Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[ronin1975]

Am 1.12.2022 um 13:25 schrieb Stefan Jania:

Schade. Den Trailer bei Netflix fand ich interessant. Musik von Johannes Ringen. Hat mir nichts gesagt. Laut IMDB involviert in ein paar "große" Scores wie Age Of Ultron. Troll fährt nun auch genau in dieser Kante. Beliebig austauschbares Scoring. Hatte ich mir mehr erhofft. 

 

Troll 2 jetzt raus. Fand den Score im Film besser als den ersten. Film war allerdings der erste weit besser. 
 

 

[Alexander Grodzinski]

Neu von BSX/Dragon's Domain:

Dragon’s Domain Records presents LEE HOLDRIDGE GOES TO THE OLYMPICS, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for several documentary films set during during the Olympics. LEE HOLDRIDGE GOES TO THE OLYMPICS includes Music from the films 16 DAYS OF GLORY, BARCELONA 1992, THE SPIRIT OF THE OLYMPICS and LILLEHAMMER 1994.

To create a historical record of the best moments from the Olympic games, documentary motion pictures have often been captured by film cameras.  In 1984, sports documentarian Bud Greenspan was given unprecedented access to produce and direct what became 16 DAYS OF GLORY, a magnum opus narrative of the 1984 Los Angeles Summer Olympics. While television viewers just saw the competitions, Greenspan was able to portray the personal trials and tribulations of selected athletes as they struggled to push their bodies to break records and snare those coveted medals. His efforts resulted in a stunning and emotional document that ran almost 284 minutes.

16 DAYS OF GLORY featured dramatic imagery of the competitions, sometimes using slow-motion to accentuate the athletes’ efforts. Greenspan relied upon composer Lee Holdridge to underscore many of these sequences, as well as creating a main title theme. The success of 16 DAYS OF GLORY led to a long partnership documenting both summer and winter Olympics around the world until the 1998 Nagano Winter Olympics.

LEE HOLDRIDGE GOES TO THE OLYMPICS compiles a variety of music Holdridge composed for the films of Bud Greenspan, including many cues composed for 16 DAYS OF GLORY that were not included on the original release of the soundtrack. Besides his work for Greenspan, he composed music for another documentary, THE SPIRIT OF THE OLYMPICS, which was a compilation of highlights culled from other films, and the OLYMPIC VIDEO WALL which was a stand-alone exhibit in Spain.

Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.

Dragon’s Domain Records is excited to bring these documentary film scores to compact disc for the first time as part of LEE HOLDRIDGE GOES TO THE OLYMPICS, presented on two discs and mastered by James Nelson at Digital Outland. The booklet includes liner notes written by author David Hirsch with the participation of the composer.

SPECIAL ADDED BONUS

When you purchase the 2CD set, you will receive a digital version of the album with a downloadable booklet, plus an additional score by Lee Holdridge for the NAGANO 1988 Olympic games at no extra cost.

This special offer is only available at Buysoundtrax.com.

LEE HOLDRIDGE GOES TO THE OLYMPICS is a limited edition release of 500 units. LEE HOLDRIDGE GOES TO THE OLYMPICS will begin shipping the week of  January 26th, 2026. The First 50 Copies sold will be autographed by composer Lee Holdridge.

16 DAYS OF GLORY

01. Theme From “16 Days Of Glory” (3:26)

02. Triumph (2:31)

03. Calgary Opening (2:43)

04. Gunde Svan Triumphs [Calgary 1988] (2:48)

05. The Highest Step: Interlude (2:18)

06. Korean Olympics Tribute [Seoul 1988] (1:43)

07. Hymn Of The Nations (10:30)

Vocal: Placido Domingo

08. Diving (1:50)

09. The Women’s Marathon (7:43)

10. Edwin Moses (1:06)

11. The Spirit Of The Olympics (1:25)

12. China Sequence (6:20)

13. The Lighting Of The Torch (1:39)

14. Yasuhiro Yamashita (1:06)

15. Dawn: Interlude (3:19)

16. Entrance Of The Nations (3:27)

17. The Decathlon / Finale (3:41)

18. Bonus Synth Cue [1M1] (3:30)

19. Bonus Synth Cue [1M2] (2:34)

20. Bonus Synth Cue [4M1a] (1:05)

21. Bonus Synth Cue [4M5] (1:34)

22. The Olympics (1:08)

SPIRIT OF THE OLYMPICS

23. Suite: The Torch / Preparation / Competition / Finale (7:40)

BARCELONA 1992

24. Prologue (1:08)

25. Derartu Tulu’s Achievement (3:57)

26. Finale & End Credit (2:53)

27. Bumper (With Choir) (0:48)

28. Bumper (Without Choir) (0:46)

29. The Olympic Video Wall (Exhibit In Spain) (7:31)

LILLEHAMMER 1994

30. Norwegian Prologue (0:57)

31. The Torch (2:48)

32. The Flag Bearers (2:05)

33. The Giant Slalom (0:44)

34. The Ski Jump (6:53)

35. The First Day Of Competition (4:47)

36. 50 KM of Determination (3:15)

37. Dan Jansen’s World Record (2:40)

38. Bittersweet Victory (1:19)

39. The Final Finish (1:50)

40. Courageous Glory & Cross Country Awards (2:19)

41. Speed Skating (0:53)

42. Bobsled (2:37)

43. Always A Chance For A Medal (1:39)

44. Tomba’s Triumph (2:43)

45. 50 KM Cross Country / For The Glory Of Sport (1:13)

46. 50 KM Skiers (2:11)

47. Final Strides To Victory (2:40)

48. Centuries Old Competition (4:13)

49. A Legacy Of Victory (0:44)

50. Facing Down Fear (1:37)

51. Devotion To Sport (1:51)

52. Bonus Synth Cue [1M3] Synth Percussion - The Flag Bearers (2:05)

 

DIGITAL ONLY BONUS SCORE:
NAGANO 1998: BUD GREENSPAN’S STORIES OF HONOR AND GLORY

53. Opening / Honorable Finish (2:44)

54. Long Run (3:39)

55. Competition / Mountainside (3:57)

56. Completing The Run (4:14)

57. Troublesome Run (2:59)

58. Solitary Run (2:44)

59. Icy Challenge (3:33)

60. Icy Difficulty / Concentration / Thinking About The Goal (3:51)

61. Thoughts / A Story (2:49)

62. Tight Finish / Reaching The Goal (2:32)

63. Solitary Finish (4:43)

64. Hymn of Honor (3:58)

65. Character Thoughts (1:21)

66. Honor and Glory Theme (2:04)

Total CD Time: 146:36

Total Digital Time: 191:50

 

Dragon’s Domain Records presents THE BRUCE BROUGHTON COLLECTION: VOL. 2, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE) for two scores from his extensive filmography that highlight more of the gentle, delicate side of the composer’s work as a film composer.

Released in 2005, WARM SPRINGS is a made-for-television biographical drama film directed by Joseph Sargent, written by Margaret Nagle, and starring Kenneth Branagh, Cynthia Nixon, Kathy Bates, Tim Blake Nelson, Jane Alexander, and David Paymer. The story explores U.S. President Franklin D. Roosevelt’s 1921 illness — initially diagnosed as polio — his fight to overcome paralysis, the discovery of the Warm Springs resort, and his efforts to establish it as a rehabilitation center for polio patients. Roosevelt’s emotional journey through interactions with other disabled individuals helps to prepare him for a return to politics and the challenges of leading the nation during the Great Depression.

The score for WARM SPRINGS is a soft, orchestral piece for about 35 players, including brass, woodwinds, a large string section, harp, and piano. It’s presented here in chronological order, capturing Franklin and Eleanor’s evolving emotions during these tense hardships.

Released in 2002, BOBBIE'S GIRL is an Irish comedy-drama film for television directed by Jeremy Kagan, starring Bernadette Peters, Rachel Ward, Jonathan Silverman, and Thomas Sangster. It tells the story of a middle-aged lesbian couple who run a peaceful pub faced with sudden health and family crises. The women are quite different: Bobbie (Ward) is calm, reserved, and practical; Bailey (Peters), an American, is warm, outgoing, and eccentric, a former actress.

Bobbie and Bailey Lewis operate ‘The Two Sisters’, a seaside pub in Bray, near Dublin, with the assistance of Bailey's brother, David (Silverman). Bobbie discovers she has breast cancer and is determined to handle her illness independently. Meanwhile, the parents of her 10-year-old nephew Alan (Sangster) have died and a hesitant Bobbie is persuaded by Bailey to take him in. As Bobbie undergoes treatment, she gradually learns to accept her partner’s help. Bailey takes on more responsibility by both managing the pub and caring for Bobbie, who ultimately learns to express love for Alan and welcomes him into their extended family, much to Bailey's joy.

BOBBY'S GIRL features an orchestra of roughly 35 players, including harp, recorder, violins, brass, percussion, guitars. Its main themes focus on the relationship between the women, the local setting, and their emotional struggles caused by sudden changes in their lives.

Bruce Broughton, who has won ten Emmy Awards and been nominated for an Oscar, began his journey into film music in 1973, scoring episodes of television shows from GUNSMOKE, HAWAII FIVE-0, and DALLAS to JAG and THE ORVILLE, miniseries like THE BLUE AND THE GREY and THE OLD MAN AND THE SEA, and feature films such as SILVERADO, YOUNG SHERLOCK HOLMES, HARRY AND THE HENDERSONS, TOMBSTONE, and HONEY, I BLEW UP THE KID. Broughton has more than 130 scores to his credit.

Throughout his career, Broughton has amassed ten Emmy Awards (from twenty-three nominations) and an Academy Award nomination (SILVERADO). In addition to being a composer and an accomplished conductor, Broughton is also a tireless educator having taught classes at the UCLA Herb Alpert School of Music, the Department of Screen Scoring at the USC Thornton School of Music, and is currently serving as Media Composer-in-Residence at the University of North Texas.

Dragon’s Domain Records presents THE BRUCE BROUGHTON COLLECTION: VOL. 2, featuring music composed by Bruce Broughton for WARM SPRINGS and BOBBY’S GIRL. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kemner and Scott Davis.

THE BRUCE BROUGHTON COLLECTION: VOL. 2 is a limited edition release of 500 units. THE BRUCE BROUGHTON COLLECTION: VOL. 2 is expected to begin shipping the week of January 26th, 2026. 

The First 50 Copies sold will be autographed by composer Bruce Broughton.

WARM SPRINGS

01. Opening Titles (2:47)

02. Eleanor Reads Mercer’s Note / Remain Married Or Lose Your Trust Fund / Diagnosed With Polio / Life As He Knew It Is Over (3:27)

03. What’s Best For Franklin / The Storm / Train To Georgia (2:50)

04. Arrival At Warm Springs / Why Are We Here? / Into The Water (2:55)

05. First Night / Eleanor Leaves / Standing Unassisted In The Pool / Taking Five Steps (3:25)

06. Dictating The Letter / Public Speaking Failure / Hark The Herald Angels Sing / Parallel Bars (3:07)

07. I Don’t Know How To Talk To You / Taking The Boy Back To Warm Springs / Letter To Eleanor (2:20)

08. Improvements / Eleanor’s Success / Tom Has Cancer (3:42)

09. FDR Drives A Car / Louie And Eleanor Arrive / Eleanor Watches Rehab / Daisy Walks (3:49)

10. Roosevelts Crash The Medical Convention / Teaching Eleanor How To Drive / He’s Ready (2:44)

11. FDR’s Self-Pity / Eleanor’s Pep Talk / FDR Tries To Walk / What If I Fall? (4:25)

12. FDR Says Goodbye To Warm Springs Family / Finale / End Cards (3:30)

13. End Credits (3:36)

14. I’m Afraid We’ve Lost Him (Unused) (0:56)

15. Finding Boy In The Box Car (Unused) (1:10)

16. Tom Has Cancer (Alternate) (1:27)

17. Eleanor’s Pep Talk (Alternate) (1:04)

18. Finale / End Cards (Alternate) (1:33)
 

BOBBIE’S GIRL

19. Logo / Main Title (2:13)

20. Meet Alan / Bailey Drives / Who Are You? / Granddad (2:15)

21. His Parents Place / A Frozen Heart / Bobbie’s Bad News (3:02)

22. The Female Eunuch / Thinking Ahead / Bobbie Runs Away / Alan Runs Off (3:54)

23. Searching For Alan / Bobbie Returns (3:36)

24. Can They See Me? / Waiting (2:18)

25. Bailey Returns / Bobbie Comes Home (2:38)

26. Pondering / Running To Granddad / A Wonderful Kid (3:54)

27. Don’t Leave Me (2:41)

28. Wedding Music (2:12)

29. End Titles (1:34)

Total Time - 79:16

 

Dragon’s Domain Records presents the original motion picture soundtrack to THE HANDMAID’S TALE, featuring music composed by Ryûichi Sakamoto (MERRY CHRISTMAS, MR. LAWRENCE, THE LAST EMPEROR, THE REVENANT),  for the 1990 science fiction thriller directed by Volker Schlöndorff (THE TIN DRUM, DEATH OF A SALESMAN), written by Harold Pinter, based on the novel by Margaret Atwood and starring Natasha Richardson, Faye Dunaway, Aidan Quinn, Elizabeth McGovern, Victoria Tennant, Blanche Baker and Robert Duvall.

Released in 1990, THE HANDMAID’S TALE is set in the twilight of the Twentieth Century and American society as we have known it has ceased to exist. In a country now known as the Republic of Gilead, Right-wing fundamentalists have overthrown the government and replaced it with a numbingly repressive society ruled by the most rigid Puritan ethics. Cumulative effects of pollution, toxic waste and genetic experimentation have rendered most women infertile. Those still capable of bearing children are deemed ‘Handmaids’ and are assigned to ‘Commanders’, the men of the ruling elite.  

While attempting to escape, Kate (Richardson) and her family are stopped at the Canadian border. Her husband is shot, her daughter is taken away and she is captured, tested for fertility, sent to a training center for Handmaids. Upon completion, she is assigned to a commander named Fred (Duvall) and his barren wife Serena Joy (Dunaway). Kate is renamed Offred, given a small room in the house and is forbidden to speak to anyone in the household unless spoken to first. 

Kate develops an unexpectedly tender relationship with the Commander, who secretly introduces her to objects and activities from the past, now forbidden by Gilead law. Serena Joy, fearing that the commander himself may be infertile, arranges a meeting between Kate and the Commander’s chauffeur, Nick (Quinn). Their lovemaking rekindles all of Kate’s passion for life and with her feelings for Nick growing stronger, her desire for freedom from the Gilead regime grows even more desperate...

Ryûichi Sakamoto has lived many musical lives. As a keyboardist and songwriter in Haruomi Hosono’s Yellow Magic Orchestra, he helped set the stage for synthpop. His solo experiments in fusing global genres and close studies of classical impressionism led to him scoring over 30 films, including MERRY CHRISTMAS, MR. LAWRENCE, THE LAST EMPEROR, THE SHELTERING SKY, RISING SUN, WUTHERING HEIGHTS, SNAKE EYES, FEMME FATALE and THE REVENANT.

Originally released in the early days of the compact disc format by GNP Records, with the music presented in lengthy suites, Dragon’s Domain Records is excited to bring THE HANDMAID’S TALE back to the marketplace, with the music remastered by James Nelson at Digital Outland.

THE HANDMAID’S TALE is a limited edition release. THE HANDMAID’S TALE is expected to begin shipping the week of January 26, 2026.

01. Overture / Snow (2:42)

02. Prison Camp (2:59)

03. On The Bus / Old Hundredth* / Nocturno (2:32)

04. Moira’s Hand / Red Veil (2:09)

05. Kate / Rape & Rage (2:48)

06. The Kiss (1:57)

07. Pollution In City / Moira Escapes (3:10)

08. Rape / Shall We Gather By The River** (1:52)

09. Love In Nick’s Room (3:11)

10. Amazing Grace*** (0:57)

11. My Daughter Is Alive (2:05)

12. Car Bomb / Travesty (2:17)

13. Kate & Moira / Hanging (2:50)

14. Particicution / Finding The Knife (3:33)

15. Waiting For Murder / Killing Commander (1:48)

16. Mayday (1:42)

17. Old Hundredth* (Praise God From Whom All Blessings Flow) (0:56)

Total Time: 39:37

* Composed by Louis Bourgeois

** Composed by Robert Lowry

*** Composed by John Newton, Performed by Laura Baxter

 

This is an expanded reissue of the 1969 Philips and 1999 Varese Sarabande CD/LP releases.  We have added 9 bonus cues including the instrumental "Quentin's Theme" which was not on previous releases of this album.  Expertly composed by Robert Cobert (Trilogy Of Terror, Dan Curtis' Dracula, Winds of War) the music is pretty much an additional character on the show.  Thematic and memorable music.

Dark Shadows was a groundbreaking release as arguably the first popular TV soundtrack album, becoming a Top 20 hit, "Shadows of the Night (Quentin's Theme)," and cementing the show's cult status with its gothic atmosphere and is still a very loyal legion of fans.  

Notefornote Music would like to thank Jim Pierson, Cary Mansfield and Peter Hackman for their help and guidance on this project.

Track List:

1. Dark Shadows/Collinwood
2. I'll Be With You, Always
3. Josette's Theme
4. A Darkness At Collinwood
5. Meditations
6. Night Of The Pentagram 
7. When I Am Dead
8. #1 At The Blue Whale
9. Shadows Of The Night
10. The Secret Room
11. Epitaph
12. Seance
13. I, Barnabas
14. Back At The Blue Whale
15. The Old House
16. Epilogue/Dark Shadows

Bonus Tracks   

17. Victoria Winters 
18. Conjuring   
19. Pansy's Theme  
20. The Dream Curse 
21. Ode To Angelique 
22. Night Of Terror  
23. Joanna
24. Quentin's Theme  
25. Jonathan Frid Greeting

[Dunge_Onmaster]

vor 1 Stunde schrieb Alexander Grodzinski:

Neu von BSX/Dragon's Domain:

Dragon’s Domain Records presents LEE HOLDRIDGE GOES TO THE OLYMPICS, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for several documentary films set during during the Olympics. LEE HOLDRIDGE GOES TO THE OLYMPICS includes Music from the films 16 DAYS OF GLORY, BARCELONA 1992, THE SPIRIT OF THE OLYMPICS and LILLEHAMMER 1994.

Als großer Holdridge-Fan würde ich das sofort kaufen, wenn es ausschließlich als digitale Version angeboten werden würde. Keine Lust auf die völlig überzogenen Portokosten und den eventuellen Stress und die Zusatzkosten bezüglich Zoll. Ich bin endgültig raus aus dem CD-Game. Entweder rein digital oder gar nicht. Letztlich hör ich Musik abgesehen vom Auto eh nicht mehr über physische Medien. Meine gesamte Sammlung ist seit Jahren digital.

[Alexander Grodzinski]

Quartet Records presents the premiere release of the emotional, heartfelt score by renowned composer Carter Burwell (FARGO, CAROL, ROB ROY, A KNIGHT TALE) for the 1992 drama WATERLAND, directed by Stephen Gyllenhaal and starring Jeremy Irons, Ethan Hawk, Sinéad Cusack and Lena Headey.

The film is set in Pittsburgh in 1974, where a high-school history teacher seeking closure tells his class about his experiences as a teenager in England after World War II.

Carter Burwell wrote one of his most melancholic and heartbreaking scores, indebted to other works from the period such as MILLER’S CROSSING, AND THE BAND PLAYED ON and BARTON FINK, with a profound love theme and dramatic passages that evoke nostalgia for times past. Written for orchestra and choir, the music is conducted by Burwell.

This is one of Carter Burwell’s most sought-after scores, but it has never before been released. The album has been produced and supervised by the composer, mastered by Chris Malone, and the booklet includes an exclusive, in-depth essay by Daniel Schweiger, including interviews with the composer, the director and the producers of the film.

Opening Titles 2:44

The Fens 4:33

Charrabank 1:59

Losing Her 1:28

Loves Her Too Much 3:31

Dead Freddie 1:36

Freddie Parr 1:22

Babynapping 1:36

The Atkinsons 2:27

Get a Girl 1:08

Stolen Baby 0:55

Dick Goes Off 2:37

Hangover 1:27

One Ending 2:15

The Bottle 1:10

The Abortion 1:36

Another Ending 5:57

Total Disc Time: 38:28

Quartet Records presents the premiere release of the emotional, symphonic Americana score by renowned composer Robert Folk (POLICE ACADEMY, TOY SOLDIERS, ROCK-A-DOODLE) for the rural drama MILES FROM HOME, directed in 1988 by Gary Sinise, starring Richard Gere, Kevin Anderson, Penelope Anne Miller, Helen Hunt and Brian Dennehy. The film is about two brothers who are forced off their farm in the debt-stricken Midwest and become folk heroes when they begin robbing the banks that have been foreclosing on farmers.

MILES FROM HOME was one of the first major works that Robert Folk was involved in, and the first where he was able to give free rein to his symphonic training and knowledge of a profoundly American sound. He replaced composer John Barry, who had begun composing the score just as he fell ill and recommended the young Folk to complete the job. Inspired by Aaron Copland and Norman Dello Joio, Folk wrote a sensitive, emotional and powerful score that remains one of his favorites.

A suite featuring select passages from the score was previously released on a promotional album by the composer, but this is the first official release of the complete score. Produced and supervised by the composer, assembled and mixed by Chris Malone and mastered by Doug Schwartz, the booklet features an in-depth essay by film music writer Daniel Schweiger, including interviews with the composer, the director and producers of the film.

1. Main Title (Revised) 4:25

2. Brothers Struggle With Combine 1:42

3. The Farm Sale 0:59

4. Terry and Sally Lyric – Segue to Frank Alone 1:34

5. Confrontation With Banker 1:24

6. Terry and Sally Love Theme 1:39

7. Frank and Terry Porch to Television 1:57

8. Farm Burning 2:01

9. Frank and Terry in Truck Asleep 1:17

10. Terry and Sally Love Theme (Guitar) 2:24

11. Ox Scene 1:29

12. Drive to Burned Out Farm 1:31

13. Inside the Bank – Tension 1:48

14. Land Motif – In the Cornfield 0:55

15. Cops in Field and Long Drive 2:01

16. New Farm Burning 1:40

17. Brothers Fight on Stree 0:45

18. Terry and Sally Romance Cue – Graveyard and Frank 2:31

19. End Title 3:07

Bonus Tracks

20. Main Title (Original Version) 4:30

21. The Farm Sale (Alternate) 0:58

22. Terry and Sally Love Theme (Alternate) 1:38

23. Low Key Version of Original Porch to TV Cue 0:52

24. Ox Scene (Alternate) 1:33

25. Graveyard (Alternate) 1:18

Total Disc Time: 46:57

[Stese]

Ein Robert Folk Score (bin froh, dass überhaupt was von ihm erscheint), kaufe ich ungehört. Keine Frage. 

Den Burwell hatte ich nicht auf dem Schirm, kann mich aber noch erinnern, dass ich das End Theme als hübsch empfand mit dem Chor. Wie aber der ganze Score ist? Mal schauen.

Wieder einmal beweist QUARTET, dass sie ein absolut daseinsberechtigtes Label sind. Ich freue mich für die Spanier, dass sie sowas im Lande haben.

[scorefun]

Ich besitze die Promo Doppel-CD mit einer knapp 22 Minuten Suite
Ich glaube, das reicht mir

[Alexander Grodzinski]

Neu von Music Box Records:

Remastered and expanded edition. Limited edition of 500 units.
12-page CD booklet with French and English liner notes by Christian Lauliac.

In collaboration with BMG, Music Box Records proudly presents two original motion picture soundtracks composed by Philippe Sarde: Hors-la-loi (Outlaws, 1985) and La Nuit ensoleillée (1981). This presents album features two sides of the composer in "Philippe Sarde Goes West" mode. 

Hors-la-loi marks Philippe Sarde's reunion with director Robin Davis after Le Choc and J’ai épousé une ombre, and before their final collaboration on La Fille des collines in 1989. For this wild escapade of teenagers from a juvenile detention center, the composer provided an ambitious score that favors the unexpected blends for which he is known. A contemporary blues-rock section is combined with an almost Western-like sense of adventure, showcasing the contributions of Eric Weissberg on banjo, Steve Gadd on drums, and Don Brooks on harmonica. Pianist Warren Bernhardt, percussionist Tristan Fry, and the Orchestre de Paris conducted by Billy Byers complete the cast of this high-flying score. This new edition presents, for the first time, all thirteen tracks from the original album (the previous CD only included a very small selection). For La Nuit ensoleillée – presented for the first time on CD and slightly expanded – Philippe Sarde illustrates this documentary about the paralympic athletes with a jazz score performed by a stellar cast of performers: Toots Thielemans, Larry Coryell, Didier Lockwood, with additional contributions from trumpeter Maurice André and cellist Frédéric Lodéon. Recorded both at Davout and Abbey Road Studios for the American brass band, the ensemble is conducted by his faithful collaborator Peter Knight. Philippe Sarde and his musicians celebrate athletic achievement and pushing beyond one's limits in a luminous and captivating style. The two very contrasting scores unfold, each in their own way, a "transatlantic" cultural link between French and American soloists and a refined, very French style mixed with country and Americana that dreams of wide open spaces.

Supervised by Philippe Sarde, the program has been assembled by Édouard Dubois and fully remastered by Christophe Hénault from the original master tapes. The package includes a 12-page booklet featuring exclusive liner notes by writer Christian Lauliac discussing the films and the scores. The release is limited to 500 units. 

HORS-LA-LOI

1. Hors-la-loi (3:00)

2. Bergerie (3:49)

3. Repas banjo (1:36)

4. Explosion (1:49)

5. Les blés (1:44)

6. La rage de vivre (3:02)

7. Tous unis (1:11)

8. C'est mon village (3:54)

9. Le baiser (3:05)

10. Western (2:04)

11. Rock ferme (1:22)

12. La révolte (1:58)

13. Les grottes (4:25)

Total Time • 33:08 

LA NUIT ENSOLEILLÉE

14. Le feu sacré (2:37)

15. Concerto pour 2 épées (1:12)

16. L'homme oiseau (1:44)

17. Couleur de la nuit (3:57)

18. Énergie douce (1:57)

19. Contre-jour (4:04)

20. Menuet (0:33)

21. Zen (1:03)

22. Pulsations (1:24)

23. Basket en folie (0:55)

24. Juste un au revoir (1:48)

25. Pulsations (version alternative 1)* (0:34)

26. Pulsations (version alternative 2)* (0:34)

27. Marche 1* (0:12)

28. Marche 2* (0:21)

29. Basket en folie (version longue)* (1:23)

Total Time • 24:25 

* Previously Unreleased

CD Total Time • 58:33

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 twelfth volume of the Great Television Soundtracks collection dedicated to the premiere release of acclaimed composer Gabriel Yared's TV score for Fortitude (Fall from Grace) (1994).

Adapted by David Ambrose and directed by Waris Hussein, as part of the celebrations commemorating the fiftieth anniversary of D-Day, the TV film offers a convincing reconstitution of the military operations while accentuating the emotional bonds between the characters. 1944: the Allies are about to launch an incredible military operation on the beaches of Normandy. To hide the location selected for D-Day from the German forces, they set up an overall military deception operation: Operation Fortitude. In 1985, journalist and novelist Larry Collins drew inspiration from it to craft the plot of his new historical novel, Fall from Grace. Captivated by this rich and suspenseful story, producer Pascale Breugnot had fought to raise the necessary funds for an ambitious TV adaptation for four years. Gabriel Yared became part of the project through the producer. The composer wrote an epic and dramatic symphonic score, recorded in Munich, at the Bavaria Studios. The lyrical-style main theme, used in various versions throughout the TV film, is divided in two parts: one showcases the melody and the other is more rhythmical, built on a suspenseful ostinato. 

Supervised by Gabriel Yared, this present edition has been fully remastered by Christophe Hénault from complete scoring session elements. The 8-page booklet features an essay by Sylvain Pfeffer discussing the TV film and the score, based on a new interview with the composer. The CD release is limited to 300 units.

FORTITUDE (FALL FROM GRACE)

1. Fall from Grace (Main Theme) (3:14)

2. Exodus (Main Title) (3:24)

3. Night Mission (1:24)

4. The Aviators (2:38)

5. Innocents Killed (2:41)

6. Tainted Love (2:32)

7. The Kiss (0:59)

8. Undercover Operation (1:37)

9. Farewell (1:25)

10. The Code (1:58)

11. Love Reunion (1:04)

12. Escape (1:22)

13. Wounded Catherine (1:21)

14. The Keys (2:57)

15. Departure (2:40)

16. The Message (2:12)

17. Marry Me (1:46)

18. The Final Mission (1:47)

19. The Capture (2:39)

20. The Interrogation (1:42)

21. Will You Cooperate? (1:50)

22. The Explosion (2:22)

23. Concentration Camp (3:43)

24. Fall from Grace (Closing Theme) (1:34)

Total Time • 51:41

[Mephisto]

@Stefan SchlegelIrgendwelche Anmerkungen zum sarde?

Am 21.1.2026 um 18:40 schrieb Alexander Grodzinski:

Quartet Records presents the premiere release of the emotional, symphonic Americana score by renowned composer Robert Folk (POLICE ACADEMY, TOY SOLDIERS, ROCK-A-DOODLE) for the rural drama MILES FROM HOME, directed in 1988 by Gary Sinise, starring Richard Gere, Kevin Anderson, Penelope Anne Miller, Helen Hunt and Brian Dennehy. The film is about two brothers who are forced off their farm in the debt-stricken Midwest and become folk heroes when they begin robbing the banks that have been foreclosing on farmers.

MILES FROM HOME was one of the first major works that Robert Folk was involved in, and the first where he was able to give free rein to his symphonic training and knowledge of a profoundly American sound. He replaced composer John Barry, who had begun composing the score just as he fell ill and recommended the young Folk to complete the job. Inspired by Aaron Copland and Norman Dello Joio, Folk wrote a sensitive, emotional and powerful score that remains one of his favorites.

A suite featuring select passages from the score was previously released on a promotional album by the composer, but this is the first official release of the complete score. Produced and supervised by the composer, assembled and mixed by Chris Malone and mastered by Doug Schwartz, the booklet features an in-depth essay by film music writer Daniel Schweiger, including interviews with the composer, the director and producers of the film.

1. Main Title (Revised) 4:25

2. Brothers Struggle With Combine 1:42

3. The Farm Sale 0:59

4. Terry and Sally Lyric – Segue to Frank Alone 1:34

5. Confrontation With Banker 1:24

6. Terry and Sally Love Theme 1:39

7. Frank and Terry Porch to Television 1:57

8. Farm Burning 2:01

9. Frank and Terry in Truck Asleep 1:17

10. Terry and Sally Love Theme (Guitar) 2:24

11. Ox Scene 1:29

12. Drive to Burned Out Farm 1:31

13. Inside the Bank – Tension 1:48

14. Land Motif – In the Cornfield 0:55

15. Cops in Field and Long Drive 2:01

16. New Farm Burning 1:40

17. Brothers Fight on Stree 0:45

18. Terry and Sally Romance Cue – Graveyard and Frank 2:31

19. End Title 3:07

Bonus Tracks

20. Main Title (Original Version) 4:30

21. The Farm Sale (Alternate) 0:58

22. Terry and Sally Love Theme (Alternate) 1:38

23. Low Key Version of Original Porch to TV Cue 0:52

24. Ox Scene (Alternate) 1:33

25. Graveyard (Alternate) 1:18

Total Disc Time: 46:57

Dass wir weiterhin Folk bekommen, ist schon großartig, zumal die Doppel-CD (habe ich damals, glaube ich, von @peter-anselm gekauft - vor über 13 Jahren!) immer ziemlich rar war. Das ist jetzt von den Filmmusiken die letzte, die es von der Doppel-CD zu "vervollständigen" gab. Ich hoffe, da kommt in Zukunft trotzdem noch was. Nach EDGE OF SANITY von Talgorn eine unverhoffte Ergänzung zur "zweiten Reihe".

[Stefan Schlegel]

vor 52 Minuten schrieb Mephisto:

@Stefan SchlegelIrgendwelche Anmerkungen zum sarde?  

Mich begeistern beide Scores nicht wirklich. LA NUIT ENSOLEILLÉE hatte ich bereits an 1981 auf LP gekauft - ein Jahr, das eigentlich gestopft voll war mit (für mich besseren) Sarde-Musiken - und das ist einer der wenigen Sarde-Fälle, wo ich die LP bereits nach wengien Jahren wieder abgegeben hatte. Mir haben nur ein paar wenige Tracks zugesagt, der Rest ging mir dann doch zu sehr in Pop bzw. Country & Western- Richtung - auch haben mich die vielen, teils etwas abgedrehten Harmonika-Solos genervt.
HORS-LA-LOI gehört für mich zu den schwächsten Sarde-Arbeiten aus den 80ern mit recht starkem Rock-Anteil und überzogener E-Gitarrre - zum Großteil ziemlich modisch aufgemacht und passend zur damaligen Zeit eben an 1985. Die LP hatte ich damals schon nicht mal gekauft nach Reinhören bei einem Freund. Die rund 20 Minuten, die auf der Sarde/Robin Davis-CD von Universal France (gekoppelt mit den weitaus interessanteren LE CHOC und J´AI EPOUSÉ UNE OMBRE) oben sind, reichen mir daher schon völlig aus. Es ist vor allem auch witzig, daß Sarde selbst mit einem Teil seiner Musik dann später unzufrieden war. Das ist der Grund, warum mehrere Rock-Tracks auf der Universal-Edition fehlen, zu deren Wiedereingliederung sich Sarde jetzt wohl für die Music Box-CD hat doch noch überreden lassen. Im Booklet der Universal-CD äußerte er sich an 2009 nämlich noch so:
"It´s a schizophrenic score divided between some rock cues that date a lot, very heavy, and a more lyrical part that´s bolder, a part that I´ve kept on this album... HORS-LA-LOI  remains a little-known score that´s worth rediscovering, but I can´t say I´m entirely happy with it."
 

[Alexander Grodzinski]

The Filmation Music of Ray Ellis

Film Score Monthly returns with their first CD release in years, as part of their 35th anniversary celebration in 2025.

The Filmation Music of Ray Ellis, on Retrograde Records, is a 79-minute collection of monaural music from 1970s–80s Filmation projects including Star Trek: The Animated Series, the ambitious 1979 Flash Gordon, live-action Jason of Star Command, Shazam and Isis, and the animated 1982 Gilligan’s Planet and 1979 Mighty Mouse.

This is a rare release for the highly esteemed composer/arranger Ray Ellis, who wrote most of the music under pseudonyms, as explained in the new liner notes by Jeff Bond.

Bristling with melody and vivid orchestration, the music is a Saturday-morning nostalgia trip of adventure and excitement. The Filmation spirit is colorfully captured in art direction by FSM’s graphic designer, Joe Sikoryak.

STAR TREK: The Animated Series

01. Title Theme 1:00

02. Captain’s Log 1:19

03. Something Ahead 0:53

04. Evasive Maneuvers 1:05

05. Sensor Data 1:06

06. Intercept Course 0:13

07. Fire Phasers 0:48

08. Enterprise Attacked 1:32

09. Illogical 0:11

10. Briefing 0:42

11. On the Viewscreen 1:01

12. New Heading 0:18

13. Scanning 0:53

14. Deflector Shields 0:17

15. Red Alert 0:32

16. Battle Stations 0:39

17. Surprise 0:06

18. Supplemental Log 0:47

19. Kirk’s Command 1:10

20. Sickbay 0:28

21. Library Computer 0:44

22. Full Power 0:27

23. Approaching Coordinates 0:08

24. The Bigger Meaning 1:15

25. Trouble in Engineering 0:27

26. Spock’s Analysis 0:42

27. Enterprise Wins the Space Race 0:42

28. McCoy’s Summary 0:15

29. Just Another Stardate 0:39

30. Ongoing Mission 0:17

31. Title Theme (alt. mix) 1:00

32. Sensor Data (alt. mix) 1:00

33. Enterprise Attacked (alt. opening) 1:41

34. Scanning (alt. mix) 0:53

35. Turbolift Music 0:28

36. Mr. Arex Lends an Extra Hand 0:38

37. Fascinating 0:17

38. Don’t Mess With M’Ress 0:21

39. Oh My 0:16

40. Spock’s Quick Analysis 0:21

41. Yellow Alert 0:24

42. Off Duty 0:14

43. Suite: Stingers and Act-Out Music 2:02

Total Time: 31:26

 

FLASH GORDON

44. Main Theme* 0:51

45. Stukas Bomb Dr. Zarkov 1:37

46. Mongo Mysterioso 0:36

47. Flash 1:11

48. Flash Chase 0:48

49. Aura* 1:01

50. Mystery Strings, Part 1 0:37

51. Flash Chase, Strings 0:31

52. The Depths of Mongo* 1:07

53. The Mines of Mongo 1:46

54. Mystery Strings, Part 2 0:52

55. Harem 1:14

56. Harem, Part 2 0:45

57. Strange Lurk 0:31

58. Mystery Strings, Part 3 0:54

59. Robots Attack 1:39

60. Mongo Passes the Earth* 1:13

61. Imperial City Fanfare 0:16

62. Mystery Strings, Tremolo 0:48

63. Prisoner of Ming* 0:39

64. Strange Lurk, Fast 0:25

65. Evil Tension 0:43

66. The Screen* 0:42

67. Planet Turmoil 1:19

68. Flash Fanfare 0:12

Total Time: 23:11

 

JASON OF STAR COMMAND

69. Main Title 0:43

70. Jason Rubato 1:14

71. Jason Tension Build 0:31

72. Bridges (Bad Guy, Bad Guy Long, Jason, Good Guys) 0:32

Total Time: 3:07

 

SHAZAM 73. Finders Keepers, Part 1 2:27

74. Finders Keepers, Part 2 1:36

75. Finders Keepers, Part 3 3:55

76. Finders Keepers, Part 4 0:39

Total Time: 8:43

 

THE SECRETS OF ISIS

77. Year of the Dragon 1:20

 

GILLIGAN’S PLANET

78. Main Title 0:56

79. Wizzard the Robot 1:21

80. Feeding Wizzard 1:17

81. Howell World 0:48

82. Stealing Howell’s Money 1:21

83. Howell Desperate 1:07

84. Sea Serpent 0:50

85. Space Storm 0:44

86. Star 0:25

87. End Credits 1:24

Total Time: 10:29

 

THE NEW ADVENTURES OF MIGHTY MOUSE AND HECKLE & JECKLE

88. Main Title 0:58

 

Total Disc Time: 79:45

 

*Composed by Marc Ellis

[Stese]

Filmation Musiken, oder eher „Schnipsel“. Aber trotzdem mega VÖ. Wird definitiv gekauft!

[magnum-p.i.]

Die Musik zu der "Star Trek"-Zeichentrickserie hat mir nicht richtig gefallen. Da wäre mir Beckers Musik zu "Bravestarr" oder Levys und Sabans Musik zu "M.A.S.K." lieber gewesen. Bedeutet die CD eigentlich, daß FSM mit Soundtrackproduktionen wieder anfängt oder war das nur eine Eintagsfliege?

[Stese]

vor 5 Stunden schrieb magnum-p.i.:

Levys und Sabans Musik zu "M.A.S.K."

Da würde ich ausflippen, wenn ich diese Musik erleben dürfte! 

[TheRealNeo]

 

[Alexander Grodzinski]

Ab dem 20.03. auf CD und Vinyl.

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with Solisterrae Music, present the score by renowned composer Pascal Gaigne (EL SOL DEL MEMBRILLO, PIEDRAS, EL OTRO BARRIO, HANDIA) for the film DANTZA, directed by Telmo Esnal in 2018, which has become a cult movie.

DANTZA is a musical film that, through Basque dances and all the symbolism they embody, tells a story about the cycle of life and the evolution of man. A story of effort, mastery of nature, myths, the struggle for survival, celebration, love and death, where gestures, songs, rhythms and the whole wide range of nonverbal language envelop the central discourse woven by the dances.

Composing the music for this film was a challenge. Adapting several folk dances and adding his own compositions, Gaigne weaves a common thread through the musical history of the Basque Country with his original arrangements and approaches, drawing on an unusual ensemble of musicians, percussionists and string and woodwind sections.

It is one of his most daring and captivating works, which deserved to be released as an album.

Tracklist

Cueva 3:15

Zinta 4:19

Desierto Negro 2:21

La Reina Oscura 4:38

Erregelak 6:17

Almute 6:45

Irradaka 10:38

Sagar 2:48

Soka 5:45

Gaiarena 4:08

Godelet 3:55

Arratia 3:15

Danças suite 12:27

Nara / Urzo Xuria 3:48

Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a completely revised, remastered edition of the catchy Ennio Morricone score for AD OGNI COSTO (aka GRAND SLAM), a 1967 comedy-caper movie directed by Giuliano Montaldo, starring Janet Leight, Edward G. Robinson, Klaus Kinski, Robert Hoffmann and Adolfo Celi. The story is about Professor James Anders, who, upon retiring, presents a famous criminal with an elaborate plan to rob a diamond company in Brazil with a team of professionals. The men meet in Rio de Janeiro and encounter an unexpected problem: a new alarm system called Grand Slam 70.

The original score by Ennio Morricone adds atmosphere and sophistication, helping to balance the mix of intrigue, action and glamour that defines the tone of the film. His work is based on a hybrid architecture that combines modal jazz, Brazilian bossa nova and Italian pop music from the 1960s. Far from being an eclectic sum or a simple collage of styles, Morricone works with these influences as overlapping layers that construct an autonomous musical discourse.

The album was released in a short promotional run by RCA in Italy in 1967 and reissued on LP in the 1980s by the Intermezzo label. In the 1990s, the same program appeared for the first time on CD, also by RCA. In 2010, an expanded edition, featuring virtually the entire score, was released on CD by GDM. This new edition, supervised by Claudio Fuiano and restored and mastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez that discusses both film and score.

Punto e basta (Titoli di testa) 2:56

Vai Via Malinconia 1:30

Ad ogni costo 2:43

Vai Via Malinconia (#2) 1:37

In Chiesa 2:27

Dirgli solo no 2:12

Tudo e nada 2:43

Voce 2:30

Ai, Morena 2:22

Samba do desprezo 1:59

Eu fiz mal em dizer 2:03

Samba bamba (versione coro) 3:20

Ai, Morena (#2) 2:05

Punto e basta (#2) 2:56

Dirgli solo no (#2) 1:59

Samba bamba (ver. strum. con tromba) 3:20

Ad ogni costo (#2) 1:59

Vai Via Malinconia (#3) 1:41

Ai, Morena (#3) 3:22

Dirgli solo no (#3) 3:07

Tudo e nada (#2) 2:07

Vai Via Malinconia (#4) 2:29

Total Disc Time: 55:19

Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a completely revised, remastered edition of the dynamic, classic score by Ennio Morricone for the 1970 Charles Bronson action vehicle CITTA’ VIOLENTA (aka VIOLENT CITY), directed by Sergio Sollima and co-starring Telly Savalas and Jill Ireland. The film is about a hit man who, after being double-crossed by his mistress and barely escaping a murder attempt, sets out to take revenge on the woman and the mob boss who put her up to it.

Ennio Morricone’s score is nervous, insistent, sometimes ironic. Far from using music as a simple environmental resource, the music constructs a sonic architecture that is closely aligned with the subjectivity of the protagonist, adopting his point of view, transforming the perception of the environment into an auditory texture. Thus, the music does not merely follow his emotional arc but amplifies it as a resource for introspection and narrative complexity. The result is a musical device that revolves around three structural cores: the city as a violent labyrinth, the killer’s split consciousness, and love as a betrayed promise.

The soundtrack album was released in both Italy and Japan in 1970 with different cover art. The same program was first reissued on CD in Japan in the early nineties. An expanded edition of the score was issued by GDM in 2006, later reissued with two additional bonus tracks in 2012 by the Intermezzo label. This is a reissue of that program produced by Claudio Fuiano and Dániel Winkler, remastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez, discussing the film and score.

Città Violenta 2:24

Rito Finale 3:05

Mille Volte un Grido 2:31

Città Violenta (#2) 1:17

Momento Estremo 3:18

Con Estrema Dolcezza 2:41

Svolta Definitiva 4:37

Norme con Ironie 3:55

Riflessione 1:27

Disperatamente 2:53

Rito finale (#2) 1:29

Con Estrema Dolcezza (#2) 3:08

Rito Finale (#3) 2:34

Città Violenta (#3) 2:40

Dolcemente Acre 3:15

Città Violenta (#4) 4:52

Sospensione Sovrapposta 1:40

A Caissa 2:24

Città Violenta (#5) 5:01

Con Estrema Dolcezza (#3) 1:09

Riassunto 3:07

Total Disc Time: 60:35

Quartet Records, in collaboration with GDM and Universal Music Publishing Ricordi, presents a remastered reissue—for the first time in full stereo—of the 1966 classic, propulsive and exciting Ennio Morricone cult score for the thriller movie SVEGLIATI E UCCIDI, a successful Italian production directed by Carlo Lizzani and starring Robert Hoffmann, Lisa Gastoni and Gian Maria Volontè. The film is about a dangerous fugitive who meets a nightclub singer with whom he falls in love. They both get caught up in a spiral of increasingly reckless jewelry store robberies, leading to a tragic end when the police finally catch them.

Although Morricone was not the most prolific composer in the poliziesco genre—that role was more actively filled by Stelvio Cipriani and Franco Micalizzi—he did influence its early stylistic development by consolidating the use of music as an active narrative element: syncopated rhythms, marked bass lines, urban percussion, dissonant sounds to heighten tension, paranoia and urban chaos, or a fusion of jazz, funk and experimental music, are some of the resources that composers associated with the new genre would later use extensively. All these elements form the core of the score of SVEGLIATI E UCCIDI, which is narratively structured around its two protagonists. Morricone also provides the beautiful song “Una stanza vuota,” performed by Lisa Gastoni, that also serves as the film’s love theme.

The album was released in a short promotional run by RCA in Italy in 1966 and reissued on LP in the 1980s by the Intermezzo label, both in monaural sound. In the 1990s, the same program appeared for the first time on CD—paired with the score of CITTA’ VIOLENTA, also by RCA and in mono. In 2012, an expanded edition, featuring virtually the entire score, was released on CD by GDM, in hybrid sound with some tracks in stereo and others in mono.

This new edition, supervised by Claudio Fuiano and restored and mastered by Chris Malone, includes the same program in full stereo. The booklet includes an essay by Miguel Angel Ordóñez that discusses both film and score.

Una Stanza Vuota 2:39

Un Uomo Solo 1:58

Colpo Alla Gioielleria 1:26

Una Stanza Vuota (2ª versione) 1:51

La prima vittima 2:22

Sul Lago Di Lugano 1:45

Svegliati e Uccidi 2:29

La Donna di un Fuorilegge 0:37

Una Stanza Vuota (3ª versione) 1:43

Una Tromba a Dallas 2:49

Svegliati e Uccidi (#2) 2:08

Svegliati e Uccidi (#3) 1:48

Una Stanza Vuota (4ª versione) 2:32

Svegliati e Uccidi (#4) 2:20

La Donna di un Fuorilegge (#2) 2:01

Una Stanza Vuota (5ª versione) 1:45

Svegliati e Uccidi (#5) 1:21

Colpo Alla Gioielleria (#2) 1:10

Svegliati e Uccidi (#6) 1:59

Una Stanza Vuota (6ª versione) 0:54

Svegliati e Uccidi (#7) 1:24

Una Stanza Vuota (6ª versione) 1:07

Svegliati e Uccidi (#8 – shake) 1:33

Svegliati e Uccidi (#9) 1:07

Una Tromba a Dallas (#2) 1:56

Una Stanza Vuota (versione singolo) 2:38

Total Disc Time: 48:37

Quartet Records, in collaboration with GDM, Universal Music Publishing Ricordi and EMI General Music Publishing, presents a CD focused on two WWII soundtracks by Ennio Morricone, pairing his dramatic scores for MASSACRE IN ROME (1973) and GOTT MIT UNS (1970)

MASSACRE IN ROME was directed by George Pan Cosmatos and starred Marcello Mastroianni, Richard Burton and Leo McKern. The story takes place in Nazi-occupied Rome, where an assault on an SS brigade draws retaliation from the military governorship. The film tells the true story of how this partisan attack led to the mass execution of Italian nationals under the orders of SS Lieutenant Colonel Kappler. Morricone’ score avoids traditional forms or classical thematic development. Instead, the composer built short motifs, ostinatos, hypnotic repetitions and descending harmonic progressions that reinforce the sense of fatalism and inevitability.

GOTT MIT UNS, directed by Giuliano Montaldo, and starring Franco Nero, Richard Johnson and Bud Spencer, takes place at the end of World War II, when German deserters are tried for desertion by their fellow prisoners of war inside a prisoner-of-war camp for Germans. Morricone constructs a soundscape that reflects the absurdity, emptiness and dehumanizing logic of military machinery. The composition follows a logic of expressive restraint in which the instruments do not emit conventional sounds, but rather generate audible textures—whimpering, friction, pulsations, breathing—creating a soundtrack in the form of unstructured chamber music in which the dramatic tension gradually intensifies. The only emotional foothold in the score is found in “Lontano,” a piece that refers to nostalgia, to the ordinary life that deserting soldiers long for. Its title—which means “far away”—already anticipates a poetics of distance, of waiting, of emotional echo.

Although the film had some success, the music from MASSACRE IN ROME was not released until the early 1990s, when ten tracks were included on a CD by RCA Italy, paired with the soundtrack album of LA BATTAGLIA D’ALGERI. In 2009, it was reissued by GDM in a program that included three bonus tracks, virtually everything Morricone recorded for one of his shortest scores. GOTT MIT UNS, on the other hand, was only released on a 45 RPM disc with the cues “Lontano” and the main theme. In 1998, part of his score was rescued by the Screen Trax label and paired with another score from a film set in WWII: L’AGNESE VA A MORIRE. An expanded program was released by the Dagored label in 2003.

This 70-minute Quartet CD, supervised by Claudio Fuiano, includes all the available music from both films, painstakingly restored and mastered by Chris Malone. The booklet includes an essay by Miguel Angel Ordóñez, discussing the film and score.

MASSACRE IN ROME

1. Reprisal 2:31

2. Deadly News 2:36

3. Before the Reprisal 2:51

4. March Through the Open City 1:27

5. Second Reprisal 2:04

6. Night Alarm 3:36

7. Thrid Reprisal 0:45

8. The Killing 2:31

9. Via Rasella 5:22

10. Open City 2:07

11. Second Reprisal (#2) 1:25

12. The Killing (#2) 1:18

13. Deadly News (#2) 1:10

GOTT MIT UNS

14. Lontano (versione Disco) 4:30

15. Gott Mit Uns (Titoli di testa) 1:11

16. Prigioneri 1:54

17. Gott Mit Uns (Corsa Disperata) 1:21

18. Gott Mit Uns (All’erta-torrente d’osservazione) 0:55

19. Lontano (Nostalgia di casa) 1:18

20. Gott Mit Uns (Erika) 0:52

21. Lontano (Versione Film) 4:46

22. La Mitraglia (Incarcerati) 1:42

23. Nella garitta (Il capitano Miller) 0:28

24. Nella garitta (Riunione degli ufficiali) 1:13

25. La Mitraglia (Incarcerati secondo) 1:42

26. Nella garitta (Un cielo senza aerei) 1:35

27. Nella garitta (Corte marziale) 0:49

28. Gott Mit Uns (La guerra è finita!) 1:10

29. Nella garitta (Discussione col Generale) 0:33

30. Gott Mit Uns (In cella) 0:30

31. Lontano (Nostalgia delle donne) 0:44

32. La Mitraglia (Una questione di principio) 2:48

33. Gott Mit Uns (La promozione) 0:18

34. La Mitraglia (La decisione) 1:02

35. Gott Mit Uns (All’alba del quinto giorno) 2:16

36. Percussioni e Marcia (Titoli di coda) 2:03

37. Lontano (Arrangiamento 1974) 3:51

Total Disc Time: 70:18

[Alexander Grodzinski]

Von Music Box:

In collaboration with Axel Films Production, Music Box Records presents a limited edition CD release of acclaimed composer Philippe Rombi’s (Black Box, The Crime Is Mine) original motion picture score to the wartime family adventure Les Enfants de la Résistance (The Children of the Resistance, 2026), directed by Christophe Barratier (The Chorus, War of the Buttons).

Adapted by Christophe Barratier and Stéphane Keller from the bestselling comic book series by Vincent Dugomier and Benoît Ers, the film tells the story of François, Eusèbe, and Lisa - three brave children who resolve to oppose the German occupiers during World War II. Sabotage operations, hidden messages, and perilous escapes: they carry out clandestine actions right under the enemy’s nose. Daring and friendship are their only weapons in the fight against injustice.

Philippe Rombi, the director’s longtime collaborator, delivers a poignant and deeply moving symphonic score, featuring a magnificent main theme for orchestra and choir. The album also reveals a darker theme driven by vibrant strings and percussion to evoke the presence of the Nazis, as well as playful adventure motifs underscoring the clever tricks of the three courageous children.

Dive into the heart of heroism and unbreakable friendship with the masterful original soundtrack of Les Enfants de la Résistance, released in French theaters on February 11, 2026. The cast includes Artus, Gérard Jugnot, Pierre Deladonchamps, Leslie Medina, Julien Pestel, and the young actors Lucas Hector, Nina Filbrandt, and Octave Gerbi. The album is available on CD and digital platforms. 

LES ENFANTS DE LA RÉSISTANCE

1. Les Enfants de la Résistance (Thème) (2:46)

2. Ouverture (3:30)

3. Martin (2:47)

4. Les Réfugiés (1:01)

5. Lisa (3:00)

6. Mort de Martin / Arrivée des Allemands (2:20)

7. Sabotage (2:46)

8. François et Lisa (1:57)

9. On Passe à l'Action ! (2:00)

10. La Révélation de Lisa (1:19)

11. Les Tracts du Lynx / Les Pluies (3:02)

12. Éboulement (2:24)

13. La Péniche Mystérieuse (3:24)

14. Une Belle Complicité (1:30)

15. L'Enquête de la Gestapo (4:56)

16. Le Match de Foot (1:47)

17. Marcel Fait Passer le Prisonnier (2:38)

18. In Memoriam (1:40)

19. L'Attaque du Train (4:05)

20. Abandonné (1:11)

21. L'Exécution (2:37)

22. Final et Générique de Fin (Version film) (6:53)

[Alexander Grodzinski]

Neu von Dragon's Domain:

Dragon’s Domain Records presents NORTH BY NORTHWEST, featuring music from the original motion picture score composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1959 thriller directed by Alfred Hitchcock, written by Ernest Lehman, starring Cary Grant, Eva Marie Saint, James Mason, Martin Landau, Jessie Royce Landis, Leo G. Carroll, Philip Ober, Adam Williams, Edward Platt and Robert Ellenstein.

Released on vinyl by Starlog Records in association with Varese Sarabande and also by Unicorn-Kanchana in Europe, later an early compact disc when the format was new, this recording featured a selection of music from the original motion picture score conducted by Laurie Johnson, performed by the London Studio Symphony Orchestra.

At the time of the album’s inception in 1979, it was decided not to use the original 1959 tapes from the movie and to instead create a new stereo recording using the latest state-of-the-art technology of the day. The Sony PCM-1600 digital recording system and the Calrec Soundfield microphone were used together for the first time with a full orchestra for this recording. NORTH BY NORTHWEST was recorded direct to Sony digital in London on November 20, 1979.

In addition to this recording, Laurie Johnson’s talents are represented on several other discs. As a tribute to Bernard Herrmann, Laurie adapted Herrmann’s original score to the horror film IT’S ALIVE and conducted it for the sequels, IT’S ALIVE 2 and IT’S ALIVE III: ISLAND OF THE ALIVE. Together with his partners Albert Fennell and Brian Clemens, Johnson owned the companies which produced the enormously successful TV series, THE NEW AVENGERS and THE PROFESSIONALS.

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.

Dragon’s Domain Records is excited to bring this recording of NORTH BY NORTHWEST 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. NORTH BY NORTHWEST presents, for the first time together, the 1979 original remastered stereo recording, followed by the one stereo microphone performance.

NORTH BY NORTHWEST Is a limited edition release. NORTH BY NORTHWEST will begin shipping the week of March 2nd, 2026

Analog Multi-Track Stereo Remix

01. Main Title (3:20)

02. Kidnapped (1:59)

03. The Elevator (1:27)

04. Murder At The U.N. (3:17)

05. Conversation Piece (4:25)

06. The Crash (2:06)

07. The Auction & The Airport (2:13)

08. The Cafeteria / The Shooting (2:14)

09. Duo (1:28)

10. The Ledge / The House (4:25)

11. The Match Book (1:51)

12. The Airplane / The Stone Faces / The Ridge /

On The Rocks / The Cliff / Finale (9:09)

 

Original Calrec Soundfield - Stereo Microphone Mix

13. Main Title (3:18)

14. Kidnapped (2:00)

15. The Elevator (1:28)

16. Murder At The U.N. (3:19)

17. Conversation Piece (4:27)

18. The Crash (2:07)

19. The Auction & The Airport (2:14)

20. The Cafeteria / The Shooting (2:06)

21. DUO (1:31)

22. The Ledge / The House (4:27)

23. The Match Book (1:50)

24. The Airplane / The Stone Faces / The Ridge /

On The Rocks / The Cliff / Finale (9:09)

Total Time: 76:02

 

Dragon’s Domain Records presents the world premiere release of the soundtrack for THE COWBOY AND THE BALLERINA, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE ) for the 1984 television film directed by Jerry Jameson, written by Denne Bart Petitclerc and starring Lee Majors, Leslie Wing, Christopher Lloyd, James Booth, Antoinette Bower, George De La Pena, Steven Ford, Anjelica Huston, John McIntire and Severn Darden.

Airing on television in October 1984, THE COWBOY AND THE BALLERINA offered actor Lee Majors the chance to take a break from his second hit television series, THE FALL GUY, to star in this romantic film. THE COWBOY AND THE BALLERINA follows Clay Clayton (Majors), a former world champion bronco rider as he becomes involved with Natalia (Wing), a Russian ballerina who is desperate to flee her Soviet touring company and reunite with her mother who is living in New York City. On their journey, Clay and Natalia must outwit two agents (Booth, Huston) who are determined to see that she doesn’t defect.

As the principle theme of the film is a romance born of a clash between people from extremely different cultures, composer Bruce Broughton had to expertly weave their two thematic motifs together. While the music representing Clay’s down-to-earth Western life and persona is played with atypical instruments, piano, guitar and fiddle, Natalia's music has a more sophisticated orchestral sound.

Bruce Broughton, who has won ten Emmy Awards and been nominated for an Oscar, began his journey into film music in 1973, scoring episodes of television shows from GUNSMOKE, HAWAII FIVE-0, and DALLAS to JAG and THE ORVILLE, miniseries like THE BLUE AND THE GREY and THE OLD MAN AND THE SEA, and feature films such as SILVERADO, YOUNG SHERLOCK HOLMES, HARRY AND THE HENDERSONS, TOMBSTONE, and HONEY, I BLEW UP THE KID. Broughton has more than 130 scores to his credit.

Throughout his career, Broughton has amassed ten Emmy Awards (from twenty-three nominations) and an Academy Award nomination (SILVERADO). In addition to being a composer and an accomplished conductor, Broughton is also a tireless educator having taught classes at the UCLA Herb Alpert School of Music, the Department of Screen Scoring at the USC Thornton School of Music, and is currently serving as Media Composer-in-Residence at the University of North Texas.

Dragon’s Domain Records presents the world premiere release of THE COWBOY AND THE BALLERINA, featuring music composed and conducted by Bruce Broughton. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch.

THE COWBOY AND THE BALLERINA is a limited edition release. The first 50 copies will be autographed by the composer. THE COWBOY AND THE BALLERINA is expected to begin shipping the week of March 2nd, 2026.

01. Opening Titles (2:40)

02. Natalia At Airport / Switching Outfits (3:06)

03. Hiding In Clay's Bronco (2:45)

04. Avoiding Security / Driving Montage A / Clay Tames The Horse (4:14)

05. Remembering Victoria / Horseback Riding (3:13)

06. Natalia’s Story / Love In The Haystacks (3:23)

07. Leaving Doc’s Ranch / Driving Montage B / Caviar Picnic (2:19)

08. Arriving In New York / Woody and Natalia In Alley (3:41)

09. Advice From Woody / Natalia Calls Her Mother / Tailed Again / Good Night /

Natalia Returns / Love Scene (4:54)

10. Clay and Natalia Are Followed / The Beach House / Natalia Leaves Rodeo (3:28)

11. The Finale and End Credits (4:38)

12. Bumpers (0:19)

13. Country Bar Source (2:03)

14. Bar Source (4:01)

15. Rodeo Sources (1:52)

16. Ballet Sources (2:46)

17. Reception Source (2:17)

Total Time: 51:47

 

Dragon’s Domain Records presents THE LEE HOLDRIDGE COLLECTION, VOLUME 4, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for two romantic scores from his extensive filmography.

Airing in 1999, SEALED WITH A KISS is a romantic comedy directed by Ron Lagomarsino, written by Jeff Arch (SLEEPLESS IN SEATTLE, IRON WILL) and stars John Stamos, Annabeth Gish, Jane Sibbett, Mitchell Whitfield, Robert Stack, Nell Carter, Barry Corbin and Angie Dickinson. SEALED WITH A KISS, also released under the titles LOVE COMES FIRST and LONGFELLOW BRIDGE, follows Boston financial consultant Bennett Blake (Stamos), who is on the fast track to make partner while engaged to his equally career-driven boss’s daughter, Christina (Sibbet). Asked to travel to North Dakota to play golf with an oddball wealthy client, he’s warned that he must let the client win. Despite his best attempts to fail, he still achieves a hole-in-one, and the angry client pulls his business from the firm.

When a letter meant for someone else is accidentally mailed to Bennett’s home, Christina urges Bennett to return the letter to Robbie (Gish). She’s a curator of a museum for the poet Longfellow and desperate for funding. At first, she mistakes Bennett for a Washington official bent on shutting the facility down. He finds himself drawn to the down-to-earth Robbie and decides to help save the museum by assembling a financial plan. Working with her, he discovers the need to reevaluate his own soul-less life.

For SEALED WITH A KISS, Holdridge wrote a bubbly score featuring lush orchestrations, allowing the orchestra to boldly project the humorous undertones of Bennett and Robbie’s unplanned road to true love.

Released in 1973, JEREMY is a teen romance written and directed by Arthur Barron, starring Robbie Benson, Glynnis O’Connor, Len Bari, Leonardo Cimino, Ned Wilson, Chris Bohn, Patricia Wheel and Ted Sorel. JEREMY follows Jeremy Jones (Benson), a shy, bespectacled, fifteen-year-old living in New York City who is studying cello at a private performing arts high school. One day, he meets Susan (O'Connor) as she is practicing ballet. Despite the fact that she is older and in a higher grade, he is instantly attracted to her. Jeremy attempts to talk to her, but he is too shy to do so. At a school recital where Jeremy plays as a featured soloist, she is impressed by his playing and congratulates him afterwards. This interaction motivates him to finally ask her out.

On their first date, Jeremy finds out that Susan and her father have just moved to New York from Detroit so her father could take a new job. Over the next three weeks, their romance quickly intensifies as they spend a lot of time together. One rainy afternoon while playing chess in Jeremy’s room, the teens profess their feelings for each other and then make love for the first time. When she returns home, Susan’s father announces that he's been offered a better job back in Detroit, which means they have to leave New York immediately. By happenstance, Jeremy finds himself alone again...

JEREMY is one of Lee Holdridge’s earliest film scores. The film won the prize for Best First Work at the 1973 Cannes Film Festival, and Benson was also nominated for a Golden Globe Award for his performance. Holdridge’s tender and powerful score for JEREMY is built partially around the film’s theme song but features several original emotional cues underscoring the teens’ attraction and eventual heartbreak. The cello, Jeremy’s chosen musical instrument, features prominently in several cues.

Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.

Dragon’s Domain Records is excited to bring SEALED WITH A KISS and JEREMY to compact disc for the first time as part of THE LEE HOLDRIDGE COLLECTION, VOLUME 4, mastered by James Nelson at Digital Outland. The booklet includes liner notes written by author David Hirsch.

THE LEE HOLDRIDGE COLLECTION, VOLUME 4 is a limited edition release of 500 units. The first 50 copies will be autographed by the composer. THE LEE HOLDRIDGE COLLECTION, VOLUME 4 will begin shipping the week of March 2nd, 2026. 

 

SEALED WITH A KISS

1. Opening Title (2:17)

2. Going To Work / Let’s Play Golf / It’s Greek To Me /

Make A Wish / Hole In One / State of Shock (4:12)

3. Two Seagulls / No Sex Tonight / Save Longfellow’s Home / Go Back To Washington (3:19)

4. Cocktail Party A (2:49)

5. Cocktail Party B / Out On The Balcony / Vodka Gimlet (2:27)

6. Wink’s Realization / Shrimp / Bennet's Jog / Starting Over /

Late Night / Woman In The Rain (4:08)

7. Stop Pretending / Pet Rock / Twilight’s Coming / So Stay / Good Night (5:12)

8. A Second Chance / Robbie Leaves / Thinking of Her (4:38)

9. The Lowest Ebb / What I Want (2:19)

10. No Jerry Maguire / Cosmic Connection (2:08)

11. Duck L’Orange (Source) (1:38)

 

JEREMY

12. Blue Balloon (The Hourglass Song) (4:23)

Vocal: Robby Benson

13. Dating Montage (1:45)

14. Three Vignettes:

(A) Jeremy’s Reflection,

(B) Blue Balloon (The Hourglass Song) (Reprise), (C) The First Kiss (2:37)

15. Jeremy Follows Susan (2:03)

16. Jeremy’s Concert (2:42)

17. Jeremy (2:09)

Vocal: Glynnis O'Connor

18. Jeremy (Reprise) (0:56)

19. Blue Balloon (The Hourglass Song Instrumental) (4:22)

20. Lessons and Long Walks (1:57)

21. Theme for Jeremy and His Cello

(1st Movement of the Concertino for Cello and Strings) (3:56)

Total Time: 62:06

 

Dragon’s Domain Records presents THE DON DAVIS COLLECTION, VOLUME 2 featuring the world premiere releases of VALENTINE and BLACKOUT, two horror films from the composer's extensive filmography.

Released in 2001, VALENTINE is a dark comedy/horror film directed by Jamie Blanks, written by Tom Savage, Donna Powers and Wayne Powers, starring Denise Richards, David Boreanaz, Marley Shelton, Jessica Capshaw, Jessica Cauffiel, Katherine Heigl, Hedy Burress, Fulvio Cecere, Daniel Cosgrove, Johnny Whitworth, Woody Jeffreys and Adam Harrington.

Based on the novel by Tom Savage, VALENTINE begins during a St. Valentine’s Day dance at a San Francisco junior high school, where socially outcast Jeremy is repeatedly rejected by four popular girls. When he meets Dorothy and gets a chance to kiss her behind the bleachers, they are caught by the school bully and his friends. Embarrassed, Dorothy makes a false claim that she was attacked. The other boys beat up Jeremy, who is then expelled, tried for the alleged assault, and committed to a mental institution.

Thirteen years later, one of the popular girls, Shelly (Heigl), receives a threatening Valentine’s Day card simply signed “J.M.”. Shortly after, she is attacked and killed by a figure wearing a trench coat and a Cupid mask. At her funeral, the other girls, Kate (Shelton), Lily (Cauffiel), Paige (Richards) and Dorothy (Capshaw) discover they’ve all received mysterious cards. One by one, the women fall victim to the masked killer...

The score for VALENTINE is a very dark effort, largely non-melodic, but nevertheless, quite colorful in its sonic palette. This presentation is made up from the composer’s original demos, which are virtually identical to what ended up in the finished film.

Released in 1988, BLACKOUT is a thriller directed by Doug Adams, written by Joseph Stefano and Laura Ferguson, starring Gail O’Grady, Carol Lynley, Michael Keys Hall, Joseph Gian, Deena Freeman, Joanna Miles and Scott Lincoln.

BLACKOUT follows Caroline (O’Grady), a young woman estranged from her family who returns to her childhood home after receiving a cryptic letter from her long absent father who abandoned her and her mother years earlier. Upon arrival, Caroline navigates strained interactions with her mother, Esther (Lynley) and her stepfather, Richard (Lincoln), who has a more welcoming demeanor. These encounters set the stage for Caroline’s exploration of the familiar yet unsettling house, where everyday objects and spaces begin to stir vague, disorienting sensations from her past...

Emmy winning composer Don Davis began playing trumpet and piano at the age of nine and started writing music at twelve. As his affinity for music grew, so did his aspirations, and soon he was composing and arranging orchestral charts for local jazz ensembles that he also performed with. After graduation from high school, Davis furthered his study of music at UCLA, majoring in music theory and composition, playing trumpet in college jazz ensembles and orchestras. After graduation from UCLA, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced the young Davis to film and television composer Joe Harnell, best known for his work on TV shows such as V and THE INCREDIBLE HULK. He was immediately impressed by Davis' attention to orchestral detail, especially as evidenced by a chamber symphony Davis was writing at the time. Harnell became a mentor to Davis and introduced him to the professional world of film and television scoring. His early compositional work caught the attention of composer Lee Holdridge, who had penned the theme music for the television series BEAUTY AND THE BEAST and he helped Davis land the job composing weekly scores for the show. Davis' rich orchestral style meshed perfectly with the tone of the show, and he went on to win an Emmy for his work and achieve great acclaim as one of television's most gifted young composers.

After BEAUTY AND THE BEAST, Davis found his career as a composer soaring and he was commissioned to compose scores for dozens of top television movies and series, including  SEAQUEST DSV, HOUSE OF FRANKENSTEIN, Peter Benchley’s THE BEAST, TINY TOON ADVENTURES and STAR TREK: THE NEXT GENERATION. In 1997, Davis composed the score for Larry and Andy Wachowski's off-beat thriller BOUND, and the directing brothers immediately formed a close working relationship with Davis. The Wachowskis and Davis again collaborated on the MATRIX Trilogy. Davis' work for the three scores incorporated elements of popular music, electronic synthesizer effects, and even a touch of the avant-garde.

Dragon’s Domain Records presents THE DON DAVIS COLLECTION, VOLUME 2, featuring the world premiere releases for VALENTINE and BLACKOUT, with liner notes written by author David Hirsch and G.B. Kemner. The music has been mastered by James Nelson at Digital Outland.

The digital release for THE DON DAVIS COLLECTION, VOLUME 2 includes a bonus track, a suite for VALENTINE that would not fit on the physical release.

THE DON DAVIS COLLECTION, VOLUME 2 is a limited edition release. The first 50 copies will be autographed by the composer. THE DON DAVIS COLLECTION, VOLUME 2 is expected to begin shipping the week of March 2nd, 2026.

VALENTINE
01. Opening Titles (3:20)
02. The Scalpel Of Fate /
Cupid Is As Cupid Does (3:00)
03. Sadness For Sally (3:54)
04. Wait For Kate (2:37)
05. Sweets For The Sweet / Lily Eats It (4:51)
06. Late With Kate / Let’s Berate Kate (3:08)
07. Campbell In The Closet (3:34)
08. Ruthie’s Remorse (3:37)
09. A Rose For Paige / Dorothy Distraught (4:04)
10. Vaughn On The Lawn (2:07)
11. Dorothy Deceased (8:07)
12. Wherefore Art Thou? / Closing Credits (4:07)
13. Exhibition Music (1:08)
BLACKOUT

14. Opening Titles (3:46)

15. The House Enigma / Bruises of Misery (4:21)

16. Buck Naked (3:44)

17. Uncle Sleazebag (2:32)

18. The Body Drop / Gland Reaction (4:03)

19. The Uncle from Hell / Blondie in Bondage (5:11)
20. Finale (5:07)
Total Time - 76:30

[Stese]

NORTH BY NORTHWEST wäre zwar nicht nötig, aber da dies einer meiner Langzeit Lieblingsfilme ist, werde ich mir diese Einspielung holen.

[Trekfan]

vor 8 Stunden schrieb Stese:

NORTH BY NORTHWEST wäre zwar nicht nötig, aber da dies einer meiner Langzeit Lieblingsfilme ist, werde ich mir diese Einspielung holen.

Das Album kann man immer noch gut anhören. Eine Platte aus einer Zeit, als die Veröffentlichung der Originale undenkbar waren. Herrmanns Filmaufnahmen sind auch lange vergriffen, waren aber leider tontechnisch nie ganz unproblematisch. Eine sehr gute Neueinspielung hat später Joel McNeely für Varese aufgenommen. Habe nie verstanden, weshalb die seinerzeit nur als limitierte Club CD vermarktet wurde. Das war 2007. Das Label hat doch alle Rechte an der Einspielung, totes Kapital. 

Der Score war für mich immer Herrmanns beste Musik für Hitchcock. 

[Stefan Schlegel]

Ich selbst habe noch die alte Unicorn-LP von 1980 von NORTH BY NORTHWEST - damals gleich gekauft als sie erschien. Die Laurie Johnson-Einspielung an sich ist tadellos, allerdings ergab die damals neuartige Digital-Aufnahme mit omnidirektionalem Mikrophon an der heimischen Stereoanlage ein seltsam verschwommenes und sehr verhalltes Klangbild, so daß man den Lautstärkepegel an vielen Stellen umheimlich aufdrehen mußte - vor allem "Conversation Piece" war viel zu leise abgemischt. Das hört sich bei den jetzigen Dragon´s Domain-Soundclips schon ganz anders an.

Doug Raynes hat den Unterschied zwischen digitaler und analoger Aufnahme bei dieser Johnson-Einspielung mal im FSM Board sehr gut beschrieben gehabt. Und es erklärt auch, weshalb beide Fassungen - digital wie analog - jetzt auf der neuen CD mit oben sind:

"Originally, of course, the recording was released on LP. Prior to the LP release I remember going along to a presentation given by Unicorn in which they discussed and played some of their new digital recordings. They played “Conversation Piece” from NORTH BY NORTHWEST which sounded fine but when I got the LP I was extremely disappointed with the muddy sound on both the Unicorn and the Starlog/Varese LP.

The first time the analogue mult-mike recording was issued was on a French Milan CD “Alfred Hitchcock’s Film Music” which was a revelation because you could now hear all the instruments! Unfortunately that CD only contained about six tracks of the recording. The complete Unicorn and Varese multi track versions came later."

[Lars Potreck]

Eine Art Soundtrack: Pictures At An Exhibition: The Paintings Of Bob Peak

https://www.amazon.de/-/en/Bilder-Einer-Ausstellung-Pictures-Exhibition/dp/B0FD21J6C8

Komponisten wie Maria Newman, Mychael Danna, Harry Gregson-Williams, Ihab Darwish, Jeff Beal, Marco Beltrami, Michael Abels, Marc Shaiman, Don Davis sowie Bill Conti haben sich jeweils ein Werk von Peak vorgenommen und dazu Musik geschrieben. Hier kann man alle Stücke hören.

 

 

[Alexander Grodzinski]

Ebenfalls neu von Quartet:

Quartet Records, in collaboration with MovieScore Media, presents a new score by the renowned Academy-Award winner composer Stephen Warbeck (SHAKESPEARE IN LOVE, QUILLS, BILLY ELLIOT, THE MAN IN THE HAT) for a film directed by Gaby Dellal. Starring Fiona Shaw and Katherine Waterston, the story is about Charlotte, who—paralyzed by her life as a cattle rancher—flees her controlling husband and returns to her mother’s apartment. There, she rediscovers her teenage love and the life she left behind. Now, mother and daughter must confront hidden truths.

Stephen Warbeck’s music for PARK AVENUE is conceived as an intimate and slightly eccentric score, always remaining within the emotional range of the story. The recording features an ensemble made up of a combination of musicians from both jazz and classical music, giving the score a hybrid texture and diverse interpretive sensibility, with performances by double bassist Lars Danielsson and cellist Nick Cooper standing out.

1. Black Sun 1:56  (Performed by Isaac Waddington)
2. The Chase 1:31
3. The Reckoning 2:16
4. New York 2:20
5. Central Park 1:53
6. Kit’s World 2:48
7. Waiting 1:31
8. The Gallery 1:13
9. Manhattan Bar 1:03
10. Living and Dying 2:17
11. In the Bar 1:58
12. Park Avenue 1:50
13. The Awakening 1:58
14. The Gurney 1:53
15. Charlotte Leaving 1:47
16. The Poem and the Truth 5:13
17. The Hospital 1:45
18. Mother and Daughter 2:15
19. The Closing 3:06
20. Sweet Jane 2:06. (Performed by Mathilda Florence)

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records and El Deseo present the soundtrack album for the eagerly anticipated new collaboration between acclaimed director Pedro Almodóvar and renowned four-time Academy Award–nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY, PARALLEL MOTHERS).

AMARGA NAVIDAD marks their fifteenth film together, following more than thirty years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER, VOLVER and PAIN AND GLORY.

The film explores cinema within cinema and the limits of creativity, as a successful director writes a screenplay based on the personal experiences of those around him—without considering the emotional consequences of his actions.

Alberto Iglesias has composed one of his most intense, emotional, dynamic, and vibrant large-scale orchestral scores—perhaps his finest to date—with echoes of Stravinsky, Ravel, and Debussy.

The album also includes a version of the classic song “Las pequeñas cosas” by Chavela Vargas, performed by Amaia.

1. La ventana y la tormenta 1:01
2. Espera en urgencias 2:36
3. La playa negra 2:24
4. Sordo enfrentamiento 1:55
5. Un niño le sonríe 3:26
6. Inspiración 0:48
7. Despertar de Natalia 2:56
8. Transición 1:12
9. Tensa despedida a la luz del día 1:55
10. Elsa yacente 1:37
11. Llamada a deshoras 1:24
12. Middlesex 2:41
13. ¿Cuánto dura un duelo? 1:59
14. Un lugar ideal para morir 1:35
15. Ansiedad Lispector 2:15
16. La tormenta soñada 2:05
17. Las simples cosas  (Interpretada por Amaia)  2:58
18. El cursor impaciente 2:06
19. Elena y Natalia 2:41
20. Búsqueda de ansiolíticos 1:23
21. Compás de espera 1:34
22. Cruzando un mar de lava 0:32
23. Madrid amanece desierto 0:49
24. La crueldad 1 1:29
25. Mónica cordial 1:28
26. La crueldad 2 2:03
27. Mónica amenazante 2:32
28. La inspiración arrolladora 4:10
29. Dedos como patas de elefante 8:52
30. Créditos finales, comienza la aventura 2:34

Neu von BSX/Dragon's Domain:

Dragon’s Domain Records presents GAUGUIN AND GERALD FRIED, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK,ROOTS) for two very different television programs that focused on the French Impressionist painter Eugene Henri Paul Gauguin.

 

GAUGUIN THE SAVAGE was a feature-length docudrama that premiered on the CBS television network in the spring of 1980. David Carradine starred as the artist with Lynn Redgrave playing his long-suffering wife, Mette-Sophie Gad. The film begins with Gauguin as a Parisian stockbroker struggling to support his growing family. He is frustrated at having no free time to focus on the one thing he truly loves — his art. This obsession propels him to walk out on his family and eventually share quarters with Vincent Van Gogh (Barrie Houghton).
 

Gauguin’s self-centered attitude alienates him from many colleagues and patrons until he sees the only road to limitless creativity is to escape “civilization”. He flees to a land he believes is full of wild and primitive beauty — Tahiti. Yet, after a long sea voyage, he discovers to his dismay that it is a very modern community with all the comforts other French settlers have brought. Gauguin flees into the jungle, where he lives among the unspoiled natives and marries a local girl, Teha’amana, despite not being divorced from Mette-Sophie. It is here that Gauguin begins to develop his unique style, one marked by bold colors inspired by the landscape and native lifestyle, with Teha’amana as his main model. Fried composed a lush orchestral score to convey Gauguin’s passionate, often self-destructive, drive as he seeks to render his view of the world within his art.

 

Thirteen years earlier, Gerald Fried was engaged to score a 1967 CBS documentary GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE. Narrated by Charles Kuralt, the one-hour presentation centered on the artist’s time in the islands painting, sculpting, and creating ceramic works. In another unusual coincidence, Lynn Redgrave’s father, Michael, was cast as the voice of Gauguin, reading the artist’s own words from his many diaries and letters.

 

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 the1977 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 GAUGUIN AND GERALD FRIED, featuring the world premiere release of GAUGUIN THE SAVAGE and GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch.

 

GAUGUIN AND GERALD FRIED is a limited edition release. GAUGUIN AND GERALD FRIED is expected to begin shipping the week of March 23rd, 2026

 

GAUGUIN THE SAVAGE
01. Main Title-Tahiti / Diagnosis & Paris Flashback (3:38)
02. I Hated That Hat And Coat (2:19)
03. Tahitian Hospital Recovery / Sex Is The Best Medicine (5:24)
04. Father & Daughter Talk / Painting In A Frozen Danish Attic (1:22)
05. Aline, I Can’t Work Here (3:02)
06. Painting With Van Gogh / A Disturbing Portrait / Vincent’s Girl /
       Mutilation (3:33)
07. Leaving Vincent / To Your Voyage / Sailing To Tahiti (2:07)
08. Rejecting ‘Civilization’ / A Letter To Aline (2:35)
09. Every Man Needs Wahini (2:29)
10. In Search Of A Wife (1:48)
11. “Gogi, Will You Be Good To My Daughter?” (2:19)
12. Forty-Four Canvases (1:42)
13. Ruffians Abduct Annah / Papa’s Home / Papa Put Out (2:59)
14. Before I Can Paint It, I Must First Find It (2:50)
15. The Doctor Has Given Me Mercury (1:04)
16. Aline Has Died / Painting The Great Vision (6:08)
17. Arsenic By The Sea / Gauguin’s End (1:56)
18. You Have To Believe In Me / End Credits (2:48)
19. “Get Big Drunk” (Bonus Music & Effects) (1:04)=
20. Journey To Tahiti (Bonus Music & Effects) (1:50)

GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE

21. Prologue & Main Credits (1:56)
22. A Simple Brittany Life / Abandoning Family & Civilization For Paradise (8:16)
23. Alienating The European Settlers / Teha’amana’s Theme /
       Fired By His Patron (4:29)
24. Broke & Forced To Work / Syphilis / His Epic Work / Paradise Dead (3:43)
25. Pagan Gods & Myths / Paradise Lost & Found In Art (6:23)
26. Ready To Return / Deathbed / End Credits (1:59)

Total Time: 77:31

Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring music from two original scores from the composer’s extensive filmography, THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER.

 

Airing on television in 1977, THE PRINCE OF CENTRAL PARK was directed by Harvey Hart, written by Jeb Rosebrook, based on the novel by Evan Rhodes, starring T.J. Hargrave, Lisa Richards, Ruth Gordon, alongside a young Brooke Shields in a supporting role. At its heart, the story unfolds as a modern fairy tale that tells the poignant story of a teenage boy and his younger sister as they flee from an abusive foster mother. They find sanctuary within a tree house in Central Park. There they encounter a young hoodlum and form an unlikely friendship with a lonely elderly woman. The score for THE PRINCE OF CENTRAL PARK is a gentle and emotive composition written for a chamber ensemble, perfectly encapsulating the whimsical elements of the tale while mirroring the children's enchantment with tales of knights and chivalry.

 

Airing on television in 1981, RIVKIN: BOUNTY HUNTER was directed by Harry Harris, written by Peter Lefcourt, starring Ron Leibman, Harry Morgan, Harold Gary, Verna Bloom, George Dicenzo, John Getz and Glenn Scarpelli. An unsold pilot for a series, RIVKIN follows a modern bounty hunter (Leibman), making his living apprehending bail jumpers who finds himself in a high-stakes confrontation with a heavily armed drug dealer. The score for RIVKIN: BOUNTY HUNTER is composed for an ensemble of approximately 35 musicians, incorporating a variety of keyboards and a dynamic rhythm section to capture the essence of New York in 1981.

 

Both scores are presented complete in film order, showcasing Arthur B. Rubinstein's incredible talent and revealing him as an underrated gem in the world of film composition.

 

Arthur B. Rubinstein was an American composer and conductor renowned for his scores in film, television and theater, as well as his leadership of the Symphony in the Glen Orchestra. Born in Brooklyn, New York,Rubinstein attended the High School of Music & Art and earned a Bachelor of Music degree from Yale University. After beginning his career as a pianist and arranger in New York, he relocated to Los Angeles, where he established himself as a prolific composer for over 200 film and television projects spanning more than 40 years.

 

Rubinstein's most notable film scores include collaborations with director John Badham on BLUE THUNDER, WARGAMES, SHORT CIRCUIT, STAKEOUT,THE HARD WAY, ANOTHER STAKEOUT and NICK OF TIME, as well as LOST IN AMERICA and WHOSE LIFE IS IT ANYWAY?. In television, he composed for series such as SCARECROW AND MRS. KING, THE TWILIGHT ZONE (1985), AMAZING STORIES, WISEGUY, THE LOVE BOAT, SLEDGE HAMMER! and THE SIMPSONS, along with the ABC documentary SHOOTING WAR, directed by Steven Spielberg and narrated by Tom Hanks.

 

Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring the music from the original scores to THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER, with liner notes written by G.B. Kemner and Scott Davis. The music has been mastered by James Nelson at Digital Outland.

 

THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is a limited edition release. THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is expected to begin shipping the week of March 23rd, 2026.

 

THE PRINCE OF CENTRAL PARK
01. Opening Titles (2:23) 
02. Central Park (2:51)
03. Finding The Treehouse And Nightfall (2:37)
04. Life In The Park (3:55)
05. Treehouse Montage And Knighted (4:00)
06. Mrs. Miller’s Messages (3:13)
07. Different Berries (1:18)
08. Mrs. Miller And The Kids (4:12)
09. Elmo Watches And Park Music (2:42)
10. Mrs. Miller And The Cops (2:26) 
11. The Carousel And Elmo Falls (4:19)
12. We Can’t Stay Here Forever (2:32)
13. Mrs. Miller’s Offer (2:20)
14. A New Family (3:06)

RIVKIN: BOUNTY HUNTER
15. Main Titles / First Bust (2:31) 
16. Father’s Music (1:20)
17. Rivkin On Sleaze Street (2:37) 
18. Hospital Visitors (2:26)
19. Blind Man’s Bluff (1:29)
20. Vito’s Restaurant (2:34)
21. Rivkin And His Girl (2:22)
22. Rivkin Talks To Son (2:49)
23. The Ceremony (2:02)
24. Slow Dancing (2:10)
25. Remembering His Wife (1:38) 
26. Rivkin’s Anger (2:11)
27. Rivkin Vows To Get St. Clair (2:57)
28. Rivkin Catches St. Clair (3:43)
29. Finale (1:25)
30. Disco Dancing (0:27)

Total Time - 76:50

Dragon’s Domain Records proudly presents the first volume in a new ongoing series of music from classic crime dramas from the Golden Age,featuring two world premiere releases of music from UNDERWORLD, U.S.A. and CROSSROADS TO CRIME.

 

Released in 1961, UNDERWORLD, U.S.A. was written and directed by the legendary Samuel Fuller (THE BIG RED ONE), starring Cliff Robertson, Dolores Dorn, Beatrice Kay, Paul Dubov, Robert Emhardt, Larry Gates,Richard Rust and Gerald Milton. Inspiration for UNDERWORLD U.S.A. came from a series of articles by Joseph F. Dinneen for The Saturday Evening Post, as well as Riley Cooper’s book HERE IS TO CRIME. Fuller chose to frame his exploration of organized crime around a tale of vengeance as Tolly Devlin (Robertson) vows to find the men who beat his father to death when he was a child. Devlin succeeds in working his way into the organization where the killers have now become powerful lieutenants and manages to sow distrust within their ranks.

 

The score for UNDERWORLD, U.S.A. was composed by Harry Sukman, an American composer, conductor and pianist. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA.

 

Released in 1960, CROSSROADS TO CRIME was directed by Gerry Anderson (THUNDERBIRDS, SPACE: 1999), written by Alun Falconer, based on a story by Edgar Wallace, starring Miriam Karlin, George Murcell, David Graham and Victor Maddern. CROSSROADS TO CRIME was the first live-action feature from the fledgling AP Films prior to achieving international success with SUPERCAR (1961-62). While patrolling his beat, Police Constable Don Ross (Oliver) suspects a criminal gang is operating out of an English truck stop. Defying the orders of his commanding officer, he is determined to stop the local crime boss (Ferdy Mayne) and his two thugs (SUPERCAR voice artists George Murcell and David Graham) from hijacking a load of nickel ingots.

 

The score for CROSSROADS TO CRIME was composed by Barry Gray, who had just finished working with Gerry Anderson on a puppet series they co-created, FOUR FEATHER FALLS. Gray would continue to be an invaluable member of the AP Films team (later Century 21), creating the musical identity for such Gerry and Sylvia Anderson TV series as THUNDERBIRDS, UFO and SPACE: 1999.

 

This first volume in Dragon’s Domain Records series of classic crime dramas has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch on the music featured on the album.

 

THE GOLDEN AGE OF CRIME DRAMAS, VOLUME 1 is a limited edition release and is expected to begin shipping the week of March 23rd, 2026.

 

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

 

UNDERWORLD, U.S.A.
(1961 - Harry Sukman)
01. Underworld U.S.A. Main Title / Alley Fight / Tolly Witnesses / Alley Murder (2:30)
02. Tolly's Father Is Dead (Interpolates Auld Lang Syne) / Arrested / 
       Flashback / Arrested Again (2:45)
03. Prison Hospital Job / Wait For Farrar / Alone With Farrar /
       Hunt For Gela Begins / Break-In (4:06)
04. Meet Cuddles / Tolly Rescues Cuddles / Escape / To The Bait Shop / 
       Tolly Takes The Drugs (3:53)
05. Tolly and Gus Meet In Alley / Sandy Tells Cuddles The Truth / 
       Police Station Transition A (1:37)
06. Fowler's Suicide / Gus Kills Mankin's Daughter (2:08)
07. Tolly and Cuddles Make Love (1:47)
08. Smith Arrested / Headline Montage / Police Station Transition B /
      Gunther Arrives / Double Cross / Gus Kills Gunther (2:20)
09. Cuddles Proposes Marriage To Tolly / Thinking of Cuddles (3:10)
10. Tailing Gela Parts A & B / Seeing Gela With Driscoll / Gus Calls Tolly (1:33)
11. Tolly Beats Gela / Gela's Death (1:58)
12. Marriage Proposal Reconsidered / Tolly Confronts Connors (1:49)
13. Tolly Is Shot / Dying In Cuddles Arms / Finale (3:03)
14. Underworld U.S.A. (1961) Theatrical Trailer (2:26)

CROSSROADS TO CRIME
(1960 - Barry Gray)
15. Crossroads to Crime Main Title (1:43)
16. Presumed Kidnapping / Copper Hurt (1:01)
17. Lying to the Constable at Home (2:33)
18. Mr. Miles Warns Mrs. Williams and Mr. Diamond (1:24)
19. The Job at the Cafe / Sargeant Discovers Bribe (3:46)
20. Lorry Taken / Ross Plots with Mrs. Williams / Final Job (2:53)
21. We Need the Copper / The Heist (4:44)
22. Shootout With Diamond / End Titles (2:49)
23. Crossroads to Crime (1960) Theatrical Trailer (2:04)

Total Time 58:13

Citadel Records, a division of BSX Records, presents THE WESTERN FILM WORLD OF DIMITRI TIOMKIN, which includes music from several Western themed movies from the legendary composer’s rich filmography, including GIANT, RED RIVER, DUEL IN THE SUN, HIGH NOON, NIGHT PASSAGE and RIO BRAVO.

 

THE WESTERN FILM WORLD WORLD OF DIMITRI TIOMKIN was produced by composer Laurie Johnson and Christopher Palmer and included music selected by and original scores adapted by Palmer, performed by the London Studio Symphony Orchestra, including the John McCarthy Singers with baritone Bob Saker. The music was recorded utilizing a Calrec Soundfield Microphone into a Sony 1600 Digital Recorder in London in March 1980.

 

A bonus track is included, the composer’s own suite entitled ‘A President’s Country’, performed by the Royal College Of Music Orchestra,conducted by Sir David Willcocks, recorded in the mid 1980s. Tiomkin assembled the suite himself, including themes from RED RIVER, DUEL IN THE SUN, GIANT, RAWHIDE, HIGH NOON and THE ALAMO and was originally used to underscore a documentary spotlighting the southwest of Texas, the homeland of President Lyndon Johnson and included narration by Gregory Peck.

 

Dimitri Tiomkin was a Russian Jewish composer who emigrated to America and became one of the most distinguished and best-loved music writers in Hollywood. He won a hallowed place in the pantheon of the most successful and productive composers in American film history, earning himself four Oscars and sixteen Academy Awards nominations. Classically trained in Saint Petersburg before the Bolshevik Revolution, he moved to Berlin and then to New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including DUEL IN THE SUN, RED RIVER, HIGH NOON, THE BIG SKY, 55 DAYS AT PEKING, GUNFIGHT AT THE O.K. CORRAL, RIO BRAVO, and LAST TRAIN FROM GUNHILL.

 

Originally released on vinyl in the early 1980s by Unicorn-Kanchana and later an early compact disc in the late 1980s, Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited, with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer.

 

THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is a limited edition release. THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is expected to begin shipping the week of March 23rd, 2026.

 

01. Prelude (from "Giant") (2:18)
02. Prelude And Wagon Train (from "Red River") (4:02)
03. Red River Crossing (from "Red River") (2:32)
04. The Challenge And Finale (from "Red River") (3:20)
05. Prelude And Legend (from "Duel In The Sun") (3:06)
06. The Buggy Ride (from "Duel In The Sun") (2:35)
07. Trek To The Sun, Love-Death And Finale (from "Duel In The Sun") (5:03)
08. Main Titles (from "High Noon") (2:56)
09. The Clock And Showdown (from "High Noon") (8:46)
10. End Titles (from "High Noon") (1:11)
11. Follow The River (from "Night Passage") (3:01)
12. De Guella (from "Rio Bravo") (3:35)
13. Love Theme (from "Rio Bravo") (2:31)
14. End Titles (from "Rio Bravo") (1:59)
The John McCarthy Singers with Bob Saker, baritone.
The London Studio Symphony Orchestra, Leader, Hugh Bean.
Conducted by Laurie Johnson

BONUS TRACK
15. A President's Country - Suite (11:44)
The Royal College of Music Orchestra. David King, Organ. 
Conducted by Sir David Willcocks

Total Time: 58:44

Disc-On-Demand (CDR)
Includes Digital Download / Digital Booklet

BSX Digital presents music from the original motion picture to the 1984 film SPLASH directed by Ron Howard, starring Tom Hanks, Daryl Hannah, John Candy and Eugene Levy, featuring music composed and conducted by Lee Holdridge (THE BEASTMASTER, OLD GRINGO, THE MISTS OF AVALON).

 

Following the release of the film, the composer produced a rerecording of the score performed by the Royal Philharmonic Orchestra. Also included are three bonus tracks performed by Kira McClelland, Dan Redfeld and the London Symphony Orchestra conducted by Charles Gerhardt.

 

1. Love Came For Me (Love Theme) (2:37)
2. Madison In Bloomingdale's (1:39)
3. Mermaid On The Beach (2:30)
4. Underwater (2:18)
5. Reflection (1:06)
6. Rainy Night (2:43)
7. Face To Face (1:38)
8. Escape And Chase (2:55)
9. Madison And Allen (3:08)
10. Moonlit Night (2:57)
11. Daydream (0:55)
12. Raid On A Museum (0:41)
13. The Leap To Freedom (3:36)
14. Return Home (1:30)
BONUS TRACKS
15. Love Came For Me (Solo Piano) (1:46)
Pianist: Dan Redfeld
16. Love Came For Me (Vocal) (3:20)
Vocalist: Kira McClelland
17. Love Came For Me (3:32)
Performed by the
London Symphony Orchestra
Conducted by Charles Gerhardt

Total Time: 38:43

[Stese]

vor 4 Stunden schrieb Alexander Grodzinski:

 

Following the release of the film, the composer produced a rerecording of the score performed by the Royal Philharmonic Orchestra.

Weiß jemand, warum davon nicht die Originalaufnahmen erscheinen können?