Alexander Grodzinski

Neu von Quartet: Quartet Records present the soundtrack album of Martin Scorsese’s production ESCAPE, the new collaboration between Victor Reyes (Emmy Award winner for the score of THE NIGHT MANAGER) and multi-awarded director Rodrigo Cortés, following their previous successful films together: THE CONTESTANT, BURIED, RED LIGHTS, DOWN A DARK HALL and LOVE GETS A ROOM. ESCAPE is an unclassifiable film. It’s not a comedy, it’s not a drama, it’s not an action film, but it’s all of them at the same time, or maybe not. It’s about a young man who wants to live in prison and will do whatever it takes to get there, raising questions such as whether those who care about him will be able to stop him from committing more and more serious crimes. Victor Reyes also provides an unusual, unclassifiable score—highly melodic, urban, intimate, acoustic. It is performed basically with school and toy instruments (to which he adds the sound of a cello that speaks as the protagonist) along with strings, harmonium, guitar, drums, percussion and piano. The CD comes with a lavish 16-page booklet that includes liner notes by film director Rodrigo Cortés. Así habló Zaratrusta – Inicio 1:56 Mudito 2:02 Vamos a hacer una cosa 2:36 N. 2:32 Tiene que arrestarme 1:29 Zorcico triste 1:42 Eres libre 4:50 Marcha del preso 6672 1:25 Buenas tardes – Qué ha sido eso 1:38 Esta prohibido 1:08 Planta -2 4:57 Hábleme de su mujer 2:46 Me llamo Julián 1:24 Fuga nocturna 1:04 Aislamiento 1:17 Jota 1:58 Feliz 2:07 ¡Es importantísimo! 2:43 El milagro de la vida 3:28 Escape 4:33 Así habló Zaratrusta – Fin 1:27 Quartet Records, in collaboration with GDM and Sony EMI Italia, presents a completely revised, restored and remastered edition of THE DESERT OF THE TARTARS, Ennio Morricone’s masterpiece for the no less masterful film by Valerio Zurlini from 1976. Co-produced between Italy, France, Germany and Spain, the film features a large cast of European film stars that includes Jacques Perrin, Vittorio Gassman, Giulianno Gemma, Helmut Griem, Fernando Rey, Francisco Rabal, Philippe Noiret, Max Von Sydow and Jean-Louis Trintignant. Based on the novel by Dino Buzzati, it’s an intimate epic about Lieutenant Giovanni Drogo, who is assigned to the isolated old Bastiani border fortress where he expects an imminent attack by nomadic, fearsome Tartars. Although Zurlini worked assiduously with composer Mario Nascimbene, for this, his last film, he required the collaboration of Ennio Morricone for the film’s score. Morricone wrote a score for a large orchestra, using the organ as a lead instrument to describe the immensity of the desert. Mystical, romantic, nostalgic, THE DESERT OF THE TARTARS is one of the Roman maestro’s greatest works and one of his personal favorites. A General Music LP appeared in 1976 with an extensive selection of the score, but unfortunately its first appearance on the digital market with the 1997 CD was disappointing, as the sound was sourced from vinyl since the master tapes were apparently missing. GDM’s subsequent release in 2011 recovered the master album in good stereo sound and added a handful of mono bonus tracks and film versions taken from the music stems. For this edition, Chris Malone has restored and remastered the stereo album master tapes and the stems from the ground up, including the same material as the previous GDM release. The album is produced by Dániel Winkler and Claudio Fuiano, and the package includes a 16-page booklet with in-depth liner notes by film music writer John Takis. Il deserto come estasi 4:10 Proposta 1:42 Minaccia continua 2:58 Il deserto come minaccia 3:30 Un cavaliere all’orizZonte 1:07 La casa e la giovinezza 3:24 Una Fortezza su una frontiera morta 3:07 Stillicidio 4:05 Le stagionI, gli anni… 4:48 Il deserto come poesia della fine 3:34 Il cavallo bianco dei Tartari 1:27 La cena degli ufficiali 3:46 Marcia nella tormenta 2:40 La vestizione e l’addio 7:10 Caccia al Cinghiale 1:02 Il deserto come poesia della fine #2 1:26 La cena degli ufficiali #2 1:15 Le stagioni, gli anni… #2 0:49 La cena degli ufficiali #3 3:21 Marcia nella tormenta #2 1:16 Le stagionI, gli anni… (Finale) 2:30 Total Disc Time: 60:19 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered and expanded edition of Riz Ortolani’s famous score for the shocking and successful mondo movie ADDIO ZIO TOM, directed by Gualtiero Jacopetti and Franco Prosperi in 1971. This epic re-creation of the atrocities of the American slave trade was both condemned as depraved exploitation and hailed as an unprecedented cry of black anguish and rage. The DETROIT CHRONICLE hailed it as “a graphic, moving, nerve-racking film.” Legendary film critic Pauline Kael called it “the most specific and rabid incitement to race war.” It became one of the most reviled films of its time, despite being an international success. Composer Riz Ortolani’s versatile career needs little introduction, especially when it comes to mondo films. He has been the genre’s foremost composer since his conception of MONDO CANE and his Grammy-winning, Oscar-nominated song “More.” Ortolani’s filmography includes several mondo movies such as AFRICA ADDIO, MONDO CANDIDO, BRUTES AND SAVAGES and the most quintessential example of the genre, CANNIBAL HOLOCAUST. While the quality of the films may have varied over the years, Ortolani created a solid, almost foolproof recipe for adorning these colorful shock documentaries with a fitting score. ADDIO ZIO TOM’s iconic theme song, titled “Oh My Love,” was performed by the composer’s wife, Katyna Ranieri, and became a hit, being performed by various singers over the years. Instrumental versions of the theme are interspersed throughout the movie, usually reserved for some of the more poetic images. The composer provides everything from dramatic motifs to prog rock, driving rhythms and even circus marches, in an ironic counterpoint that bridges historical differences, used to show the amoral ways of contemporary society, while it is also memorably used for a slave escape sequence. The original 13-track program (RCA OLS 😎 was released on CD in Japan in 1994 (RCA BVCP 1042), and the first European reissue added five more tracks (GDM CD CLUB 7089). This edition presents another five previously unreleased tracks, bringing the total to 50 minutes and making it the most complete presentation of ADDIO ZIO TOM. The album was conceived by Claudio Fuiano, restored and mastered by Chris Malone from the original stereo master tapes, and includes liner notes by the much-missed Gergely Hubai in one of his last collaborations with us. Oh myLove 2:52 Maple 2:24 Mister Ling 1:48 Rito di Mezzanotte 2:35 Mamie 1:11 Sosta Nel Lago 3:33 Addio Zio Tom 2:36 Il Mercato Degli Schiavi 3:28 La Fiera Delle Meraviglie 2:50 Oh my Love (Solo Orchestra) 2:51 Fort Bastille 3:11 Cadets’ Waltz 3:01 Miami 2:38 Oh my Love (Solo Orchestra #2) 1:42 Miami (# 2) 1:22 Oh my Love (Solo Orchestra #3) 1:18 Miami (#3) 1:22 Addio Zio Tom (#2) 1:05 La Fiera Delle Meraviglie (#2) 2:25 Il Mercato Degli Schiavi (#2) 2:05 La Fiera Delle Meraviglie (#3) 4:06 Miami (#4) 1:34 Il Mercato Degli Schiavi (#3 – Alt. Mix) 1:10 Total Disc Time: 52:56

Ich verkaufe die Vinyl von NIGHT AFTER NIGHT, das Shyamalan-Album von James Newton Howard. Der Preis ist 18 Euro, inklusive Versand. Bei Interesse einfach PN.

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde, limitiert auf 1000 Stück. Happy Halloween!

Kommt am 11.11. von Intrada.

Snow Files of the Week: "Alarm/X-Fyles" aus "MillenniuM", Episode "Somehow, Satan got behind me" (1998). Darin Morgan schrieb einige der sarkastischsten und witzigsten Folgen der "X-Files" (Humbug, War of the Coprophages, Jose Chung's From Outer Space). Für die zweite Staffel von "MillenniuM" kehrte Darin zurück, um zwei Folgen zu schreiben und zu inszenieren. "Jose Chung's Doomsday Defense" war das erste Crossover der beiden Shows. In "Somehow, Satan got behind me" geht es um vier Dämonen, die in der Gestalt alter Männer sich nachts in einem Diner treffen, um dort darüber zu reden, welche armen Seelen sie in der vergangenen Woche zur Hölle haben fahren lassen. "Alarm" ist ein schrulliges Stück Musik, welches erklingt, als die Dämonen sich im Diner treffen. Eine der armen Seelen ist ein TV-Zensor, der in einem TV-Studio-Komplex Amok läuft. In einem der Studios sieht man eine rothaarige Frau und einen großen Mann mit dunkelbraunen Haaren, die eine Autopsie durchführen, welche gerade gefilmt wird. Mark begleitet die Szene mit einer leicht "schiefen" Version seines X-Files-Themas. Die Stücke befinden sich auf dem ersten Set mit "MillenniuM"-Musik, welches von LLL veröffentlicht wurde. Das Set ist auf 1.000 Stück limitiert. Viel Spaß beim Hören!

Williams war auch für den ersten POTTER nominiert. Und auch für den ersten Indy.

Varese veröffentlicht zum Record Store Day das Album „Music for Film and Television" von Angelo auf Vinyl. Angelo Badalamenti’s Music for Film and Television, a career-spanning compilation of iconic works from the composer, comes to vinyl for the first time, featuring themes from Twin Peaks, Blue Velvet, Mulholland Drive, Wild At Heart, and many more David Lynch classics. The album is pressed on Translucent Red vinyl, and features brand-new artwork by illustrator Brianna Ashby. Tracklist SIDE A: 1. Blue Velvet (Main Title Theme), 2. A Very Long Engagement (Suite From A Very Long Engagement), 3. Wild At Heart (Dark Spanish Symphony), 4. The Comfort Of Strangers (The Other Side Of the Mirror), 5. Mulholland Drive (Main Title Theme) SIDE B: 1. Twin Peaks (Laura Palmer's Theme•Main Title Theme (Falling)), 2. The City Of Lost Children (Suite From The City Of Lost Children), 3. Who Will Take My Dreams Away (featuring Marianne Faithfull), 4. The Straight Story (Rose's Theme)

Neu von Quartet: Quartet Records, in collaboration with El Deseo, present the soundtrack album from the highly anticipated new collaboration between Academy Award-winning director Pedro Almodóvar and renowned four-time Academy Award-nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY, PARALLEL MOTHERS) for THE ROOM NEXT DOOR, their fourteenth film together, following thirty years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER and PAIN AND GLORY. The film, which won the Golden Lion for Best Picture at the Venice Film Festival, is Almodóvar’s first English-language film and stars Julianne Moore, Tilda Swinton and John Turturro. The story follows Ingrid (Moore) and Martha (Swinton), who were close friends in their youth when they worked together at the same magazine. Ingrid became a fiction writer, while Martha became a war reporter, and they were separated by circumstances. After years out of touch, they meet again in an extreme but strangely sweet situation. Loyal collaborator Alberto Iglesias has written one of his most intense, emotional and moving large-scale orchestral scores. It is a second skin for the emotions of the characters—subtle, delicate and elegant. The music was recorded at Air Studios in London under the composer’s baton. Opening Titles (1:50) Rizzoli (1:02) The War In My Head (2:24) Lincoln Center (0:53) Diner (1:23) Snow Is Falling Under The Living And The Dead (4:08) KitchenN.Y. (1:50) The House In The Woods (2:51) Burning House (4:48) Sex Is The Best Shield (1:40) Pink Colored Snowflakes (3:08) The Goodbye (1:25) Dawn (3:39) Ingrid Doubts (1:17) Left Behind (2:57) The Waiting House (3:32) Return Journey (1:00) Death In My Hands (1:14) Martha’s Lesson (4:10) Michelle (1:27) Inside The Car (2:05) The Interrogation (1:36) Parallel Loungers (0:49) Letter To The Beyond (5:01) Music Decenters Me (1:17) Closing Credits (3:16)

Das war auch nicht direkt auf dich bezogen. Ich wollte es nur erwähnen. Es stimmt natürlich, dass langes Warten dazu führen kann, dass ein Schwung einer Pressung abverkauft ist und dann auch die europäischen Händler sehr lange keine neuen Exemplare mehr bekommen. Das ist mir bisher allerdings noch nicht passiert. Wobei ich jetzt auch kein halbes Jahr oder so warte, sondern vielleicht so zwei, drei Monate. Bei mir ist es ja ähnlich: So viele Titel, die mich interessieren, erscheinen nicht mehr. Goldsmith und Elfman sind da bei mir gesetzt (wobei ich die letzte Elfman-Expandierung von HELLBOY II nun auch ausgelassen habe), Snow und Badalamenti werden auch immer gekauft, aber von denen erscheint eh fast nichts mehr. THE OTHER habe ich jetzt beispielsweise mit FRIDAY THE 13TH V gepaart. Ich hätte auch den GOLDFINGER noch dazu genommen, aber der erscheint ja erst in drei Monaten für den „Rest". Man kann ihn bei MB allerdings schon bestellen, falls man Angst hat, kein Exemplar mehr zu bekommen. Und ja, BSX vermeide ich ebenfalls schon lange. Meine erste Bestellung da vor vielen Jahren lief noch gut, danach aber konnte ich monatelang auf Lieferungen warten, es wurden falsche CDs geliefert oder es fehlten welche. Und auf Nachfragen wurde nur sporadisch, wenn überhaupt, reagiert. Auf der anderen Seite habe ich damals mit Mark Banning ein wenig Mailkontakt gehabt und der hat mir freundlicherweise die Promo-CDs zu den drei Staffeln von MillenniuM mit der Musik von Snow geschickt. Da sind eben auch Stücke enthalten, die bisher nicht veröffentlicht wurden. Daher kann ich auf BSX gar nicht so böse sein.

Ich rechne natürlich immer die Zollgebühren bei Bestellungen aus den USA mit ein, auch wenn es in vielen Fällen vom Zoll durchgewunken wird. Bei MB bestelle ich dann natürlich nicht nur eine CD, sondern sammle, bis ich mehrere zusammen habe. Dann relativieren sich die Versandkosten auch etwas. Der Versand mit DHL Express ist mit 15 Euro dann natürlich auch nicht soo günstig, aber bei drei oder vier CDs lohnt sich das schon. Zumal im Normalfall die Sendung aus Frankreich dann eben spätestens zwei Tage nach Versand bei mir ist. Mittlerweile bieten sie aber auch einen günstigeren (und damit eben langsameren) Versand an. Für Leute, die sofort bei Erscheinen beim Label bestellen, um die Ersten zu sein, die die CD haben, ist das dann natürlich nichts. Aber so eilig habe ich es nicht, ich kann warten. Und auch der Kundenservice von MB ist vorbildlich. Wenn ich eine CD bestellt hatte, die vom Label dann wegen Fehlern nachgepresst wurde, habe ich die neue Pressung unaufgefordert bei meiner nächsten Bestellung mitgeliefert bekommen. Auch das ist sehr angenehm.

Ich bestelle schon lange nicht mehr in den USA. Lohnt sich finanziell nicht mehr, im Gegenteil, ist meist sogar teurer. Und auch die Lieferzeiten sind teilweise ewig geworden. Ich bestelle immer bei Music Box Records in Frankreich und bin damit bisher sehr gut gefahren. Meine THE OTHER von dort kam schon vor über einer Woche.

Die CD kommt wieder und eine Doppel-LP gleich dazu.

Die Ankündigung sieht zumindest stark nach ROBOCOP aus. Auf Nachfrage, ob CD oder Vinyl, kam von Varese die Antwort "Warum nicht beides?". Kann also sein, dass ROBOCOP 3 nun auch auf Vinyl erscheint.

La-La Land Records, Metro-Goldwyn-Mayer, EON Productions and Universal Music Enterprises proudly commemorate the 60th Anniversary of 007 film GOLDFINGER, with a remastered and re-sequenced CD re-issue of composer John Barry's original motion picture score. The 1964 film stars Sean Connery as James Bond in his third turn as 007 and is directed by Guy Hamilton. The bold GOLDFINGER orchestral score defined the mood and style of the entire series. The historic title song, sung by Shirley Bassey, packs a sonic punch that still hits as strongly today as it did six decades ago. Thrilling, dramatic, romantic, suspenseful, exhilarating - John Barry's GOLDFINGER has it all! Produced by Neil S. Bulk, restored by Chris Malone and mastered by Doug Schwartz, this remastered CD release re-sequences the original album tracks into film order for the first time and includes additional material, including a mono mix of the title song that offers a different vocal performance by Shirley Bassey. This special release is limited to 5000 units with new, exclusive liner notes by journalist and author Jon Burlingame and art design by Dan Goldwasser. TRACK LISTING: SCORE PRESENTATION 39:17 1. Bond Back In Action Again 2:31 2. Main Title – Goldfinger 2:51 Performed by Shirley Bassey 3. Into Miami 0:58 4. Golden Girl 2:10 5. Alpine Drive – Auric’s Factory 4:28 6. Death Of Tilly 2:05 7. The Laser Beam 2:53 8. Pussy Galore’s Flying Circus 2:48 9. Teasing The Korean 2:15 10. Gassing The Gangsters 1:04 11. Oddjob’s Pressing Engagement 3:07 12. Dawn Raid On Fort Knox 5:48 13. The Arrival Of The Bomb And Countdown 3:29 14. The Death Of Goldfinger – End Titles 2:34 ADDITIONAL MUSIC 7:53 15. Goldfinger (Instrumental Version) 2:09 16. Goldfinger 2:50 Performed by Anthony Newley 17. Goldfinger (Mono Version) 2:50 Performed by Shirley Bassey TOTAL ALBUM TIME: 47:17 This is a CD format release

In letzter Zeit von BSX/Dragon's Domain: Dragon’s Domain Records proudly presents the first volume in a new ongoing series of music from classic horror films, featuring world premiere releases by the woefully underrepresented composer Elisabeth Lutyens (1906-83). She became Britain’s first female feature film composer when she began accepting commissions to write scores for both Hammer and Amicus studios. PARANOIAC, as well as the other two films spotlighted on this album, were all directed by Freddie Francis, an accomplished cinematographer widely credited for pioneering the overall look of British horror. Released in 1963, PARANOIAC was written by Jimmy Sangster and Josephine Tey, starring Janette Scott and Oliver Reed. PARANOIAC tells the story of a pair of dysfunctional siblings desperately awaiting an inheritance. Their scheme is complicated by the sudden return of a brother long thought to have died by suicide. Released in 1965, DR. TERROR’S HOUSE OF HORRORS is the first film from Amicus Productions to feature an anthology of short story segments penned by producer Milton Subotsky. Similar in spirit to the lurid tales featured in EC Comics titles, Subotsky would later officially adapt material from those very magazines into subsequent films. Peter Cushing stars as a mysterious fortune teller who offers to predict the futures of his five fellow train passengers, which include Christopher Lee and Donald Sutherland. Also released in 1965, THE SKULL is a psychological suspense film adapted by Subotsky from a story by acclaimed fiction writer Robert Bloch, best known as the author of the novel PSYCHO. Once again, the ever dependable Peter Cushing leads as a collector of esoterica, who comes in possession of the remains of the infamous Marquis De Sade. The long-deceased blasphemer’s skull exudes a power on all who come into contact with it, delivering hallucinations that result in madness and death. Born in London, the musical education of Elisabeth Lutyens began by learning the violin at the age of eight, eventually receiving more extensive schooling at the Ecole Normal de Musique in Paris and The Royal College of Music. Her compositional style evolved into a methodology known as “Serialism,” a manner of writing said to have originated with Arnold Schoenberg’s twelve-tone technique, wherein the notes of the chromatic scale are randomly organized to form a unifying basis for a composition’s melody, harmony, and structural progressions. Several other composers of note, such as Béla Bartók, Igor Stravinsky, Dmitri Shostakovich, Aaron Copeland, and rock guitar virtuoso Frank Zappa, often used Serialism in their work. This first 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. 1 is a limited edition release and is expected to begin shipping the week of October 28, 2024. 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. DR. TERROR’S HOUSE OF HORRORS (1965) 01. Main Title / Strangers On A Train (2:19) 02. The Werewolf (5:52) 03. The Creeping Vine (1:37) 04. Voodoo (0:31) 05. The Disembodied Hand (1:57) 06. The Vampire (5:30) 07. End Of The Line (1:26) 08. Dr. Terror’s House Of Horrors (1965) Theatrical Trailer (1:16) THE SKULL (1965) 09. Main Title (1:44) 10. Auction Purchase (3:58) 11. The Book of The Marquis De Sade (3:08) 12. The Dealer’s Nightmare (4:26) 13. Theft (3:20) 14. A Violent Death (7:04) 15. The Marquis' Curse (2:54) 16. Bizarre Assault (7:06) 17. Panic Attack and End Titles (7:04) 18. The Skull (1965) Theatrical Trailer (2:07) PARANOIAC (1967) 19. Main Title (1:47) 20. Suspicion (2:02) 21. The Inheritance of Violence (2:10) 22. Discovery of Horror (2:45) 23. Fiery Finale (1:39) 24. Paranoiac (1963) Theatrical Trailer (2:33) Total Time 75:31 Dragon’s Domain Records presents the soundtrack release of THE BRIAN MAY COLLECTION – VOLUME 1, featuring music composed by Brian May (MAD MAX, THE ROAD WARRIOR, CLOAK & DAGGER) for two films from his extensive filmography, ROAD GAMES and BLOODMOON. Released in 1981, ROADGAMES (stylized as ROAD GAMES) is an Australian thriller directed by Richard Franklin (PATRICK, PSYCHO II, CLOAK & DAGGER), from a script by frequent collaborator Everett De Roche, starring Stacy Keach and Jamie Lee Curtis. Keach plays Patrick Quid, an American expat truck driver traveling across the South Australia interstates, and Curtis plays a helpful hitchhiker he playfully nicknames Hitch. The film starts with Quid taking a job delivering a load of meat to Perth. Along the way, Quid encounters a suspicious man in a green van driving on the road at the same time. After witnessing some strange behavior from this man, he finds himself picking Hitch up on the road and they join together to follow this man as they believe he might be the serial killer reported on the news who is butchering women using links of barbed wire. At a certain point in the film, Quid realizes that he’s becoming the main suspect of the police and after Hitch goes missing, he decides to take action to find Hitch and clear his name. Director Richard Franklin was known to be a big Alfred Hitchcock fan, and it shows respectively throughout ROAD GAMES. The film is considered an important entry in the Ozploitation genre and, along with the MAD MAX films and PATRICK, helped bring composer Brian May to worldwide attention. Released in 1990, BLOODMOON was directed by Alec Mills (best known as a camera operator and second unit DP), written by Robert Brennan and stars Leon Lessek (TIME BANDITS, SUZIE GOLD, EAST ENDERS), Christina Amor (PRISONER CELL BLOCK II, DEAD SLEEP, CYBER GIRL), Ian Williams (NEIGHBORS) and Helen Thomson (COLIN FROM ACCOUNTS, ELVIS, BAD MOTHERS). BLOODMOON sets a vampire chiller into St. Elizabeth’s, a rural Australian girl’s boarding school, where students are being stalked by a maniacal biology teacher (who also happens to have an unhealthy predilection for barbed wire as a murder device). The film’s title refers to the Hunter’s moon – the first full moon after the Harvest Moon. BLOODMOON is a Giallo in Australian clothes, with elements familiar in set design, script construction and musical treatment. Previously released on compact disc in the early days of the format, Dragon’s Domain Records is excited to bring ROAD GAMES and BLOODMOON back from the past, newly remastered by James Nelson at Digital Outland, with liner notes written by noted author Randall D. Larson. THE BRIAN MAY COLLECTION – VOLUME 1 is a limited edition release of 500. THE BRIAN MAY COLLECTION – VOLUME 1 will begin shipping on the week of October 1st, 2024. ROAD GAMES 1. Main Title / On The Road / The Icebox / It’s The End Of The World / No More Games (6:18) 2. Hitch’s Theme / Morning Scene (3:25) 3. The Chase (2:53) 4. Quid Investigates / What’s The Matter, Buddy? / Quid Inspects Meat (4:27) 5. Hallucinating (3:25) 6. Final Pursuit (3:58) 7. Collision / High Jump / Closing Titles (4:06) 8. Hitch’s Theme Reprise (3:03) BLOODMOON 9. Main Title (3:48) 10. Grave Digging / Next Morning / Lover’s Lane (4:21) 11. Romance And Murder / The Rock Pool (4:46) 12. Break-In / Where Is He? (3:56) 13. A Double Killing (7:12) 14. Myles’ Plan (3:39) 15. Police (3:16) 16. Myles Reveals (3:19) 17. Law On The Way (3:57) 18. Final Attack / The Last Act (6:16) Total Time: 76:50 Dragon’s Domain Records presents I DESIRE featuring music composed by Don Peake (THE HILLS HAVE EYES, THE PEOPLE UNDER THE STAIRS) for the 1982 television film directed by John Llewellyn Moxey, written by Robert Foster, starring David Naughton (AN AMERICAN WEREWOLF IN LONDON), Dorian Harewood, Marilyn Jones, Barbara Stock, Arthur Rosenberg, James Victor, Anne Bloom and Brad Dourif. Airing on ABC Television in 1982, I, DESIRE tells the story of David Balsinger (Naughton) a law student who moonlights as a coroner’s assistant at the county coroner’s office in Los Angeles. After just moving into town with his girlfriend, Cheryl (Jones), he soon finds himself drawn into investigating a series of strange murders in which men are being drained of their blood. David meets Jerry Van Ness (Harewood), a detective who also happens to be a law student. During the course of his investigation, David meets Mona (Stock), a nurse from one of the local hospitals. Accepting an invitation from Mona to come back to her apartment, David intuits that Mona is a vampire and she’s responsible for the murders he’s been looking into. Mona, realizing that she has been discovered, tries to overcome David on her balcony but instead falls to her death...or has she? Don Peake is a multi- talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic THE HILLS HAVE EYES, WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. The composer is very fond of his music for I, DESIRE. For the project, he was able to hire a large orchestra of fifty players and the scoring session was held at Universal Studios. The director of the film would go on to be a producer for KNIGHT RIDER and Peake would take over as the composer for the show. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring I, DESIRE back to the marketplace, with the music remastered by James Nelson at Digital Outland, sequenced into film order for the first time and including liner notes including the contributions of the composer and noted author Randall Larson. I, DESIRE is a limited edition release of 500 units. I, DESIRE is expected to begin shipping the week of October 28, 2024. 01. Opening Titles (1:25) 02. The First Victim (2:01) 03. Vampire Lurking (0:49) 04. David And Cheryl (1:20) 05. Blood Bank Attack (3:36) 06. The Second Victim (1:31) 07. Back To The Morgue (1:54) 08. Hospital Room Attack (1:18) 09. Search and Chase (3:36) 10. Leaving Cafe and Busted (2:00) 11. Calling The Cop (2:29) 12. Cheryl Leaves (2:14) 13. Hollywood Boulevard (2:11) 14. A Special Night (4:18) 15. A Rightous Man (4:31) 16. The Coffin (1:20) 17. Reunited and Finale (2:19) 18. Closing Credits (0:40) 19. Bumpers (0:19) 20. Busted (Alernate) (0:21) 21. Molly Screws (Alternate) (0:28) 22. Hollywood Boulevard (Alternate) (1:10) 23. Searching The Streets (Alternate) (1:12) Total Time: 44:03 Dragon’s Domain Records presents THE INTRUDER WITHIN/STARCROSSED, featuring the world premiere releases of two scores composed by Gil Mellé from his lengthy filmography. Originally airing as a television movie in 1981, THE INTRUDER WITHIN was written by Ed Waters, directed by Peter Carter, starring Chad Everett, Joseph Bottoms, Jennifer Warren, Rockne Tarkington, Lynda Mason Green, Paul Larsson, James Hayden, Michael Hogan, Mary Ann McDonald, Matt Craven, Ed LaPlante, Mickey Gilbert and Joe Finnegan as The Intruder. THE INTRUDER WITHIN is essentially ALIEN on an oil rig. Drillers on an oil rig off the coast of Antarctica discover that they have accidentally brought up several prehistoric eggs. One of those eggs hatches and grows into an unstoppable creature... The crew must overcome their differences and work together to destroy the intruder... within. STARCROSSED originally aired in 1985 as a television movie, written and directed by Jeffrey Bloom, starring Belinda Bauer, James Spader, Peter Kowanko, Clark Johnson, Jacqueline Brooks and Chuck Shamata. STARCROSSED tells the story of Mary the Alien (Bauer), who is running from a deadly enemy and trying to hide on Earth. She meets young mechanic Joey (Spader), who helps her get back home so she can fight for the freedom of her people. The film is a more effective sci-fi telefilm than we’re perhaps used to from 1980s TV, though it sustains a bittersweet finale as these star-crossed lovers share their time briefly between worlds far, far apart. 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 INTRUDER WITHIN/STARCROSSED, featuring the world premiere releases of music composed by Gil Mellé for these two projects. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson. THE INTRUDER WITHIN/STARCROSSED is a limited edition release of 500 units. THE INTRUDER WITHIN/STARCROSSED is expected to begin shipping the week of October 28, 2024 THE INTRUDER WITHIN 1. Theme / Opening Titles (1:21) 2. Past 20,000 Feet (1:44) 3. Sea Creature Attack (1:38) 4. He’s Dead (2:53) 5. Burial At Sea (1:56) 6. The Eggs (1:18) 7. Sam’s Death (2:01) 8. Robyn Assaulted (4:02) 9. Bad Dreams (2:22) 10. Wilma’s Death (2:33) 11. Deck Fight And Harry’s Death (3:15) 12. Twisted Birth (1:09) 13. Creature Confrontation And Aftermath (5:46) 14. Closing Credits (1:03) STARCROSSED 15. Starcrossed Theme (2:37) 16. Hunters At The Door (2:10) 17. Mary Explains / Bouncing Balls (3:13) 18. Joey And Mary (3:58) 19. The Observatory / Mary’s Home (4:06) 20. Testing Mary (2:26) 21. The Kiss / Junkyard Escape (5:22) 22. THE MIBs Show Up / Tender Interlude / MIBs Kidnap (4:36) 23. Mary Calls For Help / Joey To The Rescue (5:08) 24. Escaping The MIBs (3:33) 25. Transfer Of Knowledge / End Of The Hunters / Mary’s Farewell (4:53) 26. Finale (2:01) Total Time: 78:10 Dragon’s Domain Records presents the original score from the 1990 motion picture NIGHT OF THE LIVING DEAD, featuring music composed by Paul McCullough for the remake of the 1968 cult horror classic by the great George A. Romero, directed by Tom Savini, written by John A. Russo and George A. Romero, starring Tony Todd, Patricia Tallman, Tom Towles, McKee Anderson, William Butler, Katie Finneran, Bill Moseley, Heather Mazur and David W. Butler. After the success of DAY OF THE DEAD in 1985, George A. Romero secured funding for a remake of his original 1968 film and approached Tom Savini to direct the film. The two had forged a creative relationship after Savini used his incredible talents as a make-up artist and special effects wizard on DAWN OF THE DEAD in 1978 and again on DAY OF THE DEAD. The script for the remake was very close to the original film but after seeing Sigourney Weaver in the ALIEN films, Savini was interested in updating the Barbara character to be more proactive. Released in 1990, NIGHT OF THE LIVING DEAD begins as Johnny (Moseley) and Barbara (Tallman) are visiting their mother’s grave in a cemetery out in the middle of nowhere. Barbara sees a man sobbing nearby and murmuring ‘I’m sorry’ when, out of nowhere, she is attacked by a zombie. Johnny comes to defend her but is killed. Returning to Johnny’s car, Barbara is attacked again by more zombies. Barbara runs to a nearby farmhouse for help. She is joined by Ben (Todd), who tells her the zombies are everywhere. Armed with a crowbar, Ben and Barbara begin to clear the house of zombies, barricading the doors and windows. As they make their way through the house, they discover that they aren’t alone. Other people have also made their way there. As the dead continue to mass outside the house, Ben, Barbara and the others decide to make their stand there... but how long can they last? The music for Savini’s version of NIGHT OF THE LIVING DEAD was composed by Paul McCollough, who also had a previous relationship with George A. Romero as the writer for his 1973 film, THE CRAZIES. The original NIGHT OF THE OF THE LIVING DEAD featured a hodgepodge of pre-existing music selections from a variety of sources available through the Hi-Q music library, boasting a gothic, neo-50s, science fiction vibe. McCollough’s score, on the other hand, borrows some of the same minimalist characteristics as its predecessor but was composed and produced entirely using the synthesizer technology of the day. Previously released on compact disc as a limited edition release in 2002 by Numonorean Music and very scarce, Dragon’s Domain Records is excited to bring NIGHT OF THE LIVING DEAD back to the marketplace. The music has been newly mastered by James Nelson at Digital Outland and the booklet contains liner notes written by author and composer Brian Satterwhite. NIGHT OF THE LIVING DEAD is a limited edition release and is expected to start shipping the week of October 28th, 2024. 1. Cemetery (3:10) 2. Farmhouse (5:08) 3. Tensionizer (1:08) 4. Twin Geeks (3:14) 5. The Pity of Angels (2:45) 6. Boarding School (2:16) 7. Talking Points (5:58) 8. Courage To Go (7:25) 9. Pump Run (9:25) 10. Zombies Win! Zombies Win! (9:19) 11. Passage to Normal (11:55) Total Time: 62:08 Dragon’s Domain Records presents the world premiere release of the original motion picture soundtrack for SILENCE OF THE NORTH, featuring music by Allan Macmillan. Including music adapted and scored by Jerrold Immel (HOW THE WEST WAS WON, DALLAS, DEATH HUNT, MEGAFORCE). Released in SILENCE OF THE NORTH is a semi-autobiographical Canadian film based on the life of author Olive Frederickson as chronicled in the book of the same name written by Frederickson and Ben East. The film was directed by Allan King, screenplay written by Patricia Louisianna Knopp (THE PASSOVER PLOT, LADY OSCAR, 9 ½ WEEKS), starring Ellen Burstyn as Olive Frederickson, Tom Skerritt (MASH, ALIEN, TOP GUN) as her first husband Walter Reamer and Gordon Pinsent (COLOSSUS: THE FORBIN PROJECT, THE SHIPPING NEWS) as her second husband John Frederickson, produced by Murray Shostak (DEATH HUNT, SLIDERS) and Robert Baylis. SILENCE OF THE NORTH follows the story of Olive Frederickson (Burstyn) from when she was a girl, then becoming a wife to trapper Walter Reamer (Skerritt) and later a widow with three small children struggling to survive under rugged conditions in northern Alberta Canada, from the early 1900’s and continuing into the great Depression as she returns to civilization with her children. The score for SILENCE OF THE NORTH is credited to Allan MacMillan and is his sole feature film credit. There is an additional music credit for composer Jerrold Immel (HOW THE WEST WAS WON, DALLAS, DEATH HUNT, MEGAFORCE, THE SHADOW RIDERS) that reads ‘music adapted and scored by’. These duties included arranging the instrumental versions of the Neil Young song ‘Comes A Time’. While SILENCE OF THE NORTH was considered a flop despite good reviews upon its original theatrical release, a combination of SelecTV picking it up for its programming lineup and award recognition for the title song written by Neil Young eventually led to the film having a cult status with people of a certain age. All three main actors and director Allan King were nominated for Genie Awards, the Canadian equivalent of the Oscars. Dragon’s Domain Records presents SILENCE OF THE NORTH, featuring music by Allan Macmillan, music adapted and scored by Jerrold Immel for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland from elements provided by the Film Music Society. SILENCE OF THE NORTH is a limited edition release of 500 units and is expected to begin shipping on the week of October 1st, 2024. 01. Comes A Time (2:10) Neil Young, arr. Jerrold Immel 02. Love Theme (Inst) (2:26) 03. Barge / Horse & Billy Drown (1:36) 04. Love Theme (Filigate) (1:33) 05. Comes A Time (1:34) Neil Young, arr. Jerrold Immel 06. White-Out / Trapping (0:51) 07. Bear Warning / Bear Attack / No Hair (2:14) 08. Crazy Trapper / No Guts Walter (3:14) 09. White Madness / Killing Dogs / Fire (4:56) 10. Across The Snow & John’s Cabin / I’ve Been Tamed (4:33) 11. Comes A Time* / She Has To Stay Put / Walter Keeps His Promise (2:10) * - Neil Young, arr. Jerrold Immel 12. Homestead Picnic (Inst) (2:49) 13. The Last Of Walter / Walter’s Dead / Bear (3:55) 14. Comes A Time* / Moose / Wolves / Comes A Time (4:38) * - Neil Young, arr. Jerrold Immel 15. Lonely / Love Theme (2:21) 16. End Title / Comes A Time* (2:56) * - Neil Young, arr. Jerrold Immel 17. Guitar and Harmonica Blues (Source) (1:56) 18. P.S. I Love You (Source) (2:04) Gordon Jenkins, arr. Jerrold Immel 19. The Very Thought Of You (Source) (2:57) Ray Noble, arr. Jerrold Immel 20. Medley From Silence Of The North: Love Theme / Comes A Time* (4:33) * - Neil Young, arr. Jerrold Immel Total Time: 56:20 Dragon’s Domain Records presents the world premiere release of the soundtrack for DESPERATE VOYAGE, featuring music composed by Bruce Broughton (SILVERADO, TOMBSTONE, THE ORVILLE ) for the 1980 television movie directed by Michael O’Herlihy, written by Alvin Sapinsley, based on the book by Ray Kytle, starring Christopher Plummer, Jonathan Banks, Cliff Potts, Christine Belford, Lara Parker, Nicholas Pryor and Michael Swan. DESPERATE VOYAGE is a survival thriller set on the high seas and was filmed entirely on the water, without any studio sets. The film begins as Captain Burrifous (Plummer) and his demented son, Louis (Banks), find a boat that has stalled on the open sea. They discover a sick man on board who is hopeful for rescue only to discover that they intend to plunder his boat, leaving him to his death after they scuttle his boat with their much larger sailing sloop and leave him to the murky depths... The next target of Burrifous’ criminality are two couples, Cliff and Karen and their friends, Grace and Ralph (both suffering from severe sea sickness). Grace and Ralph accept the comfort of a passing sloop to ferry them to the nearest land. Unfortunately, the sloop belongs to Burrifous and his son... Will Cliff and Karen suffer the same fate? The music for DESPERATE VOYAGE was composed by Bruce Broughton early in his career and was one of the first scores recorded after the American Federation of Musicians strike in 1980, which gave Broughton the opportunity to put together an enthusiastic orchestra that was eager to get back to work and perform. The music was recorded at Evergreen Studios with engineer Armin Steiner. 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. Dragon’s Domain Records presents DESPERATE VOYAGE, featuring music composed and conducted by Bruce Broughton. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author Randall Larson, with the participation of the composer. DESPERATE VOYAGE is a limited edition release of 500 units. DESPERATE VOYAGE is expected to begin shipping the week of October 1st, 2024 The first 50 copies purchased will be autographed by Bruce Broughton. 01. Opening Titles / Burrifous Sees The Boat (4:45) 02. Robbing The Old Man / Ramming The Boat (3:59) 03. The Coast Guard / The Valhalla Sails / Vic Decides To Turn Around / Burrifous Spots The Valhalla (3:43) 04. Burrifous Takes Grace and Ralph Aboard (3:20) 05. Taking Ralph's Wallet and Watch / Grace Attacks / Ralph's Demise (4:00) 06. Vic Forgives Karen / Burrifous Opens Fire / Valhalla Escapes (4:21) 07. Vic Comforts Karen / More Gunfire / Karen's Mayday Distress Call / No Response / Rape (4:33) 08. Louie Destroys The Valhalla's Mast and Radio (4:05) 09. The Valhalla Stops / What In The World Can They Be Thinking (2:56) 10. Louie's Death / Vic Is Shot / Act Out (3:25) 11. Karen Finds The Flare Gun / Launching Flare / Burrifous Rams The Boat (4:44) 12. Burrifous Boards The Valhalla / Death By Flare Gun / End Credits (3:11) Total Time: 47:31

Intrada announces the premiere release of a long-sought after Carter Burwell score: the 1996 Universal Pictures thriller Fear. The film is a psychological thriller centered on the intense and tumultuous relationship between a teenage girl, Nicole (Reese Witherspoon), and a charismatic but dangerous young man, David (Mark Wahlberg). As their romance blossoms, Nicole's father, an extremely protective and watchful figure, begins to suspect that David may have a darker side. As David's behavior becomes increasingly erratic and violent, Nicole must confront the reality of her relationship and the significant dangers it poses to her and her family. The film opens with a sweeping flyover of Seattle and here Burwell introduces his main theme underscored by pounding taiko drums. As Jeff Bond writes in his liner notes, "It is marvelously ambivalent, swelling with something between seductive longing and monomaniacal confidence. The drums playing over the helicopter shot immediately establish the city as a tribal battleground where Steven Walker’s instincts to protect his family will run up against David McCall’s impulses to not only seduce and steal away his daughter but to insinuate himself into the structure of the Walker family, attaching himself to Walker’s young son, his attractive wife and even his dog while Walker watches." The score is moody and unsettling, slowly insinuating itself into the drama behind the scenes much as David integrates himself (or tries to) into the family. The score also received notable praise from critics reviewing the film. Burwell credits a lot of the power of his Fear score to the orchestration and conducting of Shirley Walker. “It’s got a particular sound I think she takes a lot of responsibility for, like the way that the brass plays at the bottom end and the lushness of the strings,” he points out. The CD was produced by Carter Burwell, mixed by Michael Farrow and mastered by Chris Malone. 01. Fear (Opening) (2:38) 02. I Can’t Go (1:07) 03. Beating (1:06) 04. Logan Points (1:43) 05. Entry (3:22) 06. David Alone (1:01) 07. The Condom (1:26) 08. Tattoo (1:31) 09. Locker (0:51) 10. Apology (2:09) 11. Face-Off (1:08) 12. Grabbing (1:19) 13. It’s Over (1:43) 14. Driving (2:08) 15. Friend (1:03) 16. Altar (2:12 17. Cherries (2:55) 18. Kaiser (1:06) 19. Neck (1:11) 20. Prisoner (0:51) 21. Pounding (1:05) 22. Continuing (0:58) 23. Okay? (1:47) 24. Drilling (2:22) 25. The Flaw (1:01) 26. Final Showdown (3:09) 27. Fear (Ending) (5:16) Total CD Time: 48:51

Ja, auf CD 1 sind die Stücke, die vorher schon auf den MCA-Alben und auf Hammers Album ESCAPE FROM TELEVISION veröffentlicht wurden.

Die MCA-Alben waren hauptsächlich Song-Sampler, auf denen aber auch ausgewählte Score-Tracks von Jan Hammer enthalten sind. Es gibt insgesamt drei Volumes mit Songs und Score, sowie daraus zusammengestellte Best-of-Alben. 2002 veröffentlichte Jan Hammer eine Doppel-CD, MIAMI VICE THE COMPLETE COLLECTION, auf der die Score-Tracks der alten Alben versammelt waren (auch von seinem Album ESCAPE FROM TELEVISION), sowie bisher unveröffentlichte Stücke. Diese Veröffentlichung war aber scheinbar so limitiert, dass sie schnell ausverkauft war.

Auf dem Cover steht 2.000 Exemplare.

ROBOCOP war zumindest mal ein Varese-Album. Aber ja, die Deluxe Edition kam dann von einem anderen Label. Ebenso wie bei FLESH AND BLOOD, eine weitere Verhoeven/Poledouris-Zusammenarbeit: Altes Varese-Album, kam dann nochmal im Club, erweiterte Auflage dann von Prometheus und später nochmal von Intrada.

Kommt am 15.10.

Snow Files of the Week: "Damascus/The Subject", aus "MillenniuM", Episode "Owls" (1998). Als Mitglieder der MillenniuM-Gruppe in einer Moschee in Damaskus ein Stück Holz finden, welches zu dem Kreuz gehörte, an dem Jesus gestorben ist, entzweit sich die Gruppe in zwei Parteien: die "Eulen" und die "Hähne". Während die "Eulen" nicht an die Apokalypse mit dem Jahr 2000 glauben, sondern daran, dass das Jahr 2000 nur der Start von kosmischen Ereignissen ist, die erst knapp 60 Jahre später Auswirkungen haben werden, sind die "Hähne" davon überzeugt, dass das Ende nahe ist. Noch komplizierter wird es, als eine dritte Partei hinter dem Stück Holz her ist: das Projekt "Odessa", welches einst von den Nazis ins Leben gerufen wurde, um auf der ganzen Welt nach religiösen und machtvollen Objekten zu suchen. Marks Musik untermalt nicht nur die Szenen in Damaskus, als die Mitglieder der Gruppe sich wegen des Stück Holzes gegenseitig töten, sondern gibt der Folge auch eine religiöse Tonalität in dem Stück "The Subject". Diese Tracks stammen vom ersten Set mit MillenniuM-Musik von LLL, welches 2008 veröffentlicht wurde. Die erste Auflage war auf 2000 Stück limitiert und war 2010 dann ausverkauft. 2015 wurde das Set wieder aufgelegt, dieses Mal limitiert auf nur noch 1000 Stück. Viel Spaß beim Hören!

Zu MIAMI VICE scheint zumindest Jan Hammer selbst nichts mehr zu haben. Ich erinnere mich nur daran gelesen zu haben, dass er auf Nachfrage einmal antwortete, dass seine Tapes in der Zwischenzeit alle unbrauchbar geworden sind.

Neu von Quartet: Quartet Records, in collaboration with Paramount Pictures, presents a remastered, expanded edition of Mark Isham’s distinguished, moving score for THE BROWNING VERSION. The 1994 film was directed by Mike Figgis, produced by Ridley Scott and based on a famous play by Terence Rattigan, which had already been seen several times on television and in cinemas, the most famous adaptation being the 1951 film starring Michael Redgrave. The story is about an embittered, disliked teacher of Greek and Latin at a British school (masterfully interpreted by Albert Finney). After nearly 20 years of service, he is being forced to retire on the pretext of his health and might not even receive a pension. The boys regard him as a “Hitler of the Lower Fifth”—with some justification. His wife, Laura (Greta Scacchi), is unfaithful with another young teacher (Matthew Modine), and lives to wound him any way she can. He must come to terms with his failed life and regain at least his own self-respect. Although director and composer Mike Figgis had previously written a score for the film, producer Ridley Scott felt that an outside voice was needed to enhance the story. Mark Isham, with a jazz sensibility close to Figgis’, was asked to write a spare, heartfelt and highly dramatic symphonic score—one of the last recorded at CTS Studios in London. Celebrating the film’s 30th anniversary, this edition includes all the music recorded by Mark Isham for the film, including revised and alternate cues. Produced by Dan Goldwasser, the album has been mastered by Chris Malone from first-generation tapes transferred in high resolution. The package includes liner notes by Jeff Bond, based, in part, on a new interview with Mark Isham. 1. In Founder’s Court 1:33 2. Make Way For Mr. Harris* 0:43 3. Taplow 1:17 4. Cromwells 1:51 5. The Agamemnon 1:33 6. Hitler Of The Lower Fifth 0:24 7. Popping Pills 0:24 8. The Art Of Learning Is To Conceal Learning 0:43 9. In The Village 0:53 10. Need Anything From The Village? 0:19 11. Just Good Friends 1:15 12. Enough* / She’s A Good One, Your Mother / Andrew And Gilbert / Good Luck To You 1:55 13. A God From Afar Looks Graciously Upon A Gentle Master** 2:59 14. Defiant Creature 0:55 15. The Secrets Of A Marriage 2:20 16. Worlds Apart 2:41 17. Beter Not Keep The Headmaster Waiting 0:45 18. Night Crawlers 1:03 19. Toujours La Politesse 0:56 20. Goodbye** 2:32 21. To Forgive Myself (Film Version) 0:49 22. The Noblest Calling 2:30 23. Prize Giving 1:20 24. The Browning Version 6:32 Bonus Tracks: 25. To Forgive Myself (Album Version) 3:07 26. Ave Verum 1:15 27. To Forgive Myself (Alternate) 2:3 * not used in the film ** contains material not used in the film Total Disc Time: 46:50 Quartet Records, in collaboration with Atresmedia Música, presents the new score by renowned composer Fernando Velázquez (THE IMPOSSIBLE, A MONSTER CALLS, CRIMSON PEAK, ALMA) for a funny and emotive animated film set in the Old West! The film is about two parentless Irish siblings who arrive in New York City via an ocean liner and quickly find themselves on a wild, cross-country journey aboard an orphan train where they meet an extraordinary new friend who will change their lives forever. Fueled by curiosity, friendship and teamwork, their dangerous and discovery-filled quest will introduce them to devious villains, unexpected heroes and surprising adventures in their heart-warming and hilarious search for a home. Fernando Velázquez provides an impressive, full-epic symphonic western score, 60 minutes of pure film music composed as in the good old days. It’s an exciting, emotional score, meticulously performed under the baton of the composer. The music was recorded and mixed by Marc Blanes, and the CD mastered by Chris Malone. The Arrival 1:21 Where’s Uncle Neil? 3:47 Gathering Money 2:43 A Journey Starts 2:44 The Way 2:13 Different 2:17 Adventures In The Train 1:50 Amazing Buffalos 2:48 Fixing the Carriage 1:51 The Attack 1:23 On Our Way 2:21 A Dark Night 2:52 The Cheyenne Encounter 2:01 Money 2:00 The Moon Dance 1:59 Sound Of The Eagle / Goodbye 2:37 The Bandits 2:28 The Mine / Brother’s Lullaby 2:51 I Have A Plan 2:02 Uncle Neil 1:33 In Action 2:28 Escape & Chase 2:46 Cheyenne & Calvary 2:45 Rescue Plan Executed 3:34 Nick’s Dream 1:20 All Together In The End 3:53 Show Me The Things You Like 2:31 We Are Together On The Road 0:52 Total Disc Time: 65:21 Quartet Records, in collaboration with Metro-Goldwyn-Mayer, presents the premiere complete CD release of Billy Strange terrific score for DE SADE, an ambitious 1969 American International Pictures production directed by Cy Endfield. The film is a fictionalized biography of the world’s most famous sexual and physical pervert: Marquis De Sade, who was notorious for his sadistic behavior. The film stars Keir Dullea as the Marquis, Senta Berger, Lilli Palmer and John Huston. Legendary musician and arranger Billy Strange, a frequent collaborator with Nancy Sinatra and the composer of such hits as “A Little Less Conversation,” was an unusual choice for DE SADE. Despite being a much sought-after musician, Strange had few film credits. He had written the eponymous theme song to “Baby The Rain Must Fall” and arranged the single version of Nancy Sinatra’s “You Only Live Twice,” but otherwise he was a newcomer to the film scoring scene. That kind of inexperience was exactly what AIP was looking for, as they wanted something fresh and unexpected for one of their most ambitious films to date. With the full support of AIP’s experienced music department (and tips from industry veteran Les Baxter), Strange created an exciting blend of symphonic pseudo-classical music juxtaposed with contemporary pop-psychedelia for the numerous extended orgy sequences. The music was recorded by the Berlin Symphony Orchestra conducted by Strange himself. The original LP of DE SADE was released by Tower Records, a subsidiary of Capitol Records, but the original soundtrack only contained selected highlights from the score, with some cues arranged especially for the album, and it certainly didn’t do justice to Billy Strange’s efforts. Now, on this 80-minute CD, with the music remixed and mastered by Chris Malone from the 8″ multitrack preserved in mint condition in the MGM vaults, the ambitious and lavish score can be heard in all its glory. The package includes exclusive, in-depth liner notes by the much-missed Gergely Hubai—some of the last work he did for us. The score was one of his personal favorites, and he gathered a great amount of information in his research, which he then poured into his always efficient liner notes. 1. Overture (2:18) 2 Ride To Inn / Main Title / La Coste Castle (5:44) 3. Stage Is Set / Players Intro / Rehearsal Interrupted (1:07) 4. Marriage Contract / After Anne / De Sade Decides / Behold The Maiden (4:08) 5. Wine, Women And Jam (3:15) 6. De Sade Trapped / Futile Chase/ Niece Flays Boys / After Theatre Orgy (2:17) 7. Lovers Walk (Minuet) (1:40) 8. Birth Of Baby / Illusion Of Anne / Rose Derriere (2:27) 9. De Sade Nightmare I/ Grapes of Wrath / Eight Is The Answer (2:31) 10. Anne / Empty Cape (2:20) 11. Marseilles Affair / De Sade Escapes (5:45) 12. De Sade Nightmare II (1:13) 13. Lovers Walk / Anne And Louise Buff (3:08) 14. The Mirror / Mirror Crash (2:50) 15. De Sade Trial / De Sade Ride To Inn (1:55) 16. Beheaded / Abbé’s Crystal Ball / Young Lovers (4:23) 17. Nocturnal Permission (2:35) 18. Wild Theatre Wrecking (1:43) 19. 18th-Century Vandalism / Skull Orgy (3:15) 20. Bacchanalia (3:14) 21. Flashbacks (2:13) 22. End Credits (1:08) Bonus Tracks: 23. The Chase (Album Version) (2:45) 24. Skull Orgy (Alternate) (1:03) 25. Lovers Walk (Album Version) (4:25) 26. Wine, Women And Jam (Album Version) (3:31) 27. Nocturnal Permission (Album Version) (2:44) 28. Bacchanalia (Album Version) (3:17) Total Disc Time: 79:12 Quartet Records, in collaboration with Metro-Goldwyn-Mayer, presents the world premiere release of two 70s killer-animals exploitation film scores from the vaults of American International Pictures. THE FOOD OF THE GODS was directed by Bert I. Gordon (“Mr. BIG”) in 1976. Loosely based on the novel by H.G. Wells, it concerns a group of friends who travel to a remote Canadian island to hunt, only to be attacked by giant killer rats that have populated the place. Elliott Kaplan, a trained and seasoned television composer who composed scores for episodes of Ironside, Alfred Hitchcock Presents, Fantasy Island and Banacek, wrote a highly sophisticated, Impressionistic score, blending orchestra with Moog synthesizers to create an unnerving atmosphere for the movie, reminiscent of both Leonard Rosenman and the more experimental Jerry Goldsmith. FROGS, directed by George McCowan in 1972 and starring Ray Milland, was a funny film about another group of helpless victims celebrating a birthday on an island estate crawling with killer frogs, birds, insects and reptiles. The score was done by AIP’s main composer, Les Baxter, successful writer of Exotica music, and responsible for the lavish scores for Roger Corman’s Edgar Allan Poe–based films. Baxter offered a brief but unusual score and broke new ground by performing it entirely on a Moog synthesizer provided by recording engineer Joe Sidore. FROGS was one of Les Baxter’s final film scores, but he and composers like Elliott Kaplan added immeasurably to the rich and wild legacy of ’70s exploitation filmmaking. This album has been produced, mixed and mastered by Chris Malone from original stereo elements vaulted at MGM in mint condition. The package includes exclusive, in-depth liner notes by author Jeff Bond. THE FOOD OF THE GODS 1. Main Title From The Food Of The Gods 1:25 2. Island Approach / Wasps 3:17 3. Morgan Gets The Bird 1:30 4. Skinner’s Food / To The Ferry / Luck Ran Out 3:09 5. Worms Crawlin’ 1:33 6. Flat Tire / Here Come The Rats / Rats Attack Mr. Skinner 2:16 7. BeNsington And Lorna Arrive / Worms In The Sink / FOTG Stream / Return To The Island / Wasp Fight 3:25 8. Rita’s PregnaNcy 1:38 9. Wasps Nest Explosion 2:22 10. Lorna In Pit 4:21 11. White Rat / Army Of Rats 3:56 12. Rats Attack 2:10 13. More Rats Attack 2:51 14. Lorna Panics / Farmhouse Flood Part 1 3:41 15. Farmhouse Flood Part 2 & Part 3 5:11 16. Finale 3:18 17. End Title From The Food Of The Gods 2:09 FROGS 18. Main Title From Frogs 3:41 19. Grover’s Death 3:26 20. Michael’s Death / Kenneth’s Death 3:30 21. Fourth Of July March 3:01 22. Bella’s Dance 1:07 23. Frogs Piano 1:58 Total Disc Time: 65:06

Ich finde auch, dass der Score in der erweiterten Fassung viel gewinnt. Klar ist hier im wahrsten Sinne des Wortes viel Gewaber dabei (was Alan Howarth durch das Hinzufügen eines Nebelhorns aufzulockern versucht), aber die Musik kriecht kalt wie der titelgebenden Nebel durch die Gehörgänge. Für mich im Herbst immer wieder gern gehört. Der Score verbreitet einfach eine herbstlich-schaurige Atmosphäre.