Alexander Grodzinski

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Es existiert ja angeblich auch nichts mehr von dem nicht verwendeten Filmmaterial, außer auf miserablen VHS-Kopien. Da sind zumindest die Bilder, auf denen man die blutig verstümmelten Crew-Mitglieder bei ihren „Höllenqualen" sieht, voll zu sehen. In der Endfassung sieht man davon nur noch kurze Schnippsel. Auch andere blutigere Szenen sollen einst länger gewesen sein, beziehungsweise expliziter. Anderson spricht, glaube ich, auch im Audiokommentar darüber, dass er gern einen Director's Cut machen würde. Aber einerseits hat das Studio kein Interesse daran, der Film war ja auch ein Flop, und andererseits gibt es eben kein Material mehr in den Archiven von Paramount. Und klar, in Zeiten von SAW und TERRIFIER dürften die blutigen Szenen von EVENT HORIZON nur noch ein müdes Lächeln verursachen.

Intrada presents its 12th album recording project—Abbott and Costello Meet Frankenstein/Abbott and Costello Meet the Keystone Kops. The project was generously funded through a Kickstarter campaign, and again proudly features the Royal Scottish National Orchestra under the baton of William T. Stromberg. It was an oft-requested title ever since Stromberg conducted scores to earlier titles in the horror series, including House of Frankenstein, Ghost of Frankenstein, Son of Frankenstein, The Wolf Man and many more. The recording occurred in early September 2024, with a delighted orchestra commenting on how refreshing and fun it was to perform the music. The score was reconstructed by the late and sorely missed John Morgan, Bill Stromberg and Anna Stromberg. The album was mixed and edited by Leigh Phillips and mastered by Ray Faiola and Chris Malone, featuring liner notes by Faiola as well. It's the long-awaited release of some truly effervescent film music. For scoring duties on Frankenstein, composer Frank Skinner, who had worked on earlier pictures in the series, largely kept it serious. His sophisticated score is the straight man to the antics on screen, giving the film a rich dimension by following in the footsteps of Franz Waxman and Hans Salter, while at the same time making everything even funnier. As a bonus, Intrada is pleased to include the hyped-up antics of Abbott and Costello Meet the Keystone Kops, featuring theme and score by Henry Mancini with additional scoring by William Lava and Herman Stein. It's a packed album full of vigorous and inspired performances by the RSNO and a proud addition to Intrada's Excalibur Collection. A huge thank you to all Intrada's Kickstarter contributors, without whom this release truly would not have been possible. Play all clips ABBOTT AND COSTELLO MEET FRANKENSTEIN 01. Main Title (From Abbott And Costello Meet Frankenstein) (1:44) 02. Monster #1 (1:01) 03. Just A Wolf (1:10) 04. The House Of Horrors (1:16) 05. Dracula’s Legend/Dracula Rises (6:31) 06. Frankenstein’s Monster/Out-Monstered (3:24) 07. Simple Brain (3:45) 08. Wilbur The Hypnotist (0:30) 09. Almost A Wolf (1:49) 10. The Monster’s Lap (2:45) 11. It’s Swing Again (0:48) 12. The Diary Of Life And Death (0:50) 13. Master (1:44) 14. Sandra The Vampire (0:30) 15. Broussard Jr. (1:57) 16. Dracula Hits The Jackpot (1:40) 17. The Bloodhounds (1:43) 18. Preparing The Monster (1:32) 19. Wilbur Trapped (1:09) 20. Shortchanging The Monster/Monster Chase End Title And End Cast (From Abbott And Costello Meet Frankenstein) (8:17) 21. The Monster’s Lap (Alternate) (2:40) Abbot and Costello Meet Frankenstein Total Time: 46:45 ABBOTT AND COSTELLO MEET THE KEYSTONE KOPS 22. Main Title (From Abbott And Costello Meet The Keystone Kops) (1:24) 23. Willy, Studio Owner (1:21) 24. Walking On The Railroad (0:32) 25. Amateur Hobos (2:57) 26. Willy Was A Lady (1:22) 27. Cops And Robbers (4:15) 28. Keystone Chase (10:11) 29. End Title And End Cast (From Abbott And Costello Meet The Keystone Kops) (0:49) Abbott and Costello Meet the Keystone Kops Total Time: 22:51 Total CD Time: 69:38

Snow Files of the Week: "Memories of Youth/Motiv-8/Rectal Palpitation" aus der Serie "The Lone Gunmen" (2001). Das kurzlebige Akte-X-Spin-off war natürlich nicht so düster wie die Mutterserie und bediente sich viel mehr humoristischer Anteile. David Duchovny tauchte als Gaststar in der Serie auf und nachdem sie abgesetzt wurde, nahm die neunte Staffel der X-Akten den Cliffhanger der letzten Folge in deren Folge "Jump the Shark" auf. Marks Musik war insgesamt ebenfalls fröhlicher und kombinierte abgedrehte Comedy mit etwas Suspense und Agentenmusik. Eine Auswahl an Musik der Serie wurde von LLL veröffentlicht, gepaart mit Musik aus der vierten Chris-Carter-Serie "Harsh Realm". Die CD ist auf 2.000 Exemplare limitiert und ist ausverkauft. Viel Spaß beim Hören!

Und noch was von Quartet: Quartet Records, in collaboration with Cinevox, presents a remastered CD reissue of Pino Donaggio‘s terrific suspense score for Dario Argento’s DO YOU LIKE HITCHCOCK? (2005) The film is about Giulio, a film student whose passion for the films of Hitchcock will take him to the site of a grisly murder. Obsessed with his beautiful neighbor Sasha, Giulio is distraught to learn that the girl’s mother was slain in a gruesome murder that would fit in a Hitchcock thriller. Knowing that Sasha didn’t like her overprotective mother, and that she had just seen STRANGERS ON A TRAIN, our hero deduces that she made a switch and had someone else commit the murder—but this also means that she will kill someone in return. Giulio launches a VERTIGO-inspired investigation on the streets of Turin and is shocked to learn that he was wrong—it was another Hitchcock film that inspired the plot! Can you guess which one? Filled with dozens of references to REAR WINDOW, STRAGERS ON A TRAIN, DIAL M FOR MURDER, VERTIGO and MARNIE, Dario Argento’s pastiche is a nice exercise from the giallo maestro, exercising his skills while paying homage to his favorite director. Pino Donaggio’s score (his third for the director) is an exciting blend of Herrmann-inspired suspense, interspersed with seductive siren-like vocals for scenes of voyeurism. Performed by the Bulgarian Symphony Orchestra and conducted by Natale Massara, Donaggio’s music for DO YOU LIKE HITCHCOCK? is one of his best scores in the genre that brought him many adoring film music fans. This CD includes the entire Donaggio score, but whereas the previous 2013 edition was mastered from a DAT with 2-track mixes prepared for a cancelled 2005 album (with some anomalies), this time we started with the stereo mixes engineered by Marco Streccione from the original master tapes transferred in high resolution, carefully edited and mastered by Chris Malone and approved by the composer, presenting the music in greater detail. The new package includes the original liner notes written by our much-missed friend Gergely Hubai. Prologue 5:29 Peeping Eyes 1:38 Rainy Night 4:59 Bloody Hammer 3:48 Young Lovers 1:00 Runaway in the Rain 3:10 Try and Kill 1:00 Window on the Yard 2:57 The Yard 2:26 Wrong Key 0:59 The Funeral 1:16 Friends Can Kill 3:29 Quotation 1:53 Homage to Hitchcock 1:12 The Staircase 3:15 The Lift 2:09 Suspected 1:25 Look Down the Street 3:16 Bad Dream 1:03 Back on the Crime Scene 4:27 The Roof 3:42 Madness and Sensuality 1:56 Exercise 0:56 Hollywood Memorabilia 2:08 Total Disc Time: 60:33

Und von Music Box Records: Remastered edition. Limited edition of 750 units. 12-page CD booklet with French and English liner notes by Sylvain Pfeffer. 2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with SND and TF1 Studio, Music Box Records proudly presents on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: L’Été meurtrier (One Deadly Summer, 1983) and La Reine blanche (The White Queen, 1991). Adapted from Sébastien Japrisot’s eponymous novel, One Deadly Summer (a box-office success in 1983), starring Isabelle Adjani and Alain Souchon, marks the return of director Jean Becker to cinema, after a break of almost twenty years. Georges Delerue composed a dark and tormented score for the movie, including some pieces that are reminiscent of his scores for François Truffaut’s last films (The Woman Next Door and Confidentially Yours). The dark gem of the score is the jazz theme associated with Éliane (Elle) and accentuates the young woman’s aura of sensuality. In order to characterize the mechanical piano, a central element of the plot, Georges Delerue and Jean Becker chose an arrangement of the love song Roses de Picardie, becoming the obsessive and disturbing reminiscence of the rape. The score was nominated for the César Awards in 1984. Jean-Loup Hubert’s fifth film The White Queen, starring Catherine Deneuve, Bernard Giraudeau and Richard Bohringer, is set in the post-war era, in the Nantes area in Western France, three years after the critical and popular success of The Grand Highway (1987). Georges Delerue provided a nostalgic score, filled with restrained emotion. The main theme, heard as early as the opening credits, develops a simple folk-like melody reminiscent of the sea shanties of sailors gone to face the open seas. The second theme (Jean), with a sadder tone, conveys the regrets of characters faced with the consequences of their past choices. Supervised by Colette Delerue, this present edition features the two remastered original soundtrack albums. The package includes a 12-page booklet with liner notes by Sylvain Pfeffer, discussing the films and the scores. The CD release is limited to 750 units. L’ÉTÉ MEURTRIER 1. Lello et son piano (Générique début) (2:06) 2. Elle (1:36) 3. Le samedi soir (1:58) 4. Nue dans la grange (1:38) 5. L'enfance (1:04) 6. Le viol (5:27) 7. Les souvenirs de Cognata (1:58) 8. Après le viol (3:36) 9. Chez L'ophtalmo (2:26) 10. Elle pleure (1:02) 11. Pin Pon console Elle (1:30) 12. La course cycliste (1:42) 13. Chez Ferraldo (0:51) 14. Elle malade (2:15) 15. L'hôpital et la mort (1:26) 16. La détermination de Pin Pon (1:14) 17. Gabriel et Elle (3:57) Time • 35:56 LA REINE BLANCHE 18. Le Sainte-Marie (2:39) 19. Le retour (0:29) 20. Jean (1:31) 21. Les retrouvailles (0:57) 22. Lili (2:14) 23. Bamboulas sambas (1:56) 24. Yvon (1:25) 25. Rouge baiser (2:04) 26. Le jeu de puces (2:18) 27. La kermesse (2:41) 28. Les petits ballons (3:11) 29. L'aveu (3:17) 30. La robe fantôme (2:45) 31. Le pardon (1:04) 32. Le cha-cha de la Reine (1:32) 33. La fuite de Jean (1:05) 34. Le bar des îles (3:02) 35. Chez Rita (2:56) 36. Les adieux (1:41) 37. La petite récompense (0:42) 38. L'enfance (2:50) Time • 42:30 Total Album Time • 79:44 Remastered edition. Limited Edition of 500 units. 8-page CD booklet with French and English liner notes by Gilles Loison. 2025 marks the 100th anniversary of Georges Delerue's birth. In collaboration with EMI Music Publishing France and Newen, Music Box Records proudly presents the tenth volume of the collection Great Television Soundtracks dedicated to three original television soundtracks composed and conducted by Georges Delerue: Histoires extraordinaires (Edgar Allan Poe’s Extraordinary Tales, 1981), Les Cousins de la Constance (1970) and Là-haut, les quatre saisons (1973). For these three mini-series, Georges Delerue's gift for melody and enormous versatility are once again demonstrated with these stunningly colourful scores and intimate writing for nostalgic themes. In the early 1980s, Maurice Ronet, a great admirer of the works of Edgar Allan Poe, produced a TV series of six Extraordinary Tales. Delerue was commissioned to set two episodes to music (The Fall of the House of Usher and The Purloined Letter), showcasing a wide range of dramatic passages and suspenseful musical cues. For The Purloined Letter, he created an atmosphere of mystery with harpsichord, flute, harp and cello while The Fall of the House of Usher features a beautiful romantic waltz used with several variations for the oboe, flute and piano as well as the guitar. For Les Cousins de la Constance by Robert Mazoyer (Les Gens de Mogador), Delerue chose the accordion, an essential instrument of Breton musical tradition, to accompany the joys, anxieties and sorrows of the sailors and their families. Là-haut, les quatre saisons by Guy Lessertisseur is based on the director's childhood memories in the Alps. Throughout the four seasons, a Protestant minister and a young Catholic woman learn to know each other through sharing their conflicting views on life, death and religion. Delerue chose to translate the rural atmosphere through the use of a solo flute, harp arpeggios and strings. Remastered from the original scoring session elements courtesy of Delerue's archives, this present edition features the world premiere release of these three gorgeous television scores. The CD comes with an 8-page booklet with liner notes by Gilles Loison. The CD release is limited to 500 units. HISTOIRES EXTRAORDINAIRES (1981) La Chute de la maison Usher 1. Valse de Madeline (1:00) 2. Souvenirs d’enfance (1:45) 3. La chevauchée d’Allan (0:59) 4. La guitare de Roderick (1:20) 5. Mort de Madeline (1:11) 6. Madeline et Allan (1:39) 7. L’âme de la maison Usher (2:03) 8. L’amour empoisonné de Rod et Madeline (2:25) La Lettre volée 9. Le voyage en train (1:49) 10. L’enquête de Dupin (1:39) 11. La maison du ministre (1:52) 12. Dupin échafaude son plan (2:26) 13. La petite vengeance de Dupin (1:01) Time • 21:17 LES COUSINS DE LA CONSTANCE (1970) 14. Générique début (1:26) 15. Le retour (2:21) 16. Le bateau (2:05) 17. Épluchage (1:29) 18. La noce (2:22) 19. L'automne (0:58) 20. Générique fin (2:05) Time • 12:50 LÀ-HAUT, LES QUATRE SAISONS (1973) 21. L’été (Générique début) (3:16) 22. L’étoile de Noël (1:48) 23. Pierre et Nicole (3:01) 24. Fantaisie de Pierre (1:25) 25. Conseils de Pierre (2:41) 26. Les questions de Marc (1:12) 27. Rêve de Nicole / Feu de camp (1:17) 28. Mort de Marie-Louise (1:00) 29. Le printemps (Générique fin) (1:07) Time • 16:48 Total Time • 51:55 World Premiere CD Release. 8-page CD booklet with French and English liner notes by Gérard Dastugue. Limited Edition of 300 units. In collaboration with Universal Publishing Production Music and StudioCanal, Music Box Records presents the premiere CD release of the original soundtracks of Sébastien Japrisot’s only two feature films composed and conducted by Éric Demarsan (Army of Shadows, Special Section): Juillet en septembre (July in September, 1988) and Les Mal Partis (The False Start, 1976). For Juillet en septembre, Éric Demarsan provides a thunderous score with a touch of melancholy, referring the imagination of the main character, who has dreams about the United States and wide open spaces. The saxophone/guitars/bass guitar/drums combination dominates sharp strings and powerful rhythmic basses, creating a surprising cocktail. This ambiguous ballet where dangerousness, strangeness and softness cohabit creates a surprising mirror effect between an intimate drama and a thriller. For Les Mal Partis, it tells the story of a 14-year-old boy who has a passionate love affair with a nun during the German Occupation in France. Éric Demarsan provides this haunting, melancholy yet joyous theme whistled by Michel Ganot. Japrisot asked his friend Darry Cowl to compose the main title theme, arranged by Jean-Michel Defaye. The two scores have been fully remastered by Christophe Hénault from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Gérard Dastugue and new comments by Éric Demarsan on his collaboration with Sébastien Japrisot (author of One Deadly Summer and A Very Long Engagement). The CD release is limited to 300 units. JUILLET EN SEPTEMBRE 1. Juillet en septembre (Générique début) (1:48) 2. Première victime (2:25) 3. L’étrangleur (2:37) 4. Juillet sur la plage (2:33) 5. Domino (1:39) 6. La voisine (2:10) 7. Deuxième victime (2:32) 8. Marche américaine (0:38) 9. Coucher de soleil (0:34) 10. Reflets dans le miroir (1:07) 11. Le phare (0:31) 12. Bord de mer (3:39) 13. La dispute (0:51) 14. Femme fatale (2:34) 15. Juillet et Domino (5:43) 16. Deux solitaires (3:23) 17. Face à face (0:56) 18. Juillet en danger (1:30) 19. Les adieux (2:11) 20. En route pour l'Amérique (4:38) Time • 44:11 LES MAL PARTIS 1. Thème Denis (2:51) 2. Thème Clotilde (3:20) 3. Thème d’amour (3:16) 4. Denis et Clotilde (3:25) 5. Thème Clotilde #2 (1:38) 6. Thème Denis #2 (1:59) 7. Thème d’amour #2 (2:03) 8. Les Mal Partis (4:13) 9. Thème Les Mal Partis* (3:10) *Composed by Darry Cowl and Jean-Michel Defaye Time • 25:57 Total Time • 71:08

Dragon’s Domain Records presents STAR TREK: A SYMPHONIC CELEBRATION, featuring music composed for STAR TREK: THE ORIGINAL SERIES (1966-1969), performed by the Royal Philharmonic Orchestra, conducted by Tony Bremner. STAR TREK: A SYMPHONIC CELEBRATION presents music composed by Sol Kaplan, Samuel Matlovsky, Jerry Fielding, Joseph Mullendore and George Duning from all three seasons of the beloved show that starred William Shatner, Leonard Nimoy and DeForest Kelley. It’s hard to imagine now as, for over a decade now, all of the music written and recorded for the original 1966 series has been available on CD and digital formats. But for more than a decade and a half after the show had been in cancelled in 1969, not a note of music from the show was available to listen to in any format. That began to change abruptly in 1985 when several record labels began to release Star Trek music. Producer John Steven Lasher was the first to release two volumes of Star Trek music during this time. He employed the Royal Philharmonic Orchestra and had arrangements made for this symphonic ensemble, giving the scores a lusher sound and arranging the short cues into lengthy suites for an improved listening experience. STAR TREK: A SYMPHONIC CELEBRATION presents music from the following episodes: ‘The Enemy Within’, ‘I, Mudd’, ‘Spectre Of The Gun’, ‘The Conscience Of The King’, ‘The Paradise Syndrome’ and ‘Is There No Truth In Beauty’. Originally presented as suites across two separate volumes on vinyl and compact disc on Label X, those volumes have become scarce over the years. Dragon’s Domain Records is proud to bring these recordings back into the marketplace in a TWO DISC presentation with the suites separated and the music newly remastered by James Nelson at Digital Outland along with new liner notes written by author Jeff Bond including the classic notes written for these albums, featuring comments from the producers and composers Gerald Fried and George Duning. STAR TREK: A SYMPHONIC CELEBRATION is a limited edition release and is expected to begin shipping the week of March 24th, 2025 CD 1 01. STAR TREK - THE ORIGINAL SERIES: Main Title (1:02) Composed by Alexander Courage and Gene Roddenberry Performed by Meridian Productions THE ENEMY WITHIN - Composed by Sol Kaplan 02. The Rock Slide / Evil Kirk (1:16) 03. The Tired Captain / Bruised Knuckles / An Imposter / Indecisive / Alter Ego / Another Brandy (6:00) 04. Double Dog Death / Help Me / Thank You Yeoman (5:56) I, MUDD - Composed by Samuel Matlovsky 05. Alice In Wonderland / Mudd’s Series (1:42) 06. Tired Of Happiness / Stella (3:07) 07. The Last Straw / Stella 500 (3:46) SPECTRE OF THE GUN - Composed by Jerry Fielding 08. Melkot’s Warning / Tombstone / Teeth Pulling / My Name / Doc Holiday (8:54) 09. Love Scene In The Old West / Chekov Gets Killed / Ten Minutes / We’re Trapped / Final Curtain (6:17) Total Time CD 1 - 38:25 CD 2 01. STAR TREK - THE ORIGINAL SERIES: Main Title (1:02) Composed by Alexander Courage and Gene Roddenberry Performed by Meridian Productions THE CONSCIENCE OF THE KING - Composed by Joseph Mullendore 02. Spaceship Titles / Lenore / Lenore’s Kiss / Everything is Later / Ophelia Mania / Last Cue (8:38) THE PARADISE SYNDROME - Composed by Gerald Fried 03. Pine Trees / The Amerinds / Tahiti Syndrome / The Brain Wash (4:02) 04. Miramanee / Breath Of Life / The New God (4:42) 05. Dilithium Problem (1:15) 06. Wash Day / Salish Fluffed / Potter Kirk / Naming The God / Joining Day / Challenge / The Ceremony / Birth Announcement / False God (8:44) 07. Death Of Miramanee (3:08) IS THERE IN TRUTH NO BEAUTY? - Composed by George Duning 08. Enter Miranda / Ambassador’s Arrival (2:16) 09. McCoy’s Toast / Quite A Woman / Marvick Pleads / Marvick Mad / Marvick Berserk / Marvick Dies (8:20) 10. Sentimental Jim / Blind Miranda / No Change / Miranda Mad (7:23) 11. Miranda’s Farewell (3:04) Total Time CD 2 - 53:05

Neu von Dragon's Domain/BSX: Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of the score on compact disc, composed by Gil Mellé (NIGHT GALLERY, THE ANDROMEDA STRAIN, THE DELIBERATE STRANGER) for the 1977 science fiction film written and directed by Ed Hunt, starring Robert Vaughn (THE MAN FROM U.N.C.L.E., THE MAGNIFICENT SEVEN, BULLITT, HUSTLE), Christopher Lee (THE WICKER MAN, THE THREE MUSKETEERS, THE LORD OF THE RINGS, HORROR OF DRACULA), Daniel Pilon, Tiiu Leek, Helen Shaver, Henry Ramer and Victoria Johnson. STARSHIP INVASIONS is a Canadian science-fiction film written, directed and produced by Ed Hunt, it was originally titled WAR OF THE ALIENS, then ALIEN ENCOUNTER to avoid confusion with other similar-themed movies released that same year (and eventually again retitled as PROJECT GENOCIDE for home video). Hunt based many of the spacecraft and costume designs on actual alien encounter cases. Released in 1977, the plot revolves around The Legion Of The Winged Serpent, a rogue alien group lead by Captain Rameses (Lee). The Legion must colonize the Earth before their home planet, Alpha, is destroyed by a supernova. Rameses plans to use a device that broadcasts a signal causing humans to commit mass suicide. Opposing them is The Intergalactic League Of Races, an alliance of advanced aliens from Zeta Reticuli who have been observing humans from a secret underwater base. Pretending to be fellow members upholding The Galactic Treaty, which prohibits human contact, Rameses and his crew attack their base and sabotage most of the League’s Earthbound saucers. One surviving League ship contacts Professor Allan Duncan (Vaughn) for help. Duncan is a world-renowned ufologist. The score composed by Gil Mellé stands out for its innovative use of synthesizers combined with jazz elements, creating a unique sound for a genre movie. Notably, many sequences have minimal dialogue, as the alien characters communicate telepathically, which benefited Mellé in his composition. For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, WORLD WAR III, and many others. Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score for the TV movie PERILOUS VOYAGE. Dragon’s Domain Records presents STARSHIP INVASIONS, featuring the premiere release of music composed by Gil Mellé for this project on compact disc. The music has been newly mastered by James Nelson at Digital Outland and the liner notes have been written by author G.B. Kemner. STARSHIP INVASIONS is a limited edition release of 500 units. STARSHIP INVASIONS is expected to begin shipping the week of March 24th, 2025. 01. Main Title (2:25) 02. Abduction Of The Farmer (3:46) 03. Abduction Of The Family (3:27) 04. Suicides / Underwater Alien Base (5:08) 05. Rameses Seizes Control (8:01) 06. Allan’s Close Encounter (3:45) 07. Data Control Center (2:47) 08. New Allies Pursued Past The Moon (5:37) 09. Suicide Epidemic (2:46) 10. Outer Space War (4:24) 11. Betty’s Suicide Attempt (2:58) 12. Android Durbel Destroys Rameses’ Fleet (5:21) 13. Resolution and End Titles (4:59) 14. Alternate Cue Suite (2:22) Time: 58:21 Dragon’s Domain Records proudly presents the second volume in a new ongoing series of music from classic horror films from the Golden Age, featuring a trilogy of world premiere releases of music from THE SHUTTERED ROOM, THE DEATHHEAD VIRGIN and HAND OF DEATH. Released in 1967, THE SHUTTERED ROOM tells the story of Susannah Whately Kelton, a woman raised in foster care (Carol Lynley) who discovers that her birth parents have died and left her their estate, located on Dunwich Island off the Massachusetts coast. When she and her husband (Gig Young) arrive there, they find the surrounding community to be leery of outsiders and steeped in local superstitions. Befriending her aunt Agatha (Flora Robson), the young wife is cautioned against rebuilding the old mill, where a shuttered attic room contains a horror from her childhood. The music for THE SHUTTERED ROOM was composed by Basil Kirchin. Kirchin was born in Blackpool, England in August, 1927. He began his professional career at the age of 13 playing drums in his father Ivor’s big band orchestra during the second World War. Kirchin continued working within the genre until the late 1950s, when the public’s musical tastes shifted to rock & roll. Released in 1962, HAND OF DEATH tells the story of scientist Alex March (John Agar), who is determined to develop a nerve agent that will safely paralyze enemy troops and render them susceptible to counter commands. When a local man is unwittingly exposed at a test site and recovers without ill effects, March recklessly plows ahead to perfect the formula. Accidentally getting the powerful liquid on his hands, he begins to mutate into a hulking monster whose mere touch can kill... The score for HAND OF DEATH was provided by Joseph Francis Burke, known professionally as “Sonny.” Sonny was born in Scranton, Pennsylvania and after a year playing football at the University of Detroit, he transferred to Duke University where he created and led a big band jazz orchestra. By the 1950s, he began to write songs for several Disney features and short-subjects, most notably LADY AND THE TRAMP, which featured the voice of Peggy Lee. Released in 1973, The plot of THE DEATHHEAD VIRGIN centers on the search for lost treasure on a sunken 1850s Spanish man o’ war hidden within a reef. Predictably, there’s a curse involved that threatens anyone who dares to search for the lost booty. However, this doesn’t prevent a pair of American salvagers (Gaynor and Ward) from making an attempt. Entering the wreck, Ward forces his way into a locked cabin, where he discovers a female skeleton with flowing black hair chained to the deck. The removal of jewels from the corpse sets in motion the revival of a vengeful virgin princess, who had been captured and brutally raped by the conquistadors a century before... This second volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 2 is a limited edition release and is expected to begin shipping the week of February 24th, 2025. 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. THE SHUTTERED ROOM (1967) Music by Basil Kirchin 01. Prologue / A Child’s Nightmare (2:07) 02. Main Title (2:03) 03. Ferry Crossing / The Locals (2:30) 04. Arrival At The Lighthouse / Family Reunion (2:13) 05. The Old Record / Murder Music (1:40) 06. Aunt Agatha Finds The Body / Summer Sun / Susannah And The Mill (3:30) 07. Susannah Opens The Red Door / Ocean Walk / Sex Pests (4:35) 08. Pursued / The Fight / Ethan Gets It / Finale (4:53) 09. The Shuttered Room (1967) Theatrical Trailer (2:33) HAND OF DEATH (1962) Music by Sonny Burke 10. Intro / Main Title (3:09) 11. L.A. / Dangerous Experiment (2:38) 12. Evil Unleashed / Setting Fire To The Lab (3:41) 13. Gas Station & Transformation (1:43) 14. Strange Evidence / Killer Escapes (4:58) 15. The Boy On The Beach / Finale (5:27) 16. Hand Of Death (1962) Theatrical Trailer (1:46) THE DEATHHEAD VIRGIN (1974) Music by Richard LaSalle 17. Exploring The Sunken Wreck / Evil Freed (5:20) 18. Flight / Scalping The Girl (2:37) 19. Water Play / Strange Happenings (3:54) 20. Murderous Pursuit / Frank Is Dead (3:56) 21. Virgin Princess Attacks / Boat Hijacked / A Woman Under Suspicion ( 4:28) 22. Swim To The Boat / Vengeance Of The Princess / Finale (2:37) Total Time 73:21 Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION: VOLUME 1, featuring the world premiere releases of two scores composed by Gil Mellé from his lengthy filmography. Released in October, 1985, HOT TARGET was a UK/New Zealand co-production directed by Dennis C. Lewiston, starring Simone Griffeth, Bryan Marshall and Steve Marachuk. The screenplay was written by Lewiston and Gerry O’Hara. HOT TARGET follows Christine (Griffeth) who is the trophy wife of a successful businessman in New Zealand. Her seemingly idyllic descends into chaos when she meets Greg (Marachuk), a mysterious American. Their chance encounter in the park reveals a dark tapestry of deceit and ulterior motives that begins to slowly unravel, leading ultimately to a shocking murder. Mellé’s score is a masterful blend of orchestral richness and electronic innovation, featuring vibrant jazz influences. Airing on television in 1984, JEALOUSY was written and directed by Jeffrey Bloom (BLOOD BEACH), starring Angie Dickinson, Paul Michael Glaser, Bo Svenson, Susan Tyrell, France Nuyen, Richard Mulligan and David Carradine. JEALOUSY is presented through three interconnected vignettes, each exploring the profound impact of jealousy on a woman’s life. While two of the segments were scored by prolific television composer Jimmy Haskell, the first segment, ‘Georgia’, featured music composed by Gil Mellé, who also provided the opening and closing titles. Mellé's score is rhythmically captivating and beautiful, perfectly encapsulating the essence of Dickinson’s dark fantasies. For nearly five decades, composer Gil Mellé innovated in mixing electronic and orchestral music when he wasn’t playing the nuances of modern jazz or enjoying his collection of unique microscopes at home. Mellé had made a mark in the world of jazz as an outstanding baritone saxophonist and composer who was also noted as a painter. In film and television, his music has been extraordinarily notable, if not well preserved, on records and CDs. His TV-movie music in the early ’70s included a trio of high-profile films for television: MY SWEET CHARLIE, THAT CERTAIN SUMMER, and FRANKENSTEIN: THE TRUE STORY. His most well-known film score was THE ANDROMEDA STRAIN, but as an innovator in the use of electronic music in movies of the 1970s and ’80s, Mellé contributed to a many science fiction, fantasy, and horror television and feature film scores, including NIGHT GALLERY (theme and episodes), THE SIX MILLION DOLLAR MAN (original TV-movie), A COLD NIGHT’S DEATH, THE QUESTOR TAPES, KOLCHAK: THE NIGHT STALKER, STARSHIP INVASIONS, WORLD WAR III, and many others. Mellé’s efforts preceded almost everyone else’s experiments in electronic film music and resulted in the first true electronic film score. Dragon’s Domain Records presents THE GIL MELLÉ COLLECTION – VOLUME 1, featuring the world premiere releases of music composed by Gil Mellé for HOT TARGET and JEALOUSY PART 1. James Nelson has mastered the music at Digital Outland. THE GIL MELLÉ COLLECTION – VOLUME 1 is a limited edition release of 500 units and is expected to begin shipping the week of February 24th, 2025. HOT TARGET 1. Night Chase / Opening Titles (1:52) 2. Dog Park (1:55) 3. The Party (3:43) 4. Shower (1:35) 5. Afternoon Tryst (1:45) 6. Bedroom Muzak (2:19) 7. I’m A Criminal (2:43) 8. Cocktail Party (6:43) 9. Tree Tryst (3:05) 10. Girl Talk (1:30) 11. Horse Show (1:29) 12. The Robbery (4:44) 13. Fight And Death (3:48) 14. Restless Night (1:16) 15. Police Tail And Chase (3:17) 16. The Apartment and Fight To The Death (3:07) 17. Dangerous Drive (3:58) 18. Finale (3:28) JEALOUSY: GEORGIA 19. Opening Credits (1:49) 20. Why Not Have A Little Fun? (1:42) 21. Out For A Drive (1:55) 22. Georgia’s Fantasies (3:57) 23. Georgia’s Descent Into Madness (4:36) 24. End Credits (0:55) Total Time: 68:12 Dive beneath the waves as BSX Records presents a double feature of Bukimisha’s thrilling “a capella’ recreations of Akira Ifukube’s complete scores to the special effects extravaganzas ATRAGON and LATITUDE ZERO. ATRAGON follows the threat from the villainous undersea kingdom of the Mu Empire and the surface world’s only hope is from a secret super-submarine. The maestro’s score draws on many of his established martial themes, some originally created during the Second World War. A counterpoint is “Makoto’s Theme,” a gentle, longing melody for estranged daughter of the boat’s captain. LATITUDE ZERO is an usual pulp-style adventure that was shot in English and starring Hollywood heavyweights Joseph Cotton, Cesar Romero, and Richard Jaeckel. Here, a trio of explorers stumble upon an hidden utopia at the bottom of the sea. They’re under threat from a mad scientist and his army of mutant creatures. Ifukube’s score for this film quite different from his earlier work, but fear not, his theme for the Black Shark submarine is still imbued with his more familiar menacing style. This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali. This CD set is a limited run. ATRAGON (1963) 1. Toho Logo 0:16 2. Appearance of the Steam Person 0:44 3. Main Title 1:20 4. The Submarine Rises to the Surface 1:51 5. The Delivered Film 0:16 6. Warning from Mu 1:54 7. Emergency UN Conference Convenes 0:16 8. Challenge from Mu 1:06 9. Worldwide Terror 0:26 10. The Red Satan 1:59 11. The Submarine Returns to Port 0:40 12. Communication Ball 0:11 13. Gotengo Defense Force 0:21 14. Makoto’s Theme I 0:56 15. The Undersea Battleship’s Test Run I 0:38 16. The Undersea Battleship’s Test Run II 2:13 17. The Undersea Battleship’s Test Run III 0:48 (Film Version) 18. Makoto’s Theme II 1:47 19. Unno’s True Colors 0:56 20. The Prayer of the Mu Empire 3:15 21. Guardian Dragon Manda 0:19 22. The Mu People on Mount Mihara 1:00 23. The Declaration of Mu 1:00 24. The Undersea Battleship Attacks I 0:26 25. The Undersea Battleship Attacks II 0:46 (Film Version) 26. Marunochi Collapses 0:32 27. Tokyo Bay Conflagration 0:44 28. Tokyo Bay and the Undersea Battleship 1:31 (Film Version) 29. The Rescue 2:11 30. The Undersea Battleship vs. Manda 1:51 31. Volunteer Corps Moves Out 2:08 (Film Version) 32. Ending 1:11 LATITUDE ZERO (1969) 33. Main Title 2:49 34. Anomalies in the Deep Sea 1:42 35. The Undersea Volcano 0:47 36. The Submarine Alpha 2:15 37. Mackenzie 0:25 38. The 164-Year Voyage 0:48 39. Bloodrock 0:35 40. The Alpha vs. the Black Shark I 1:03 41. Black Shark Chase 1:12 42. Tracking Missile 1:34 43. Projected Image 0:55 44. The Entrance to Latitude Zero 1:15 45. The Alpha Enters Port 2:51 46. Utopia - Latitude Zero I 0:44 47. Utopia - Latitude Zero II 1:42 48. Utopia - Latitude Zero III 2:56 49. A Meal at Latitude Zero 0:21 50. Attack of the Black Shark 0:39 51. The Kidnapping of Dr. Okada 0:57 52. Immunization Bath 1:00 53. Malik and Dr. Okada 1:23 54. Bloodrock Trap 1:22 55. Griffon 0:27 56. Bloodrock Monsters 1:42 57. The Mackenzie Invasion 0:35 58. Lucrecia’s Last Moments 0:25 59. Black Shark Appearance 1:37 60. Pieces of Metal 0:16 61. The Alpha vs. the Black Shark II 1:51 62. Griffon and the Black Shark 1:11 63. Noisy Ground 0:20 64. Ending 0:24 Total Time: 73:40 Dragon’s Domain Records presents music from the original score to THE PRIVATE NAVY OF SGT. O’FARRELL, composed by Harry Sukman (FORTY GUNS, DR. KILDARE, THE HIGH CHAPARRAL, SALEM’S LOT) for the 1968 war comedy directed by Frank Tashlin (SON OF PALEFACE, THE GEISHA BOY), written by Robert M. Fresco, John L. Greene and Tashlin, starring Bob Hope, Phyllis Diller, Jeffrey Hunter, Gina Lollobrigida, Mako, Dick Sargent, Michael Burns and Robert Donner. THE PRIVATE NAVY OF SGT. O’FARRELL takes place during the closing months of World War II and follows an Army sergeant named Dan O’Farrell (Hope) stationed at Camp Funapee in the South Pacific, who files a request to boost the morale of his men by replenishing their dwindling stocks of beer and aspirin. To O’Farrell’s utter dismay, a Japanese submarine torpedoes a single supply ship in a naval convoy headed back to the United States... the ship carrying his beer! After O’Farrell stumbles upon a sunken stash of suds washed up on the coast of Camp Funapee, he partners up with a stranded Japanese-American soldier named Calvin Coolidge Ishimura (Mako) and hoards the copious cans of liquid bread for themselves and a ragtag gaggle of Army friends. O’Farrell and his cohorts discover and reclaim a small abandoned Japanese naval vessel which he pilots, against formidable resistance from his superior officers, to retrieve the remainder of the torpedoed beer lost in the ocean. The music for THE PRIVATE NAVY OF SGT. O’FARRELL was composed by Harry Sukman, an American composer, conductor, and pianist. Born December 2, 1912 in Chicago, Illinois, Sukman exhibited prodigious piano skills and a keen ear for harmony at a young age and would further develop an innate passion for melody and rhythm at the Chicago Conservatory of Music. He moved to Hollywood, California, in the 1940s where he began a prolific career as a composer for film and television. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA. Sukman’s rousingly patriotic score for THE PRIVATE NAVY OF SGT. O’FARRELL is a complex balance of recognizable war anthems mixed with shades of sarcasm. His flag-waving main theme is ripe with twangs of tropical island bliss blended with an unabashed spread-eagle military march that would make even the most jingoistic Americans blush. Dragon’s Domain Records presents THE PRIVATE NAVY OF SGT. O’FARRELL, featuring music composed by Harry Sukman, appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite. THE PRIVATE NAVY OF SGT. O’FARRELL is expected to begin shipping the week of February 24th, 2025. 01. Opening Credits (3:18) 02. Sarge and Johnny / Beach Flashback (4:11) 03. Clean-up Montage (1:30) 04. The Map / MPs Chase Sarge (3:58) 05. Beer Cans / Hung Over (2:05) 06. Krause Tries To Seduce Sarge (2:40) 07. The Boat / Blowing Up The Still (3:58) 08. Adeline Sails / Finding Maria and Gabby (3:51) 09. Welcome Pretty Lady (0:44) 10. John and Sarge / Romeo and Juliet (3:00) 11. Girls On The Beach / Another Hangover (2:01) 12. Japanese Sub (1:11) 13. On The Periscope / Sub Fight (5:42) 14. Taps / Memorial Service (2:36) 15. Beach Reunion / Finale (So Long My Darling Reprise) (3:44) 16. Welcome Pretty Lady Version A (0:09) 17. Welcome Pretty Lady Version B (0:14) 18. Opening Credits Version B (2:45) 19. The Map / MPs Chase Sarge Version B (4:13) 20. Finale Version B (5:08) Total Time: 57:47 Dragon's Domain Records presents the original soundtrack to the 1988 romantic adventure film THE LADY AND THE HIGHWAYMAN, directed by John Hough (TWINS OF EVIL, THE LEGEND OF HELL HOUSE, THE AVENGERS) written by Barbara Cartland and Terence Feely, starring Emma Samms, Hugh Grant, Michael York, Oliver Reed, Claire Bloom, Robert Morley and Lysette Anthony. The soundtrack features music composed and conducted by Laurie Johnson (THE AVENGERS, DR. STRANGELOVE, FIRST MEN IN THE MOON) . Produced for television b and based on Barbara Cartland’s 1952 romance novel, CUPID RIDES PILLION, the film is also known as DANGEROUS LOVE. The story is set in England during the Restoration of King Charles II to the throne. THE LADY AND THE HIGHWAYMAN provided composer Laurie Johnson with the perfect canvas to showcase his talents, allowing him to draw from a rich tapestry of inspiration, channeling the styles of celebrated composers from Hollywood’s Golden Age, including Sir William Walton, Franz Waxman, Max Steiner, Erich Wolfgang Korngold, and his esteemed friend, Bernard Herrmann. The score includes a principal heroic theme for Hugh Grant’s enigmatic highwayman, Lucius Vyne, and a delicate, recurring love theme that captures the essence of the principal characters' various romantic encounters, forming the emotional backbone of this captivating narrative. The score is brought to life through a traditional symphony orchestra, recorded in England with a talented ensemble of musicians, many of whom Johnston had collaborated with over the years. Born in Hampstead, London, in 1927, Laurie Johnson undertook his musical studies at the Royal College of Music, where he would later return as a professor. He embarked on a professional musical career at the age of 21, composing and arranging for a variety of big bands, a love which continues to this day with his jazz ensemble, The London Big Band. Johnson began scoring films and television in 1956, and soon proved to have an affinity for quirky and fantastic films with his scores for Stanley Kubrick’s DR. STRANGELOVE (1963) and FIRST MEN IN THE MOON (1964). In addition, Johnson scored episodes of THRILLER and THE AVENGERS for television, including the latter’s popular title theme. Johnson also became associated with the legendary Hollywood composer, Bernard Herrmann towards the end of Herrmann’s career. Dragon’s Domain Records presents THE LADY AND THE HIGHWAYMAN, featuring music composed by Laurie Johnson, appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kemner and Scott Davis. THE LADY AND THE HIGHWAYMAN is a limited edition release of 500 units. THE LADY AND THE HIGHWAYMAN is expected to begin shipping the week of February 24th, 2025 01. Opening Credits (1:31) 02. Opening Narration (0:49) 03. Chasing Lucius (4:35) 04. Lady Panthea Vyne (1:53) 05. Silver Blade Appears And The Duel (5:57) 06. Panthea And Emma (0:30) 07. Fanfares For The King (1:58) 08. Court Intrigue (1:49) 09. Silver Blade At Work (1:58) 10. Where Is He Hiding (4:00) 11. Panthea And Lucius (3:19) 12. This Is My Home (2:06) 13. The Truth About Lady Panthea Vyne (2:24) 14. The Verdict And Attempted Escape (1:58) 15. Awaiting Execution (2:58) 16. Battle At The Gallows And The Wedding (Finale) (7:18) 17. Closing Credits (0:53) 18. Bumpers (0:18) Total Time: 47:00

Dragon’s Domain Records presents the original soundtrack to SLIPSTREAM, featuring music composed by Elmer Bernstein (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE, TO KILL A MOCKINGBIRD, FAR FROM HEAVEN) for the 1989 science fiction adventure film directed by Steven Lisberger (TRON), written by Tony Kayden and Bill Bauer, starring Bob Peck (Edge Of Darkness, Jurassic Park), Mark Hamill (STAR WARS, BATMAN: THE ANIMATED SERIES), Bill Paxton (ALIENS, TWISTER, NEAR DARK), Kitty Aldridge, Susan, Leong, Ricco Ross, Robbie Coltrane and Ben Kingsley (SNEAKERS). SLIPSTREAM is a post-apocalyptic action-adventure story taking place in Earth’s near future after environmental destruction has rendered the Earth a rocky, windblown wasteland over which a river of wind, called the slipstream, becomes the only conduit for travel. Matt Owens (Paxton) is a bounty hunter who swipes a wanted killer named Byron (Peck) from the custody of officer Will Tasker (Hamill) so he can collect the bounty for himself. Transporting Byron in his aircraft through the slipstream, Owens evades Tasker and his tracker, Belitski (Aldridge), while seeking a place where he can cash in on Byron. Along the way, Owens realizes Byron is more than he seems and decides to become his protector from an increasingly unstable Tasker. SLIPSTREAM was an English production, with exteriors filmed in Cappadocia, Turkey, and the rest at Pinewood Studios. The film was produced by STAR WARS’ Gary Kurtz, who had come on board as a favor for a friend. The project reunited Kurtz with Mark Hamill for the first time since the THE EMPIRE STRIKES BACK, as it did with Kurtz’s co-producer Steve Lanning, a second-unit director on EMPIRE. When SLIPSTREAM went into post-production in late 1988, Elmer Bernstein was suggested as a likely candidate to provide its score. His music for HEAVY METAL (1981), SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE (1983), GHOSTBUSTERS (1984), and THE BLACK CAULDRON (1985) were picturesque and grandly sweeping scores. Bernstein was delighted at the proposition to compose a broad score for the film. He invested the music with passionate melodies, ferocious action melodies and provocative sonic eloquence, aided by an exuberant performance from the London Symphony Orchestra. Previously released on compact disc in 2011 and long sold out, Dragon’s Domain Records brings SLIPSTREAM back to the marketplace featuring music composed by the great Elmer Bernstein, performed by the London Symphony Orchestra, with a new mastering by James Nelson of Digital Outland, liner notes by noted author Randall Larson and new artwork designed by Mark Banning. SLIPSTREAM is expected to begin shipping the week of March 24th, 2025. 01. Prologue And Pursuit (3:12) 02. Escape (3:00) 03. Dreams (4:02) 04. Lost Android (3:02) 05. Slipstream People (2:49) 06. Avatar (4:52) 07. Travel To Dance (5:54) 08. Sacrifice (3:11) 09. Museum Society (3:53) 10. Android Love (2:54) 11. Revenge (4:50) 12. Resolution (7:32) Total Time 49:47

Snow Files of the Week: "Choices/Finis" aus "Private Fears in Public Places (aka Coeurs)" (2006). Der Film war die erste Zusammenarbeit zwischen Snow und dem französischen Regisseur Alain Resnais. Resnais unterlegte den Rohschnitt des Filmes mit Musik aus "The X-Files" und "MillenniuM". Es ist also kein Wunder, dass Snows Score hier und da an die beiden Serien erinnert. Marks Musik ist sehr melancholisch und sanft, passend zur Atmosphäre des Filmes, in dem es ständig schneit. Der Film folgt einer Gruppe von Menschen im winterlichen Paris, die auf die eine oder andere Art nach der Liebe suchen. Letztenendes ist es aber ein Film über Einsamkeit. Snows Musik wurde im Film ziemlich zerhäckselt. Resnais benutzte nur kurze Schnippsel der Musik, zwischen 10 und 20 Sekunden lang, um die Übergänge zwischen den einzelnen Geschichten und Personen zu untermalen. Nur der Main Title, der Schluss und unter anderem das Stück "Choices" tauchen auch so im Film auf (letzteres allerdings ebenfalls nur gekürzt). So kann man den Score komplett nur auf der CD bewundern, welche BSX limitiert auf 1.000 Stück veröffentlicht hat. Viel Spaß beim Hören!

Wenn Goldsmith noch leben würde, wäre er mittlerweile fast 96 Jahre alt. Ich bezweifle, dass er bei aktuellen Produktionen noch aktiv wäre. Selbst für Williams dürfte so ein Pensum bei einer Großproduktion, wenn der Terminplan nicht explizit auf ihn zugeschnitten wäre wie bei den letzten Spielberg/Star-Wars-Sachen, alleine nicht mehr machbar sein. Dazu kommt noch, dass Williams sich diesem Stress nicht mehr aussetzen muss und sicherlich auch nicht mehr will. Bei Goldsmith wäre das irgendwann sicherlich ähnlich gewesen. Ich glaube, der wäre nur noch für Paul Verhoeven und Joe Dante aus dem Haus gegangen.

Auf Intradas Liste der Komponisten für 2025 steht unter anderem Brad Fiedel. Nun wurde in den USA FRIGHT NIGHT II als Blu-ray/UHD-Premiere angekündigt. Mal sehen, ob auch hier zeitnah das Score-Album kommt. Den ersten Teil hat ja auch Intrada veröffentlicht.

LLLCD 1659 Music Composed and Conducted by John Williams Limited edition of 2000 units $31.98 La-La Land Records, Sony Music and Columbia Masterworks proudly present a remastered and expanded 2-CD release of renowned composer John Williams’ original motion picture score to the 1969 feature film period drama THE REIVERS, based upon the novel by William Faulkner and starring Steve McQueen, Mitch Vogel and Sharon Farrell, and directed by Mark Rydell. The treasured collaborative relationship between Maestro John Williams (JAWS, E.T., SCHINDLER’S LIST) and filmmaker Steven Spielberg had its roots in the director’s admiration for Williams’ brilliant score to this nostalgic 1969 drama, in which Faulkner chronicles the arrival of the automobile in the American south at the dawn of the 20th century. This new remastered and expanded 2-CD reissue, featuring the full score presentation for the first time, is an Americana wonder – beautiful, dramatic, heartfelt – an ideal match for Faulkner’s blend of playful humor and vividly drawn prose, conjuring the warm glow of an “endless summer” as experienced by a child on the cusp of adolescence. TRACK LISTING: DISC 1 • SCORE PRESENTATION • 52:55 1. Logo And Main Title (The Reivers) 3:53 2. The Winton Flyer 1:46 3. First Instruction 1:21 4. Ned Tries It Out 1:54 5. Family Funeral / Lucius’ First Drive (Film Version) 2:39 6. A Tall Tale / To Memphis / That Ole Mud Hole 1:48 7. The Road To Memphis (Film Version) 1:44 8. Memphis (Film Version) 1:32 9. Corrie’s Entrance / The Picture (Extended Version) 2:56 10. Lucius And Corrie 1:37 11. The Bad News :35 12. Ned’s Trade (Extended Version) 2:49 13. The Sheriff Departs 2:34 14. Ned’s Secret / The People Protest 2:08 15. Prayers At Bedtime (Extended Version) 2:42 16. Lucius Runs To Corrie 2:11 17. The Prize 1:33 18. Moment Of Glory 1:35 19. Back Home 1:35 20. Boss’s Collar 1:15 21. Camptown Races And End Credits† 1:14 Total Score Time: 41:51 ADDITIONAL MUSIC 22. Stephen Foster Medley‡ 4:06 23. The Winton Flyer (Film Version) 1:47 24. Family Funeral 1:04 25. The Road To Memphis (Alternate) 1:38 26. Boss’s Collar (Alternate) 1:04 27. Camptown Races And End Credits (Alternate) † 1:14 Total Additional Music: 11:10 DISC 2 • 49:07 REMASTERED ORIGINAL SOUNDTRACK 1. Main Title / First Instruction / The Winton Flyer 5:11 2. Family Funeral / Lucius’ First Drive 2:31 3. The Road To Memphis 1:44 4. Corrie’s Entrance / The Picture 2:12 5. The Sheriff Departs / The Bad News / Ned’s Secret 3:34 6. Memphis 1:23 7. Ned’s Trade 2:05 8. The People Protest 1:07 9. Prayers At Bedtime 2:28 10. Lucius Runs To Corrie / Back Home 3:33 11. Finale† 4:12 Total Soundtrack Album Time: 30:20 ADDITIONAL MUSIC 12. The Reivers (Concert Suite) 18:43 † Includes “Camptown Races” composed by Stephen Foster (P.D.) ‡ Contains “Oh! Susanna,” “Beautiful Dreamer,” “Massa’s In De Cold Ground” (P.D.) This is a CD format release

Durch Giacchino

Snow Files of the Week: "Randi loves Jason/Theme From Skateboard" aus dem Film "Skateboard" (1978). Das ist die älteste Veröffentlichung eines Scores von Snow. Das Album zu "Skateboard", welches nur als LP und MC erhältlich ist, enthält Spät-70er Rockmusik und Marks groovenden Score. Musikalisch ein völlig anderer Mark Snow als der, der dann 15 Jahre später die X-Akten musikalisch zum Leben erweckte. Viel Spaß beim Hören!

Natürlich. Sehr schöne Analyse von Carpenters Stil, Musik und Themen seiner Filme.

Wobei der digital schon länger verfügbar ist und letztes Jahr auch auf Vinyl veröffentlicht wurde von Enjoy the Ride Records. Und die haben das mit Morgan Creek zusammen gemacht, ist also fraglich, ob ein anderes Label da so schnell eine Wiederveröffentlichung machen darf. Außer, Enjoy the Ride hat sich nur die Veröffentlichung auf Vinyl gesichert. Wohl auch eher Zufall, passt aber ganz gut: RAIN MAN erscheint im März hierzulande als 4k Disc. Und LLL hat den Score gerade neu veröffentlicht. In den USA gibt es den Film allerdings schon seit 2023 als 4k Disc.

Am 25.02. von Quartet:

Zumal Bond in den letzten Jahren mit den MISSION: IMPOSSIBLE-Filmen in seinem Metier durchaus Konkurrenz bekommen hat.

Am ehesten sind noch die Connery-Lazenby-Moore-Bonds miteinander verbunden. Da werden zumindest hier und da Ereignisse aus vorherigen Filmen aufgegriffen. So besucht Bond zu Beginn von FOR YOUR EYES ONLY das Grab seiner Frau, die in ON HER MAJESTY'S SECRET SERVICE gestorben ist. Also bei Lazenby gestorben und Moore besucht. Zudem taucht dann noch Blofeld auf, mit dem der Moore-Bond bis dahin ebenso nichts zu tun hatte. Und doch kennen sich beide. Aber so eine Zeitlinie stimmt sowieso irgendwann nicht mehr, wenn etwas mit den gleichen Figuren über Jahrzehnte hinweg existiert. Völlig anderes Genre: Die Drei Fragezeichen. Die Hörspiele gibt es seit 1979, immernoch mit den drei gleichen Sprechern von damals. Damals waren die Figuren in der Serie zwischen 10 und 12 Jahre alt. Heute, fast 50 Jahre später, sind sie in der Serie um die 17, 18. Es sind in der Serie also nur einige Jahre vergangen. Dennoch merkt man, dass die Zeitlinie nicht stimmen kann. In den ersten Folgen gibt es noch keine Handys, kein Internet, es spielt sich definitiv Ende der 70er/Anfang der 80er ab, da beispielsweise Hitchcock in den ersten Folgen teils noch als handelnde Person auftritt. Dazu passt dann das Alter verschiedener Figuren irgendwann nicht mehr. Wie in Folge 10, DAS GESPENSTERSCHLOSS, bei dem ein ehemaliger Star aus der Stummfilm-Zeit eine Rolle spielt. Das macht 1980 noch Sinn, 2025 irgendwie nicht mehr. Bei Bond ist das ähnlich. Der Brosnan-Bond hat mit dem Connery-Bond eigentlich nichts mehr zu tun. Völlig verschiedene Zeitalter, buchstäblich. Daher war im Grunde Brosnan bereits ein Neuanfang und Craig dann nur noch direkter. Dass er am Ende stirbt, ist natürlich neu innerhalb der Reihe. Aber dennoch kann man mit einem neuen Film wieder neu anfangen. Vielleicht nicht ganz von vorn, sondern wie bei Brosnan. Bond ist Agent und macht sein Ding. Keine Erklärungen oder Bezug zu Craig. Fände ich jetzt nicht schlimm. Besser so als sich was aus den Fingern zu saugen. Wie, dass Bond doch nicht gestorben ist, nur schwer verletzt wurde und sich daher einer Gesichtsoperation unterziehen musste. Siehe CURSE OF THE PINK PANTHER

Snow Files of the Week: "Spirit Wedding" aus "The X-Files", Episode "Kaddish" (1997). In dieser Episode aus der vierten Staffel geht es um den Mord an einem Mitglied der jüdischen Gemeinde in Brooklyn. Als er wieder zum Leben erwacht, in Gestalt des Golem, jagt und tötet er die Gruppe der Rassisten, die ihn umgebracht haben. Das Stück "Spirit Wedding" ist im Showdown der Folge zu hören. Mulder und Scully folgen dem Golem in die Synagoge und finden dort ihn und seine Fast-Ehefrau vor, die Hochzeitsringe austauschen. Nach einem Kampf zwischen Mulder und dem Golem hebt die Fast-Ehefrau den Zauber auf und die Kreatur wird wieder zu Staub. Mark komponierte ein Liebesthema, welches mehrmals in der Folge zu hören ist. Ausserdem benutzte er eine Art dunklen Flötenklang, um die Gegenwart des Golem zu untermalen. Dieser Track stammt vom ersten Volume der X-Akten-Musik von LLL, limitiert auf 2.000 Exemplare. Viel Spaß beim Hören!

Die Verträge dürften ja geschlossen sein. Daher sollte alles, was darin vereinbart wurde, eigentlich nicht davon betroffen sein. Deswegen konnte LLL beispielsweise auch, nachdem Disney 20th Century Fox gekauft hatte, weiter Snows X-Files-Musik veröffentlichen. Weil das bestehende Verträge waren, die vor dem Kauf geschlossen wurden.

Ich weiß da leider auch nichts genaues. Das ist mir aber auch schon aufgefallen. Sicher können das Zufälle sein, aber in gehäufter Form steckt meist doch ein Fünkchen Wahrheit dahinter. Ich kann mir durchaus vorstellen, dass sich die Label informieren, welche Filme die Studios für Wiederveröffentlichungen bearbeiten lassen. Und dann eben schauen, was da dabei ist, was sich für ein Score-Release eignet. Das könnte ja sein, dass das Studio für eine Restauration das vorhandene Material zusammensuchen lässt und sich das Label dann eben da dranhängen kann. Wenn man die Aussagen der Labelchefs so verfolgt hat über die Jahre, dann hört man da immer wieder raus, dass nicht alle Verantwortlichen der Studios wirklich Interesse an Score-Veröffentlichungen haben. Meist natürlich aus finanziellen Gründen, weil der Gewinn daraus Peanuts sind oder ganz einfach, weil das Personal fehlt, das da Recherche betreiben könnte. Dabei ist es für das Studio eigentlich praktisch, wenn sich ein Label die Arbeit macht, das Material zusammenzusuchen, zu bearbeiten und zu veröffentlichen. Denn damit pflegt das Studio sein Archiv und wird dafür vom Label sogar noch bezahlt. Vieles an Musik würde wohl in irgendwelchen Lagern dem jüngsten Tag entgegen dämmern, wenn sie nicht von einem der Label "gerettet" worden wäre. Manches wäre mittlerweile wohl tatsächlich verloren, wenn sich niemand der alten Bänder angenommen hätte. Wenn also von einem alten Film für eine 4k-Veröffentlichung die Tonspur ebenfalls bearbeitet wird, weil ein neuer 5.1-Mix erstellt wird, könnte es also schon sein, dass auch nach den Musik-Mastern gesucht wird. Und wenn man da eh schon dabei ist, könnte man das ja auch gleich als Score-Album bringen.

Zerfasern würde ich das bei Barry nicht nennen. Da fallen die oft unvariierten Wiederholungen stärker auf, je länger das Album ist. Aber das thematische Material hält dann doch alles zusammen. Kamen dröselt sein thematisches Material mit zunehmender Laufzeit so weit auf, dass es bis auf ein, zwei Noten gar nicht mehr zu erkennen ist. Oder einfach gar nicht mehr auftaucht. Und dann verliert sich das Ganze in, wie Roman es sagen würde, „zusammenhanglosem Getöse". Das ist, wie ich finde, schon ein markanter Unterschied zwischen Barry und Kamen. Natürlich ist das auch dem dazugehörigen Film geschuldet, der eben nicht so ist wie MOONRAKER oder OCTOPUSSY und daher auch musikalisch durchaus etwas anderes vertragen kann. Und das Kleinteilige der Musik passt dann auch zum „Zerfall" der Figur Bond im Film. Als reines Hörerlebnis ist mir das auf Dauer aber einfach zu chaotisch. Aber diese Schwierigkeit habe ich mit Kamen fast immer, obwohl ich seine Musik durchaus zu schätzen weiß.

Kommt wohl auch drauf an, was man unter bondig versteht. Die beiden Dalton-Filme waren ja schon eine Abkehr zu den eher leichteren, humorig bis albernen Moore-Bonds. Dennoch haben sie für mich ein Bond-Feeling, auch wenn LICENCE TO KILL natürlich eher Thriller als Agentenfilm ist, mit Bond auf Rachefeldzug ohne die üblichen Gadgets. Da hätte ein romantischer Barry-Score tatsächlich nicht gepasst. Auch wenn Barry natürlich auch anders konnte, aber an diesem Punkt in seiner Karriere hat er seinen Stil eigentlich kaum noch verändert. Wenn ich das im Booklet richtig verstehe, dann wäre Barry dennoch wieder als Komponist verpflichtet worden, wenn ihm nicht seine Erkrankung und die schwere OP dazwischen gekommen wären. Den Film empfinde ich durchaus als einen der besten Bonds und kann mich zumindest nicht erinnern, dass ich Kamens Musik im Film unpassend fand. Als reines Hörerlebnis jedoch ziehe ich dann doch andere Sachen vor, auch von Kamen. Und ja, auch für mich sind CASINO ROYALE und QUANTUM OF SOLACE noch stärker mit den alten Bonds verknüpft, wenn auch an die heutige Zeit angepasst, als die danach.