Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with El Deseo, present the soundtrack album from the highly anticipated new collaboration between Academy Award-winning director Pedro Almodóvar and renowned four-time Academy Award-nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY, PARALLEL MOTHERS) for THE ROOM NEXT DOOR, their fourteenth film together, following thirty years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER and PAIN AND GLORY.

The film, which won the Golden Lion for Best Picture at the Venice Film Festival, is Almodóvar’s first English-language film and stars Julianne Moore, Tilda Swinton and John Turturro. The story follows Ingrid (Moore) and Martha (Swinton), who were close friends in their youth when they worked together at the same magazine. Ingrid became a fiction writer, while Martha became a war reporter, and they were separated by circumstances. After years out of touch, they meet again in an extreme but strangely sweet situation.

Loyal collaborator Alberto Iglesias has written one of his most intense, emotional and moving large-scale orchestral scores. It is a second skin for the emotions of the characters—subtle, delicate and elegant. The music was recorded at Air Studios in London under the composer’s baton.

1. Opening Titles (1:50)
2. Rizzoli (1:02)
3. The War In My Head (2:24)
4. Lincoln Center (0:53)
5. Diner (1:23)
6. Snow Is Falling Under The Living And The Dead (4:08)
7. KitchenN.Y. (1:50)
8. The House In The Woods (2:51)
9. Burning House (4:48)
10. Sex Is The Best Shield (1:40)
11. Pink Colored Snowflakes (3:08)
12. The Goodbye (1:25)
13. Dawn (3:39)
14. Ingrid Doubts (1:17)
15. Left Behind (2:57)
16. The Waiting House (3:32)
17. Return Journey (1:00)
18. Death In My Hands (1:14)
19. Martha’s Lesson (4:10)
20. Michelle (1:27)
21. Inside The Car (2:05)
22. The Interrogation (1:36)
23. Parallel Loungers (0:49) 
24. Letter To The Beyond (5:01)
25. Music Decenters Me (1:17)
26. Closing Credits (3:16)

[ronin1975]

Smile 2 - Cristobal Tapia De Veer

Zur Kracher-Fortsetzung des Hithorrorfilms ist Cristobal wieder dabei und treibt einen die Wände hoch mit wieder knallhartem Sounddesign. Elektronischer als der erste Score mit wirklich unfassbar unanhörbaren, aber irgendwie ganz geilen Kreationen. Besonders "witzig" finde ich, wie er das Geheule und Geflenne der Hauptfigur mal mehr mal weniger verfremdet verwendet. Es gibt sogar so eine Art Monster-Thema. Aber naja, von Musik kann man kaum sprechen. Is schon ne Tortur das 58min anzuhören, gerade die letzten 3 Cues haben es nochmal richtig in sich (das war im Film auch der Hammer dazu was da passiert... brrrrrrrrr). Immerhin cool zu hören, dass im Sounddesignbereich es immer nochmal anders und schlimmer geht. Echt ne Leistung, war auch gut im Film eingesetzt. Aber wer sich das anhören mag?

 

[Dunge_Onmaster]

Die irische Folkrock-/New-Age-Band Clannad veröffentlicht ihren Score zu britischen Fernsehserie Robin of Sherwood (1984–86) in deutlich expandierter Fassung: https://clannad.tmstor.es/product/150228 

Wirklich schöne sphärische Kompositionen mit sanftem (d. h. stilisierten) Mittelalter-Einschlag und ordentlich 80s-Vibe. Kann ich nur wärmstens empfehlen. Mir gefallen vor allem die instrumentalen bzw. überwiegend instrumentalen Stücke.

 

 

Wer keinen Wert auf Polycarbonatfrisbees samt Porto- und Zoll-Action legt, findet die Musik auch als Download in HiRes auf den einschlägigen Portalen.  

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records present the soundtrack album of Martin Scorsese’s production ESCAPE, the new collaboration between Victor Reyes (Emmy Award winner for the score of THE NIGHT MANAGER) and multi-awarded director Rodrigo Cortés, following their previous successful films together: THE CONTESTANT, BURIED, RED LIGHTS, DOWN A DARK HALL and LOVE GETS A ROOM.

ESCAPE is an unclassifiable film. It’s not a comedy, it’s not a drama, it’s not an action film, but it’s all of them at the same time, or maybe not. It’s about a young man who wants to live in prison and will do whatever it takes to get there, raising questions such as whether those who care about him will be able to stop him from committing more and more serious crimes.

Victor Reyes also provides an unusual, unclassifiable score—highly melodic, urban, intimate, acoustic. It is performed basically with school and toy instruments (to which he adds the sound of a cello that speaks as the protagonist) along with strings, harmonium, guitar, drums, percussion and piano.

The CD comes with a lavish 16-page booklet that includes liner notes by film director Rodrigo Cortés.

1. Así habló Zaratrusta – Inicio 1:56
2. Mudito 2:02
3. Vamos a hacer una cosa 2:36
4. N. 2:32
5. Tiene que arrestarme 1:29
6. Zorcico triste 1:42
7. Eres libre 4:50
8. Marcha del preso 6672 1:25
9. Buenas tardes – Qué ha sido eso 1:38
10. Esta prohibido 1:08
11. Planta -2 4:57
12. Hábleme de su mujer 2:46
13. Me llamo Julián 1:24
14. Fuga nocturna 1:04
15. Aislamiento 1:17
16. Jota 1:58
17. Feliz 2:07
18. ¡Es importantísimo! 2:43
19. El milagro de la vida 3:28
20. Escape 4:33
21. Así habló Zaratrusta – Fin 1:27

 

Quartet Records, in collaboration with GDM and Sony EMI Italia, presents a completely revised, restored and remastered edition of THE DESERT OF THE TARTARS, Ennio Morricone’s masterpiece for the no less masterful film by Valerio Zurlini from 1976.

Co-produced between Italy, France, Germany and Spain, the film features a large cast of European film stars that includes Jacques Perrin, Vittorio Gassman, Giulianno Gemma, Helmut Griem, Fernando Rey, Francisco Rabal, Philippe Noiret, Max Von Sydow and Jean-Louis Trintignant. Based on the novel by Dino Buzzati, it’s an intimate epic about Lieutenant Giovanni Drogo, who is assigned to the isolated old Bastiani border fortress where he expects an imminent attack by nomadic, fearsome Tartars.

Although Zurlini worked assiduously with composer Mario Nascimbene, for this, his last film, he required the collaboration of Ennio Morricone for the film’s score.

Morricone wrote a score for a large orchestra, using the organ as a lead instrument to describe the immensity of the desert. Mystical, romantic, nostalgic, THE DESERT OF THE TARTARS is one of the Roman maestro’s greatest works and one of his personal favorites.

A General Music LP appeared in 1976 with an extensive selection of the score, but unfortunately its first appearance on the digital market with the 1997 CD was disappointing, as the sound was sourced from vinyl since the master tapes were apparently missing. GDM’s subsequent release in 2011 recovered the master album in good stereo sound and added a handful of mono bonus tracks and film versions taken from the music stems. For this edition, Chris Malone has restored and remastered the stereo album master tapes and the stems from the ground up, including the same material as the previous GDM release. The album is produced by Dániel Winkler and Claudio Fuiano, and the package includes a 16-page booklet with in-depth liner notes by film music writer John Takis.

1. Il deserto come estasi 4:10
2. Proposta 1:42
3. Minaccia continua 2:58
4. Il deserto come minaccia 3:30
5. Un cavaliere all’orizZonte 1:07
6. La casa e la giovinezza 3:24
7. Una Fortezza su una frontiera morta 3:07
8. Stillicidio 4:05
9. Le stagionI, gli anni… 4:48
10. Il deserto come poesia della fine 3:34
11. Il cavallo bianco dei Tartari 1:27
12. La cena degli ufficiali 3:46
13. Marcia nella tormenta 2:40
14. La vestizione e l’addio 7:10
15. Caccia al Cinghiale 1:02
16. Il deserto come poesia della fine #2 1:26
17. La cena degli ufficiali #2 1:15
18. Le stagioni, gli anni… #2 0:49
19. La cena degli ufficiali #3 3:21
20. Marcia nella tormenta #2 1:16
21. Le stagionI, gli anni… (Finale) 2:30

Total Disc Time: 60:19

 

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered and expanded edition of Riz Ortolani’s famous score for the shocking and successful mondo movie ADDIO ZIO TOM, directed by Gualtiero Jacopetti and Franco Prosperi in 1971.

This epic re-creation of the atrocities of the American slave trade was both condemned as depraved exploitation and hailed as an unprecedented cry of black anguish and rage. The DETROIT CHRONICLE hailed it as “a graphic, moving, nerve-racking film.” Legendary film critic Pauline Kael called it “the most specific and rabid incitement to race war.” It became one of the most reviled films of its time, despite being an international success.

Composer Riz Ortolani’s versatile career needs little introduction, especially when it comes to mondo films. He has been the genre’s foremost composer since his conception of MONDO CANE and his Grammy-winning, Oscar-nominated song “More.” Ortolani’s filmography includes several mondo movies such as AFRICA ADDIO, MONDO CANDIDO, BRUTES AND SAVAGES and the most quintessential example of the genre, CANNIBAL HOLOCAUST. While the quality of the films may have varied over the years, Ortolani created a solid, almost foolproof recipe for adorning these colorful shock documentaries with a fitting score.

ADDIO ZIO TOM’s iconic theme song, titled “Oh My Love,” was performed by the composer’s wife, Katyna Ranieri, and became a hit, being performed by various singers over the years. Instrumental versions of the theme are interspersed throughout the movie, usually reserved for some of the more poetic images. The composer provides everything from dramatic motifs to prog rock, driving rhythms and even circus marches, in an ironic counterpoint that bridges historical differences, used to show the amoral ways of contemporary society, while it is also memorably used for a slave escape sequence.

The original 13-track program (RCA OLS 😎 was released on CD in Japan in 1994 (RCA BVCP 1042), and the first European reissue added five more tracks (GDM CD CLUB 7089). This edition presents another five previously unreleased tracks, bringing the total to 50 minutes and making it the most complete presentation of ADDIO ZIO TOM. The album was conceived by Claudio Fuiano, restored and mastered by Chris Malone from the original stereo master tapes, and includes liner notes by the much-missed Gergely Hubai in one of his last collaborations with us.

1. Oh myLove 2:52
2. Maple 2:24
3. Mister Ling 1:48
4. Rito di Mezzanotte 2:35
5. Mamie 1:11
6. Sosta Nel Lago 3:33
7. Addio Zio Tom 2:36
8. Il Mercato Degli Schiavi 3:28
9. La Fiera Delle Meraviglie 2:50
10. Oh my Love (Solo Orchestra) 2:51
11. Fort Bastille 3:11
12. Cadets’ Waltz 3:01
13. Miami 2:38
14. Oh my Love (Solo Orchestra #2) 1:42
15. Miami (# 2) 1:22
16. Oh my Love (Solo Orchestra #3) 1:18
17. Miami (#3) 1:22
18. Addio Zio Tom (#2) 1:05
19. La Fiera Delle Meraviglie (#2) 2:25
20. Il Mercato Degli Schiavi (#2) 2:05
21. La Fiera Delle Meraviglie (#3) 4:06
22. Miami (#4) 1:34
23. Il Mercato Degli Schiavi (#3 – Alt. Mix) 1:10

Total Disc Time: 52:56

[Alexander Grodzinski]

Am 26.10.2024 um 16:33 schrieb Dunge_Onmaster:

Die irische Folkrock-/New-Age-Band Clannad veröffentlicht ihren Score zu britischen Fernsehserie Robin of Sherwood (1984–86) in deutlich expandierter Fassung: https://clannad.tmstor.es/product/150228 

Wirklich schöne sphärische Kompositionen mit sanftem (d. h. stilisierten) Mittelalter-Einschlag und ordentlich 80s-Vibe. Kann ich nur wärmstens empfehlen. Mir gefallen vor allem die instrumentalen bzw. überwiegend instrumentalen Stücke.

 

 

Wer keinen Wert auf Polycarbonatfrisbees samt Porto- und Zoll-Action legt, findet die Musik auch als Download in HiRes auf den einschlägigen Portalen.  

Kann man mittlerweile auch bei Amazon und JPC bestellen, Doppel-CD und Doppel-Vinyl.

[JuergenH]

Am 26.10.2024 um 16:33 schrieb Dunge_Onmaster:

Die irische Folkrock-/New-Age-Band Clannad veröffentlicht ihren Score zu britischen Fernsehserie Robin of Sherwood (1984–86) in deutlich expandierter Fassung: https://clannad.tmstor.es/product/150228 

Wirklich schöne sphärische Kompositionen mit sanftem (d. h. stilisierten) Mittelalter-Einschlag und ordentlich 80s-Vibe. Kann ich nur wärmstens empfehlen. Mir gefallen vor allem die instrumentalen bzw. überwiegend instrumentalen Stücke. 

 

Ehrlich gesagt nicht so meins - mal abseits der bekannten Namen wie Korngold und Kamen - ziehe ich die Andy Price Musik zur RH-BBC Serie doch eindeutig vor, welche auch auf CD erschienen ist. Freut mich aber dennoch, für alle die diese Clanned-Musik mögen...

 

 

[Alexander Grodzinski]

Von Music Box Records:

ARSÈNE LUPIN (EXPANDED 20TH ANNIVERSARY EDITION)

Format Digital

Brand Music Box Records

Reference MBD-234

Condition New

 

Music Composed by Debbie Wiseman

Music Box Records (digital)

 

Newly remastered and expanded edition.
8-page CD booklet with French and English liner notes by Sylvain Pfeffer.  
Limited Edition of 500 units.

In collaboration with EMI Music Publishing France, Music Box Records presents the newly remastered and slightly expanded edition of Ennio Morricone’s score to the 1983 adventure film Le Ruffian, starring Lino Ventura, Bernard Giraudeau and Claudia Cardinale.

Le Ruffian, the twelfth feature film of director and writer José Giovanni is an action-filled adventure movie shot in the Canadian Rocky Mountains, with the majestic Wapta Falls as its main natural setting. The score allowed Ennio Morricone to pick up various elements from his melodic and instrumental palette in order to deliver a colorful and catchy score. According to his usual method, the Italian maestro proposed several themes, notably for the main theme. This album allows listeners to discover for the first time four never-before-released tracks, including two unused versions of Le Ruffian’s theme, revealing a more nostalgic approach than the glib melody that was actually chosen for the movie. The final score of the film is built around three recurring themes for which Morricone collaborated again with harmonica player Franco de Gemini. The composer summoned up the iconic pieces of his repertoire from the 60s/70s and infused José Giovanni’s pictures with the Western-like sound he had coined.

This newly remastered edition features the complete program already released on the Italian label Beat Records in 2004 with all the alternate versions. The album also presents the original 1983 General Music soundtrack album, remastered from a new pristine condition stereo master tape, and also includes for the first time four never-before-released demo tracks which were vaulted at EMI Music Publishing France. The package includes an 8-page booklet with liner notes by Sylvain Pfeffer, discussing the film and the score. The CD release is limited to 500 units. 

LE RUFFIAN

ORIGINAL SOUNDTRACK ALBUM

1. Western ? (3:39)

2. Ricordo rosa (2:58)

3. Amici come pochi (2:39)

4. Sotto le rapide... poi l'oro (1:52)

5. L'oro come pericolo (4:22)

6. Viaggio in 4 (3:33)

7. Sporco ma distinto (1:56)

8. Un pomeriggio solo mio (2:38)

9. Le ruffian (4:08)

10. Un'orchestra un po'pazza (2:56)

BONUS TRACKS

11. Viaggio in 4 (#2) (1:56)

12. L'oro come pericolo (#2) (2:18)

13. Le ruffian (#2) (1:10)

14. Western ? (#2) (1:55)

15. L'oro come pericolo (#3) (1:41)

16. Western ? (#3) (0:59)

17. Amici come pochi (#2) (1:40)

18. Sporco ma distinto (#2) (1:41)

19. Amici come pochi (#3) (1:46)

20. Ricordo rosa (#2) (1:46)

21. Le ruffian (#3) (1:58)

22. Western ? (#4) (1:44)

23. Ricordo rosa (#3) (2:39)

24. Western ? (#5) (2:23)

25. L'oro come pericolo (#4) (3:30)

26. Western ? (#6) (3:18)

27. Sotto le rapide... poi l'oro (#2) (3:23)

28. Ricordo rosa (demo #1) (3:07) - Previously Unreleased

29. Le ruffian (demo #2) (1:49) - Previously Unreleased

30. La danse du ruffian (demo #3) (2:21) - Previously Unreleased

31. Le ruffian (demo #4) (1:38) - Previously Unreleased

Total Time • 76:40

Remastered CD reissue.
12-page CD booklet with liner notes by Daniel Schweiger.  
Limited Edition of 1000 units.

In collaboration with Edward R. Pressman Film Corporation, Music Box Records proudly follows their IFMCA award-winning release of Bernard Herrmann’s 1976 Oscar-nominated score for Obsession by now going back to his collaboration, one that relaunched his career as well as boldly announcing a new Master of Suspense. Almost forgotten when editor Paul Hirsch was inspired to use Psycho as temporary music, the resulting collaboration between him, filmmaker Brian De Palma and Herrmann showed just how much diabolically inventive energy was left to his talent with 1973’s Sisters. 

Weathering the storm that the legendarily combustible musician brought to this tale of an innocent model and her possession by a seemingly dead twin (both played by Margot Kidder). The result of Herrmann’s outraged inspiration was one of his great, theme-filled scores. Particularly striking as it brought a new Moog electronic sensibility to join with his symphonic swings between romance and terror, Sisters once again brought the composer into the Hollywood eye while joltingly announcing the arrival of a stylistically fresh, homage-filled auteur of modern suspense cinema. 

With Sisters’ complete scoring session elements proving lost after an exhaustive search in collaboration with the Edward R. Pressman Film Corporation, Music Box Records has painstakingly remastered the original CD edition to reprise its original album program with a knife-striking, bell-ringing orchestral malice that no mad doctor can rend asunder. Extensive liner notes by Daniel Schweiger (Obsession) features a new interview with Paul Hirsch on the turbulent scoring process with Bernard Herrmann that brought an iconically thrilling legend back to Hollywood life. The CD release is limited to 1000 units. 

SISTERS

1. Prelude (Main Title) (1:36)

2. The Dressing Room (1:19)

3. The Ferry / The Apartment / Breton (3:40)

4. The Scar / The Pills / Duo (2:50)

5. The Cake / The Car / The Candles (2:40)

6. Phillip's Murder / Window View (3:05)

7. Clean-Up / Split Screen / The Search (2:58)

8. The Plastic Bag / The Dress / The Cake Box (2:48)

9. Apartment House / The Windows (2:44)

10. The Couch (1:06)

11. The Siamese Twins (2:36)

12. The Solution / The Clinic / Hypnotic Trance (3:54)

13. The Dream / The Syringe (4:21)

14. Separation Nightmare / Breton's Murder / Dirge (4:08)

15. Aftermath / Finale (2:16)

Total Time • 42:11

World Premiere CD Release.
12-page CD booklet with French and English liner notes by Sylvain Pfeffer.
Limited Edition of 500 units.

Music Box Records proudly presents the premiere CD release of Philippe Sarde's lyrical score to the 2006 drama film Le Grand Meaulnes.

The movie, based on the classic novel by Alain-Fournier, marks the reunion between Jean-Daniel Verhaeghe and composer Philippe Sarde, nine years after Stendhal’s The Red and the Black (available on Music Box Records), the director’s previous adaptation of another masterpiece of French literature. Charmed by what Sarde had come up with for The Red and the Black, Verhaeghe completely trusted him on Le Grand Meaulnes, leaving him free to make his own choices regarding the musical orientation of the score. Philippe Sarde built his score around Yvonne de Galais’s theme. The long melody expands endlessly, oscillating between introverted intimacy and flamboyantly lyrical style. A second motif, both elegant and touching, illustrates the strong friendship that binds the main characters together. The score, performed by the 90 musicians of the Pro Arte Orchestra and recorded in London by John Timperley at the Abbey Road Studios, revives the early 20th century musical era. The music of Le Grand Meaulnes lavishly and truthfully celebrates the joys and pains that build up, little by little, the sturdiest of friendships. 

Supervised by Philippe Sarde, the whole program has been assembled by Édouard Dubois and fully remastered from the complete scoring session elements. The package includes a 12-page booklet featuring exclusive liner notes by writer Sylvain Pfeffer discussing the film and the score, based on new comments by Philippe Sarde. The CD release is limited to 500 units. 

LE GRAND MEAULNES

1. Prologue (Rentrée des classes) (3:37)

2. Feux d'artifice (0:40)

3. Baignade dans la rivière (0:55)

4. Sauvetage (1:15)

5. Sur les toits (1:14)

6. Les grandes manœuvres (1:56)

7. Fuite du Grand Meaulnes (2:47)

8. Yvonne de Galais (1:21)

9. La fête (1:18)

10. Le serment (2:17)

11. Les Sablonnières (1:18)

12. Départ d'Augustin (1:02)

13. La lettre d’Augustin (1:14)

14. La barque / Le bal (2:41)

15. La tourelle (0:36)

16. François et Yvonne (1:17)

17. Retrouvailles (2:11)

18. Le mariage (1:29)

19. Repas de noces (1:41)

20. L'avion (1:14)

21. Yvonne enceinte (1:27)

22. Mort d'Yvonne (2:29)

23. Augustin et sa fille (1:55)

24. Mobilisation (1:28)

25. In memoriam (5:05)

26. Finale (Générique de fin) (4:21)

Total Time • 49:53

[Trekfan]

Am 15.11.2024 um 08:53 schrieb Alexander Grodzinski:

Von Music Box Records:

With Sisters’ complete scoring session elements proving lost after an exhaustive search in collaboration with the Edward R. Pressman Film Corporation, Music Box Records has painstakingly remastered the original CD edition

Bin heute dazu gekommen, die alte CD von Southern Cross von SIsters zu hören. Die hat nie umwerfend geklungen, muss aber sagen, dass ich mit dem Klang vollkommen zufrieden bin. Die Clips bei Music Box deuten auch nicht unbedingt auf eine große Verbesserung hin. Drüben bei FSM behauptet Bruce Kimmel unwidersprochen, dass Music Box die Musik für das Mastering von der alten CD gezogen hat:

Zitat

That's because they're using Lasher's CD to start with. Mastering can't change the mix or even the basic sound - it can only smooth out levels, bring out the high, mid, and low end to a minimal extent.

Unterm Strich ist der Score für mich nur etwas für Herrmann Komplettisten. Auch alles irgendwie schonmal da gewesen, von Marnie bis Fahrenheit.

 

[Stefan Schlegel]

vor 1 Stunde schrieb Trekfan:

Unterm Strich ist der Score für mich nur etwas für Herrmann Komplettisten. Auch alles irgendwie schonmal da gewesen, von Marnie bis Fahrenheit.

Ich habe den Film bereits im Februar 1979 in einem Kino in Paris gesehen als wir mit der Schule kurz vor dem Abitur eine Woche lang dort waren. Im Film selbst fand ich die Musik damals äußerst effektiv und faszinierend, obwohl ich MARNIE und FAHRENHEIT natürlich damals auch schon kannte. Der Film hat mich damals so begeistert, daß ich ihn mir auch in Deutschland ein paar Monate später sogar noch mindestens zweimal im Kino angeschaut habe. Die Entr´acte LP kam bei mir dann erst so rund zwei Jahre später rein. Herrmanns OBSESSION etwa hatte ich da längst auf LP und war für mich ein Hochgenuß, während SISTERS rein zum autonomen Anhören dagegen doch gehörig abfiel. Da hatte ich mir vom Film her etwas mehr versprochen gehabt. Ein paar mal habe ich die LP durchaus laufen lassen und es sind auch mehrere interessante Tracks dabei, aber es war dann auf Dauer doch etwas zu repetitiv, weil vieles eben seine volle Wirkung nur im Zusammenhang mit den Bildern entfaltet. Abgeben würde ich die LP allerdings sicher auch nicht, da ich mit der Musik zu viele positive nostalgische Erinnerungen verbinde.
Dagegen wäre IT´S ALIVE schon eher was, wo ich persönlich nur mit der Schulter zucke und den man wirklich nur Herrmann-Komplettisten empfehlen kann - damals in den 80ern die LP nach recht kurzer Zeit wieder abgegeben und auch ab CD nie mehr an Bord geholt. 

[Trekfan]

vor 20 Minuten schrieb Stefan Schlegel:

Dagegen wäre IT´S ALIVE schon eher was, wo ich persönlich nur mit der Schulter zucke und den man wirklich nur Herrmann-Komplettisten empfehlen kann - damals in den 80ern die LP nach recht kurzer Zeit wieder abgegeben und auch ab CD nie mehr an Bord geholt. 

Sisters würde ich aber auch nicht Herrmann-Einsteigern empfehlen. Ich habe die CD jedenfalls mal wieder gern gehört, das reicht dann aber auch mal wieder. Im Film ist der Score in der Tat ziemlich effektiv, Brian De Palma wollte Herrmann und diese Art Scoring ja auch bewusst in seinem Film haben.

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with El Deseo, celebrates the 40th anniversary of Pedro Almodóvar’s iconic classic film ¿QUÉ HE HECHO YO PARA MERECER ESTO! (aka WHAT I HAVE DONE TO DONE TO DESERVE THIS?), one of his most celebrated and beloved films, with the premiere edition of the original soundtrack composed by Bernardo Bonezzi for the film.

Bernardo Bonezzi was only 19 years old when he composed and orchestrated the music for this film, which was also his first film score and the beginning a solid career as a film composer, leaving behind a successful career as a pop musician. He collaborated with Almodóvar on two other films (MATADOR and WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN) and with many other directors, completing more than 60 films and TV series before his untimely passed at the age of 48, ending the career of one of the most respected composers of Spanish cinema and one of its most personal voices.

Bonezzi’s score for ¿QUÉ HE HECHO YO PARA MERECER ESTO! is surprisingly mature and sensitive, with a neorealist-inspired waltz as the main theme, dramatic music for string orchestra, echoes of jazz and blues, and the piece “La soledad de Gloria,” which has remained one of the most representative themes of all Almodóvar’s filmography.

The score was never released on album and the masters were considered lost for ages. Bonezzi re-recorded five cues in 1990 for the album “Three Films by Almodóvar,” specially re-orchestrated and arranged for that album (and also includes in this CD as bonus tracks) but still far from the freshness of the original recording. The recent discovery of the original 1984 recording sessions tapes, in stereo and mint condition, has resulted in the release of this highly requested score for all Almodóvar and Bonezzi fans.

1. ¿Qué he hecho yo para merecer esto! 3:03

2. Paseo por la calle 2:33

3. Magia 1:27

4. La familia de Gloria 2:26

5. El lagarto 1:42

6. Disco-Vecina 3:13

7. Robo 1:30

8. Striptease 2:50

9. Noche 1:53

10. Madrid-Berlín 3:04

11. La soledad de Gloria 2:34

12. Vuelta a casa 1:28

13. ¿Qué he hecho yo para merecer esto! (Final) 4:42

14. La bien paga 3:38

15. Nur Nicht Aus Liebe Weinen 3:21

Bonus Tracks: Regrabaciones 1990

16. El lagarto 1:55

17. La familia de Gloria 2:09

18. Madrid- Berlín 2:24

19. La soledad de Gloria 2:04

20. ¿Qué he hecho yo para merecer esto! 2:55

[TheRealNeo]

Ist das nur Spotify-Neu?

https://open.spotify.com/album/2jQnYSbSJubjecGuPkut3I?si=r6ln5rCsSuOD3xICmQ7RGg

[Stefan Schlegel]

vor 49 Minuten schrieb TheRealNeo:

Ist das nur Spotify-Neu?

https://open.spotify.com/album/2jQnYSbSJubjecGuPkut3I?si=r6ln5rCsSuOD3xICmQ7RGg

Einfach nur abgekupfert von der 2015 erschienenen Intrada-CD:

https://www.discogs.com/de/release/8363649-Miklós-Rózsa-The-Lost-Weekend-Music-From-The-Motion-Picture?srsltid=AfmBOooTLe1b9moeS1Tk5au6wJr033Ix-UQflO3B8aqQJ-Hu7FGGatm3

Bidan & Velleltranelle LLP scheint mal wieder ein neues Bootleg-Label auf dem Markt zu sein, das auch Rips von Alex Norths ROSE TATTOO (LP/CD-Album) bzw. von der Neuaufnahme von Franz Waxmans BRIDE OF FRANKENSTEIN Im Angebot hat:
https://www.qobuz.com/nz-en/label/bidan--velletranelle-llp/download-streaming-albums/7239825

[ronin1975]

Indiana Jones and the great Circle - Gordy Haab

Zum neuen Computergame hat Gordy wieder mal ordentlich Williams emuliert und haut auf den Putz:

https://music.apple.com/de/album/indiana-jones-and-the-great-circle-original-video/1783178826

 

Creation of the Gods 2 kommt nun endlich am 29.1. raus, hoffe da ist Gordy auch wieder mit dabei!

[ronin1975]

Am 6.6.2023 um 12:24 schrieb ronin1975:

Across the Spiderverse - Daniel Pemberton

Eigentlich ja keine kleine Veröffentlichung, Film is ja ein Blockbuster, der auch noch einschlug an den Kinokassen. Den ersten Score mocht ich jetzt nicht so, der zweite nun is wie der Film ein Frontalangriff an die Sinne. Mit 107min sehr lang, aber da is viel Tolles bei. Super eingesetzt im Film auch.

Denke zwar der Academy is das alles zu laut und nervig, aber für mich bei dem Ausbund an Kreativität und Effektivität im Film ein Oscaranwärter. Was eine Arbeit so ein Score sein muss… irre

 

Heute hier in London live zum Film. 3400 Sitze, ausverkauft!

Pemberton und viele der Musiker, die auch den Score aufgenommen mit Orchester auf der Bühne. Das war wirklich stark und bis zum Anschlag.

Eins der besten Filmkonzerte, die ich gesehen hab. Toller Score, toller Film, tolle Stimmung.

 

[ronin1975]

ich würds jetzt keinen Holy Grail von mir nennen, aber ich mochte den Score immer und J Peter Robinson in den 80ern... die Synths sind natürlich irre dated, aber irgendwie hats auch Charme, ein zwei Stücke sind etwas arg ungeeignet gewesen für so Wirbelwind an Noten mit den Synths, aber manches geht auch ganz gut eigentlich. Film fand ich auch immer witzig, wobei der erste natürlich viel besser ist und nicht ganz so albern... Makeup Effekte waren aber bei beiden ziemlich eindrucksvoll. Die Platte ist leider schon ausverkauft, aber vielleicht auf ebay oder so noch zu kriegen:

https://www.terror-vision.com/store/return-of-the-living-dead-2-1988-ost-lp

[ronin1975]

zur Netflix Doku hat Colin Stetson einen beschwingten Streicherscore geschrieben, typisch er... kurios wie er zwischen harten Horrorfilmen und so netten Sachen hin und her wechselt:

https://music.apple.com/de/album/martha-soundtrack-from-the-netflix-documentary/1774218459

[ronin1975]

zum Oscar-Anwärter mit bemerkenswerter Kameraarbeit NICKELBOYS gibts einen schönen ruhigen, manchmal abstrakten Score von Alex Somers und Scott Alario:

https://music.apple.com/de/album/nickel-boys-original-motion-picture-soundtrack/1779776394

find ich sehr hübsch, die abstrakteren Sachen sind nicht immer meins, aber insgesamt hat es was... erinnert mich manchmal an den Score von QUIET PLACE 3 ehrlich gesagt

 

[ronin1975]

grossartige Musik zum grossartigen HUNDREDS OF BEAVERS... zum irre witzigen Slapstick-Stummfilm-Kracher gibt es ein paar originale Kompositionen und pre<existierende Stücke, die der Regisseur zusammengesucht hat. Endlich hat man die Rechte geklärt und eine schöne Compilation erstellt. Herrlich verrückte, "alte" Musik, bisschen wie Bruce Broughton und sowas. Kurioserweise ist das Stück für die finale und wirklich umwerfence Verfolgungsjagd von Frederic Talgorn sogar! Keine Ahnung wo das Stück eigentlich herkommt...

 

https://music.apple.com/de/album/hundreds-of-beavers-original-motion-picture-soundtrack/1785977162

 

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and Finross, presents a remastered reissue of the expanded edition of TRE COLONNE IN CRONACA, one of the great Ennio Morricone efforts of the early ’90s for the film of Carlo Vanzina, starring Gian Maria Volontè. The film is a chronicle of the dark maneuvers made by a politician to seize an opposition newspaper. A Muslim terrorist receives the order to kill a stockbroker, which triggers a series of blackmail and deception. A brave journalist intends to shed light on all these murky matters, but the politician has no scruples and knows how to move with extraordinary skill.

Being a great admirer of Elio Petri’s work, and in particular of INVESTIGATION OF A CITIZEN ABOVE SUSPICION, Vanzina relied on the actor (Volontè), the editor (Ruggero Mastroianni), the cinematographer (Luigi Kuveiller) and the composer of that film to draw a line of reference to his movie. Morricone assumes the principles that govern his work for Petri, reformulating them. There is no bold experimentation, but the subversive elements, intensity and expressiveness remain. The music has a grotesque, sly and perverse character, a nod to the sensationalism of the front pages.

The album of TRE COLONNE IN CRONACA was released in 1990 on LP and CD in a short program of less than 30 minutes. In 2002, GDM CD Club released an expanded limited edition, supervised by the composer, and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film and it quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone. The booklet includes liner notes by Miguel Angel Órdóñez discussing the film, the music and the composer.

1. Tre Colonne In Cronaca (Titoli) 1:25
2. Ultime Notizie 1:00
3. Prima Pagina 0:24
4. Tre Colonne In Cronaca (#2) 3:16
5. Ultime Notizie (#2) 1:46
6. Prima Pagina (#2) 4:12
7. Tre Colonne In Cronaca (#3) 2:08
8. Ultime Notizie (#3) 4:58
9. Lettere Al Direttore 3:54
10. Ultime Notizie (#4) 1:28
11. Terza Pagina 3:09
12. Lettere Al Direttore (#2) 1:15
13. Ultime Notizie (#5) 1:42
14. Ultime Della Notte 3:10
15. Tre Colonne In Cronaca (#4) 2:31
16. Tre Colonne In Cronaca (#5) 0:54
17. Lettere Al Direttore (#3) 1:09
18. Corsivo 3:53

Total Disc Time: 43:12

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered and expanded edition of Riz Ortolani’s masterful score for the Damiano Damiani thriller CONFESSIONE DI UN COMMISSARIO DI POLIZIA AL PROCURATORE DELLA REPUBBLICA (aka CONFESSIONS OF A POLICE CAPTAIN), starring Franco Nero and Martin Balsam. This was one of the first films about the Mafia in which the fight is hopeless because “the polyp’s feelers” reach everything and everybody. A police inspector and a deputy public prosecutor try to prove that the city’s construction magnate is a member of the legendary criminal organization.

Far from showing an idealized and traditional Mafia (as Nino Rota would do a year later in THE GODFATHER), Riz Ortolani’s innovative score is based on fast and contemporary rhythms, in an extension of the hustle and bustle of an overpopulated Palermo. Between pop, jazz and funk, the music becomes the showcase of an aggressive and real metropolis. Ortolani uses an omnipresent main theme that underscores the narrative like a repeated echo. But the variations, short notes and transpositions of the melody follow each other in an increasingly rarefied atmosphere: the electric guitar distorts, the strings are strangely tuned, the winds and keyboard are unsettling.

Ortolani’s score was released on a now-sought-after LP by RCA, reissued a few years ago by Four Flies Records in vinyl. It appeared on the digital market in the 1990s, pairing the same LP program with NELLA STRETTA MORSA DEL RAGNO, and subsequently had an expanded edition on GDM CD Club. Returning to the original stereo master tapes, this new edition, supervised by Claudio Fuiano and mastered by Chris Malone, includes every note Ortolani recorded for the film in 1971, making it the most comprehensive edition of this classic Italian score. The booklet includes an essay by Miguel Ángel Ordóñez on the film, the music and the composer.

1. Confessione di un Commissario (Titoli) 3:13
2. Visita al manicomio 3:04
3. Il ricordo di Serena 2:39
4. Ossessione di un delitto 2:51
5. Promessa di Giustizia 3:58
6. Pedinamento e Agguato 2:15
7. Serena e Lomunno 2:47
8. Colloquio decisivo 2:59
9. I travestiti 2:48
10. La morte del Commissario 3:11
11. Ossessione di un delitto (#2) 3:45
12. Confessione di un Commissario (#2) 2:54
13. Il ricordo di Serena (#2) 3:32
14. Promessa di Giustizia (#2) 2:44
15. Pendinamento e Agguato (#2) 3:19
16. Serena e Lomunno (#2) 2:54
17. Promessa di Giustizia (#3) 3:41
18. I travestiti (#2) 2:13
19. Pendinamento e Agguato (#3) 3:57
20. La morte del Commissario (#2) 3:37
21. Confessione di un Commissario (#3) 2:21
22. Pendinamento e Agguato (#4) 2:09
23. I travestiti (#3) 1:16
24. Promessa di Giustizia (#4) 1:32
25. La morte del Commissario (#3) 2:56
26. Promessa di Giustizia (#5) 1:54

Total Disc Time: 74:42

[ronin1975]

Presence - Zack Ryan

zu Soderberghs Geisterfilm gibts einen Goldsmith-artigen ‚Grusel‘-Score. Geht nur 16min, ist aber sehr hübsch geworden… 

(sorry kann grad keine  link posten)

 

[ronin1975]

Love Hurts - Dominic Lewis

Zum Actionfilm mit Ke Huan Quan in seiner ersten Hauptrolle hat Dominic Lewis wieder einen gewohnt lustigen Actionscore geschrieben... hat wohl  seine Nische gefunden und is bei 87 North Studio der Hauskomponist geworden. Gefällig:

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and EMI General Music, presents a remastered reissue of the ultimate edition of VERUSCHKA (1971), one of the most beautiful and heartbreaking scores Ennio Morricone composed during the busiest period of his career. The film is a weird production by fashion photographer Franco Rubartelli—a visually lush and moody head vehicle about European supermodel Veruschka.

Composed a year before MADDALENA, Ennio Morricone’s soundtrack has a certain connection to the later film, especially in the sacred aura evoked by using mystical organ and the timbre of the female voice. It is one of Morricone’s most elegant and best-remembered works in the realm of lounge music, where Edda dell’Orso’s vaporous voice is filtered through unusual timbres, swaying over sensual rhythms devoid of thick instrumentation.

The album of VERUSCHKA has been released several times on LP and CD since its first appearance in the mid-nineties on the Point label (only a single with two cues was released concurrently with the film). In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Órdóñez discussing the movie, the music and the composer.

1. Veruschka 6:44
2. Intervallo I 3:50
3. La Bambola 2:14
4. Astratto i 3:39
5. La Spiaggia 8:16
6. Dopo L’intervista 2:27
7. Poesia di una Donna 5:01
8. Le fotografie 1:01
9. La Bambola (#2) 3:14
10. Intervallo II 3:55
11. Magia 2:44
12. Astratto III 1:46
13. Veruschka (#2) 2:54
14. Astratto II 1:14
15. Veruschka (#3) 2:54
16. Astratto IV 1:24
17. La Bambola (#3) 3:41
18. Astratto V 3:35
19. Poesia di una Donna (#2) 2:42
20. La Spiaggia (#2) 4:41
21. Astratto VI 1:59
22. Poesia di una Donna (#3) 2:54
23. La Bambola (#4) 1.49
24. Veruschka (#4) 3:32

Total Disc Time: 78:02

Quartet Records, in collaboration with GDM and EMI General Music, presents a remastered reissue of the ultimate edition of the obscure Ennio Morricone score for CUORE DI MAMMA, a dramatic, grotesque story directed by Salvatore Samperi in 1969. It is the story of Lorenza (Carla Gravina), a mother of three children who is unable to communicate. Her attitude is childish, impassive, conformist in form and substance. A mother with a heart of stone, she is harassed by political extremism from different sides.

The fascinating score of CUORE DI MAMMA stands out for its distinctive thematic variety recognizable as Morricone in a feverish state in the most prolific period of his career. The film, with a recurrent gaze toward a children’s universe that has lost its innocence and a focus on conflict and violence, has its musical equivalent in a lullaby whose function is to contradict the image, to openly oppose it.

No album of CUORE DI MAMMA was released at the time, but the mock-up album prepared by Morricone was first released in the mid-nineties on the Point label. Subsequently, in 2004, an expanded edition was released on the Saimel label, including virtually all the music recorded by the composer for the film. That same selection, supervised by Dániel Winkler and Claudio Fuiano, is here revised and mastered by Chris Malone from the first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Órdóñez discussing the movie, the music and the composer.

1. Ricreazione divertita (Titoli) 3:01
2. La Sveglia 3:29
3. Giorno di Lavoro 2:43
4. Cominciano I Problemi 2:52
5. Ninna Nanna per Adulteri 3:04
6. Cuore di Mamma (Quartetto) 2:12
7. Ouverture del Mattino 5:22
8. Cominciano I Problemi (#2) 3:25
9. Ninna Nanna per Adulteri (#2) 4:06
10. Suoni per un Clavicembalo 1:24
11. Ricominciano Gravi, I Problemi 2:55
12. Cuore di Mamma (Marcia del Generale Graziosi) 1:24
13. Ninna Nanna per Adulteri (#3) 3:48
14. Ricominciano Gravi, I Problemi (#2) 4:50
15. La Sveglia (#2) 2:21
16. Ninna Nanna per Adulteri (#4) 3:15
17. Ricreazione Divertita (Finale) 2:01

Total Disc Time: 53:10

 

[Alexander Grodzinski]

Neu von Dragon's Domain/BSX:

Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of the score on compact disc, composed by Gil Mellé (NIGHT GALLERY, THE ANDROMEDA STRAIN, THE DELIBERATE STRANGER) for the 1977 science fiction film written and directed by Ed Hunt, starring Robert Vaughn (THE MAN FROM U.N.C.L.E., THE MAGNIFICENT SEVEN, BULLITT, HUSTLE), Christopher Lee (THE WICKER MAN, THE THREE MUSKETEERS, THE LORD OF THE RINGS, HORROR OF DRACULA), Daniel Pilon, Tiiu Leek, Helen Shaver, Henry Ramer and Victoria Johnson.

STARSHIP INVASIONS is a Canadian science-fiction film written, directed and produced by Ed Hunt, it was originally titled WAR OF THE ALIENS, then ALIEN ENCOUNTER to avoid confusion with other similar-themed movies released that same year (and eventually again retitled as PROJECT GENOCIDE for home video). Hunt based many of the spacecraft and costume designs on actual alien encounter cases.

Released in 1977, the plot revolves around The Legion Of The Winged Serpent, a rogue alien group lead by Captain Rameses (Lee). The Legion must colonize the Earth before their home planet, Alpha, is destroyed by a supernova. Rameses plans to use a device that broadcasts a signal causing humans to commit mass suicide. Opposing them is The Intergalactic League Of Races, an alliance of advanced aliens from Zeta Reticuli who have been observing humans from a secret underwater base.

Pretending to be fellow members upholding The Galactic Treaty, which prohibits human contact, Rameses and his crew attack their base and sabotage most of the League’s Earthbound saucers. One surviving League ship contacts Professor Allan Duncan (Vaughn) for help. Duncan is a world-renowned ufologist.

The score composed by Gil Mellé stands out for its innovative use of synthesizers combined with jazz elements, creating a unique sound for a genre movie. Notably, many sequences have minimal dialogue, as the alien characters communicate telepathically, which benefited Mellé in his composition.

For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, WORLD WAR III, and many others.  Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score for the TV movie PERILOUS VOYAGE.

Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of music composed by Gil Mellé for this project on compact disc. The music has been newly mastered by James Nelson at Digital Outland and the liner notes have been written by author G.B. Kemner.

STARSHIP INVASIONS is a limited edition release of 500 units. STARSHIP INVASIONS is expected to begin shipping the week of March 24th, 2025.

01. Main Title (2:25)
02. Abduction Of The Farmer (3:46)
03. Abduction Of The Family (3:27)
04. Suicides / Underwater Alien Base (5:08)
05. Rameses Seizes Control (8:01)
06. Allan’s Close Encounter (3:45)
07. Data Control Center (2:47)
08. New Allies Pursued Past The Moon (5:37)
09. Suicide Epidemic (2:46)
10. Outer Space War (4:24)
11. Betty’s Suicide Attempt (2:58)
12. Android Durbel Destroys Rameses’ Fleet (5:21)
13. Resolution and End Titles (4:59)
14. Alternate Cue Suite (2:22) 

Time: 58:21

Dragon’s Domain Records proudly presents the second volume in a new ongoing series of music from classic horror films from the Golden Age, featuring a trilogy of world premiere releases of music from THE SHUTTERED ROOM, THE DEATHHEAD VIRGIN and HAND OF DEATH.

Released in 1967, THE SHUTTERED ROOM tells the story of Susannah Whately Kelton, a woman raised in foster care (Carol Lynley) who discovers that her birth parents have died and left her their estate, located on Dunwich Island off the Massachusetts coast. When she and her husband (Gig Young) arrive there, they find the surrounding community to be leery of outsiders and steeped in local superstitions. Befriending her aunt Agatha (Flora Robson), the young wife is cautioned against rebuilding the old mill, where a shuttered attic room contains a horror from her childhood. 

The music for THE SHUTTERED ROOM was composed by Basil Kirchin. Kirchin was born in Blackpool, England in August, 1927. He began his professional career at the age of 13 playing drums in his father Ivor’s big band orchestra during the second World War. Kirchin continued working within the genre until the late 1950s, when the public’s musical tastes shifted to rock & roll. 

Released in 1962, HAND OF DEATH tells the story of scientist Alex March (John Agar), who is determined to develop a nerve agent that will safely paralyze enemy troops and render them susceptible to counter commands. When a local man is unwittingly exposed at a test site and recovers without ill effects, March recklessly plows ahead to perfect the formula. Accidentally getting the powerful liquid on his hands, he begins to mutate into a hulking monster whose mere touch can kill...

The score for HAND OF DEATH was provided by Joseph Francis Burke, known professionally as “Sonny.” Sonny was born in Scranton, Pennsylvania and after a year playing football at the University of Detroit, he transferred to Duke University where he created and led a big band jazz orchestra. By the 1950s, he began to write songs for several Disney features and short-subjects, most notably LADY AND THE TRAMP, which featured the voice of Peggy Lee.

Released in 1973,  The plot of THE DEATHHEAD VIRGIN centers on the search for lost treasure on a sunken 1850s Spanish man o’ war hidden within a reef. Predictably, there’s a curse involved that threatens anyone who dares to search for the lost booty. However, this doesn’t prevent a pair of American salvagers (Gaynor and Ward) from making an attempt. Entering the wreck, Ward forces his way into a locked cabin, where he discovers a female skeleton with flowing black hair chained to the deck. The removal of jewels from the corpse sets in motion the revival of a vengeful virgin princess, who had been captured and brutally raped by the conquistadors a century before...

This second volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 2 is a limited edition release and is expected to begin shipping the week of February 24th, 2025.

SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings.

 

THE SHUTTERED ROOM (1967)
Music by Basil Kirchin
01. Prologue / A Child’s Nightmare (2:07)
02. Main Title (2:03)
03. Ferry Crossing / The Locals (2:30)
04. Arrival At The Lighthouse / Family Reunion (2:13)
05. The Old Record / Murder Music (1:40)
06. Aunt Agatha Finds The Body / Summer Sun / Susannah And The Mill (3:30)
07. Susannah Opens The Red Door / Ocean Walk / Sex Pests (4:35)
08. Pursued / The Fight / Ethan Gets It / Finale   (4:53)
09. The Shuttered Room (1967) Theatrical Trailer (2:33)

HAND OF DEATH (1962)
Music by Sonny Burke
10. Intro / Main Title (3:09)
11. L.A. / Dangerous Experiment (2:38)
12. Evil Unleashed / Setting Fire To The Lab  (3:41)
13. Gas Station & Transformation (1:43)
14. Strange Evidence / Killer Escapes (4:58)
15. The Boy On The Beach / Finale (5:27)
16. Hand Of Death (1962) Theatrical Trailer (1:46)

THE DEATHHEAD VIRGIN (1974)
Music by Richard LaSalle
17. Exploring The Sunken Wreck / Evil Freed (5:20)
18. Flight / Scalping The Girl (2:37)
19. Water Play / Strange Happenings (3:54)
20. Murderous Pursuit / Frank Is Dead (3:56)
21. Virgin Princess Attacks / Boat Hijacked / A Woman Under Suspicion ( 4:28)
22. Swim To The Boat / Vengeance Of The Princess / Finale (2:37)

Total Time 73:21

Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION: VOLUME 1, featuring the world premiere releases of two scores composed by Gil Mellé from his lengthy filmography.

Released in October, 1985, HOT TARGET was a UK/New Zealand co-production directed by Dennis C. Lewiston, starring Simone Griffeth, Bryan Marshall and Steve Marachuk. The screenplay was written by Lewiston and Gerry O’Hara. HOT TARGET follows Christine (Griffeth) who is the trophy wife of a successful businessman in New Zealand.  Her seemingly idyllic descends into chaos when she meets Greg (Marachuk), a mysterious American. Their chance encounter in the park reveals a dark tapestry of deceit and ulterior motives that begins to slowly unravel, leading ultimately to a shocking murder. Mellé’s score is a masterful blend of orchestral richness and electronic innovation, featuring vibrant jazz influences.

Airing on television in 1984, JEALOUSY was written and directed by Jeffrey Bloom (BLOOD BEACH), starring Angie Dickinson, Paul Michael Glaser, Bo Svenson, Susan Tyrell, France Nuyen, Richard Mulligan and David Carradine. JEALOUSY is presented through three interconnected vignettes, each exploring the profound impact of jealousy on a woman’s life. While two of the segments were scored by prolific television composer Jimmy Haskell, the first segment, ‘Georgia’, featured music composed by Gil Mellé, who also provided the opening and closing titles. Mellé's score is rhythmically captivating and beautiful, perfectly encapsulating the essence of Dickinson’s dark fantasies.

For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, STARSHIP INVASIONS, WORLD WAR III, and many others.  Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score.

Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION – VOLUME 1, featuring the world premiere releases of music composed by Gil Mellé for HOT TARGET and JEALOUSY PART 1. James Nelson has mastered the music at Digital Outland.

THE GIL MELLÉ COLLECTION – VOLUME 1 is a limited edition release of 500 units and is expected to begin shipping the week of February 24th, 2025.

HOT TARGET
1. Night Chase / Opening Titles (1:52) 
2. Dog Park (1:55) 
3. The Party (3:43) 
4. Shower (1:35) 
5. Afternoon Tryst (1:45) 
6. Bedroom Muzak (2:19) 
7. I’m A Criminal (2:43) 
8. Cocktail Party (6:43) 
9. Tree Tryst (3:05) 
10. Girl Talk (1:30) 
11. Horse Show (1:29) 
12. The Robbery (4:44) 
13. Fight And Death (3:48) 
14. Restless Night (1:16) 
15. Police Tail And Chase (3:17) 
16. The Apartment and Fight To The Death (3:07) 
17. Dangerous Drive (3:58) 
18. Finale (3:28) 
JEALOUSY: GEORGIA
19. Opening Credits (1:49)
20. Why Not Have A Little Fun? (1:42)
21. Out For A Drive (1:55)
22. Georgia’s Fantasies (3:57)
23. Georgia’s Descent Into Madness (4:36)
24. End Credits (0:55)
Total Time: 68:12

Dive beneath the waves as BSX Records presents a double feature of Bukimisha’s thrilling “a capella’ recreations of Akira Ifukube’s complete scores to the special effects extravaganzas ATRAGON and LATITUDE ZERO.

ATRAGON follows the threat from the villainous undersea kingdom of  the Mu Empire and the surface world’s only hope is from a secret super-submarine. The maestro’s score draws on many of his established martial themes, some originally created during the Second World War. A counterpoint is “Makoto’s Theme,” a gentle, longing melody for estranged daughter of the boat’s captain.

LATITUDE ZERO is an usual pulp-style adventure that was shot in English and starring Hollywood heavyweights Joseph Cotton, Cesar Romero, and Richard Jaeckel. Here, a trio of explorers stumble upon an hidden utopia at the bottom of the sea. They’re under  threat from a mad scientist and his army of mutant creatures. Ifukube’s score for this film quite different from his earlier work, but fear not, his theme for the Black Shark submarine is still imbued with his more familiar menacing style.

This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali. This CD set is a limited run.

ATRAGON (1963)
  1. Toho Logo  0:16
  2. Appearance of the Steam Person  0:44
  3. Main Title  1:20
  4. The Submarine Rises to the Surface  1:51
  5. The Delivered Film  0:16
  6. Warning from Mu   1:54
  7. Emergency UN Conference Convenes  0:16
  8. Challenge from Mu  1:06
  9. Worldwide Terror  0:26
10. The Red Satan  1:59
11. The Submarine Returns to Port  0:40
12. Communication Ball  0:11
13. Gotengo Defense Force  0:21
14. Makoto’s Theme I  0:56
15. The Undersea Battleship’s Test Run I  0:38
16. The Undersea Battleship’s Test Run II  2:13
17. The Undersea Battleship’s Test Run III  0:48
      (Film Version)
18. Makoto’s Theme II  1:47
19. Unno’s True Colors  0:56
20. The Prayer of the Mu Empire  3:15
21. Guardian Dragon Manda   0:19
22. The Mu People on Mount Mihara  1:00
23. The Declaration of Mu  1:00
24. The Undersea Battleship Attacks I   0:26
25. The Undersea Battleship Attacks II  0:46
       (Film Version)
26. Marunochi Collapses  0:32
27. Tokyo Bay Conflagration   0:44
28. Tokyo Bay and the Undersea Battleship  1:31
       (Film Version)
29. The Rescue  2:11
30. The Undersea Battleship vs. Manda  1:51
31. Volunteer Corps Moves Out  2:08
      (Film Version)
32.  Ending   1:11
LATITUDE ZERO (1969)
33. Main Title  2:49
34. Anomalies in the Deep Sea  1:42
35. The Undersea Volcano  0:47
36. The Submarine Alpha  2:15
37.  Mackenzie 0:25
38. The 164-Year Voyage 0:48
39. Bloodrock 0:35
40. The Alpha vs. the Black Shark I  1:03
41. Black Shark Chase  1:12
42. Tracking Missile  1:34
43. Projected Image  0:55
44. The Entrance to Latitude Zero  1:15
45. The Alpha Enters Port  2:51
46. Utopia - Latitude Zero I  0:44
47. Utopia - Latitude Zero II  1:42
48. Utopia - Latitude Zero III  2:56
49. A Meal at Latitude Zero  0:21
50. Attack of the Black Shark  0:39
51. The Kidnapping of Dr. Okada  0:57
52. Immunization Bath  1:00
53. Malik and Dr. Okada   1:23
54. Bloodrock Trap  1:22
55. Griffon  0:27
56. Bloodrock Monsters  1:42
57. The Mackenzie Invasion  0:35
58. Lucrecia’s Last Moments  0:25
59. Black Shark Appearance  1:37
60. Pieces of Metal  0:16
61. The Alpha vs. the Black Shark II  1:51
62. Griffon and the Black Shark 1:11
63. Noisy Ground   0:20
64. Ending  0:24

Total Time: 73:40

Dragon’s Domain Records presents music from the original score to THE PRIVATE NAVY OF SGT. O’FARRELL, composed by Harry Sukman (FORTY GUNS, DR. KILDARE, THE HIGH CHAPARRAL, SALEM’S LOT) for the 1968 war comedy directed by Frank Tashlin (SON OF PALEFACE, THE GEISHA BOY), written by Robert M. Fresco, John L. Greene and Tashlin, starring Bob Hope, Phyllis Diller, Jeffrey Hunter, Gina Lollobrigida, Mako, Dick Sargent, Michael Burns and Robert Donner.

THE PRIVATE NAVY OF SGT. O’FARRELL takes place during the closing months of World War II and follows an Army sergeant named Dan O’Farrell (Hope) stationed at Camp Funapee in the South Pacific, who files a request to boost the morale of his men by replenishing their dwindling stocks of beer and aspirin. To O’Farrell’s utter dismay, a Japanese submarine torpedoes a single supply ship in a naval convoy headed back to the United States... the ship carrying his beer! After O’Farrell stumbles upon a sunken stash of suds washed up on the coast of Camp Funapee, he partners up with a stranded Japanese-American soldier named Calvin Coolidge Ishimura (Mako) and hoards the copious cans of liquid bread for themselves and a ragtag gaggle of Army friends. O’Farrell and his cohorts discover and reclaim a small abandoned Japanese naval vessel which he pilots, against formidable resistance from his superior officers, to retrieve the remainder of the torpedoed beer lost in the ocean.

The music for THE PRIVATE NAVY OF SGT. O’FARRELL was composed by Harry Sukman, an American composer, conductor, and pianist. Born December 2, 1912 in Chicago, Illinois, Sukman exhibited prodigious piano skills and a keen ear for harmony at a young age and would further develop an innate passion for melody and rhythm at the Chicago Conservatory of Music. He moved to Hollywood, California, in the 1940s where he began a prolific career as a composer for film and television. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA.

Sukman’s rousingly patriotic score for THE PRIVATE NAVY OF SGT. O’FARRELL is a complex balance of recognizable war anthems mixed with shades of sarcasm. His flag-waving main theme is ripe with twangs of tropical island bliss blended with an unabashed spread-eagle military march that would make even the most jingoistic Americans blush.

Dragon’s Domain Records presents THE PRIVATE NAVY OF SGT. O’FARRELL, featuring music composed by Harry Sukman, 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 author and composer Brian Satterwhite.

THE PRIVATE NAVY OF SGT. O’FARRELL is expected to begin shipping the week of February 24th, 2025.

01. Opening Credits (3:18)
02. Sarge and Johnny / Beach Flashback (4:11)
03. Clean-up Montage (1:30)
04. The Map / MPs Chase Sarge (3:58)
05. Beer Cans / Hung Over (2:05)
06. Krause Tries To Seduce Sarge (2:40)
07. The Boat / Blowing Up The Still (3:58)
08. Adeline Sails / Finding Maria and Gabby (3:51)
09. Welcome Pretty Lady (0:44)
10. John and Sarge / Romeo and Juliet (3:00)
11. Girls On The Beach / Another Hangover (2:01)
12. Japanese Sub (1:11)
13. On The Periscope / Sub Fight (5:42)
14. Taps / Memorial Service (2:36)
15. Beach Reunion / Finale (So Long My Darling Reprise) (3:44)
16. Welcome Pretty Lady Version A (0:09)
17. Welcome Pretty Lady Version B (0:14)
18. Opening Credits Version B (2:45)
19. The Map / MPs Chase Sarge Version B (4:13)
20. Finale Version B (5:08)

Total Time: 57:47

Dragon's Domain Records presents the original soundtrack to the 1988 romantic adventure film THE LADY AND THE HIGHWAYMAN, directed by John Hough (TWINS OF EVIL, THE LEGEND OF HELL HOUSE, THE AVENGERS) written by Barbara Cartland and Terence Feely, starring Emma Samms, Hugh Grant, Michael York, Oliver Reed, Claire Bloom, Robert Morley and Lysette Anthony. The soundtrack features music composed and conducted by Laurie Johnson (THE AVENGERS, DR. STRANGELOVE, FIRST MEN IN THE MOON) .

Produced for television b and based on Barbara Cartland’s 1952 romance novel, CUPID RIDES PILLION, the film is also known as DANGEROUS LOVE. The story is set in England during the Restoration of King Charles II to the throne. THE LADY AND THE HIGHWAYMAN provided composer Laurie Johnson with the perfect canvas to showcase his talents, allowing him to draw from a rich tapestry of inspiration, channeling the styles of celebrated composers from Hollywood’s Golden Age, including Sir William Walton, Franz Waxman, Max Steiner, Erich Wolfgang Korngold, and his esteemed friend, Bernard Herrmann. The score includes a principal heroic theme for Hugh Grant’s enigmatic highwayman, Lucius Vyne, and a delicate, recurring love theme that captures the essence of the principal characters' various romantic encounters, forming the emotional backbone of this captivating narrative. The score is brought to life through a traditional symphony orchestra, recorded in England with a talented ensemble of musicians, many of whom Johnston had collaborated with over the years.

Born in Hampstead, London, in 1927, Laurie Johnson undertook his musical studies at the Royal College of Music, where he would later return as a professor. He embarked on a professional musical career at the age of 21, composing and arranging for a variety of big bands, a love which continues to this day with his jazz ensemble, The London Big Band. Johnson began scoring films and television in 1956, and soon proved to have an affinity for quirky and fantastic films with his scores for Stanley Kubrick’s DR. STRANGELOVE (1963) and FIRST MEN IN THE MOON (1964). In addition, Johnson scored episodes of THRILLER and THE AVENGERS for television, including the latter’s popular title theme. Johnson also became associated with the legendary Hollywood composer, Bernard Herrmann towards the end of Herrmann’s career.

Dragon’s Domain Records presents THE LADY AND THE HIGHWAYMAN, featuring music composed by Laurie Johnson, 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 G.B. Kemner and Scott Davis.

THE LADY AND THE HIGHWAYMAN is a limited edition release of 500 units. THE LADY AND THE HIGHWAYMAN is expected to begin shipping the week of February 24th, 2025

01. Opening Credits (1:31)
02. Opening Narration (0:49)
03. Chasing Lucius (4:35)
04. Lady Panthea Vyne (1:53)
05. Silver Blade Appears And The Duel (5:57)
06. Panthea And Emma (0:30)
07. Fanfares For The King (1:58)
08. Court Intrigue (1:49)
09. Silver Blade At Work (1:58)
10. Where Is He Hiding (4:00)
11. Panthea And Lucius (3:19)
12. This Is My Home (2:06)
13. The Truth About Lady Panthea Vyne (2:24)
14. The Verdict And Attempted Escape (1:58)
15. Awaiting Execution (2:58)
16. Battle At The Gallows And The Wedding (Finale) (7:18)
17. Closing Credits (0:53)
18. Bumpers (0:18)
Total Time: 47:00

[Alexander Grodzinski]

Und von Music Box Records:

Remastered edition. Limited edition of 750 units.
12-page CD booklet with French and English liner notes by Sylvain Pfeffer.

2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with SND and TF1 Studio, Music Box Records proudly presents on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: L’Été meurtrier (One Deadly Summer, 1983) and La Reine blanche (The White Queen, 1991).

Adapted from Sébastien Japrisot’s eponymous novel, One Deadly Summer (a box-office success in 1983), starring Isabelle Adjani and Alain Souchon, marks the return of director Jean Becker to cinema, after a break of almost twenty years. Georges Delerue composed a dark and tormented score for the movie, including some pieces that are reminiscent of his scores for François Truffaut’s last films (The Woman Next Door and Confidentially Yours). The dark gem of the score is the jazz theme associated with Éliane (Elle) and accentuates the young woman’s aura of sensuality. In order to characterize the mechanical piano, a central element of the plot, Georges Delerue and Jean Becker chose an arrangement of the love song Roses de Picardie, becoming the obsessive and disturbing reminiscence of the rape. The score was nominated for the César Awards in 1984.

Jean-Loup Hubert’s fifth film The White Queen, starring Catherine Deneuve, Bernard Giraudeau and Richard Bohringer, is set in the post-war era, in the Nantes area in Western France, three years after the critical and popular success of The Grand Highway (1987). Georges Delerue provided a nostalgic score, filled with restrained emotion. The main theme, heard as early as the opening credits, develops a simple folk-like melody reminiscent of the sea shanties of sailors gone to face the open seas. The second theme (Jean), with a sadder tone, conveys the regrets of characters faced with the consequences of their past choices.

Supervised by Colette Delerue, this present edition features the two remastered original soundtrack albums. The package includes a 12-page booklet with liner notes by Sylvain Pfeffer, discussing the films and the scores. The CD release is limited to 750 units.

L’ÉTÉ MEURTRIER

1. Lello et son piano (Générique début) (2:06)

2. Elle (1:36)

3. Le samedi soir (1:58)

4. Nue dans la grange (1:38)

5. L'enfance (1:04)

6. Le viol (5:27)

7. Les souvenirs de Cognata (1:58)

8. Après le viol (3:36)

9. Chez L'ophtalmo (2:26)

10. Elle pleure (1:02)

11. Pin Pon console Elle (1:30)

12. La course cycliste (1:42)

13. Chez Ferraldo (0:51)

14. Elle malade (2:15)

15. L'hôpital et la mort (1:26)

16. La détermination de Pin Pon (1:14)

17. Gabriel et Elle (3:57)

Time • 35:56

 

LA REINE BLANCHE

18. Le Sainte-Marie (2:39)

19. Le retour (0:29)

20. Jean (1:31)

21. Les retrouvailles (0:57)

22. Lili (2:14)

23. Bamboulas sambas (1:56)

24. Yvon (1:25)

25. Rouge baiser (2:04)

26. Le jeu de puces (2:18)

27. La kermesse (2:41)

28. Les petits ballons (3:11)

29. L'aveu (3:17)

30. La robe fantôme (2:45)

31. Le pardon (1:04)

32. Le cha-cha de la Reine (1:32)

33. La fuite de Jean (1:05)

34. Le bar des îles (3:02)

35. Chez Rita (2:56)

36. Les adieux (1:41)

37. La petite récompense (0:42)

38. L'enfance (2:50)

Time • 42:30

Total Album Time • 79:44

Remastered edition. Limited Edition of 500 units.
8-page CD booklet with French and English liner notes by Gilles Loison.

2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with EMI Music Publishing France and Newen, Music Box Records proudly presents the tenth volume of the collection Great Television Soundtracks dedicated to three original television soundtracks composed and conducted by Georges Delerue: Histoires extraordinaires (Edgar Allan Poe’s Extraordinary Tales, 1981), Les Cousins de la Constance (1970) and Là-haut, les quatre saisons (1973).

For these three mini-series, Georges Delerue's gift for melody and enormous versatility are once again demonstrated with these stunningly colourful scores and intimate writing for nostalgic themes.

In the early 1980s, Maurice Ronet, a great admirer of the works of Edgar Allan Poe, produced a TV series of six Extraordinary Tales. Delerue was commissioned to set two episodes to music (The Fall of the House of Usher and The Purloined Letter), showcasing a wide range of dramatic passages and suspenseful musical cues. For The Purloined Letter, he created an atmosphere of mystery with harpsichord, flute, harp and cello while The Fall of the House of Usher features a beautiful romantic waltz used with several variations for the oboe, flute and piano as well as the guitar.

For Les Cousins de la Constance by Robert Mazoyer (Les Gens de Mogador), Delerue chose the accordion, an essential instrument of Breton musical tradition, to accompany the joys, anxieties and sorrows of the sailors and their families. 

Là-haut, les quatre saisons by Guy Lessertisseur is based on the director's childhood memories in the Alps. Throughout the four seasons, a Protestant minister and a young Catholic woman learn to know each other through sharing their conflicting views on life, death and religion. Delerue chose to translate the rural atmosphere through the use of a solo flute, harp arpeggios and strings.

Remastered from the original scoring session elements courtesy of Delerue's archives, this present edition features the world premiere release of these three gorgeous television scores. The CD comes with an 8-page booklet with liner notes by Gilles Loison. The CD release is limited to 500 units.

HISTOIRES EXTRAORDINAIRES (1981)

La Chute de la maison Usher

1. Valse de Madeline (1:00)

2. Souvenirs d’enfance (1:45)

3. La chevauchée d’Allan (0:59)

4. La guitare de Roderick (1:20)

5. Mort de Madeline (1:11)

6. Madeline et Allan (1:39) 

7. L’âme de la maison Usher (2:03)

8. L’amour empoisonné de Rod et Madeline (2:25)

La Lettre volée

9. Le voyage en train (1:49)

10. L’enquête de Dupin (1:39)

11. La maison du ministre (1:52)

12. Dupin échafaude son plan (2:26)

13. La petite vengeance de Dupin (1:01)

Time • 21:17

 

LES COUSINS DE LA CONSTANCE (1970)

14. Générique début (1:26)

15. Le retour (2:21)

16. Le bateau (2:05)

17. Épluchage (1:29)

18. La noce (2:22)

19. L'automne (0:58)

20. Générique fin (2:05)

Time • 12:50

 

LÀ-HAUT, LES QUATRE SAISONS (1973)

21. L’été (Générique début) (3:16)

22. L’étoile de Noël (1:48)

23. Pierre et Nicole (3:01)

24. Fantaisie de Pierre (1:25)

25. Conseils de Pierre (2:41)

26. Les questions de Marc (1:12)

27. Rêve de Nicole / Feu de camp (1:17)

28. Mort de Marie-Louise (1:00)

29. Le printemps (Générique fin) (1:07)

Time • 16:48

Total Time • 51:55

World Premiere CD Release.
8-page CD booklet with French and English liner notes by Gérard Dastugue.
Limited Edition of 300 units.

In collaboration with Universal Publishing Production Music and StudioCanal, Music Box Records presents the premiere CD release of the original soundtracks of Sébastien Japrisot’s only two feature films composed and conducted by Éric Demarsan (Army of Shadows, Special Section): Juillet en septembre (July in September, 1988) and Les Mal Partis (The False Start, 1976). 

For Juillet en septembre, Éric Demarsan provides a thunderous score with a touch of melancholy, referring the imagination of the main character, who has dreams about the United States and wide open spaces. The saxophone/guitars/bass guitar/drums combination dominates sharp strings and powerful rhythmic basses, creating a surprising cocktail. This ambiguous ballet where dangerousness, strangeness and softness cohabit creates a surprising mirror effect between an intimate drama and a thriller. 

For Les Mal Partis, it tells the story of a 14-year-old boy who has a passionate love affair with a nun during the German Occupation in France. Éric Demarsan provides this haunting, melancholy yet joyous theme whistled by Michel Ganot. Japrisot asked his friend Darry Cowl to compose the main title theme, arranged by Jean-Michel Defaye. 

The two scores have been fully remastered by Christophe Hénault from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Gérard Dastugue and new comments by Éric Demarsan on his collaboration with Sébastien Japrisot (author of One Deadly Summer and A Very Long Engagement). The CD release is limited to 300 units. 

JUILLET EN SEPTEMBRE
1. Juillet en septembre (Générique début) (1:48)
2. Première victime (2:25)
3. L’étrangleur (2:37)
4. Juillet sur la plage (2:33)
5. Domino  (1:39)
6. La voisine (2:10)
7. Deuxième victime (2:32)
8. Marche américaine (0:38)
9. Coucher de soleil (0:34)
10. Reflets dans le miroir (1:07)
11. Le phare (0:31)
12. Bord de mer (3:39)
13. La dispute (0:51)
14. Femme fatale (2:34)
15. Juillet et Domino (5:43)
16. Deux solitaires (3:23)
17. Face à face (0:56)
18. Juillet en danger (1:30)
19. Les adieux (2:11)
20. En route pour l'Amérique (4:38)
Time • 44:11

LES MAL PARTIS
1. Thème Denis (2:51)
2. Thème Clotilde (3:20)
3. Thème d’amour (3:16)
4. Denis et Clotilde (3:25)
5. Thème Clotilde #2 (1:38)
6. Thème Denis #2 (1:59)
7. Thème d’amour #2 (2:03)
8. Les Mal Partis (4:13)
9. Thème Les Mal Partis* (3:10)
*Composed by Darry Cowl and Jean-Michel Defaye
Time • 25:57

Total Time • 71:08