Alexander Grodzinski

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!

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

Intrada announces one of the most requested soundtrack releases of all time, the '80s version of Disney's TV show DuckTales. Not only have fans pleaded for if for decades, but composer Ron Jones has always wished to showcase his colorful, dynamic and infectious music from the series. Intrada presents the music on a 2-CD set featuring over 100 minutes of episode scores and library tracks. A major ingredient of DuckTales’ success was its music, starting with a poppy title theme by Mark Mueller and arranged by Jones. While viewing DuckTales for the first time, Jones was struck by the show’s dramatic qualities and powerful sense of imagination. He determined he would score the action no differently than a live-action adventure, à la Indiana Jones, and treat the characters as fully realized individuals. “Huey, Dewey and Louie were kids, not ducks,” Jones reflected. “The story was their lives, their hopes and dreams, their feelings of adventure. Uncle Scrooge had an important role, of course, but it was all about the boys and how they took in the world. That was always in the front of my mind.” While the show embraced multiple genres, the music would be largely symphonic, supplemented with electronics as appropriate. Of the more than 300 cues composed and recorded for DuckTales, Ron Jones retained nearly 80 in his personal archive, which forms the basis for this premiere album release of the series’ underscore. Fortunately, Jones preserved most of the show’s major themes and many of its most memorable set pieces. In assembling these cues, CD Producers Neil S. Bulk and John Takis have honored the spirit of the show by gathering them into suites inspired by the episodes for which they were originally written. Library cues that do not appear in these specific episodes have sometimes been integrated into the suites for musical flow. The intention is for each suite to function as a satisfying program while also evoking memories of the story to which it refers. The album features notes by Takis and cover art design by Stéphane Coëdel. DuckTales was chiefly inspired by cartoonist and Disney Legend Carl Barks (1901–2000), whose tales of Donald Duck and friends in the pages of Walt Disney’s Comics and Stories and other titles had delighted readers since the years surrounding World War II—an era in which Donald Duck eclipsed even Mickey Mouse in popularity. DuckTales is set in the metropolis of Duckburg, where Scrooge McDuck defends his titanic money bin against rival miser Flintheart Glomgold, sorceress Magica de Spell and the criminal Beagle Boys. Of course, the show also retains a central place for precocious nephews Huey, Dewey and Louie. DISC ONE 01. DuckTales Main Title 1:03 Treasure Of The Golden Suns (10:58) 02. Another Happy Day In Duckburg (1:12) 03. Pranks (1:52) 04. Mrs. B To The Rescue (0:52) 05. Parachute Home (0:31) 06. Battle With The Condors (2:30) 07. Just In Time/Escape From The Valley Of The Golden Suns (2:00) 08. Raiders Of The Lost Sun (1:00) The Money Vanishes (9:40) 09. The Beagle Boys' Dirty Deeds (0:41) 10. Bad Guys Groove (1:11) 11. Beagle Boys #1 (0:39) 12. Beagle Boys #2 – The Plan (0:41) 13. Trouble (0:39) 14. Beagle Boys Chase (1:09) 15. Something's Up Groove #2 (1:10) 16. Rock Chase (1:41) 17. DuckTales Theme (1:49) Master Of The Djinni (10:14) 18. Adventure Through The Boys' Eyes (1:15) 19. Search For The Lost Vault (1:50) 20. Old Enemies (0:44) 21. Adventure Chase #2 (1:14) 22. Glomgold's Theme (1:09) 23. Desert Chase (1:10) 24. Adventure (1:11) 25. You're Not Too Old, Uncle Scrooge (1:40) Armstrong (8:34) 26. Rocks On The Tracks (1:13) 27. Launchpad McStunt (1:50) 28. The Race (1:20) 29. Toy Wars (1:54) 30. Air Battle (1:45) 31. Hot Chocolate (0:33) Imagination Suite (7:08) 32. Happy Opener #1 (0:38) 33. Something's Up In Duckburg (1:04) 34. Dreams (0:37) 35. The Journey (1:14) 36. Something's Up Groove #1 (1:12) 37. Something's Up Groove #2 (Alternate Version) (1:11) 38. Rock Quest (1:12) 39. DuckTales Theme (Alternate Version) (0:29) Total Disc Time 48:06 DISC TWO 01. DuckTales Theme (Extended Version) (2:54) Time Is Money (13:03) 02. The Deal (1:06) 03. Quake (1:17) 04 Blast To The Past (0:59) 05. Run From T-Rex (1:06) 06. Bubba's Cave (0:55) 07. Escape From T-Rex (0:55) 08. Reentry (0:32) 09. The Great City Of Tupei (2:08) 10. Giving All (0:51) 11. Shopping Cart Chase (1:45) 12. The Big Goodbye (1:28) Super DuckTales (10:51) 13. Happy Opener #2 (0:40) 14. Duckburg Groove (1:02) 15. Marching Band Source (0:52) 16. Feelings Of Adventure (0:51) 17. Get The Scoop On The Loot (0:38) 18. Captured By Bots (1:37) 19. Meet Mel (1:44) 20. No Hope (1:03) 21. The Duel (1:44) 22. The Adventure (0:40) A DuckTales Valentine (23:21) 23. Valentine Card (0:10) 24. Plans (1:10) 25. Treasure Adventure (1:16) 26. Underwater Treasure (1:59) 27. Shark Attack (1:54) 28. Mumbo Jumbo (0:50) 29. P.M.S. Duckie (1:48) 30. The Trouble With Arrows (2:30) 31. The Love Scheme (0:59) 32. Scrooge Gets It (0:57) 33. Sad Cupcakes (3:11) 34. Operation Allergy (1:36) 35. Jealous (1:09) 36. Plane To Catch (1:04) 37. It's Barbecue Time (1:52) 38. True Love (0:56) 39. DuckTales End Credits (1:03) The Extras (4:02) 40. Adventure Chase #1 (1:38) 41. Light Action Chase (1:02) 42. Soaring (1:22) Total Disc Time: 55:12 Total Set Time: 1:43:19

Zum neuen Film von Sam Raimi steuerte wieder Elfman die Musik bei. Der Score wird von Hollywood Records veröffentlicht. The original score for “Send Help” was written by Academy Award®-nominated composer Danny Elfman, whose collaborations with Raimi span over 30 years. The pair previously worked together on “Spider-Man,” “Darkman,” “A Simple Plan” and “Doctor Strange in the Multiverse of Madness.” “It was great, incredibly great, collaborating with Danny Elfman, as it always is for me,” Raimi says. “He literally makes your movie one letter grade better. And he always knows where to put his music and precisely the tone to elevate the scene. It’s not what you might think it would’ve been.” “The thing that made me say yes to ‘Send Help’ without even knowing what the movie was, was the fact that it was Sam Raimi who was the director,” says Elfman. “Sam and I have worked together for somewhere between 30 and 35 years now. And Sam’s one of those people when he calls with the question of if I’m available, I automatically say yes.” In Azizi’s experience, “Danny Elfman is a dream come true to work with. He is an absolute legend, and he’s elevated so many scenes.” As he approached the project, Elfman was excited to find the right tonal balance for the film’s music landscape. “Balancing all the elements of a film and a score is the fun part–you take things in many different directions. The thing that was unique in ‘Send Help,’ because I’ve done a number of 16 thrillers, is this also had a kind of a dark comic side to it, which made it even more fun to play, because sometimes I can have fun with the music and just play it over the top in a kind of a broad way. And then sometimes it’s like, ‘No, now I really want to be intense and moody with the music.’” For Linda Liddle’s theme, Elfman wanted to reflect her character’s transformation. “I wanted to find a theme that played very sweetly and gently with a woman’s voice that could be both innocent and have a tinge of madness to it,” Elfman explains. “And so, I think I used as my inspiration ‘Rosemary’s Baby.’ It was a score that I really loved growing up. When we hear her theme early on, it’s got kind of an innocent quality to it, but by the end when we hear it, it takes on a darker, more sinister quality to the same voice singing the same theme. I always love it when I can do something like that, take a little innocent piece of thematic material and in its simplicity and innocence try to make it feel almost menacing.” Elfman adds, “The whole end of the movie was delightful and fun to score too, because things get so intense.” “Danny has a mastery of film and music that nobody else has–he tells the story with his music,” Raimi says. “He enhances, he sometimes plays counterpoint when he decides, sometimes he stays out because the moment will land better like that. He’s a never ending teacher for me of how film music works. I couldn’t ask for anything better than what he delivered.” Elfman’s experience on the production was an equally positive one. “With Sam, it’s just fun. I love the dynamic between me and Sam and Bob, the editor, because we all go back together. Really, it’s just like getting back into the playpen for us. It’s almost like we went to elementary school together and we were play pals back then. And now, as adults, we get to get together and play in this big playpen called a movie. And even though we didn’t know each other as kids, that’s kind of what it feels like to me. It just becomes a joyful experience.” “My only wish when audiences hear the music, is that it enhances their experience of the film," Elfman concludes. Quelle

Von Roger Feigelson aus der Intrada-Facebook-Gruppe.

Das wissen wohl nur die Beteiligten. Wenn ich wild spekulieren müsste, könnte ich mir gut Jerry Goldsmith vorstellen, da dieser doch recht gute Connections zu Carolco hatte.

Oder gefügiger. Der Film hatte ja eine katastrophale Produktionsgeschichte, inklusive massiver Budget-Überziehung, was dem damals eh schon hoch verschuldeten Carolco-Studio den Rest gab, zumal der Film auch grandios floppte. Arnold war scheinbar bereits der zweite Komponist, den man anfragte. Viel hat er später nicht über die Situation gesagt. Nur, dass er nichts aufgenommen hat und schon vorher raus war, weil er sich mit Regisseur Renny Harlin nicht darüber einigen konnte, wie die Musik eingesetzt werden soll. Die Richtung war wohl klar, also Swashbuckler-Musik a la Korngold. Das wollte Arnold liefern, aber über das Wie und Wo wurde man sich wohl nicht einig. Debneys Musik ist dann quasi das, was Arnold stilistisch auch gemacht hätte.

Nächste Woche von Intrada:

In Tim Grievings Buch über John Williams steht, dass Arnold für THE PATRIOT quasi vorspielen musste. Also Demos anfertigen, um sich zu bewerben. Das musste Arnold bei Emmerich zuvor nicht, daher hatte er schon so ein Gefühl, dass da was im Busch ist. Arnold komponierte ein Main Theme, basierend auf einer alten Volksweise und spielte das sogar mit einem Orchester ein. Kurz nachdem er dieses Stück eingereicht hatte, bekam er den Anruf von Emmerich, dass sie John Williams nehmen und er raus ist. Darüber war Arnold natürlich nicht erfreut, sagte aber später scherzhaft, dass er sich selbst auch für John Williams feuern würde.

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

Snow Files of the Week: "Bloody Jacuzzi/Old Files/Blood/Blood In The Loaf/Just Ashes And Bones" aus The X-Files, Episode "3" (1994). Der Vater, der Sohn und der Unheilige Geist. Drei dunkle Gestalten, vielleicht Vampire, machen die Nächte unsicher. Die Episode beginnt mit einem älteren Geschäftsmann, der in seinem Haus in den Hollywood Hills von einer mysteriösen Frau verführt wird, während draußen im Canyon die Waldbrände lodern und den dunklen Nachthimmel rot erhellen. Der Track "Bloody Jacuzzi" zeigt Mark wieder einmal als Meister wundervoller Pianothemen. Er benutzte das Thema auch in dem TV-Film CAROLINE AT MIDNIGHT aus dem gleichen Jahr. Mulder untersucht den Fall alleine, da Scully in der Folge zuvor entführt wurde. Sie ist nun selbst eine X-Akte geworden, die Mulder in den Schrank zu den restlichen X-Akten stellt ("Old Files"). Bemerkenswert an der Folge ist, dass Mark den Anfang des X-Files-Themas immer wieder in seinem Score benutzt. Das Thema taucht tatsächlich nicht oft in den Episoden-Scores der Serie auf, weshalb es schon etwas Besonderes ist. Diese Tracks stammen vom dritten Set X-Files-Musik von LLL. Das Set ist auf 3.000 Exemplare limitiert. Viel Spaß beim Hören!

Genau. Und an denen kannst du schlecht sparen, wenn der Lizenzgeber eine bestimmte Summe verlangt. Also muss man an anderen Dingen sparen, wenn man die Musik überhaupt auf CD veröffentlichen möchte. Es ist ja nicht nur die Musik, auch die ganzen Fotos auf Cover und im Booklet müssen ja vollständig oder teilweise lizenziert werden. Und je nach Rechtelage müssen sie sogar von den abgebildeten Personen freigegeben werden. Das hat MV mal erzählt, dass man bei einer der X-Files-Boxen, die eigentlich schon fertig war, monatelang auf die Freigabe der Schauspieler für die verwendeten Fotos warten musste.

Wobei man fairerweise nicht nur Intrada die Schuld geben kann. Diesen Qualitätsrückgang sehen wir ja mittlerweile bei allen Labeln. Reich geworden sind die sicherlich noch nie mit Soundtrack-Alben, aber in den letzten Jahren kamen eben viele Faktoren zusammen: Sinkende Verkäufe physischer Medien bei gleichzeitig steigenden Kosten für Rohstoffe, Betriebskosten und Lizenzen. Dazu jetzt noch die Zölle. Ich glaube nicht, dass Intrada an einer verkauften CD heute mehr verdient als früher, obwohl sie ein paar Dollar teurer geworden ist. Wohl eher im Gegenteil. An der Musik beziehungsweise der Produktion können und wollen sie sicherlich nicht sparen. Dann könnten sie es auch gleich ganz sein lassen. Also bleiben nur andere Dinge, wie eben günstigeres Papier, günstigere CD-Hüllen und so weiter. Natürlich ist das schade, aber die Alternative, dass Intrada den Laden ganz dicht macht, finde ich dann bedauerlicher als ein nicht vorhandenes Hochglanz-Booklet oder dünne CD-Hüllen. Natürlich kenne ich das auch noch, habe genug ältere CDs aus den 80ern und 90ern in meiner Sammlung. Alleine, wenn man da die CD-Hülle in der Hand hält, merkt man, wie stabil und „schwer" die eigentlich mal waren. Heute ist das wirklich billigstes, dünnes Plastik, welches gefühlt schon beim Entnehmen des Booklets einen Sprung bekommt. Aber es ist eben kostengünstiger. Ich erinnere mich beispielsweise noch daran, dass irgendwann um die Jahrtausendwende herum das Label Europa, beziehungsweise gehörte das damals schon zu BMG, also zu einem Major Label, bei ihren Hörspiel-Kassettenhüllen diese zwei Haken weggelassen hat, die die Spulen der Kassette in der Hülle festhalten. Grund war damals schon, dass das irgendwas mit 0,02 Cent pro Hülle an Produktionskosten spart. Wie gesagt, bei einem Major Label.

Erscheint als Doppel-LP: Mutant, in partnership with Sony Music, is proud to present the premiere physical release of the soundtrack to Vince Gilligan's hit Apple TV+ Series PLURIBUS, produced by Sony Pictures Television. Featuring one disc of original score cues by long-time Gilligan collaborator, composer Dave Porter, and 12 songs from the critically acclaimed series. Featuring original artwork by Mike Koelsch and liner notes by the series creative team, and pressed on 2x 140gm "Milk" colored vinyl, this special release is essential for fans of this series. Disc One - Score selections by Dave Porter (Score tracklist will be announced soon. Check back for details.) Disc Two - Original Soundtrack SIDE A 1. Dancing Folk: Movement 1 - Oliver Davis 2. Nobody Told Me - Murat Evgin 3. Sonnet (Pluribus Edit) - DakhaBrakha 4. Sumac - Loris 5. Vessel (Pluribus Edit) - John Lamke 6. Deo gratis - Huelgas Ensemble, Paul Van Nevel SIDE B 1. A Calf Born in Winter - Khruangbin 2. Blues (Pluribus Edit) - Nina Becker Marcelo Callado 3. People Are Strange - Kit Sebastian 4. Esperanza - Hermanos Gutiérrez 5. You Got To Be Sure! - Traffic Sound 6. Conquistadora (Pluribus Edit) - Chantal Claret

Das mit den Titelsequenzen stimmt natürlich. Bei Kinofilmen ist es mittlerweile ja auch normal, dass es keine Opening Credits mehr gibt, sondern dass das alles am Schluss kommt. Manchmal kommt sogar der Filmtitel erst am Schluss. Da ich WEDNESDAY erwähnt habe: Die Serie hat tatsächlich noch ein richtiges Intro, das immerhin über eine Minute lang ist. Daher konnte Elfman da auch ein richtiges Thema für schreiben. Vielleicht liegt das auch einfach an Tim Burton, der hier involviert ist und eine Titelsequenz wollte. Wobei tatsächlich nicht jede Folge diese Titelsequenz hat. Manchmal kommt nur eine Art Teaser der Titelsequenz. Eben als Zugeständnis für die Leute, die alle Folgen am Stück schauen und nicht jedes Mal die Titelsequenz sehen oder überspringen wollen.