Alexander Grodzinski

Da haben sie wohl doch gemerkt, dass sie das nicht alles auf eine CD bringen Ich habe bei Music Box bestellt. Dauert dann zwar etwas länger, ist aber 17 Euro günstiger

Ich habe das alte Album seinerzeit tatsächlich sehr gern und oft gehört. Ja, wie Ralf angemerkt hat, das Album ist wirklich leise abgemischt. Es gibt einige typische Hornerismen, aber das fand ich jetzt nicht störend. Den Track „The Wedding" gibt es dann fast 1:1, sogar mit dem gleichen Titel, bei Horners BICENTENNIAL MAN ebenso. Da hat er dann nur mehr BRAVEHEART reingemischt. Aber auch ich empfinde das alte Album als vollkommen ausreichend und mit 77 Minuten auch nicht zu kurz.

Music Composed and Conducted by Michel Legrand Title Song Sung by Lani Hall Lyrics by Alan and Marilyn Bergman Limited edition of 5000 units La-La Land Records and Metro-Goldwyn-Mayer proudly present a remastered and expanded 2-CD re-issue of composer Michel Legrand’s original motion picture score to NEVER SAY NEVER AGAIN. The 1983 film stars Sean Connery as James Bond 007 and is directed by Irvin Kershner (THE EMPIRE STRIKES BACK, ROBOCOP 2). The world was excited for the return of Sean Connery in his signature role. However, as NEVER SAY NEVER AGAIN, a remake of THUNDERBALL, was produced outside of the official film series it would mean iconic themes associated with the character could not return and all-new, original music would be required. Composer Michel Legrand (THE THOMAS CROWN AFFAIR, THE THREE MUSKETEERS, YENTL) accepted this mission, crafting a dynamic and stylistically varied, jazz-infused musicscape that finally gets a deluxe showcase within this expanded and remastered 2-CD presentation. Produced by Neil S. Bulk and mastered by Doug Schwartz from a variety of stereo sources, Disc 1 presents the score in expanded form debuting music not available on prior releases. Disc 2 opens with the original soundtrack album featuring newly translated track titles. In a puzzling move, at the time of the film's release, this soundtrack was available only as a Japanese LP while in the US, a 7" 45 was issued with the Lani Hall title song on one side and an exclusive instrumental of "Une Chanson d'Amour" on the other. This latter single opens the "Additional Music" section. Limited to only 5,000 units, the album has sharp art direction by Dan Goldwasser with a new front cover designed by Jim Titus. Rounding out the release are new and exclusive, in-depth liner notes by journalist and "The Music of James Bond" author Jon Burlingame. TRACK LISTING: Disc 1 Score Presentation 1. Never Say Never Again (Performed By Lani Hall) 3:03 2. Prologue 0:28 3. Fatima Blush, SPECTRE Hitwoman 2:22 4. Hello Nurse 0:43 5. Dinner With 007 1:07 6. Smoking Is Dirty 0:41 7. Bond Watches Jack 1:25 8. In Jack’s Room 0:18 9. Plunder Of Cruise Missiles 1:55 10. Death Of Jack Petachi 1:43 11. Missile Recovery 1:05 12. Dance Studio 1:23 13. Bahama Island 2:48 14. Bahamas — Boat 1:21 15. Fight To The Death With Tiger Sharks 4:50 16. Bahamas — Band 0:24 17. Bahamas — Hotel 2:00 18. Domino Petachi 2:03 19. Harbour Arrival 0:40 20. Une Chanson d’Amour (Vocal Version) (Performed By Sophie Della) 4:25 21. Casino 1:27 22. Domination 1:50 23. Tango To The Death 2:22 24. Charleston 0:30 25. Bond Returns Home / Nicole Dead / Pursuit 1:35 26. Chase 0:52 27. Boxers 0:38 28. Enjoy The Ship 0:34 29. Jealousy (Domino’s Dance) 3:15 30. The Game Is Over 4:42 31. Escape From Palmyra (Film Version) 1:18 32. Tears Of Allah 2:22 33. A Last Blow To Largo (Extended Version) 5:05 34. Underwater Fight 3:04 35. James Bond — Retired? (Extended Version) 1:23 TOTAL DISC 1 TIME: 1:06:41 Disc 2 Original Soundtrack Album 42:18 1. Never Say Never Again (End Titles) (Performed By Lani Hall) 3:11 2. Prologue 0:27 3. Fatima Blush, SPECTRE Hitwoman 2:22 4. Plunder Of Cruise Missiles 1:55 5. Death Of Jack Petachi 1:42 6. Bahama Island 2:48 7. Fight To The Death With Tiger Sharks 4:49 8. Never Say Never Again (Instrumental) 1:51 9. Une Chanson d’Amour (Vocal Version) (Performed By Sophie Della) 4:25 10. Tango To The Death 2:21 11. Chase 0:52 12. Jealousy (Domino’s Dance) 3:15 13. Escape From Palmyra 1:20 14. Tears Of Allah 2:21 15. A Last Blow To Largo 4:37 16. James Bond — Retired? 0:31 17. Never Say Never Again (Performed By Lani Hall) 3:04 Additional Music 5:25 18. Une Chanson d’Amour 3:33 19. Never? 0:44 20. Tango To The Death (Alternate Fragment) 1:06 Total Disc 2 Time: 47:50 Total Album Time: 1:54:31 This is a CD format release

Music by James Horner La-La Land Records, Paramount Pictures, DreamWorks Pictures and Sony Classical present a remastered and expanded 2-CD limited edition release of renowned composer James Horner’s original motion picture score to the 1998 big-screen science fiction drama DEEP IMPACT, starring Robert Duvall, Téa Leoni and Morgan Freeman, and directed by Mimi Leder. DEEP IMPACT’s powerful and dramatic storyline chronicling the human race’s attempt to thwart and survive a cataclysmic incoming comet needed a score capable of grounding its high-concept premise in truthful human emotion while conveying its epic scope and heightening suspense. The legendary James Horner (GLORY, THE ROCKETEER, TITANIC) delivers in every possible way, with a riveting, thematically rich orchestral score that is as heroic and inspirational as it is thrilling, heartbreaking and tragic. Newly remastered by Mike Matessino and expanded beyond the original soundtrack album with previously unreleased music and bonus tracks, this essential 2-CD presentation of Horner’s DEEP IMPACT demonstrates why this score among his finest works of the ’90s. Produced by Dan Goldwasser and mastered by Mike Matessino, this special 2-CD release is limited to 3000 units and includes exclusive, in-depth liner notes by author Jeff Bond. The bold art direction is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. A Distant Discovery (Film Version) 4:07 2. Press Conference No. 1 1:45 3. You Used to Be a Person / Car Pullover 2:06 4. Beck’s Basement 3:53 5. Press Conference No. 1 (Revised) / Press Conference No. 2 2:36 6. Crucial Rendezvous 3:58 7. Our Best Hope.... 13:22 8. The Comet’s Sunrise 5:03 9. A National Lottery (Film Version) 8:26 10. The Wedding 3:59 TOTAL DISC TIME: 49:28 DISC 2 SCORE PRESENTATION (CONT.) 1. The Long Return Home 4:42 2. Sad News (Film Version) 3:00 3. Leo’s Decision 3:05 4. The President’s Speech 4:27 5. Drawing Straws 10:38 6. Goodbye and Godspeed 11:33 TOTAL SCORE TIME: 87:01 BONUS TRACKS 7. A Distant Discovery (Album Version) 3:54 8. Press Conference No. 1 (Without Knocks) 1:46 9. A National Lottery (Album Version) 8:23 10. Sad News (Album Version) 3:45 TOTAL BONUS TIME: 17:57 TOTAL DISC TIME: 55:30 TOTAL ALBUM TIME: 1:44:58 This is a CD format release

Nolan hat es einfach geschafft, dass Leute wegen ihm ins Kino gehen. Es gibt nicht viele Regisseure, deren Namen auch außerhalb von Filmfans-Kreisen groß bekannt sind. Aber Nolan gehört definitv dazu. Hätte ein anderer Regisseur THE ODYSSEY gemacht, sogar mit dem gleichen Cast, wäre der Hype und auch der Erfolg sicherlich nicht so groß gewesen. Ridley Scott beispielsweise wäre ja prädestiniert gewesen für so ein Projekt. Er hat bereits ähnliche Filme gemacht, auch mit Matt Damon in der Hauptrolle, aber das waren alles keine Megahits, von einzelnen wie GLADIATOR mal abgesehen, manchmal sogar Totalflops, wie eben THE LAST DUEL mit Matt Damon. So ein Momentum alleine mit seinem Namen hat neben Nolan eigentlich nur noch James Cameron. Selbst Spielbergs Name zieht mittlerweile nicht mehr. Gut, der ist auch eine andere Generation und hat in den letzten Jahren auch so gut wie keine Eventfilme mehr gemacht, von READY PLAYER ONE mal abgesehen. Zack Snyder und James Gunn haben zwar auch einen Personenkult um sich, was man an den Debatten Snyder vs. Gunn bezüglich ihrer Superheldenfilme gut sehen kann, aber auch bei denen ist ein neuer Film nicht automatisch ein Hit. Tim Burton hatte auch mal einen Lauf, der zwischenzeitlich etwas eingebrochen ist, aber in den letzten Jahren doch wieder etwas angezogen hat. Auch er beziehungsweise sein Name ist eine Marke, die aber eben nicht ganz in den Gefilden eines Nolan mitspielt, wenn es um Einspielergebnisse geht. Also ja, das muss man Nolan lassen, dass er aus seinem Namen so eine Marke gemacht hat. Egal, welches Genre, die Leute schauen sich das wegen ihm an. Bei so ziemlich jedem anderen Regisseur wären Filme wie OPPENHEIMER, DUNKIRK oder auch TENET bei weitem nicht so gut gelaufen. Natürlich gehört cleveres Marketing und der Hype auch dazu, aber vom Sujet her würde ich jetzt mal behaupten, haben historische Stoffe eher nicht so ein breites Publikum. Wer hat denn auf eine Neuverfilmung von THE ODYSSEY gewartet? Bei Nolan geht das, weil er es eben auch versteht, aus sowas einen Eventfilm zu machen.

Snow Files of the Week: "Pugilistic Attitude/All His Children" aus "MillenniuM", Episode "Force Majeure" (1997). Nachdem viele Fans die Musik dieser Folge auf dem Wunschzettel hatten, erschien sie schließlich auf dem zweiten Volume MillenniuM-Musik von LLL. In dieser Folge untersucht Frank Black eine Reihe von Selbstmorden einer Gruppe junger Mädchen, die sich wie ein Ei dem anderen gleichen. Es geht um ein Klon-Experiment, als Frank auf Dennis Hoffman trifft. Hoffman wollte vor einiger Zeit in die MillenniuM-Gruppe aufgenommen werden und ist fasziniert von einer Planeten-Konstellation, die im Mai des Jahres 2000 auftrat. In der Folge spielt Brad Dourif die Rolle des Dennis Hoffman. Dourif tauchte bereits in einer Folge der X-Akten auf, als Luther Lee Boggs in "Beyond the sea". "Pugilistic Attitude" beginnt mit der atmosphärischen Violine, bevor das Stück übergeht in ein weiteres wundervolles Piano-Thema von Mark. "All His Children" präsentiert dann das musikalische Hauptthema der Folge, bevor ein perkussiver Mittelteil ertönt und das Stück wieder mit dem Hauptthema endet. Die Tracks stammen vom zweiten MillenniuM-Set von LLL. Es ist auf 2.000 Stück limitiert und ausverkauft. Viel Spaß beim Hören!

OFFICIAL UHF SCORE SOUNDTRACK Special 37th Anniversary Collector Edition Music Composed and Arranged by John Du Prez Original Film Score Never Before Released The original UHF score is a masterclass showcase for vintage synthesizer soundtracks with a big, symphonic sound, produced by John Du Prez in his home studio. 2 (two) 180-Gram Colored Vinyl Discs: Disc 1: the original, individual film cues. Disc 2: individual cues combined and arranged by composer John Du Prez into long-play “suites,” created exclusively for this release. Custom Slipcase: custom-designed die-cut slipcase houses soundtrack album. Pop-Up Gatefold: fold-out gatefold with still photos of scenes from the movie and large pop-up of Stanley Spadowski at his train set. Bonus Materials: four custom retro-design UHF lobby cards. Exact replica of the U62 stock certificate as seen in the movie during the end telethon sequence. Shooting Script: exact replica of the UHF screenplay by Al Yankovic and Jay Levey, including scenes not included in the final cut of the movie. Replica of Orion Pictures Tri-Fold Promo Folder Poster Replicas: 4 cardstock 8.5” x 11” mini-posters – final art for theatrical release + 3 rare alternate designs. Studio Archives: replicas of the Orion Pictures 1989 tri-fold promotional folder and UHF GUIDE mini-booklet. Custom Merch: official premium-cotton UHF T-shirt and custom enamel Twinkie Wiener Sandwich pin. SPECIAL PLATINUM EDITION EXTRAS Personally Signed Liner Note: heavy stock one-sheet liner note personally signed by composer John Du Prez. Linen-Bound Script Upgrade: shooting script housed in a custom foil-stamped linen slip case. Studio Replica Press Kit: Orion media folder packed with nine 8” x 10” B&W glossy production photos plus rare cast photo, credits, production info and Weird Al bio. Personalized U62 Stock Certificate: exact replica telethon U62 stock certificate with YOUR name (or someone else’s if it’s a gift) hand-drawn by a master calligrapher. UHF Channel 62 Schedule Board Game: custom replica of the schedule board Al as station manager George Newman uses to make the U62 schedule in the movie. Comes with wooden tabletop frame plus magnetic show tiles and dry-erase blank magnetic tiles for shows you create, and black U62 marker. All in a gorgeous retro custom box. Make your own U62 Schedule!

Quartet Records, in collaboration with Paramount Pictures, presents a newly expanded and remastered edition of Dave Grusin’s beautiful and deeply romantic score for FALLING IN LOVE (1984), a film directed by Ulu Grosbard and starring Robert De Niro and Meryl Streep. A timeless love story in the tradition of Brief Encounter and An Affair to Remember, the film remains one of the most elegant romantic dramas of the 1980s. FALLING IN LOVE tells the story of Frank and Molly, whose chance meeting while Christmas shopping unexpectedly alters the course of their lives. Months later, they recognize each other on their daily commute home, and what begins as a casual friendship gradually develops into the most meaningful relationship in either of their lives. Yet both are married, and Frank is the father of two young children, forcing them to confront the emotional consequences of their growing feelings. Dave Grusin composed a heartfelt and lyrical score, blending romance and drama with the sophisticated jazz-fusion influences that had become one of his unmistakable musical trademarks. Although the score heard in the film is remarkably cohesive, several cues were ultimately omitted from the final cut. Most notably, Grusin’s original main title was replaced by his earlier concert piece Mountain Dance, which is tracked into the film several times. This expanded edition restores Grusin’s complete original conception of the score, featuring the intended opening theme, all the unused cues, and a selection of alternate takes written for various sequences in the film. This release has been meticulously produced by Dan Goldwasser, mixed and mastered by Chris Malone from the recently discovered complete set of original 24-track session masters, newly transferred in high resolution courtesy of Paramount Pictures. The package also includes an essay by film music writer Jeff Bond, discussing both the film and Grusin’s remarkable score. 1. Main Title From Falling in Love* 2:42 2. Trying to Recall 2:24 3. First Encounter* 1:06 4. Seat Taken** 1:40 5. Looks / Lunch 1:57 6. Catch the Train 1:33 7. Chinatown 1:30 8. Looks Easy From Here* 1:23 9. Wait for Me 0:50 10. First Kiss 2:05 11. Getting Dressed 2:31 12. The Apartment* 1:28 13. I’m Sorry* 3:20 14. The Funeral / No Molly 2:55 15. Helpless 1:54 16. Decision 1:50 17. The Crossing / Back to Rizzoli’s 3:01 18. Almost Too Late / Together at Last 3:54 19. End Credits* 3:53 ADDITIONAL MUSIC 20. The Twelve Days of Christmas 1:16 21. Jingle Bells 1:11 22. Sonata for Trumpet and Strings 3:06 23. Workout (Version 1)* 2:47 24. Workout (Version 2)* 2:51 25. Main Title From Falling in Love (Alternate) 2:40 26. Trying to Recall (Short Alternate) 0:34 27. Wait for Me (Original Version) 0:58 28. First Kiss (Original Version) 2:10 29. First Kiss (Alternate) 2:31 30. Decision (Revised Alternate) 0:57 31. Almost Too Late (Original Version) 2:05 *not used in film ** contains material not used in film Total Disc Time: 64:55

Für die neueste Ausgabe der Cinema Musica durfte ich einen Nachruf auf Mark Snow verfassen. Seine Musik begleitet mich nun seit fast drei Jahrzehnten und es war eine Freude, wenn auch mit einem weinenden Auge, so tief in sein Lebenswerk einzutauchen.

Snow Files of the Week: "Grow Up Superboy/Ferris Wheel" aus der Serie "Smallville" (2001). Die Serie lief zehn Staffeln lang, aber nach der sechsten Staffel verliess Snow die Serie und Louis Febre, der bis dahin Snows Music Editor war, übernahm das Komponieren für die restlichen Staffeln. Snow wollte einfach mehr Zeit für seine Familie haben, komponierte er zur gleichen Zeit doch die Musik für die Serie "Ghost Whisperer", sowie für diverse Filme noch dazwischen (wie den zweiten X-Files-Film 2008). Für "Smallville" komponierte Snow einen sehr melodiösen Score, der natürlich auch seine etwas düsteren Klangcollagen beinhaltet. Die Musik ist etwas wärmer als die der X-Akten beispielsweise. Ein Album wurde digital veröffentlicht, mit einem Querschnitt aller zehn Staffeln und beiden Komponisten. Kurze Zeit später veröffentlichte LLL ein Doppel-Album mit der Musik, das neben dem digitalen Album natürlich noch mehr Musik aus der Serie enthält. Die CD war auf 3000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

Teil 1 erscheint mal wieder einzeln. Dieses Mal zum 30. Jubiläum. Auf CD und in diversen Vinyl-Varianten. Auf CD sogar expandiert. This is a PRE-ORDER. Expected to ship the week of August 28, 2026. Once horror fan screenwriter Kevin Williamson teamed up with slasher maestro Wes Craven, they created what would become one of the great horror film series in 1996’s Scream. Then-relatively new film composer Marco Beltrami rounded out the filmmaking trio with his avant-garde orchestral techniques creating a suspense–horror style perfect for the franchise. Now 30 years later Varèse Sarabande celebrates Scream's 30th anniversary with this new Extended Cut Edition. Tracklist: 1.Dimension Logo 2. The Cue From Hell 3. Trouble In Woodsboro 4. Sid's House 5. Red Herring 6. Killer Calls Sidney 7. Chasing Sidney 8. Cell Phone 9. Backdoor Gale 10. Schoolyard 2 11. Sid's Doubt 12. Bathroom 13. Mr. Himbry Gets It 14. Sheriff And Dewey 15. Tatum's Torture 16. Sidney Wants It 17. Dewey And Gale 18. Off To See Himbry 19. Killer Stabs Billy 20. Randy Almost Gets It 21. Gale Crashes The Van 22. They're Crazy 23. Sid Stabs Billy 24. Billy's Back 25. End Credits 26. Sid's Window 27. Gut Someone 28. Sid Looks 29. Billy Looks 30. Billy To Cell 31. Killer Calls Again 32. Bang Into Billy 33. Girl Talk 34. Video Store 35. Why She's Here 36. Billy Sting 37. Prescott's Car 38. Hairbrush 39. The Cue From Hell 40. I Don't Care

Neu von Dragon's Domain: Dragon’s Domain Records presents the world premiere release of the soundtrack for THE GIRL, THE GOLD WATCH & DYNAMITE, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE ) for the 1981 television film directed by Hy Averback, written by George Zateslo, based on the novel by John D. MacDonald, starring Philip MacHale, Lee Purcell, Burton Gilliam, Zohra Lampert, Morgan Fairchild, Jack Elam, Gary Lockwood, Jerry Mathers, Richie Havens, Lyle Alzado, Carol Lawrence, Tom Poston, Larry Linville and Gene Barry. Airing on television in October 1981, THE GIRL, THE GOLD WATCH & DYNAMITE is the sequel to THE GIRL, THE GOLD WATCH & EVERYTHING from the previous year, based on the 1952 novel by John D. MacDonald. For the sequel, the original leads would be replaced by Philip MacHale and Lee Purcell and the sequel continues the adventures of Kirby Winter (MacHale), an affable but somewhat naïve young man who inherits a mysterious gold pocket watch from his eccentric uncle. The timepiece possesses an extraordinary power: when activated, it can stop time for everyone except the person holding it, leading to a variety of humorous and suspenseful situations, as Kirby and his spirited girlfriend Bonnie Lee Beaumont (Purcell) attempt to use the watch to save her family farm from unscrupulous land developers. As a result, Kirby and Bonnie must rely on their wits and the watch’s extraordinary power to outmaneuver a series of increasingly desperate antagonists. A key contributor to the buoyant tone of THE GIRL, THE GOLD WATCH & DYNAMITE is the score by Bruce Broughton. His music blends playful orchestral colors with a sense of adventure, reinforcing both the comedic and suspenseful elements of the story. Light woodwind passages and jaunty rhythmic figures accompany the film’s comic moments, while broader orchestral themes underscore the escapades and chases that drive the narrative forward. Bruce Broughton, who has won ten Emmy Awards and been nominated for an Oscar, began his journey into film music in 1973, scoring episodes of television shows from GUNSMOKE, HAWAII FIVE-0, and DALLAS to JAG and THE ORVILLE, miniseries like THE BLUE AND THE GREY and THE OLD MAN AND THE SEA, and feature films such as SILVERADO, YOUNG SHERLOCK HOLMES, HARRY AND THE HENDERSONS, TOMBSTONE, and HONEY, I BLEW UP THE KID. Broughton has more than 130 scores to his credit. Throughout his career, Broughton has amassed ten Emmy Awards (from twenty-three nominations) and an Academy Award nomination (SILVERADO). In addition to being a composer and an accomplished conductor, Broughton is also a tireless educator having taught classes at the UCLA Herb Alpert School of Music, the Department of Screen Scoring at the USC Thornton School of Music, and is currently serving as Media Composer-in-Residence at the University of North Texas. Dragon’s Domain Records presents the world premiere release of THE GIRL, THE GOLD WATCH & DYNAMITE, featuring music composed by Bruce Broughton. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis. THE GIRL, THE GOLD WATCH & DYNAMITE is a limited edition release. THE GIRL, THE GOLD WATCH & DYNAMITE is expected to begin shipping the week of July 20th, 2026. 01. Teaser (1:04) 02. Intro / Bonnie and Kirby Kiss / Omar's Watch Instructions / Bank Robbery (2:46) 03. Time Unfreeze / To Sacramento / DrIving To Dad's Farm (3:57) 04. Kirby Talks To Bonnie's Dad / Hauling Daddy Off To Jail (3:42) 05. Kirby Drives To Levee / Stovall Harrases Mom / Time Running Out (2:09) 06. Hoover Takes The Watch / Kirby Trips The Alarm (2:03) 07. Bonnie Frees Kirby And Dad / Kirby Calls Wilma / To The Levee (4:12) 08. Arrested Again / The Fuse Is Lit / Freezing Time (2:11) 09. Landowners Meet / Stovall And Wilma / Wilma On The Move (3:04) 10. Taxi To Raines Office / Wilma Is Captured / Choke Hold (2:39) 11. Drawbridge / Raines Confesses (2:11) 12. Freezing Time / Tied Up Cops / Stella Sets The Bomb (2:31) 13. Chasing Stovall / Freezing Cops In A Tree / Confronting Stella (3:08) 14. Arresting Stella / Epilogue (2:39) 15. End Credits (0:44) 16. Bumper (0:09) 17. Here Comes The Bride (Piano Source) (0:34) 18. Restaurant Source 1 (1:11) 19. Restaurant Source 2 (2:27) 20. Dance Club Source 1 (1:36) 21. Dance Club Source 2 (2:46) 22. Unused Source (0:29) Total Time: 49:11 Dragon’s Domain Records presents GERALD FRIED: MELODRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two noirish urban tales from 1961 that slightly preceded his transition into television. Released in 1961, TWENTY PLUS TWO was directed by Joseph M. Newman, adapted from the best-selling novel by Frank Gruber, starring David Janssen, Jeanne Craine, Dina Merrill, Jacques Aubuchon, William Demarest, Agnes Moorehead, Brad Dexter, Robert Strauss and Fredd Wayne. TWENTY PLUS TWO, also known as IT STARTED IN TOKYO, follows private eye Tom Adler (Janssen), who specializes in tracking down missing heirs. When the secretary of former World War II hero and current Hollywood actor Leroy Dane’s fan club is murdered, Adler discovers a link to the disappearance of a 16-year-old girl, Doris Delaney. She vanished 13 years earlier in Manhattan, and despite her father spending half a million in a futile search, Adler uncovers a new clue that leads him to Dane (Dexter). The investigation further leads to an encounter with Dane’s former girlfriend, Linda Foster (Crain), and her pal, Nicki Kovacs (Merrill). After winning the confidence of Doris’ mother (Moorehead), Adler gains new information and discovers a connection to a young woman he met while recovering from war wounds in a Tokyo hospital. The trail leads first to Chicago, where Nicki vanishes and finally to a remote homestead in South Dakota, where past and present collide, and the villains’ true identity is revealed. Also released in 1961, A COLD WIND IN AUGUST was directed by Alexander Singer, written by John Hayes and Burton Wohl, starring Lola Albright, Scott Marlowe, Joe De Santis, Clarke Gordon, Janet Brandt, Skip Young, Ann Atmar, Jana Taylor, Dee Gee Green and Charlie Brill. A COLD WIND IN AUGUST follows Iris Marlowe (Albright), a woman in her thirties who begins a torrid love affair with Vito Pellegrino (Marlow), the teenage son of the superintendent of her apartment building. Vito is unaware that she’s a former burlesque-show stripper until one of his friends sees her perform at a club after she agrees to help her ex-husband who is desperate to book artists for an upcoming show. Vito is unable to cope with the reality of Iris’ true identity and their romance collapses in a fiery argument. A COLD WIND IN AUGUST was directed by Alexander Singer, whose career as a cinematographer began alongside composer Gerald Fried on mutual friend Stanley Kubrick’s DAY OF THE FIGHT. Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents GERALD FRIED: MELODRAMAS, featuring the world premiere release of TWENTY PLUS TWO and A COLD WIND IN AUGUST, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch. GERALD FRIED: MELODRAMAS is a limited edition release. GERALD FRIED: MELODRAMAS is expected to begin shipping the week of July 20th, 2026. TWENTY PLUS TWO 01. Opening Titles and Murder (2:48) 02. Nicki (4:51) 03. Tom Alder / Suspicion / Linda's Tune (6:01) 04. Tom on the Go / Tom and Nicki / Plane Trip (4:38) 05. New York Arrival / Old Man (2:30) 06. Nicki's Photo / Another Plane Trip (3:18) 07. Restaurant Tables (5:03) 08. Tokyo Flashback (4:39) 09. Late Night Talk (3:35) 10. Tokyo Jazz / Good Morning (4:44) 11. I Want To Talk To You / Off To North Dakota (3:33) 12. Doris’ Confession (5:59) 13. The End Of Leroy Dane / Closing Credits (4:12) A COLD WIND IN AUGUST 14. Opening Titles (1:38) 15. Footsie (3:13) 16. Ice Cream (0:41) 17. Radio Source (4:33) 18. Iris’s Act (2:47) 19. Strip Club (1:08) 20. Finale (3:48) 21. Opening Titles (Vocal Version) (1:39) 22. Finale (Vocal Version) (3:48) Total Time: 78:42 Dragon’s Domain Records presents FORCED VENGEANCE , featuring music composed by William Goldstein for the 1982 martial arts action film directed by James Fargo (THE ENFORCER, EVERY WHICH WAY BUT LOOSE), written by Franklin Thompson and Fargo, starring Chuck Norris, Mary Louise Weller, Camilla Griggs, Michael Cavanaugh, David Opatoshu, Frank Michae Liu, Bob Minor, Lloyd Kino and Leigh Hamilton. Released in 1982, FORCED VENGEANCE represents an intriguing moment in the evolution of American martial arts cinema and the career of Chuck Norris. Produced by Metro-Goldwyn-Mayer, the film was one of Norris’s earliest projects with a major Hollywood studio, boasting a relatively large budget of around $5 million and filmed extensively on location in Hong Kong and Macau. FORCED VENGEANCE Josh Randall (Norris), a Vietnam veteran and head of security for the Lucky Dragon Casino in Hong Kong. When Sam (Opatoshu), the casino’s owner and his family are brutally murdered by organized crime figures seeking control of the business, Randall embarks on a relentless quest for vengeance. Randall becomes hunter and hunted, framed for the murders and pursued by both criminals and corrupt law enforcement. As he navigates Hong Kong’s dense urban landscape, Randall protects Sam’s daughter, Joy (Griggs), while seeking the mysterious mastermind behind the attacks. FORCED VENGEANCE was scored by composer William Goldstein. His work on the film demonstrates a sophisticated approach that contrasts with the film’s often gritty visuals. Goldstein has been a recording artist for Motown and CBS Masterworks, scoring over 50 Movie and Television projects, including FAME & THE MIRACLE WORKER. He has been a pioneer in the use of computers and electronic instruments in music. His most distinguishing characteristic as a composer / pianist is his gift of “Instant Composition”, which he shares with audiences through master classes, recitals and albums. Goldstein early on established himself as a composer who was comfortable all over the musical map. In addition to film scoring, recording and concert scores performed from Carnegie Hall to Symphony Hall Boston, he established himself as an innovator of New Technology. In addition to his professional activities in music and film, Mr. Goldstein is a founder of the Museum of Contemporary Art in Los Angeles, a founding director of the California State Summer School for the Arts, and served for many years on both the music branch executive committee of the Academy of Motion Picture Arts and Sciences, as well as its foreign language (now International film) committee. He has also been a visiting artist for the Academy, lecturing from the Far East to the Middle East on contemporary aesthetics as well as music in film. His filmography includes music for films such as THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS, AN EYE FOR AN EYE, FORCED VENGEANCE, FAME, UP THE CREEK, SAVING GRACE, HELLO AGAIN, INTIMATE POWER, SHOCKER, BLOOD RIVER, THE QUARREL, Danielle Steele’s ZOYA and THE MIRACLE WORKER, as well as contributing music on television for NATIONAL GEOGRAPHIC, THE TWILIGHT ZONE,RIPLEY’S BELIEVE IT OR NOT, THE MAGICAL WORLD OF DISNEY and OCEANQUEST. Dragon’s Domain Records presents FORCED VENGEANCE, featuring music composed by William Goldstein for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis. FORCED VENGEANCE is a limited edition release. FORCED VENGEANCE is expected to begin shipping the week of July 20th, 2026. 01. Silhouette / Opening Titles 2:25 02. Main Title 1:48 03. At The Casino 1:22 04. The River Of Dreams 3:13 05. Ancient Roots 1:38 06. What Evil Lurks 0:48 07. Hong Kong Chase 3:48 08. On The River To Claire 1:06 09. Harbor Chase 1:08 10. The Go-Go Girls 1:51 11. For The Love Of Claire 2:04 12. Showdown 3:20 13. To The Wild Side 3:25 14. Farewell To A Friend 2:55 15. Finale 3:29 Total Time: 34:56

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

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

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