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Wojciech Kilars Sami Swoi und Czerwone i zloty von GAD.

https://open.spotify.com/album/2HhUEQ4DUJpgnPc2ZTHTFk

https://kultowenagrania.pl/produkt/wojciech-kilar-sami-swoi-cd/

Google übersetzt:

Zitat

Eine legendäre und herausragende Komödie, die seit über einem halben Jahrhundert über Generationen hinweg mit der gleichen Freude gesehen wurde. Es wurde darüber und in der populären Presse geschrieben und wissenschaftlich analysiert. "Sami swoi" von Sylwester Checinski ist ein Film, der in die Geschichte der polnischen Kultur und sogar der Alltagssprache eingegangen ist. Denn Gericht ist bekanntlich ein Gericht, und die Gerechtigkeit muss auf unserer Seite sein. Jetzt erscheint erstmals die komplette, eigens für den Film vorbereitete Musik von Wojciech Kilar auf dem Album.

In den 1960er Jahren neigte Kilar oft zur Einfachheit und vermied die prahlerischen, majestätischen Orchesterpassagen, die in den letzten Jahrzehnten im Kino so beliebt waren. Er suchte nach bescheidenen Lösungen, sowohl im Arrangement als auch in der Melodie - das Leitthema von "Your Own" ist dafür ein perfektes Beispiel. Das reichte Sylwester Checinski, um die komödiantischen Abenteuer seiner Helden zu illustrieren. Diese CD enthält eine Reihe von Stücken, die mit Blick auf den Film erstellt wurden (einschließlich ungenutzter oder stark gekürzter Themen in der endgültigen Fassung des Films) - von nachfolgenden Inkarnationen des Hauptthemas über Themen, die auf einem Streicherbereich basieren, bis hin zu einer Schlagzeugillustration von einen Hengst reiten. So nett, Amerikaner.

Die eigentliche Entdeckung ist der komplette Soundtrack aus dem wenig bekannten Film von Stanislaw Lenartowicz "Rot und Gold", der diese Veröffentlichung ergänzt. Ein lyrischer, subtil gespielter Klavierwalzer führt in immer neuen Szenen durch die ganze nostalgische Geschichte. Auf dem Album erscheinen zum ersten Mal Aufnahmen beider Filme, remastert von Originalbändern aus den Archiven des CeTA Audiovisual Technology Center in Wroclaw. Das der Disc beigefügte Booklet enthält eine Skizze zu Filmen und Musik sowie Fotos vom Set. Das Album setzt die gemeinsame Verlagsreihe von CeTA und GAD Records fort und präsentiert die interessantesten Filmmusikaufnahmen aus den Archiven des ehemaligen Fabular Film Studios in Wroclaw.

 

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Neben den von Stefan vorgestellten Kilar-Score, haben GAD Records in letzter Zeit noch zwei weitere Filmmusik-Alben herausgebracht, die vollkommen an mir vorbei gegangen sind, da GAD aus irgendwelchen Gründen die eigene Website seit Monaten nicht mehr aktualisiert.

Dwaj panowii N. / Dotkniecie nocy - Adam Walacinski

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Zitat

 

There were many things which set apart the first two Polish crime movies: the idea behind the plot, formal solutions, and the quality of actors’ performance. But they still had a common denominator – the music by Adam Walaciński. Now, the soundtracks for “Dwaj panowie N.” by Tadeusz Chmielewski and “Dotknięcie nocy” by Stanisław Bareja are released on CD.

In the early 1960s, Adam Walaciński had already made a significant contribution in the field of illustrative music for feature movies (“Baza ludzi umarłych” or “Matka Joanna od aniołów”) and short films (“Kineformy”). He was a restless artist, a searching soul and an attractive asset for filmmakers. The music for “Dwaj panowie N.” and for “Dotknięcie nocy” was based on a compelling leading motives which flirted with the universe of jazz and which the composer transformed into several versions, showing the brio of his invention. Like in his later compositions, e.g. for “Czterej pancernii i pies”, the material flashes with colors and mood swings, and pays homage to the film music formulas typical of the Hollywood ‘s Golden Age.

The soundtracks for both movies have now been released for the first time, remastered from the original tapes kept at the archives of the CeTA Audiovisual Technology Center (“Dwaj panowie N.”) and at Warsaw Documentary and Feature Film Studios (“Dotknięcie nocy”). The booklet contains liner notes on the history of the movies and their soundtracks, and stills from film sets. The record is yet another addition to a joint series from CeTA and GAD Records, published to present the most interesting film music recordings from the archives of the former WFF Wrocław.

 

Przepraszam, czy tu biją - Piotr Figiel

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Zitat

 

Friends from Rzeszów city have just brought the champagne but the situation seems to be somewhat unclear. A mock bear from the Warsaw Zoo wonders know how long the dromedary could keep without water. Everything has to be done to prevent Belus from laughing because he has cheilosis. There is also a student who asks politely: Is this a foul play?… The original soundtrack by Piotr Figiel has now been released on a disk for the first time.

The second feature movie by Marek Piwowski is, like his debut – “Rejs”, a truly iconic picture. Everybody would recall brilliant dialogues, an unusual cast and a thrilling plot. The music by Piotr Figiel fits perfectly into the crime story and draws from the best Western models. Powerful funky themes (including the original, initial version of “Agent 008”), with the pulsating bass guitar and the wind section as heavy as lead go here hand in hand with some fine bossa nova themes, filled with sensual harmonies of the electric Rhodes piano.

Piotr Figiel’s soundtrack for “Foul Play” has now been released for the first time on a disk, remastered from the original tapes kept at the archives of the Wrocław-based Center for Audiovisual Technologies (CeTA) – the guardian of the Feature Film Studio’s (WFF) legacy which spans over the years. The booklet has been added to the release with a short essay on the movie and the soundtrack, and the stills from the movie set. The record is yet another addition to the joint series issued by CeTA and GAD Records to present the most interesting film music records from the archives of the WFF in Wrocław.

 

 

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vor 23 Stunden schrieb Stefan Jania:

Gleich zwei Alben für Fans von George Kallis.

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American Sausage Standoff

https://open.spotify.com/album/3gDm9C3IHre6K4lUjGT51d

 

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After We Fell

https://open.spotify.com/album/29MbPoULmG3be0DC2HIFB1

George Kallis geht immer. Justin Burnett hat ja die 2 Vorgängerfilme von After We Fell schon ganz ansprechend vertont und Kallis scheint stilistisch in die gleiche Richtung zu gehen. Mag diesen Filmmusikstil recht gerne. Schön atmosphärisch.

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Mit Boître noire erscheint Mitte September ein aktueller Score von Philippe Rombi bei Music Box Records auf CD.

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Zitat
Zitat

64 minutes of music.
8-page CD booklet including statements from director Yann Gozlan and Philippe Rombi.

Music Box Records and WY Production present the new score composed by acclaimed composer Philippe Rombi (Merry Christmas, War of the Buttons). The film Boîte noire (Black Box, 2021), written and directed by Yann Gozlan (Burn Out, A Perfect Man), stars Pierre Niney, Lou de Laâge and André Dussolier.

Matthieu is a young and talented black box analyst on a mission to solve the reason behind the deadly crash of a brand-new aircraft. Yet, when the case is closed by authorities, Matthieu cannot help but sense there is something wrong with the evidence. As he listens to the tracks again, he starts detecting some seriously disturbing details. Could the tape have been modified? Going against his boss' orders, Matthieu begins his own rogue investigation - an obsessional and dangerous quest for truth that will quickly threaten far more than his career.

For this drama thriller, Philippe Rombi composed a very tense soundtrack, sometimes discreet, sometimes lyrical, mixing orchestral score with electronic textures. The music is performed by the Orchestre National d’Île-de-France.

Boîte noire is released in French theaters in September 8, 2021. The album is available on CD and digital version.

 

 

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Von GAD Records kommt als nächster Titel Krzysztof Marzecs Musik für die polnische TV-Serie W labiryncie (1988 - 1991) auf CD und LP.

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The turn of decades, time of far-reaching social changes and of little, private dramas and joys. These key themes were picked by Paweł Karpiński and Wojciech Niżyński for the TV series which by some is now considered as iconic. Its soundtrack, with guitar and synthesizer sounds, is a perfect fit for the series vibe. One more reason to go into ‘the labyrinth of human issues’.

“W labiryncie” TV series, produced between 1988 and 1991, was the first Polish soap opera used as lenses to portray dynamic developments in the country. The twists and turns of Warsaw pharmacists who worked on Adoloran breakthrough medicine attracted millions of viewers to the screens, and today they are like an exciting postcard from the times when the West would more often look through our windows. You could hear the same in the soundtrack written by Krzysztof Marzec, with the assistance of the series director, Paweł Karpiński, Tadeusz Czechak and Grzegorz Markowski, who performed the title song. Electronic sounds of the late 1980s, drum machines and vivid, extremely colorful guitars create a landscape tuned to the interiors of apartments and lab facilities depicted in the series.

The music on the album has been remastered from the original recordings kept at Krzysztof Marzec’s archives. Some tracks had been written a bit earlier for Karpiński’s feature movie “Czarodziej z Harlemu”, and reused later in the series. The booklet features the stills from the series and two essays: Olga Drenda discusses the series itself and the hauntology of the transition time, and Krzysztof Marzec recounts trials and tribulations with equipment during the recording. The cover was designed by a regular New Yorker associate, Emiliano Ponzi.

 

Zitat

 

 

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Am 19.7.2021 um 22:42 schrieb Stefan Schlegel:

Auf alle Fälle möglich ist der äußerst populäre Lino Ventura/Patrick Dewaere-Krimi  ADIEU POULET von 1975 (bei uns als ADIEU BULLE ja sehr bekannt und früher oft im Fernsehen gelaufen). Der Titel ist nun auch schon seit Jahren im CAM-Katalog reserviert - entweder von Quartet oder von Music Box. Der kommt von daher garantiert noch.

Und da ist er tatsächlich auch schon. Nicht wie gedacht von Quartet, sondern von Music Box, die den Titel also seit mehr als 5 Jahren bei Sugar reserviert hatten. Und merkwürdigerweise ohne LA CAGE, für den auf dieser CD durchaus noch Platz gewesen wäre, denn sie hat nur eine Länge von 48 Minuten, obwohl gleich drei Scores (die beiden anderen von BMG Frankreich) enthalten sind. Offenbar hat sich Music Box also LA CAGE nicht von Sugar geangelt.
ADIEU POULET ist sehr kurz mit nur 12 Minuten und enthält somit nicht mehr Musik als im Film erklingt. Da dachte ich eigentlich, daß es eventuell noch ein wenig mehr gäbe, dem ist aber offenbar nicht so:

https://www.musicbox-records.com/en/cd-soundtracks/10794-adieu-poulet-l-ami-de-vincent-l-etoile-du-nord.html

ADIEU POULET / L'AMI DE VINCENT / L'ÉTOILE DU NORD
 
World Premiere CD Release. New remastered and expanded edition.
12-page CD booklet with French and English liner notes by Christian Lauliac.

In collaboration with BMG and Gruppo Sugar, Music Box Records proudly presents on the same album three original motion picture soundtracks which highlight the collaboration between composer Philippe Sarde and Pierre Granier-Deferre: Adieu poulet (The French Detective, 1975), L'Ami de Vincent (A Friend of Vincent, 1983) and L'Étoile du Nord (The North Star, 1982).

Pierre Granier-Deferre was undoubtedly one of Sarde’s favourite and most faithful collaborators, one of his first “fathers in cinema”, in the same way as Claude Sautet, Georges Lautner or Bertrand Tavernier. This new album highlights three scores from the fruitful collaboration between the composer and the French director. The short score to crime thriller Adieu poulet (orchestrated by Hubert Rostaing) showcases his ability to capture the film’s core with his dissonant and jazz soundscape which includes piano, trumpet, drums and assorted percussion. For the psychological drama L’Étoile du Nord, Sarde composed a melancholic score that gives a central role to Marcel Azzola’s accordion with a melody that sounds like a popular café-concert tune. For L'Ami de Vincent, Sarde added the lyrical touch to his score associated with the powerful performance of the London Symphony Orchestra (conducted by Peter Knight) and the incomparable American trumpeter Clark Terry.

The program has been assembled, produced and supervised by Philippe Sarde and Édouard Dubois. This present edition has been fully remastered from complete scoring session elements and includes previously unreleased tracks. The CD comes with a 12-page booklet with liner notes by Christian Lauliac, discussing the films and the scores. The release is limited to 500 units.

ADIEU POULET
01. Ge´ne´rique (1:06)
02. Proxe´ne´tisme et corruption (2:23)
03. Jazz trio (Ferrer le poisson) (3:07)
04. Les Poulets a` l'ho^pital (2:40)
05. Ge´ne´rique de fin (2:23)
Time • 11:48

L'AMI DE VINCENT
06. Vincent (4:18)
07. Amalia (4:50)
08. Revue Broadway (4:41)
09. Revue bre´silienne (Samba multicolore) (4:38)
10. Tango parisien (The´ dansant) (2:57)
Time • 21:35

L'ÉTOILE DU NORD
11. L'étoile du Nord (2:08)
12. Louise (2:07)
13. E´douard (2:13)
14. Pour Simone (1:46)
15. Pour Pierre (1:13)
16. Yasmina (1:46)
17. Pour Philippe (2:24)
18. Les tramways de Charleroi (1:04)
Time • 14:56

Total CD Time • 48:21

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vor 2 Stunden schrieb Angus Gunn:

Tres Bien!  AMI DE VINCENT sagt mir gar nix. Gab´s den vorher schonmal irgendwo?

Von L´AMI DE VINCENT gabs offiziell bislang nur den Source Music-Track "Samba multicolore" auf diesem "Suprême Bossa"-Sampler von PlayTime, aber ansonsten eigentlich nichts:
https://www.discogs.com/de/Various-Suprême-Bossa/release/7751721

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Von Sugar / Cam unter Decca-Herrschaft kommen nun wieder Neuauswertungen: Eine Neuauflage von Ennio Morricones Il bandito dagli occhi azzuri und ein Sampler mit Horror- und Giallo-Stuff aus dem CAM-Archiv.

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1. Città viva
2. Madre assente
3. Campi aperti e sospesi
4. Double Face
5. Esecuzione radiofonica
6. Per Enrico, Riccardo e Roberto
7. Sotto i ponti della città
8. Per Dalila
9. Stranamente di notte
10. Cinque quarti
11. Madre assente #2
12. Stranamente un giorno
13. Sotto i ponti della città #2
14. Per Dalila #2
15. Per Enrico, Riccardo e Roberto #2
16. Città viva #2
17. Madre assente #3
18. Stranamente di notte #2
19. Per Enrico, Riccardo e Roberto #3
20. Sotto i ponti della città #3

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1. Mio caro assassino
2. La notte che Evelyn uscì dalla tomba
3. La dama rossa uccide sette volte
4. Tribal Shake
5. Il sesso del diavolo (Finale)
6. Deviation
7. L'etrusco uccide ancora (Titoli)
8. Giallo in tensione
9. Ansimando
10. Black Dream
11. Cerro Torre
12. Greta
13. Bambola sensuale
14. Languidamente
15. Il demonio in convento
16. Flavour Of Death
17. Un gioco per Eveline
18. Absurd
19. Devil Dance
20. E tanta paura
21. Orinoco: Prigioniere del sesso
22. Bargain With The Devil #3
23. The Prophecy (Vers. A)
24. Walking Through The Shadows
25. Minaccia sulla città

 

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Quartet Records and Carosello Edizioni Musicali present an expanded, completely remastered edition of Ennio Morricone’s cult score for VERGOGNA SCHIFOSI (1969).

Directed by Mauro Severino, the film is about a misstep from the past that comes back to haunt three young perpetrators from Milan with vengeance on its mind. Years after getting away with murder, they suddenly receive an incriminating photo, accompanied by a request for money. Despite their quick payment, they keep getting new messages.

Morricone’s catchy score is based on the lyrics of the classic nursery rhyme “Giro giro tondo” (“Ring Around the Rosie” in English). The hit LP soundtrack was a strongly edited selection, while the full score has not been available – until now. Besides including the original LP program (including source cues that were never used in the movie), this edition premieres the complete takes of Morricone’s two key themes, including all alternates that were combined in different ways for the film as well as the soundtrack.

Produced by Dániel Winkler, supervised by Claudio Fuiano and mastered by Chris Malone from first-generation master tapes, the release includes a richly illustrated booklet with liner notes by Gergely Hubai discussing the full story of the score and providing a breakdown of how each take was used for the creation of this memorable score.

  1. Matto, caldo, soldi, morto… girotondo (3:24)
  2. Guardami negli occhi (2:18)
  3. Ninna nanna per adulti (2:44)
  4. Una spiaggia a mezzogiorno (3:39)
  5. Un altro mare (6:36)
  6. Matto, caldo, soldi, morto… girotondo (4:53)
  7. Ninna nanna per adulti #2 (3:05)
  8. Matto, caldo, soldi, morto… girotondo #3 (3:10)
  9. Ninna nanna per adulti #3 (3:01)
  10. Ninna nanna per adulti #4 (1:57)
  11. Matto, caldo, soldi, morto… girotondo #4 (2:24)
  12. Matto, caldo, soldi, morto… girotondo #5 (3:01)
  13. Ninna nanna per adulti #5 (2:02)
  14. Matto, caldo, soldi, morto… girotondo #6 (6:40)
 
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Quartet Records, Carosello Edizioni Musicali and Beat Records present an ultimate 2-CD expanded edition of Bruno Nicolai’s cult score for FEMMINE INSAZIABILI (1969).

Directed by Alberto de Martino, the film is about a journalist who is hot on the trail of investigating his friend’s mysterious death in a car accident. The journey takes him to funerals, orgies and interviews with some of the most beautiful women of Italian cinema (such as Luciana Paluzzi and Romina Power), all of whom have flashbacks to sexual escapades.

After working along with Ennio Morricone on previous engagements (BANDITS IN ROME, OK CONNERY), Bruno Nicolai went solo with this De Martino effort, kicking things off with “I Want It All,” a raunchy theme song performed by Lara Saint Paul both in English and Italian. Made up of groovy, funky instrumentals, psychedelic organ pieces and Edda Dell’Orso’s vocalism, it is simply one of the catchiest scores from the composer’s filmography.

FEMMINE INSAZIABILI was released on LP in 1969, and later reissued on CD in an  expanded edition by Easy Tempo. This release contains the original album program on Disc 1, while the second disc features the complete film versions and bonus tracks, adding up to a generous program over of 100 minutes. Produced by Enrico De Gemini and mastered by Chris Malone, the booklet includes richly illustrated liner notes by Gergely Hubai that provide cinematic context to this obscure movie, including the shocking details about its two different cuts.

DISC 1. The Original Album

  1. I Want It All (3:16)
  2. Nostalgia di un incontro (3:36)
  3. Autostrada per Los Angeles (1:38)
  4. Sguardi teneri (3:30)
  5. I Want It All (2:33)
  6. I Want It All (2:22)
  7. Notte inquieta (3:02)
  8. Intimità (2:14)
  9. Autostop (3:40)
  10. I tuoi sospiri (2:56)
  11. Fuori dal tempo (2:57)
  12. A un passo dal pericolo (2:04)
  13. Drive In (2:27)
  14. Senza titolo (2:33)
  15. Dondolo (2:47)

DISC 2.  Film Versions

  1. Sguardi teneri (4:22)
  2. Autostop (3:54)
  3. I Want It All (3:02)
  4. Senza titolo (3:38)
  5. Drive In (2:32)
  6. Nostalgia di un incontro (3:28)
  7. Sguardi teneri (1:53)
  8. I Want It All (1:47)
  9. Senza titolo (2:38)
  10. Dondolo (3:51)
  11. Sguardi teneri (3:52)
  12. I Want It All (4:00)
  13. Nostalgia di un incontro (4:43)
  14. Senza titolo (2:33)
  15. Senza titolo (1:52)
  16. I Want It All (0:54)
  17. Drive In (3:40)
  18. Intimità (1:16)
  19. Sguardi teneri (2:14)
  20. Adoro la vita (3:13)

 

 

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Albert_Glasser_III_Presentation_Pack_102

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALBERT GLASSER COLLECTION Volume 3, featuring the premiere releases of Albert Glasser’s music for FOUR BOYS AND A GUN and STREET OF SINNERS. The two films in this third collection of 1950s classic Albert Glasser scores from Dragon’s Domain Records are essentially juvenile delinquent crime films from 1957, and were released by United Artists. Both films were directed by William Berke (1903–1958), a veteran director of nearly 100 films since 1934, including many Westerns and crime dramas, and a handful of television episodes during the early 1950s.

The years 1957-58 were Albert Glasser’s busiest as a film composer, having scored fifteen B-movies that saw release in 1957, and ten in 1958. The films included Glasser’s celebrated science fiction/monster films BEGINNING OF THE END, THE CYCLOPS, MONSTER FROM GREEN HELL, THE AMAZING COLOSSAL MAN in ’57, and GIANT FROM THE UNKNOWN, ATTACK OF THE PUPPET PEOPLE, WAR OF THE COLOSSAL BEAST, and THE SPIDER from the following year, as well as a slew of Westerns, adventure sagas, crime, and juvenile gang movies.

FOUR BOYS AND A GUN is based on a 1944 novel of the same name by Willard Wiener (1900-1982) who later wrote episodes of TV’s FOUR STAR PLAYHOUSE and the like in the 1950s. Leo Townsend and Philip Yordan wrote the screenplay. While the four “boys” – Ollie, Eddie, Johnny, and Stanley – are clearly young grown-ups, the juvenile delinquent genre tag fits the presentation of their characters. These four young friends, needing cash to pay off a bookie after Ollie spent the money impressing a girl instead, decide at Ollie’s direction to hold up a boxing arena in order to obtain the necessary cash to pay off the loan. When a cop is killed during the robbery, the four are quickly found and arrested, and the district attorney is brought in to determine which of the four boys fired the fatal shot. He leaves it to the four of them to identify the shooter, or else all four will go to the electric chair – and three of them don’t know which of them that was. Albert Glasser provides a powerful score using a jazz group of 20 players (4 trumpets, 4 trombones, 5 saxophones, piano, etc.) that perfectly fits the style of the film and the attitude of the period.

STREET OF SINNERS is based on a story by Philip Yordan, with a screenplay written by John McPartland (THE WILD PARTY, NO DOWN PAYMENT, THE LOST MISSILE). It’s as hard-hitting a story as FOUR BOYS AND A GUN although it focuses on a rookie cop taking over the beat on a particularly unruly downtown street. Unlike his genial predecessor, the young new officer, strictly by-the-book, is unwilling to look the other way and let the young hoodlums hanging out on the street continue to get away with minor crimes. Veteran actor George Montgomery (who starred in Glasser’s HUK! in 1956) plays officer John Dean; with Geraldine Brooks as Terry, an alcoholic divorcee hoping to get a second chance at romance with the tall, handsome beat cop; and Marilee Earle as Nancy, one of the street’s tough girls who manages to reform herself through the influence of Officer Dean, ultimately serving as the film’s leading heroine. William Harrigan plays Gus, the retiring officer who tolerated much of what happens on “Nameless” Street but finds a chance for redemption later in the story. Nehemiah Persoff is Leon, the bar owner who runs crime on the street and becomes Dean’s leading adversary, and Stephen Joyce plays Ricky, the unhappy ex-soldier who fancies himself as Nancy’s guy until he jumps at the opportunity to become Leon’s “muscle.” Another veteran actor getting his first feature film role here is Clifford Davis, whose star took off on television in the 1970s and in films during the 1980s and beyond (BILL & TED’S EXCELLENT ADVENTURE, THE EXORCIST III, SIGNS, KINSEY). He plays Tommy, Leon’s brother and one of the toughs hanging out on Nameless Street. Glasser’s score, like that of FOUR BOYS AND A GUN, is heavily styled in jazz, but with more of a dramatic punch and a touch of noir intonations than was found in the previous movie. With few exceptions, the film’s music is music of the street – the wild, the brash, the lifestyle of the hustlers and the wannabees; Glasser’s occasional interludes are reserved for a handful of specific dramatic or emotional moments.

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of THE ALBERT GLASSER COLLECTION Volume 3, 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 and superb artwork by Andrea Rouleau.

THE ALBERT GLASSER COLLECTION Volume 3 is a limited edition release of 500 units and is expected to begin shipping the week of October 12th, 2021.

FOUR BOYS AND A GUN
1. Four Boys and a Gun Main Title 1:44
2. After the Robbery 1:29
3. At the Bar 2:30
4. Her Apartment 2:54
5. The Cops Arrive/Walk to the Chair 2:15
6. Truck Run 1:24
7. Dandelion Club 2:35
8. Ollie's Sad Story 2:09
9. Rumble at the Pool Hall 3:32
10. Bad Luck 2:20
11. Stanley's Story/Johnny and His Wife 3:40
12. Al's Bar 2:11
13. The Boys Dejected 4:31
14. 'Ten years if we are Lucky" 3:12
15. The Final Choice/Four Boys and a Gun End Credits 1:36
16. Albert Glasser Wraps-Up Four Boys and a Gun 3:04

STREET OF SINNERS
17. Street of Sinners Main Title/On the Beat/Suicide 4:54
18. Nancy and Ricky 3:41
19. Walking the Beat 2:43
20. Off Duty 3:15
21. Street Action 2:32
22. Car Trouble/Leon and Nancy 4:23
23. Night Life 2:34
24. Leon and Ricky 2:34
25. The Truth about Leon 2:38
26. Ricky's Place 2:52
27. The End of Leon and Street of Sinners End Title 3:54
28. Albert Glasser Wraps-Up Street of Sinners 1:01
Total Time: 79:20

 

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Dragon’s Domain Records presents the original motion picture soundrack release of THE DEEP ONES, to be distributed through buysoundtrax.com. THE DEEP ONES features music composed by Richard Band for the 2020 horror film directed by Chad Ferrin, based on the writings of H.P. Lovecraft and starring Gina La Plana, Robert Miano, Johann Urb, Silvia Spross, Jackie Debatin, Kellie Maroney and Nicolas Coster.

After suffering an untimely loss, Alex (La Piana) and her husband Petri (Urb) visit California for a much-needed break from reality. At an unassuming AirBnB rental near Ventura Beach, they meet the mysterious Russell Marsh (Miano). Marsh introduces them to the oddly enthusiastic locals, fixes them a lavish meal and invites them out on his luxury boat. Little do they know that beneath Mr. Marsh’s thin veneer of avuncular charm lurks a dark devotion to an archaic evil.

After a successful collaboration on the horror comedy EXORCISM AT 60,000 FEET in 2019, director Chad Ferrin knew there was only person to score THE DEEP ONES. Only one composer holds the record for scoring the most H.P. Lovecraft projects and it’s Richard Band, which includes his music for RE-ANIMATOR, FROM BEYOND, THE RESURRECTED and a memorable episode of MASTERS OF HORROR.

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.

Dragon’s Domain Records presents the original motion picture soundtrack to THE DEEP ONES, digitally mastered by James Nelson at Digital Outland, featuring liner notes written by composer and author Brian Satterwhite.

THE DEEP ONES is a limited edition release of 500 units. THE DEEP ONES is expected to begin shipping the week of October 12th, 2021.

The first 50 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge.

1. The Deep Ones - Main Title (2:30)
2. The Drive / The Colony / Alex’s Bad Dream (3:17)
3. Finley Calls Doc / Petri’s Hypnotized (3:47)
4. Below Deck / Pittle Time / Mom Surprises Alex (2:59)
5. Mom’s Run (6:39)
6. Party A (2:28)
7. It’s Cuban Time (2:41)
8. Hypnotized Again / Leaving Party / Little Girl (5:33)
9. Deb’s Death (4:56)
10. Alex / Kitchen (6:02)
11. Alex Runs (3:54)
12. The Ritual (1:45)
13. The Deep Ones - End Title (3:25)

BONUS TRACKS
14. Party Source #1 (1:45)
15. Party B (2:40)
Total Time: 54:57

 

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the original motion picture soundtracks to SORORITY HOUSE MASSACRE II & III, featuring music composed by Chuck Cirino for the 1995 horror sequels directed by Jim Wynorski, written by Mark Thomas McGee, J.B. Rogers and Bob Sheridan, and starring Gail Thackray, along with Wynorski regulars such as Deborah Dutch, Toni Naples, Kelli Maroney and Monique Gabrielle, not to mention Peter Spellos as Orville Ketchum.

SORORITY HOUSE MASSACRE II began life one day when director Jim Wynorski noticed some sets were available at Roger Corman’s studios. After getting permission to film on the sets from Roger’s wife, Julie, while they were out of town and under the condition that Roger not find out, Wynorski wrote, cast and filmed under the title JIM WYNORSKI’S HOUSE OF BABES with no producer supervision. The Cormans were pleasantly surprised at how well the film had turned out and thought it would be easier to sell if it were a sequel to an existing film but neither of these sequels have anything to do with Carol Frank’s SORORITY HOUSE MASSACRE, released in 1986.

In SORORITY HOUSE MASSACRE II, five college girls buy the old Hokstedter place for their new sorority house. Once the site of a multiple murder five years earlier, the girls are able to get a good price on the house. The girls decide to spend the night in the house so they can greet the movers in the morning. Before you can consult your Ouija board or take a really long shower, the girls are being creeped on by neighbor from Hell Orville Ketchum, who also happens to ply his trade as a butcher.

Released in 1993, SORORITY HOUSE MASSACRE III, also known as HARD TO DIE, actually does not take place anywhere near a sorority house but finds at least five college girls who work in the high rise building of the Acme Lingerie Company working overtime one evening. A package mistakenly arrives at the office and one of the girls make the fatal mistake of opening the package, releasing an evil spirit that begins to pursue them. Peter Spellos returns as Orville Ketchum in his newfound role as building janitor.

SORORITY HOUSE MASSACRE II & III 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, RETURN OF SWAMP THING, A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and, most recently, A DOGGONE ADVENTURE.

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 SORORITY HOUSE MASSACRE II & III to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by composer and author Brian Satterwhite, with the participation of the composer.

SORORITY HOUSE MASSACRE II & III 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. This title is expected to ship on the week of October 12th.

1. Sorority House Massacre II: Main Title (3:12)
2. This is the Place / Orville Appears (1:48)
3. Hokstedter’s Funhouse (2:46)
4. You’ll be Needing Me / Squeaky Clean (1:47)
5. Spooky Basement (3:26)
6. Peeping Orville / Ouja (2:45)
7. Spooky Kids (1:54)
8. Bumps In the Night / Spooky Bear Traps (5:49)
9. Bad Basement / Blood Face (3:11)
10. It’s Got To Be Orville! (3:09)
11. Toilet Death (4:17)
12. Bathtub and Basement Blues (4:33)
13. Hokstedter’s Revenge / Orville’s Big Rescue (5:11)
14. This Man is Not Dead! (1:20)
15. Sorority House Massacre II: End Credits (2:36)
Total Time: 48:22


CD 2 -
SORORITY HOUSE MASSACRE III
01. Hard to Die: Main Title (2:54)
02. Enter Orville / Flash Back (4:28)
03. Zombie Movie Source Cue (1:37)
04. The Box / The Basement (8:28)
05. The Girls Start to Die (7:24)
06. Going For the Gun / Orville Returns / Elevator Drop (10:33)
07. From the Basement to the Roof / Over the Edge (3:56)
08. Still Alive / Shoot Out (3:36)
09. Final Confrontation / Orville Saves the Day (4:40)
10. A Beginning (1:01)
11. End Cast (1:06)
12. Hard to Die: End Credits (2:20)
13. A Beginning (Alternate Mix) (1:05)
14. End Cast (Alternate Mix) (1:00)
Total Time: 54:45

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Beat Records veröffentlichen am 10. Oktober eine Neuauflage von Mario Migliardis Musik für den Italo-Western Matalo! aus dem Jahr 1970.

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Zitat

Beat Records is happy to present on CD the original score by Mario Migliardi for the western ''Matalo!'' directed by Cesare Canevari in 1970 and starring Lou Castel, Corrado Pani, Antonio Salines, Luis Dávila, Claudia Gravi, Miguel Del Castillo, Anna Maria Noé, Ana María Mendoza, Mirella Pamphili, Bruno Boschetti. For the soundtrack of "Matalo!," director Canevari decided to call a composer he had never worked with: Mario Migliardi. Thus, after Ferrio, Gian Piero Reverberi (for "Una jena in cassaforte") and Armando Sciascia ("Per un dollaro a Tucson si muore"), the director begins a new collaboration with a composer who had done a lot for television, but little for cinema, with the exception of Duccio Tessari's "La sfinge sorride prima di morire" and Mal's negligible musicarello "Pensiero d'amore." It could therefore have been a risk, a sensational flop, but instead it was a stroke of genius, because Migliardi not only accepted Canevari's challenge but also veered dramatically towards a crazy, brilliant and psychedelic soundtrack, definitely ahead of its time. Why? Because instead of fishing from the sound of spaghetti Westerns and known references, Migliardi - who was fifty years old at the time, not a kid - decided to take the rock and pop sounds in vogue at the end of the sixties, mixing Western and psychedelic, folk and electric guitars in a combination that still today - especially today - sounds incredibly modern. Exaggerated? No. Listen to the nine minutes of the main theme in your headphones: it practically sounds as if Jimi Hendrix launched into a jam session and Woodstock - staged a year earlier - suddenly became Weststock, kicking up dust, psychedelic sounds and crazy drums. The "Matalo!" soundtrack is a forgotten little (big) gem that absolutely must be rescued and reconsidered, even within the path of cinema composition of the period. After entering the Western, Canevari in fact returned to Reverberi for "Il romanzo di un giovane povero," shot four years later, while Migliardi would remain in the West with Klaus Kinski, first in "Prega il morto e ammazza il vivo" and then in "Il venditore di morte." In fact, however, his work on "Matalo!" was sort of a dead end that remains so today, a brilliant venture from which one could probably go back, a soundtrack that not only remains standing without the images it comments upon, but that seems almost like a concept album halfway between prog, rock and echoes of contemporary "modern," between John Cage and Terry Riley. Also, pay attention to the voice you hear on the album: it is that of Giano Ton (or Giacomo Tosti), the singer and producer who in the sixties had recorded several 45 rpms and who later would also produce the Scottish band Middle Of The Road.
Mastering by Claudio Fuiano, liner notes by Andrea Morandi, graphic layout by Daniele De Gemini

 

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Von Howlin' Wolf Records gibt es zwei neue CDs mit Randin Graves' Scores für den Horrorfilm They Live Inside Us und der Anthologieserie The Witching Hour (2015), letzterer co-komponiert mit Slasher Dave.

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Zitat

Howlin’ Wolf Records proudly presents the complete score for They Live Inside Us, an American independent horror film adaptation of episode #4 of The Witching Season anthology series. The feature film is directed by Michael Ballif and produced by Ballif, James Morris, Allen Bradford, and Jordan Swenson. A father and daughter spend Halloween night in the notoriously haunted Booth House with the father hoping to find inspiration for a new writing project, only to discover hidden secrets more sinister than either could imagine. The score for They Live Inside Us is composed by award-winning composer and multi-instrumentalist Randin Graves.

Randin Graves is Fulbright Fellow who is equally at home in classical and pop music worlds, and has played in rock, electronica, folk, reggae, funk, jazz, and world fusion bands. Graves holds a B.A. cum laude in music composition from the well-regarded music program at the University of California at San Diego, and is world-renowned for his mastery of the Australian didgeridoo. In addition to the didgeridoo, he plays guitar, keyboard, and Japanese koto. Randin Graves has sold albums and influenced players on every continent, including Antarctica.

With forewords by Creator/Writer/Director Michael Ballif and Writer/Director/Actor James Morris, and liner notes by Composer Randin Graves, the packaging for They Live Inside Us captures the spirit and essence of Halloween. Highlighted by beautiful original cover art by Marc Schoenback of Sadist Art Designs, They Live Inside Us is a very limited pressing accompanied by a 16-page booklet and inserts magnificently crafted with eerie imagery from the film by Howlin’ Wolf Records Art Director Luis Miguel Rojas.

 

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Zitat

Howlin’ Wolf Records is proud to present the complete score for The Witching Season, an American horror anthology series created by Michael Ballif, written and directed by Ballif and James Morris, and produced by Morris, Allen Bradford, Jordan Swenson, and Parker Marcroft. The series consists of five interlocking segments that revolve around the Halloween season. Each episode, fueled by nostalgia, pays tribute to a different genre of horror. The score for The Witching Season is composed by Randin Graves and Slasher Dave.

Randin Graves is an award-winning film composer and Fulbright Fellow who utilizes diverse influences and skills while working from his professional home studio. Equally at home in classical and pop music worlds, he holds a B.A. cum laude in music composition from the well-regarded new music program at the University of California at San Diego. Graves has played in rock, electronica, folk, reggae, funk, jazz, and world fusion bands and is world-renowned for his mastery of the Australian didgeridoo. In addition, he plays guitar, keyboard, and Japanese koto. Randin Graves has sold albums and influenced players on every continent, including Antarctica.

Slasher Dave is a Detroit-based Horror Musician/Record Producer/Designer/Illustrator. He is the composer of numerous dark, ambient electronic recordings and soundtracks, including Spookhouse, Tomb of Terror, Exorcisms, The Horrors of Hellhouse, Cannibal Death Gods, and Night of the Jack-o-Lantern. Slasher Dave performs with numerous groups, including Acid Witch, Horrific, and Shivers. Matt Bacon of Dropout Media describes Slasher Dave’s work as “Eerie, powerful and wonderfully demented - this is the kind of sonic blasphemy that few can truly match.”

The Witching Season is a very limited pressing, beautifully packaged with a 20-page booklet featuring the gorgeous poster art by Marc Schoenback of Sadist Art Designs, with forewords by Creator/Writer/Director Michael Ballif and Writer/Director/Actor James Morris, and liner notes by Composers Randin Graves and Slasher Dave. The packaging is exquisitely created and designed with haunting imagery from the film, and all of the flavor of Halloween, by longtime Howlin’ Wolf Records Art Director Luis Miguel Rojas.

 

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Quartet Records, in collaboration with Sony Music Spain and Divucsa Music, presents an album that pairs two scores by Guido & Maurizio De Angelis (ORZOWEI, SANDOKAN, ZORRO, SAVANA VIOLENTA, MILANO TREMA) for two beloved Spanish cartoon TV series directed by Claudio Biern Boyd.

LA VUELTA AL MUNDO DE WILLY FOG is based on Jules Verne’s Around the World in Eighty Days, but here all the charming characters are animals. The De Angelis brothers wrote a number of catchy songs that were performed by the famous pop group Mocedades, highlighting the main opening song that became an immediate classic on Spanish TV. The score was based, mainly, on variations of those songs and instrumental versions of them.

D’ARTACÁN Y LOS TRES MOSQUEPERROS was another success and is based in the Alexandre Dumas’ masterpiece Les trois Mousquetaires, with all the characters being dogs. The music followed the same treatment, with several songs performed by Popitos, and variations on these as a background score.

Although these two TV series were dubbed into several languages around the world (in English, Italian, French, etc.) and some albums and singles were released elsewhere with dubbed versions of the songs, we have included here only in the original Spanish versions as they were originally conceived. This CD has been mastered by Chris Malone from original master tapes provided by Sony Music and Divucsa, and the illustrated package includes liner notes by Gergely Hubai.

LA VUELTA AL MUNDO DE WILLY FOG

1.  La vuelta al mundo de Willy Fog (3:18)

2.  Hay que viajar (2:41)

3.  Dix y Transfer (2:31)

4.  Romy (3:02)

5.  La vuelta al mundo de Willy Fog (2º versión) (3:20)

6.  América, América (2:54)

7.  Rigodón (3:12)

8.  Dar la vuelta al mundo (7:47)

9.  Hay que viajar (Instrumental) (2:41)

10.  Dix y Transfer (Instrumental) (2:31)

11.  Romy (Instrumental) (3:02)

12.  América, América (Instrumental) (2:54)

13.  Rigodón (Instrumental) (3:12)

14.  La vuelta al mundo de Willy Fog (Instrumental) (3:54)

 

D’ARTACAN Y LOS TRES MOSQUEPERROS

15.  D’artacán y los tres mosqueperros (3:01)

16.  Uno para todos y todos para uno (3:08)

17.   Richelieu (2:53)

18.  Únete a nosotros (3:44)

19.  Julieta (3:33)

20.  Mi amigo Pom (3:45)

21.  El duelo (2:23)

22.  Julieta (Instrumental) (3:33)

23.  D’artacán y los tres mosqueperros (3:01)

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THE FIRST 50 UNITS PURCHASED DIRECTLY FROM OUR ONLINE STORE WILL BE AUTOGRAPHED BY ALBERTO IGLESIAS AND PEDRO ALMODÓVAR

Quartet Records and El Deseo present the soundtrack album of the eagerly anticipated new collaboration between Academy Award-winning director Pedro Almodóvar and prestigious three-time Academy Award-nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY) for MADRES PARALELAS, their thirteenth film together, coming after twenty-five years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER or PAIN AND GLORY.

The film is about two women, Janis and Ana, who coincidentally land together in a hospital room where they are going to give birth. Both are single and became pregnant by accident. Janis, middle-aged, doesn’t regret it and she is exultant. Ana, an adolescent, is scared, repentant and traumatized. Janis tries to encourage her while they move like sleepwalkers along the hospital corridors. The few words they exchange in these hours create a very close link between the two, which by chance develops, complicates and changes their lives in a decisive way.

Alberto Iglesias has written one of his most intense, emotional and moving large-orchestral scores, with echoes of Ravel, Debussy and the Spanish tradition of Manuel de Falla. The music was recorded at Air Studios, London, with Thomas Bowes as concertmaster. The album also includes two classic pieces by Janis Joplin and Miles Davis.

  1. Sesión de fotos (1:12)
  2. El visillo volante (2:15)
  3. Las visitas (4:12)
  4. Fotos a la niña (2:24)
  5. Prueba de maternidad (4:42)
  6. El cuestionario del laboratorio (0:50)
  7. Terrible certeza (0:58)
  8. Madre de día (2:13)
  9. La pesadilla (3:53)
  10. Tortilla española (0:57)
  11. Anita ha muerto (2:51)
  12. ¡No te despiertes! (2:42)
  13. La revelación del secreto (10:32)
  14. Campo de cultivo (0:48)
  15. La vieja cama (1:15)
  16. Relato del bisabuelo asesinado (0:49)
  17. En procesión / La fosa (10:09)
  18. Summertime Big Brother & The Holding Company, Janis Joplin (4:01)
  19. Autumn Leaves Miles Davis (11:40)

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vor 9 Stunden schrieb Alexander Grodzinski:

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Absolute Kindheitserinnerung, damals auf Tele 5 hat "Rund um die Welt mit Willy Fog" zu meinem Pflichtprogramm gehört. Einige der Themen waren sofort wieder präsent mit den Hörproben auch wenn ich mich wohl geschätzte 25 Jahre nicht mehr mit dieser Serie beschäftigt habe.

Anscheinend gab es noch weitere Ableger wie hier zu entnehmen ist ( https://www.wunschliste.de/serie/mit-willy-fog-zum-mittelpunkt-der-erde ) - diese kenne ich allerdings nicht.

 

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Von Dragon's Domain am 1. November: Ein Doppelalbum mit Chuck Cirinos Musik für die Horrorkomödien Witch Academy und Teenage Exorcist, 'The David Michael Frank Collection Vol. 1' mit den Scores zu dem Chuck-Norris-Streifen Code of Silence, dem Imax-Film Cosmic Journey und der zuvor digital veröffentlichen Präsentationsmusik für die Boeing 777 und Alan Howarths Musik für den 2009er Horrorfilm Basement Jack.

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Zitat

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents music composed by Chuck Cirino for TEENAGE EXORCIST and WITCH ACADEMY, two horror comedies from the composer’s extensive filmography. TEENAGE EXORCIST was written by Brinke Stevens and Ted Newsom, from a story by Fred Olen Ray, starring Brinke Stevens, Eddie Deezen, Oliver Darrow, John Henry Richardson, Tom Shell, Elena Sahagun, Robert Quarry and Michael Berryman. WITCH ACADEMY was directed by Fred Olen Ray, written by Mark Thomas McGee and stars Suzanne Ager, Priscilla Barnes, Michelle Bauer, Veronica Carothers, Ruth Collins, Don Dowe, John Henry Richardson and Robert Vaughn.

Released in 1991, TEENAGE EXORCIST tells the story of Diane, a neurotic, repressed grad student who moves into a cursed mansion and finds herself possessed by the house’s demonic master. Transformed into a raven-haired seductress, Diane begins to search for a virgin sacrifice for her master. Her sister and brother-in-law, along with an Irish priest, her boyfriend, and a pizza delivery boy arrive and try to save Diane and exorcise her demon. Directed by Grant Waldman and written by Brinke Stevens (who also stars) from a story by Fred Olen Ray, TEENAGE EXORCIST began as a project Ray intended to make. Having known Chuck Cirino from two of those previous three movies he’d worked on with Ray (as well as his directorial debut earlier that same year, THE CHANNELER), producer Grant Waldman brought him in to compose the film’s score. Cirino, an expert electronic musician and composer, had recently added an Roland D50 synthesizer to his array of electronic equipment, and used it for the first time on this score.

Released in 1995, WITCH ACADEMY, also known as LITTLE DEVILS, tells the story of Leslie Perkins, who is trying to pledge to an exclusive college sorority while the other members come up with twisted new ways to humiliate her and keep her out. However, the Devil has other plans for Leslie and helps transform her into one of his emissaries of temptation. But why has the Devil taken an interest in her? WITCH ACADEMY was the eleventh film Cirino had scored for Fred Olen Ray as director.

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 TEENAGE EXORCIST and WITCH ACADEMY to compact disc for the first time, presented on two CDs, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall Larson, with the participation of the composer and writer/director Fred Olen Ray.

TEENAGE EXORCIST/WITCH ACADEMY 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.

 

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Zitat

Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 1, featuring music composed by David Michael Frank. This first collection of David Michael Frank’s film music exhibits three scores from the mid 80’s and mid ‘90s, showing three very distinctly different styles and demonstrating different flavors of the composer’s expertise.

Released in 1985, CODE OF SILENCE was the first action film scored by David Michael Frank, and is also recognized as one of action star Chuck Norris’ best films. This was the fourth film for director Andrew Davis and Frank would collaborate with him again on his next film, ABOVE THE LAW, which launched action star Steven Seagal’s career and also increased the demand for the composer’s talents for scoring action films. Norris plays Eddie Cusack, a Chicago cop who gets caught in the middle of a gang war while his own comrades shun him because he wants to take down a corrupt fellow officer. Henry Silva has a memorable role as the film’s villain and would also return to play the villain in ABOVE THE LAW. Frank’s score for CODE OF SILENCE is a mix of sequencer material the director was fond of but most of the score is in the style of hip fusion, mid ‘80s style, with a rhythm section featuring some of Hollywood’s hottest musicians (George Doering on electric guitar, Neil Stubenhaus on bass, Vinnie Colaiuta on drums, and on keyboards Mike Lang, Randy Kerber, and Mike Boddicker.

Released in 1996, COSMIC VOYAGE was a short documentary film produced in the IMAX format, directed by Bayley Silleck and narrated by Morgan Freeman. The film, presented by the Smithsonian Institution’s National Air and Space Museum, sought to explore our place among the ever-expanding universe. The score was recorded at Skywalker Ranch with a 90-piece orchestra.

Also included, from 1994, music not from a film but a corporate event, from the BOEING 777 ROLLOUT. When the first of a new series of airliner is built, Boeing puts on a PR show, and in 1994, the 777 was their newest airplane. The rollout was a 10-minute event to present the new plans to the public, and Boeing wanted to make it the most spectacular one to date. Frank was hired to compose a ten-minute fanfare and suite for the rollout, which was a one-day presentation with 105,000 people gathered into Boeing’s large aircraft hangar.

David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition.

Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 1, featuring music composed by David Michael Frank for several projects from his filmography, digitally mastered by James Nelson at Digital Outland, featuring liner notes written by author Randall Larson, with the participation of the composer.

THE DAVID MICHAEL FRANK COLLECTION, Volume 1 is a limited edition release of 500 units. THE DAVID MICHAEL FRANK COLLECTION, Volume 1 is expected to begin shipping the week of November 1st, 2021.

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents BASEMENT JACK, featuring music composed and performed by Alan Howarth for the 2009 horror film directed by Michael Shelton, written by Brian Patrick O’Toole, starring Eric Peter-Kaiser, Sam Skoryna, Michele Morrow, Joel Brooks, Noel Guglielmi, Billy Morrison and Tiffany Shepis.

Released in 2009, the film follows Jack Riley, just released after spending eleven years in the state asylum after killing fifteen people, including his own mother. Dubbed by the media as Basement Jack because of his penchant for hiding out in the basements of his victims before killing them, he was only seventeen years old at the time. But even though he has been released from the asylum, he hasn’t been cured and soon enough, he starts to kill again. But this time, someone is waiting for him… Haunted by the loss of her family during Jack’s murder spree, Karen Cook has been waiting eleven years for her revenge. She only has to get to Jack before the body count starts to climb again…

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 and most recently, HOUSE AT THE END OF THE DRIVE, SHINER and HOAX.

Dragon’s Domain Records presents BASEMENT JACK, featuring music composed and performed by Alan Howarth. The music has been mastered by James Nelson at Digital Outland.

BASEMENT JACK is a limited edition release of 500 units and is expected to begin shipping the week of November 1st, 2021. The first 50 copies sold through our website will include an autograph by the composer.

 

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Und neu von Beat: Die Erstveröffentlichung von Vasco Vassil Kojucharovs Musik für den Horrorfilm Byleth (Il demone dell'incesto) und eine Neuauflage von Ennio Morricones Score zu dem Giallo Gli occhi freddi della paura.

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Beat Records is glad to release the first absolute edition of the soundtrack composed by Vasco Vassil Kojucharov for the movie Byleth il demone dell'incesto (1972, Leopoldo Savona).

From Nomus foundation archive, from which we have taken a number of scores composed by the Maestro, we make available this nice soundtrack that features the presence of melodic cues and sonic masses close to experimentation, both genres in which the artist makes a display of his usual talent, this time scoring a gothic horror with some red lights.

The CD is proposed in a jewel case box with a transparent tray, liner notes by Alessandro Bratus, mastering by Enrico De Gemini and graphic layout by Daniele De Gemini

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Beat Records is happy to release on CD the OST composed by Ennio Morricone for the 1971 Giallo movie “Gli occhi freddi della paura” (aka “The Cold Eyes of Fear”), directed by Enzo G.Castellari with a screenplay by Enzo G. Castellari, Leo Anchóriz and Tito Carpi, photography by Antonio L. Ballesteros, editing by Vincenzo Tomassi and starring Giovanna Ralli, Gianni Garko, Fernando Rey, Julián Mateos, Karin Schubert, Frank Wolff , Franco Marletta, Leonardo Scavino and starring Giovanna Ralli, Frank Wolff, Julián Mateos, Fernando Rey and Karin Schubert.

The plot - Peter Badel, the young son of a judge, arrives back home with his girlfriend Anna and is held captive by two criminals who'd been lying in wait after killing the servant. The older of the two criminals, who'd been sentenced by Peter’s father to fifteen years in jail, plans to kill the judge when he returns home by blowing up the house with an explosive device. Peter and his girlfriend try everything in their power to communicate with the outside world, but their efforts are in vain. Desperate, the young man causes a short circuit that leaves the house in complete darkness. In the ensuing climactic fight scene, the two criminals and the girlfriend are killed, and Peter, the only survivor, battered and bleeding, awaits his father’s return.

The music - Ennio Morricone composed a score of the experimental kind, conducted by Bruno Nicolai and performed by Gruppo di improvvisazione Nuova Consonanza. With just a few instruments performing a sort of conversation, the Maestro effectively creates an avant- garde atmosphere, suspended and rarefied, alternating with other violent clashes of sound that provide the ideal background to the situation of pure terror in which the protagonists find themselves. For the making of this CD (with a total length of 55:54), the stereo master tapes of the original session were used, providing another discographic tribute to the musical art of Ennio Morricone and the cinematic art of director Enzo G. Castellari.

CD comes in jewel case with transparent tray, liner notes by Fabio Babini, mastering by Claudio Fuiano and graphic layout by Daniele De Gemini.

 

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Und noch mehr italienischer Genre-Klänge von Quartet: Morricone Il gatto a nove code als remasterte Neuauflage, eine erweiterte Fassung von Riz Ortolanis Nella stretta morsa del ragno und die erweiterte CD-Premiere von Daniele Patucchis Dimensione violenza.

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Quartet Records, in collaboration with GDM, presents a 50th-anniversary remastered edition of the cult-classic score by Ennio Morricone (THE GOOD, THE BAD AND THE UGLY; SACCO E VANZETTI; NOVECENTO; THE MISSION; CINEMA PARADISO) for Dario Argento’s 1971 giallo THE CAT O’NINE TAILS (IL GATTO A NOVE CODE), starring James Franciscus, Karl Malden and Catherine Spaak.

The film is about a newspaper reporter and a retired, blind journalist who try to solve a series of killings connected to a pharmaceutical company’s top-secret experimental research projects; in doing so they become targets of the killer.

Ennio Morricone can be considered the inventor of the giallo sound, as he was the inventor of the Spaghetti Western sound or the political-cinema sound. For The Cat o’ Nine Tails, Morricone demonstrated his uncanny ability to range from melodies of exquisite, lyrical beauty to some of the most uncompromising and alienating avant-garde sound experimentation ever heard in film.

This anniversary edition, produced by Claudio Fuiano and Dániel Winkler, has been completely rebuilt and mastered by Chris Malone from first-generation master tapes. The full-color booklet includes in-depth liner notes by Jeff Bond.

 

 

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Quartet Records, in collaboration with GDM, presents the 50th-anniversary complete edition of the haunting, innovative score composed by Riz Ortolani (MONDO CANE, THE YELLOW ROLLS-ROYCE, THE SEVENTH DAWN, LA VERGINE DI NORIMBERGA) for Antonio Margheriti’s stylish Italian gothic horror NELLA STRETTA MORSA DEL RAGNO (1971), starring Anthony Franciosa and Michéle Mercier, with Klaus Kinski in the role of Edgar Allan Poe!

The film was a remake of a previous horror classic, DANZA MACABRA, also directed by Margheriti in 1964, and also scored by Ortolani, about a journalist who takes a bet that he can spend the night in a haunted castle on All Hallows’ Eve. During his stay, he sees the castle’s gruesome past coming to life before him, and falls in love with a beautiful female ghost.

Whereas for the 1964 film Riz Ortolani wrote a completely symphonic score in the best Gothic tradition, for this 1971 version he compose a totally different score where his orchestration is now enriched with distorted guitars, a wider range of percussion and even a cembalo to reflect the Baroque music of the era, finding the right balance between the horrific and romantic aspects of the story. Ortolani also offered a beautiful “Waltz of the Dead” that is one of the most beautiful pieces he ever composed.

NELLA STRETTA MORSA DEL RAGNO has had several releases over the years on LP and CD, although none has been so complete as this one, which includes both the original RCA SP stereo album and, from recently discovered entire session masters in pristine condition, the full score in mono, as it was mixed for the film. Produced and mastered by Claudio Fuiano, with additional restoration by Chris Malone, the package includes liner notes by Gergely Hubai discussing the film and the score.

 

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Quartet Records, in collaboration with Cinevox, presents the premiere CD edition of the cult score composed by Daniele Patucchi (LOS AMIGOS, EUTANASIA D’UN AMORE, PANE E CIOCCOLATA) for the obscure mondo-slasher shockumentary DIMENSIONE VIOLENZA (1985), directed by Mario Morra, about death, destruction and weird customs around the world.

During the 1980s, mondo movies were given a new lease on life by the emerging VHS market which allowed filmmakers to be even more gruesome. Although mondo movies from the period were premiered in theatres, their truly flourished on home video, where the interchangeability of the scenes made sure that each copy of the film could be tailor-made to the restrictions of the medium (VHS had different rules than cinematic showings) and the censorship of each market—as well as how much those rules were enforced. DIMENSIONE VIOLENZA is more “heads-on” in its handling of disturbing material.

Daniele Patucchi had already collaborated with Mario Morra on a previous bizarre documentary, DOLCE E SELVAGGIO, and in both films his music continues the tradition of the genre scores composed by Riz Ortolani and Nino Oliviero during the early sixties, where the music creates the shocking effect of juxtaposition as disquieting scenes of torture or death are contrasted with soft, even comic melodies. In this score, Patucchi also offers the usual eighties sound of synthesizers—including a Vangelis tribute—and a sort of new-age jazz mood, which represents a renewal in music for the genre.

DIMENSIONE VIOLENZA was originally released by Cinevox on a limited LP edition with ten cues, reproduced for the first time on CD with this release, along with the complete score; both are in pristine stereo sound. Produced by Claudio Fuiano, the package includes liner notes by Gergely Hubai discussing the film and the score.

 

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Silva ist auch recht rührig in letzter Zeit: Demnächst kommt ein neues Album mit Barry Grays Musik aus der Gerry-Anderson-Serie Captain Scarlet and the Mysterons und ein Reissue von Mark Ishams The Hitcher.

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Following the success of Thunderbirds, Gerry and Sylvia Anderson had proved they had hit upon a winning formula to wow audiences – their mixture of inventive special effects and puppetry: Supermarionation. First screened in 1967, Captain Scarlet And The Mysterons, was written as a more mature series, set against an ongoing war with a forboding unseen nemesis.

Taking his lead from the series premise, Captain Scarlet inspired composer Barry Gray to explore an equally mature musical palette to what he had utilised for previous Supermarionation series. With subtle string arrangements replacing the bombast of Thunderbirds’ urgency, the original music composed for Scarlet was suitably more atmospheric and at times more sober than its predecessors. The alien nature of the Mysterons themselves saw Gray return to the experimental electronic work he had composed for Fireball XL5 to create something suitably other worldly.

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The chilling road thriller, The Hitcher, was released in 1986 and starred Rutger Hauer as a murderous hitchhiker in a relentless pursuit of a young motorist, C. Thomas Howell. Critically maligned at the time, over the years the film has built up a cult following and has spawned a sequel and a remake. The original soundtrack has been unavailable for close to 30 years.

“Technically the music business was in a crossroads and new instruments and new instrument technologies were appearing every day. I availed myself of this “new” technology of “sampling” and brought in two drummers who played only originally sampled drums. I was still using my early system of a Prophet 5, an Oberheim 4 voice and my ARP 2600. To this I added this new keyboard, a Prophet 2000 (sampler). This was the “band”! – Mark Isham

 

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