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Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

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vor 13 Stunden schrieb Oliver79:

Die Playtime-CD kostet bei Discogs inzwischen auch schon mindestens 50 Euro, die neue Fremeaux macht diese Veröffentlichung auch nicht überflüssig, da anscheinend ja nur dort das Material aus "Les yeux sans visage" zu finden ist.

Das ist auch ein weiterer Grund, um anzunehmen, daß sich Fremeaux nur bei den digitalen BNF-Veröffentlichungen bedient hat, denn von LES YEUX SANS VISAGE gab es früher nie eine EP - also konnte BNF davon auch nichts veröffentlichen. Es gab zwar in den 80ern unter Sammlern immer Gerüchte einer angeblichen Vega-EP von LES YEUX SANS VISAGE, aber diese haben sich nie bestätigt. Vermutlich ist aber an 1960 eine EP geplant gewesen und Lerouge konnte dieses Material, das er irgendwo bei Vega im Archiv noch gefunden hat, dann für die alte PlayTime-CD verwenden.

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vor 31 Minuten schrieb Oliver79:

Schade nur, dass es seinerzeit "Judex" auf keine EP geschafft hat.

In der Georges Franju-Suite, die Jarre später eingespielt hat für zwei verschiedene CDs - einmal an 1989 mit dem Madrider Sinfonie-Orchester und einmal an 1992 mit dem Royal Philharmonic Orchestra - ist allerdings JUDEX auch mit drin. Natürlich wie die anderen Franju-Musiken anders arrangiert als im Original und für größeres Orchester gesetzt. Die eine Suite mit dem spanischen Orchester geht 15:07 Minuten, die andere auf der Abbey Road-CD 16:35 Minuten.

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Ja, die kenne ich. Besser als nichts, aber doch nicht wirklich befriedigend. Ich frage mich ob man Judex so einfach neu einspielen kann. Gerade diese schlank besetzten frühen Jarres hatten schon irgendwie einen bestimmten Sound, ich weiß nicht, ob man den so einfach in einer neuen Aufnahme reproduzieren kann.

Danke für die Info mit Les yeux, hatte mich immer gefragt, woher das Material für die CD kam.

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Von Kronos kommen demnächst weitere CDs: Piero Umilianis Musik für TV-Doku Storia e preistoria, Laurent Eyquems Score zu dem Historiendrama Blood on the Crown und Andre Matthias Hörspiel-Komposition Farewell Gulsary.



Kronos Records is proud to present the soundtrack to the  STORIA E PREISTORIA docu-film composed by none less than legendary  PIERO UMILANI (composer of ARAGOSTA A COLAZIONE, AFRICA TO-DAY)

This title was released on vinyl in 1972 and since than an absolute rarity and coveted gem, on the Omicron label, A true collector's item. The music on STORIA E PREISTORIA can be best described as an the mystichal romanticised atmospheres of civilizations bygone as viewed through 1972 Made In Italy viewing spectacles, all with a very heavy personal Umiliani feel to it.  A real gem that you cannot afford to miss. A real must for Piero Umiliani fans and fans of 1970's Italian scores, documentaries and library music!

This is the first time ever that STORIA E PREISTORIA is releaseds on CD format and it is strictly Limited To 300 Copies.



KRONOS RECORDS is proudly present the soundtrack to BLOOD ON THE CROWN ("STORBJU" from 2021), the story of which deals with the events that lead to the 7th June 1919 Maltese uprising against their British colonizers; that went down in history books as "Sette Giungo"; a revolt that started as a protest against the price of bread, that years later culminated with independence of the Maltese islands. The film stars 2 giants of cinema, iconic British actor Malcolm McDowell (star of classics like TIME AFTER TIME, STAR TREK: GENERATIONS, CALIGULA ,CAT PEOPLE and Stanley Kubrick's A CLOCKWORK ORANGE among others) and Harvey Keitel of Martin Scorsese's MEAN STREATS and TAXI DRIVER fame, THE DUELLISTS, THELMA &LOUISE, star of THE PIANO, Tarantino's RESERVOIR DOGS and PULP FICTION)  and the direction of Davide Ferrario.

The music was written by none less than French multi-award winning composer LAURENT EYQUEM, famous for his work on scores like NOSTALGIA, COPPERHEAD, CLASH OF FUTURES, MOMENTUM, RABID DOGS and many others; who wrote a truly beautiful score, highly eclectic and dramatic, as the events of the film.  It dives into the psyche of the protagonists and also the brooding moods, the turns and events in both the smaller and larger scale of the story.  The more tranquil pieces have a European flavour to them with a hint of Middle Eastern touches, reflecting very much the Maltese being at the centre of Mediterranean Sea, a nation invaded through the millenia but also a hub of European, African and Eastern commerce and culture cross pollination, even most of the more uptempo tracks have ethnic style percussions keeping them in rhythm, anchoring it more in 1919 Malta! The composer simply nailed it!

It is our privilege to work this immensely talented composer on this first release together, the first but sure no the last, hang on in there for more to come!



KRONOS RECORDS proudly presents the soundtrack to FAREWELL GULSARY (2021). Famous Kyrgyz writer Chingiz Aitmatov's novel “Farewell, Gulsary!“ deals with old age, loss, and disenchantment but at the same time celebrates the beauty of life and what we make of it. On this long night in the mountains Tanabai reflects on his life while we in turn learn about Gulsary's, told from the perspective of the horse itself. Sensitively written by Aitmatov and first published in 1963, the wistful story was adapted as a two-part radio play for German MDR radio by award winning director Heike Tauch under the title “Abschied von Gülsary“ in 2021.

The music is the work of our friend Andre Matthias (THE LIGHT THIEF, FOUR ASSASSINS, WISH YOU WERE HERE, GAZA MON AMOUR). As always Andre delivers the goods with his beautiful, heartfelt score for this radio play. The music has an ethnic flavour to it, transporting you to the mountains of Kyrgyzstan but more precisely into Gulsary and Tanabai's hearts and souls. 

The first 50 people to purchase this CD along 2 full priced CDs directly from our website will also receive the CD of Andre Matthias' CONTROL for free!  We highly recommend checking out THE LIGHT THIEF, FOUR ASSASSINS and GAZA MON AMOUR) if you are not familiar already with the music of this amazing composer.


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Und auch neue Italo-CDs von Chris' Soundtrack Corner: Carlo Savinas Ingrid sulla strada sowie Sans sommation und Il sorriso del ragno, beide von Daniele Patucchi.



Chris' Soundtrack Corner proudly presents the CD soundtrack to INGRID SULLA STRADA (Ingrid on the Road), a 1973 Italian psychological drama. The film was written and directed by Brunello Rondi, known primarily as a script-writer and script consultant who had often collaborated with Federico Fellini. Rondi's directorial debut came in 1961 with the film VIOLENT LIFE and he went on to make a number of psychological/sexual dramas of which INGRID SULLA STRADA was one of the last.

The film is a kind of drama in which young Ingrid leaves her home after being raped by her father and arrives in Rome, where she prostitutes herself and has various adventures until everything becomes too much and she commits suicide. It's not a real happy story, but it wasn't necessarily meant to be. Aside from its cruel turns of plot, INGRID SULLA STRADA served as Rondi's commentary and condemnation of bourgeois conventions, much in the way Fellini and Pasolini used extreme cinematic drama to express their dissatisfaction with Italian society. Thus the film has a deeper sociological component than the simplistic brutality its plot might suggest, although the film makes for difficult entertainment at best.

Swedish model and actress Janet Agren stars as Ingrid, who ventures out of the pure Nordic snowscape at the beginning of the film to arrive into the cruel depravity of modern, claustrophobic Rome. There she befriends Claudia (Francesca Romana Coluzzi), the wild and noble hooker-with-a-heart-of-gold who helps Ingrid navigate the seamier side of Roman adventure. Additional cast members include Enrico Maria Salerno as depraved bourgeois Urbano, Bruno Corazzari as Alessandro the painter, and Franco Citti as Renato the local Neo Nazi leader.

The movie features a score by Carlo Savina (1919-2002), who at the time was nearly at the midpoint of his film music career. While the movie is largely forgotten, it contains one of Savina's loveliest melodies and is one of his most interesting scores. His score is largely built around a single main theme, which Savina adapted from a sumptuous melody he originally composed for 1964's AMORE MIO, which nicely accommodates INGRID's less affectionate romantic story - essentially serving as "Ingrid's Theme." Savina provides a likable amount of arrangements and variances of this theme to fit the intricacies of the storyline and treat the listener to a variety of instrumentations.

Chris' Soundtrack Corner is delighted to make this score available for essentially the first time. Only the Main theme and the pop organ track, "Walking Through the Falling Leaves," have been previously released. It's a deliciously engaging score from Carlo Savina, its thematic development nicely reflecting the story of the friendship between Ingrid and Claudia both in the beauty of its melody and, ultimately, our coming to know the heartbreak that leads Ingrid to surrender her soul. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson, who deconstructs the score's elements in detail.




Chris' Soundtrack Corner proudly presents the CD soundtrack to the 1973 German-French-Italian co-production SANS SOMMATION (called WITHOUT APPEAL in the UK, worldwide English title WITHOUT WARNING), helmed by French director Bruno Gantillon and featuring a score by Daniele Patucchi. The film is an entertaining thriller that plays out satisfactorily.

Maurice Ronet stars as discredited police inspector Raoul Maury, who made the mistake as a policeman of going after a politician's nephew on drug charges. This resulted in his demotion to an archivist in the police records office. But when it is learned that he has a remarkable resemblance to Lt. Kieffer, an associate of wanted mercenary Pierre Capra, Maury is reinstated and assigned to impersonate Kieffer in order to get close to Capra and assassinate him. But during the assignment, Maury finds Capra to be a noble man and is caught up in shifting loyalties. The story is one of suspicion and trust, the contrast between two men, one resentful over failure and lost opportunity, the other craving loyalty and bitterly vengeful over betrayal.

Patucchi's music for SANS SOMMATION is one of more than 35 European movie soundtracks he composed throughout the 1970s and '80s. His gift for tuneful, pop-oriented melodies have served him well in this film and many others. The SANS SOMMATION score is a mixture of a single primary theme and a harsh, driving action motif – a score that maintains both emotive sympathy and energetic forward motion for the crime story. There is also a variety of pleasing diegetic source music. Patucchi's lovely main theme never grows old or unwelcome; it's one of his nicest melodies, enhanced by the softness of the featured keyboard.

Chris' Soundtrack Corner is delighted to make this score available, for essentially the first time, in a 15-track collection. Only five of Patucchi's score tracks have been released previously (as, of course, has the popular standard "Midnight, The Stars and You"). The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Aletta Heinsohn and featuring detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson, who deconstructs the score's elements in detail.



Chris' Soundtrack Corner proudly presents the CD soundtrack to Il Sorriso Del Ragno, composed by Daniele Patucchi. The title of this 1971 Italian film is properly translated into English as "The Spider's Smile," but the film, if known at all, is probably best recognized by its International English title, Web Of Deception. It's the only film directed by Massimo Castellani, who had better success as a script supervisor and a second unit or assistant director.

Based on a script written by Italo Gasperini and Armando Morandi, with dialogue provided by Fabio Piccioni, Il Sorriso Del Ragno is a crime thriller disguised as a travelogue. Ranging from location shooting in France and multiple regions of Greece, cinematographer Giorgio Tonti – not to mention the film's cast – must have certainly enjoyed the opportunity filming in the many picturesque Aegean landscapes used in the film.

The story follows private investigator and ladies' man Tony Driscoll; he's got a good record at recovering stolen goods, and so when thieves make off with $5 million in jewels from a French bank, the insurance agency covering the stolen gems hires him to get them back. Or, is he just out for himself? The plot makes the most of this question, and its eventual solution.

A self-taught musician and composer, Daniele Patucchi was born in 1945 in Turin. By the time he began writing and performing music professionally he was adept in a wide range of styles, from jazz and rock to classic and also knew his way around a bank of digital synthesizers. With a gift for tuneful, pop-oriented melodies which served him well across more than 35 movie soundtracks. His music for Il Sorriso Del Ragno is organized around five central musical ideas. Three of them – Main, Suspense, Action themes – form the lion's share of the score's thematic architecture and serve to enhance the adventure, tension, and intrigue as the story plays out. Additional musical ideas cover the film's adventures in Corinth and provides for source music for other settings the characters visit.

Il Sorriso Del Ragno is an effective and enjoyable score. It possesses a complementary thematic unity through recurrences of its primary motifs, which proffer enough variation in their treatment to make for a compelling – and often toe-tapping – listen away from the film itself.

Chris' Soundtrack Corner is pleased to make this score available for essentially the first time (only three tracks have been previously released). Additionally, six tracks that were not used in the movie have been added as bonus tracks: alternate or varied presentations composed for the movie or re-arranged for use on one of CAM's promotional library music records.

The Il Sorriso Del Ragno soundtrack album is produced by Christian Riedrich and mastered by Stefan Betke. The CD is accompanied by a 12-page illustrated booklet designed by Aletta Heinsohn featuring detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson, who deconstructs the score's elements in detail.



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vor einer Stunde schrieb Oliver79:

Ja, die kenne ich. Besser als nichts, aber doch nicht wirklich befriedigend. Ich frage mich ob man Judex so einfach neu einspielen kann. Gerade diese schlank besetzten frühen Jarres hatten schon irgendwie einen bestimmten Sound, ich weiß nicht, ob man den so einfach in einer neuen Aufnahme reproduzieren kann.

Danke für die Info mit Les yeux, hatte mich immer gefragt, woher das Material für die CD kam.

Die 12:38 Minuten von LES YEUX SANS VISAGE auf der PlayTime-CD sind ja auch eine ganz typische EP-Länge.

Es stimmt schon, daß diese frühen Jarres vor allem für die Franju-Filme einen ganz besonderen, eher kammermusikalischen und transparenten Sound haben. Wenn man das großorchestral aufbauscht geht da natürlich so einiges verloren. Ich hatte das schon 1995 in meiner Rezension des PlayTime-Samplers in der Art  ebenfalls angemerkt gehabt:
"Jarre hat auf zwei Samplern der letzten Jahre diese Arbeiten zwar in einer "Georges Franju-Suite" orchestral aufgebauscht, die Originalaufnahmen sind aber aufgrund ihrer klanglichen Delikatesse vorzuziehen."

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vor 45 Minuten schrieb Oliver79:

Und auch neue Italo-CDs von Chris' Soundtrack Corner: Carlo Savinas Ingrid sulla strada sowie Sans sommation und Il sorriso del ragno, beide von Daniele Patucchi.

"His score is largely built around a single main theme, which Savina adapted from a sumptuous melody he originally composed for 1964's AMORE MIO, which nicely accommodates INGRID's less affectionate romantic story "

Freut mich, daß Randall Larson meinen AMORE MIO-Hinweis schlußendlich also doch noch in seine Liner Notes mit aufgenommen hat. :)

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Beim Durchlesen des Ankündigungstextes hatte ich mich auch schon gefragt, ob du etwas mit der Info zu tun hattest. So etwas dürfte den meisten ja wohl doch unbekannt sein.

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Soundtrack Pub haben letzte Woche ein Album mit Takeo Watanabes Musik für die japanische TV-Serie Miracle Girl veröffentlicht.



[ARK SOUNDTRACK SQUARE exclusive] The world premier release of the original soundtrack featuring songs and background music from the 1980 TV drama "Miracle Girl"!
"Miracle Girl" is a Toei-produced action drama along the lines of "Playgirl" and "The Supergirl". Starring Kaoru Yumi in the lead role, the film depicts the activities of seven female detectives (Miracle Girls) belonging to the detective agency "Office Miracle" with a light touch.
Music by Takeo Watanabe of "Lone Wolf and Cub", "Lady Georgie" and "Mobile Suite Gundam". The film's brilliant sounds, including stylish music using an electric piano and Hammond organ, dynamic action music, and lyrical music typical of Takeo Watanabe, enlivened the activities of the female detectives.

This album contains digitally mastered rare sound recordings from surviving music tapes, and all BGM is being released for the first time! Also including two theme songs, "Me and Women" and "Sexy Tonight," sung by Kaoru Yumi.
The booklet includes a music commentary, data on the film, a BGM list, a music list written by Takeo Watanabe, the melody score of the theme song, and other valuable images!


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CD includes 24 Bit Wav, MP3 and Digital PDF

BSX Records presents the original soundtrack for the Big Finish Audio Drama THE BOX OF DELIGHTS, featuring a stellar cast of talent including Sir Derek Jacobi, Mark Gatiss, Louise Jameson, Lisa Bowerman, David Warner and Mack Keith-Roach.

First published in 1935, THE BOX OF DELIGHTS is a children’s fantasy novel written by John Masefield. Released in 2021, THE BOX OF DELIGHTS was a ten-part epic audio production, featuring the music of Joe Kraemer (JACK REACHER, MISSION IMPOSSIBLE: ROGUE NATION), with a brand-new arrangement of Victor Hely-Hutchinson's The First Nowell from his CAROL SYMPHONY. THE BOX OF DELIGHTS is considered a forebear to NARNIA, DOCTOR WHO, HARRY POTTER, HIS DARK MATERIALS. It concerns the magical world breaking in on everyday life, the extraordinary coexisting with the ordinary.

Returning home for Christmas, young Kay Harker meets Cole Hawling, a strange old man, and finds himself thrown deeper and deeper into a thrilling world of magic and peril. Cole is the owner of the Box Of Delights, a magical box that allows the owner to shrink in size, to fly swiftly and go into the past, among other delights. Tumbling through time, he's pursued by gangster magicians, piratical rats and sinister forces that will stop at nothing to destroy Christmas. The wolves are running... Will Kay be able to stay ahead?

Joe Kraemer began his first film score in 1986 when, at the age of 15, he was acting in an independent feature for director Scott Storm.  Since then he has composed music for over 100 feature films, television episodes and movies, documentaries, and audio dramas.  He is perhaps best known for his award-winning score to MISSION: IMPOSSIBLE-ROGUE NATION (2015 Action Score of the Year, IFMCA), as well as JACK REACHER in 2012.  

Other notable works include THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT, THE WAY OF THE GUN, TV series such as PANDORA, CREEPED OUT, and COMRADE DETECTIVE, and the documentary KING COHEN about the films of director Larry Cohen.  In 2016, he composed a new score for the 1927 film SUNRISE by F.W. Murnau, which premiered live-to-picture in Dallas and has since been performed all over the world.  THE BOX OF DELIGHTS is his thirtieth project with Big Finish Audio, an association that has included music for DOCTOR WHO, SPACE: 1999, and original material such as the psychological thriller TRANSFERENCE.  In his spare time, Joe likes pizza parties and meeting new people.

BSX Records presents the compact disc release of THE BOX OF DELIGHTS, featuring music composed by Joe Kraemer, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by Barnaby Edwards, director and co-writer of Big Finish’s adaptation of THE BOX OF DELIGHTS.

THE BOX OF DELIGHTS is a limited edition 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 album is scheduled to ship on May 4th, 2022.

1. A Carol Symphony – Arrival at the Train Station (1:58)
2. Antics on the Platform (4:04)
3. Travelling by Rail (3:22)
4. Seekings House (4:16)
5. The Mysterious Mr Hawlings (2:36)
6. A Wintry Adventure (2:42)
7. The Mystery of the Box (1:51)
8. The Box of Delights (0:51)
9. Taking to the Sky (3:15)
10. Herne and the Magical World (3:20)
11. The Skaian Gate (2:16)
12. Foxy Faced Charles and Chubby Joe (4:19)
13. The Joys of the Season (0:53)
14. Reunion and Resolution - A Carol Symphony Reprise (3:44)
Total Time: 36:54



CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax , presents THE KEN THORNE, VOLUME 1, featuring music composed by Ken Thorne (A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, JUGGERNAUT, HANNIE CAULDER) for two projects from his rich filmography, released for the very first time.

Ken Thorne (1924-2014) was a veteran English composer for motion pictures since the mid-1960s. He gained a successful career as a big band pianist during the 1940s, and later took up studying composition at Cambridge, which led to scoring films, starting out with a 1948 musical but began earnestly in the early 1960s. Thorne so impressed director Richard Lester on one of his early films that he became Lester’s composer of choice, writing the instrumental underscore for HELP!, starring The Beatles, then winning an Oscar for best adapted music for Lester’s film A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, and reworked the music of John Williams from SUPERMAN for Lester’s two sequels, SUPERMAN II and III. Over his career, Thorne composed, orchestrated or conducted more than 100 feature and television movies.

Released in 1976, ASSAULT ON AGATHON tells the story of Interpol agent Cabot Cain (Nico Minardos), who has been recently assigned to stop the mysterious Agathon (George Moussou), an insurgent who is instigating a new revolution in Greece. Directed by László Benedek and filmed on location, ASSAULT ON AGATHON makes the most of its spectacular Grecian scenery, allowing the composer many exciting musical opportunities. The film opens with an engaging main theme, a mix of strings, brass, and drums behind a provocative, rising woodwind melody, which is reprised several times in the score, along with a delicious love theme later on for strings and harpsichord and plenty of articulate action music.

Released in 1978, POWER PLAY, also known as COUP D'ÉTAT, takes place in a fictional country beset by corrupt government, terrorism and martial law, where a small group of military officers (Peter O’Toole, David Hemmings, Donald Pleasence) decide that they must overthrow the current administration. But the coup’s leader worries that there is a spy in their group and ultimately it is revealed that he’s not wrong. Directed by Martyn Burke, whose script, co-written with Edward N. Luttwak (based on his 1968 non-fiction book, COUP D’ÉTAT: A PRACTICAL HANDBOOK) won Best Screenplay at the Canadian Film Awards. Not all of the score’s tracks have survived (including the main title), but we feel the 17 tracks that have remained offer a sufficient example of the composer’s music for this film. POWER PLAY is primarily a suspense score full of tension and brooding, which Thorne offers through effective orchestration and textural interaction but there are also opportunities for a poignant melody for guitar and strings over keyboard presented underneath a eulogy and also some great moments of action/suspense writing.

Dragon’s Domain Records presents THE KEN THORNE COLLECTION, VOLUME 1, featuring music composed by Ken Thorne for ASSAULT ON AGATHON and POWER PLAY,appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

THE KEN THORNE COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE KEN THORNE COLLECTION, VOLUME 1 is expected to begin shipping the week of May 4th, 2022.

1. Assault on Agathon: Opening Credits (1:24)
2. Car Chase (1:02)
3. Cabot Cain To The Rescue (1:55)
4. Cafe Muzak (2:04)
5. He’s My Friend Too (0:38)
6. Classical Piano (2:05)
7. I’ll Tell You No More! (1:47)
8. Police Van (1:38)
9. Campfire (1:06)
10. Memories / On The Road (2:24)
11. Village Rescue (3:20)
12. Cain In Action (0:49)
13. Hotel Muzak (3:10)
14. Jewelry Store Muzak (2:01)
15. Having Drinks (1:05)
16. Love Scene (2:20)
17. Night Encounter (2:24)
18. Cabot Goes To Confront Agathon (3:02)
19. Entering The Camp (1:58)
20. Escape From Cell / Final Confrontation (5:16)
21. Will I Be Remembered? / Fatal Shot (2:19)
22. Final Farewell (1:26)
23. Sooner Than We Know (2:11)
Music: Ken Thorne
Lyrics: Hal Sharper
Vocal: Diane Solomon

24. As Long As We Live (0:44)
25. The Kidnapping (1:47)
26. Torture and Death (1:59)
27. Tank Kill (0:57)
28. Bugs (2:30)
29. The Break Up (0:47)
30. Spy Kill (2:02)
31. The Colonel’s Death (1:45)
32. The Takeover (2:52)
33. Arrival (0:48)
34. The Betrayal (0:57)
35. Coup D’Etat (2:33)
36. Closing Credits (2:44)
37. The Dick Cavett Show Theme (Not Used in Film) (1:11)
38. Tango (0:32)
39. Birthday Muzak #1 (2:01)
40. Birthday Muzak #2 (3:20)
Total Time: 78:34



Dragon’s Domain Records presents the original motion picture soundtrack release of NIGHT CALLER, to be distributed through buysoundtrax.com. NIGHT CALLER features music composed by Richard Band for the 2022 horror film written and directed by Chad Ferrin, starring Steve Railsback, Susan Priver, Bai Ling, Robert Miano, Silvia Spross, Kelli Maroney, Lew Temple, Robert Rhine, James MacPherson and Scott Vogel.

NIGHT CALLER focuses on a psychic hotline worked named Clementine (Priver), who starts receiving calls from a serial killer. The killer, James Smith, as it appears on the caller ID, loves to taunt Clementine on the phone before each murder. Soon after, Clementine begins to have visions of the grizzly deaths before he commits them. Predicting his murders before he commits them puts her into a terrifying game of cat and mouse with the killer. Enlisting the aid of her invalid father and clairvoyant co-worker, they must use their unique abilities to stay one step ahead of a maniac whose unspeakable acts in the present are nothing compared to his past and future.

Continuing their successful collaboration on EXORCISM AT 60,000 FEET and THE DEEP ONES, director Chad Ferrin returned to Richard Band to score NIGHT CALLER. “Not only has Richard created my favorite score of our three collaborations, but he did it with tremendous speed and accuracy, a testament to his tremendous talent, as well as our developing shorthand”, the director said recently.

Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band, 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.

As a composer, his work is extremely prolific and he has consistently evolved with the ever-changing needs and tastes of the entertainment industry. He has worked on over 140 film and TV projects and has had his works recorded with some of the most renowned orchestras in the world including the London Symphony Orchestra, the Royal Philharmonic Orchestra and the Rome Symphony Orchestra.

In addition to being a composer, Richard finds time to educate and mentor aspiring composers and musicians in all areas related to composition, the music industry and music production process. His knowledge and experience in film music, mastering, album producing, and intellectual property rights has proven to be invaluable to many.

Dragon’s Domain Records presents the original motion picture soundtrack to NIGHT CALLER, mastered by James Nelson at Digital Outland. NIGHT CALLER is a limited edition release of 500 units. NIGHT CALLER is expected to begin shipping the week of May 4th, 2022. The first 50 copies of NIGHT CALLER ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge.

1. Crappy Logo / Main Title / Radio Office (2:41)
2. First Call and Kill (4:17)
3. She Tries Calling Back / Room / Clem Sleeps / Hubby To Bathtub (2:22)
4. Clem Shows Drawings To Dad (3:23)
5. He Calls Clem / Girl Garage Accosting (3:37)
6. Uber Kill / Caller Calls Clem /Jade Jolted by Voice Vision /
Jade Returns To Office / Jade is Freaking /

Caller Calls (5:09)
7. Clem Goes to Murder House (3:59)
8. Clem’s Seance - Hears Voices / Attack /
Clem Exits House / Clem Just Escapes

Caller Attack (4:08)
9. Dad Tells Clem About Mother / Clem Waits /
Clem & Jade Listen Back To Seance Tape (3:14)
10. Hubby Leaves Car / Caller /
Dad Hallucination In Mirror (5:06)

11. Cops Driving To House /
Cops Searching House / Cops See
Someone Fleeing, Investigates (6:10)
12. They Call Police From Elevator /
Dad’s House At Night / Attack /
Clem Enters House, But... (4:57)
13. Caller Calls... Again / End Title (4:02)
Total Time: 53:37



CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents COURAGE featuring music from the original score composed by Craig Safan for the 1986 television movie directed by Jeremy Kagan, written by E. Jack Neuman and Michael Daly, starring Sophia Loren, Billy Dee Williams, Hector Elizondo, Val Avery, Ron Rifkin, José Perez, Marry McDonnell, Richard Portnow, Gerry Bamman and Dan Hedaya.

COURAGE made its CBS broadcast debut on September 24, 1986. Based on a true story, the plot revolves around a concerned wife and mother from Queens, New York, named Marianna (Loren) who, upon discovering her eldest son is addicted to illegal drugs, becomes an undercover agent for the DEA. With Miraldo’s assistance, the agency busts a $3.5 billion cocaine ring, the largest since the famed French Connection arrests of 1968. A flamboyant detective named Bobby Jay (Williams) acts as Miraldo’s liaison while her concerned husband Nick (Elizondo) does what he can to support his wife.

The music for COURAGE was composed by Los Angeles native Craig Safan who was well-known in Hollywood for whipping up eclectic scores for film and television including THE GREAT TEXAS DYNAMITE CHASE, THE BAD NEWS BEARS IN BREAKING TRAINING, FADE TO BLACK, ANGEL, THE LAST STARFIGHTER, THE LEGEND OF BILLIE JEAN, REMO WILLIAMS: THE ADVENTURE BEGINS and CHEERS. In the early 1980s Safan was an acquaintance of director Jeremy Kagan who had previously helmed THE JOURNEY OF NATTY GANN for Disney. The pair expressed their mutual interest in working together so when Kagan landed the directorship on COURAGE, he seized the opportunity to bring Safan aboard.

Safan’s music for COURAGE features an ensemble of flutes, oboe, piano, guitars, three keyboards/synths, three percussionists, four cellos (no violins or violas), a contrabass, and a handful of South American instruments including a clay vessel flute called the ocarina, a stringed ukulele-like instrument called the charango, and a six-hole cane flute from the Andes Mountains called the quena.

Emmy-nominated and eight-time ASCAP award-winning composer Craig Safan has scored more than one hundred feature films, television and documentaries, has had more than 50 soundtrack albums of his music produced, as well as having three original albums of his own impressionistic music released. He’s been commissioned to compose for ballet as well as for live performance of silent films and was given the Poledouris Film Music Legend Award at the 2014 International Film Music Festival in Cordoba, Spain.

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the premiere release of COURAGE on compact disc, featuring Craig Safan’s music mastered by James Nelson of Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite and includes comments from the composer.

COURAGE is expected to begin shipping the week of May 4th, 2022. The first 50 copies sold through the website will include a booklet autographed by composer Craig Safan.

01. Main Title (1:43)
02. Marianna/Marianna & Nick/Death (3:06)
03. South American Connection (2:53)
04. Coke At Work (2:39)
05. Eppy in Trouble/Marianna’s Choice (2:23)
06. Apprehension/First Encounter/Playoff (4:17)
07. The Adventure Begins/Leaving Eppy At Jail/Offering Her Services (3:14)
08. I’ll Do It/I Know Your Address (2:02)
09. Boat Ride/Fosh (2:41)
10. Her First Success/Business Card (3:13)
11. Flight/Tony’s Involved (3:20)
12. Nick, Joey, Marianna/Tension on the Bridge (5:30)
13. Fosh’s Rolls/Onward (1:34)
14. Lobby/In Danger (5:23)
15. She’s In Trouble/Clock Watching (3:34)
16. The Getaway/(aka Escape) (2:19)
17. Arrests/End Credit (3:35)
18. Bumpers #1 & #2 (0:16)
Total Time: 54:28


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Still und leise hat Dragon's Domain einen weiteren Score von Mark Snow digital veröffentlicht. Scheinbar wird es auch hier, wie bei THE SUBSTITUE WIFE, keine CD geben.



Release Date: March 15, 2022

Downloads include choice of MP3, WAV, or FLAC



Includes Digital Booklet

Buysoundtrax Digital presents music from the television series Pasadena composed by Mark Snow (THE X-FILES). The series featured Dana Delany, Alison Lohman, Mark Valley and Barbara Babcock. Catherine McAllister (Delany) is a mother at the center of a twisted dynasty. Seen through the eyes of her daughter, Lily (Alison Lohman), this drama reveals the lengths to which a powerful family will go to protect its name.

1. Pasadena Main Titles   0:44
2. Pilot-Welcome to Pasadena   1:31
3. Pilot-Meet The Greeleys   1:14
4. Pilot-Lily's Discovery   1:32
5. The Rat-Phillip Parker's Suicide   1:49
6. The Rat-Party Time   1:34
7. The Rat-The Choice   3:33
8. The Rat-Good Girl   0:47
9. The Rat-Family Secrets   2:15
10. Henry's Secret-Lily Following a Lead   2:11
11. Henry's Secret-Lily following a Lead and Bar Interlude   1:38
12. Hostile Environment-Surprise Date   4:03
13. Hostile Environment-Retirement Party   1:14
14. Hostile Environment-Nate's Confession   0:36
15. Hostile Environment-Arrival   2:36
16. Hostile Environment-Piano Interlude   1:27
17. Hostile Environment-Henry's Vexation   1:05
18. Puppy Love-Catherine's Behavior   1:14
19. Puppy Love-Will's Success   1:28
20. The Body-Henry on the Move   1:05
21. The Body-Nate's Search for the Body   1:29
22. The Body-The Yard   1:36
23. A River In Egypt-Suspicions are Aroused   1:52
24. A River In Egypt-Psychologist's Son   1:45
25. A River In Egypt-Robert's New Girlfriend   1:40
26. A River In Egypt-Catherine's Scheme   2:21
27. The Truth Hurts-Lily Relaxes   1:23
28. The Truth Hurts-Henry's Return   1:56
29. A Lie Worth Fighting For-Henry's Story   5:50
30. A Lie Worth Fighting For-Robert and Catherine's Plot   1:53
31. Don't It Always Seem to Go?-Lily Tries to Get a Confession   2:38
32. Don't It Always Seem to Go?-Departing Pasadena   4:51
33. Pasadena End Credit   0:36


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Neu von Quartet, „Diamanti Sporchi di Sangue" und „Fernando Di Leo’s Trilogy".



Quartet Records, in collaboration with Cinevox Records, presents the world premiere release of the cult score from 1977 by Luis Bacalov (SUMMERTIME KILLER, DJANGO, IL POSTINO) for Fernando di Leo’s classic polizziesco DIAMANTI SPORCHI DI SANGUE (aka BLOOD AND DIAMOND), which was considered a kind of continuation of his iconic MILANO CALIBRO 9.

Following the bankruptcy of his own production company Duania 70, Fernando di Leo returned to working for other producers with DIAMANTI SPORCHI DI SANGUE, a heist thriller which builds on the director’s knack for cop movies – with an unusual twist around who to trust in this jewelry robbery gone wrong. The film stars Claudio Cassinelli, Martin Balsam and euro-stunner Barbara Bouchet.

Leo’s usual collaborator, Luis Bacalov, composed the music, and this is one of his most important previously unreleased scores. The music often relies on various edits of the action theme “Preludio,” which escalates into a “Dies Irae” conclusion whenever murder is about to happen. Some years later, tracks from the score were utilized in Bruno Mattei’s zombie flick VIRUS (also available from Quartet Records). The music also features heart-pumping action cues, propulsive rhythms and a beautiful dramatic theme.

This is the premiere release of the complete score, whose recently discovered tapes were long thought to be lost. Produced by Claudio Fuiano, mastered by Chris Malone, the 12-page full color booklet includes liner notes by Gergely Hubai discussing the movie and the score.

  1. Diamanti Sporchi di Sangue (Preludio) (2:14)
  2. Diamanti Sporchi di Sangue (Titoli) (3:44)
  3. Diamanti Sporchi di Sangue (l’agguato e morte di Maria) (3:01)
  4. Diamanti Sporchi di Sangue (Solitudine di Guido) (1:28)
  5. Diamanti Sporchi di Sangue (Guido esce dal commissariato) (2:36)
  6. Diamanti Sporchi di Sangue (La mala uccide) (0:55)
  7. Diamanti Sporchi di Sangue (Ombra malvagia) (1:33)
  8. Diamanti Sporchi di Sangue (Attesa tensiva) (0:56)
  9. Shock Me (Film Version) (3:32)
  10. Diamanti Sporchi di Sangue (Lounge discoteque) (2:02)
  11. Diamanti Sporchi di Sangue (Piano lounge #1) (1:20)
  12. Diamanti Sporchi di Sangue (Guido contro tutti) (3:01)
  13. Diamanti Sporchi di Sangue (Piano lounge #2) (1:18)
  14. Diamanti Sporchi di Sangue (Ricordando Maria) (0:54)
  15. Diamanti Sporchi di Sangue (Strade insanguinate) (1:24)
  16. Diamanti Sporchi di Sangue (Una giornata felice) (1:34)
  17. Diamanti Sporchi di Sangue (Città di sera) (1:22)
  18. Diamanti Sporchi di Sangue (Paura) (0:59)
  19. Diamanti Sporchi di Sangue (Guido contro il boss) (3:01)
  20. Diamanti Sporchi di Sangue (Titoli di coda) (4:04)
  21. Diamanti Sporchi di Sangue (Preludio – stereo mix) (1:55)
  22. Shock Me (Original single – stereo mix) (3:32)


Quartet Records, in collaboration with Universal Music Publishing Italia and GDM, presents a 3-CD box set with the premiere releases of three scores from Fernando di Leo’s insane trilogy about love, sex and madness – all released in 1969!

AMARSI MALE is about a secretary getting involved with her boss’ leftist son who goes against his industrialist father’s political beliefs. However, when she finds out that being involved with a young rebel can be exhausting, it’s already too late for her. Silvano Spadaccino and Iller Pattacini wrote an infectious score, structured around variations on the beautiful theme song performed by Maria Monti. It includes some cool choral performances by the 4 + 4 di Nora Orlandi, as well as two different love themes for a most unusual love triangle.

In BRUCIA, RAGAZZO, BRUCIA, a bored housewife finds an unexpected adventure with a young lifeguard, but her unhappy marriage may be even more toxic than she could anticipate. The music, composed by Gino Peguri, features the theme song “Brucia ragazzo, brucia” by French singer Evy (aka Evelyne Verrecchia). This love theme gets different makeovers in the music while the rest of the score alternates between organ-based suspense underscoring and various shake pieces.

The most exploitative movie of the three, I RAGAZZI DEL MASSACRO, came out in the wake of IF… but predates A CLOCKWORK ORANGE. A group of young students rape and kill their teacher in a shocking opening that sizzles out as the rest of the film turns to the standard police procedural. Silvano Spadaccino is the sole composer of the score (Pattacini appears here as conductor), providing one experimental theme and passages of musique concrète involving reversed playback methods (brought in whenever the film flashes back to the shocking opening). The “Adagio” piece from the score offers a more tuneful solution to the mystery.

While AMARSI MALE was released on a very hard-to find promotional LP in 1969, and the song of BRUCIA, RAGAZZO, BRUCIA was also released as a single, this is the premiere release of the full surviving recordings. Produced by Claudio Fuiano, mastered by Chris Malone, the package includes a lavishly designed 24-page booklet with authoritative liner notes by Gergely Hubai, who discuss the movies, the composers and the scores.

Disc One

Music by Silvano Spadaccino and Iller Pattacini

  1. Amarsi male (vocal) (2:17)
  2. Le ore vuote (2:11)
  3. New like that time (3:32)
  4. Amarsi male (bossa nova) (1:48)
  5. Concerto for strings (slow tempo) (1:02)
  6. Samba mirage (3:39)
  7. Amarsi male (2) (2:40)
  8. Striptease at two o’clock in the morning (1:40)
  9. Slow for sax and trumpet (2:42)
  10. Funny rumba (1:43)
  11. Concerto for strings (fast tempo) (0:41)
  12. Amarsi male (3) (4:00)
  13. Amarsi male ( vocal 2) (2:16)
  14. Amarsi male (interludio chitarra) (2:00)
  15. Samba mirage (2 – versione lunga) (4:34)
  16. New like that time (2) (3:31)
  17. Le ore vuote (2) (1:01)
  18. Amarsi male  (4) (4:00)
  19. Amarsi male (5) (0:36)
  20. Funny rumba (2) (0:58)
  21. Concerto for strings (slow & fast tempo) (1:41)
  22. Amarsi male (6) (0:28)
  23. Amarsi male (bossa nova 2) (0:56)
  24. Funny rumba (3) (1:42)
  25. Amarsi male (7) (2:49)
  26. Amarsi male (8) (1:32)
  27. Amarsi male (canto folk) (1:37)
  28. Striptease at two o’clock in the morning (2) (1:02)
  29. Amarsi male (bossa nova 3) (1:06)
  30. Slow for sax and trumpet (2) (2:42)
  31. Samba mirage (3 – versione senza coro) (1:16)
  32. Le ore vuote (3) (2:12)
  33. Amarsi male (9) (1:16)

Disc Two

Music by Gino Peguri

  1. Brucia, ragazzo, brucia (titoli) (3:08)
  2. Brucia, ragazzo, brucia (in chiesa) (3:10)
  3. Brucia, ragazzo, brucia (bucolicamente) (0:30)
  4. Brucia, ragazzo, brucia (falsa tranquillità) (4:24)
  5. Brucia, ragazzo, brucia (shake 1) (2:38)
  6. Brucia, ragazzo, brucia (atmosfera pastorale) (0:19)
  7. Brucia, ragazzo, brucia (shake 2) (3:30)
  8. Brucia, ragazzo, brucia (antico amore) (2:51)
  9. Brucia, ragazzo, brucia (liturgico beat) (1:58)
  10. Brucia, ragazzo, brucia (interludio) (1:04)
  11. Brucia, ragazzo, brucia (shake 3) (1:00)
  12. Brucia, ragazzo, brucia (organo e coro) (1:29)
  13. Brucia, ragazzo, brucia (shake 4) (0:47)
  14. Brucia, ragazzo, brucia (dolce chitarra) (2:57)
  15. Brucia, ragazzo, brucia (liturgico beat 2) (0:49)
  16. Brucia, ragazzo, brucia (dolcemente) (0:51)
  17. Brucia, ragazzo, brucia (shake 5) (1:56)
  18. Brucia, ragazzo, brucia (coralmente) (1:41)
  19. Brucia, ragazzo, brucia (shake 6) (1:07)
  20. Brucia, ragazzo, brucia (versione singolo) (3:14)

Disc Three

Music by Silvano Spadaccino

  1. I ragazzi del massacro (titoli) (2:34)
  2. I ragazzi del massacro (adagio) (0:47)
  3. I ragazzi del massacro (incubo) (1:11)
  4. I ragazzi del massacro (adagio 2) (1:09)
  5. I ragazzi del massacro (“studenti modello”) (1:17)
  6. I ragazzi del massacro (atmosfera psichedelica) (5:40)
  7. I ragazzi del massacro (adagio 4) (2:00)
  8. I ragazzi del massacro (“studenti modello” 2) (1:26)
  9. I ragazzi del massacro (incubo 2) (8:59)
  10. I ragazzi del massacro (adagio 5) (2:10)
  11. I ragazzi del massacro (incubo 3) (5:59)
  12. I ragazzi del massacro (adagio 6) (2:30)
  13. I ragazzi del massacro (incubo 4 – stereo) (5:48)
  14. I ragazzi del massacro (adagio 7) (1:15)
  15. I ragazzi del massacro (martini soda) (1:48)
  16. I ragazzi del massacro (adagio 8 ) (1:38)
  17. I ragazzi del massacro (incubo 5 – stereo) (8:39)
  18. I ragazzi del massacro (finale) (1:46)


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vor 2 Stunden schrieb Alexander Grodzinski:

Neu von Quartet, „Diamanti Sporchi di Sangue" und „Fernando Di Leo’s Trilogy".

Es hätte mich auch etwas gewundert, wenn DIAMANTI SPORCHI ganz verloren gegangen wäre wie es eine Zeitlang aussah, da Cinevox doch ihren eigenen 70er-Bestand an sich immer sehr gut aufbewahrt hat. Die Bänder waren sicher irgendwo falsch eingeordnet.
Man sieht inzwischen allerdings auch bei Quartet: Wenn italienische Scores veröffentlicht werden, dann kaum noch CAM/Sugar-Titel außer den letzten Rotas (die eh schon seit Jahr und Tag reserviert waren), dafür kommen seit Monaten nun hauptsächlich Titel über Musikverlage, die noch sehr kooperativ sind wie eben Cinevox, Universal Music Publishing mit dem ganzen RCA-Katalog und natürlich GDM.

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Von Beat am 25. Mai: Fabio Liberatores Acqua e sapone und Piero Piccionis Anastasia mio fratello auf zwei CDs.



Following our releases of Bianco Rosso e Verdone and Sono pazzo di Iris Blond OSTs, we are glad to announce a new tribute to the music for the great cinema of Carlo Verdone with the release on vinyl of the original motion picture soundtrack of Acqua e sapone, composed by Maestro Fabio Liberatori, the artist who features the greatest number of collaborations with the Roman director.

Shot in 1983 it’s the story of Rolando Ferrazza (Verdone) who, stolen the identity of Father Spinelli, finds a job as private teacher for Sandy Wash (Natasha Hovey), a young teen-ager model with whom he will soon fall in love. The story will come to a bittersweet conclusion, in the typical style of its director, for sure more bitter than sweet, with the unavoidable separation of the two lovers and the return to normal life, now permanently marked by the experience.

A movie that, like many others shot by Verdone, was a landmark of an era, portrayed through the humanity of it protagonists, their forbidden dreams, great delusions and tragic daily life, everything narrated through a biting poetic style and delicate irony in a guise that made Verdone’s cinema a unique genre.

The wonderful music by Fabio Liberatori, previously partially available through a compilation dedicated to his soundtracks, now finally released for the first time in a complete edition dedicated to this score with a great electronic frame, a sound that the musician skillfully masters chiseling a series of moods throughout the story.

A soundtrack which deserved since too many time a full edition, at the dawn of its 40th year of age, now available in this de-luxe release, featuring a 180 grams colored vinyl with the wonderful original artwork by Renato Casaro on the cover, with the two protagonists’ faces.

This release has been possible through the collaboration with Cecchi Gori which gave access to Maestro Fabio Liberatori’ score, remastered under his supervision by Gianrico La Rosa, and with Sony Music Italy which authorized us to add STADIO’s songs, “Acqua e Sapone” and “C’é”, which could not be missing from a tribute to this movie. Editing by Claudio Fuiano, graphic layout by Daniele De Gemini, limited edition to 500 copies available from May 25 2022.



“Anastasia mio fratello ovvero il presunto capo dell’Anonima Assassini” (aka “My Brother Anastasia”) is a crime drama directed by Steno in 1973 and starring Alberto Sordi and Richard Conte. Don Salvatore Anastasia, brother of Alberto (called “Big Al”), leaves Calabria to go to New York. Welcomed with great respect, he was hired as an assistant pastor by don Michele in the parish of St. Lucia in Little Italy. Alberto is entrusted to Sonny Boy, his bodyguard, but the naive priest believes that the success achieved and the esteem with which he feels surrounded are due to his personal gifts.

The discovery and the frank denunciation of the mess hidden behind a lottery force don Gennaro, boss of “Mamma Oil,” to try to eliminate the unwary Don Salvatore, who is saved thanks to Big Al. In 1973, RCA issued a 33 rpm album (RCA OLS 20) containing 13 tracks in stereo selected by the composer himself. In 2010, thirty-seven years after the release of the film in theaters, the specialty label GDM released this prestigious OST (CD CLUB 7091) for the first time on CD, with 14 unreleased tracks in addition to the vintage album program. For this new edition, we were able to use the stereo masters of the original recording session, which allowed us to create a special double-disc set: on CD 1, the original album program, and on CD 2, the bonus tracks of the previous GDM CD plus ten unreleased tracks that appear here for the first time ever, for a total length of 99:20. For this dramatic film that straddles the line between gangster movie and comedy, Piero Piccioni composed an OST for a large orchestra with American sounds incorporating funk, jazz and blues, beginning with “Surprise pastorale” and alternating with romantic music for orchestra and choir in “America dreaming.” Maestro Piccioni uses swing in “New York! New York!” (with splendid intervention by Cantori Moderni) and in “Swingin ‘at Savoy,” classic rock ‘n roll in “Rockin’ chair stomp” and warm South American rhythms in “Sweet marimbas” and “Mariposa rosada.” The most dramatic scenes are underlined with exciting, policelike sounds such as the recurring “Gunz concert, pt.1,” where the organ emerges in the orchestra (such a piece would not have been out of place in “Live and Let Die”, the first time by Roger Moore filled the role of James Bond), among other things from the same year. The romantic side of Piccioni returns in “Love in Brooklyn, pt.1,” for piano and large orchestra. The sensual voice of Shawn Robinson, frequent collaborator of the Maestro, performs “Feeling low blues.” The listener will remain in the company of the elegant music of Piero Piccioni for about an hour and forty minutes, each time with evergreen admiration, as we continue to be amazed by the greatness of this beloved artist.

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


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Moon Knight - Hesham Nazih

zu der Marvel Serie hat der Ägypter einen ziemlich fetzigen Abenteuerscore ala The Mummy geschrieben. Mit großem arabischen Chor. Für Freunde solcher bombastischen Choractionmusik eine Freude würd ich sagen. Paar orientalische Elemente, aber auch ein paar Anklänge an Golden Age Scores kann man sogar auch finden… wegen mir dürfte der auch einen Marvel Kinofilm mal scoren.

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Dachte die neuen CDs von Chris' Soundtrack Corner wären hier schon gepostet worden, aber scheint doch nicht der Fall zu sein. Neu im Programm sind Carlo Savinas La donna della calda terra und Roberto Pregadio und Carlo Cristallinis I gabbiani volano basso, beide aus dem Jahr 1978.



Chris' Soundtrack Corner proudly presents the CD soundtrack to José María Forqué's LA DONNA DELLA CALDA TERRA (aka LA MUJER DE LA TIERRA CALIENTE, or FURY, as it's sometimes known in the English market). This 1978 film was a product of the resurgence of erotic cinema that took place during the 1970s, spearheaded by Sylvia Kristel's EMMANUELLE (1974). Among that film's many imitators is LA DONNA DELLA CALDA TERRA, starring Laura Gemser. Best known for BLACK EMANUELLE, Gemser gets paired up here with Stuart Whitman, one of Hollywood's top leading men of the 1960's. The film tells the story of two unnamed characters, The Man and The Woman, who end up hiding in the bed of a truck together during a long journey. Despite their different social backgrounds and a considerable age difference, the couple eventually share an intimate relationship but then lose touch with one another. When The Man finally tracks down the truck they'd been travelling in, there doesn't seem to be any trace of The Woman. Only a bottle of beer they shared gives him hope that what he experienced wasn't just a fever dream and they have a chance at reuniting.

The musical score for LA DONNA DELLA CALDA TERRA was composed by Carlo Savina, whose filmography covers almost every genre Italian cinema had to offer from the 1950s through the 1980s. His music here has an unusual distinction in that the score was heavily rethought during the editing and eventually the first half hour is left without music, except for the opening titles. Thus, Savina's score begins when the film changes up the narrative structure and instead of telling the stories on two parallel storylines, they start to intercut them more frequently in order to draw stronger parallels between The Man and The Woman. While there is a stronger focus on Gemser's storyline, the switch to a hunting trip in the Man's storyline helps to reframe the girl's next romance. Though our hero manages to catch up with the truck, The Woman isn't there anymore – but one final reprise of the main theme in the "End Title" gives us a hope that the couple will eventually meet up again.

Chris' Soundtrack Corner is delighted to make this score available for essentially the first time. With literally half the score going unused in the beginning of the film, this soundtrack album offers the first opportunity to enjoy the composer's playful variations of catchy thematic material, sensual tropical exotica, and even some highly melodramatic masterpieces wrapped up in a colourful package. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes by Gergely Hubai, who explores the making of the film and its score in detail.




Chris' Soundtrack Corner proudly presents the CD soundtrack to I GABBIANI VOLANO BASSO (aka SEAGULLS FLY LOW, 1978), directed by Giorgio Cristallini (under the Americanized pseudonym George Warner). The movie was influenced by the number of Vietnam Vet dramas coming out of the United States in 1978 such as THE DEER HUNTER and COMING HOME, and the Italian cinema didn't waste any time in seizing the opportunity to get in on the commercial potential of such films.

Starring Italian actor Maurizio Merli, who was often typecast in "tough cop" roles, I GABBIANI VOLANO BASSO tells the story of a Vietnam war veteran (Merli) who finds his post-war career in the private assassination business. After succeeding in a hit in Rome, using various aliases, the war vet gets into an altercation that leads to a wild chase involving the police, other killers, and a third shady business partner who wants to get the whole company for himself. While on the run, Merli's character hooks up with Isabelle (Nathalie Delon), the lonely owner of a Roman boutique shop who helps with his escape. But with the two other killers in tow, our hero must make an important decision between getting away safely while leaving Isabelle behind in danger, or making the ultimate sacrifice for the only woman who helped him selflessly.

The music for I GABBIANI VOLANO BASSO was written by Roberto Pregadio, one of the few Italian Silver Age composers who also made a career as a television personality. In most of his film scoring collaborations, it was Pregadio's job to flesh out or transcribe the musical ideas of his co-composers who usually didn't have the necessary musical training to do so. Such was the case with I GABBIANI VOLANO BASSO, where Pregadio is actually credited together with two members of the director's family, Paola and Carlo Cristallini, though only the latter is given credit. Besides the music that's in the film, the soundtrack also includes some major discoveries from the score that weren't even heard in the film itself.

This release from Chris' Soundtrack Corner marks the first ever presentation of any of the music from I GABBIANI VOLANO BASSO. Certain aspects of the recording indicate that the production was prepared for the release of an eventual soundtrack album that never materialized. One of these clues is that certain cues were recorded in shorter film versions as well as extended versions that would be more at home on a soundtrack or exploited on a later library LP, but that was never released. Among the differences preserved on the CD is "Titoli – versione disco" – aka the record version of the opening music; this version is not only half a minute longer when compared with the film version, but it's actually mixed differently with a more prominent focus on the keyboard and the pop percussion, both of which appear in a more subdued fashion in the movie. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes on the film and its score by Gergely Hubai, who explores the making of the film and its score in detail.


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Von Dragon's Domain am 16. Juli: 'The Albert Glasser Collection Vol. 4' mit den Scores zu The Cyclops und Beginning of the End, John Beals Zero to Sixty und David Spears' The Ratings Show.



Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 4: SCIENCE FICTION: ATOMIC MUTATION I. With this fourth collection of the composer’s music, we are pleased to explore two films that he scored for director Bert I. Gordon in 1957. Most of Gordon’s celebrated work is in the idiom of giant monster films. Albert Glasser consistently made musical magic out of limited resources and onrushing deadlines as one of Hollywood’s most prolific B-movie composers. THE ALBERT GLASSER COLLECTION, VOLUME 4 features expanded releases of Glasser’s music for THE CYCLOPS and BEGINNING OF THE END. 

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 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.

THE CYCLOPS tells the story of Susan Winter (Gloria Talbot), a young woman who undertakes a mission into remote Mexico to find her fiancée, missing for three years after a plane crash. She and her unlikely cohorts – scientist Russ Bradford (James Craig), pilot Lee Brand (Tom Drake), and a uranium mining expert with his own agenda, Martin Melville (Lon Chaney Jr.), fly into unknown territory and soon discover a lost world of oversized animals and, of course, Susan’s surviving fiancée, now grown to gigantic proportions due to radiation in the area.

BEGINNING OF THE END was made after THE CYCLOPS but preceded it into theaters. Intrepid journalist Audrey Ames (Peggie Castle) is determined to get the scoop on enormous grasshoppers that were accidentally created at the Illinois State experimental farm, and she races to save Chicago despite a military cover-up. For its day, the film was a typical but below-average giant-insects-versus-humanity drive-in film, but its internal story logic and special effects have not weathered the years well.

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 4: SCIENCE FICTION ATOMIC MUTATION I, featuring original music composed by Albert Glasser for THE CYCLOPS and BEGINNING OF THE END, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson.




Dragon’s Domain Records presents ZERO TO SIXTY, featuring music composed by John Beal (TERROR IN THE AISLES, THE FUNHOUSE) for the 1978 action comedy directed by Don Weis, written by Darren McGavin, from a story by Peg Shirley and Judith Bustany, starring McGavin, Sylvia Miles, Joan Collins, Denise Nickerson, Lorraine Gary, David Huddleston and Lyle Waggoner.


Released in 1978, ZERO TO SIXTY is an action farce featuring 70’s comedy/music trio The Hudson Brothers along with a number of cameos from then-popular comics like Dick Martin (of ROWAN & MARTIN), Lorraine Gary, and Lyle Waggoner and a mélange of frenetic car stunts. In ZERO TO SIXTY, Michael Nolan (McGavin) finds himself down on his luck following a divorce settlement, which has left him with nothing. During the repossession of his car, he makes chase all the way to the auto repo company. His persistence impresses the owner (Miles), who hires him on the spot. Nolan is teamed up with Flo’s top repossesser, a feisty 16 year old girl named Larry (Nickerson [Violet Beauregarde from WILLY WONKA AND THE CHOCOLATE FACTORY]). As Nolan settles into his new career, he continually finds himself troubled by women, shrugging off young Larry’s unwanted flirtations while winding up in bed with perennially delinquent car owner Gloria (Collins), as well as facing the fury of gangsters whose repossessed limo turns out to contain a dead body in its trunk.

The music for ZERO TO SIXTY was composed and conducted by John Beal. The score was created with a big band, using players who were some of the period’s most acclaimed jazz all-stars, including Lee Ritenour on guitar, Abraham Leboriel on bass, and Ralph Humphrey on drums. In addition to the jazz band, Michael Boddicker came in to provide some synthesizer elements to the musical palette.

 A combat veteran of the United States Marine Corps, John Beal is a prolific composer and conductor internationally recognized for his work with major recording artists including Elton John, Gladys Knight, Olivia Newton-John, Ella Fitzgerald, B.B. King, and Deadmau5 to name a few. As principal conductor of the Hollywood Symphony Orchestra, Maestro Beal has traveled the world directing orchestral performances in cities including London, Tokyo, Antwerp, Prague, Taipei, Kuala Lumpur, and Luxembourg. In addition to his extensive conducting experience, Beal is also an accomplished composer having scribed scores for forty-five theatrical motion pictures including THE FUNHOUSE, TERROR IN THE AISLES and multiple television series.

Dragon’s Domain Records presents the world premiere release of ZERO TO SIXTY, featuring music composed and conducted by John Beal, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall D. Larson, with the participation of the composer. 



Dragon’s Domain Records presents THE RATINGS GAME , featuring music composed by David Spear for the 1984 romantic comedy directed by Danny DeVito (HOFFA, MATILDA, WAR OF THE ROSES), written by Jim Mulholland and Michael Barrie, starring Danny DeVito, Rhea Perlman, Gerrit Graham, Barry Corbin, Basil Hoffman, Kevin McCarthy, Michael Richards, Ron Rifkin, Joe Santos and Vincent Schiavelli.

Premiering on the Showtime network in December 1984, THE RATINGS GAME revolves around a New Jersey trucking magnate named Vic DeSalvo (DeVito) who pulls up stakes and moves to Hollywood, California in hopes of striking it rich as a big-shot television producer. The “fake-it-till-you-make-it” script hawk bounces around Los Angeles pitching pathetic proposals for programs which are all rejected. DeSalvo eventually crosses paths with an executive at a cellar-dwelling network called MBC who was fired for promoting a show that attracted zero viewers. To avenge himself, the disgruntled executive uses his last day on the job to greenlight a pilot based on DeSalvo’s script for SITTIN’ PRETTY, a show about an average schlub (portrayed by DeSalvo himself) who becomes roommates with a pair of blonde bombshell twins at a college dormitory. After Vic signs the deal to helm (and star in) the pilot of SITTIN’ PRETTY, he meets Francine (Perlman), a statistician at the most reliable ratings agency in town called Computron. The twosome fall in love and then conspire to manipulate the ratings of SITTIN’ PRETTY by setting up hired henchmen in Nielsen households to skew the results. The scam works and DeSalvo becomes the hottest television producer and star in Hollywood… but for how long?

One of the purely joyful experiences of THE RATINGS GAME is its cornucopia of eclectic television theme songs which parody the various MBC programs. All of these faux trailers featured on-target ditties scribed by Bruce Kimmel, an actor, writer, director and composer known for THE FIRST NUDIE MUSICAL and THE CREATURE WASN’T NICE. When it came time to hire a composer to pen the arrangements and eventually compose the underscore for the edited picture, Kimmel recommended Spear, a composer he had recently collaborated with. An important ingredient in Spear’s score is the Yamaha DX7. This synthesizer had just come out in 1983 and was already a signature staple on countless television scores. He incorporated the DX7 with harp, string quartet and small chamber ensemble.

David Spear began his career orchestrating many film scores for Elmer Bernstein including AIRPLANE, ANIMAL HOUSE, HEAVY METAL and GHOSTBUSTERS. After his Broadway debut as Music Director of MERLIN, THE MAGICAL MUSICAL, Spear wrote scores for three Academy Award nominated films: RAINBOW WAR, BALLET ROBOTIQUE, and THE COURAGE TO CARE. He composed the music for the Emmy Award winning National Geographic documentary, SURVIVING EVEREST. One of his first major scores was for the 1981 vampire thriller FEAR NO EVIL, composed in collaboration with the film’s writer/director Frank LaLoggia. He led the Indianapolis Symphony for the 2008 premiere of THE LANGSTON HUGHES PROJECT featuring Ice-T and the Ron McCurdy Quartet. A dedicated educator, Spear served as faculty at Berklee College of Music (1991-1995), USC Thornton School of Music (1995-2006), NYU (2009-2013), and at Portland State as 2017 Artist-in-Residence. His work in academia and industry thrives on decades of creative collaboration with many notable artists, directors and scholars.

Dragon’s Domain Records presents THE RATINGS GAME, featuring music composed by David Spear for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer.


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Quartet Records, in collaboration with StudioCanal and Capitol Records, presents the premiere CD reissue of the powerful score by Ernest Gold (EXODUS, ON THE BEACH, JUDGMENT AT NUREMBERG, IT’S A MAD, MAD, MAD, MAD WORLD) for Sam Peckinpah’s anti-war classic CROSS OF IRON (1977), starring James Coburn, Maximilian Schell, James Mason, David Warner and Senta Berger.

Being one of Peckinpah’s best and most impressive films, CROSS OF IRON has achieved cult-classic status despite its failure at the box office in 1977. The story is about a squad of German soldiers on the Eastern Front during World War II – led by battle-hardened Sergeant Rolf Steiner (James Coburn) – fighting to survive Soviet attacks and dogmatic commanders in a chaotic and lethal environment. It is a sympathetic portrayal of a side of war not commonly portrayed in Hollywood movies.

Not being able to work with his regular collaborator Jerry Fielding due to co-production conflicts (although some claim it was Fielding himself, tired of Peckinpah’s constant abuse, who decided to end his relationship with the director after THE KILLER ELITE), Peckinpah turned to Ernest Gold to compose the score. Gold immediately grasped the sardonic, bitterly ironic tone of the film. His brilliant “Main Titles” cue features a children’s choir singing the traditional song “Hänschen klein” (or “Little Johnny”) in alternation with a contrasting German march to show the absurdity of war. Gold also provides an operatic, dark background score and a dramatic, powerful “Steiner’s Theme,” for the James Coburn character.

This new CD release contains the same program previously released on LP by EMI in the UK. The album includes virtually all the music Gold recorded, with around 15 minutes more music than the film itself. Chris Malone mastered the audio from first-generation stereo album master tapes courtesy of Capitol Records, and the entire project was supported by help from the Ernest Gold Papers housed at Brigham Young University. The package includes a 16-page booklet with detailed liner notes by Jeff Bond.

  1. Steiner’s Theme (2:47)
  2. Main Title (4:05)
  3. Mikael (1:30)
  4. Steiner’s Report (2:31)
  5. Captain Stransky (2:34)
  6. Mikael’s Death (2:44)
  7. The Terrace (1:06)
  8. Memories and Hallucinations (2:54)
  9. Eva (3:35)
  10. Return to the Front (2:46)
  11. I Hate All Officers (3:12)
  12. The Bridge House (2:30)
  13. The Massacre (4:12)
  14. Last Confrontation (1:43)
  15. Finale and End Credits (2:39)


Quartet Records, in collaboration with MoviScore Media, presents the CD premiere of Alessio Della Valle’s AMERICAN NIGHT, scored by Marco Beltrami and Ceiri Torjussen.

In this neo-noir action thriller, a courier carrying Andy Warhol’s famous “Pink Marilyn” arrives in New York City. Art and life collide as master forger John Kaplan tries to juggle the mob and his talent as an art forger with his love for Sarah Flores – and chaos ensues.

The music pays tribute to classic film noir jazz scores with an added modern twist of electronic and rock elements creeping into the score at the appropriate places. The music covers a love triangle between John Kaplan (Jonathan Rhys Meyers) who must choose between the two loves of his life – Warhol’s iconic Marilyn Monroe portrait and Sarah (Paz Vega). The composers reply with beautiful romantic music for both women – one more hip and cool (“Marilyn”), the other more organic and heartfelt (“Sarah and John”). The genre-bending music is recommended to anyone wanting to hear the noir sound of the 21st century.

The full-color package includes liner notes by Gergely Hubai discussing the film and the score based on new interviews with the composers.

1. Marilyn (1:16)

2. John Meets Katie (2:12)

3. Marilyn Is Watching (0:38)

4. Shaky Cab Ride (2:54)

5. Be Like Paint, Be Like Water (1:27)

6. Marilyn in the Gym, John in the Red (2:27)

7. Knife Good, Crayons Bad (2:29)

8. John Goes to the Motel (1:19)

9. Michael’s House (2:22)

10. Sarah and John (1:24)

11. Shaky Strangles (2:08)

12. Marilyn’s Disguise (1:35)

13. Lord Morgan (2:16)

14. Vincent’s Vertigo (1:31)

15. No More Excuses (1:37)

16. Michael Set Up (2:37)

17. Kaboom (2:10)

18. Vince Finds Marilyn (1:20)

19. John’s Art Talk (1:14)

20. John Has Marilyn (1:45)

21. Scorpio King, Scorpio Sting (4:47)

22. Art Dealer in Da House (2:19)

23. Ninja Vin (3:05)

24. Sarah’s Surprise (2:39)

25. Death of the Artist (2:08)

26. Sarah Saved (4:34)

27. Street Performance (2:33)

Bonus Track:

28. India Taxi Song (2:33)




Quartet Records, in collaboration with MoviScore Media, presents the CD premiere of Ole Bornedal’s acclaimed film THE BOMBARDMENT, scored by Marco Beltrami, Ceiri Torjussen and Buck Sanders.

The film tells a true story from World War II. On March 21st, 1945, the British Royal Air Force set out on a mission to bomb the Gestapo’s headquarters in Copenhagen. The raid had fatal consequences as some of the bombers accidentally targeted a school and more than 120 people were killed, 86 of whom were children.

Opening with the heartfelt “Henry’s Piano,” the score distinguishes itself with a clever combination of contemporary tension scoring and a selection of symphonic, emotional cues. The inhuman war machine grinding the city of Copenhagen gets suitably cold, largely industrial underscoring with “RAF Attack” and “The Bombing” as symphonic additions (such as pulsating strings) complement the noise created by the planes and the artillery. On the other hand, the civil victims are commemorated with cues ranging from nostalgic (“The Classroom”) though haunting and hopeless (“Bodies”) to optimistic (“Final Run”).

The full-color package includes liner notes by Gergely Hubai that discuss the film and the score based on new interviews with the composers.

  1. Henry’s Piano (2:37)*
  2. Opening (2:38)*
  3. Teresa (2:45)*
  4. The Bakery (3:24)**
  5. Classmates (2:59)*
  6. The Classroom (2:59)*
  7. Briefing Room (3:40)**
  8. Prisoners (2:48)**
  9. In Class (1:56)*
  10. Fatal Nun (3:09)*
  11. RAF Attack Part 1 (4:53)**
  12. RAF Attack Part 2 (3:15)**
  13. RAF Attack Part 3 (3:07)**
  14. The Bombing Part 1 (3:04)*
  15. The Bombing Part 2 (3:28)*
  16. Bodies (2:35)**
  17. Henry’s Voice (1:36)**
  18. Crawl (3:32)**
  19. Trapped (2:15)**
  20. Frederick and the Pump (2:42)**
  21. Names (2:58)**
  22. Final Run (2:47)**

Composed by * Marco Beltrami & Buck Sanders  ** Marco Beltrami, Ceiri Torjussen & Buck Sanders


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Cross of Iron ist einer meiner Loeblingsscores von Ernest Gold. Wenn man es so nennen kann: besseres Artwor als bei der Kritzerland VÖ (altes Cover der Gatefold-LP)

".....ich zeige Ihnen wo die eisernen Kreuze wachsen"

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Falls es noch nicht erwähnt wurde: die NHK Taiga Drama 2022 heißen THE 13 LORDS OF THE SHOGUN - mittlerweile ist ein Album erschienen, das zweite folgt jetzt im Juli - Musik: Evan Call.







Selbst habe ich nur ein Track gehört und kann daher nicht mehr hierzu sagen:

Ganz nett animiert, musikalisch aber nicht gerade mein Favorit aus der Reihe:  https://www.youtube.com/watch?v=iEBtCX3449k

Album ist aber bspw. auf youtube:






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Am 10. Juli erscheint bei Beat Records eine CD mit Detto Marianos bisher unveröffentlichten Scores zu den Komödien La casa stregata (1982) und Mia moglie e una strega (1980).



After IL RAGAZZO DI CAMPAGNA another release dedicated to Maestro Detto Mariano, with this CD release featuring two unreleased soundtracks, LA CASA STREGATA and MIA MOGLIE E’ UNA STREGA.

Two movies with a common male protagonist, Renato Pozzetto, facing some esoteric plots, in the former movie in a bewitched mansion, in the latter having married a right a witch. Co-star gorgeous Gloria Guida and beautiful Eleonora Giorgi.

Two scores waited since a long time by Maestro’s fans, finally available in full displaying the typical sound of this never too much celebrated artist, unfortunately recently late, to whom we dedicate this release.

The music of LA CASA STREGATA and MIA MOVLIE E’ UNA STREGA are in jewel case with a 16 pages deluxe booklet, liner notes by Andrea Morandi, master by Claudio Fuiano, graphic layout by Daniele De Gemini.


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Mitte Juli erscheint bei Howlin' Wolf Records Matt Cannons Musik für Force to Fear auf CD.



Howlin' Wolf Records is proud to present Matt Cannon's multiple award-winning soundtrack for FORCE TO FEAR. Released in 2020 and co-written/directed by Zane Hershberger and Chad Bruns, the film pays homage to great action horror films of the '80s such as SILENT RAGE.

The score "has both inventive and innovative qualities, but above all contains a sound that we readily associate with horror films from the '80s and evokes memories of such composers as Jay Chattaway, Alan Silvestri, Brad Fiedel, Harold Faltermeyer, and Alan Howarth. There was a distinct sound that became standard during that decade and Matt Cannon has successfully re-created this sound, whilst also placing his own inimitable musical fingerprint upon the production, fusing both styles and putting them to effective and affecting use."

John Mansell, Movie Music International

For FORCE TO FEAR, composer Matt Cannon used an impressive array of synth and synth plug-ins, including OPX-PRO II (Oberheim) TAL-U-NO-LX (Juno 60) TAL-SAMPLER, VI FM SUITE (DX1, Dx7), UVI EMULATOR II (Emulator II), ARTURIA MINI V (MiniMoog), UVI PX10 (PROPHET 10), UVI Darklight (farlight). The soundtrack concludes with the fantastic track "Judge and the Jury" by the band Voltheque from their EP VERDICT.

FORCE TO FEAR features a 28-page booklet with a foreword by filmmaker Zane Hershberger, liner notes by writer John Mansell, and composer's notes and track summaries by Matt Cannon, all presented with vivid '80s-vibe imagery, color pallets, and original cover artwork by Austin Hinderliter (Creepy Carves). The packaging designs are beautifully crafted by Howlin' Wolf Records' renowned Art Director Luis Miguel Rojas.


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Jambo hat endlich das letzte fehlende Glied jeder Roy Budd-Sammlung auf 73 Minuten expandiert digital veröffentlicht. The Missing Link. Mit allen Songs von Leo Sayer, den elektronischen Parts von Paul Fishman und nun 26 Minuten Score von Budd.



Aufgepasst: es gibt zeitgleich noch ein zweites Album von Jambo, das grob der alten LP entspricht (anderes Sequencing, Austausch eines Fishman-Tracks). Die Veröffentlichung ist kürzer und hat auch ein anderes Cover.

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Von Télé 80 kommt eine CD mit Haim Saban und Shuki Levys Musik für die französische Fassung der japanischen TV-Serie Bomber X.



Bomber X : Diffusée en 1983 à la télévision, Bomber X est une série japonaise réalisée à partir de marionnettes animées, dans la lignée des célèbres Thunderbirds. Spécialement créées pour le marché français, les musiques sont produites par Haim Saban et composées par Shuki Levy. On reconnait le style particulier de ce duo qui a déjà travaillé sur Les Mystérieuses cités d’or, Les Minipouss ou encore Inspecteur Gadget. Retrouvez-les dans une nouvelle édition entièrement remasterisée. 

Cette bande originale contient également le fameux générique interprété par Lionel Leroy, deux chansons dont une par Noam et des génériques étrangers et des titres inédits Japonais en bonus. 



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