Alexander Grodzinski

Es ist so oder so wohl besser, diese Diskussion entweder zu beenden oder per PN weiterzuführen, damit es hier wieder um die Musik gehen kann. Zumal die Sticheleien die Sache immer wieder neu entfachen und hochschaukeln, was auch nicht sein muss. Also, bitte zurück zum Thema Musik.

Die Song-Lizenzen sind sicherlich viel zu teuer für LLL oder eines der anderen Boutiquen-Label. Wenn mal Songs dabei sind, dann sind das sicherlich spezielle Deals. Beispielsweise ist auch bei keiner der bisherigen Veröffentlichungen von Elmer Bernsteins Score zu GHOSTBUSTERS der Titelsong von Ray Parker jr. mit dabei. Nicht mal bei der von Sony. Das hat wohl auch Platzgründe, denn für den Song müsste dann was vom Score wegfallen. Der Hinweis von LLL „NOTE: The track "Mbube (Wimoweh)" was not available for license and is not included in this presentation." klingt allerdings nicht danach, als wären es finanzielle Hindernisse gewesen. Was es auch immer bedeutet, dass der Track nicht „verfügbar" war für die Lizenzierung.

Snow Files of the Week: "Gehenna Part I/Dylan/Gehenna Part II" aus "MillenniuM", Episode "Gehenna" (1996). "Gehenna" ist die zweite Folge der ersten Staffel. Das Wort "Gehenna" ist hebräisch und bedeutet so viel wie "Hölle". In dieser von Chris Carter selbst geschriebenen Folge geht es um den Anführer einer Sekte, der abtrünnige Mitglieder in einem großem Industrie-Ofen bei lebendigem Leib verbrennt. Mark Snow benutzt das Hauptthema relativ oft in seinem Score. "Gehenna Part I" beginnt dann auch mit einer wundervollen Variation des Themas, als Frank Black seine Tochter Jordan im Bett mit ihrer Decke zudeckt. Die Musik begleitet dann einen Kollegen von Frank, der den Industrie-Ofen in einem Lagerhaus entdeckt und beinahe selbst darin umkommt. Das Stück "Dylan" spielt während einer Verhör-Szene, als Frank mit einem jungen Mann über das "Gesicht der Bestie" und den "Roten Regen" spricht. "Gehenna Part II" ist dann die letzte Szene der Folge, als Frank mit seiner Frau Catherine im Krankenhaus ist und zu ihr sagt, dass er sich unsicher darüber ist, ob man den "bösen Mann" überhaupt jemals schnappen kann. Diese Tracks erschienen auf dem zweiten Doppel-CD-Set von LLL, limitiert auf 2.000 Stück. Das Set ist mittlerweile ausverkauft. Viel Spaß beim Hören!

LLLCD 1682 Music by Hans Zimmer Limited Edition of 3000 Units La-La Land Records and Sony Pictures proudly present the world premiere release of renowned composer Hans Zimmer’s original motion picture score to the 1996 big-screen sports thriller THE FAN, starring Robert De Niro and Wesley Snipes, and directed by Tony Scott. Director Tony Scott knew THE FAN called for a powerful, psychologically complex score, so he turned to composer Hans Zimmer, with whom he had collaborated so successfully the previous year on CRIMSON TIDE. Once again, the melding of Scott’s and Zimmer’s stellar artistry is a perfect match. Zimmer unleashes a dark, seductive whirl of synthesizers, samples, rock and orchestra that expertly heightens the film’s tension and emotion with rich psychological underpinnings. It remains a notable work in the composer’s canon, and it is presented here for the very first time in this brilliant 2-CD presentation. Produced by Stéphane Humez and mixed and mastered by Maxime Marion from the original vault elements under the supervision of Hans Zimmer, this world premiere deluxe presentation of THE FAN features the complete film score presentation on Disc One and Bonus Tracks on Disc Two, including the original soundtrack album suite "Sacrifice," Hans’ Original Sketchbook Suite, "Letting Go," performed by Terence Trent D’Arby, and more. Limited to 3000 units, this release features exclusive liner notes by writer Kaya Savas and art design by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. The Fan – Interview Request 2:39 2. Selling Montage 1:06 3. Hospital 1:01 4. Primo/Bob Collide – Bobby Rayburn Bats 5:33 5. Back To Stadium – Forgive Me 3:45 6. Gil Gets Sacked 6:40 7. Bob Strikes Out 2:01 8. Precious Touch 1:31 9. Primo In / Bobby Out 1:47 10. Bobby Hits Again 1:33 11. Shit Head 1:04 12. Gil Saves Son – Thank You 3:30 13. Fans Are Losers 0:50 14. Stopped Caring 5:34 15. What Do You Want? 4:15 16. A True Fan 2:20 17. Coop Dies 2:07 18. Stadium In The Sky – Game Resumes 13:42 TOTAL DISC ONE TIME 60:57 DISC 2 BONUS TRACKS 1. The Fan Suite (Hans’ Original Sketchbook) 10:21 2. Letting Go (Performed by Terence Trent D’Arby) 6:56 3. Out Of Time 3:28 4. The Fan Suite (Remix) 7:40 5. Sacrifice (Original Album Suite) 19:07 TOTAL DISC TWO TIME 47:34 TOTAL ALBUM TIME 108:31 This is a CD format release

LLLCD 1688 Music by Nile Rodgers Limited edition of 2000 units La-La Land Records and Paramount Pictures present the world premiere release of acclaimed composer Nile Rodgers’ original motion picture score to the 1988 comedy classic COMING TO AMERICA, starring Eddie Murphy, Arsenio Hall and James Earl Jones, and directed by John Landis. Long overdue, a score release of COMING TO AMERICA is finally here! For his second collaboration with the legendary Eddie Murphy following their hit TRADING PLACES, director John Landis needed a composer who could capture all the comedy, romance and cultural commentary, both broad and nuanced, that make COMING TO AMERICA such a beloved film. Famed music producer and musician Nile Rodgers (BEVERLY HILLS COP III) rose to the challenge with regal expertise, crafting an energetic, thematic score that blends African motifs, rock and funk flourishes, and classical orchestration. Produced by Dan Goldwasser and mastered by Doug Schwartz, this special CD release, limited to 2000 units, features the film score presentation, including “She’s Your Queen to Be,” performed by Paul Bates, along with a bounty of bonus tracks and additional music showcasing versions of “Soul Glo,” performed by Christopher Max, as well as an exciting assortment of alternate score cues, demos and more. Exclusive, in-depth liner notes by author Jeff Bond feature new comments from composer Nile Rodgers and director John Landis. The art design is by Dan Goldwasser. NOTE: The track "Mbube (Wimoweh)" was not available for license and is not included in this presentation. TRACK LISTING: SCORE PRESENTATION (25:46) 1.Akeem’s Bedroom / The Bath / Dining Room** 4:00 2. Fanfare / Fireworks / Ball** 1:15 3. Ballroom Dance 2:04 4. She’s Your Queen to Be 1:09 Performed by Paul Bates 5.Transition to America / The Star-Spangled Banner 0:21 6. Akeem in Queens 1:13 7. Akeem and Lisa on Swings* / Akeem Is Going to Cook 1:06 8. Akeem and Lisa / Brooklyn Bridge 1:26 9. King’s Motorcade 1:28 10.59th Street Bridge / King’s Motorcade 0:17 11. Akeem Sees Rose Petals** 0:42 12. McDowell and Darryl** 1:14 13. Queens Boulevard 0:28 14. Royal Family Leaves Town 2:18 15. Royal Wedding Fanfare / Royal Wedding / Celebration 3:00 16. Wild Drums for Billboards 3:22 BONUS TRACKS (10:53) 17. Coming to America (Instrumental) 4:39 18. Salsa #1 1:56 19. Salsa #2* 1:27 20. Salsa #3 1:20 21. Soul Glo (Short) 0:39 Performed by Christopher Max 22.Soul Glo (Long with Saxophone) 0:46 Performed by Christopher Max ADDITIONAL MUSIC (14:08) 23.King’s Motorcade (Alternate Mix) 1:28 24. Royal Family Leaves Town (Alternate) 1:22 25. The Bath / Dining Room (Early Demo) 2:24 26. Bondo Fight (Unused Early Demo) 1:29 27. Guests Arrive (Early Demo) 1:02 28. Fireworks / Ball (Early Demo) 2:13 29. Concord Flying to America (Early Demo) 0:17 30.Brooklyn Bridge (Early Demo) 1:24 31.Celebration (Demo) 0:53 32.Soul Glo (Instrumental) 1:21 TOTAL ALBUM TIME: 50:55 * not used in film ** contains material not in film This is a CD format release

John Carpenter bei Billy Corgan.

Snow Files of the Week: "Harold & Chrissy/Closure" aus der "The X-Files" Episode "Jose Chung's From Outer Space" (1996). "Jose Chung's From Outer Space" ist eine der abgedrehtesten Folgen der dritten Staffel. Geschrieben von Darin Morgan nimmt die Folge die Grundpfeiler der Serie und stellt sie auf den Kopf. Ist die Wahrheit wirklich da draussen? Und wenn ja, wessen Wahrheit ist es? "Harold & Chrissy" eröffnet die Folge, deren erste Kameraeinstellung bereits den Tenor der Folge, dass nichts so ist, wie es scheint, vorweg nimmt. Vor dem klaren Sternenhimmel erscheint ein viereckiges Gebilde, welches wie ein Raumschiff aussieht. Als die Kamera langsam zurückfährt erkennt man, dass es sich um die Unterseite eines Hebekorbes handelt, im dem ein Arbeiter nachts die Lampen der Strassenlaternen überprüft. Auf der gleichen Straße werden kurz darauf zwei Teenager von Aliens entführt, so scheint es, was eine Kette seltsamer Ereignisse lostritt. Am Ende kommt Jose Chung zu dem Ergebnis, dass wir vielleicht nicht alleine im Universum sein mögen. Aber hier unten, auf diesem Planeten, sind wir auf unsere Art alle allein. Diese letzte Szene wird von Mark mit einem der schönsten Themen untermalt, die er für die Serie geschrieben hat, "Closure". Dieses Musikstück beendet ebenfalls die über 30 Minuten lange X-Files-Suite auf dem Sampler "The Snow Files". Aber in der Suite wurde das Stück leicht verändert, indem ein Chor hinzugefügt wurde. Die Musik auf der Folge erschien sogar komplett auf einer Promo-CD, die als FYC für die Emmys gedacht war. Diese zwei Tracks befinden sich auf der ersten Box von LLL, die nach dem Ausverkauf der ersten Auflage neu aufgelegt wurde, limitiert auf 2.000 Stück. Viel Spaß beim Hören!

Quartet Records, in collaboration with Next Decade Entertainment, presents the ultimate remastered edition of John Barry’s classic score for HIGH ROAD TO CHINA, a 1983 adventure film directed by Brian G. Hutton and starring Tom Selleck, Bess Armstrong, Jack Weston and Robert Morley. A classic tale of adventure, action, romance and breathtaking landscapes, the film provided Barry with the perfect opportunity to create a sweeping musical canvas infused with the romantic and refined style that characterized some of his finest work during the first half of the 1980s. That included such scores as SOMEWHERE IN TIME, BODY HEAT, FRANCES and OCTOPUSSY, and reached its peak with OUT OF AFRICA. This new 2-CD edition has been mixed and mastered by Chris Malone from the original first-generation 3-track master tapes, transferred in high resolution. The complete score is presented in film order in the disc one with proper cue-sheet titles, followed by orchestrator Al Woodbury’s source music arrangements, including several pieces composed by Barry himself. The second disc features the original soundtrack album assembled by the composer in 1983, preserving its unique mixes and edits. The package is completed by an in-depth essay by acclaimed film music journalist and writer—and renowned Barry authority—Jon Burlingame. DISC 1. FILM PRESENTATION 1. Main Title / A Nasty Headache 2:18 2. The Flying Lesson 1:23 3. Lookout Charlie / A Hurried Exit 2:15 4. On to Waziri / Khan 1:30 5. Escape From Waziri 1:49 6. Eve and Struts 1:42 7. On to India 1:27 8. Arrival in Katmandu 1:02 9. That’s a Nice Name 2:19 10. The Dogfight 1:56 11. Anymore Surprises 3:00 12. Flying From Katmandu* 1:43 13. Tozer 1:20 14. The General’s Cannon :53 15. You’ll Get Your Money 1:52 16. One Eye Open 1:32 17. She Did It 2:34 18. See You Around Ace / End Title 5:04 ADDITIONAL MUSIC 19. Charleston 1:37 20. Revelry 2:16 21. Aura Lea* 3:58 22. When the Saints Come Marching In 2:16 23. Jeanie With the Light Brown Hair* 2:25 24. Down by the Old Mill Stream* 2:31 25. Down by the Riverside* 1:52 26. Mohamet’s Dance 1:44 27. Music at Night 2:59 28. Salon Source* :48 29. Allemande From the Bach French Suite #5 in G Major* 3:31 *Does not appear in the film Total Disc Time: 61:47 DISC 2. THE ORIGINAL SOUNDTRACK ALBUM 1. Main Title / Charlie Gets the Knife 2:57 2. Airbone 1:19 3. Love Theme 1:52 4. Waziri Village Attack and Escape 3:27 5. Farewell to Struts 2:59 6. O’Malley and Eve 2:19 7. Charleston 1:32 8. Von Kern’s Attack 1:55 9. Flight From Katmandu 1:43 10. Eve Finds Her Father 2:47 11. Raid on Chang’s Camp 2:35 12. High Road (Love Theme and End Title) 5:04 Total Disc Time: 30:34 Total 2-CD Time: 92:21

Kommt von Quartet:

Wenn ich mich richtig erinnere, hat Shore eigentlich nur am ersten HOBBIT noch "richtig" gearbeitet. Beim zweiten und dritten Film übernahm dann Conrad Pope, der wohl das von Shore komponierte Grundgerüst auf den Film adaptierte und auch die Musik dirigierte. Also ähnlich wie William Ross beim zweiten HARRY POTTER. Denn die Aufnahmen fanden in Neuseeland statt und Shore wollte die Reise nicht mehr machen.

Neu von Dragon's Domain/BSX: Dragon’s Domain Records presents THE MORTON STEVENS COLLECTION: Volume 3 featuring the premiere release of music from the original scores for two films from the composer’s extensive filmography, M STATION: HAWAII and MEMORIES NEVER DIE. Airing on television in 1980, M STATION: HAWAII blended espionage, tropical adventure, and Cold War intrigue into a compact action thriller. Directed by Jack Lord, it was filmed in 1979 just prior to the start of filming the twelfth and final season of the original HAWAII FIVE-O. M STATION: HAWAII introduces a covert intelligence unit operating out of the Hawaiian Islands and the cast included Jared Martin, JoAnn Harris, Andrew Duggan, Dana Wynter, Andrew Prine and Lord as Admiral Henderson. Intended as a pilot for an ongoing series, M STATION: HAWAII was not picked up and eventually was broadcast over a year later. The film would also be Jack Lord’s final performance. As the director, Lord utilized much of the crew he had been working with for over a decade on HAWAII FIVE-O, which included composer Morton Stevens. For M STATION: HAWAII, the composer brings a strong sense of rhythmic energy and dramatic color to the score, blending driving orchestral action cues with subtle touches suggesting the Pacific setting.The result is a soundscape that supports both suspenseful espionage scenes and the film’s scenic Hawaiian backdrop. Airing on television in 1982, MEMORIES NEVER DIE was directed by Sandor Stern, written by Zoa Sherburne, Ken Trevey and Stern, starring Lindsay Wagner, Gerald McRaney, Melissa Michaelsen, Peter Billingsley, Barbara Cason, Richard McKenzie, Richard Yniguez, Jay Robinson and Barbara Babcock. MEMORIES NEVER DIE is a gripping melodramatic thriller that explores the trauma of a family that must contend with the return of its matriarch, Joanne Tilford (Wagner) who has spent the last six years in a psychiatric hospital. Her husband, Howdy (McRaney) is suffering from his own health issues and is desperate to reintegrate Joanne back into the family.Their children however are unwilling to accept her, as well as practically everyone else they know because of a terrible tragedy at the heart of the family drama. For MEMORIES NEVER DIE, the composer provides an appropriately dramatic orchestral score to play on these emotional conflicts. Born In Newark, New Jersey in 1929,Morton Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICEWOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he bothreceived Emmy nominations. Dragon’s Domain Records presents the premiere soundtrack release of THE MORTON STEVENS COLLECTION: Volume 3,featuring music composed by Morton Stevens for M STATION: HAWAII and MEMORIES NEVER DIE. The liner notes are written by Scott Davis. The music has been mastered by James Nelson at Digital Outland. THE MORTON STEVENS COLLECTION: Volume 3 is a limited edition release and is expected to begin shipping the week of June 29th, 2026. M STATION: HAWAII 01. Titles (0:50) 02. Recovering The Bodies (3:40) 03. Welcome To M Station (2:29) 04. Russian Frogmen (3:09) 05. Welcome Aboard / Out To Sea (2:09) 06. Maggie Arrives / Back To The Surface (2:05) 07. Russian Meeting / Thank-You Comrade (1:46) 08. Undersea Search (1:34) 09. There It Is! (2:19) 10. Dangerous Dive (3:18) 11. Your Husband / Kidnapping And Firey Explosion (3:57) 12. The Morgue (4:19) 13. Incoming Sub / To The Rescue (2:48) 14. Race To The Sub (5:11) 15. Escape From The Sub And Finale (4:21) 16. Closing Credits (1:01) 17. Bumpers (0:18) MEMORIES NEVER DIE 18. Joanne's Journey (Main Titles) (2:18) 19. Arriving At The House / Enter Louise (2:03) 20. Kathy’s Insincere Apology / Please Don't Interfere / Horses (1:34) 21. Joanne’s First Flashback / Howard and Joanne / I Am Glad You Are Here (3:18) 22. Joanne’s Second Flashback / Louise Eavesdrops / Exchanging Pleasantries (3:01) 23. The Art Studio / Goodnight Mom (2:30) 24. Pre-Surgery Kiss / Telling Kathy The Story (2:13) 25. Joanne Packs Her Bags / Daddy-Daughter Talk (1:18) 26. Joanne Remembers Everything (2:45) 27. Howard’s Heart Attack (3:08) 28. Kathy Apologizes / Hospital Finale (3:38) 29. End Credits (0:43) Total Time: - 75:06 Dragon’s Domain Records presents FORCE: FIVE, featuring music composed by William Goldstein for the 1981 martial arts action film directed by Robert Clouse, written by Clouse, Emil Farkas and George Goldsmith, starring Joe Lewis, Sonny Barnes, Richard Norton, Benny Urquidez, Ron Hayden, Pam Huntington, Michael Prince, Bob Schott, Amanda Wyss, Tom Villard and Master Bong Soo Han as the Reverend Rhee. In FORCE: FIVE, William Stark, a top government agent, assembles a force of five martial arts experts to carry out a near-impossible assignment. They must infiltrate a religious cult led by the Reverend Rhee (Soo Han), one of the world’s most powerful religious leaders. Rhee lives on an island, surrounded by an army of trained mercenaries and fighters, his cult attracting the children of the world’s wealthiest people so that he can convince them to relinquish their inheritance and sign them over to Rhee. Clouse started out his career strong, directing Bruce Lee in ENTER THE DRAGON and made many martial arts driven films afterwards, including BLACK BELT JONES, GAME OF DEATH, BATTLE CREEK BRAWL, GYMKATA and CHINA O’BRIEN, among others. His films featured many well known actors who were also skilled martial artists, including Jim Kelly, Jackie Chan and Cynthia Rothrock. While many martial arts action films of the time would focus on one or two fight styles, FORCE: FIVE represented an opportunity to feature a rich diversity of fighting styles with the fight choreography. FORCE: FIVE was scored by composer William Goldstein. He has been a recording artist for Motown and CBS Masterworks. Goldstein has scored over 50 Movie and Television projects, including FAME & THE MIRACLE WORKER. He has been a pioneer in the use of computers and electronic instruments in music. His most distinguishing characteristic as a composer / pianist is his gift of “Instant Composition”, which he shares with audiences through master classes, recitals and albums. Goldstein early on established himself as a composer who was comfortable all over the musical map. In addition to film scoring, recording and concert scores performed from Carnegie Hall to Symphony Hall Boston, he established himself as an innovator of New Technology. In addition to his professional activities in music and film, Mr. Goldstein is a founder of the Museum of Contemporary Art in Los Angeles, a founding director of the California State Summer School for the Arts, and served for many years on both the music branch executive committee of the Academy of Motion Picture Arts and Sciences, as well as its foreign language (now International film) committee. He has also been a visiting artist for the Academy, lecturing from the Far East to the Middle East on contemporary aesthetics as well as music in film. His filmography includes music for films such as THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS, AN EYE FOR AN EYE, FORCED VENGEANCE, FAME, UP THE CREEK, SAVING GRACE, HELLO AGAIN, INTIMATE POWER, SHOCKER, BLOOD RIVER, THE QUARREL, Danielle Steele’s ZOYA and THE MIRACLE WORKER, as well as contributing music on television for NATIONAL GEOGRAPHIC,THE TWILIGHT ZONE, RIPLEY’S BELIEVE IT OR NOT, THE MAGICAL WORLD OF DISNEY and OCEANQUEST. Dragon’s Domain Records presents FORCE: FIVE, featuring music composed by William Goldstein for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Mike Joffe. FORCE: FIVE is a limited edition release. FORCE: FIVE is expected to ship on the week of June 29th, 2026. 01. Force: Five Opening (3:38) 02. Lookin’ Around Montage (3:16) 03. Where’s The Action (Reprise Theme) / March & Chase (7:16) 04. Still Time For Romance (1:43) 05. On The March Again (1:36) 06. Still Time For Fun (Bossa Nova) (3:17) 07. Back To Business (4:22) 08. Laurie’s Song (2:42) 09. High Drama Unfolds (5:11) 10. There’s Still Laurie (1:41) 11. Bring It On! (Reprise Theme) (3:06) 12. Going Home (Reprise Theme) (1:41) 13. Final Battle (4:26) 14. Finale & End Titles (4:10) Total Time: 48:38 Citadel Records, a division of the BSX Group, presents THE THIEF OF BAGDAD, featuring music composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1940 fantasy adventure classic, conducted on this release by the great Elmer Bernstein (THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD) for the film directed by Ludwig Berger, Michael Powell and Tim Whelan, written by Miles Malleson and Lajos Biro, starring Conrad Veidt, Sabu, June Duprez, John Justin, Miles Malleson, Morton Selten, Mary Morris Hay Petrie, Allan Jeayes as the Story Teller and Rex Ingram as the Djinn. Released in 1940, THE THIEF OF BAGDAD is a British fantasy film classic remake of the 1924 classic of the same name. The film remains a timeless cinema masterpiece with groundbreaking technical achievements and Oscar-winning special effects that still dazzle today. The fantastical elements of the film create spectacular visual splendor, enhanced by gorgeous Technicolor cinematography. Fans of the Disney versions of Aladdin can see many of its successful elements appearing here for the first time and for composer Miklós Rózsa, THE THIEF OF BAGDAD is one of the films that established his reputation both in Europe and America. And he was only 30 years old when he wrote it... Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others. From 1974 to 1979, composer Elmer Bernstein, a great believer in preserving the film music of the past, indulged an expensive whim: Re-recording excerpts from memorable scores by esteemed colleagues ranging from Alfred Newman and Miklós Rózsa to Alex North and Bernard Herrmann. This collection would span fourteen LPS and include many previously unreleased film scores, including the first recording of Herrmann’s lost score to TORN CURTAIN. Later, these historic recordings were released on compact disc by Film Score Monthly in 2006 in a limited edition box set that has continued to become scarce over the years. Citadel Records, a division of the BSX Group, is proud to bring these recordings back into the marketplace, under license from the composer’s estate with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer. THE THIEF OF BAGDAD features Miklós Rózsa’s music conducted by Elmer Bernstein, performed by the Royal Philharmonic Orchestra and the Saltarello Choir. THE THIEF OF BAGDAD is a limited edition soundtrack release. THE THIEF OF BAGDAD is expected to begin shipping the week of June 29th, 2026. 01. Main Title / Harbour Scene And I Want To Be A Sailor (Sailor's Song) (4:02) 02. The Chase (1:55) 03. Abu And Achmad And Abu's Song (2:06) 04. Horseman's Fanfare (1:01) 05. Love Song / The Pool / The Prince And The Princess (5:54) 06. The Sultan's Toys And Galop Of The Flying Horse (3:23) 07. Storm At Sea / The Seashore (3:34) 08. The Djinn (3:17) 09. The Skeleton Room / Duel With The Spider / The Return (8:27) 10. The Blue Rose / Fight And Capture Of Achmad (3:29) 11. The Golden Tent (3:38) 12. Abu To The Rescue / Death Of Jaffar / Finale (3:01) Total Time: 44:16 Dragon’s Domain Records presents THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1979 adventure drama directed by Guy Green, written by Michael Berk, Joe Fineman and Douglas Schwartz, starring Lindsay Wagner, Jane Wyman, Andrew Duggan, Gary Lockwood, Brock Peters, John Reilly, Charles Tyner, Dorothy McGuire, Woodrow Parfrey, Peggy Walton-Walker, Kath Soucie, Tracey Gold and James Woods as Sin Eater. Airing on television in 1979, THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL follows Meg Laurel (Wagner), a recent graduate of Harvard Medical School in 1932 who runs afoul of a corrupt and powerful local judge. Worried about the damage the judge might cause to both of their careers prompts Meg to make the decision to leave her husband in Boston and return to the orphanage where she was raised to visit her friend, Effie (McGuire). Meg learns that the orphanage has been closed and Effie has returned to her hometown of Eagle’s Nest high in the Blue Ridge Mountains. When she arrives at Effie’s home, she finds her friend on her deathbed under of the care of the local healer, Granny Arrowroot (Wyman). Meg’s arrival is immediately met with suspicion and hostility. Meg is unable to save Effie using her modern medical knowledge but Effie asks her to stay in Eagle’s Nest to help her people. Meg immediately clashes with Granny because of their different approaches to healing but overtime they are able to compromise and learn from each other. For THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, Gerald Fried provides music that underscores both the drama faced by Meg and her humanity. His score avoids melodrama instead emphasizing warmth, lyricism and quiet determination. Gentle string themes accompany Meg’s moments of compassion and resolve while darker harmonies highlight the suspicion and tension within the town. Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU(1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL, 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 Scott Davis. THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL is a limited edition release. THE INCREDIBLE JOURNEY OF DOCTOR MEG LAUREL is expected to begin shipping the week of June 29th, 2026 01. Main Title (2:12) 02. Bad Dream (1:20) 03. Journey To Eagle’s Nest (4:29) 04. Hungry Guest (2:47) 05. Stalking Mountain Lion / Cliffhanger (3:52) 06. Mean Harley Moon / Effie Webb’s Bedside (3:29) 07. Effie’s Funeral (2:42) 08. Sin Eater (2:31) 09. A New Home / Granny Arrowroot (3:25) 10. The Kite / Bee Attack (2:50) 11. Curing Laurie (6:04) 12. Harley’s Rampage / Sin Eater’s Lair (5:17) 13. Letter To John / Dressing For Wedding / Granny Makes House Calls (4:39) 14. Caesarean (5:50) 15. Meg Sick / Delirium (3:39) 16. Watching Over Meg / Harley Finds The Medicine (3:30) 17. Meg At Death’s Door (3:20) 18. Folks Rally Around Meg / Lonely Sin Eater (4:03) 19. Thom’s Surprise Visit / Sin Eater’s Confession / Clinic Dedication (5:13) 20. End Title (1:05) Total Time: 72:58

Snow Files of the Week: „Mr Deep Throat/Detective Schmuck" aus „The X-Files", Episoden „Deep Throat" und „The Jersery Devil" (1993). Mulders Informant aus den frühen Staffel der Serie, der Mann mit der tiefen Stimme, der deshalb nur „Deep Throat" genannt wurde, war tatsächlich eine der wichtigsten Nebenfiguren der frühen Jahre. Das erkennt man auch daran, dass Mark Snow ihm ein eigenes Motiv schrieb. Ein geheimnisvolles, flirrendes Motiv, welches die schwer einzuschätzenden Motive von „Deep Throat" noch nebulöser erscheinen lässt. Die Folge „The Jersey Devil" ist sozusagen Chris Carters eigene Bigfoot-Geschichte. Verstümmelte Leichen tauchen in New Jersey auf und alle Bissspuren deuten auf einen Menschen hin. Mulder stößt bei seinen Ermittlungen auf die Legende vom „Teufel von Jersey". Beide Tracks stammen vom vierten X-Files-Set von LLL, welches auf 2.000 Stück limitiert ist. Viel Spaß beim Hören!

Eine CD ist bisher scheinbar nicht angekündigt. Lakeshore veröffentlicht bisher nur eine Single-Vinyl mit den End Credits und dem Song von The Darkness.

Es ist eine Kooperation zwischen beiden. Steht auch so in der Ankündigung. Auf dem Backcover von LP und CD sind auch beide Logos zu sehen. Waxwork Records, in partnership with Back Lot Music, presents DISCLOSURE DAY Original Motion Picture Soundtrack with music by legendary five-time Academy Award®-winning composer John Williams. If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to eight billion people. Today is… Disclosure Day. To compose the music for DISCLOSURE DAY, Steven Spielberg turned to his friend and longtime collaborator John Williams. The recipient of 54 Oscar nominations and winner of five (Fiddler on the Roof, Jaws, Star Wars, E.T. the Extraterrestrial, Schindler’s List), Williams also scored Spielberg’s Close of the Encounters of the Third Kind, memorable for its iconic five-note tonal phrase used to communicate with the aliens. The Disclosure Day soundtrack marks Spielberg and Williams’ 30th cinematic collaboration. “Can you believe this is our 30th movie together?” Spielberg says. “And John just turned 94, and he is as exceptional now as he was at 40. It is just remarkable, the depth and breadth of his career. DISCLOSURE DAY is probably the most restrained score he has ever written for one of our collaborations—at least until it is not. But until those moments, he holds back in a way that is subtle and beautiful and enriches the experience. It is like he is accompanying the film from slightly behind it, pushing it forward. Scoring is usually the last thing we do and I always say it is the reward for finishing a movie—the reward being getting to listen to a new John Williams score." In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His more than five-decade artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG, The Post, The Fabelmans and DISCLOSURE DAY. Waxwork Records presents DISCLOSURE DAY Original Motion Picture Soundtrack by John Williams as a deluxe double LP set featuring the complete 16 cue soundtrack album, "Blue Iris" colored vinyl, heavyweight gatefold jackets with matte UV coating, printed inner sleeves, and exclusive liner notes by Steven Spielberg. Also available on CD format. DISCLOSURE DAY Original Motion Picture Soundtrack Features: The Complete Soundtrack by John Williams 2xLP "Blue Iris" Colored Vinyl Heavyweight Gatefold Jackets with Matte UV Coating Printed Inner Sleeves Exclusive Liner Notes by Steven Spielberg Available in CD Format

Music Composed and Conducted by Thomas Newman “Writing’s On The Wall” performed by Sam Smith Limited edition of 5,000 units RETAIL PRICE: $32.98 Exclusive release Sold exclusively at 007Store.com and lalalandrecords.com for the first 90 days of release La-La Land Records, Metro-Goldwyn-Mayer and Universal Music Enterprises proudly present the 10th anniversary remastered and expanded 2-CD re-issue of renowned composer Thomas Newman’s original motion picture score to the James Bond film, Spectre. Produced by Michael G. Wilson and Barbara Broccoli, the 2015 film stars Daniel Craig in his fourth turn as James Bond 007 and is directed by Sam Mendes, returning for his second film in the series. Noting his brilliant work on SKYFALL, it’s no surprise Thomas Newman (THE SHAWSHANK REDEMPTION, SKYFALL) was recruited for another epic Bond mission, and he delivers above and beyond – scoring Spectre with a rich orchestral depth that mines fresh, emotional dimensions of drama, suspense, action and mystery, all the while honoring the classic Bond music traditions. Expanded with never before released music, this is a revelatory presentation of Newman’s expertly crafted score. Included as well, is Sam Smith's powerful Oscar-winning song, "Writing's On The Wall." Produced by Neil S. Bulk and mastered by Doug Schwartz from Simon Rhodes's original 24-bit digital stereo mixes, this is a special 2-CD release, limited to only 5,000 units. The two hour "Score Presentation" presents the music in chronological film sequence while the "Additional Music" section showcases unique Original Soundtrack Album edits as well as an alternate cue and a source cue. Featuring sharp art direction by Dan Goldwasser the release also includes exclusive, in-depth liner notes by journalist and author Jon Burlingame. TRACK LISTING: DISC 1 SCORE PRESENTATION 2:04:01 1. Gun Barrel (From "Spectre") 0:53 2. Los Muertos Vivos Están (Film Version) 5:07 3. Building Down 0:57 4. Sciarra Chase 0:50 5. Helicopter Fight 2:12 6. Writing's On The Wall (Performed by Sam Smith) 4:39 7. Courtyard / M's Message 2:48 8. Vauxhall Bridge (Extended Version) 2:32 9. The Eternal City (Extended Version) 6:59 10. Donna Lucia (Extended Version) 2:09 11. A Place Without Mercy 1:03 12. Palazzo Meeting 1:44 13. Enter Hinx 0:33 14. Cuckoo 0:38 15. Backfire (Film Version) 6:52 16. Nine Eyes Meeting 2:04 17. The Pale King (Extended Version) 3:32 18. Kite In A Hurricane 2:07 19. Photo Of Madeleine 0:55 20. Crows Klinik 1:46 21. I Kill People / SPECTRE Ring 2:15 22. Snow Plane (Extended Version) 5:34 23. Hinx Lives 0:54 24. L'Americain (Extended Version) 2:52 25. Secret Room (Extended Version) 5:54 26. Madeleine (Extended Version) 3:55 27. Hinx (Film Version) 1:22 TOTAL DISC 1 TIME: 1:13:37 DISC 2 SCORE PRESENTATION CONTINUED 1. Writing's On The Wall (Film Version, Instrumental) 0:54 2. Silver Wraith 2:14 3. Compound Bedrooms 1:44 4. A Reunion (Extended Version) 7:14 5. Torture Room 7:05 6. Tempus Fugit (Film Version) 1:18 7. Safe House (Extended Version) 4:23 8. Blindfold 1:29 9. Careless (Extended Version) 6:26 10. Detonation (Extended Version) 4:16 11. Westminster Bridge 4:12 12. Out Of Bullets (Extended Version) 1:56 13. The James Bond Theme (From "Spectre") 1:14 14. Spectre (End Title) 5:38 ADDITIONAL MUSIC 24:12 15. Writing's On The Wall (Instrumental) 2:10 16. Los Muertos Vivos Están 2:47 17. Marimba Float Drums 0:51 18. Day Of The Dead 1:24 19. Photo Of Madeleine (Alternate) 0:57 20. Backfire 4:52 21. Secret Room 5:22 22. Madeleine 2:56 23. Hinx 1:20 24. Tempus Fugit 1:20 TOTAL DISC 2 TIME: 1:14:43 TOTAL ALBUM TIME: 2:28:20 This is a CD format release