Alexander Grodzinski

“[Islands in the Stream] was so special and to me it’s always been one of my best scores. Every day I’d go down to work on it, [sitting] at the Moviola with tears in my eyes .... It’s a great film.” —Jerry Goldsmith, 1982 Intrada presents a newly mastered and edited edition of the original soundtrack to the 1977 Paramount Pictures film Islands in the Stream. The score was of such personal importance to Jerry Goldsmith that he approached Intrada in 1986, just a year after it had been formed and a few months after the release of his latest score, Poltergeist II, to seek the label's interest in creating a new recording of the score in Hungary. Intrada jumped at the chance. The brilliant recording has been in the catalog continuously since it was released in the late '80s. Since licensing and cost complications precluded a release of the original tracks at the time, the new recording was a godsend to Goldsmith enthusiasts, with the exception of a few omissions that Goldsmith couldn't get right with the Hungarian orchestra. In the 2010s, things had changed and the Film Score Monthly label was able to release the original tracks, but it has since been out of print for some time. With some slight modifications using newer technology, Doug Fake and Chris Malone were able to elevate the quality of the recording for this brand new release. The score is beautiful, deeply emotional and introspective, and at times simply thrilling. From the reflection of the inner feelings of the main character and his relationship with his family to the shark attack, lengthy Marlin sequence and rescue sequence in the last act, Goldsmith provides quite the musical adventure, presented in complete form with new notes by Frank K. DeWald. The film is a drama directed by Franklin J. Schaffner, based on the novel by Ernest Hemingway. The film follows the life of Thomas Hudson (George C. Scott), a successful painter living in the Bahamas during World War II. Struggling with his past and the impact of the war on his family, Hudson navigates complex relationships with his estranged wife, his children, and a series of romantic entanglements. The narrative explores themes of love, loss and redemption against the backdrop of a changing world, ultimately reflecting on the human condition and the search for meaning amidst chaos. Play all clips 01. Main Title (3:21) 02. The Boys Arrive (3:03) 03. Pillow Fight (1:08) 04. Is Ten Too Old? (4:09) 05. Night Attack (3:19) 06. The Marlin (11:46) 07. The Boys Leave (2:50) 08. The Letter (3:29) 09. How Long Can You Stay? (3:04) 10. I Can’t Have Him (2:36) 11. The Refugees (4:27) 12. Eddy’s Death (4:39) 13. It Is All True (5:08) Total Time: 53:27

Und weg

Wer noch gerne liest: Es sind zwei Bücher erschienen mit gesammelten Interviews zu ESCAPE FROM NEW YORK und ESCAPE FROM L.A.. Titel: ESCAPE ARTISTS. Da kommt wirklich jeder zu Wort, von Carpenter selbst, bis hin zu Dean Cundey, Todd Ramsay und einigen Statisten. Natürlich spricht im ersten Buch auch Alan Howarth über den Score und im zweiten Buch gibt es ein von Daniel Schweiger geführtes Interview mit Shirley Walker und John Carpenter. Ich habe es noch nicht verglichen, aber das könnte das sein, was auch im Booklet zum erweiterten Album von ESCAPE FROM L.A. enthalten war.

Snow Files of the Week: "Ernest saves Christmas/Christmas Spirit" aus dem Film "Ernest Saves Christmas" (1988). Die Vorweihnachtszeit ist bereits in vollem Gange, Zeit auch für Mark Snow, um ein wenig "Christmas Spirit" zu verbreiten. Der Score zu "Ernest Saves Christmas" ist wohl einer von Snows leichtfüßigsten Scores, eingespielt mit Orchester und voller weihnachtlicher Stimmung. Die "Ernest"-Reihe ist in Amerika sehr populär, es gibt eine ganze Reihe von Filmen davon (z. B. "Ernest Goes To Camp" oder auch "Ernest Goes To Jail"). Marks Score wurde bisher nicht offiziell veröffentlicht, es existiert nur eine Promo-CD davon. Vielleicht wird sich eines der kleinen Label irgendwann mal dieses Scores annehmen. Viel Spaß beim Hören!

Nicht nur bei Musik. Auch TV-Anstalten haben damals beim Bandmaterial gespart und ausgestrahlte Sendungen auch wieder überspielt. Die BBC hat das auch gemacht, weshalb wohl auch Sachen wie einige der ersten Doctor-Who-Folgen verloren sind. Und Terry Jones hat Anfang der 70er die Bänder mit den Folgen von Monty Python's Flying Circus von der BBC gekauft. Sonst wären die auch überspielt worden.

Nachdem ich mir die neue Doppel-CD geholt habe, möchte ich das alte Album auf CD gern abgeben. Also, wenn jemand möchte... First come, first served

1. Born of Blood (Then) (1:45) 2. Headed for Trouble (0:51) 3. Blood Club Voices (1:25) 4. Party Crasher (1:08) 5. Quinn Stapled and Torched (1:30) 6. Quinn Chows Down (1:12) 7. Daywalker (1:27) 8. The House of Lords (3:34) 9. Karen Awakens (1:24) 10. The Injection (2:07) 11. There’s a War Going On Out There (2:22) 12. The Slap (1:01) 13. Glyphs (0:42) 14. Somebody’s Gonna Take You Out (1:42) 15. You’ve Gotta Learn to Pull the Trigger (0:56) 16. Stakeout (0:32) 17. High Tech Lair (0:58) 18. The Translation Completed (0:24) 19. Pearl Fries (0:44) 20. The Book of Erebus (0:53) 21. Blade Captured (1:03) 22. Whistler’s a Mother (0:23) 23. The Subway (2:20) 24. History (1:27) 25. Sunblock (1:33) 26. The Last Dawn (1:28) 27. A Pain in the Neck (1:08) 28. Man in the Street (0:27) 29. Top of the Food Chain (2:01) 30. The Beating (0:51) 31. Death of Whistler (1:54) 32. A Hurricane’s Coming (0:47) 33. Intruder (2:46) 34. One Big Happy Family (1:46) 35. Temple of Light (4:40) 36. Curtis Isn’t Himself Today (1:58) 37. Blood Relations (2:36) 38. The Bleeding Stone (1:49) 39. The Ritual Continues (1:59) 40. The Thirst Always Wins (3:24) 41. The Wraiths Emerge (2:03) 42. Defrosted (1:01) 43. Quinn Loses His Head (0:46) 44. The Blood God (3:15) 45. It’s Not Over (2:34) 1. Blood Bank Creeps (1:34) 2. Nomack the Knife (1:16) 3. Blade II Main Titles (3:05) 4. Moo Cow (1:21) 5. Wheel and Deal (0:50) 6. Wet Whistler (2:22) 7. Waiting for the Sun (3:38) 8. Suckheads Infiltrate (3:31) 9. Caliban by Helicopter (2:04) 10. Big D Hosts Big B (2:37) 11. The Imp ‘n Pimp (1:06) 12. Meet the Bloodpack (3:19) 13. Let’s Go to the H.O.P. (1:56) 14. Reapers in the Kitchen (1:41) 15. I.H.O. Paincakes (7:43) 16. Scaffolding Fight (3:20) 17. Priest Splits (1:30) 18. Little Boy Blue (1:21) 19. Bath Time (1:38) 20. Nyssa Needs a Napkin (3:45) 21. Suckpuppy Nut Juice (1:50) 22. Sewer Pickles (5:11) 23. Let the Sun Shine In (0:40) 24. B Slice (1:47) 25. Charge oftThe Light Grenade (2:33) 26. Blade’s Discharge (2:05) 27. Crispy Reapers (1:22) 28. Nyssa Swallows (3:02) 29. Who’s the Man? (5:51) 30. Big D Educates (3:35) 31. Nomack Snacks (2:30) 32. Blood Bath (1:00) 33. Reinhart Splits (1:10) 34. Family Feud (3:25) 35. Smackdown (4:59) 36. Nyssa Over Easy (2:39) 37. Abayo (0:14) 38. End Credits (2:57)

Von Music Box Records: ARSÈNE LUPIN (EXPANDED 20TH ANNIVERSARY EDITION) Format Digital Brand Music Box Records Reference MBD-234 Condition New Music Composed by Debbie Wiseman Music Box Records (digital) Newly remastered and expanded edition. 8-page CD booklet with French and English liner notes by Sylvain Pfeffer. Limited Edition of 500 units. In collaboration with EMI Music Publishing France, Music Box Records presents the newly remastered and slightly expanded edition of Ennio Morricone’s score to the 1983 adventure film Le Ruffian, starring Lino Ventura, Bernard Giraudeau and Claudia Cardinale. Le Ruffian, the twelfth feature film of director and writer José Giovanni is an action-filled adventure movie shot in the Canadian Rocky Mountains, with the majestic Wapta Falls as its main natural setting. The score allowed Ennio Morricone to pick up various elements from his melodic and instrumental palette in order to deliver a colorful and catchy score. According to his usual method, the Italian maestro proposed several themes, notably for the main theme. This album allows listeners to discover for the first time four never-before-released tracks, including two unused versions of Le Ruffian’s theme, revealing a more nostalgic approach than the glib melody that was actually chosen for the movie. The final score of the film is built around three recurring themes for which Morricone collaborated again with harmonica player Franco de Gemini. The composer summoned up the iconic pieces of his repertoire from the 60s/70s and infused José Giovanni’s pictures with the Western-like sound he had coined. This newly remastered edition features the complete program already released on the Italian label Beat Records in 2004 with all the alternate versions. The album also presents the original 1983 General Music soundtrack album, remastered from a new pristine condition stereo master tape, and also includes for the first time four never-before-released demo tracks which were vaulted at EMI Music Publishing France. The package includes an 8-page booklet with liner notes by Sylvain Pfeffer, discussing the film and the score. The CD release is limited to 500 units. LE RUFFIAN ORIGINAL SOUNDTRACK ALBUM 1. Western ? (3:39) 2. Ricordo rosa (2:58) 3. Amici come pochi (2:39) 4. Sotto le rapide... poi l'oro (1:52) 5. L'oro come pericolo (4:22) 6. Viaggio in 4 (3:33) 7. Sporco ma distinto (1:56) 8. Un pomeriggio solo mio (2:38) 9. Le ruffian (4:08) 10. Un'orchestra un po'pazza (2:56) BONUS TRACKS 11. Viaggio in 4 (#2) (1:56) 12. L'oro come pericolo (#2) (2:18) 13. Le ruffian (#2) (1:10) 14. Western ? (#2) (1:55) 15. L'oro come pericolo (#3) (1:41) 16. Western ? (#3) (0:59) 17. Amici come pochi (#2) (1:40) 18. Sporco ma distinto (#2) (1:41) 19. Amici come pochi (#3) (1:46) 20. Ricordo rosa (#2) (1:46) 21. Le ruffian (#3) (1:58) 22. Western ? (#4) (1:44) 23. Ricordo rosa (#3) (2:39) 24. Western ? (#5) (2:23) 25. L'oro come pericolo (#4) (3:30) 26. Western ? (#6) (3:18) 27. Sotto le rapide... poi l'oro (#2) (3:23) 28. Ricordo rosa (demo #1) (3:07) - Previously Unreleased 29. Le ruffian (demo #2) (1:49) - Previously Unreleased 30. La danse du ruffian (demo #3) (2:21) - Previously Unreleased 31. Le ruffian (demo #4) (1:38) - Previously Unreleased Total Time • 76:40 Remastered CD reissue. 12-page CD booklet with liner notes by Daniel Schweiger. Limited Edition of 1000 units. In collaboration with Edward R. Pressman Film Corporation, Music Box Records proudly follows their IFMCA award-winning release of Bernard Herrmann’s 1976 Oscar-nominated score for Obsession by now going back to his collaboration, one that relaunched his career as well as boldly announcing a new Master of Suspense. Almost forgotten when editor Paul Hirsch was inspired to use Psycho as temporary music, the resulting collaboration between him, filmmaker Brian De Palma and Herrmann showed just how much diabolically inventive energy was left to his talent with 1973’s Sisters. Weathering the storm that the legendarily combustible musician brought to this tale of an innocent model and her possession by a seemingly dead twin (both played by Margot Kidder). The result of Herrmann’s outraged inspiration was one of his great, theme-filled scores. Particularly striking as it brought a new Moog electronic sensibility to join with his symphonic swings between romance and terror, Sisters once again brought the composer into the Hollywood eye while joltingly announcing the arrival of a stylistically fresh, homage-filled auteur of modern suspense cinema. With Sisters’ complete scoring session elements proving lost after an exhaustive search in collaboration with the Edward R. Pressman Film Corporation, Music Box Records has painstakingly remastered the original CD edition to reprise its original album program with a knife-striking, bell-ringing orchestral malice that no mad doctor can rend asunder. Extensive liner notes by Daniel Schweiger (Obsession) features a new interview with Paul Hirsch on the turbulent scoring process with Bernard Herrmann that brought an iconically thrilling legend back to Hollywood life. The CD release is limited to 1000 units. SISTERS 1. Prelude (Main Title) (1:36) 2. The Dressing Room (1:19) 3. The Ferry / The Apartment / Breton (3:40) 4. The Scar / The Pills / Duo (2:50) 5. The Cake / The Car / The Candles (2:40) 6. Phillip's Murder / Window View (3:05) 7. Clean-Up / Split Screen / The Search (2:58) 8. The Plastic Bag / The Dress / The Cake Box (2:48) 9. Apartment House / The Windows (2:44) 10. The Couch (1:06) 11. The Siamese Twins (2:36) 12. The Solution / The Clinic / Hypnotic Trance (3:54) 13. The Dream / The Syringe (4:21) 14. Separation Nightmare / Breton's Murder / Dirge (4:08) 15. Aftermath / Finale (2:16) Total Time • 42:11 World Premiere CD Release. 12-page CD booklet with French and English liner notes by Sylvain Pfeffer. Limited Edition of 500 units. Music Box Records proudly presents the premiere CD release of Philippe Sarde's lyrical score to the 2006 drama film Le Grand Meaulnes. The movie, based on the classic novel by Alain-Fournier, marks the reunion between Jean-Daniel Verhaeghe and composer Philippe Sarde, nine years after Stendhal’s The Red and the Black (available on Music Box Records), the director’s previous adaptation of another masterpiece of French literature. Charmed by what Sarde had come up with for The Red and the Black, Verhaeghe completely trusted him on Le Grand Meaulnes, leaving him free to make his own choices regarding the musical orientation of the score. Philippe Sarde built his score around Yvonne de Galais’s theme. The long melody expands endlessly, oscillating between introverted intimacy and flamboyantly lyrical style. A second motif, both elegant and touching, illustrates the strong friendship that binds the main characters together. The score, performed by the 90 musicians of the Pro Arte Orchestra and recorded in London by John Timperley at the Abbey Road Studios, revives the early 20th century musical era. The music of Le Grand Meaulnes lavishly and truthfully celebrates the joys and pains that build up, little by little, the sturdiest of friendships. Supervised by Philippe Sarde, the whole program has been assembled by Édouard Dubois and fully remastered from the complete scoring session elements. The package includes a 12-page booklet featuring exclusive liner notes by writer Sylvain Pfeffer discussing the film and the score, based on new comments by Philippe Sarde. The CD release is limited to 500 units. LE GRAND MEAULNES 1. Prologue (Rentrée des classes) (3:37) 2. Feux d'artifice (0:40) 3. Baignade dans la rivière (0:55) 4. Sauvetage (1:15) 5. Sur les toits (1:14) 6. Les grandes manœuvres (1:56) 7. Fuite du Grand Meaulnes (2:47) 8. Yvonne de Galais (1:21) 9. La fête (1:18) 10. Le serment (2:17) 11. Les Sablonnières (1:18) 12. Départ d'Augustin (1:02) 13. La lettre d’Augustin (1:14) 14. La barque / Le bal (2:41) 15. La tourelle (0:36) 16. François et Yvonne (1:17) 17. Retrouvailles (2:11) 18. Le mariage (1:29) 19. Repas de noces (1:41) 20. L'avion (1:14) 21. Yvonne enceinte (1:27) 22. Mort d'Yvonne (2:29) 23. Augustin et sa fille (1:55) 24. Mobilisation (1:28) 25. In memoriam (5:05) 26. Finale (Générique de fin) (4:21) Total Time • 49:53

Wer weiß, wie lange die Veröffentlichung schon in der Mache war. Der Fall wurde 2007 entschieden und Warner musste sogar eine öffentliche Entschuldigung abgeben.

Intrada announces the premiere release of one of Maurice Jarre's most requested scores: the Universal Pictures supernatural drama Resurrection (1980). The score is in pure Jarre tradition, composed for full orchestra. But Jarre's affinity for the American South also manifests in several ways: instrumentation (banjo, steel guitar, dulcimer and especially harmonica are all on display); source music, such as the bluegrass number for the picnic scene; and underscore, all to reconnect our main protagonist to her rural roots. Jarre develops most of his score from four distinct melodies, all of which liner note writer John Takis analyzes in the album's program notes. Listeners will be surprised by the wealth of music they haven't heard before. As Takis writes, "For all the thematic richness and emotional heft of Resurrection’s score, even listeners who have seen the film many times will have experienced a mere portion of what Jarre wrote and recorded. Much of his music was not used in the film, and other cues were either shortened or moved from their intended position." This release was produced and mastered by Chris Malone, who also mixed the original 24-track sessions that were stored at Universal in perfect condition. This long overdue release of Jarre's magnificent score, some 44 years after the film's release, could not sound better. The dramatic film, directed by Daniel Petrie, stars Ellen Burstyn as Edna McCauley, a woman who undergoes a profound spiritual transformation after a near-death experience. Following a car accident, Edna discovers she has the ability to heal others, which leads her to grapple with her newfound gift and its implications. As she helps those in need, she faces skepticism, personal struggles and moral dilemmas, ultimately seeking to understand the true meaning of her powers and her place in the world. The film explores themes of faith, healing, and the intersection of the physical and spiritual realms. THE SCORE 01. Resurrection (1:47) 02. Sad News (4:20) 03. Esco (3:57) 04. Faith (5:13) 05. You’ll Be Leaving Again (2:37) 06. Healing Cal (3:49) 07. What Else Can You Feel In Me? (3:44) 08. Another Miracle (4:06) 09. Father’s Death (5:16) 10. Chasing The Devil (3:07) 11. Abandoned House (7:24) Total Score Time: 45:19 THE EXTRAS 12. The Tunnel (2:40) 13. Sad News (Alternate – Violin, Viola And Flute) (1:58) 14. Healing Cal (Film Version) (3:01) 15. Laser Beam (0:41) 16. Resurrection–End Title (Alternate) (3:21) 17. Picnic Bluegrass (2:59) 18. Drought Bluegrass (2:55) 19. Resurrection–Theme (Bluegrass Version) (3:49) 20. Reunited (3:29) 21. California Dreamin’ (2:00) 22. If I Said You Had A Beautiful Body Would You Hold It Against Me (3:02) 23. Resurrection – Theme (Pop Version) (2:52) Total Extras Time: 32:49 CD Total Time: 78:07

War nicht auch der Grund, warum Terence nicht AUCH DIE ENGEL ESSEN BOHNEN gemacht hat, dass er zur gleichen Zeit MEIN NAME IST NOBODY drehte?

Damals scheinbar schon. Goldenthals Klage, die auch noch erfolgreich war, war ja so eine Art Präzedenzfall in der Richtung. Und man kann ja gut sehen, wie schnell er danach aus Hollywood verschwand. Und ja, wenn mich mein Gedächtnis nicht täuscht, hat MV damals auch so etwas erwähnt, als es um BATMAN & ROBIN ging. Da war Goldenthal ein rotes Tuch. Ob das immernoch so ist, keine Ahnung. Aber Warner hat ja so oder so seine Tore geschlossen.

Das hast du falsch verstanden. Geklagt hat Goldenthal, wie beschrieben, natürlich, als man TITUS in 300 verwurstet hat. Das war ja lange nach BATMAN & ROBIN. Aber aufgrund seiner Klage wurde Goldenthal quasi zur unerwünschten Person bei Warner. Und deshalb ist das Studio Warner wohl auch sehr unkooperativ, wenn ein Label wie LLL einen Goldenthal-Score von Warner, wie eben BATMAN & ROBIN, veröffentlichen will. Eben, um mit Goldenthal nichts mehr zu tun haben zu müssen, geschweige denn, ihm noch mal Geld abgeben zu müssen. Wobei sich das Thema Warner für die Label mittlerweile sowieso erledigt hat. Aber als die noch kooperativ waren, hat MV natürlich auch wegen BATMAN & ROBIN angefragt.

Snow Files of the Week: „Suicide/Nancy gets wormed", aus „The X-Files", Episode „Ice" (1993). Eine weitere Klassiker-Episode aus der ersten Staffel. Es war im Grunde genommen die X-Files-Version der Kurzgeschichte „Who goes there?" von John Campbell, auf der auch „John Carpenter's The Thing" basiert. In einer Forschungsstation in Alaska kommt es zu einem Mord-Selbstmord-Szenario unter den Wissenschaftlern. Mulder und Scully fliegen nach Alaska, um die Vorkommnisse zu untersuchen. Die Wissenschaftler haben eine Lebensform im Eis entdeckt, in einem Krater, der scheinbar vor 250.000 Jahren von einem Meteor verursacht wurde. Diese Lebensform, kleine, wurmartige Wesen, dringen in die Wirtskörper ein und übernehmen die Kontrolle über Denken und Handeln. Schon bald traut in der Station keiner mehr dem anderen und auch zwischen Mulder und Scully kommt es zu Spannungen. In den ersten Staffeln der Serie war Marks Musik noch wesentlich mehr auf Klangcollagen ausgelegt. Das war eine Vorgabe von Chris Carter, der keine „zu aufdringliche" Musik wollte. So musste Mark noch mal zusätzlich kreativ werden, um nicht jede Woche einfach nur die gleiche Spannungsmusik abzuliefern. Das hat er über eine Dekade X-Akten auch vortrefflich geschafft. So hebt sich auch die Musik zu „Ice", trotz fehlender Themen, durch die Sounds, die Mark verwendet, ab. Seine Klangflächen sind eiskalt und ein Sound, der mit einem Echoeffekt immer wieder auftaucht, unterstreicht die Isolation in der Station, eingeschlossen vom Eis und nicht wissend, wer schon infiziert ist. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Stück limitiert ist. Viel Spaß beim Hören!

Der Score in der Filmversion wäre dann wohl auch eher ein Studienobjekt. Denn da sind schon einige recht offensichtlich Musikschnitte drin. Beispielsweise gleich der Main Title. Da hört man doch sehr deutlich, dass der Anfang des Spider-Man-Themas noch Elfmans Aufnahme ist, bevor dann mit einem Schnitt Youngs neue Themen einsetzen. Wenn man genau hinhört, bemerkt man auch, dass sich der Klang des Orchesters etwas ändert.