Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Alexander Grodzinski]

Von Quartet:

Quartet Records, in collaboration with MOD Producciones, presents the soundtrack album for the eagerly awaited new film by Oscar-winning director Alejandro Amenábar, EL CAUTIVO, starring Julio Peña, Alessandro Borgui, Roberto Álamo, Fernando Tejero and Miguel Rellán. The film tells an unusual and never-before-told chapter in the life of Miguel de Cervantes, who in 1575 is taken prisoner and sold to the fearsome Hassan, Bey of Algiers. While awaiting a ransom, he discovers an unexpected refuge in the art of storytelling … and hatches a daring escape plan.

The score has been composed by Alejandro Amenábar himself, as he had done previously with great success in some of his own films (TESIS, THE OTHERS, THE SEA INSIDE) and others (BUTTERFLIES TONGUE, NOBODY KNOWS ANYONE).

Supervised and produced by Lucio Godoy and recorded at Abbey Road Studios in London, Amenábar’s music perfectly sets the mood and situation of the characters, as well as the location and plot, with a sumptuous, romantic and melodic score, like good old-fashioned film music.

Los molinos 1:11

Una mano en la ventana 3:31

Cervantes tiene un plan 3:10

Ya sé lo que pas 3:16

El tesoro del Bajá 1:25

Cielo o infierno 2:29

Más historias 2:35

El amor no existe 3:54

Los de Cervantes 3:11

Fantasía 2:28

Nuevo plan 1:51

Un final tan triste 2:18

I Piccoli Piaceri 1:49

Conmigo serás libre 2:15

Adiós, cautivo 4:46

Quartet Records, in collaboration with Universal Music Enterprises, Island Records and El Deseo, presents the remastered reissue of the music composed by Ryuichi Sakamoto (THE LAST EMPEROR, LITTLE BUDDHA, WUTHERING HEIGHTS) for Pedro Almodóvar’s 1989 cult classic, TACONES LEJANOS (aka HIGH HEELS), a noir melodrama starring Victoria Abril, Marisa Paredes and Miguel Bosé.

After his collaborations with Bernardo Bonezzi and Ennio Morricone, and before his long and successful partnership with Alberto Iglesias, Almodóvar worked with the young, Oscar-winning Japanese composer.

Sakamoto wrote a radiant melodramatic score whose main theme was immediately one of his hits. The album also includes the two songs performed by Luz Casal for the film (“Un año de amor” and “Piensa en mí”), which became instant icons of Spanish cinema.

This CD has been meticulously remastered by Chris Malone from the original master tapes and includes an exclusive design by Juan Gatti and liner notes by the album producer, Jose M. Benitez.

Tema principal 3:06

Tacones lejanos 2:00

Trauma 3:07

La guitarra de Becky 1:06

Plaza 1:14

Besos 1:15

Un año de amor (Luz Casal) 3:21

El Cucu 1 4:27

El Cucu 2 4:18

Tele 7 0:15

Asesinato 0:38

A punto de confesar 1:11

Interrogatorio 4:26

El arresto de Rebeca 1:06

Piensa en mi (Luz Casal)  4:30

Sonata de otoño 0:55

La liberación de Rebeca 2:01

El secreto de Letal 1:01

Viaje en ambulancia 0:24

Título final 3:06

Soleá (Miles Davis) 12:10

 

[Mephisto]

Music Box Records legt bei Philippe Sarde nach. Vielleicht kann @Stefan Schlegel etwas zu den beiden neuen Veröffentlichungen sagen?

https://www.musicbox-records.com/fr/cd-musiques-de-films/16092-moi-qui-taimais.html

https://www.musicbox-records.com/fr/cd-musiques-de-films/16091-sortie-de-secours-la-travestie-la-tribu.html

Erfreulich, dass Sarde anscheinend einen aktuellen Film vertont hat!  

[Stefan Schlegel]

vor 1 Stunde schrieb Mephisto:

Music Box Records legt bei Philippe Sarde nach. Vielleicht kann @Stefan Schlegel etwas zu den beiden neuen Veröffentlichungen sagen?

https://www.musicbox-records.com/fr/cd-musiques-de-films/16092-moi-qui-taimais.html

https://www.musicbox-records.com/fr/cd-musiques-de-films/16091-sortie-de-secours-la-travestie-la-tribu.html

Erfreulich, dass Sarde anscheinend einen aktuellen Film vertont hat!  

Ich habe bei FSM drüben ja bereits einiges zu den beiden Veröffentlichungen geschrieben. Soll ich das alles nochmals auf Deutsch nachholen? 
Ja, es ist natürlich schon eine Überraschung, daß Sarde jetzt tatsächlich nochmals einen neuen Film vertont hat, ein Biopic über das Ehepaar Simone Signoret und Yves Montand. Da Sarde in den 70ern für einige Filme mit beiden Schauspielern die Musik geschrieben hatte, war es logisch, daß man deshalb auf ihn als Komponist zurückgegriffen hat. Daß er einfach nicht mehr die Energie und Kraft hat, eine komplett neue Musik für diesen Film beizusteuern, das hört man auf der anderen Seite aber schon recht gut allein anhand der Hörclips auf der Music Box-Webseite und man sieht es zudem an den Tracktiteln.
Da ist viel Nostalgie und Reminiszenz dabei, es handelt sich im Prinzip wohl vor allem um eine charmante Kompilation von allem Möglichen, das Sarde schon vor ganz langer Zeit geschrieben hat. Er bewegt sich hier sogar fast 60 Jahre zurück, indem er auf zwei Themen seiner allerersten Filmmusik aus dem Jahr 1966, nämlich die für den Kurzfilm FLORENCE, den er auch selbst inszeniert hatte, zurückgreift. Mit dem etwas anders instrumentierten Hauptthema "Clotilde sur la plage" aus FLORENCE setzt der erste Track von MOI QUI T´AIMAIS auch gleich ein. Ein Schmunzeln kann man sich da beileibe nicht verhehlen:
https://www.diggersfactory.com/fr/vinyl/255423/philippe-sarde-loulou-florence

Man kann vielleicht auch sagen: Für Sarde schließt sich hier bei diesem Spätwerk ein Kreis, denn auch Haupt- und Seitenthema eines weiteren frühen Scores, nämlich HELLÉ von 1972 (vor einigen Jahren bei DCM in Kanada erschienen) werden zitiert, ein wenig bereits in Track 1, dann ganz ausführlich in Track 8 "Simone". Ein Track (Nummer 5) nennt sich sogar HELLÉ - ich vermute, dabei wird es sich um eine Direktübernahme eines Tracks aus HELLÉ handeln, genauso bezieht sich Track 14 "Madame Rosa" garantiert auf LA VIE DEVANT SOI von 1977, in dem die Signoret auch die Hauptrolle hatte. Zum Schluß gibts dann auch noch das Hauptthema aus LES CHOSES DE LA VIE. 
Das heißt: Es wird insgesamt nicht viel Neues dabei sein, kann eigentlich auch kaum, wenn man um die körperliche Verfassung von Sarde weiß.
Die Hörclips machen zumindest mir wirklich Laune, es ist wunderschön arrangiert, melancholisch und nostalgisch und eigentlich genau auf meiner Wellenlinie. Aber im Prinzip wird man wohl hauptsächlich alte Bekannte - zumindest für mich jedenfalls "alte Bekannte" -  in einer Art "Rückschau" leicht anders instrumentiert und mit  etwas anderen Modulationen wiederhören können. Man kann sich das als hübsche Zeitreise in die 70er vorstellen. Deshalb hat man Sarde sicher auch genommen, weil die Regisseurin Diane Kurys wohl zum Stoff passende typisch französische Filmmusik der Zeit haben wollte.

Was die andere Veröffentlichung betrifft: SORTIE DE SECOURS - von dem sich ja doch ein Track als Bonus auf der BEAU- PÈRE-CD einfand, über den wir vor einigen Monaten gesprochen hatten - war die zweite Spielfilmmusik von Sarde und wurde erst vor zwei oder drei Jahren auf dem Orbis-Label als LP wiederveröffentlicht:
https://www.diggersfactory.com/fr/vinyl/254887/philippe-sarde-sortie-de-secours

Die Musik ist zum einen sehr jazzig, zum anderen auch recht abgefahren, vor allem im sehr langen letzten, recht psychedelisch angehauchten atonalen Track "Square des innocents". Manches klingt da nicht unbedingt nach Sarde, die SACEM gibt sogar Jean-Michel Defaye nicht nur als Arrangeur, sondern auch als Co-Komponist für den Score an. Sarde war ja da auch erst 22 Jahre alt und ich glaube schon, daß Defaye hierbei mehr als nur ein kleines Händchen mit im Spiel hatte. Das jazzige Hauptthema ist zwar schon einigermaßen typischer Sarde, gefällt mir aber lang nicht so gut wie das viel einnehmendere spätere aus MORT D´UN POURRI.
Von den beiden Yves Boisset-Scores gab es zumnidest von LA TRIBU - übrigens ein Sarde-Favorit von Sebastian, der sich über diese kompletten 13 Minuten bestimmt freuen wird - schon mal einen Track auf der Sarde/Boisset-CD von Universal. Das ryhthmisch nervöse Thema ist eigentlich ein Remake desjenigen aus LA CAGE von 1975. Sind ja recht viele kurze Stücke auf der jetzigen CD, denn wirklich viel Musik hat der Film an sich auch nicht.
Und die Themen aus LA TRAVESTIE von 1988 wurden rund 15 Jahre später in LE MYSTÈRE DE LA CHAMBRE JAUNE wiederverwendet - vor allem den makaber-düsteren Walzer erkennt man sofort wieder. Für mich deshalb nun auch nicht so außerordentlich interessant. Ich persönlich hätte mir andere Kopplungen sicher weitaus mehr gewünscht, aber man kann ja nicht alles haben. 

 

[Mephisto]

Vielen Dank, Stefan! Ich kann nicht immer auf das FSM-Forum zugreifen (und weiß nicht ganz, woran es liegt), daher war der Abschnitt sehr hilfreich. Ich werde mir beide CDs zulegen, es ist schön, dass MBR bei Sarde dranbleibt.

[Stefan Schlegel]

Daß die eine CD mit den drei Scores jetzt im Herbst kommen würde, das wußte ich durch einen französischen Sammlerfreund schon seit ein paar Wochen. Sarde hat die Musiken bzw. die Tracks dafür auch gar nicht selbst ausgewählt, sondern man hat ihm das so vorgesetzt - wohl die beiden Macher von MBR plus Edouard Dubois -, aber er hat anscheinend erst mal eher ablehnend darauf reagiert, weil er zunächst meinte, das Ganze würde als reines Hörerlebnis mit den vielen kurzen Tracks substantiell nicht so besonders viel hergeben. Man mußte ihn sozusagen erst dazu überreden. Er hat sich dann das komplette Master nochmals angehört und schlußendlich dann eben doch noch zugestimmt.

[Oliver79]

Vom polnischen Label GAD Records kommt am 10. Oktober eine weitere CD mit bisher unveröffentlichten Scores von Wojciech Kilar. Das Album vereint drei seiner Arbeiten zu den Filmen Tylko umarły odpowie, Zbrodniarzu, który ukradł zbrodnię und Morderca zostawia ślad.

 

 

[Stefan Schlegel]

Am 20.9.2025 um 23:55 schrieb Stefan Schlegel:

Mit dem etwas anders instrumentierten Hauptthema "Clotilde sur la plage" aus FLORENCE setzt der erste Track von MOI QUI T´AIMAIS auch gleich ein. 

Der komplette Track 19 "Solitude" aus MOI QUI T´AIMAIS ist inzwischen auch auf Youtube zu finden. Tja, was soll man sagen: Natürlich wunderbar intime, charmante und elegante Musik wie man sie heute so wohl kaum mehr in einem aktuellen Score hören würde. Und für den, ders nicht weiß: Das Thema in diesem Track basiert auf dem sehr kurzen "Balade"-Stück wiederum aus FLORENCE von 1966, das hierfür nochmals weiter ausgearbeitet wurde:

 

 

[Alexander Grodzinski]

Von Quartet:

This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz.

Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ CITIZEN KANE (1941), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner.

Considered one of the best films in the history of cinema, if not the best, this immortal classic was the first film directed by Orson Welles, when he was only 26 years old, and it was also the first film score by Bernard Herrmann, who was 29 at the time. His unique sound and his understanding of the art of music in film immediately made him the “new kid on the block,” and his influence continues to this day.

The score for CITIZEN KANE was never released, except for a terrific suite conducted by Charles Gerhardt in the 1970s for an album devoted to Herrmann, and another, very different suite, arranged and recorded by the composer himself for his series of albums with Decca.

In 1991, producer John Lasher undertook a re-recording of the original score of the film, working directly from the original manuscripts. Although it is not the complete score (another later recording, also excellent, conducted by Joel McNeely and produced by Robert Townson for Varèse Sarabande, was more complete), it was celebrated for its fidelity, sound quality and rendition. It is an honor to bring it back to the market.

The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD.

The lavish, 24-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles.

 

Prelude 2:23

Susan In Night Club (Rain Sequence) 0:57

Thatcher Library (Litany): Ms. Reading & Snow Picture; Mother’s Sacrifice; Charlie Meets Thatcher 3:25

Galop 1:01

Dissolve To Thatcher; Second Ms.; Bernstein’s Narration 1:42

Kane’s News Office; Carter’s Exit; Chronicle Scherzo 3:01

Bernstein’s Presto 0:41

Kane’s Return; Valse Presentation 1:41

Sunset Narrative 2:20

Theme And Variations (Breakfast Montage) 3:20

Kane Meets Susan; Susan’s Room; Mother Memory 3:10

The Trip To Susan’s; Getty’s Departure; Kane Marries 2:10

Salaambo’s Aria 4:24

Leland’s Dismissal 1:01

Susan In Night Club (New Dawn Sequence) 0:54

Opera Montage 0:48

Xanadu; Jigsaw Puzzles (Perpetual Motion); Second Xanadu 3:52

Kane’s Picnic; Susan Leaves 2:02

El Rancho (Second Dawn Sequence) 0:39

The Glass Ball 1:24

Finale 2:27

Total Disc Time: 43:31

This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz.

Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ THE MAGNIFICENT AMBERSONS (1942), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner.

It was Herrmann’s second collaboration with Orson Welles, but the music was highly modified in the finished film (partly due to abrupt, last-minute re-editing), which meant that both artists were very disappointed. Much of Herrmann’s work does not appear in the film.

Producer John Lasher was determined to rescue this cursed score from oblivion, and thanks to the recovery of the well-preserved original manuscripts, the score was re-recorded in its entirety as Herrmann had conceived it. The album was a revelation when it was released and a gift for any film music lover, and it is an honor to bring it back to the market.

The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD.

The lavish 20-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles.

 

Theme & Variations; George’s Homecoming 7:20

Snow Ride 3:05

The Door; Death & Youth 0:56

Toccata 1:12

Pleasure Trip 1:06

Prelude 1:30

First Nocturne 4:08

Garden Scene 1:14

Fantasia 2:07

Scene Pathetique 2:19

Waiting 1 and 2 1:31

Ostinato 1:52

First Letter Scene 3:25

Second Letter Scene; Romanza 2:12

Second Nocturne 3:22

Departure; Isabel’s Death 1:47

First Reverie; Second Reverie 2:40

The Walk Home 2:49

Garden Music 2:59

Elegy 1:23

End Title 2:23

Total Disc Time: 51:31

This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz.

Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1978 recording of Hugo Friedhofer’s classic, Academy-Award-winning score for William Wyler’s THE BEST YEARS OF OUR LIVES (1946), performed by the London Philharmonic Orchestra under the baton of Maestro Frank Collura.

Considered one of the best film scores ever composed, Hugo Friedhofer’s music was revolutionary at the time. Far from the prevailing influence in Hollywood in the 1940s with the sound brought by European composers, Friedhofer opted for music with a profound American influence, especially Aaron Copland. In addition to economy of means, he preferred an orchestral color palette closer to chamber music than to the grand symphonic sound that prevailed at the time.

He was also economical in the amount of music he wrote for the film. Instead of wall-to-wall music, as was the norm in huge productions, he chose to write around 50 minutes for a three-hour film, which was tremendously effective and opened a new way forward where music could contribute a psychological factor beyond the merely descriptive.

In the 1970s, producer John Lasher attempted to release the original score, which he considered his personal favorite, but the tapes had disappeared. A new recording using modern technology, in stereo, was the only solution.

Tony Bremner reconstructed the score with Friedhofer’s approval, and the result was one of the best re-recordings ever made of a classic film score, which had the blessing of the composer and the entire film music industry.

The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD.

The lavish 24-page booklet features detailed liner notes by film music writer John Takis, discussing the film and the score.

 

Main Title 1:35

Homecoming 6:29

The Elevator; Boone City; Peggy 4:23

Fred & Peggy 2:31

The Nightmare 6:18

Fred Asleep 2:26

Neighbors; Wilma; Homer’s Anger 7:42

Homer Goes Upstairs 5:56

The Citation; Graveyard & Bomber 4:28

End Title & End Cast (Wilma) 2:04

Exit Music 1:59

Total Disc Time: 45:57

[Trekfan]

Interessant, dass sich an dem Katalog von Lasher jetzt nicht nur Buysoundtrax, sondern auch Quartet Records abarbeitet (Music Box oben ist ein Tippfehler oder bezieht sich auf den Shop). Empfehlen würde ich von den drei Alben den Friedhofer, allerdings habe ich alle drei immer als flach und distanziert im Klang empfunden. Das ist vielleicht auch ein Grund, weshalb ich persönlich zu dieser Einspielung von Magnificent Ambersons niemals einen Zugang gefunden habe. Citizen Kane gibt es ja auch in der Neuaufnahme auf Varese und noch aktueller vor allem mit Rumon Gamba auf Chandos, zwar nicht vollständig, aber vollkommen in Ordnung von der Zusammenstellung.

[Alexander Grodzinski]

vor einer Stunde schrieb Trekfan:

Interessant, dass sich an dem Katalog von Lasher jetzt nicht nur Buysoundtrax, sondern auch Quartet Records abarbeitet (Music Box oben ist ein Tippfehler oder bezieht sich auf den Shop). 

Ersteres. Ist ausgebessert. 

[ronin1975]

Long Distance - Steven Price

zur SF Comedy, die irgendwie struggled released zu werden, hat Price eine nette Musik geschrieben... flotter Eröffnungstrack mit gutem Thema!

 

[Stefan Schlegel]

Am 20.9.2025 um 23:55 schrieb Stefan Schlegel:

Die Hörclips machen zumindest mir wirklich Laune, es ist wunderschön arrangiert, melancholisch und nostalgisch und eigentlich genau auf meiner Wellenlinie. Aber im Prinzip wird man wohl hauptsächlich alte Bekannte - zumindest für mich jedenfalls "alte Bekannte" -  in einer Art "Rückschau" leicht anders instrumentiert und mit  etwas anderen Modulationen wiederhören können. 

Der komplette Score von MOI QUI T´AIMAIS ist ja nun inzwischen auf Youtube und es läßt sich sagen: Das mit der Art "Rückschau" bestätigt sich vollkommen, denn irgendwelche neuen Themen tauchen hier gar nicht erst auf. Mit den beiden Themen aus FLORENCE und dem Hauptthema aus HELLÉ bestreitet Sarde eigentlich fast die komplette Musik. Hinzu kommen für Insider in Track 17 und 18 noch kurze Übernahmen vom Track "La maison Templar" aus UN TAXI MAUVE. Insgesamt sicher etwas enttäuschend für jemanden, der hier nun was Originelles oder wirklich Kreatives erwartet hätte, aber diese Zeiten aus den 70ern und 80ern sind bei Sarde eben längst vorbei.
Insofern habe ich eigentlich mit genau dem gerechnet, was man hier nun so erhält. Es ist alles hübsch romantisch und nostalgisch anzuhören- nur hätte sich Sarde natürlich früher schon deutlich mehr angestrengt bei so was. Und auf die Länge von rund 30 Minuten gestreckt wirkt es trotz all der subtilen und gefühlvollen Klänge manchmal doch ein wenig repetitiv.

Das Hauptthema aus HELLÉ in Track 5 wurde übrigens nicht von der Originalaufnahme übernommen, sondern sogar neu eingespielt mit leicht anderer Instrumentierung, wobei vor allem diverse Holzbläser immer wieder Solopartien übernehmen - das ist in der Tat eine herrliche Aufnahme dieses schon 1972 komponierten Themas.
Was den Track 14 "Madame Rosa" betrifft, so lag ich da oben etwas falsch: Hier handelt es sich um kein etwaiges Recycling aus Sardes LA VIE DEVANT SOI (der englische und deutsche Titel des Films war früher "Madame Rosa"), sondern das ist auch nur eine weitere Variante des einen Themas aus FLORENCE, das auf dem Album recht oft erklingt.

 

[ronin1975]

Creation of the Gods 2 von Gordy Haab gibts jetzt auch endlich auf Spotify:

 

[Alexander Grodzinski]

Von Quartet:

Quartet Records presents the soundtrack album composed by Pedro Osuna (ARGENTINA 1985, THE LEGEND HUNTERS) for the horror thriller CRAZY OLD LADY, produced by J.A. Bayona (A MONSTER CALLS, SOCIETY OF THE SNOW) and directed by Martín Mauregui.

The film is a tour-de-force starring Carmen Maura and Daniel Hendler, about a man whose ex-girlfriend asks him to temporarily take care of her senile mother, Alicia. But Alicia won’t let him leave, turning a simple task into a nightmare from which he must escape.

Pedro Osuna is a talented young Spanish composer who has already been part of Michael Giacchino and Hans Zimmer’s teams on several major productions. He surprised audiences with his music for ARGENTINA1985, and his new score for VIEJA LOCA is a declaration of love for the genre of classic horror film music, where echoes of Herrmann, Goldsmith and Christopher Young coexist in a personal style of writing and orchestration entirely the composer’s own. Osuna conducts a large orchestra recorded in Los Angeles.

Without a doubt, it is one of the most pleasant surprises in recent film music.

1. Vieja loca 1:52
2. El hechizo de César 0:51
3. El hombre más malo del mundo 1:24
4. Comienza el viaje 2:58
5. No se grita 1:08
6. Antígona 2:23
7. ¿Es verdad o mentira? 2:58
8. Bigotudo 0:54
9. Sueño convertido en pesadilla 2:07
10. La pesadilla llega 0:47
11. Esperanza 5:32
12. Campeona metropolitana 1:12
13. La visita 3:01
14. Franquito 3:38
15. La verdad 3:18
16. Mordeme 3:36
17. Final 8:02
18. Caja de música 1:11
19. Antígona (versión alternativa) 2:01
20. Vieja loca suite 8:53

Total Disc Time: 57:56

Quartet Records presents the soundtrack album composed by Víctor Reyes (LOVE GETS A ROOM, ESCAPE, DOWN A DARK HALL, the Emmy-winning THE NIGHT MANAGER) for the war drama film LA TREGUA, directed by Miguel Ángel Vivas and starring Miguel Herrán, Arón Piper, Javier Pereira and Fernando Valdivielso.

Set during World War II, the story takes place in the frozen steppes of Kazakhstan, home to Spassk99, a Soviet gulag where the USSR crammed together the “enemies of the people.” Among them were two groups of Spaniards: Republican soldiers trained by the USSR who were condemned for wanting to leave Russia when the war in Spain ended, and volunteers from the Blue Division, captured after fighting alongside the Nazis in Leningrad. These enemies must put aside their ideologies and unite.

Victor Reyes composed an intense, atmospheric, exciting vibrant, and dark score, written for orchestra and electronics, in a combination that is sometimes terrifying and sometimes hopeful, representing the inner voices of the characters.

1. Capitán… Teniente 2:20
2. De uno en uno 2:23
3. Estrépitos de música 3:43
4. Vuestro lugar 1:49
5. Quédatelo 2:01
6. Alcohol 0:54
7. Una tregua 1:17
8. Todos españoles 2:24
9. Ella 2:52
10. Consejos de un comunista 1:30
11. Kazajistán, Invierno de 1941 4:08
12. Lo siento 1:04
13. Memoria 2:03
14. De aquí a Muros 3:44
15. Hablas Kazajo 2:09
16. Ciudadano soviético 1:51
17. Pater 1:30
18. Una brújula 1:34
19. Despedida 1:34

[Alexander Grodzinski]

Neu von Dragon's Domain:

Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland.

Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series.  

Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others.

First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer.

PSYCHO is a limited edition release. PSYCHO will begin shipping the week of October 28th, 2025.

01. Prelude (2:08)
02. The City / Marion / Marion and Sam (4:34)
03. Temptation (3:06)
04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43)
05. Hotel Room / The Window / The Parlor (4:01)
06. The Madhouse (2:14)
07. The Peephole (3:10)
08. The Bathroom / The Murder / The Body (2:07)
09. The Office / The Curtain / The Water / The Car / The Swamp (6:39)
10. The Search (A) / The Shadow / Phone Booth (2:23)
11. The Porch / The Stairs / The Knife (4:33)
12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09)
13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24)
14. Finale (5:45) 

BONUS TRACKS

15. The Hill / The Bedroom / The Toys / The Cellar /

Knife (reprise) / Discovery (film edit) (1:49)

PSYCHO: A NARRATIVE FOR STRING ORCHESTRA

16. Part 1: Prelude (2:08)

17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23)

18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36)

Total Time: 78:37

Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER.

Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone...

Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged.

Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone...

Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character.

Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment...

The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body...

The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage).

This third 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. 3 is a limited edition release and is expected to begin shipping the week of October 28th,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 GORGON (1964)
Music by James Bernard

01. Main Title (3:22) 

02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33)

03. The Siren's Call /Turning to Stone (4:31)

04. Surviving Son Contemplates (2:22)

05. The Legend / Terrible Reflection (4:04) 

06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35)

07. Take Me Away Now (3:01)

08. Meister Steals the File (2:33)

09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 

10. She's Free & Finale (4:27)

11. The Gorgon (1964) Theatrical Trailer (2:42)

 

THE MANSTER (1959)

Music by Hirooki Ogawa

12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 

13. Disposing Kenji's Body (1:47)

14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo /
      Injecting Stanford (2:44)

15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31)
16. Saki Before Our Bath / An Evening with Tara (2:46)
17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05)
18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? /  Murderous Rampage (2:57)
19. Emiko / Eye On His Shoulder / Second Head (2:06)
20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08)
21. Mansterhunt (2:00)
22. Searching Tara's House (1:16)
23. The Shipyard (2:23)
24. Suzuki Shoots Emiko (1:39)
25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11)
26. The Manster (1959) Theatrical Trailer (1:33)

Total Time 74:05

 

Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen.

Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel...

The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE.

Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.

After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television.

Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite.

WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025.

01. Come With Me (1:40)

(Sherlie Matthews)

02. Prologue: The Respectable Widow (3:51)

03. Prelude To Murder / Opening Titles (3:27)

04. Miss Tinsley Death (3:55)

05. A New Tree / Alice Dimmock Arrives (2:44)

06. Snooping Around / A Stormy Night (4:11)

07. Falling In Love (1:24)

08. The Dog (4:50)

09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16)

10. I Don’t Want To Lose You (1:26)

11. Late Night Call (2:25)

12. Fight To The Death (3:17)

13. Stamp Collection / Pine Trees / End Titles (3:06)

14. Come With Me (Alternate Version) (2:58)

(Sherlie Matthews)

15. Cocktail Party I (4:30)

16. Cocktail Party II (4:19)

17. Car Radio (Source) (5:14)

18. Dixieland (Source) (3:42)

19. Mon Pauvre Amour (Source) (3:41)

(Lilyan Chauvin)

20. Mon Pauvre Amour - Instrumental (Source) (3:41)

21. Viens À Moi (Come With Me) (2:04)

(Lilyan Chauvin)

22. Viens À Moi (Come With Me) (Instrumental Version) (2:05)

23. Quand Revient La Nuit (Source) (2:25)

(Lilyan Chauvin)

24. C’est La Vie (Source) (2:10)

(Lilyan Chauvin)

Total Time: 78:22

 

Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama.

Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone...

Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross.

Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew."

This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick.

His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X.

Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer.

THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025

1. Opening Credits (2:07)

2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58)

3. Bobby Runs After Beauty The Dog /

Bobby Runs Back Down The Hill (3:42)

4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28)

5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47)

6. Explosive Diversion / Big Bob’s Burned Corpse (2:10)

7. Stealing The Baby / Lynne Is Shot / RV Fight /

Finding The Walkie-Talkie (2:46)

8. Dog Scare / Running Back Up The Hill / Finding The Camp /

Mutants Run To RV / Ruby Steals The Baby (2:48)

9. Ruby Runs With Baby / The Rabbit /

Brenda Sees Mutant / Dead Mom Decoy (2:11)

10. Gas Trap / The RV Explodes / Chasing The Baby /

Rock Fight / The Rattlesnake (2:42)

11. End Credits (1:23)

12. Bobby Runs Back Down The Hill (Alternate) (0:35)

13. Bobby Runs (Alternate) (0:23)

14. Lynne Is Shot / RV Fight (Alternate) (1:22)

15. Chasing The Baby / Rock Fight (Alternate) (1:04)

16. Dog Scare / Running Back Up The Hill (Alternate) (0:55)

17. Wild Synth Wind (0:18)

18. Wild Axe Hits (0:10)

19. Percussion Suite 1 (0:40)

20. Percussion Suite 2 (1:02)
 

Total Time: 36:24

 

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli.

The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama.

The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. 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 Ordóñez discussing the movie, the music and the composer.

1. Barbablù (Titoli) 4:04
2. Caccia 2:22
3. Preludio alla prima moglie 1:19
4. Una macabra scoperta 2:09
5. 1928 2:56
6. Interludio alla seconda moglie 2:22
7. Barbablù romantico 3:31
8. Postludio alla terza moglie 2:45
9. Dedicato alla quarta 2:39
10. Il violinista 2:51
11. La quinta è in coma 2:26
12. Barbablù al crepuscolo 2:25
13. Povera sesta 2:46
14. Brutta fanfara 1:31
15. Requiem per la settima 3:14
16. Barbablù 2:23
17. Preludio alla prima moglie (#2) 0:45
18. Una macabra scoperta (#2) 3:25
19. 1928 (#2) 2:50
20. Interludio alla seconda moglie (#2) 1:51
21. Barbablù romantico (#2) 4:14
22. Postludio alla terza moglie (#2) 2:31
23. La quinta è in coma (#2) 2:20
24. Barbablù al crepuscolo (#2) 2:34
25. Povera sesta (#2) 3:26
26. Barbablù romantico (#3) 4:11
27. Barbablù (Titoli – Versione Film) 2:58

Total Disc Time: 73:01

Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of  the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska.

The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity.

The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, 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 Ordóñez discussing the movie, the music and the composer.

1. Acido e Charme 3:52
2. Rag Nuziale (primo matrimonio) 3:27
3. Trio Infernale 6:03
4. Rag Nuziale (secondo matrimonio) 3:27
5. Acido e Charme (#2) 3:51
6. Sinfonietta – Requiem All’Acido Solforico 5:23
7. Rag Nuziale (ultimo matrimonio) 1:18
8. Trio Infernale (#2) 1:57
9. Acido e Charme (#3) 1:55
10. Rag Nuziale (primo matrimonio #2) 2:44
11. Trio Infernale (#3) 1:47
12. Acido e Charme (#4) 2:17
13. Rag Nuziale (ultimo matrimonio #2) 4:16
14. Trio Infernale (#4) 1:34
15. Acido e Charme (#5) 2:35
16. Trio Infernale (#5) 1:43
17. Rag Nuziale (secondo matrimonio #2) 2:24
18. Trio Infernale (#6) 4:52
19. Acido e Charme (#6) 2:48
20. Trio Infernale (#7) 3:51
21. Trio Infernale (#8) 2:29

Total Disc Time: 64:42

Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian.

The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist,  works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum.

PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. 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 Ordóñez discussing the movie, the music and the composer.

1. Per le antiche scale (Preludio) 3:25
2. Passato remoto 7:02
3. I Interludio 2:18
4. Sospiri e Rantoli 6:56
5. II Interludio 2:59
6. Rimani 5:36
7. Interludio 2:59
8. Seconda invasione 2:31
9. Postludio 3:19
10. Follia e morte 7:56
11. Rimanenze 6:07
12. Per le antiche scale (#2) 3:00
13. Carnevale 6:23
14. Sospiri e Rantoli (#2) 2:39
15. Postludio (#2) 1:26
16. Follia e morte (#2) 6:06
17. Per le antiche scale (#3) 2:57

Total Disc Time: 79:19

Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf.

Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end.

Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics.

The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new 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 Ordóñez discussing the movie, the music and the composer.

1. Morire e viverti 5:13
2. Oboi sommersi 4:30
3. Al Teatro Goldoni 3:23
4. La Disubbidienza (source #1) 2:38
5. Morire e viverti (#2) 5:10
6. Repressione 2:02
7. Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47
8. La Disubbidienza 4:17
9. Il colore dei suoi occhi 4:32
10. Ritorsione 1:11
11. Morire e viverti (#3) 5:11
12. La Disubbidienza (source #2) 2:49
13. Ritorsione (#2) 0:47
14. Dietro la tenda 5:07

Total Disc Time: 48:44

[ronin1975]

Better Man - Batu Sener

Wer hätte das gedacht, daß zu dem Megaflop, aber hervorragenden Film noch ein Score Album rauskommen würde. Zumal der Score ja eher subtle ist…

https://open.spotify.com/album/4NC9dhba53b9veAsso9u6X?si=8E6RpTOWTuylWwhWnud9YQ

 

[ronin1975]

Zum 2023er Sportfilm THE SENIOR kam jetzt auf spotify der Score von Larry Groupé raus. Rousing Orchesterscore, wie man sich sowas vorstellt. Bisschen Goldsmith…

 

[Alexander Grodzinski]

Von Music Box Records:

In collaboration with Gaumont and Mandarin & Compagnie, Music Box Records presents the new score composed by acclaimed composer Philippe Rombi (War of the Buttons, Asterix: The Secret of the Magic Potion). The film Dalloway (The Residence, 2025), written and directed by Yann Gozlan (Black Box, Visions), stars Cécile de France, Lars Mikkelsen and Mylène Farmer.

Clarissa, a novelist in search of inspiration, joins a state-of-the-art artist residency. There, she meets Dalloway - a virtual assistant designed to stimulate creativity. But as the AI becomes more deeply embedded in her life, the boundary between helpful guidance and disturbing intrusion begins to dangerously fade.

Yann Gozlan wanted the music to enhance the audience's identification with the character, helping them connect with the heroine's mindset. With its strange textures, blending electronic sounds and acoustic strings, the score allows the audience to experience Clarissa’s inner world – her paranoia, escalating stress, and anxiety – while also giving the film its own distinct identity. Philippe Rombi's score intensifies a palpable sense of unease. 

Dalloway is released in French theaters on September 17, 2025. The album is available on CD and digital version.

1. Introduction (2:03)

2. Rencontre (1:08)

3. Mauvais rêve (2:35)

4. L'anniversaire de Lucas (1:33)

5. La voix de Lucas (1:50)

6. Les soupçons de Clarissa (3:32)

7. Rendez-vous secret (3:47)

8. Mathias et les hackers (2:03)

9. Mise en garde / Enquête (4:28)

10. Dalloway prend le contrôle (2:57)

11. Confusion (0:56)

12. Paranoïa (2:42)

13. Indices (3:38)

14. Analyse (1:20)

15. Les dessous de Casa (2:30)

16. Électrochoc (3:18)

17. Couvre-feu (2:11)

18. Sans issue (2:47)

19. Évasion (1:56)

20. La voix de Dalloway (2:03)

21. Page blanche (1:37)

22. Le livre (3:26)

23. Final (1:12)

World Premiere CD release.
8-page CD booklet with French and English liner notes by Sylvain Pfeffer.
Remastered and limited edition of 300 units.

In collaboration with Une Musique, Music Box Records proudly presents the eleventh volume of the collection Great Television Soundtracks dedicated to the original score composed by Serge Franklin for the French TV series Une famille formidable (A Wonderful Family).

From 1992 to 2018 on French TV channel TF1, a faithful audience got immersed into the adventures and misadventures, day-to-day life or summer vacations, friendships and love stories of the Beaumonts. Catherine (Anny Duperey) and Jacques (Bernard Le Coq) are the happy parents of a blended family. Everyone seems to get along and live a merry life, but appearances can be misleading. It was from the fourth season onward, with the episode entitled Le clash in 2000, Serge Franklin was put in charge of setting the series to music at the request of Joël Santoni (Death on a Rainy Sunday). Serge Franklin favored a marked melodic approach for the episodes as a whole. The numerous changes of atmosphere and settings, the main characters growing older and the arrival of younger characters in the series allowed him to write diverse and colorful music using various types of instruments and musical styles. Moving effortlessly from comedy to suspense and from joy to melancholy, the music of Une famille formidable accompanies the memorable moments of the life of the Beaumont family with its light and ethereal melodies.

Supervised and assembled by Serge Franklin, this present edition has been fully remastered from DAT session master elements. The 8-page booklet features an essay by Sylvain Pfeffer discussing the TV series based on interview with the composer. The CD release is limited to 300 units. 

DISC 1 :

1. Une famille formidable (Medley) (2:10)

2. Méfiez-vous des apparences (2:44)

3. Flâneries le long des quais (2:43)

4. Détectives en herbe (2:30)

5. Guirlandes sur le sapin (2:02)

6. Balade en vélo (2:14)

7. Danger solitude (2:00)

8. Le jour se lève (2:53)

9. Catherine et Jacques flânent (1:06)

10. Sans faire de bruit (2:01)

11. Sur un quai de gare (2:58)

12. Paris Hollywood (1:58)

13. Dança da borboleta (1:18)

14. Même les nuages ont du chagrin (2:38)

15. Quand le printemps revient (1:44)

16. À Paris au printemps (2:23)

17. Solo pour un duo (1:52)

18. Tourments (4:12)

19. La famille part en vacances (2:03)

20. La maison brûle (1:55)

21. Un grenier pour les souvenirs (2:23)

22. Un signe de la main (1:21)

23. Et si la vie n’était qu’un rêve (2:20)

24. Rendez-vous sur le port (1:31)

25. Les rois de la cambriole (1:51)

26. Un album photo (2:19)

27. Sans se retourner (2:04)

28. Chasser le doute (1:22)

29. L’éventail à soucis (1:56)

30. Suspens et baiser final (1:57)

Total Time • 65:45

 

DISC 2 :

1. De retour à Paris (1:47)

2. Réunion de famille (2:38)

3. À l’hôpital (2:48)

4. Petits jeux malicieux (1:25)

5. Emporté par les vagues (1:54)

6. L’enterrement (2:21)

7. La lettre perdue (1:46)

8. Vive la mariée (2:27)

9. Un pour tous, tous pour nous (1:03)

10. La famille enquête (2:10)

11. Les lettres dans le grenier (1:50)

12. Mensonge et jalousie (1:43)

13. Un rayon de soleil (2:47)

14. Une larme, un sourire (2:45)

15. Fini, les vacances ! (1:55)

16. Par amour, par amitié (1:59)

17. Minha guitarra portuguesa (1:13)

18. Maléfices et jeteurs de sorts (2:22)

19. Triste Noël (2:42)

20. Avec un bouquet de fleurs (2:00)

21. Promenade au bord de l’eau (1:45)

22. De la réalité au rêve (2:44)

23. Un nez rouge de clown (2:55)

24. Vers de nouvelles aventures (2:20)

25. Un piano sur la plage (1:42)

26. Sur la pointe des pieds (2:31)

27. Encéphalogramme plat (2:41)

28. Pessimiste gai (1:49)

29. Une terrasse au soleil (2:18)

30. Ainsi va la vie (2:38)

Total Time • 66:13

2-CD Total Time • 131:58

[Alexander Grodzinski]

Von BSX/Dragon's Domain:

BLACK CHRISTMAS: Music From The Original Score

Shirley Walker

BSXDG0188

Includes Digital Booklet

BSX DIGITAL presents music composed by Shirley Walker (FINAL DESTINATION, SPACE: ABOVE AND BEYOND, WILLARD) from the original score to BLACK CHRISTMAS, the 2006 remake of the cult classic horror film from 1974, directed by Glen Morgan (THE X FILES, SPACE: ABOVE AND BEYOND, FINAL DESTINATION), written by Morgan and Roy Moore, starring Michelle Trachtenberg, Mary Elizabeth Winstead, Lacey Chabert, Katie Cassidy, Kristen Cloke, Yan-Kay Crystal Lowe, Oliver Hudson, Karin Konoval, Robert Mann and Andrea Martin as Ms. Mac.

Released in 2006, BLACK CHRISTMAS is a loose remake of the 1974 cult horror film of the same name, which was directed by Bob Clark (A CHRISTMAS STORY, MURDER BY DECREE) and written by Roy Moore. Set days before Christmas, the film follows sorority sisters who are stalked and murdered during a winter storm.

The score for the 2006 version of BLACK CHRISTMAS marks the final collaboration between composer Shirley Walker, director Glenn Morgan, and producer James Wong, who had previously worked with her on the short-lived TV series SPACE: ABOVE AND BEYOND. This project also represents Shirley Walker's last original composition for a feature film.

Shirley Walker (April 10, 1945 – November 30, 2006) was an influential American film and television composer and conductor, recognized as a pioneer for women in Hollywood. She was one of the first female composers to gain solo score credit on a major film. Walker won two Emmy Awards, and the ASCAP Shirley Walker Award was established in her honor in 2014. Walker's film career began in 1979 with APOCALYPSE NOW, where she played synthesizers and later orchestrated scores for films like THE BLACK STALLION. She excelled as an orchestrator, conductor and composer, working with notable figures like Danny Elfman and Hans Zimmer. Walker scored various productions, including WILLARD and the first three FINAL DESTINATION films, and TV series like FALCON CREST and THE FLASH. While working with Danny Elfman, she mentored Hans Zimmer and orchestrated several of his film scores. Walker was a prominent composer for several animated series in the DC Animated Universe, including BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, THE NEW BATMAN ADVENTURES and BATMAN BEYOND. She worked closely with Danny Elfman, served as the conductor for the film BATMAN, and composed much of the music for BATMAN: THE ANIMATED SERIES, creating a recognizable musical tone for the franchise. Her themes continued to be used in JUSTICE LEAGUE and JUSTICE LEAGUE UNLIMITED.

BSX Digital presents the world premiere release of BLACK CHRISTMAS, featuring music composed by Shirley Walker. The music has been mastered by James Nelson at Digital Outland and includes liner notes by noted author Randall Larson.

Dragon’s Domain Records presents THE LALO SCHIFRIN COLLECTION, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for four films from his extensive filmography.

Released in 1976, VOYAGE OF THE DAMNED tells the tragic 1939 story of the SS St. Louis, carrying hundred of German Jewish refugees from Nazi Germany, a ship that seemingly no nation is willing to save from certain doom. Produced by Lord Lew Grade, directed by Stuart Rosenberg, written by Steve Shagan, David Butler and Gordon Thomas, featuring an all-star cast that included Faye Dunaway, Ben Gazzara, Lee Grant, Wendy Hiller, Malcolm McDowell, Katharine Ross, Max Von Sydow, and Orson Welles.

Released in 1974, THE FOUR MUSKETEERS was a direct sequel to THE THREE MUSKETEERS, directed by Richard Lester, written by George McDonald Fraser, based on the writings of Alexandre Dumas, starring MIchael York, Oliver Reed, Richard Chamberlain, Frank Finlay, Raquel Welch, Faye Dunaway, Christopher Lee, Geraldine Chaplin, Jean-Pierre Cassel, Simon Ward, Roy Kinnear, Michael Gothard and Charlton Heston as Cardinal Richelieu. The composer for the first film, Michel Legrand, was not available to return for the sequel and the producers turned to composer Lalo Schifrin for the music and he embraced the opportunity.

THE LALO SCHIFRIN COLLECTION also includes ‘Continuum’, which was composed in 1970. The music was commissioned by the American Harp Society and premiered that year at their convention in Houston, Texas, by Anne Stockton, who would later record it for Avant Records. It has also been performed elsewhere in the United States and France, in a concert broadcast from Radio France.

Released in 1977, DAY OF THE ANIMALS, directed by William Girdler, written by William W. Norton, Eleanor E. Norton and Edward L. Montoro, starring Christopher George, Lynda Day George, Leslie Nielsen, Richard Jaeckel, Michael Ansara, Ruth Roman, Jon Cedar, Paul Mantee, Walter Barnes, Andrew Stevens and Susan Backlinie. DAY OF THE ANIMALS was another entry in the ‘animals attack’ genre, triggered by JAWS and following the success of GRIZZLY, which had also been directed by Girdler and produced by Montoro. DAY OF THE ANIMALS tells the story of mass wildlife attacks on humans caused by the effects of increased UV radiation due to the depletion of the ozone layer above 5,000 feet. DAY OF THE ANIMALS makes its world premiere soundtrack release on THE LALO SCHIFRIN COLLECTION. 

Released in 1976, THE EAGLE HAS LANDED was directed by John Sturges (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE), written by Tom Mankiewicz and Jack Higgins, starring Michael Caine, Donald Sutherland, Robert Duvall, Donald Pleasence, Anthony Quayle, Jenny Agutter, Jean Marsh, Judy Geeson, Larry Hagman, Treat Williams and Michael Byrne. THE EAGLE HAS LANDED tells the story of a daring German plot to kidnap Prime Minister Winston Churchill at the height of World War II... In his approach to this adventure, the composer created a one-note motif, always the same, although in different intensity, repeated several times throughout several of the cues, sometimes individually or together, by a cymbalom, the drums, even the entire orchestra in a fortissimo statement.

As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s,studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career.

Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE.

DAY OF THE ANIMALS makes its world premiere soundtrack release on THE LALO SCHIFRIN COLLECTION, which also includes music from VOYAGE OF THE DAMNED, THE FOUR MUSKETEERS and THE EAGLE HAS LANDED released on compact disc previously by John Steven Lasher on his Label X, featuring music composed by Lalo Schifrin. The music has been newly mastered by James Nelson at Digital Outland and the liner notes written for the previous releases by Didier Delaunoy and John Steven Lasher have been reprised, along with new notes by author David Hirsch.

THE LALO SCHIFRIN COLLECTION is a limited edition release and is expected to begin shipping the week of November 24th, 2025.

CD 1
VOYAGE OF THE DAMNED
01. Main Title (2:23)
02. House Painter March (1:52)
03. Hotel Nacionale (2:22)
04. What's Past Is Past / Affirmation of Love (2:53)
05. Lament (2:34)
06. The Arrival / Theme of Hope (3:22)
07. The Captain / Goodbye Aunt Jenny / We Need Help (3:12)
08. So Many Things I Wanted to Say (2:10)
09. To Be a Woman (Max and Anna) (2:10)
10. Tragedy / Time Pulse (4:03)
11. Our Prayers Have Been Answered (2:20)
12. End Credits (2:33)
 
THE FOUR MUSKETEERS
13. Overture (3:46)
14. Athos’ Story (2:25)
15. Chase To The Convent (2:48)
16. The Musketeers Rescue Constance (1:57)
17. Breakfast At The Bastion (2:50)
18. A Lovely Adventure (1:12)
19. Chased From The Louvre (1:53)
20. Frozen Pond Fight (4:55)
21. Milady’s Theme (3:02)
22. End Credits (1:54)
 
CONTINUUM
23. Continuum For Solo Harp (4:28)
Total Time: CD 1 - 63:14
 
CD 2
DAY OF THE ANIMALS
01. Main Title / The Bird Watcher I (2:51)
02. Helicopter Flight & Hike Up The Mountain / The Bird Watcher II (3:28)
03. Animals Track The Hikers (2:52)
04. Restless Night / Wolf Attack (2:50)
06. Stalking II / No Food / Gnawing / Rats! (2:36)
07. Martial Law Evacuation / Mountain Lion Attack (4:12)
08. Splitting Up / Animal Army / Jensen Kills (3:03)
09. Cave Talk (1:09)
10. Jensen Gets A Bear Hug / Vacant Town / Dead Driver / Mad Dog (2:47)
11. Don’t Follow / Frank Attacked / Pack Attacks Copter /

      Dogs Surround Cabin / Attack / Get In The Water (6:51)
12. Dead Animals / Rescue / Survivors / End Titles (3:50)
 
BONUS TRACK
13. Campfire Harmonica Source
(Streets of Laredo) (2:03)
 
THE EAGLE HAS LANDED
14. Main Title (2:30)
15. The Eagle Grows, Pt 1 (3:00)
16. The Eagle Grows, Pt 2 (2:39)
17. Flight Of The Eagles (3:11)
18. Eagle Versus Fox (4:37)
19. End Credits (March) (2:26)

Total Time: CD 2 - 62:19

Dragon’s Domain Records presents the original motion picture soundtrack to SOPHIE’S CHOICE, featuring music composed and conducted by Marvin Hamlisch for the 1982 romantic drama directed by Alan J. Pakula, written by William Styron and Pakula, starring Meryl Streep, Kevin Kline and Peter MacNicol.

Released in 1982, SOPHIE’S CHOICE follows Stingo (MacNicol),a young writer from the South who travels to post-World War II Brooklyn and is befriended by Sophie (Streep), a beautiful Polish immigrant and her lover, Nathan (Kline). As Stingo gets to know them better, he learns that Sophie is a Holocaust survivor and the film reveals her harrowing story, from pre-war prosperity to Auschwitz. As Sophie recounts her story, her relationship with Nathan begins to slowly unravel and Nathan’s fragile mental state becomes more apparent...

As a composer, Marvin Hamlisch won virtually every major award that exists: three Oscars, four Grammys, four Emmys, a Tony, three Golden Globe Awards, and the Pulitzer Prize. For Broadway, Hamlisch wrote the music for his groundbreaking show A CHORUS LINE, as well as THEY’RE PLAYING OUR SONG,THE GOODBYE GIRL and SWEET SMELL OF SUCCESS. Additional theatrical scores include JEAN SEBERG and THE NUTTY PROFESSOR.

He was the composer of more than 40 motion picture scores, including his Oscar-winning score and song for THE WAY WE WERE and his adaptation of Scott Joplin’s music for THE STING, for which he received a third Oscar. His prolific output of scores for films includes original compositions and/or musical adaptations for SOPHIE’S CHOICE, ORDINARY PEOPLE, THE SWIMMER,THREE MEN AND A BABY, ICE CASTLES, TAKE THE MONEY AND RUN, BANANAS, SAVE THE TIGER and THE INFORMANT!, starring Matt Damon and directed by Steven Soderbergh.

Hamlisch held the position of principal pops conductor for the Pittsburgh Symphony Orchestra, Milwaukee Symphony Orchestra, Dallas Symphony Orchestra, Pasadena Symphony and Pops, Seattle Symphony, San Diego Symphony, The Buffalo Philharmonic and The National Symphony Orchestra in Washington, D.C. At the time of his death in 2012, he was preparing to assume responsibilities as principal pops conductor for The Philadelphia Orchestra. Hamlisch was a graduate of the Juilliard School of Music and Queens College, where he earned a Bachelor of Arts degree.

Originally released in the early days of the compact disc format by Southern Cross Records, Dragon’s Domain Records is excited to bring SOPHIE'S CHOICE back to the marketplace, with the music remastered by James Nelson at Digital Outland, retaining liner notes that include a note from director Alan J. Pakula.

SOPHIE’S CHOICE is a limited edition release. SOPHIE’S CHOICE is expected to begin shipping the week of November 24th, 2025.

01. Love Theme (1:58)

02. Train Ride To Brooklyn (2:48)

03. Returning The Tray (2:36)

04. Coney Island Fun (1:04)

05. Songs Without Words, Op. 30, No. 1 (1:45)

Mendelssohn (Piano: Ralph Grierson)

06. Emily Dickinson (2:02)

07. Aren’t All Women Like You? (1:57)

08. Rite On The Brooklyn Bridge (2:49)

09. Stingo, Polish Lullaby (1:43)

10. Nathan Returns (1:26)

11. Southern Plantation (1:58)

12. I’ll Never Leave You (1:27)

13. Stingo And Sophie Together (3:07)

14. Ample Make This Bed (2:13)

15. End Credits (2:53)

Total Time: 31:46

Dragon’s Domain Records presents the original motion picture soundtrack to THE RAZOR’S EDGE, featuring music composed by Jack Nitzsche for the 1984 period drama directed by John Byrum, written by W. Somerset Maugham, Byrum and Bill Murray, starring Bill Murray, Theresa Russell, Catherine Hicks, James Keach, Brian Doyle-Murray, Peter Vaughan, Stephen Davies and Denholm Elliott.

Released in 1984, THE RAZOR’S EDGE was a remake of the 1946 classic directed by Edmund Goulding, starring Tyrone Power, Gene Tierney and John Payne. Both film versions were based on the 1944 novel by W. Somerset Maugham, which tells the story of Larry Darrell, an American soldier who is traumatized by his experiences in World War I and sets off in search of a transcendent meaning in his life. It is a journey that takes him from Chicago to France, inspiring him to visit India and on to Nepal, where Larry finds spiritual help from a lama. When he returns to Paris, Larry finds his old friends and discovers that everyone has changed in his absence. Considered a misfire in its day, the film features an early dramatic performance by Murray that anticipates the kind of work he would be respected for more in his later career.

The music for THE RAZOR’S EDGE was composed by Jack Nitzsche. Born Bernard Nitzsche on April 22nd, 1937 in Chicago, Illinois, Nitzsche was an American musician, arranger, songwriter, composer and record producer who came to prominence in the early 1960s as the right-hand-man of producer Phil Spector, and went on to work with the Rolling Stones, Neil Young, and others. Nitzsche began to concentrate more on film music rather than pop music in the mid-1970s, becoming one of the more prolific film orchestrators in Hollywood during the period. Nitzsche worked on film scores throughout his career, such as his contributions to the Monkees movie HEAD, the theme music from VILLAGE OF THE GIANTS and the soundtracks for PERFORMANCE, THE EXORCIST, ONE FLEW OVER THE CUCKOO'S NEST, HARDCORE, STARMAN and REVENGE. 

Nitzsche’s score for THE RAZOR’S EDGE features the Glass Harmonica, one of the most unusual instruments to find its way into a motion picture soundtrack, an instrument which Nitzsche alone utilized in several of his most famous scores. Modern composers who have written for the Glass Harmonica include Richard Strauss and the American George Crumb (b. 1926).

Previously released by Southern Cross in the early days of the compact disc format, Dragon’s Domain Records is excited to bring THE RAZOR'S EDGE back to the marketplace, with music composed by Jack Nitzsche, performed by the London Symphony Orchestra, conducted by Stanley Black. The music has been remastered by James Nelson at Digital Outland, retaining the liner notes by John Steven Lasher.

THE RAZOR’S EDGE is a limited edition release. THE RAZOR’S EDGE is expected to begin shipping the week of November 24th, 2025.

ORCHESTRA SUITE:

1. Main Title (2:26)

2. Night Picnic (1:06)

3. Trenches (2:03)

4. Fireworks / World War I (1:27)

5. Motorcycle / Climbing the Stairs (1:52)

6. Maturin’s Funeral (2:00)

7. Larry Leaves the Monastery (0:47)

8. Opium Den (3:20)

9. Piedmont Hit (1:22)

10. Piedmont’s Death (1:02)

11. End Title & End Credits (4:04)

 

LARRY’S JOURNEY:

12. Arrival in India (2:22)

13. The Monastery (1:20)

(Bruno Hoffmann, glass harmonica)

14. Larry’s Journey (3:21)

15. “Can’t Stop Dancing” (1:56)

(P. Murray)

16. “A Toda Vela” (3:23)

(F. Frank & A. Ladriere)

17. Organ Grinder (1:38)

Total Time: 35:36

Dragon’s Domain Records proudly presents the ninth volume in our ongoing series of music from classic science-fiction films, this time focusing on the world premiere release of Milton DeLugg’s music for the 1964 holiday adventure comedy SANTA CLAUS CONQUERS THE MARTIANS, directed by Nicholas Webster, written by Glenville Mareth and Paul L. Jacobson, starring John Call, Leonard Hicks, Vincent Beck, Bill McCutcheon, Victor Stiles, Donna Conforti, Chris Month, Leila Martin, Charles Renn, James Cahill, Ned Wertimer, Doris Rich and Pia Zadora.

Released in 1964, SANTA CLAUS CONQUERS THE MARTIANS begins with the season of Christmas fast approaching and children are anxiously awaiting that night when Santa Claus will bring presents to all the good little girls and boys. Unfortunately, that’s not the case on the planet Mars, where a crisis has erupted among their children, educated from birth by machines and treated as adults. Captivated by television signals from Earth, these young Martians have become listless insomniacs. Concerned for the welfare of not only his children, but all of those on Mars, the supreme leader Lord Kimar (Hicks) seeks council from their ancient sage, Chochem (Don). The elderly Martian laments that their youngsters are made to suffer the burden of early adulthood. They crave the freedom to have fun and simply be kids. Chochem proclaims that what Mars desperately needs is a Santa Claus of its own, so Lord Kimar and his compatriots blast off for Earth with the intent to abduct Santa himself (Call) ...

The bouncy score and its ear worm title theme came from the musical pen of Milton DeLugg. Simultaneously while working on this film, he was also engaged by the NBC television network as musical director for their annual telecast of the Macy’s Thanksgiving Day Parade. Delugg would hold that position for the next half-century, finally stepping down in 2013. He also spent a year and a half as leader of Johnny Carson’s THE TONIGHT SHOW orchestra.

This ninth volume in Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch and Sam Scali.

THE GOLDEN AGE OF SCIENCE FICTION VOL. 9 is a limited edition release and is expected to begin shipping the week of November 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.

01. Main Title: Hooray For Santa Claus (2:02)
Milton DeLugg & The Little Eskimos
02. Santa’s Workshop / Mars Needs Santa (3:24)
03. Martians vs Air Force / Kidnap Earth Kids (4:09)
04. lnvasion of the North Pole (2:55)
05. Kidnap Santa (1:27)
06. Return to Mars / Martian Children Laugh (2:42)
07. Sabotage and Subterfuge (2:16)
08. Plots and Counterplots (1:55)
09. Martian Mayhem (2:26)
10. End Titles (2:02)
11. Santa Claus Conquers The Martians (1964) Theatrical Trailer (2:26)
12. Hooray For Santa Claus (Extended Version) (2:46)
Milton DeLugg & The Little Eskimos
13. Read-A-Long Book Part 1* (8:12)
14. Read-A-Long Book Part 2* (8:52)
15. Read-A-Long Book Part 3* (8:25)
16. Read-A-Long Book Part 4* (8:14)
* (Narrator: Dan Ocko / Voices: Ann DeLugg & Ralph Bell)

Total Time: 64:29

[ronin1975]

ach Black Christmas von Shirley... dass sowas noch rauskam? Leider ist der Score jetzt nicht sonderlich gut. Angeblich ja nur Synth, aber finde das klang erstaunlich echt soweit ich mich erinnere... 

sollten sie  mal lieber die Final Destination Scores rausbringen... mir ein Rätsel warum das nie passiert...

[Stese]

Bin zwar kein Jack Nitzsche Fan, aber mit The Razor´s Edge hat er ein sehr schönes Werk hingelegt. Und das LSO hat die Musik super eingespielt. Ist gekauft.

Sophie´s Choise von Marvin Hamlisch ist mir zwar etwas "intim", aber trotzdem ein typischer, romantischer Hamlisch. Ist auch gekauft.

Ich muss wieder einmal erwähnen: Die Schlagzahlen von Dragon´s Domain sind mittlerweile sehr zuverlässig und die veröffentlichten Titel werden immer interessanter. Auch erhalten die Händler die CDs mittlerweile sehr zügig, was früher ja eine Katastrophe war. Und nie war ein Pressfehler, oder Kanäle vertauscht, oder ein digitales Knacksen, oder fehlerhafte Drucksachen im Spiel. Auch habe ich nie Probleme mit meinem Ripping-Programm. Sprich: AccurateRip springt bei mir sehr häufig bei LLL und Varese Publikationen an und bringt Warnmeldungen. Bei Dragon´s Domain nie ein Problem. Auch vergessen die großen Label, insbesondere LLL und Deutsche Grammophon hin und wieder die Tracks zu betiteln. Bei DDR noch nie gewesen. Da sind in den tags alle Namen der Beteiligten und Titel immer sauber hinterlegt.

[Alexander Grodzinski]

vor 52 Minuten schrieb Stese:

Bin zwar kein Jack Nitzsche Fan, aber mit The Razor´s Edge hat er ein sehr schönes Werk hingelegt. Und das LSO hat die Musik super eingespielt. Ist gekauft.

Sophie´s Choise von Marvin Hamlisch ist mir zwar etwas "intim", aber trotzdem ein typischer, romantischer Hamlisch. Ist auch gekauft.

Ich muss wieder einmal erwähnen: Die Schlagzahlen von Dragon´s Domain sind mittlerweile sehr zuverlässig und die veröffentlichten Titel werden immer interessanter. Auch erhalten die Händler die CDs mittlerweile sehr zügig, was früher ja eine Katastrophe war. Und nie war ein Pressfehler, oder Kanäle vertauscht, oder ein digitales Knacksen, oder fehlerhafte Drucksachen im Spiel. Auch habe ich nie Probleme mit meinem Ripping-Programm. Sprich: AccurateRip springt bei mir sehr häufig bei LLL und Varese Publikationen an und bringt Warnmeldungen. Bei Dragon´s Domain nie ein Problem. Auch vergessen die großen Label, insbesondere LLL und Deutsche Grammophon hin und wieder die Tracks zu betiteln. Bei DDR noch nie gewesen. Da sind in den tags alle Namen der Beteiligten und Titel immer sauber hinterlegt.

Ich bin tatsächlich Jack-Nitzsche-Fan, aber ich habe noch die alte CD. Aber schön, dass auch von ihm noch Sachen erscheinen, wenn auch nur Neuauflagen. Ich hoffe ja immer noch auf seine Musik aus 9 1/2 WEEKS, alleine schon wegen des schön-traurigen Love Themes. Aber da scheinen auch die Bänder nicht mehr auffindbar zu sein. 

[Alexander Grodzinski]

Morricone-Festwochen bei Quartet:

Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Luciano Salce, with whom Morricone maintained a loyal collaboration at the beginning of his career, from IL FEDERALE, his very first film score, through LA CUCCAGNA, SLALOM and COME IMPARAI AD AMARE LE DONNE. EL GRECO (1966) is a romantic drama set in 16th-century Spain, where the famed Greek painter El Greco journeys to Toledo to paint an altarpiece. Trouble ensues when he falls in love with a beautiful local girl. The film stars Mel Ferrer, Rosanna Schiafino, Adolfo Celi and Fernando Rey.

Ennio Morricone’s score is characterized by a suggestion of Renaissance and Baroque music, although reformulated from a deeply contemporary sensibility, generating an atmosphere of spiritual tension and unfinished quest, in full harmony with the visionary spirit of the painter. In terms of orchestration, Morricone employs resources that evoke liturgical music. The organ and choir—associated in the film with the clergy, the Inquisition and places of worship—become key sound elements in establishing a solemn ambience. The inclusion of voices, treated more as instruments than as carriers of text, adds an ethereal, almost mystical component.

The score for EL GRECO was not released until 1986, when it appeared on LP on the Intermezzo label, on a vinyl record produced and supervised by Morricone himself, as it was a score of which he always had fond memories. The same 16-track program was reissued on CD by RCA paired with his sister-score for GIORDANO BRUNO. In 2007, GDM released an expanded edition that included virtually all the music recorded for the film. This is a reissue of the same program, mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer.

1. Exultate Deo 2:20
2. Invocazione 3:12
3. Festa 3:26
4. Angoscia e ricerca 2:40
5. Nascondersi 1:22
6. Festa (#2) 0:13
7. Rituale 1:35
8. Angoscia e ricerca (#2) 1:49
9. Un suono lontano 0:56
10. Angoscia e ricerca II 2:38
11. Festa (#3) 1:17
12. Invocazione seconda 1:53
13. Alleluia alleluia 1:47
14. Per archi 1:20
15. Asperges me 1:12
16. Nascondersi (#2) 0:51
17. Angoscia e ricerca (#3) 1:03
18. El Greco (quartetto) 1:22
19. Canti (1º parte) 3:37
20. Canti (2º parte) 2:43
21. Unus et trinus (conclusione) 3:18
22. Un suono lontano (#2) 1:20
23. Angoscia e ricerca (#4) 3:58
24. Follia e amore (2:38)
25. Discesa (1:18)

Total Disc Time: 51:54

Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Giuliano Montaldo (SACCO E VANZETTI, GLI INTOCCABILI, AD OGNI COSTO, IL GIOCATTOLO, TEMPO DI UCCIDERE). The 1973 historical drama GIORDANO BRUNO is about the free-thinking philosopher, poet and scientist Giordano Bruno (Gian Maria Volontè), who, fleeing from his enemies in the Catholic Church, has found some protection in Venice. But the Roman Inquisition, fearing his influence in Europe, wants to put him on trial for heresy.

The minimalist, cerebral and spiritually unsettling soundtrack adds additional layers of interpretation to the protagonist’s ideological drama. Morricone doesn’t seek to illustrate scenes directly, but rather to provoke an intellectual and sensory interpretation of what is happening on screen.

GIORDANO BRUNO was originally released on vinyl in Italy by RCA. The same program was reissued on CD in the 1990s, paired with its sister-score EL GRECO. An expanded 66-minute edition including virtually all the music recorded by Morricone for the film appeared on GDM in 2009, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer.

1. Giordano Bruno 3:24
2. Super Flumina Babilonis 4:41
3. Domine Quando Veneris 5:01
4. Alleluja, Alleluja 1:47
5. Conclusione 3:12
6. Tema di Giordano Bruno 2:55
7. Magia 1:25
8. Discorsi di un viaggio 3:12
9. Giordano Bruno (#2) 2:42
10. Colloquio 2:46
11. Verso Roma 1:47
12. Processione 4:40
13. Giordano Bruno (#3) 1:23
14. Magia (#2) 5:13
15. Domine Quando Veneris (#2) 2:01
16. Giordano Bruno (#4) 2:04
17. Discorsi di un viaggio (#2) 4:02
18. Processione (#2) 4:25
19. Colloquio (#2) 2:58
20. Discorsi di un viaggio (#3) 2:04
21. Giordano Bruno (#5 – Finale) 2:27

Total Disc Time: 65:32

Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of the 1968 classic, propulsive and exciting Ennio Morricone cult score for the gangster movie GLI INTOCCABILI (aka MACHINE GUN McCAIN), a successful Italian-US coproduction, directed by Giuliano Montaldo and starring John Cassavetes, Britt Ekland, Peter Falk, Gena Rowlands and Gabrielle Ferzetti. The film is about a paroled gangster and his son who plan to rob a Las Vegas gambling house, unaware that the casino is bitterly contested by the West Coast and East Coast mobs.

Ennio Morricone’s score creates an elegant and distant—almost abstract—atmosphere. “Hank McCain’s Ballad,” performed by Jackie Lynton, anchors the musical narrative. It is a melancholic, nostalgic theme that deliberately contrasts with the character’s violence. The film’s musical discourse oscillates between two opposing universes: one of elegance and artifice, and the other syncopated, dissonant, urgent. Morricone resorts to atonal structures, employing radical sound resources: metallic clusters, industrial noises, abrupt staccatos of metal or struck piano. Traditional melody disappears; instead, tension is built from texture and unconventional instrumentation. The score also includes two different and beautiful love themes.

An album with a selection of 11 tracks was released in Italy and France in 1969, becoming one of Morricone’s most sought-after albums over the following decades. In early 1990, Alhambra released the first CD edition with the same program. Over the following years, GLI INTOCCABILI has been released several times on CD and LP (even on cassette!) with different programs, some more expanded than others. The most complete edition, 74 minutes long, appeared in 1990 on GDM, supervised by the composer and produced by Claudio Fuiano and Dániel Winkler. This CD quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone. The booklet includes liner notes by Miguel Ángel Ordóñez discussing the movie, the music and the composer.

1. La ballata di Hank McCain 2:08
2. Irene 3:35
3. Gli Intoccabili (Titoli) 1:38
4. Defilée 1:52
5. Come quando fuori piove 2:40
6. La ballata di Hank McCain (Pt. 2) 1:55
7. Come lei 4:08
8. Sogno dopo sogno 2:43
9. Senza parole 3:27
10. Rosemary 2:04
11. La ballata di Hank McCain (Pt. 3) 2:46
12. Gli Intoccabili (Las Vegas) 1:35
13. La ballata di Hank McCain (Off Vocal) 2:09
14. Gli Intoccabili (Sad Waltz) 1:54
15. Gli Intoccabili (Party Music) 3:40
16. Gli Intoccabili (Dramatic Music #1) 2:15
17. Gli Intoccabili (Music For Evening) 2:54
18. La ballata di Hank McCain (Off Vocal, Pt. 2) 1:56
19. Gli Intoccabili (Funny Waltz) 1:27
20. Gli Intoccabili (Striptease) 4:51
21. Gli Intoccabili (Dramatic Music #2) 5:16
22. Gli Intoccabili (Lounge Fox-Trot) 2:33
23. Rosemary (Alternate Version) 3:05
24. La ballata di Hank McCain (Off Vocal, Pt. 3) 2:47
25. Gli Intoccabili (Epic Waltz) 1:32
26. La ballata di Hank McCain (Single – Alternate Version) 4:26

Total Disc Time: 73:59

Quartet Records presents a remastered reissue of one of the most celebrated collaborations between Ennio Morricone and Giuseppe Tornatore, the composer’s most important partner during the last twenty years of his career. Together they achieved great success in Italian and international cinema with films such as CINEMA PARADISO, STANNO TUTTI BENE, THE LEGEND OF 1900, MALENA and THE BEST OFFER, among others. A PURE FORMALITY (1994) is an intense Kafkaesque noir drama (starring Gérard Depardieu and Roman Polanski at his best as an actor) about a famous writer who hasn’t published any new books for quite some time and has become a recluse. When he is picked up by the police one stormy night, without any identification, out of breath from running madly and with no clear memory of recent events, the Inspector is suspicious.

Ennio Morricone offers one of his best efforts for a Tornatore film, with a haunting main theme, a very nostalgic song performed by Depardieu (“Ricordare”), dramatic tension cues and introspective violent music. The score is mainly dark and fatalistic, in a style that the Italian maestro was experimenting with at the time (in scores such as IN THE LINE OF FIRE, WOLF, DISCLOSURE and THE STENDHAL SYNDROME).

The original album of A PURE FORMALITY was released at the time by Sony Classical and reissued by GDM in 2013. This is a remastered reissue of the generous 50-minute album program, remastered by Chris Malone. The booklet includes an in-depth essay by film music writer John Takis discussing the film and score.

1. Breathlessly (A perdifiato) 3:04
2. Remembering (Ricordare) 4:14
3. The Palace of Nine Frontiers (Il palazzo delle nove frontiere) 3:29
4. The Bum (Il barbone) 3:41
5. A Troublesome Clue (Ingombrante indizio) 2:14
6. Waiting for the Police Inspector (Aspettando il Commissario) 1:11
7. In Search of Onoff (Alla ricerca di Onoff) 2:46
8. An Odd Diary (Diario bizzarro) 2:40
9. Photos (Fotografie) 1:21
10. Mosaic (Mosaico) 1:09
11. Leonardo da Vinci 3:13
12. Contradictions (Contraddizioni) 2:21
13. The Trap and the Mouse (La trappola e il topo) 1:29
14. Escape from Onoff (Fuga da Onoff) 1:37
15. Bloodstains (Macchie di sangue) 2:40
16. After the Nightmare (Dopo l’incubo) 1:06
17. A Mere Memory Lapse (Un banale vuoto di memoria) 2:02
18. Repressed Memories (Rimozioni) 2:01
19. Revelation (Rivelazione) 1:46
20. A Night in February (Notte in Febbraio) 2:16
21. To Obliterate the Past (Effacer le passé) 4:11

Quartet Records presents the premiere complete vinyl release of Ennio Morricone’s iconic poliziesco score for Sergio Sollima’s REVOLVER (1973), a violent Italian-French thriller starring Oliver Reed and Fabio Testi. In the film, a prison warden is forced to exchange a French criminal for his kidnapped wife, but the couple soon find themselves on the trail of a larger conspiracy.

For REVOLVER, Morricone created the original song “Un Amico,” performed by Daniel Beretta, which is possibly one of the most beautiful melodies written by the Roman maestro (it was included by Tarantino in a key sequence of INGLOURIOUS BASTERDS). Morricone also provides a wistful and playful love theme (“Anna”) and several background source cues in his inimitable style.

Another major ingredient of the score is a cue titled “Revolver” or “Inseguimento e Fuga (Chase and Escape).” Morricone composed a 12-minute version of this dynamic piece as well as other varied arrangements to fit different moments in the film. “Revolver” is a driving, staccato piece of music for piano and orchestra that repeats and builds, creating a dark, propulsive atmosphere in the style that became Morricone’s shorthand for crime and gangster action. He took very similar approaches in the American gangster films STATE OF GRACE, THE UNTOUCHABLES and BUGSY.

The original 10-track LP of REVOLVER was released in 1973 by General Music and reissued lately in Italy and Japan. Subsequently, the same program was reissued on CD several times. Quartet Records recently released a CD featuring the complete 65-minute score. This is the first release of the same program on vinyl, presented as a black 2XLP, mastered by Chris Malone, and packaged in a deluxe gatefold sleeve.

SIDE A

1. Un amico 2:40
2. Revolver 12:44
3. Anna 2:09

SIDE B

1. Quasi un Vivaldi 1:59
2. Pericolo per Anna 1:50
3. Un amico (Titoli) 2:39
4. Inseguimento e fuga 3:42
5. In un bar 2:26
6. Rapimento 2:31
7. In un altro bar 2:12

SIDE C

1. Un amico (Versione con chitarra 12 corde) 1:16
2. Revolver (Suspense) 1:47
3. Quasi un Vivaldi (#2) 3:09
4. Inseguimento e fuga (#2) 3:29
5. In un altro bar (#2) 2:08
6. Anna (#2) 2:31

SIDE D

1. Un amico (Versione synth) 2:48
2. In un altro bar (#3) 2:54
3. Rapimento (#2) 7:23
4. Un amico (Versione tromba) 2:34
5. Inseguimento e fuga (#3) 3:39

Quartet Records presents the premiere complete vinyl release of Ennio Morricone’s fascinating score for Folco Quilici’s OCEANO (1971), a pseudo-documentary film about a young Polynesian, Tanai, who goes in search of the island of his dreams. On an epic sea voyage from Polynesia to Alaska aboard a tiny fragile raft, he is guided by the voices of his ancestors.

Morricone’ score for OCEANO seeks to merge nature with mythology. It breathes, vibrates, transmits, and is characterized by its episodic and atmospheric structure, taking the form of an evocative soundscape. The composer draws on resources that recall a primitive, spiritual component: tribal percussion (tablas and bongos), solo woodwinds (flutes and clarinets), guitar, sitar, clanging metal and harp. The fusion of timbres in this instrumentation is unconventional. He expressively sets to music ideas associated with wind or nature, sound textures that construct Tanai’s intimate journey: we hear the sea, we feel the air roaring over the sail of his canoe, the danger lurking in the ocean, his loneliness. The music is another character that gives the film a lyrical dimension and complements the visual element, transcending its narrative function to become a gateway to meditation on the mystery of the sea and existence. Through his unmistakable style, Morricone invites us to immerse ourselves in a world of introspection, beauty and silent emotion.

The original 40-minute program was released on vinyl in 1971 in Italy and Japan, and both those LPs quickly became collector’s items. Quartet Records recently released a CD featuring the complete 70-minute score. This is the first release of the same program on vinyl, presented as a transparent blue-ocean 2XLP, mastered by Chris Malone, and packaged in a deluxe gatefold sleeve.

SIDE A

1. Oceano 4:09
2. Isola di Pasqua 2:05
3. Vulcano 1:06
4. Speranza per una Terra Amica 1:40
5. Le Maschere Morte 2:47
6. Il Vento è il Vento e Soffia Dove Vuole 4:52

SIDE B

1. Tanai 2:22
2. Odissea 2:02
3. Notte 1:45
4. Piccola Ouverture 1:51
5. Viaggio 3:09
6. Il Sole è il Sole e Brucia Ciò Che Vuole 3:33
7. Partenza 2:18

SIDE C

1. Oceano (#3) 6:23
2. Il Vento è il Vento e Soffia Dove Vuole (#2) 10:44

SIDE D

1. Partenza (#2) 1:18
2. Isola di Pasqua (#2) 4:13
3. Oceano (#2) 2:05
4. Notte (#2) 4:26
5. Odissea (#2) 3:37
6. Viaggio (#2) 1:26

[neo]

The details of the first score album for the Apple TV original series Pluribus have been revealed. The album features the original music from the show’s first episodes composed by Dave Porter. The soundtrack will be released digitally this Friday, November 21 by Milan Records.

Here’s the track list of the album:

1. Pluribus Theme (Main Title Theme from “Pluribus”) (2:48)
2. 600 Light Years Away (1:41)
3. As Humans Do (0:49)
4. Swabbing & Stacking (2:27)
5. The Event (5:05)
6. Left Utterly Alone (4:09)
7. We Just Want to Help, Carol (5:06)
8. Cul-De-Sac (4:43)
9. Your Life is Your Own (1:30)
10. For Carol and Helen (1:18)
11. Mindreaders (3:31)
12. How Many? (1:45)
13. Traitors to the Human Race (4:08)
14. Stop the Plane (1:41)
15. Bed of Ice (1:55)
16. Post from the Past (2:26)
17. Pull the Pin (1:57)
18. Self Storage (1:15)
19. Whiteboard (1:57)
20. Freedom Falls (2:36)
21. Self-Examination (2:35)
22. Please Carol Please (4:25)
23. A Carol for Carol (1:28)