moon Features fame, DEMON IN THE BOTTLE tells the story of a group of four teenagers who accidentally find a lost treasure buried by an 18th Century pirate on a desert island in the catacombs beneath their hometown near the coast of Louisiana. The kids pry open the chest revealing a trove of gold coins, jewels, goblets, and an unusually-shaped bottle. Believing the bottle to contain a genie, one of them opens it and releases a hideous demon charged with guarding the treasure.

Three-time Academy Award® winner Randall William Cook is a revered special effects artist known for his stellar work on THE THING (1982), GHOSTBUSTERS (1984), FRIGHT NIGHT (1985), FROM EARTH TO THE MOON (1998), and THE LORD OF THE RINGS (2001-2003). DEMON IN THE BOTTLE was Cook’s directorial debut, a film in which he also served as a special effects artist. The overall design of the film’s demon is a nostalgic blend of Ray Harryhausen’s creature from 20 MILLION MILES TO EARTH (1957) and the Kraken from CLASH OF THE TITANS (1981).

Composer John Morgan was approached by his longtime friend Randall William Cook to compose the score for DEMON IN THE BOTTLE. The pair had known each other for years, but since Morgan was a composer and Cook a special effects artist, they had never had the opportunity to collaborate together on a project. After Morgan was officially hired by Cook to compose and record the score for DEMON IN THE BOTTLE, Morgan invited Stromberg to join him on the adventure. The challenge was to create orchestral adventure music in the vein of Bernard Herrmann’s scores for Ray Harryhausen films like THE 7TH VOYAGE OF SINBAd (1958) or JASON AND THE ARGONAUTS (1963) on a restricted budget that could barely afford to feed an orchestra for three days. Their outside-the-box solution was to contract an ensemble of fifteen to eighteen live musicians to record the woodwind, brass (sans trumpets), and harp parts of the score and employ synth or sampled instruments to record the strings, trumpets, and percussion.

John Morgan is best known as a leading reconstructionist of vintage film scores, in partnership with composer/conductor William T. Stromberg. With Morgan’s expertise in transcription and orchestration and Stromberg’s capability as a conductor, the pair have been involved in restoring significant film scores for new recordings, allowing rare historic and artistic film music in many genres to be recorded and released, many in complete form, for the first time. In 1979, Morgan composed and orchestrated his first feature film score and in the ensuing years composed music for more than 30 feature films, as well as many television, radio and cable projects including STARSHIP TROOPERS 2, TRINITY AND BEYOND, RAY HARRYHAUSEN – THE EARLY YEARS, CINERAMA ADVENTURE, TINY TOON ADVENTURES and others, many in collaboration with his music partner and life-long friend, William Stromberg.

Morgan's love and passion for the great scores of Hollywood's golden age led him to the arena of arranging and reconstructing many classic scores for new recordings. He embarked on a long series of film music recordings for Marco Polo (Naxos), BMG Classics and his own label with Anna Bonn and William Stromberg, TRIBUTE FILM CLASSICS. Among the scores he has reconstructed and orchestrated for new recordings are: Max Steiner's THE CHARGE OF THE LIGHT BRIGADE, KING KONG; Erich Wolfgang Korngold's CAPTAIN BLOOD, ESCAPE ME NEVER, THE ADVENTURES OF ROBIN HOOD, THE SEA HAWK; Roy Webb's scores for the Val Lewton films, Hans Salter and Frank Skinner's THE WOLF MAN, HOUSE OF FRANKENSTEIN, ABBOTT AND COSTELLO MEET FRANKENSTEIN as well as scores by Hugo Friedhofer and Victor Young.

Dragon’s Domain Records is excited to present the world premiere compact disc release of DEMON IN A BOTTLE, remastered and reconstructed from the composer’s own elements by James Nelson at Digital Outland with assistance from composer William Stromberg. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite, with the participation of composers John Morgan and William Stromberg.

DEMON IN A BOTTLE is a limited edition release of 500 units. 

DEMON IN A BOTTLE is expected to begin shipping the week of November 9th, 2020. The composer will autograph the booklets for the first 50 copies sold through the website.

1. Demon in the Bottle: Main Title (1:07)
2. Pirates Battle (1:57)
3. Deadly Cave (2:46)
4. Locker Intimidation (1:25)
5. Skeletons / Discovering Treasure (3:47)
6. Murray Talks (1:02)
7. Blue Bottle Monster / Run for Your Life (4:12)
8. Isn’t No Monster (1:54)
9. Marvin Monster Chase / Looking for an Exit (2:43)
10. Frantic Buttons / Freddie Finds Bottle (1:57)
11. Nana’s Efreet Stories / Efreet Jumps (1:29)
12. Hunting Murray / Marvin Escapes (2:25)
13. Murray in the Lunchbox (1:01)
14. Marvin’s Shower (2:12)
15. Finding the Painting and The Body (2:29)
16. Mirror Monster Chase / Scaffolding Climb (3:11)
17. The Kiss (:33)
18. Vice Grip Interrogation (1:27)
19. Murray Plugs In (1:56)
20. Monster Suction (2:28)
21. She’s Dead,You Moron! / Trapped Inside (3:50)
22. Heap of Melted Slang (:57)
23. Freddie Regrets / The Girl Still Liv es (4:31)
24. Words of Reason / Amanda Expelled (5:18)
25. Treasure Rediscovered (1:29)
26. Marvin Leaves (2:04)
27. Russell Learns (1:14)
28. Demon in the Bottle: End Cr edits (2:13)
29. Demon in the Bottle Suite
(Moscow Symphony Orchestra) (3:25)
Total Running Time: 68:12

 

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MB-Die-Schlangengrube-und-das-Pendel-Deluxe-1024x907.jpg

Höre mir gerade die CD aus dem Boxset an.

Kurz vorweg: die Bildqualität der Bluray ist famos, der Film selbst ein wohlig-altmodischer Grusler, mitunter auch unfreiwillig komisch (schon allein wegen der oft unpassenden musikalischen Untermalung). Nebendarsteller stehlen dem Star-Duo Dor & Barker die Schau, auch Christopher Lee bleibt im wahrsten Sinne des Wortes blass.

Peter Thomas komponierte zu dem späten 60s-Film die Musik, die ähnlich unausgegoren wie schon der filmische Horror-Wallace-Romanze-Mix daher kommt. Die Melodien (brass-lastiges Titelthema, Suspence mit Geräuschen, schwülstiges Piano-Romantikthema, Easy-Sound zur Kutschfahrt) bleiben wenig im Ohr und Themen werden kaum variiert oder verwoben, sondern treten isoliert auf. Interessant ist der Mix aus Elektro und Orchester (eher zum Ende des Albums). So erkennt man das Entstehungsjahr des im 19ten Jahrhundert spielenden Film dann auch vor allem an der Musikuntermalung. Im Film funktioniert das jedoch wesentlich besser als auf dem Album, hört man dieses isoliert, denkt man eher an Raumpatrouille Orion oder Thomas' Winnetou-Versuch als an den eigentlichen Film. Klanglich überzeugen die meisten Titel (auch wenn laut Booklet verschiedene Quellen genutzt wurden - sehr schade, dass man keine Bessere für das schmissige Titelthema finden konnte).

Insgesamt zwar eine interessante Veröffentlichung, aber kein "must have". Am besten mit dem Film kaufen.

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auf Spotify jetzt ein paar Songs und dann sate 1.53h Score zu LOVECRAFT COUNTRY von Laura Karpman und Raphael Saadiq.

 

Viel Horror, nach Episoden geordnet... mehr als eine Episode hab ich bisher nicht geschafft zu schauen und kann da nicht viel zu sagen... orchestrale Horrormusik immerhin.

Hat sich wer damit schon mehr befasst?

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Danke für den Clip!
Das klingt wirklich sehr vielversprechend und könnte gerade die Weihnachtszeit etwas versüßen. Gefällt mir, wie er immer mit dem Klavier arbeitet und zwischen ruhigen und großorchestralen Stellen gewechselt wird.

Obligatorisch noch der Kommentar, dass es sehr schade ist, dass es sich nur um ein digitales Release handelt.

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Du bist gerne eingeladen das in einen eigenen Thread zu packen. Oder PN an Oli oder Alex. Die machen das dann. ;) Aber das digitale Album ist seit dem 4. September raus. Über zwei Monate. Hat das echt bislang keiner bemerkt? Selbst der Film wurde hier nie erwähnt. Daher für mich: kleine Veröffentlichung.

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