Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[JuergenH]

Am 7.4.2021 um 14:36 schrieb Oliver79:

Zwei neue Titel von Keepmoving Records: 

 

Interessant, musste mich erst vergewissern, dass Eugen Doga = Evgeny Doga.  Er hat einige wirklich schöne Filmmusiken komponiert. "The Prodigal Cat" kenne ich jetzt nicht, aber zu seinen bekanntesten Themen gehört der fantastische Walzer aus "My Sweet and Tender Beast":

 

P.S. noch eine Anmerkung am Rande - wusste ich bisher auch nicht, aber google hat es zum Vorschein gebracht:  Eugen Doga hat eine eigene moldavische Briefmarke und eine eigene moldavische Münze, wow!

Bilder konnte ich nicht einfügen, deshalb zwei ebay-Links (die Verkäufer kenne ich NICHT):

https://www.ebay.com/itm/MOLDOVA-2015-Famous-People-Music-Composer-Eugen-Doga-m-s-Sc852-Mi-Klb-897-MNH/303899521164

https://www.ebay.com/itm/NEW-2017-EUGEN-DOGA-80-YEARS-FROM-BIRTH-50LEI-PROOF-COIN-CERTIFIED-BOX/164252675316

 

[Stefan Schlegel]

Am 6.2.2021 um 22:35 schrieb Stefan Schlegel:

Wichtig und überraschend in dem Zusammenhang: Es ist das erste Mal seit mehr als einem Jahr, daß Digitmovies mit den beiden Fusco und Fidenco-Titeln überhaupt mal wieder was aus dem CAM-Katalog bringen darf.

Auch Four Flies darf wieder aus dem CAM-Katalog fischen. Am 30. April erscheint bei denen Armando Trovajolis IL VUOTO auf LP,  von dem es an 1964 nur eine CAM-EP mit vier Tracks gab:
https://www.fourfliesrecords.com/product/il-vuoto/

[Stefan Schlegel]

Am 7.2.2021 um 14:14 schrieb Oliver79:

Von Decca kommen in der Tat als nächste Re-Issues von Mondo Cane und I Malamondo auf CD und LP.

IL MALAMONDO läuft übrigens bei CAM Sugar inzwischen als "Morricone Segreto No. 2"-Album.

Morgen kündigt CAM Sugar auf Decca "Morricone Segreto No. 3" an, offenbar mit IL BANDITO DAGLI OCCHI AZZURRI einen der wenigen Jazz-Scores von Morricone aus dem Jahr 1980.
Das Filmcover läßt sich unschwer erkennen, auch wenn es noch halb abgedeckt ist auf der Facebook-Seite von CAM Sugar:
https://www.facebook.com/CAMSugarMusic/

VÖ-Termin soll Juli sein.
Die letzte Ausgabe von BANDITO war von Beat von 2013 - von daher fragt man sich, warum nun schon wieder. Eventuell mit irgendwelchen Alternativ-Cues, die bei den Recording Sessions dabei waren.

[Alexander Grodzinski]

Zitat

CD includes Digital Download - 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth for several projects from his filmography presented here CD for the first time.

This collection of rare and previously unreleased tracks composed by Alan Howarth kicks off with the score for ARCADE, directed by Albert Pyun and written by David S. Goyer. Released in 1993, ARCADE tells the story of a psychologically compromised suburban teen named Alex (Megan Ward) who discovers her mother has committed suicide. One day after a particularly troubling day at school, Alex and her friends dart off to Dante’s Inferno, a local video game hangout, where a new virtual reality game called “Arcade” is being test-marketed by Difford (John de Lancie) a tech company snake-oil salesman who rewards the curious teens with home console versions of the game. Unknown to the kids, those who dare play the game and lose are imprisoned inside the console by a digital human-hybrid villain named Arcade (Johnathan Fuller). Over time the game infiltrates and manipulates their minds. Ultimately, it’s left up to Alex and Nick (Peter Billingsley) to convince the game’s lead programmer to help them free their friends and end Arcade’s deadly reign of technological terror.

In addition to Howarth’s score for ARCADE, THE ALAN HOWARTH COLLECTION, VOLUME 2 includes a block of odds and ends from other projects in his filmogragraphy.

For THE BEASTMASTER, Howarth composed a piece of music that was meant for the trailer but ultimately went unused. For BATTLE BEYOND THE STARS, at the request of composer James Horner, Howarth composed a piece of source music for the scene that introduces Gelt, played by Robert Vaughn. MONSTERS was a weekly horror anthology series that typically featured a different monster antagonist each week, ranging from animatronic puppets from a fictional children’s TV show to weapon-wielding mutated lab rats. Some of the episodes blended comic elements into the horror and were adapted from stories written by noted horror authors including Stephen King. One episode entitled “Far Below” from Season Three was produced by Debra Hill who had previously produced HALLOWEEN, THE FOG, HALLOWEEN II, and ESCAPE FROM NEW YORK for John Carpenter. Debra contracted Alan to compose this kind of music for the half-hour episode. Finally, THE OSTERMAN WEEKEND was released in 1983 and was the last film directed by Sam Peckinpah, the film was largely scored by Lalo Schifrin. Howarth was brought in at the last minute to write some additional suspense music for the film. 

Alan Howarth, in addition to being a composer, is an accomplished sound designer and editor, having worked on films such as STAR TREK: THE MOTION PICTURE, POLTERGEIST, TOTAL RECALL, ARMY OF DARKNESS, BRAM STOKER’S DRACULA, STARGATE and many others. He has been a frequent music collaborator with John Carpenter on his films beginning with ESCAPE FROM NEW YORK in 1980 and including HALLOWEEN II & III, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, THEY LIVE and PRINCE OF DARKNESS and Alan has scored many films on his own, including RETRIBUTION, HALLOWEEN 4 & 5, THE DENTIST, HEADLESS, BOO!, EVILUTION, BASEMENT JACK and most recently, HOUSE AT THE END OF THE DRIVE, BRUTAL and PROMISE.

Dragon’s Domain Records presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth. The booklet contains liner notes written by author and composer Brian Satterwhite, including insights by composer Alan Howarth on the creation of the music.

THE ALAN HOWARTH COLLECTION, VOLUME 2 is a limited edition release of 500 units and is expected to begin shipping the week of May 10th and can be ordered at www.buysoundtrax.com. The first 50 copies sold through our website will include an autograph by the composer.

ARCADE
1. Arcade – Main Titles (3:34)
2. Arcade Opening (3:14)
3. Into the Machine (1:16)
4. Virtual Worlds (4:35)
5. Explorations (3:59)
6. Find the Light (2:18)
7. Digital Topics (4:21)
8. The Virtual Mind (5:13)
9. Arcade’s Challenge (3:18)
10. Game Over (2:49)
11. Arcade - Main Titles
(Ghost in the Machine Mix) (2:59)

THE BEASTMASTER
12. Heroic Theme (2:06)

BATTLE BEYOND THE STARS
13. Gelt’s Chamber (1:31)

MONSTERS
14. Far Below (5:46)

THE OSTERMAN WEEKEND
15. Doggie in the Window (2:10)
16. Stingers (1:54)
17. End Credits (Unused) (4:17)
Total Time: 56:09

Zitat

CD includes Digital Download - 24 Bit Wav, MP3, Digital PDF

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the original motion picture soundtrack for INSEMINOID, featuring music composed, arranged and performed by John Scott for the 1981 science fiction horror film directed by Norman J. Warren, written by Nick and Gloria Maley and starring Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives, Barrie Houghton, Rosalind Lloyd, Victoria Tennant, Trevor Thomas, Heather Wright, David Baxt and Judy Geeson.

INSEMINOID tells the story of a crew of interplanetary archaeologists who are threatened when an alien creature impregnates one of their members (Geeson), causing her to develop a psychosis and mutilate her colleagues one by one. INSEMINOID was directed by British filmmaker Norman J. Warren, known primarily for a series of late ‘70s-’80s horror films, including SATAN’S SLAVE, PREY, BLOODY NEW YEAR and the like and produced by Richard Gordon known for a variety of films but specializing in horror movies such as THE HAUNTED STRANGLER, FIEND WITHOUT A FACE, CORRIDORS OF BLOOD, and DEVIL DOLL. Warren shot the film during May and June 1980, with a £1 million budget, half of which was financed by Hong Kong’s Shaw Brothers (their first investment in a British film). 

To compose the film’s score, Warren brought in distinguished orchestral composer John Scott, who by 1981 had composed wide-ranging scores for some 86 films and television series, beginning with James Hill’s 1965 Sherlock Holmes mystery, A STUDY IN TERROR. Scott’s efforts in the genre have included films such as Freddie Francis’ TROG, the West German thriller MARK OF THE DEVIL PART II, Kevin Connor’s THE PEOPLE THAT TIME FORGOT, and the magnificent score for 1980’s time-travel film, THE FINAL COUNTDOWN (along with GREYSTOKE, KING KONG LIVES, THE WICKER TREE amongst the 70 scores subsequent to INSEMINOID). Warren and Scott had worked together previously on his film, SATAN’S SLAVE. 

When it came to their next collaboration, INSEMINOID, using even a small orchestra was beyond the budget; leaving electronics as the only viable means. In the process, Scott made use of synthesized rock-and-roll elements (low basso structures, electronic drums, and in particular a recurring, 8-note motif shared between electric guitar and synths, most notably in the main titles and end credits, mixed over a variegated abundance of synthetic substances. As the mixing of the electronic score took shape, enhanced by many hours of multi-tracking and overdubbing, Scott was aided in recording the score by the Pinewood Studios music mixer Otto Snel.

For nearly sixty years, John Scott has established himself as one of the finest composers working in films today, having collaborated with the foremost producers and directors worldwide, including Richard Donner, Mark Damon, Hugh Hudson, Norman Jewison, Irvin Kershner, Daniel Petrie, Roger Spottiswoode and Charlton Heston, among others. He has been an essential voice in international scoring that thoroughly belies his occasional over-looked stature in the midst of 'brand name' composers. Frequently associated with Hollywood's finest composers, including Jerry Goldsmith, Elmer Bernstein and John Williams, John Scott has created a body of work that stands up as some of the finest music ever written for film.

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere compact disc release of INSEMINOID, featuring music composed, arranged and performed by John Scott, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall Larson

INSEMINOID is a limited edition of 500 units and is expected to start shipping the week of May 10th.

1. Main Title (2:38)
2. The Chrysalis (3:36)
3. Virus (2:25)
4. Death in Space (4:03)
5. The Creature Strikes (3:22)
6. The Insemination (2:13)
7. Sandy’s Metamorphosis (4:03)
8. Sandy’s Warning (1:21)
9. Sandy Kills (2:29)
10. Birth of the Twins (2:44)
11. Death of Sandy (2:28)
12. Inseminoid (3:55)
Total Time: 35:45

Zitat

CD includes Digital Download - 24 Bit Wav, MP3, Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to GHOULIES IV, featuring music composed by Chuck Cirino for the 1994 horror comedy directed by Jim Wynorski, written by Mark Sevi and starring Peter Liapis, Barbara Alyn Woods, Stacie Randall, Raquel Krelle, Bobby Di Cicco, Tony Cox, Arturo Gil, Antonia Dorian and Ace Mask . GHOULIES IV 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.

GHOULIES IV centers around a retired occultist turned police officer named Jonathan Graves (Peter Liapis) whose ex-lover Alexandria (Stacie Randall) summons creatures from the netherworld to hunt down a powerful amulet that will set Faust the demon ruler free upon the world. Meanwhile, two ghoulies waddle through an open porthole onto the streets of Los Angeles dishing out mayhem and madness as they search for a way home.

The electronic score for GHOULIES IV employs an arsenal of scoring techniques Cirino initially explored on CHOPPING MALL. It’s chock-full of frenetic sixteenth-note synth licks, regurgitating melodies, bizarre synth soundscapes, punctuations of synth slap bass, and a litany of pulsating percussion.

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 GHOULIES IV to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author and composer Brian Satterwhite, with the participation of the composer.

GHOULIES IV 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.

GHOULIES IV is expected to begin shipping the week of May 10th.

1. Cinetel Films Logo/
Alexandra Summons Faust/
Ghoulies Arrive/Main Titles (6:14)
2. Convenience Store Robbery/Shootout (2:42)
3. Alexandra Summons Faust Again (2:35)
4. Kate and Johnny toWarehouse Crime Scene (4:26)
5. Alexandra Seduces Scotty (2:07)
6. Jeanine Steals Johnny’s Jewel (1:34)
7. Faust Takes Control/Hell Pays (1:36)
(Vocal & Lyrics: Alexa Anastasia)
8. Alexandra Sets Trap (4:11)
9. Johnny Enters Warehouse (4:22)
10. Alexandria Into Johnny’s Apartment (5:25)
11. Ghoulies Hitch a Ride in the Truck (1:29)
12. Alexandra Kidnaps Jeanine (3:00)
13. The Ritual Begins/Johnny Fights Bongo (4:32)
14. The Final Battle (Faust Banished) (6:21)
15. Johnny and Kate Kiss (1:21)
16. Ghoulies Steal the Jewel/End Cast (2:41)
17. Ghoulies IV End Credits (3:23)
Total Time: 58:40

 

[Stefan Schlegel]

Am 21.4.2021 um 17:18 schrieb Stefan Schlegel:

Die letzte Ausgabe von BANDITO war von Beat von 2013 - von daher fragt man sich, warum nun schon wieder. Eventuell mit irgendwelchen Alternativ-Cues, die bei den Recording Sessions dabei waren.

Die Frage hat sich erledigt, denn es wird eh nur eine Vinyl-Ausgabe geben zum Record Store Day und insofern wohl mal wieder keine CD.
Mal macht man eine CD, mal keine, mal nur Vinyl, mal nur digitalen Download - schon ein recht chaotische Treiben: das die da abziehen:

"One of the very rare chances – quite possibly the only chance - to listen to the genius of Ennio Morricone engaging with the jazz musical language. His soundtrack for the film The Blue-Eyed Bandit (Il Bandito Dagli Occhi Azzurri by Alfredo Giannetti, 1980) is marked by the very singular 5/4 time which creates a relentless rhythm that perfectly matches the crime atmosphere of the film. This new edition of The Blue-eyed Bandit is part of the Morricone Segreto series by CAM Sugar and it is remastered from the original tapes preserved in the historical CAM Sugar archives. This is the first official vinyl reissue of the score since its original release in 1982 on the Cerberus label. Pressed exclusively for RSD Drops on Blue vinyl."

[peter-anselm]

Resteessen mit Alan Howarth....nein danke. Inseminoid  kennt ich nicht, aber ich mag Scott. Cirino kommt mir nicht auf den Plattenteller, da hab ich noch so viel besseres was gehört werden muss.

Über allem steht aber das grausame Design der vorgenannten CDs.

[Stefan Schlegel]

vor 47 Minuten schrieb peter-anselm:

 Inseminoid  kennt ich nicht, aber ich mag Scott.

INSEMINOID ist rein elektronisch und musikalisch ziemlich belanglos. Kann man kaum als typischen Scott-Score bezeichnen. Würde ich persönlich niemals kaufen wollen. Einmal gehört vor vielen Jahren und das wars dann auch für mich.

[Angus Gunn]

vor 16 Minuten schrieb Stefan Schlegel:

INSEMINOID ist rein elektronisch und musikalisch ziemlich belanglos.

Mit Ausnahme des End Titles. Den fand ich immer schon klasse. (Der Link ist mit "Main Title" beschriftet, das ist aber falsch). Alles andere klingt, wie Christian Kessler mal schrieb, wie 10 gehäutete Kaninchen.

 

[JuergenH]

Auf den Scott werde ich diesmal verzichten.

GHOULIES IV kenne ich jetzt nicht - aber GHOULIES von Richard Band auf der Intrada CD mit Re-Animator höre ich sehr gerne. Teil 4 dürfte aber wohl dennoch nichts für mich sein.

 

 

 

 

[Oliver79]

Von Beat Records kommen am 30. April zwei neue CDs mit Scores von Francesco De Masi bzw. Giacomo Dell'Orso.

Zitat

 

Beat Records is excited to release on CD, for the first time ever, the original soundtrack by Francesco De Masi for Fuga Dal Bronx, directed in 1983 by Enzo G. Castellari. It's a wonderful score that until now was only available on vinyl, released by our publishing group at the time of the film's release. For this soundtrack, Maestro de Masi skillfully weaved electronics with a real orchestra to great effect, riding the high-energy wave of the synthesizers and a powerhouse orchestral ensemble, arranged with true talent.

The CD is in our Classic Collector Releases (CDCR) series, with mastering by Enrico De Gemini, graphic layout by Daniele De Gemini and liner notes by Filippo de Masi. Also coming soon is a special video made in celebration of this release, featuring an interview by Filippo de Masi with Enzo G. Castellari, living icon of Italian cinema. Keep an eye on our socials so you don't miss the show!

 

Zitat

In our DDJ series, dedicated to funky cinema sounds, we are proud to present on CD the previously-unreleased score for the episodic movie directed by Domenico Paolella in 1979, Belli e brutti ridono tutti. The pen behind the soundtrack belongs to a Maestro very dear to us, Giacomo Dell’Orso, husband of the divine Edda and a fine musician, orchestra conductor and arranger for his friend, Maestro Nico Fidenco. After the Main Titles featuring a cool Rock ‘n’ Roll tune, we have a score dominated by the Disco sound, a vein that exploded worldwide and which sees the prominent voice of Giancarlo Balestram in the end credits over a vibrant rhythmic tapestry. The CD is packaged in a standard jewel case, with mastering by Enrico De Gemini, liner notes by Marco Ferretti and graphic layout by Daniele De Gemini. Also coming soon in celebration of this release is a video interview by Marco Ferretti with Giacomo Dell’Orso about his career in film music.

 

[yakuza]

Fuga Dal Bronx (dt.: The Riffs II – Flucht aus der Bronx): was für eine grandiose Italo-Trash-Granate (passend schimpft sich so auch der Titelheld des Streifens, dagestellt von dem mittlerweile untergetauchten/verschollenen/verstorbenen Mark Gregory), aufgewertet durch den immer wieder schmierig-sadistischen Henry Silva und vollends veredelt durch de Masis Score. Die Musik ist mitreißender End-Discosound mit denen für italienische Genre-Komponisten typisch schwelgerischen Melodien. Eigentlich ist die Musik viel zu gut für diesen brutalen Mad Max-Murks (incl. eines bombenlegenden, altklugen Knirpses - unfassbar; bei meinem letzten USA-Besuch musste ich unbedingt einen Originalschauplatz auf dem Roosevelt-Island in New York besuchen). Tolle Veröffentlichung.

 

[Angus Gunn]

vor 25 Minuten schrieb yakuza:

Tolle Veröffentlichung.

Finde ich auch. War schon lange überfällig. Bei der ellenlangen Trackliste habe ich mich zuerst erschrocken, aber es scheint so zu sein, dass der alte LP-Schnitt mit dabei ist.

[Stefan Schlegel]

vor einer Stunde schrieb Angus Gunn:

Finde ich auch. War schon lange überfällig. Bei der ellenlangen Trackliste habe ich mich zuerst erschrocken, aber es scheint so zu sein, dass der alte LP-Schnitt mit dabei ist.

Das Tracklisting auf der Beat-Seite könnte geradezu einem Witzblatt entsprungen sein.

Wenn man genau hinschaut, ist da doch wirklich direkt hintereinander zweimal dasselbe drauf: Zweimal jagen sich je 30 Escape Sequence-Cues in derselben Reihenfolge und fast immer auch mit denselben Tracklängen. Totaler Quatsch und offenbar nur künstlich hochgezogen.
Die LP-Sequenzierung fängt jedenfalls laut Beat ab Track 18 an.
Einziger nennenswerter Unterschied zwischen Filmsequenzierung und LP-Programm ist, daß bei der "film sequence" noch die 23 Sekunden "Comanche Rock"  am Anfang mit dabei sind.

[Oliver79]

Von Howlin' Wolf Records kommt eine CD mit Richard Einhorns Score für den Slasher The Prowler.

Zitat

 

Howlin' Wolf Records proudly presents THE PROWLER by composer Richard Einhorn (SHOCK WAVES, DON'T GO IN THE HOUSE). At the height of the success of slasher films came THE PROWLER (1981), one of the many independently produced entries in the subgenre. The film was directed and co-produced by Joseph Zito, best known for films including FRIDAY THE 13th: THE FINAL CHAPTER and action films MISSING IN ACTION, INVASION USA, and RED SCORPION. THE PROWLER is also known for its hard-edged violence with special effects by Tom Savini.

Composer Richard Einhorn's early work in film scores was primarily electronic. With THE PROWLER, the composer transitioned to using live acoustic instruments. The score for THE PROWLER is full of lush orchestrations for strings, winds, and brass. While THE PROWLER does incorporate some electronic studio effects, they are used to enhance the impact of certain moments rather than be the focal point. Assembled and mastered for CD by Ian Zapczynski from 15 ips master tapes, THE PROWLER features the complete score in 35 tracks.

With liner notes by Ian Zapczynski based on research and an in-depth interview with Richard Einhorn, THE PROWLER showcases a 16-page full-color booklet including Nestor Puchetti's original illustrations with art direction and designs by Luis Miguel Rojas. THE PROWLER is a limited pressing.

 

 

[Oliver79]

Und mehr Filmmusik aus Polen via GAD Records, diesmal mit einem Album, das Krzysztof Komedas bisher unveröffentlichte Scores zu Mam tu swój dom (1963) und Ubranie prawie nowe (1964) vereint.

 

[Oliver79]

Neu von Keepmoving Records

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“Gagarin: First in Space” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 052
Film Date: 2013
Album Date: 2021
Tracks: 30
Time: 62″33

KeepMoving Records announces expanded CD release of Gagarin: First in Space by George Kallis.

Directed by Pavel Parkhomenko, Gagarin tells the amazing true story of Soviet cosmonaut Yuri Gagarin, the first man to enter outer space on 12 April 1961. Starting off with his childhood and exploring the trails that lead to his selection, the film doesn’t shy away from showing some of the more gut-wrenching moments of the Soviet space program, including all the failures that lead to the eventual rise of the first man in space.

The music for Gagarin was written by Cyprus-born composer George Kallis, whose scores for Lev Yashin: The Dream Goalkeeper and Sadan Hanim are also available from KeepMoving Records. This earlier effort from the composer features a majestic symphonic score that naturally has the necessary action set pieces for the incredible efforts behind the space travel, but it also features a number of lyrical passages for Gagarin’s concerns as well as a wonderful love theme for the hero’s family.

This extended CD release includes virtually the entire score, assembled under the supervision of the composer. The liner notes by Gergely Hubai discuss the film as well as give a track-by-track breakdown of the score.

 

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“Doctor Liza” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 051
Film Date: 2020
Album Date: 2021
Tracks: 15
Time: 42″05

KeepMoving Records’ latest collaboration with Yuri Poteyenko is Doctor Liza, based on a unique true story.

Directed by Oksana Karas, Doctor Liza tells the story of Russian humanitarian Elizaveta Glinka (Chulpan Khamatova), whose wedding anniversary takes an unexpected turn when she decides to help a young girl in trouble. By compressing several true events from Liza’s life into one action-packed day, the film shows just how the life of a social worker can get as she must balance between the challenges of private life while also helping those left behind by the failing health care system.

The music by Yuri Poteyenko is a hybrid thriller score featuring a small ensemble of string players mixed in with suspenseful electronic passages to capture the essence of the human drama. Though the first half of the film is left mostly unscored, the second half features a variety of exciting mystery cues while also adding a bit of heist music into the mix as Doctor Liza takes it upon herself to possibly break the law as she tries to help out. The CD also premieres Poteyenko’s original conception of the opening sequence which eventually went unused.

The liner notes by Gergely Hubai discuss the film, its hero and of course the musical score, featuring original comments from the composer himself.

 

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“Three Days Till The Spring” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 050
Film Date: 2017
Album Date: 2021
Tracks: 17
Time: 43″26

KeepMoving Records releases the premiere film score of Russian composer Anton Lubchenko from Leningrad-set action thriller Three Days Till The Spring.

Directed by Alexander Kasatkin, Three Days Till The Spring takes place during the 1000-day siege of Leningrad (now St. Petersburg). As a military operation destroys the storage of an experimental medicine institute, the threat of deadly dangerous viruses means that the city faces a biological catastrophe with only three days left till spring. It’s up to Dr. Olga Maritskaya (Elena Lotova) and an NKVD officer Vladimir Andreev (Kirill Pletnyov) to save the city from a threat that is sadly all too topical nowadays too.

Inspired by the film music of the 1960s and 1970s (when these war epics were first made in Soviet cinema), the main theme from Lubchenko’s score is a beautiful waltz, inspired by an earlier title of the movie (Leningrad Waltz). Besides this recurring waltz (an admittedly unique addition to a thriller score), the composer also provides a powerful theme for the people suffering as well as a handful of powerful organ cues lingering ominously over the besieged city. The score was recorded by the Mariinsky Symphony Orchestra in the Theatre Concert Hall under the baton of Anton Lubchenko.

The liner notes by Gergely Hubai discuss the film and the musical score, featuring original comments from the composer himself.

 

 

[Lars Potreck]

vor 2 Stunden schrieb Oliver79:

Neu von Keepmoving Records

 

Three Days Till The Spring ist schon bestellt. Der Kallis Score ist ein Extended Release im Vergleich zur Erstveröffentlichung von MSM.

[Oliver79]

Beat Records veröffentlichen am 31.05. drei weitere CDs.

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CFSoundtracks and Beat Records are pleased to release on CD the complete edition of the Armando Trovajoli soundtrack for "Straziami, ma di baciami saziami" (aka "Torture Me, but Kill Me with Kisses" – "Fais-moi très mal mais couvre-moi de baisers") a co-produced Italian–French comedy directed in 1968 by Dino Risi, with a screenplay by Age, Scarpelli and Dino Risi, photography by Sandro D'Eva, editing by Antonietta Zita and music score by Armando Trovajoli. The film was produced by Edmondo Amati (for Fida Cin.ca., Rome) and Productions Jacques Roitfeld (Paris). The cast included Nino Manfredi, Pamela Tiffin, Ugo Tognazzi, Moira Orfei, Livio Lorenzon, Gigi Ballista, Piero Tordi, Samson Burke, Checco Durante, Edda Ferronao, Michele Cimarosa, Ettore Garofalo, Gino Rocchetti, Mara Krupp, Antonietta Fiorito, Donatella Della Nora and Francesco Sormano. Without a doubt, the main theme song "Io ti sento" (Tr.24), sung by '60s pop star Marisa Sannia, was a big hit in Italy, launched on the 45 rpm single (Cetra / SP 1382) coupled with an orchestral version on the B side. The song has an orchestral accompaniment with cool beat arrangement, while the film version of the theme song is a different take with more of a beat performance (Marc 4 style, without orchestra), which sadly did not survive on the session tapes, having possibly been recorded during a different session. The recurring main theme is surely one of the most lovely themes written by M°Trovajoli in his long and successful career. The composer reprises it with many different variations, including a performance by the choir of I Cantori moderni di Alessandroni with tango style,with a little beat style and the very famous Italian song from the '30s, "Creola" (whose verse inspired the title of this movie), presented here as the film version with the reprise of the "Straziami tango". Armando Trovajoli composed a nice love theme for Marino and Marisa introduced with a waltz tempo and then reprised with a nice violin and fisa version. Lounge music has a huge significance in the career of M°Trovajoli during the late '60s and early '70s, here represented by the sweet, slow music of "Moonkiss" for small ensemble with predominant organ the wild restaurant shake "Beat trombone", swing music for the deaf-mute tailor. In 1997, Beat Records issued a CD featuring a trio of soundtracks by Armando Trovajoli, coupling twelve selections from this score with the album assembly of "La più bella serata della mia vita" and unreleased selections from "Dimmi che fai tutto per me." Returning to the mono master tapes, we were lucky to discover more unreleased material, for a total length of 49:17.

Album co-produced by Claudio Fuiano & Daniele De Gemini for CFSoundtracks and Beat Records Company, remastering by Claudio Fuiano & Enrico De Gemini, graphic design by Claudio Fuiano & Daniele De Gemini.


- Beat Records

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Beat Records is pleased to present on a double CD set the complete score by Piero Piccioni for the movie IO SO CHE TU SAI CHE IO SO (aka "I Know that You Know that I Know"), a comedy directed by Alberto Sordi in 1982, with a screenplay by Rodolfo Sonego, Alberto Sordi and Augusto Caminito, photography by Sergio D'Offizi, editing by Tatiana Casini Morigi and music score by Piero Piccioni, starring Alberto Sordi, Monica Vitti, Isabella De Bernardi, Salvatore Jacono, Giuseppe Mannajuolo, Micaela Pignatelli, Pierfrancesco Aiello, Ivana Monti, Claudio Gora, Sandro Paternostro, Napoleone Sgrugli and Cesare Cadeo.

Piero Piccioni, in the tradition of the splendid combination Sordi/director, Piccioni/musician, composed a soundtrack filled with all those elements typical of Alberto Sordi's Cinema, which all fans adore. With singular talent, Piccioni alternates extremely romantic themes with funky dance music, sometimes with a Latin American flavor, such as "Volo di mezzanotte," which sees the great Brazilian artist Toquinho performing on guitar. At the time, General Music released a 33 rpm (GM 30702) containing fourteen selections prepared by the composer. In 2009, GDM Music released a CD reissuing the original album for the first time, with eleven unreleased tracks. Today we re-release that expanded CD and include a second CD of unreleased material (total duration 139:13) using the stereo master tapes from the original recording session. This double-CD set is proof that in addition to top class music, Maestro Piccioni always wrote and recorded a huge amount of alternative versions with numerous different instruments, many of which were not used in the final version of the film.

Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.

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Beat Records is happy to present on CD the original score by Alessandro Alessandroni with love theme by Ennio Morricone for IL GIRO DEL MONDO DEGLI INNAMORATI DI PEYNET (aka LE TOUR DU MONDE DES AMOREUX DE PEYNET) a 1974 animated movie directed by Cesare Perfetto, with a screenplay by Cesare Perfetto, Raymond Peynet and Vezio Melegari. For this masterpiece of Italian animation (which enjoyed incredible success in Japan), Alessandro Alessandroni composed a simply delicious musical score describing through music all of the countries visited by the famous sweethearts, and for the composer, it was a real tour de force writing themes inspired by the musical traditions of each territory, such as a Greek sirtaki, Renaissance music for Florence, Russian choirs for Red Square, Tyrolean choirs for rivers of beer, mystical religious moments for a Roman sunset and San Pietro and pop music for the United States--in short, a musical trip around the world. Ennio Morricone wrote a very romantic love theme called "Forse basta (un fiore)," which is reprised with numerous instrumental arrangements, including performances by the Cantori Moderni choir. This beautiful motif by Maestro Morricone is also given a vocal treatment, performed by the wonderful voice of the late Demis Roussos. At the time, a 33 rpm record with twenty selections in stereo was released on the Seven Seas label (FML-25) in Japan, where it had incredible success in cinemas, and over the past twenty years, this evergreen soundtrack has been reissued in Italy and Japan on both CD and vinyl. Finally, it returns to the market in this complete edition with 38 tracks from the stereo master tapes of the original sessions, for a total duration of 76:10, much to the delight of fans of high quality film music. Enjoy this sincere tribute to Alessandro Alessandroni and Ennio Morricone, always in the our hearts.

Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.


- Beat Records

 

[Alexander Grodzinski]

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Quartet Records, in collaboration with Gruppo Sugar, presents the world premiere release of the catchy score by Guido & Maurizio De Angelis (SAVANA VIOLENTA, TORSO, IL GRANDE RACKET, KILLERFISH) for Lando Buzzanca’s sex-comedy vehicle SAN PASQUALE BAYLONNE PROTETTORE DELLE DONNE (1976)

The film, directed by Luigi Filippo D’Amico, follows petty criminal Giuseppe Cicerchia (Buzzanca) who can’t catch a break following separation from his wife, Iolanda. That is, until he moves to the isolated mountain town of Busolone, where the crafty con man finds the recipe for success…

The score by the De Angelis brothers is almost a musical sequel to their score for PER LA GRAZIA RICEVUTA (1971), a film with which SAN PASQUALE BAYLLONE has much in common. A folk/pop hybrid approach characterizes the whole score, mixed with the brothers’ indisputable gift for melody and lovely, heart-warming tunes. A religiously inspired, folksy waltz serves as the main theme.

Mastered by Claudio Fuiano from stereo session master tapes provided by Gruppo Sugar, the CD comes in a richly illustrated package featuring liner notes by Gergely Hubai that cover both the film and score.

1. San Pasquale Baylonne protettore delle donne (Titoli) (2:35)
2. San Pasquale Baylonne protettore delle donne (Mistero buffo) (2:00)
3. San Pasquale Baylonne protettore delle donne (Bande del paese) (1:46)
4. San Pasquale Baylonne protettore delle donne (Caccia tragica) (2:38)
5. San Pasquale Baylonne protettore delle donne (Rito magico) (1:06)
6. San Pasquale Baylonne protettore delle donne (Festa in piazza) (1:04)
7. San Pasquale Baylonne protettore delle donne (Tema principale senza coro) (2:33)
8. San Pasquale Babyonne protettore delle donne (Falsi miracoli) (2:38)
9. San Pasquale Baylonne protettore delle donne (Lacinante) (1:14)
10. San Pasquale Baylonne protettore delle donne (Allegria) (1:33)
11. San Pasquale Baylonne protettore delle donne (Il truffatore donnaiolo) (1:42)
12. San Pasquale Baylonne protettore delle donne (Banda del paese #2) (2:23)
13. San Pasquale Baylonne protettore delle donne (Un nuovo miracolo?) (1:26)
14. San Pasquale Baylonne protettore delle donne (Coro di donne) (1:51)
15. San Pasquale Baylonne protettore delle donne (Caccia tragica #2) (2:38)
16. San Pasquale Baylonne protettore delle donne (Tema principale senza coro Nº2) (2:56)
17. San Pasquale Baylonne protettore delle donne (Incantesimo) (1:12)
18. San Pasquale Baylonne protettore delle donne (Un nuovo miracolo? #2) (1:26)
19. San Pasquale Baylonne protettore delle donne (Lancinante #2) (1:15)
20. San Pasquale Baylonne protettore delle donne (Festa in piazza N#2) (4:14)
21. San Pasquale Baylonne protettore delle donne (Finale) (1:20)

 

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Quartet Records, in collaboration with Gruppo Sugar, presents the CD premiere of the delicious Detto Mariano (LA PRINCIPESSA NUDA, IL BISBETICO DOMATO, IL RAGAZZO DI CAMPAGNA) comedy score for the Maurizio Nichetti classic RATATAPLAN (1979).

The film was written and directed by Maurizio Nichetti, whose specialization was pantomime acting and who also stars in the film. The wordless movie stars Nichetti as Colombo, an engineer who is known for coming up with unusual solutions to problems. In a number of colorful vignettes, we see him invent brilliant contraptions such as a breakfast machine, the secret of eternal life and even a dancing robot.

The score composed by Detto Mariano is as colorful as Colombo’s inventions. The main theme is a vocal duet, reflecting on the film’s optimistic message that even an oddball like our hero can find a mate. Colorful source cues for the flats around Colombo’s loft are augmented with great music for the film’s memorable set pieces, including a theatrical performance where a cardboard piano comes to life and a couple of infectious disco songs to which the dancing robot can jam.

CAM released a 33-minute LP in 1979; for this edition, we have expanded the program to offer the complete score (45 minutes). Mastered by Claudio Fuiano from stereo session master tapes provided by Gruppo Sugar, this new release comes in a richly illustrated package featuring liner notes by Gergely Hubai that discuss both film and score.

1. Ratataplan (parte I) (2:23)
2. Fra gli stracci (1:43)
3. Magic Show (4:10)
4. Pianoforte di cartone (3:03)
5. Miracolo (2:39)
6. Ratataplan (parte II) (3:24)
7. Tango del cortile (2:45)
8. Sul ballatoio (3:10)
9. Bimba rock (1:17)
10. Maestro di ballo (2:50)
11. The Be The One You Love (3:01)
12. World X (2:57)
13. Ratataplan (Versione violino) (3:28)
14. Sul ballatoio (Latino Americano) (3:25)
15. Fra gli stracci (Versione lunga) (3:21)

 

[Gast Stefan Jania]

An alle, die noch in diesem Thread posten: schreibt bitte Titel und Komponist direkt rein. So viel Zeit sollte neben Copy/Paste noch sein. Inhalte in Zitaten werden von der Suchfunktion nicht indiziert. Das geht somit unauffindbar "down the drain".

[Oliver79]

Von Dragon's Domain Records kommen am 7. Juni drei neue Veröffentlichungen:

Mr. Invisible Mr. Unmei (aka Oriental Evil) / Geisha Girl (Albert Glasser)

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALBERT GLASSER COLLECTION Volume 2, featuring the premiere releases of Albert Glasser’s music for UNMEI (1951, aka THE INVISIBLE MR. UNMEI, aka ORIENTAL EVIL) and GEISHA GIRL (1952). The former film is a crime thriller and the latter is a comedy drama, both taking place and filmed in Japan, both co-directed and co-produced by C. Ray Stahl and George P. Breakston, known for TOKYO FILE 212, JUNGLE STAMPEDE, and the like.

Albert Glasser, known for his 1950s science fiction scores for INVASION U.S.A., THE INDESTRUCTIBLE MAN, THE AMAZING COLOSSAL MAN, EARTH VS THE SPIDER, TEENAGE CAVEMAN, and many more, scored music for more than a hundred movies from 1944 to 1973, in all manner of genres. Although his expertise and talent deserved far better offerings than the kind of potboilers typically made by the B-movie studios, he made the most of the resources budgets would permit, and came up with a significant body of work which has and is being celebrated for its skill and inventiveness.

UNMEI, which means “fate” in Japanese, is, according to legend, an invisible supernatural entity who only appears to evil men, knowing the secret passions hidden in their minds. This film tells the story of one such evil man, a corrupt businessman named Roger Mansfield, whose actions threaten or provoke the deaths of the women who love him and the men who trust him. Byron Michie plays Roger, while Martha Hyer co-stars as Cheryl Banning, who arrives in Tokyo to inquire about the untimely death of her brother, and falls under Roger’s spell. Tetsu Nakamura (THE MYSTERIANS, THE H-MAN, MOTHRA) plays Noritomu Moriaji, a local businessman and uncle of Roger’s former mistress. Throughout the film Glasser’s symphonic score is authoritative in engaging the drama, suspense, and revelation of the story, incorporating the famous Japanese folk tune, “Sakura Sakura,” as both a love theme and as a motif of irony as Roger’s crimes evolve. A theremin is used throughout the score in a variety of treatments, its wavering tonalities increasing as Roger’s guilt is painted in haunting musical colors. The film also allows the composer to provide some splendid period-flavored orchestral dance band music, and he also uniquely interpolates the Brahms Wedding Concerto for a Japanese wedding sequence.

GEISHA GIRL is a comedy-romance movie with heavy emphasis on slapstick. Like UNMEI, it was filmed in Japan and has a minor bit of the supernatural woven into the film as it follows a pair of naïve G.I.s, Rocky Wilson (Steve Forrest) and Archie McGregor (Archer MacDonald), who are on leave in Tokyo. While there, they run into a spy ring, discover the stewardess Rocky is dating (Martha Hyer) is a secret government agent investigating that spy ring, and happen to attract the ire of the head of that spy ring, Tetsu Nakano (Tetsu Nakamura). Meanwhile, the local police call in mystical hypnotist Zoro (Dekao Yokoo) to aid them in tracking down the baddies. All ends in hilarity and love and a huge fight in a geisha house. Glasser’s score is a mix of exciting, almost over-the-top symphonic action music while providing the right amount of tension, inserting bits of adventurous Japanese sight-seeing music, and keeping everything light, rousing, and fun.

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of THE ALBERT GLASSER COLLECTION Volume 2, featuring original music composed by Albert Glasser, mastered by James Nelson at Digital Outland. The booklet contains analytical liner notes written by noted film music journalist Randall D. Larson.

THE ALBERT GLASSER COLLECTION Volume 2 is a limited edition release of 500 units and is expected to begin shipping the week of June 7th , 2021.

 

The Resurrected (expanded) - Richard Band

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Dragon’s Domain Records presents a new release of THE RESURRECTED, to be distributed  through buysoundtrax.com. THE RESURRECTED features music composed  and conducted by Richard Band (RE-ANIMATOR, FROM BEYOND, GHOST WARRIOR, TROLL) for the 1991 horror film directed by Dan O’Bannon (ALIEN, DEAD & BURIED, BLUE THUNDER), starring John Terry, Jane Sibbett, Chris Sarandon and Robert Romanus.

Based on H.P. Lovecraft’s classic story ‘The Case Of Charles Dexter Ward’, THE RESURRECTED begins with Claire, the wife of chemist Charles Dexter Ward hiring a private investigator, John Marsh, to gather information on her husband, who has started living like a recluse in a remote cabin owned by his family for centuries. Ward is a chemist for Belmar Cosmetics and has been spending more and more time away from home lately. Marsh immediately suspects that Ward is having an affair with his secretary but as he gets more involved with the case, he discovers that Ward has a lab partner named Ash and there is definitely something strange going in Ward’s laboratory.

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 presentation of Richard Band’s THE RESURRECTED, Dragon’s Domain Records has remastered the original album program released in 1992, thanks to James Nelson at Digital Outland and also includes a selection of bonus tracks that include the remixed orchestral selections from the score courtesy of engineer Matt LaPointe,with liner notes written by author and composer Brian Satterwhite, with the participation of the composer.

THE RESURRECTED is a limited edition release of 500 units. THE RESURRECTED is expected to begin shipping the week of June 7th, 2021. The first 100 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge.

 

Turkey Shoot (remastered) - Brian May

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents TURKEY  SHOOT, featuring music composed by Brian May (MAD MAX, THE ROAD WARRIOR, CLOAK & DAGGER) for the 1982 science fiction horror film directed by Brian Trenchard-Smith (THE MAN FROM HONG KONG, STUNT ROCK, THE SIEGE OF FIREBASE GLORIA, SAHARA), produced by Antony I. Ginnane and William Fayman, John Daly, David Hemmings and Brian W. Cook  during the boom of the Australian New Wave of cinema in the late 1970s and early 1980s from a screenplay written by Neill Hicks and Jon George, starring Steve Railsback, Olivia Hussey, Lynda Stoner and Michael Craig.

Released in 1982, TURKEY SHOOT, also known as ESCAPE 2000, takes place in a dystopian future where society is falling apart. Violent riots are shredding cities to pieces. Free will is extinct and defunct and the free exchange of ideas is a mere fantasy.  Those who try to resist the current government are herded into ‘re-education’ camps and forced to literally run for their lives to be hunted by the guards and special guests for sport.  If they can survive the hunt, they can return to society.

Created during a period of brazen musical fearlessness in cinema, May’s score for TURKEY SHOOT is an unique blend of various acoustic and electronic textures that were wildly audacious for their time. The orchestral passages were comprised of oppressively heavy marches and savagely bleating brass while his synthesized concoctions pushed the boundaries of early 1980s genre scoring.

Born in Adelaide in 1934, Brian May (no relation to Brian Harold May of Queen) was one of the first composers to achieve international acclaim as an Australian composer and was best known as the composer of MAD MAX and THE ROAD WARRIOR (MAD MAX II). May received his musical training as a pianist, violinist and conductor at the Adelaide Elder Conservatorium. He joined the Australia Broadcasting Company in 1957, where he formed the ABC Adelaide Big Band, an ensemble that performed all manner of light music for broadcast, and May became a leading figure in Australian light music as a result.  He moved to Melbourne in 1970 to arrange and conduct the ABC’s Melbourne Show band. Moving into film music in a period of time when Australia’s film industry was just beginning to take its place among international film circles, May composed such notable film scores as RACE FOR THE YANKEE ZEPHYR, ROAD GAMES, CLOAK AND DAGGER, DEATH BEFORE DISHONOR, MISSING IN ACTION 2, SKY PIRATES, STEEL DAWN, DR. GIGGLES, FREDDY’S DEAD: THE FINAL NIGHT MARE and BLINDSIDE. He won the Australian Film Institute Award for best original score with MAD MAX; many other awards followed, including the Golden Award from the Australian Performing Rights Association. He continued to score films until 1993, composing music for more than 30 films and many hours of television, most of which he orchestrated himself. Sadly, the composer passed away in 1997 at the age of 63.

Previously released on a very rare compact disc release, Dragon’s Domain Records is excited to bring the TURKEY SHOOT back to the marketplace, newly remastered by James Nelson at Digital Outland with much improved sound. The booklet includes liner notes written by author and composer Brian Satterwhite, including the participation of director Brian Trenchard-Smith.

TURKEY SHOOT is a limited edition release of 500 units. TURKEY SHOOT is expected to begin shipping the week of  June 7th, 2021.

 

 

[Oliver79]

Three Shells aus Japan veröffentlichen am 24. Juni die von Toru Takemitsu und Yasushi Akutagawa komponierte Musik für Kon Ichikawas Segler-Drama Taiheiyô hitoribotchi * Alone Across the Pacific (1963).

 

[Oliver79]

Am 20. Juni erscheint bei Beat Records Alessandro Alessandronis Score für den Rennfahrer-Streifen Formula 1 nell' inferno del Grand Prix (1970) auf CD und LP.

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Beat Records is happy to present on CD the original score by Alessandro Alessandroni for FORMULA 1 - NELL’INFERNO DEL GRAND PRIX (aka MANIACS ON WHEELS) a comedy with dramatic undertones directed in 1970 by Guido Malatesta, with a screenplay by Guido Malatesta and Gianfranco Clerici, photography by Mario Mancini, editing by Jolanda Benvenuti and music score by Alessandro Alessandroni. The cast includes Olga Berová, Giacomo Agostini, Agostina Belli, Graham Hill, Brad Harris, Irio Fantini, Silvana Jachino, Marianne Hoffmann, Fulvio Mingozzi, Gioiella Minicardi, Franco Ressel, Franca Sciutto, Rafael Santos, Ivano Staccioli, Hans von Borsody and Gigi Bonos. Alessandro Alessandroni is a 360-degree musician, having linked his name to the famous choir of Cantori Moderni in countless soundtracks and to Italian Television (Studio Uno, Sabato sera, Canzonissima'68, Canzonissima'69), not to mention composing music for movies as well as many themes for libraries. We are releasing this soundtrack for the very first time on CD (total duration 44:04), assembled from the mono master tapes of the recording sessions. Maestro Alessandroni composed a soundtrack where lounge music is prominent, starting with the "Main Titles," a rhythmic motif for orchestra and choir that provides the background to a car race, but also both instrumental and vocal dance floor themes (that accompany dance scenes during house parties or at night clubs) and even a beat-like march. The composer also wrote pieces where the solo organ creates sensual atmospheres alternating with suspense music for strings and a romantic love theme for orchestra and choir. This OST is another rescue and preservation of Italian Film Music and a tribute to the great talent of Alessandro Alessandroni, a musician loved by fans all over the world.

Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini

 

 

[Stefan Schlegel]

vor 58 Minuten schrieb Oliver79:

Three Shells aus Japan veröffentlichen am 24. Juni die von Toru Takemitsu und Yasushi Akutagawa komponierte Musik für Kon Ichikawas Segler-Drama Taiheiyô hitoribotchi * Alone Across the Pacific (1963).

Jürgen war nicht nur schneller, sondern sogar etwas ausführlicher bei seiner Ankündigung:

https://www.soundtrack-board.de/topic/8939-die-vorankündigungs-veröffentlichungs-und-gerüchte-küche-teil-2/page/245/?tab=comments#comment-418326

 

[JuergenH]

Besser doppelt als gar nicht  ?

Im Falle von "Alone Across the Pacific" könnte ich mir sogar vorstellen, den Text abzufotografieren und übersetzen zu lassen um mehr über die Zusammenarbeit von Akutagawa und Takemitsu zu erfahren.  War diese vergleichbar mit Herrmann/Newman bei Egyptian oder ganz anders (?) - ich weiß es nicht, wäre aber durchaus interessant zu erfahren.