Alexander Grodzinski

This year Intrada returned to Scotland to record its fifth Kickstarter-funded album, Jerry Goldsmith's 1969 political-thriller score for The Chairman. Backers have already received a digital version of the album and the feedback has been unanimously filled with praise. "Just heard the complete recording and it's stunning," said one contributor, summing up the overall sentiment. Performed by the Royal Scottish National Orchestra under the baton of William T. Stromberg, Intrada considers this the finest of all our crowdfunded projects to date. The assembly of musicians represents one of the largest assembled in the Scotland studio, featuring a vast array of percussion crowded in the back of the hall. Some of the percussion were modified, including rice poured on the bass drum turned horizontal for a singular rattling effect and the piano being muted with towel-wrapped copies of Shostakovich and Mahler biographies dampening the wires. Even instruments not traditionally used as percussion instruments were used—as percussion instruments. While a soundtrack album was released concurrently with the film on the Tetragrammaton label, the album masters and film recording sessions both vanished over the years. Subsequent CD reissues were limited to rips from vinyl sources, amplifying the limited range and distortion inherit in the format. While a short mono selection of cues in superior sound were released on the prestigious Goldsmith at Fox box set from Varèse Sarabande, it only included one previously unreleased cue less than a minute long. The demand remained for a brand-new recording of the otherwise unattainable score in complete form—which our team, led by producer Leigh Phillips, delivered in spades. To round out this impressive package, the cover is adorned with new artwork by Stéphane Coëdel and in-depth liner notes by Jon Burlingame. As a bonus, Intrada has recorded a suite of previously unreleased Goldsmith compositions otherwise lost to the ages. First, Intrada includes the end title to Rambo II, the original of which only exists on a poor-sounding cassette dub. Then there's "Alex's Death" from Under Fire, the film's set-piece action cue omitted from the original soundtrack. Listen to "The Flag" from Not Without My Daughter, the previously unreleased film version that features a militaristic trumpet solo (a favorite Goldsmith sound of our late founder Douglass Fake) also missing from the original soundtrack. This album also includes "Homer Writes" from Lilies of the Field—another track long since lost and not included on the original soundtrack. And as a surprise, Intrada recorded the demo Goldsmith composed for The Game of Our Lives, never heard anywhere before. Play all clips THE SCORE 01. Main Title (From The Chairman) (3:24) 02. Old Times (0:27) 03. Goodbye For Now (1:45) 04. The City (1:02) 05. The Strippers (1:17) 06. House Of Elegant Pleasure (1:11) 07. A Late Visitor (complete) (3:44) 08. The Airport (1:24) 09. The Schools (1:23) 10. The Red Guard (2:26) 11. Hathaway’s Arrival (3:14) 12. The Bottle (2:37) 13. The Students (3:23) 14. The Laboratory (2:33) 15. Hathaway’s Plans (Part 1) (2:45) 16. Hathaway’s Plans (Part 2) (2:12) 17. Hathaway’s Flight (3:35) 18. The Mine (1:32) 19. The Russians Are Coming (1:50) 20. The Countdown (1:10) 21. The Bomb (0:48) 22. End Title And End Credits (From The Chairman) (3:15) Total Score Time: 47:01 THE EXTRAS 23. The World Only Lovers See (2:36) 24. Under Fire – Alex’s Death (3:16) 25. Lilies Of The Field – His Part/Bells Someday (1:47) 26. Rambo II – End Credits (3:19) 27. Not Without My Daughter – The Flag (2:44) 28. The Game Of Their Lives – (Jerry’s Demo #1) (3:16) Total Extras Time: 16:58 Total CD Time: 63:58

Snow Files of the Week: "Search your heart/Passing the Torch" aus "Ernest Saves Christmas" (1988). Und wir setzen die weihnachtliche Zeit fort mit einem weiteren Trackpaar aus "Ernest Saves Christmas". Für Freunde altmodischer Weihnachtsscores ist das genau das Richtige, Snow erschafft mit seinem Orchester einen einschmeichelnden Wohlfühlscore mit einigen Slapstick-Einwürfen. Viel Spaß beim Hören!

Wer ein bisschen Geld übrig hat... In Carpenters Shop kann man nun auch das Album der Coupé de Villes, "Waiting Out The Eighties", bestellen. Das Album wurde 1985 von Alan Howarth produziert und enthält hauptsächlich von Carpenter geschriebene Songs. Die Band bestand neben Carpenter noch aus Nick Castle und Tommy Lee Wallace. Das Album wurde in kleiner Auflage nur auf LP produziert, war aber nie käuflich erwerblich. Es wurde quasi nur für Freunde und Familie produziert. Nun hat man wohl in einem Lagerhaus Kartons mit weiteren Exemplaren der damaligen Pressung gefunden und diese sind nun käuflich erwerblich. Entweder nur die LP für 250 Dollar, von Carpenter signiert für 500 Dollar oder von allen drei Bandmitgliedern signiert für 750 Dollar. Das sind natürlich stolze Preise. Auf der anderen Seite wurde die LP auf Discogs auch schon für 860 Euro verkauft. Es würde mich auch nicht wundern, wenn Sacred Bones Records das Album eines Tages noch veröffentlichen. In 1985, John Carpenter and his long time friends and collaborators Nick Castle and Tommy Lee Wallace recorded the title track to John’s film, Big Trouble in Little China, under the moniker The Coupe De Villes. They enjoyed the process so much that they decided to write and record a full album together. They called it, Waiting Out the Eighties. As lore would have it, they only pressed 150 copies of the album and gave them out to friends and family. This album, for years now, has been a Holy Grail album for many a fan and collector. But what if we told you they pressed more than that? What if we told you that during another warehouse purge, behind a stack of movie posters and boxes of props and scripts, we found… more boxes? Boxes that had been sitting untouched for 40 years. Boxes that contained more sealed copies of this lost album. Well, guess what. We did. We carefully extracted the boxes, and for months now, have been opening and meticulously checking the condition of these albums, removing the warped and time-scarred records and saving the rest. Yes, unfortunately, some didn’t quite survive the decades, but most did, and we are now ready to start making them available to you. And if that wasn’t cool enough, the band reunited earlier this year when John received his star on the Hollywood Walk of Fame, and the guys were gracious enough to sign some sleeves. We will be releasing these limited copies of Waiting Out the Eighties in three tiers. Tier 1 - Unsigned. For $250, you get the album. Tier 2 - Signed by John Carpenter. For $500, this comes with a custom CoA from Storm King Productions and a black and white photo taken earlier this year of John Carpenter, Nick Castle and Tommy Lee Wallace recreating their album cover from 40 years ago. Tier 3 - Signed by John Carpenter, Nick Castle, and Tommy Lee Wallace. For $750, this comes with a custom CoA from Storm King Productions, a black and white photo taken earlier this year of John Carpenter, Nick Castle and Tommy Lee Wallace recreating their album cover from 40 years ago, and a color version of the photo. These are hand numbered 1 through 250 on both the back of the album sleeve and the CoA. Please note… these albums are from the original pressing 40 years ago. There may be minor imperfections, but we’ve been visually inspecting each and every album, as well as doing random testing of sound quality, and the albums that have failed any of the above have been removed. ALL albums have been opened, and all will come in a protective outer sleeve. Collectors, take your marks… Coupe De Villes recreation photo and teaser by: Antwan Johnson PURCHASE LINK: https://stormkingcomics.com/collections/holiday-2025

Klanglich ist die Neuauflage wirklich top geworden. Ein wenig schade ist, dass die von Fiedel gesungene Version von "Come to me", die auf der ersten Intrada-Veröffentlichung noch enthalten war, hier nun fehlt. Gut, sie kommt im Film auch nicht vor und wurde von Fiedel nur für das Song-Album aufgenommen, aber der Vollständigkeit halber wäre das bei einer Neuauflage schon nett gewesen. Vielleicht ist der Song dann in fünf Jahren für die 45th Anniversary Edition wieder mit dabei Das Song-Album erschien ja auch zwischenzeitlich von Perseverance auf CD, nachdem es das Album bisher nur auf LP gab. Und da ist die Fiedel-Version von "Come to me" ja auch dabei.

Snow Files of the Week: "Santos Elves/The Way it was" aus "MillenniuM", Episode "Omerta" (1998). "Omerta" ist die Weihnachtsfolge der dritten Staffel von "MillenniuM". Darin geht es um zwei junge Frauen, die in den Wäldern leben, fernab der Zivilisation. Ihre Namen sind Lassa und Rose, Lassa hat heiliende Kräfte. Für seine Musik benutze Mark opernhafte Gesang-Samples, die der Musik einen magischen Touch verleihen. Mark kombiniert seine düsteren Klanglandschaften mit dem wundervollen Thema für Lassa und Rose, womit "Omerta" eine der "MillenniuM"-Folgen mit der aussergewöhnlichsten Musik ist. Die Tracks befinden sich auf dem ersten Volume mit "MillenniuM"-Musik von LLL, limitiert auf 1.000 Stück. Viel Spaß beim Hören!

Shipping starts on 12/10 Quartet Records, in collaboration with Universal Music Enterprises and Paramount Pictures, presents the restored and remastered 2-CD reissue of Hans Zimmer’s iconic score for Ridley Scott’s 1989 action-suspense film BLACK RAIN, starring Michael Douglas and Andy Garcia as two New York City cops who arrest a Yakuza member and must escort him to Japan for extradition. BLACK RAIN was the first collaboration of Hans Zimmer with Ridley Scott, kicking off a creative partnership that would go on to produce some of the most thrilling film scores of the next two decades. For this new release of the BLACK RAIN score, we were fortunate to access archival studio materials that had been transferred within the last decade—sources that were unavailable for previous editions. These included the original 24″ and 32″ multitrack recordings. With these elements in hand, the score was carefully restored, cleaned and remixed to achieve vastly improved sonic fidelity. Among the discoveries in these transfers were several unexpected bonuses. This expanded edition has been a long time coming, and we’re thrilled that fans can finally experience Hans Zimmer’s early action score in its most complete and dynamic form to date. Painstakingly produced by Stéphane Humez and Dan Goldwasser, mixed and mastered by Maxime Marion with the supervision and approval of the composer, the package includes detailed liner notes by Kaya Savas, including an exclusive interview with Mr. Zimmer. DISC 1. THE FILM SCORE I’ll Be Holding On (Opening Titles Version) 2:39 Gregg Allman Scalari’s 6:09 One-Way Glass – Osaka 1:05 Phony Cops – You Gonna Be Nice? 1:40 Club Miyako 4:58 Sato Watching / Circling Motorbikes 2:01 Sugai’s Photo / Police Observers 4:01 Stealing Money 2:08 Charlie’s Death – Aftermath: Nick & Joyce 5:17 Charlie’s Things 3:18 Sequins 2:44 Masa’s Reprimand 1:55 Following Miyuki 3:51 The Steel Mill / Meeting In The Steel Mill 2:55 Steel Mill Chase / Airplane / Escape 6:20 Sugai Has Nick Over For A Chat 9:01 Arrival Of Oyabuns – Sato’s Arrival / Meeting 7:57 Bikes / Fight – Bullpen / Awards (Film Version) 5:20 Airport (Film Version) 1:48 I’ll Be Holding On (End Titles Version) 4:01 Gregg Allman DISC 2. THE ORIGINAL ALBUM 1. Livin’ On The Edge Of The Night 3:40 Iggy Pop 2. The Way You Do The Things You Do 3:15 UB40 3. Back To Life (Jam On The Groove Mix) 5:09 Soul II Soul & Caron Wheeler 4. Laseman 4:48 Ryuichi Sakamoto 5. Singing In The Shower 4:23 Les Rita Mitsouko & Sparks 6. I’ll Be Holding On 5:40 Gregg Allman 7. Black Rain Suite: Sato 4:45 8. Black Rain Suite: Charlie Loses His Head 7:03 9. Black Rain Suite: Sugai 6:55 10. Black Rain Suite: Nick And Masa 2:52 Bonus Tracks 11. Airplane Muzak (Source) 2:06 12. Art Of The Fugue (Source) 4:21 13. Charlie’s Death (Monks Wild) 2:12 14. Charlie’s Death – Aftermath: Nick & Joyce (Alternate) 5:17 15. Masa’s Reprimand (Alternate) 1:53 16. Bikes / Fight (Alternate) 3:21 17. Bikes / Fight – Bullpen / Awards / Airport (Alternate) 9:28 Total Disc Time 1: 79:20 Total Disc Time 2: 77:18 Total Album Time: 156:38

Shipping starts on 12/10 Quartet Records and Paramount Pictures present a revised, greatly expanded edition of Dave Grusin’s delightful score for Warren Beatty’s classic HEAVEN CAN WAIT (1978), a remake of the 1941 Columbia Pictures film HERE COMES MR. JORDAN. Co-directed by Beatty and Buck Henry, starring Beatty himself, along with Julie Christie, James Mason, Jack Warden, Dyan Cannon and Charles Grodin, the film was a huge box office success and received nine Oscar® nominations, including Best Picture and for Grusin’s original score. The film is about a Los Angeles Rams quarterback, who, accidentally taken away from his body by an overanxious angel before he was meant to die, returns to life in the body of a recently murdered millionaire. “One of the joys of working on soundtracks for old scores is discovering music that was never used in the film. This was especially true in the case of HEAVEN CAN WAIT. While Dave Grusin spotted over 22 minutes of score for the film, the final cue sheet shows that only about 13 minutes were ultimately used. “The decision to source this new album from new, hi-res transfers of the original 2″, 16-track recordings suddenly showed us that there was more music here than we knew about. A lot more: we discovered not just additional music and unused cues, but five times as much as we had anticipated based on the previous soundtrack release of this score. “The recording timeline shows that Grusin recorded the bulk of his original score in late April 1978, followed by revisions and alternates in mid-to-late May, with one recorded reel dated June 9; the film was released on June 28. While some of these revisions made it into the final film, most were unused, with the filmmakers often opting for source material or musically editing previously used score cues. “Given the brevity and variety of the cues, editing them all into score suites was impractical, though a few were combined. The resulting presentation, past the main score portion, feels more archival and fragmentary than a pure listening experience. Nonetheless, hearing how Grusin modified and reworked the cues—or what he originally intended—provides valuable insight into his creative process.” (Dan Goldwasser, producer) Patiently and carefully remixed and mastered by Chris Malone, and meticulously produced by Dan Goldwasser, this 80-minute album includes a package with new liner notes by film music writer Jeff Bond discussing the film and the score. The Film Score 1. Heaven Walk 1:46 2. I Understand / Walk to House 0:49 3. Betty’s Entrance / Decision to Farnworth 0:50 4. Dinner at 8 / Dinner at 9 1:34 5. Meeting of the Bored / Head Home 1:46 6. At the Drive-In 1:01 7. Training Montage 1:33 8. Garden Walk 2:15 9. Marry Me 1:12 10. Bad News 0:47 11. Goodbye 0:52 12. Last Walk 1:22 13. Butler to Betty / Stadium Transition 1:08 14. Jordan Exits 1:07 15. Max 1:16 16. End Titles 2:54 Bonus Tracks 17. Heaven Walk (Alternate 1) 2:25 18. Heaven Walk (Alternate 2) 1:44 19. Heaven Walk (Alternate 3) 2:34 20. I Understand (Alternate) 0:36 21. Walk to House (Original) 0:37 22. Walk to House (Original Alternate) 0:38 23. Betty’s Entrance (Alternate) / Decision to Farnsworth (Alternate) 0:49 24. Dinner at 9 (Alternate) 0:26 25. Meeting of the Bored (Original) / Head Home (Alternate) 1:22 26. At the Drive-In (Original) 1:32 27. At the Drive-In (Revised Alternate Mix) 0:59 28. At the Drive-In (Revised Alternate) 0:49 29. Garden Walk (Original) 2:03 30. Garden Walk (Original Alternate 1) 2:05 31. Garden Walk (Original Alternate 2) 1:53 32. Garden Walk (Original Alternate 3) 1:52 33. Garden Walk (Revised alt. With sax improvisation) 2:15 34. Garden Walk (Revised Alternate) 2:20 35. Marry Me (Three Revisions) 1:08 36. Goodbye (Original) 2:05 37. Goodbye (New Alternate) 0:53 38. Last Walk (Original) 1:11 39. Last Walk (Revised Alternate) / Last Walk Extension (Alternate) 1:24 40. Butler to Betty (Original) 0:45 41. Butler to Betty (New Alternate) / Stadium Transition (Original) 1:23 42. Jordan Exits (Original) 1:08 43. Max (Original) 1:43 44. Max (Revised Alternate 1) 0:52 45. Max (Revised Alternate 2) 0:55 46. Max Extension (Version 1) 1:37 47. Max Extension (Version 2) 0:54 48. End Titles (Original) 2:50 49. End Titles (Revised Alternate) 2:51 50. Drive-In Source 4:04 51. Heaven Loop FX 4:11 Total Disc Time: 79:26

Shipping starts on 12/10 Quartet Records, in collaboration with Universal Music Enterprises, Studiocanal and Calash Corporation, presents a 40th-anniversary, restored and remastered edition of Henry Mancini’s classic Christmas score for SANTA CLAUS: THE MOVIE. The film, directed by Jeannot Szwarc in 1985, starred Dudley Moore, David Huddleston and John Lithgow, was an ambitious and expensive project produced by Alexander and Ilya Salkind, and although it was not the box office hit it was expected to be, has gained fans over time to become a cult film. One of the most important aspects of the film was its score, for which Salkinds hired Henry Mancini. The composer was deeply involved in the production, composing more than 85 minutes of original music for the 109-minute film. This score is surely one of the biggest symphonic efforts of his career, beautiful, diverse and emotional, written during the same period as LIFEFORCE and THE GREAT MOUSE DETECTIVE. Recorded at CTS Studios in London with the National Philharmonic Orchestra, the score also features The Ambrosian Singers and The Ambrosian Children’s Choir performing several charming songs written by Mancini and Leslie Bricusse. For the original album, released in 1985 by EMI America, Mancini prepared a program of highlights lasting only 37 minutes. Some themes were modified for their album version—with different durations, slightly different mixes or the addition of pop elements. Almost all of Mancini’s underscore was missing. Quartet Records released Mancini’s score in its entirety in 2012 and reissued it in 2019 on a 3-CD set, mastered from ½̋″ 3-track. For this new edition, the recently discovered complete first-generation 2″ 24-track set has been transferred in high resolution, allowing engineer Chris Malone to offer a fully restored, remixed and remastered version from the scoring masters recorded by Dick Lewzey. Showcased in a 2-CD set, Disc 1 includes the complete score, while Disc 2 brings together the original songs by Mancini and Bricusse, as well as all the recorded versions intended for the 1985 original album and alternates, including two previously unreleased tracks. We have not included the two pop songs that had nothing to do with Mancini and were included in the film and the original album for commercial purposes. The package includes in-depth liner notes by film music writer John Takis, discussing the film and scores, and features art direction by Jim Titus. This deluxe presentation unleashes the Mancini Christmas magic sounding like never before. DISC 1. The Original Score Main Title – Every Christmas Eve / Santa’s Theme 4:32 North Star / Arrival of the Elves 4:09 Santa’s New Home 4:14 The Magic Workshop 1:46 Reindeer Stable 1:54 Making Toys (Film Version) 4:03 Season’s Greetings 1:40 The Ancient One 2:34 Santa Claus / First Sleigh Ride / Christmas Rhapsody 5:31 Naughty or Nice 1:01 Into the XXth Century 1:40 It’s Christmas Again (Film Version) 2:40 March of the Elves 2:58 Table Scraps 1:21 A New Sleigh Ride / Santa Meets Joe 1:47 Sleigh Ride Over Manhattan 4:18 Cornelia’s Home 1:32 Bad Toys 0:40 Sad Patch 3:12 Vanishing Elf 1:42 No Free Toys 1:11 Present for Joe 0:50 Patchmobile / Patch Versus Santa 5:18 Lollipop Flight 1:42 Stronger Formula 1:39 The World Is Different 1:07 A New Doll 0:49 Eavesdropping 2:31 Letter From Cornelia 2:34 Elf Portrait 1:48 Flight From Police 0:31 To the North Pole / Super Duper Looper / Reunited Again 6:10 DISC 2. Songs, Alternates, Outtakes and Other Gifts Thank You, Santa 4:47 Main Title – Every Christmas Eve / Santa’s Theme (Alternate Lyrics) 4:12 Making Toys (Album Version) 4:01 Christmas Rhapsody (Album Version) 3:53 It’s Christmas Again (Album Version) 2:30 Patch, Natch! 1:15 Sleigh Ride Over Manhattan (Album Version) 4:16 Patch Versus Santa (Album Version) 4:13 Thank You, Santa (Album Version) 3:11 Sleigh Ride Over Manhattan (Alternate) 4:18 Patch Versus Santa (Alternate) 4:35 The World Is Different (Alternate) 1:01 To the North Pole (Alternate) 3:50 Main Title – Every Christmas Eve / Santa’s Theme (Instrumental) 4:30 Making Toys (Children’s Choir) 4:01 Thank You, Santa (Alternate Vocal) 3:35 Making Toys (Men’s Choir) 4:02 It’s Christmas Again (Instrumental) 1:20 It’s Christmas Again (Christmas Bells) 1:18 Patch, Natch! (Instrumental) 1:15 Making Toys (Instrumental) 4:41 Thank You, Santa (Instrumental) 4:41 Making Toys (Little Band Overlay) 0:27 Making Toys (Percussion Overlay) 0:25 Making Toys (Choral Insert) 0:28 Chopin’s Waltz (Source) 0:30 Christmas Jingles (Rehearsal) 2:38 Total Disc Time 1: 79:41 Total Disc Time 2: 79:23 Total Collection Time: 159:04

Shipping starts on 12/10 Quartet Records proudly presents the premiere release of the brilliant, nostalgic score by renowned composer Carter Burwell (MILLER’S CROSSING, WATERLAND, FARGO, CAROL) for the 1995 iconic film THE CELLULOID CLOSET, celebrating its 30th anniversary. Directed by Rob Epstein and Jeffrey Friedman, this comprehensive documentary covers the history of gays and lesbians in cinema, from negative to positive portrayals of gay characters, as well as the challenges faced by actors and actresses. Carter Burwell provides a score that evokes the romanticism of Hollywood’s golden age, with a joyful and catchy main theme that radiates a sense of exuberant nostalgia, even when the score becomes more contemplative and dark. Burwell often plays with the narration’s ironic humor and the interviewees’ reflections, mirroring reality with melancholic orchestration. The score becomes a bridge between irony and sincerity, between memory, nostalgia, and desire. Recorded at the legendary MGM Recording Studios with a large orchestra conducted by the composer, the score also offers a touching arrangement of the song “Secret Love” (from the film CALAMITY JANE), emotionally performed by k.d.lang. The CD is rounded out with a selection of songs from films that were important in the development of the documentary. This album has been supervised by Carter Burwell, restored by Chris Malone, and mastered by Doug Schwartz. The package includes in-depth liner notes by film music writer Daniel Schweiger, including exclusive interviews with the composer and directors for this release. The design is by the creator of the original art for the film, Juan Gatti. Secret Love k.d.lang Titles Shades Give Me The Man Marlene Dietrich Will Hayes Raids I Wanna Be Loved by You Marilyn Monroe Silents The Code Of Liberation Ain’t There Anyone Here For Love? Jane Russell Gays Fight Back Men Where Men (Love Is Like A) Heat Wave Martha Reeves & The Vandellas Psychopaths Making Love Roberta Flack Kissing Finale Secret Love Doris Day

Shipping starts on 12/10 Quartet Records and Universal Pictures Film Music Classics Collection present the premiere release of THE DAY OF THE JACKAL (1973), celebrating the centenary of the renowned and much-missed composer Georges Delerue, born in 1925 in Roubaix (France) and who died suddenly in Los Angeles in 1992. THE DAY OF THE JACKAL was a brilliant, dynamic suspense thriller, masterfully directed by Fred Zinnemann, based on Frederick Forsyth’s bestseller. In the aftermath of France granting Algeria independence, a group of resentful military veterans hires a professional assassin, codenamed “Jackal,” to kill President Charles de Gaulle. Starring Edward Fox as the “Jackal,” along with Michael Lonsdale, Derek Jacobi, Alan Badel and Cyril Cusack, the film was a huge commercial and critical success. Georges Delerue had previously worked with Zinnemann on the historical drama A MAN FOR ALL SEASONS (1966), and they reunited again on JULIA (1977). For THE DAY OF THE JACKAL, the composer wrote a brief but energetic score with fatalistic overtones and dark textures. The score features suspense writing for strings in Delerue’s own style, with a hint of Bernard Herrmann in some of the repeating, minimalist suspense material. Delerue recorded about 30 minutes of music, about a third of which are source tunes, including pop music, Muzak-style pieces, accordion street music and a waltz. However, only about five minutes of dramatic underscore remain in the film, with no music in the second half. For this release, we have assembled Delerue’s score to include unused material and present what might have been and how the composer may have intended his score to play in the movie. For this premiere edition, painstakingly restored and mastered by Mike Matessino, we have used the surviving tapes courtesy of Universal Pictures and the Georges Delerue estate. The package includes an in-depth essay by film music writer Jeff Bond, discussing the film and the score. Jackal Opening 2:37 The Day of the Jackal – Main Title 0:45 Failed Assassination 1:10 New Identity 3:03 Assignment For Denise 3:06 Jackal Walking No. 1 2:16 Forger Dead / Love Theme 0:56 Leash Off Dog 1:46 Sexy 2:35 Street Sounds 2:33 Hotel Lobby Waltz 1:20 Lounge Coffee 1:57 Jackal Checks Into Hotel 0:46 Jackal Out Of Cab 0:56 Jackal Walking No. 2 1:40 The Jackal Gets It 2:45 Total Album Time: 30:15

Snow Files of the Week: "Joyride" aus der "Windham Hill's Winter Solstice On Ice" Show (1999). Mal etwas ganz anderes für Mark. Das Stück „Joyride" komponierte er für eine Eiskunstlauf-Gala. Es erschien zusammen mit den anderen Kompositionen, unter anderem von W.G. Snuffy Walden, auf der Compilation „Winter Solstice On Ice". Viel Spaß beim Hören!

Zukünftige Expandierungen und Remastering sind natürlich immer irgendwie möglich. Aber zumindest ist nun offiziell ein Album erschienen und die Musik damit erstmal veröffentlicht, das meinte ich. Dass irgendwann noch eine Ausgabe kommt mit Album-Schnitt, Musik wie im Film und den Source-Stücken ist damit ja nicht ausgeschlossen.

Die Silva hab ich auch, aber 1993 ist ja im Vergleich auch Steinzeit, wenn man sieht, wie schnell heute Scores erweitert und remastert wieder veröffentlicht werden Zudem sind ja beide Ausgaben, die Silva und die Varese, OOP, wenn ich das richtig sehe. Und damit teilweise auch nur noch für teuer Geld zu bekommen.

Klar, PR muss natürlich sein. Irgendwann zieht das „Wir haben das remasterte Material noch mal remastert und für diese neue Veröffentlichung erneut noch besser remastert und außerdem noch die zehn Sekunden mehr Material, die wir beim letzten Mal gefunden haben, ebenfalls remastert" auch nicht mehr wirklich. Da muss man sich dann neue Argumente einfallen lassen. Umgekehrt könnte man als Kunde fragen, warum man sich eine „minderwertige" Veröffentlichung kaufen soll, wenn in ein paar Jahren sowieso eine bessere Version erscheint? Sprich, warum wurde das Material nicht gleich richtig remastert und in der korrekten Tonhöhe veröffentlicht? Irgendwann kommen dann wohl noch Argumente wie „Der Score war bisher in der korrekten Geschwindigkeit, aber nun ist er angepasst an die Geschwindigkeit, die der Komponist sich eigentlich vorstellte". Das war doch bei POLTERGEIST II vor einigen Jahren so ein ähnlicher Fall, wenn ich mich recht erinnere. Wo es darum ging, dass der Mix der Musik im Film anders ist als der Mix, den Goldsmith ursprünglich erstellte, beziehungsweise für das Album. Und welcher Mix nun der bessere ist oder der „richtigere". Sachen wie SPIDER-MAN 3 und BATMAN & ROBIN werden wohl weiter ein Traum bleiben. SPIDER-MAN 3 wegen der Tantiemen für Elfman und der allgemeinen Frage, wie man den Score auf CD präsentiert (Wie von Young komponiert? Die zerschnippelte Filmversion? Mit der von Steve Bartek neu arrangierten Elfman-Musik?) und BATMAN & ROBIN wegen Goldenthal (rotes Tuch bei Warner und ganz allgemein Warner als unkooperatives Studio). So große Lücken bei populären und gefragten Titeln gibt es eigentlich nicht mehr. Selbst bei Williams und Goldsmith ist da mittlerweile eigentlich alles abgedeckt. Sogar SUGARLAND EXPRESS, bei dem man dachte, dass der zumindest zu Williams' Lebzeiten nicht mehr erscheint, weil dieser einer Veröffentlichung im Weg stand, kam mittlerweile heraus und schloss damit die letzte Lücke der Williams-Spielberg-Filmmusiken. Klar rufen die Leute immer wieder nach den ultimativen STAR-WARS- und INDIANA-JONES-Veröffentlichungen, aber es ist ja nicht so, dass es diese Scores noch gar nicht veröffentlicht gibt. Bei Goldsmith wäre eventuell SUPERGIRL noch so ein Ding, was größeres Interesse auf sich zieht. Da würde so eine remasterte und komplette Version als Veröffentlichung wohl noch eher Sinn machen. Kommt sicherlich auch irgendwann noch, aber ist eben auch ein Titel, den es schon gibt. Und klar, im Golden Age gäbe es noch viele Titel, die man bringen könnte. Aber da ist eben das allgemeine Interesse mittlerweile wohl so gering geworden, dass sich das kaum noch ein Label traut, weil es nur noch eine Handvoll Leute kaufen.

Die Luft wird eben immer dünner bezüglich wirklicher Kracher, die man noch bringen kann. Das Meiste ist schon mehrfach abgegrast und die Bedingungen für eine Veröffentlichung werden immer schwieriger (sinkende Verkaufszahlen, teure Lizenzen, unkooperative Studios). Da müssen dann eben Jubiläen bereits mehrfach veröffentlichter Scores auch zu Weihnachten herhalten. DIE HARD und HOME ALONE kommen sicherlich irgendwann auch nochmal Vielleicht überrascht LLL ja doch noch mit weiteren Bond-Scores zu Weihnachten. Die haben sie sich damals bei der ersten Ankündigung ja auch für den 24.12. aufgehoben.