Alexander Grodzinski

INTRADA Announces: BATTLESTAR GALACTICA The Classic Soundtrack Collection Music Composed by STU PHILLIPS Intrada proudly presents Battlestar Galactica: The Classic Series Soundtrack Collection, a comprehensive 8-CD set of the legendary music by Stu Phillips for the original 1978–1979 film and television episodes, along with select material from the sequel series, Galactica 1980, all fully restored and remastered. Intrada previously released four volumes of Battlestar Galactica in 2011–2012 that have been long out of print. This new set includes some notable updates, the most significant of which is the integration of recently discovered material from the studio vaults. Also included now is the 1978 MCA Records album (remastered from original elements) along with alternate and cover versions of the song “It’s Love, Love, Love,” a disco arrangement of the main theme, and a special arrangment by Stu Phillips for the Boston Pops album Out of This World, conducted by John Williams. The entire collection has been produced with the generous cooperation of Universal Music Enterprises and Universal Studios. Combined with the extras for the Original Soundtrack Album, this collection presents 86 minutes of previously unreleased material. GRAMMY®-nominated producer Mike Matessino has undertaken a ground-up restoration of all elements, correcting speed, incorporating previously missing overlays, and applying state-of-the-art technology for the clean-up and mixing of all music into a seamless presentation. All work was done in consultation with the composer himself. Premiering on this release is music for the episodes Fire in Space and The Man With Nine Lives, as well as significant additions for Lost Planet of the Gods, Gun on Ice Planet Zero, The Lost Warrior and several other episiodes. The collection closes with some previously unreleased music from Galactica 1980 episodes Galactica Discovers Earth and The Night the Cylons Landed, which includes “Turbine Lift Off,” the oft-requested music for the show’s infamous flying motorcycles that allowed Phillips to give his Galactica theme the rock-and-roll treatment. Battlestar Galactica: The Classic Soundtrack Collection runs 9 hours and 22 minutes across 8 discs. The set is housed in an evocative and durable glossy cardboard box designed by Joe Sikoryak and contains 5 jewel cases and a separate 52-page book with new double-panel cover art by Paul Shipper. The book features a new foreword by producer Mike Matessino and extensive notes written by John Takis, expanding on the older releases with deeper explorations of the scores and new revelations from the composer about the process of creating the music. The jewel case booklet for the first disc, containing the 1978 album recording, offers flipper art of original Galactica posters with notes from series creator Glen A. Larson and Stu Phillips on the inner pages. Art direction is by Kay Marshall with contributions by Stepháne Coedel, with all of the booklets featuring numerous photos along with conceptual and promotional art created for the series. The music for Battlestar Galactica continues to stand as a milestone in the annals of television music, now preserved and celebrated with this definitive collection. Retail Price: $139.99

INTRADA Announces: JAWS 2 Music Composed and Conducted by JOHN WILLIAMS Intrada announces a fully remastered 2-CD edition of the first sequel score ever composed by John Williams: Jaws 2. Released in cooperation with Universal Studios and Universal Music Enterprises (UMe), this release presents a ground-up restoration, remix and remastering from the first-generation multi-track scoring elements. Arriving a year after Williams’ Star Wars and Close Encounters of the Third Kind fully unfettered the symphonic film score, Jaws 2 builds on the iconic shark motif from the classic original and expands into a dynamic exploration of the joys and terrors of the sea in iconic Williams style. Intrada derived its previous release (2015) from 3-track masters provided by Universal Studios, but this time, as a result of a deep dive (we couldn’t resist) ahead of last year’s 50th anniversary of the original Jaws, we discovered that the 16-track scoring masters for the sequel were housed in the vaults at UMe. The record company provided new high-resolution transfers at 192k/24-bit, which were then meticulously restored, remixed and remastered by Mike Matessino and approved by the composer. This 2-CD set once again presents the complete score, plus bonus material (including some newly discovered alternates), and, on CD 2, a fully rebuilt version of the 1978 original soundtrack program. The accompanying 20-page booklet offers an updated version of Scott Bettencourt’s essay from 2015 and presents a new “Tech Talk” section by Matessino. Simultaneously with Intrada’s release, UMe/Geffen will be offering the original album program in Digital Dolby Atmos, mixed by Steve Genewick, as well as a “2026 Mix” digital stereo soundtrack album in high resolution. The website jaws50music.com now has a Jaws 2 tab with information about these releases. Meanwhile, Matessino’s remix and remastering of the original Jaws soundtrack recording is now available on a new LP pressing from Geffen/Interscope.

Marks langjähriger Music Editor Jeff Charbonneau, der auch immer wieder selbst Musik beisteuerte und zuletzt am Director's Cut von I WANT TO BELIEVE gearbeitet hat, ist nun leider auch verstorben. Jeff Charbonneau passed away last week, according to XFilesNews. He was the music editor for everything Ten Thirteen produced: #TheXFiles from the pilot all the way to the revival seasons; #Millennium; Harsh Realm; The Lone Gunmen; the two TXF movies; even Carter’s pilot for The After. The Vrach Frankenshteyn director’s cut was the last thing he worked on. He was one of the foundations of all of Ten Thirteen and one of those figures behind the scenes that didn’t get a spotlight but were important. Our thoughts are with his family. Jeff worked with the sound effects team and music mixer Larold Rebhun to balance music and sound, creating the shows’ unique atmospheres. A close collaborator of composer Mark Snow, who passed away last year, he edited Mark’s music into the episodes, did some arrangements and occasionally contributed with music himself. Most memorably, he composed the music in 4X13: Never Again where Scully gets her tattoo (and found on La-La Land’s TXF Volume 4). Just looking at his Ten Thirteen work, he won two Emmy Awards for sound editing for The X-Files and got nominated three more times, plus once for Millennium. He also worked on many other shows, such as 24, Homeland (both with ex-TXF alumni Alex Gansa and Howard Gordon, and Larold Rebhun), Love, Death + Robots… not to mention his film work: Dazed and Confused, Seven Years in Tibet… Jeff had a rich background, well-travelled, studied film and anthropology, a performing musician and an acrobat, and was an accomplished photographer. Jeff Charbonneau and Eliza French collaborated together on peculiar photography projects that I can only describe as surreal gothic fantasy by way of Jean Cocteau and the Quay Brothers. Below is a small selection of their work. Personally, I find them very enchanting and intriguing! See more at their website is Seven Sisters Asleep. https://www.sevensistersasleep.com/

Snow Files of the Week: "Trying to connect/True Feelings" aus dem Film "Private Fears in Public Places" (2006). Ein Score wie geschaffen für verschneite Wintertage. Es war die erste Zusammenarbeit zwischen Mark und dem legendären französischen Regisseur Alain Resnais. Drei weitere Male arbeiteten sie noch zusammen, bevor Resnais Anfang 2014 leider verstarb. Der Film erzählt die Geschichte verschiedener Menschen in Paris, die auf der Suche nach Liebe sind, jeder auf seine Weise. Die melancholische Stimmung des Filmes, in dem es ständig schneit, gab Mark die Gelegenheit einen seiner schönsten Scores zu schreiben. Beim Schnitt wurde der Film mit Musik aus "The X-Files" und "MillenniuM" unterlegt, weshalb es nicht weiter verwunderlich ist, dass es Ähnlichkeiten in Marks finalem Score gibt. Ein Album mit der Musik wurde von BSX veröffentlicht, limitert auf 1.000 Stück. Viel Spaß beim Hören!

Quartet Records presents a new limited-edition CD release featuring a John Barry triptych: his scores for three acclaimed British films from the 1960s: FOUR IN THE MORNING, THE L-SHAPED ROOM and DUTCHMAN. Between 1962 and 1967, English composer John Barry scored three black-and-white films tackling serious social and cultural issues. All featured stunning performances, and all would earn acclaim—particularly on the film-festival circuit—for their excellence as drama. FOUR IN THE MORNING (1965), directed by Anthony Simmons and starring Judi Dench, features one of Barry’s most intimate scores, written for a small chamber ensemble with a particular emphasis on woodwinds and percussion. It is an introspective score in the vein of what he had composed for SÉANCE ON A WET AFTERNOON and would later continue with THE WHISPERERS. THE L-SHAPED ROOM (1962), starring Leslie Caron, marked Barry’s first collaboration with Bryan Forbes. That same year, he arranged and recorded the “James Bond Theme” for DR. NO, marking the beginning of his legendary association with the series. Although Barry wrote only two cues for the film’s party scene, THE L-SHAPED ROOM planted the seed for a fruitful collaboration with Forbes and remains an important film in the composer’s career. DUTCHMAN (1967), directed by Anthony Harvey and starring Shirley Knight. Barry would later score Harvey’s THE LION IN WINTER, one of the composer’s most celebrated masterpieces, which earned him his third Academy Award. For this intense, compact film—barely an hour long and based on the play by Amiri Baraka—Barry composed a stark, intense and distinctive theme, briefly reprised midway through the film and again over the end credits. The FOUR IN THE MORNING album has previously been released on CD several times, but for this edition it has been carefully remastered from the first-generation tapes used for the U.S. LP version, with the dialogue removed. It is presented in both true stereo—with none of the digital “fake stereo” processing heard on some of the previous editions—and mono. We have included also the mono version because it features several unique mixes and takes that make it subtly different from its stereo counterpart. THE L-SHAPED ROOM has been a genuine discovery: for the first time, the two cues Barry composed for the film are being released—and both in stereo. In the case of DUTCHMAN, the isolated music stem was the only available source, from which we have included the opening and closing titles. (The music heard midway through the film was simply an edit of the Main Title.) The album has been meticulously restored and mastered by Chris Malone and includes an in-depth essay by leading John Barry authority Jon Burlingame. Three low-budget, black-and-white British films from the 1960s, each built around an outstanding female performance, and each featuring a unique musical contribution by John Barry. All three are well worth revisiting. Tracklist FOUR IN THE MORNING (Stereo) 1. Four in the Morning 2:04 2. River Walk 2:44 3. Lover’s Clasp 1:20 4. Norman’s Return 3:15 5. River Ride 2:41 6. Four in the Morning (II) 1:58 7. Lover’s Tension 1:02 8. First Reconciliation 3:19 9. Norman Leaves 2:35 10. Moment of Decision 1:39 11. Judi Comes Back 3:01 THE L-SHAPED ROOM 12. The T-Shaped Twist 2:11 13. Jazz With Johnny 2:51 DUTCHMAN 14. Opening Titles 1:46 15. Finale 1:15 FOUR IN THE MORNING (Mono) 16. Four in the Morning 2:09 17. River Walk 2:44 18. Lover’s Clasp 1:21 19. Norman’s Return 3:16 20. River Ride 2:40 21. Four in the Morning (II) 1:59 22. Lover’s Tension 1:02 23. First Reconciliation 3:18 24. Norman Leaves 2:36 25. Moment of Decision 1:38 26. Judi Comes Back 2:59 Total Disc Time: 59:29

Ab dem 29.09.

Digital neu von BSX/DD: BSX DIGITAL presents music composed by Craig Safan (REMO WILLIAMS: THE ADVENTURE BEGINS, THE LAST STARFIGHTER, CHEERS, SON OF THE MORNING STAR) for THE STRANGER, the 1987 psychological thriller directed by Adolfo Aristarain, written by Dan Gurskis, starring Bonnie Bedelia, Peter Riegert, Barry Primus, David Spielberg, Marcus Woinsky, Cecilia Roth, Jacques Arndt, Ricardo Darin, Julio De Grazia, Milton James, Julio Kaufman, Ernesto Larrese, Sacha Favalevic and Federico Luppi. Released in 1987, THE STRANGER tells the story of a woman living in Buenos Aires who, while suffering from amnesia, gradually discovers that she is the sole surviving witness to a brutal murder. As she struggles to piece together her shattered memories, mysterious killers close in, while the authorities are unable to find any evidence that the crime ever occurred. THE STRANGER was a unique co-production between an American film studio and the Argentine government, which at the time was actively encouraging international productions to film in Argentina. Although the project represented an exciting collaboration, the film failed to make an impact in the American market. As a result, it received only a VHS release in the United States and has remained largely unavailable in any other home video format, making it one of the more elusive thrillers of the late 1980s. Composer Craig Safan joined the production during one of the busiest periods of his career. Simultaneously scoring feature films such as LADY BEWARE while working on numerous television projects, including TIME STALKERS and SECRETS OF THE TITANIC, Safan found the time to create a richly atmospheric score for THE STRANGER. The result is an evocative, dark, and suspenseful score built primarily around an array of synthesizers, including the Synclavier, whose distinctive sound became one of the score’s defining characteristics. Emmy-nominated and eight-time ASCAP award-winning composer Craig Safan has scored more than one hundred feature films, television and documentaries, has had more than 50 soundtrack albums of his music produced, as well as having three original albums of his own impressionistic music released. He’s been commissioned to compose for ballet as well as for live performance of silent films and was given the Poledouris Film Music Legend Award at the 2014 International Film Music Festival in Cordoba, Spain. BSX Digital presents the world premiere release of THE STRANGER, featuring music composed by Craig Safan. The music has been mastered by James Nelson at Digital Outland and includes liner notes by Scott Davis. Trust no one. Hear the mystery. 01. Mirrors And Lights (3:28) 02. Opening Titles (2:25) 03. First Dreamback / Escape / Crash (3:45) 04. Hospital Dreamback / No Plane / Assassin (4:13) 05. Kate And Doctor Harris / Running (2:52) 06. Hospital Chase / Dead Doctor (5:52) 07. Dreamback / Truth Serum / Love Making (6:16) 08. Stalking Kate (2:03) 09. Slight Recognition / The Body (4:33) 10. Hanger Dreamback (4:52) 11. Lights Out / Killer In The House (8:24) 12. Theatre Of Memories (6:43) 13. Final Dreamback / Meeting Reality (6:12) 14. Chase In The Morgue (6:47) 15. Move Away / Happy Ending (3:07) 16. Cafe Music (0:39) 17. Radio Music (0:24) 18. Dinner Music (2:18) Total Time: 74:53 Presenting the original soundtrack to the 2003 motion picture FRANKIE AND JOHNNY ARE MARRIED, written and directed by Michael Pressman, starring Pressman, Lisa Chess and Alan Rosenberg. The film chronicles the troubles a producer has trying to mount a production of the Terrence McNally play Frankie and Johnny in the Clair de Lune. The production is beset by one problem after another, including a hard to handle male lead (Rosenberg). This eventually results in Pressman taking on the male lead role himself. FRANKIE AND JOHNNY ARE MARRIED was scored by composer Don Peake, best known for his work for the films I DESIRE, THE PEOPLE UNDER THE STAIRS and THE HILLS HAVE EYES as well as most of the television scores for the 1984 TV series KNIGHT RIDER. A composer and session legend who defined the sound of Motown and cinematic action, Don Peake’s career spans over half a century of influential recordings and scores. 1 Clair Goes Downtown (3:59) 2 Clair de Lune (4:56) 3 Frankly (8:23) 4 Julia Gets It Again (6:51) 5 In There (3:17) 6 Reverie (1:44) 7 Reverie Jazz (6:20) 8 Bolero (2:42) 9 Brooks (0:31) 10 Canals (0:43) 11 I Know Who (3:04) Total Time: 42:48 Experience the grandeur, excitement, and inspirational spirit of the Centennial Olympic Games with MUSIC FROM THE 1996 SUMMER OLYMPICS, featuring the original music of acclaimed Emmy Award-winning composer and conductor Mark Watters. Created for the historic 1996 Atlanta Olympic Games, Watters’ music captures the pageantry, drama, triumph, and human spirit of one of the world’s greatest sporting celebrations. Performed by the Atlanta Symphony Orchestra and Centennial Olympic Chorus, these sweeping orchestral works were created to accompany some of the most memorable moments of the Atlanta Games. Among the highlights is the majestic “Faster, Higher, Stronger,” composed by Watters with lyrics by Lorraine Feather and performed by legendary soprano Jessye Norman at the Olympic Opening Ceremony. Norman’s extraordinary voice gives this stirring Olympic anthem a breathtaking emotional dimension. From the dramatic “Countdown/Samaranch” and the sweeping “The Run Through Time” to “The River,” “The Storm,” “Dignitaries Walk-On,” “Earth Rise,” and the triumphant “Faster, Higher, Stronger,” this collection presents a rare opportunity to hear the music behind the spectacle of Atlanta 1996. MUSIC FROM THE 1996 SUMMER OLYMPICS is a celebration of musical pageantry, Olympic history, and the universal ideals of excellence, achievement, unity, and hope—an essential release for Olympic enthusiasts, soundtrack collectors, and anyone who remembers the unforgettable spirit of Atlanta 1996. Countdown / Samuranch (1:40) The Run Through Time (4:21) The River (4:56) The Storm (2:29) Dignitaries Walk On (4:07) Earth Rise (2:25) Faster, Higher, Stronger Jessye Norman, Soprano Lyrics by Lorraine Feather Step up to the plate for a musical celebration of America’s national pastime! MAJOR LEAGUE BASEBALL’S MEMORABLE MOMENTS presents the original score composed by acclaimed composer Mark Watters for the 2002 Major League Baseball All-Star Game, performed by the Northwest Sinfonia Orchestra. Written to capture the excitement, drama, tradition, and timeless emotion of baseball, Watters’ sweeping orchestral score brings a cinematic dimension to the unforgettable moments that have defined the game. From the anticipation of the first pitch to the exhilaration of victory, this music celebrates baseball as both a sport and a cherished part of the American experience. This release also carries a deeply personal significance for Watters. it is dedicated to the memory of his father-in-law, Tom Vandergriff, whose lifelong love of baseball served as an important inspiration for the creation of this remarkable score. Performed with power and elegance by the Northwest Sinfonia Orchestra, this previously unreleased music offers soundtrack and sports fans alike an opportunity to experience Mark Watters’ evocative score on its own—music that transforms the excitement of the ballpark into a sweeping orchestral celebration of baseball, its history, and the memories that make the game so enduring. 01. Prologue (1:47) 02. The Early Years: Mathewson, Hubbell and Vander Meer (1:07) 03. Gehrig Retires / DiMaggio / Williams / Robinson (2:07) 04. The Shot / The Catch: Bobby Thompson And Willie Mays (1:36) 05. Maris / Paige / Clemente / Aaron (2:25) 06. Rose / Rickey / Ryan / Ripken (1:45) 07. 9/11 / Diamondbacks Victory / Finale (2:03) Alien Fury: Countdown to Invasion — Music From The Original Score The invasion begins with an unforgettable sound. Experience the thrilling music of the television movie Alien Fury: Countdown to Invasion in this original recording, featuring an electrifying score by acclaimed composers Dennis McCarthy and John Beal. Blending suspense, science-fiction atmosphere, dramatic intensity, and powerful orchestral writing, McCarthy and Beal’s music captures the mounting tension of a world on the brink of extraterrestrial invasion. From ominous revelations to pulse-pounding action and moments of human drama, the score gives Alien Fury its distinctive cinematic voice. Now, hear the music beyond the screen—a gripping collection that brings the atmosphere and excitement of Alien Fury: Countdown to Invasion directly to your speakers. Music by Dennis McCarthy and John Beal. The invasion has a score. 01. Chasing Eddie/Spacecraft Photo (5:28) 02. Pentagon/Strike Decision (5:12) 03. Chasing Buzz/Invasion Hoax (6:05) 04. Riot/Alien Phones Home (5:53) 05. Bill Runs From MIBs/Not A Hoax (3:36) 06. Alien Autopsy/Kevin Trapped (6:34) 07. Alien Revealed/Kevin Escapes (6:01) 08. Mocking Earth/Kevin Kills Ava (7:23) 09. Countdown/Alien Bodies/Closing Credits (7:16) 10. Closing Credits (Dance Version) (1:55) 11. Kevin Escapes (Alternate Version) (3:17) 12. Bumper Suite (0:27)

Kommt am 29.09. wieder von Intrada. "Just when you thought the summer was over..." John Williams' riveting score for JAWS 2 returns in a newly remastered edition sourced from multi-track elements. Limited expanded edition 2-CD set available on September 29 from Intrada Records. Digital release in Dolby Atmos coming October 2 from Geffen/UMe.

Snow Files of the Week: „Origins/Base Camp", aus „The X-Files", Episode „Firewalker" (1994). Der Wissenschaftler Dr. Pierce überwacht die Übertragung des Forschungsroboters „Firewalker", der vulkanische Aktivitäten im Mount Avalon dokumentieren soll. Während der Übertragung entdeckt Dr. Pierce auf den Bildern die Leiche des Forschungsleiters Erickson. Und einen Schatten, der sich dort scheinbar bewegt, was aufgrund der hohen Temperaturen für jedes Lebewesen tödlich wäre, bevor die Kamera des Roboters zerstört wird. Mulder und Scully werden auf den Fall angesetzt und schon bald entdeckt Mulder, dass die Wissenschaftler scheinbar einen fremdartigen Organismus in den Tiefen des Mount Avalon gefunden haben. Mark webt das Titelthema in den Track „Origins" ein, während „Base Camp" ein an die 80er Jahre erinnerndes, sphärisches Stück Musik ist. Beide Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!

Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring music composed and conducted by Joe Harnell for the 1970s cult television show, THE BIONIC WOMAN. The series was created and developed by Kenneth Johnson (THE BIONIC MAN, THE INCREDIBLE HULK, V - The Original Mini-Series), starring Lindsay Wagner, Richard Anderson, Martin E. Brooks, Ford Rainey, Martha Scott, and Jennifer Darling. THE BIONIC WOMAN: 50TH ANNIVERSARY also includes the original main title, end credit themes and two first season episode scores by composer Jerry Fielding, well known for his work on films such as THE WILD BUNCH, THE MECHANIC, THE OUTLAW JOSEY WALES, as well as his scores for television, such as KOLCHAK: THE NIGHT STALKER. Also, we were fortunate enough to discover what is known as "tracking cues", material that the composers recorded specifically as a music library for the series, as well as, in some cases, "musical effects" which depict Jamie Summers in various bionic actions, a true treat for long-time fans of the series. Joe Harnell's music is featured on Disc 1 and includes music from the episodes 'Sister Jaime' and 'Jaime And The King'. Disc 2 features music composed by Jerry Fielding for the first season episodes 'Welcome Home, Jaime, Part 2' and 'Claws'. Born in The Bronx, New York, Joe Harnell was the son of a vaudeville performer. His professional career began early at age 14 playing piano with his father’s jazz and klezmer (traditional Ashkenazi Jewish music) groups. Upon completion of a music scholarship at the University of Miami, he entered military service in 1943, joining the United States Army Air Forces where he frequently performed as a member of Glenn Miller’s Army Air Force Band. During the 1950s, Harnell was as a “pianist for hire” for several major artists including Judy Garland, Marlene Dietrich, and Peggy Lee, with whom he became her full-time accompanist. He joined ASCAP in 1959, scoring pop hits with “Cinderella Twist” and “Funny Bunny.” His arrangement of “Fly Me to the Moon” in 1963 became a major hit, winning a Grammy Award for “Best Pop Instrumental Performance.” As in-house pianist on THE DINAH SHORE CHEVY SHOW, Harnell would frequently appear on-screen during sing-along segments. After a turn as Musical Director for THE MIKE DOUGLAS SHOW, Harnell relocated to Hollywood for new opportunities. He soon teamed up with writer/producer Kenneth Johnson on several memorable TV projects including THE BIONIC WOMAN, THE INCREDIBLE HULK, CLIFFHANGERS!, the original V mini-series, HOT PURSUIT and the pilot for ALIEN NATION (1989). Harnell also composed music for the soap opera SANTA BARBARA. Jerry Fielding was born on June 17, 1922, in Pittsburgh. As a child, he studied trombone, clarinet, sax and piano. Given a music scholarship for gifted instrumentalists, he attended the Carnegie Institute for a short time, before an illness forced him to be bedridden for two years. Recovering from his illness, he took a job working in the pit band at Pittsburgh’s Stanley Theater. He studied composition and arranging with conductor Max Adkins, who also taught Henry Mancini and Billy Strayhorn. Under Adkins’ guidance, Jerry wrote arrangements for the Stanley Theater band. Adkins introduced Jerry to guitarist/swing band leader Alvino Ray. At the age of 17, Jerry left Pittsburgh for Los Angeles to join Ray’s band as an arranger. When Alvino Ray’s band was drafted in the army, Jerry found work with Kay Kyser’s band, becoming the chief arranger in 1945. He went on to arrange for the big bands of Claude Thornhill, Jimmie Lunceford, Tommy Dorsey, Charlie Barnet, and Les Brown. Fielding also wrote extensively for radio and was eventually named musical director of THE JACK PAAR SHOW. By 1952, Fielding helmed his own jazz orchestra, which was the house band on Groucho Marx's popular television game show, YOU BET YOUR LIFE. Called to testify in front of the House Un-American Activities Committee, Fielding took the Fifth Amendment, refusing to divulge the names of any colleagues who might be suspected of 'Communism', knowing that pleading the Fifth would damage his thriving radio and television career, which it did. Fielding was blacklisted by the national television and radio networks and sought refuge in Las Vegas, where he served as musical director for acts including Abbott & Costello and Debbie Reynolds. Fielding returned to Hollywood in 1962 and at the recommendation of blacklisted screenwriter Dalton Trumbo, he was hired to write his first feature score for Otto Preminger's political thriller ADVISE AND CONSENT. In 1966, he teamed with Sam Peckinpah for NOON WINE, inaugurating an often-contentious creative partnership that won Fielding Academy Award nominations for THE WILD BUNCH and STRAW DOGS. Clint Eastwood was also well served by Fielding's scores to THE ENFORCER and THE GAUNTLET. The composer responded to their hard-edged urban milieu with full-on jazz compositions that featured some of the best jazz players in the business. In 1976, Fielding received his third and final Oscar nomination for Eastwood's THE OUTLAW JOSEY WALES. Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring 2 CDs featuring music composed by Joe Harnell and Jerry Fielding for the classic television show. The music has been mastered by James Nelson at Digital Outland. THE BIONIC WOMAN: 50TH ANNIVERSARY is a limited edition release. This will start shipping the week of September 28,2026 CD 1: MUSIC BY JOE HARNELL 1. The Bionic Woman - Main Title (Unused Version) (1:23) SISTER JAIME 2. Busted Nun (1:33) 3. Episode Titles / Going To See Mother Superior (3:39) 4. Bionic Hoe / Bad Guys At The Convent (3:28) 5. Searching The Winery / Jaime’s Plan (6:46) 6. Nuns In Action (4:40) 7. Bionic Angel (2:43) 8. The Bionic Woman – Bumper (Unused Version) (0:09) JAIME AND THE KING 9. The King And The Prince (4:45) 10. Bionic Sword Fight / A Farewell Kiss (5:47) 11. The Bionic Woman – End Credits (Unused Version) (0:31) TRACKING CUES 12. Jaime’s Theme – Long Version (6:39) 13. Dramatic Jaime (1:19) 14. Pretty Jaime (0:36) 15. Fembot Attacks Jaime (4:36) 16. Jaime Follows Fembot (1:15) 17. Sister Jaime In Jeopardy (1:30) 18. Jaime In Danger (1:28) 19. Jaime In Dreamland (7:44) 20. Jaime’s Slo-Mo Chase (1:57) 21. Bigfoot And Jaime (1:43) 22. Chasing Jaime (3:39) BONUS TRACK 23. Super Jaime – Album Version (2:50) Total Time 71:37 CD 2: MUSIC BY JERRY FIELDING 1. The Bionic Woman – Main Title 76 (1:23) WELCOME HOME JAIME, PART 2 2. Episode Titles / Carlton Harris (5:05) 3. “Where Is Your Head, Donald?” (2:36) 4. Trapping The Bad Guys / Back To School (9:25) 5. The Bionic Woman – Bumper 76 (0:07) CLAWS 6. Neil The Lion (1:57) 7. Titles / Neil’s Nighttime Stroll (5:25) 8. Chasing Neil / Cougar Strikes (4:48) 9. Pursuit Of Neil / Jaime And Neil (10:31) 10. A Very Happy Ending (1:08) 11. The Bionic Woman – End Credits 76 (0:30) ALTERNATE TAKES 12. Chasing Neil (Alternate) (0:52) 13. Back Home (Alternate) (0:12) 14. Back Home (Alternate 2) (0:09) 15. Library Track – Bongomania (1:44) 16. Back To School (Alternate) (1:21) BONUS TRACKS 17. Bionic Woman Theme (Solo Piano Version) (2:02) Performed by Joohyun Park 18. Music Effects (0:25) 19. Jumping Effects (1:13) 20. The Bionic Woman - Main Title (1:22) Performed by The Meridian Studio Orchestra Total Time 53:05 Dragon’s Domain Records presents THE TEKWAR TRILOGY, featuring music composed by David Michael Frank (ABOVE THE LAW, THE STAIRCASE, THE MOLE) for the TEKWAR series of films that led into the TEKWAR series, created by William Shatner and Ron Goulart, starring William Shatner and Greg Evigan. Born from a series of futuristic crime novels conceived by William Shatner and developed in collaboration with science-fiction author Ron Goulart, TEKWAR made the visual leap to television in 1994 as an ambitious cycle of feature-length movies. The battery began with TEKWAR, followed in rapid succession by TEKWAR: TEKLORDS, TEKWAR: TEKLAB, and TEKWAR: TEKJUSTICE, all four airing within the first five months of that year. Produced as a Canadian-American venture by Atlantis Films in association with Universal Television, the films represented a substantial attempt to build a continuing science-fiction franchise for television at a time when such sprawling, effects-driven productions remained a formidable undertaking for the small screen. The first of the four films, TEKWAR, features former police officer Jake Cardigan (Evigan), who awakens after years of cryogenic imprisonment, having been framed for murder and trafficking Tek, a highly addictive virtual-reality narcotic. Released under mysterious circumstances, he is recruited by Walter Bascom (Shatner) to investigate the powerful Tek lords while seeking to clear his own name. The second installment, TEKLORDS, continues Cardigan’s battle against the Tek trade as imprisoned drug lord Sonny Hokori (Von Flores) maintains control of his criminal empire while a sinister computer virus threatens both digital systems and human lives. The crisis becomes deeply personal when Cardigan’s former wife is placed in the crosshairs. The penultimate film of the quadrilogy, TEKLAB, follows Cardigan and his partner-in-grime Sid Gomez (Eugene Clark) to London, where the theft of the legendary sword Excalibur draws them into an international conspiracy involving political intrigue, murder, and a struggle over the restoration of the British monarchy. The concluding TEKJUSTICE was not scored by Frank and is not represented on this album. For the TEKWAR films, composer David Michael Frank amassed an eclectic ensemble that balanced traditional acoustic instruments with the most advanced electronic musical toys on the market at the time. The band was built around a triad of keyboardists, each helming an array of synthesizers, alongside one electric guitarist, one electric bassist, an EVI (Electronic Valve Instrument), an EWI (Electronic Wind Instrument), and two percussionists playing traditional acoustic and electronic instruments. David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition. Dragon’s Domain Records presents the premiere release of THE TEKWAR TRILOGY, featuring music composed by David Michael Frank, mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer. THE TEKWAR TRILOGY is a limited edition release. THE TEKWAR TRILOGY is expected to begin shipping the week of September 28, 2026. TEKWAR 01. Main Title (3:09) 02. Resurrection (1:54) 03. The Empty House (5:08) 04. Cops In Space (3:43) 05. Is Beth Really Dead? (3:00) 06. Escape From The Lab (5:20) 07. Final Battle (2:59) TEKLORDS 08. Killer Fantasy Girl (1:53) 09. Keeper of Secrets (3:35) 10. Hospital Bedside with Kate (2:26) 11. Race Against the Clock (3:27) 12. Hakori's Hideaway (3:52) 13. The Reanimation of Tora (4:34) 14. Fight For The Antidote (2:23) 15. Kate and Jake (2:53) TEKLAB 16. Excalibur (3:13) 17. Rachel Tudor (2:29) 18. Escaping the Monarchists (4:41) 19. Jake Frees Mark Tudor (2:27) 20. Fencing With a Fake (4:55) 21. Terror at the Tower (4:18) 22. Tristan and his Guinevere (1:41) Total Time: 74:59 Dragon’s Domain Records presents SUPER SPACE MOVIES THEMES, a compilation of music from classic science-fiction films from the 1950's, with many rare selections. SUPER SPACE MOVIE THEMES includes music from King of the Rocket Men, Flying Disc Men From Mars, Captain Video: Master of the Stratosphere, The Man From Planet X, Two Lost Worlds, Radar Men from the Moon, Red Planet Mars, Zombies of the Stratosphere, Abbott and Costello Go To Mars, Flight To The Moon, The Magnetic Monster, Gog, Killers From Space, The Rocket Man, Stranger From Venus, Tobor The Great, The Beast With a Million Eyes, Creature With The Atomic Brain, The Phantom From 10,000 Leagues, The Quatermass Xperiment, Fire Maidens From Outer Space, Forbidden Planet, The Gamma People, Indestructible Man, Jungle Hell, Supersonic Saucer, Warning From Space, X The Unknown, The Incredible Shrinking Man, The Invisible Boy, Monster From Green Hell, The Night The World Exploded, Quatermass 2 (Enemy From Space), Road To The Stars, The Robot Vs. The Aztec Mummy, Super Giant, 20 Million Miles To Earth, The 27Th Day, The Brain Eaters, The Day The Sky Exploded, The Flame Barrier, From The Earth To The Moon, Space Master X-7, The Strange World Of Planet X (Cosmic Monsters), The Atomic Submarine And First Man In Space. SUPER SPACE MOVIE THEMES features music composed by Stanley Wilson, Mischa Bakaleinikoff, Charles Koff, Alex Alexander, Mahlon Merrick, Joseph Gershenson, Yurly Levitan, Blaine Sanford, Harry Sukman, Manuel Compinsky, Lionel Newman, Eric Spear, Howard Jackson, John Bickford, Ronald Stein, James Bernard, Trevor Duncan, Louis and Bebe Barron, George Melachrino, Albert Glasser, Nicholas Carras, Jack Beaver, Seitaro Omori, Les Baxter, Ross DiMaggio, S.A. Shatiryan, Antonio Diaz Conde, Chumei Watanabe, Tom Johnson, Carlo Rustichelli, Gerald Fried, Louis Forbes, Joseph Zimanich, Robert Sharples, Alexander Laszlo and Buxton Orr. SUPER SPACE MOVIE THEMES has been mastered by James Nelson at Digital Outland, produced by Starlog Magazine’s David Hirsch and James Nelson. SUPER SPACE MOVIE THEMES is a limited edition release and is expected to begin shipping the week of September 28th, 2026. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. 01. Main Title (From KING OF THE ROCKET MEN) (1949) (1:07) Composed by Stanley Wilson 02. Main Title (From FLYING DISC MEN FROM MARS) (1950) (0:58) Composed by Stanley Wilson 03. Main Title (From CAPTAIN VIDEO: MASTER OF THE STRATOSPHERE) (1951) (0:51) Mischa Bakaleinikoff, Musical Director 04. Main Title (From THE MAN FROM PLANET X) (1951) (1:17) Composed by Charles Koff 05. Main Title (From TWO LOST WORLDS) (1951) (1:23) Composed by Alex Alexander 06. Main Title (From RADAR MEN FROM THE MOON) (1952) (1:15) Composed by Stanley Wilson 07. Main Title (From RED PLANET MARS) (1952) (1:04) Composed by Mahlon Merrick 08. Main Title (From ZOMBIES OF THE STRATOSPHERE) (1952) (1:06) Composed by Stanley Wilson 09. Main Title (From ABBOTT AND COSTELLO GO TO MARS) (1953) (1:18) Joseph Gershenson, Musical Director 10. Titles Suite (From FLIGHT TO THE MOON) (POLYOT NA LUNO) (1953) (1:56) Composed by Yurly Levitan 11. End Title (From THE MAGNETIC MONSTER) (1953) (2:02) Composed by Blaine Sanford 12. Main Title (From GOG) (1954) (1:59) Composed by Harry Sukman 13. Titles Suite (From KILLERS FROM SPACE) (1954) (1:15) Composed by Manuel Compinsky 14. Main Title (From THE ROCKET MAN) (1954) (1:09) Lionel Newman, Musical Director 15. Main Title (From STRANGER FROM VENUS) (1954) (0:29) Composed by Eric Spear 16. Republic Logo & Main Title (From TOBOR THE GREAT) (1954) (1:32) \ Composed by Howard Jackson 17. Titles Suite (From THE BEAST WITH A MILLION EYES) (1955) (1:49) Composed by John Bickford 18. Main Title (From CREATURE WITH THE ATOM BRAIN) (1955) (0:51) Mischa Bakaleinikoff, Musical Director 19. Main Title (From THE PHANTOM FROM 10,000 LEAGUES) (1955) (1:07) Composed by Ronald Stein 20. Opening (From THE QUATERMASS XPERIMENT) (1955) (1:09) Composed by James Bernard 21. Main Title (From FIRE MAIDENS FROM OUTER SPACE) (1956) (1:16) Composed by Trevor Duncan 22. Main Titles & Overture (From FORBIDDEN PLANET) (1956) (2:20) Composed by Louis and Bebe Barron 23. Main Title (From THE GAMMA PEOPLE) (1956) (1:28) |Composed by George Melachrino 24. Main Title (From INDESTRUCTIBLE MAN) (1956) (1:01) Composed by Albert Glasser 25. Main Title (From JUNGLE HELL) (1956) (1:41) Composed by Nicholas Carras 26. Main Title (From SUPERSONIC SAUCER) (1956) (0:58) Composed by Jack Beaver 27. Main Title (From WARNING FROM SPACE) (1956) (1:48) Composed by Seitaro Omori 28. Main Title (From X THE UNKNOWN) (1956) (1:12) Composed by James Bernard 29. Main Title (From THE INCREDIBLE SHRINKING MAN) (1957) (1:54) Joseph Gershenson, Musical Director 30. MGM Logo & Main Title (From THE INVISIBLE BOY) (1957) (1:23) Composed by Les Baxter 31. Titles Suite (From MONSTER FROM GREEN HELL) (1957) (2:08) Composed by Albert Glasser 32. Main Title (From THE NIGHT THE WORLD EXPLODED) (1957) (0:46) Composed by Ross DiMaggio 33. Main Title (From QUATERMASS 2) (1957) (1:06) Composed by James Bernard 34. Main Title (From ROAD TO THE STARS) (1957) (0:55) Composed by Sergey Shatiryan 35. Main Title (From THE ROBOT VS. THE AZTEC MUMMY) (1957) (1:33) Composed by Antonio Diaz Conde 36. Titles Suite (From SUPER GIANT (SÛPÂ JAIANTSU) (1957) (2:41) Composed by Chumei Watanabe 37. Main Title (From 20 MILLION MILES TO EARTH) (1957) (1:07) Composed by Mischa Bakaleinikoff 38. Main Title (From THE 27TH DAY) (1957) (0:52) Mischa Bakaleinikoff, Musical Director 39. Main Title (From THE BRAIN EATERS) (1958) (1:33) Composed by Tom Johnson 40. Main Title (From THE DAY THE SKY EXPLODED) (1958) (0:51) Composed by Carlo Rustichelli 41. Main Title (From THE FLAME BARRIER) (1958) (1:24) Composed by Gerald Fried 42. Main Title (From FROM THE EARTH TO THE MOON) (1958) (1:28) Composed by Louis Forbes 43. Main Title (From SPACE MASTER X-7) (1958) (0:54) Joseph Zimanich, Musical Director 44. Opening (From THE STRANGE WORLD OF PLANET X) (1958) (1:56) Composed by Robert Sharples 45. Opening Credits (From THE ATOMIC SUBMARINE) (1959) (1:50) Composed by Alexander Laszlo 46. Main Title (From FIRST MAN INTO SPACE) (1959) (1:25) Composed by Buxton Orr 47. Main Title (From PLAN 9 FROM OUTER SPACE) (1959) (2:10) Composed by Trevor Duncan 48. Opening (From TEENAGERS FROM OUTER SPACE) (1959) (3:04) Tom Graeff, Music Coordinator Total Time: 70:18 Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION, VOLUME 1, a compilation of two scores from legendary film and television composer Shirley Walker’s extensive filmography. Airing on television in 1995, THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE was directed by Max Tash, written by Brian Levant, Rick Copp and David A. Goodman, starring Daniel Riordan, Liz Vassey, Ron Perlman, Gia Carides, Duane Davis, Gregory Smith, Nichelle Nichols, Rick Copp, Lloyd Berry, David Mylrea, Sarah Strange, Bill Croft, Ken Kirzinger and Michael Donovan. In much the same vein as GALAXY QUEST, colorful visuals and a playful tone abound, affectionately celebrating the traditions of the space-hero characters of 1950s sci-fi TV in this campy television pilot film... Captain Zoom (Riordan) is the fictional intergalactic hero of a popular 1953 DuMont Network television program. He’s portrayed with all the cheerful bravado and humor one frequently associates with the heroes of our childhood — an affectionate homage to earlier science-fiction entertainment. The costume design, bright colors and exaggerated gadgets recall the spirit of the 1966 BATMAN television series but on the scale of the classic space serials FLASH GORDON and BUCK ROGERS. At the same time, the narrative emphasizes themes of friendship, belief in oneself and the power of imagination. The musical score by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE adds energy and emotional warmth to the adventure while also playing up the campy, exaggerated acting. Walker brings a lively orchestral-sounding approach to the project. She blends bold, heroic themes with playful musical gestures that match the film’s light family-adventure tone. Brass fanfares accompany Captain Zoom’s triumphant moments, while lighter motifs support the film’s child-like sense of wonder. Presented on television across two nights in 1997, ASTEROID was directed by Bradford May, written by Robbyn Burger and Scott Sturgeon, starring Michael Biehn, Annabella Sciorra, Zach Charles, Don Franklin, Carlos Gomez, Michael Weatherly, Jensen Daggett, Anne-Marie Johnson, Frank McRae, Anthony Zerbe and Dennis Arndt as the President. ASTEROID follows astronomer Dr. Lily McKee (Sciorra) who works at the National Observatory in Boulder, Colorado, monitoring near-Earth objects. During a routine survey of the sky, she detects the Fletcher comet whose trajectory indicates a potential approach near Earth on the Fourth of July. She later realizes that the comet has drawn several asteroids out of their orbits in the asteroid belt, but two in particular — Helios and Eros — are on a collision course with Earth and large enough to cause catastrophic damage. Helios is projected to hit with a force 1,000x greater than the Hiroshima A-bomb, but the far larger Eros is more dangerous, with the potential of wiping out all life on the planet. Military and government agencies soon become involved as the danger grows. FEMA Director Jack Wallach (Biehn) is tasked with coordinating evacuation efforts and responding to the crisis. Wallach becomes a central figure in the unfolding drama as authorities attempt to calculate the asteroid’s path and protect the population. The film shifts between scenes of scientific investigation, government deliberation, and the personal stories of individuals caught in the looming disaster. As Eros nears Earth, scientists explore possible ways to divert or destroy it... Shirley Walker’s score for ASTEROID plays a significant role in shaping the film’s dramatic tone, combining a powerful electronic feel with suspenseful textures that underscore the approaching danger from space. Low brass and percussion create a sense of impending catastrophe, while urgent rhythmic passages accompany scenes of scientific discovery and emergency response. Shirley Walker (April 10, 1945 – November 30, 2006) was an influential American film and television composer and conductor, recognized as a pioneer for women in Hollywood. She was one of the first female composers to gain solo score credit on a major film. Walker won two Emmy Awards, and the ASCAP Shirley Walker Award was established in her honor in 2014. Walker's film career began in 1979 with APOCALYPSE NOW, where she played synthesizers and later orchestrated scores for films like THE BLACK STALLION. She excelled as an orchestrator, conductor and composer, working with notable figures like Danny Elfman and Hans Zimmer. Walker scored various productions, including WILLARD and the first three FINAL DESTINATION films, and TV series like FALCON CREST and THE FLASH. While working with Danny Elfman, she mentored Hans Zimmer and orchestrated several of his film scores. Walker was a prominent composer for several animated series in the DC Animated Universe, including BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, THE NEW BATMAN ADVENTURES and BATMAN BEYOND. She worked closely with Danny Elfman, served as the conductor for the film BATMAN, and composed much of the music for BATMAN: THE ANIMATED SERIES, creating a recognizable musical tone for the franchise. Her themes continued to be used in JUSTICE LEAGUE and JUSTICE LEAGUE UNLIMITED. Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION: VOLUME 1, featuring the premiere release of music composed by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE and ASTEROID, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by Scott Davis. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is a limited edition release. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is available for pre-order at www.buysoundtrax.com. Starts shipping the week of September 28, 2026 THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE 01. Main Title / The Planet Pangea (4:49) 02. Baley’s Universe Scan (0:49) 03. Captain Zoom TV Theme #1 (1:37) 04. Tyra’s Dream (2:42) 05. Captain Zoom TV Theme #2 (1:26) 06. Zoom Transported To Pangea (3:22) 07. Nessie The Sea Monster (2:33) 08. Sex In Space (3:13) 09. Zoom And Tyra Escape (4:19) 10. Which Star Is Earth? (1:29) 11. Sagan’s Prophecy (2:57) 12. Vesper’s Fake Trance (1:57) 13. Vox Returns Defeated / Spaceship Crash (2:03) 14. Where Are You Sleeping (1:54) 15. We Can’t Give Up (1:42) 16. Clay People (4:34) 17. Temple Of Reya (5:49) 18. Vesper’s End (1:57) 19. Vox’s Death (4:15) 20. Written In The Stars (Finale) (2:42) ASTEROID 21. Opening Titles / Helicopter Rescue (2:13) 22. Helios And Eros (2:45) 23. 1,000 Hiroshima Bombs (1:15) 24. Laser Attack (2:37) 25. Lily And Max (1:27) 26. Impact Aftermath (1:42) 27. Kansas City Evacuation (3:10) 28. Goodbye Dallas (1:52) 29. Survivors / Reunions (2:47) ` 30. Another 4000 Years (2:15) Total Time - 79:30

Snow Files of the Week: "Fries and Faith/Discreet Distance" aus "The X-Files", Episode "Talitha Cumi" (1996). Noch ein Staffelfinale, dieses Mal Staffel 3. Der Wunderheiler Jeremiah Smith hat in dieser Folge seinen ersten Auftritt und mehr Details über die Beziehung zwischen Mulders Mutter und dem "Raucher" werden enthüllt. Der Cliffhanger der Folge ist ein Treffen zwischen Mulder, Scully und Smith, zu dem plötzlich auch der ausserirdische Kopfgeldjäger stößt. Für die Staffelfinale der einzelnen Staffeln hat sich Mark musikalisch noch mal mehr ins Zeug gelegt, so auch hier. Seine düsteren, brodelnden Ambient-Klanglandschaften treffen auf seine tollen Piano-Themen und sphärische Chor-Passagen. Diese beiden Stücke stammen vom zweiten Box-Set mit X-Files-Musik von LLL. Es ist auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

LLLCD 1692 Music by Hugo Friedhofer, Miklós Rózsa, Gail Kubik and Heinz Roemheld Limited edition of 1000 units La-La Land Records and Paramount Pictures present a remastered limited edition CD release of music from four brilliant scores to four classic, big-screen Paramount Pictures film noirs - 1951’s ACE IN THE HOLE, marking the film’s 75th Anniversary, 1944’s DOUBLE INDEMNITY, 1955’s THE DESPERATE HOURS and 1950’s UNION STATION. Two landmark Billy Wilder films are represented on this remastered presentation - ACE IN THE HOLE featuring composer Hugo Friedhofer’s blistering masterwork of clever scoring touches and DOUBLE INDEMNITY showcasing Miklós Rózsa’s expert musical chronicling of that film’s sensuous, dangerous duplicity. THE DESPERATE HOURS crackles with composer Gail Kubik’s purposefully unpredictable musical maneuvering and UNION STATION’s striking underscore is the impressive work of composer Heinz Roemheld. Produced by Dan Goldwasser and Lukas Kendall, restored by Chris Malone and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes exclusive, in-depth liner notes by writer John Takis and art direction by Goldwasser, featuring a reversible front cover. TRACK LISTING: ACE IN THE HOLE (1951) / HUGO FRIEDHOFER 1. Prelude 2:48 2. Sand Trickle 1:23 3. The Dirty Work Begins 2:10 4. Platinum Blonde 1:22 5. Pneumonia 1:10 6. Grand Finale 2:32 7. Tatum’s Death and End Title / End Cast 4:02 TOTAL SCORE TIME 15:27 THE DESPERATE HOURS (1955) / GAIL KUBIK 8. Paramount Seal / Prelude 1:42 9. Kobish Toccata (Unused) 2:06 10. Open Conflict (Unused) 0:52 11. Retribution 2:44 12. Last Chance (Unused) 1:43 TOTAL SCORE TIME 9:07 UNION STATION (1950) / HEINZ ROEMHELD 13. Prelude 1:15 14. The Stockyard 3:05 15. Trapped / End Title 2:53 TOTAL SCORE TIME 7:13 DOUBLE INDEMNITY (1944) / MIKLÓS RÓZSA 16. Prelude (Film Version) / First Scene 4:51 17. The Meeting 2:35 18. In the Cab 0:52 19. The Anklet 0:56 20. Inner Struggle 1:18 21. The Conspiracy (Partial) 0:57 22. The Policy 1:49 23. The Market 1:05 24. Reading His Mail 0:29 25. Preparation / The Murder (Partial) 3:07 26. Railroad Tracks 3:10 27. Relief 1:22 28. The Hallway 2:16 29. The Daughter 0:57 30. Warnings 3:02 31. The Appointment 1:25 32. Punishment / So Long, Keyes / Finale 8:04 TOTAL SCORE TIME 38:15 BONUS TRACKS 33. Double Indemnity: Prelude (Stereo Re-Recording) 1:24 34. Ace In the Hole: Prelude (Film Version) 2:32 TOTAL BONUS TIME 3:56 TOTAL DISC TIME 73:58

LLLCD 1699 Music by Mark Isham Limited edition of 1000 units ORDER NOW and get your CD booklet autographed by composer Mark Isham at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records and Paramount Pictures present the world premiere limited edition CD release of renowned composer Mark Isham’s original motion picture scores to 1996’s big-screen legal drama NIGHT FALLS ON MANHATTAN, starring Andy Garcia and Richard Dreyfuss, and directed by Sydney Lumet, and 1999’s big-screen sports drama VARSITY BLUES, starring James Van Der Beek and Jon Voight, and directed by Brian Robbins. Acclaimed composer Mark Isham (POINT BREAK, THE HITCHER, ROMEO IS BLEEDING) has been a major, continuous and dynamic voice in film music for decades. His impact on the 1990s is undeniable and vividly demonstrated in this debut CD presentation of two of his exceptionally effective scores for two vastly different films - NIGHT FALLS ON MANHATTAN and VARSITY BLUES. In both films, Isham displays an uncanny knack for burrowing into the character and heart of each story. From the legal drama of NIGHT to the gridiron excitement of VARSITY, the composer expertly mines the human drama at the foundation of each tale - and even places his own signature in the music by incorporating solo trumpet, performed by Isham himself. Produced by Dan Goldwasser and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes in-depth liner notes by author Jeff Bond, with new interview comments from the composer, and sharp art direction (featuring a reversible front cover) by Goldwasser. TRACK LISTING: NIGHT FALLS ON MANHATTAN 1. Opening Credits 2:13 2. Night Before Trial 0:45 3. Steam Room / Joey At Pier / Cemetery / Internal Affairs Questioning 4:48 4. Original Warrant / Joey’s Death 2:30 5. Phone Call* 1:49 6. Classroom / End Titles 3:44 TOTAL SCORE TIME 15:49 NIGHT FALLS ON MANHATTAN BONUS TRACK 7. Car Radio (Source) 4:42 VARSITY BLUES 8. Opening 2:02 9. Problems / Billy Bob Down / Love On Car* 1:51 10. Challenge / Miss 1:19 11. Billy Bob 0:40 12. Lance Is Down 2:21 13. Kiss (2 Ways) 0:45 14. Open The Door 0:55 15. Bus Driving Transition / I Do 2:11 16. I’ll Bury You 0:59 17. What If I Lose? 1:07 18. Wendell’s Victory* / Wendell Goes Down / Get Out There 2:41 19. Let’s Go / 24 Minutes / Kilmer Packs 3:09 20. The End 3:49 TOTAL SCORE TIME 23:49 VARSITY BLUES BONUS TRACKS 21. Lance Is Down (Alternate Take) 2:20 22. What If I Lose? (Alternate Take) 1:05 TOTAL BONUS TIME 3:25 TOTAL ALBUM TIME: 47:45 *not used in film This is a CD format release

Wie auch schon das erste LOST THEMES bekommt nun auch LOST THEMES II eine neue Auflage zum 10-jährigen. Es gibt neues Artwork und einen Bonustrack. To celebrate the 10th anniversary of Lost Themes II, Sacred Bones is proud to present a new expanded art edition of John Carpenter's acclaimed second album of non-soundtrack compositions. Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album with a bonus 7" containing "Real Xeno”, now available on vinyl outside its original, limited Sacred Bones Society release for the first time. The B-side features an exclusive etched design created especially for this edition. The Lost Themes series has grown into one of the defining chapters of Carpenter's career. Free from the constraints of the screen, these compositions have taken on lives of their own, expanding Carpenter's legacy beyond film scores. Released in 2016, Lost Themes II broadened the sonic world of its predecessor, pairing Carpenter's unmistakable gift for atmosphere and suspense with his trademark minimal synth, richer arrangements, and electric and acoustic guitars. A decade on, Lost Themes II remains a landmark in a series that has grown far beyond imagined soundtracks, standing as essential works in Carpenter's catalog and a testament to his musical vision and remarkable ability to create worlds that extend far beyond film. Track List: 1. Distant Dream 2. White Pulse 3. Persia Rising 4. Angel's Asylum 5. Hofner Dawn 6. Windy Death 7. Dark Blues 8. Virtual Survivor 9. Bela Lugosi 10. Last Sunrise 11. Utopian Façade 12. Real Xeno (Bonus Track)

Quartet Records proudly presents the premiere release of Robert Folk’s deliciously energetic and stylish score for YOU’RE DEAD, a 1999 British crime comedy directed by Andy Hurst that starred John Hurt, Rhys Ifans, Claire Skinner and David Schneider. A darkly comic tale of crime, greed and spectacularly bad decisions, YOU’RE DEAD offered composer Folk an ideal playground for a score that combines suspense, eccentricity and unabashed orchestral excitement. Best known for his memorable music for the POLICE ACADEMY series, TOY SOLDIERS, TREMORS, THE NEVERENDING STORY II and MILES FROM HOME, Folk has always brought a strong melodic personality and superb orchestral craftsmanship to his film work, and YOU’RE DEAD is no exception. Performed by the Munich Symphony Orchestra under the composer’s baton, Folk’s music moves effortlessly between suspenseful textures, mischievous character writing and vigorous action set pieces, with rhythmic energy and bold orchestral gestures driving the narrative forward. Beneath the score’s playful surface is the polished dramatic architecture that distinguishes Folk’s best work: memorable themes, carefully developed motifs and an instinctive understanding of how to balance melody, tension and cinematic spectacle. Previously unreleased, YOU’RE DEAD represents another fascinating entry in Robert Folk’s rich and varied filmography and a particularly enjoyable example of his late-1990s scoring style. This album has been carefully mastered by Chris Malone, and the booklet includes an in-depth essay by film music writer Daniel Schweiger. 1. Main title 3:03 2. Opening / Maitland’s Dead / Professor Corner Leaves 2:57 3. Matland’s Belongings / The Interrogation Begins / Badger transition 1:19 4. The Envelope / Broken Picture 1:5 5. Robbery continued 1:43 6. Rob the Bank, sah’b / What’s jo playing? 2:01 7. Photo montage / Hostages leave 1:24 8. Police Attack 2:25 9. Jo Saves Maitland / Eddie’s Proud 2:37 10. Jo confesses to Maitland / George murdered / Locked in with murderer 2:43 11. Ian is the murderer 2:44 12. Jo tells Maitland 2:32 13. Doctor Dies / Ian is dead 2:18 14. Badger enter room / Badger interrogates jo 5:51 15. Badger leaves cyclops / Where the fuck’s the manager? 1:48 16. Manager / Video monitor / Manager Madness 1:36 17. The chase / Maitland and manager / Jo saves Maitland 5:52 18. More chase / Cigarette theme / The Money Bag 2:41 Bonus track: 19. You’re Dead demo 6:04 Total Disc Time: 53:35