Alexander Grodzinski

Intrada bringt das Rosenthal-Album am Dienstag expandiert nochmal.

Und das letzte Set. STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL 7: LIMITED EDITION (2-CD SET) $31.98 Item Number: LLLCD1649 Limited Edition: 1701 UNITS Shipping Status: STARTS SHIPPING OCT. 11 Music by Alexander Courage, Gerald Fried and Sol Kaplan Theme from Star Trek by Alexander Courage Limited Edition of 1701 Units La-La Land Records, CBS Studios and GNP Crescendo Records proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 7, the seventh and final 2-CD set in a series of limited edition CD releases that showcase original scores from the landmark sci-fi television series STAR TREK (1966-1969). Containing music originally from our long out-of-print 2012 Original Series Box Set, these exciting volumes utilize the same restored master as that acclaimed release, but feature new packaging by Dan Goldwasser, along with brand new, exclusive liner notes by film music writer and Trek historian, Jeff Bond. This groundbreaking, iconic music, from one of television’s most acclaimed and beloved series, is now again available for fans everywhere! Vol. 7 of the 1701 Collection focuses on the music of renowned composers Alexander Courage, Gerald Fried and Sol Kaplan, with the “Star Trek Theme” by Alexander Courage, and contains original scores from the classic pilots THE CAGE and WHERE NO MAN HAS GONE BEFORE as well as the season two episodes AMOK TIME, and THE DOOMSDAY MACHINE, along with MAIN and END TITLES, additional music, source cues and more. Produced by Lukas Kendall, Neil S. Bulk and Jeff Bond, restored by Chris Malone and mastered by Doug Schwartz, this limited edition 2-CD release of 1701 units illustrates how the original Trek series scores not only teem with action, adventure and drama, but how they are infused with deep emotion and the greatness of the human spirit. Such characteristics have kept these richly orchestrated tracks vital and relevant decades beyond their original recording. Don’t miss out on the final release of this classic CD collection. Track Listing DISC 1 The Cage Music Composed and Conducted by ALEXANDER COURAGE Episode #1, Recorded 1/22/65 Total Time: 32:03 1. Main Title* M10 1:00 2. Dr. Bartender* M11 1:24 3. Survivors M21 1:45 4. Prime Specimen/Bottled M22–30/M31 5:08 5. Probing/Monster Illusion/Monster Fight/The Kibitzers M41/M42/M43/M44 5:40 6. Long Look/Vina’s Punishment M45/M51 2:03 7. Pike’s Punishment M52 0:37 8. The Picnic M53 2:18 9. True Love M61 1:25 10. Vina’s Dance M62 1:56 11. Torchy Girl/Under the Spell/Primitive Thoughts M63/M71/M72 1:10 12. Wrong Think M73 0:43 13. To Catch a T. M74 1:25 14. Going Up M75 1:11 15. Max’s Factor M81 2:12 16. Who Was Eve? & End Credits* M82 1:33 Where No Man Has Gone Before Music Composed and Conducted by ALEXANDER COURAGE Episode #2, Recorded 11/29/65 • Aired #3, 9/22/66 Total Time: 28:00 17. Beyond the Pale (No Man Before)/Main Title M11/M12 1:07 18. Act 1 Card M13 0:37 19. Episode Titles M14 1:24 20. Force Field/Silver Orbs (Zooms Past) M15–20/M21 4:07 21. Crippled Ship M22 0:56 22. The Patient/Speedy Reader M23/M24 1:50 23. Some Corpse M31 2:22 24. Decision/Playtime/Megalomania/Stronger and Stronger/Hit the Button M32/M41/M42/M43/M44 3:03 25. On Delta Vega/Strangle by Wire M51/M52 1:15 26. When Your Eyes Have Turned to Silver M53 1:01 27. Instant Paradise M54 2:56 28. Power Mad/Situation Grave/Epilogue M61/M62/M63 6:10 29. End Title M64 0:23 30. End Credits M65 0:22 Total Disc Time: 60:09 DISC 2 Amok Time Music Composed and Conducted by GERALD FRIED Episode #34, Recorded 7/19/67 • Aired #30, 9/15/67 Total Time: 31:42 1. Main Title* 1:01 (2nd Season, Soprano Version, Enhanced Stereo; arr./cond. Courage) 2. Enterprise*/Prying M11/M12 0:47 3. Episode Title*/Mr. Spock/Log* M13/M14/M14A 1:59 4. Deep Thought*/Contrary Order/Prognosis/The Big Question/Message From T’Pring M15/M16–20/M16–20A/M21/M22/M23 5:02 5. Vulcan Biology/Pon Farr M24/M24A 3:44 6. More Soup* M26–30B 1:51 7. T’Pring M32 0:53 8. Vulcan* M33 1:03 9. Processional M34–40 1:37 10. The Challenge M41 3:02 11. War Sash M42 0:44 12. Ritual/To the Death M43/M44 1:54 13. The Ancient Combat/2nd Kroykah M51/M52/M52A 5:10 14. Remorse/Vulcan Logic/Marriage Counseling M53–60/M53–60A/M53–60B 2:48 15. Resignation*/Lazarus Returned/Pig’s Eye* M61/M62/M63 0:44 The Doomsday Machine Music Composed and Conducted by SOL KAPLAN Episode #35, Recorded 8/30/67 • Aired #35, 10/20/67 Total Time: 31:03 16. Approach of the Enterprise*/Distress Signal/The Ship Search*/The Constellation M11/M12/M13/M13A 2:05 17. The Dead Ship*/Going Aboard M14/M15 2:01 18. Commodore Matt Decker/The Crew That Was M16–20/M21 1:58 19. What Is a Doomsday Machine?/The Planet Killer* M22/M23 2:01 20. Gaining Speed*/The Strange Beam* M24/M25–30 0:52 21. No Casualties*/Decker Takes Over M31/M32 2:41 22. The New Commander*/The Approaching Killer* M33/M33A 1:37 23. Light Beams*/Tractor Beam M34–40/M41 3:28 24. Violent Shakes* M42+M42A 2:46 25. Spock Takes Command*/Decker’s Foil/The Sneaky Commodore* M43/M51/M51A 2:44 26. Goodbye M. Decker* M52/M52A 3:05 27. Condolences*/Power Drain* M53/M61 1:12 28. Kirk Does It Again* M62 3:45 29. One’s Enough* M63 0:24 Additional Music Total Time: 3:06 30. Approach Of The Enterprise (Alternate) 0:24 31. Approach Of The Enterprise (With Brass Sweetener) 0:24 32. One's Enough (Alternate) 0:09 33. More Soup (Alternate) 1:52 34. Resignation (Alternate) 0:08 Amok Time Source Music Total Time: 1:24 35. Vulcan Lyre 0:07 36. Gong FX 0:12 37. Bells 0:22 38. Wind Chimes 0:37 39. End Title* 0:47 (2nd Season, Soprano Version, Enhanced Stereo; arr./cond. Courage) Total Disc Time: 69:29 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry This is a CD format release.

Das mit dem 90 Tagen wird sicherlich vertragliche Gründe haben. Damit LLL das wohl überhaupt machen durfte. Schade ist, dass es „nur" eine Wiederveröffentlichung des Albums ist ohne neue Tracks.

Snow Files of the Week: "Journey North/Northern Lights" aus "MillenniuM", Episode "Luminary" (1997). Eine weitere sehr beliebte Folge unter Fans. Dieses Mal verschlägt es Frank Black nach Alaska auf der Suche nach einem vermissten jungen Mann. Eine Leiche wurde bereits gefunden, die vermeintlich der vermisste Mann ist, aber Frank spürt, dass da mehr dahinter steckt und dass der Mann noch lebt. Also macht er sich alleine auf, um die Wildnis Alaskas nach dem Mann zu durchsuchen. Mark komponierte für die Episode einen seiner herausragensten Scores der Serie. Die Musik reicht von eher folkigen Einschlägen mit Flöten- und Gitarren-Samples, bis hin zu sphärischen Klängen mit Chor, die die Szenen in der Nacht untermalen, in der Frank Zeuge des nördlichen Wetterleuchtens wird. Die Musik wurde auf dem zweiten Set von LLL veröffentlicht. Das Set ist auf 2.000 Exemplare limitiert und ausverkauft. Viel Spaß beim Hören!

Ist kopiert.

Remastered and expanded edition. 12-page CD booklet with French and English liner notes by Gérard Dastugue. Limited edition of 500 units. In collaboration with BMG, Music Box Records proudly presents three original motion picture soundtracks composed by Philippe Sarde between 1981 and 1984: Le Choix des armes (Choice of Arms), Garçon ! (Waiter!) and La Garce (The Man Hunt). The three scores presented here, including the world premiere release of La Garce, pay tribute to the brilliant collaboration between Philippe Sarde and orchestrator Peter Knight, of which Tess and Quest for Fire are among the greatest examples. At that period, Knight will become Sarde’s privileged working partner, one who could match his overflowing creativity. For Choice of Arms (1981), director Alain Corneau wanted to find a balance between American thrillers and the great tradition of French film noir. Sarde hired two virtuoso Afro-American jazz double basses (Ron Carter and Buster Williams) combined with the opulent and lyrical sound of the London Symphony Orchestra with its Ravelian reflections. The score is presented from a newly mastered high-resolution transfer of the stereo album master, offering superior audio. For Garçon ! (1983), this new release presents the slighty expanded flamboyant score, emphasizing one of his iconic collaborations with director Claude Sautet. For La Garce (directed by Christine Pascal in 1984), the darkly intimate score performed by saxophonist Phil Woods, accordionist Gilbert Roussel and the Chilingirian String Quartet, builds a bridge between the codes of Hollywood film noir and those of French poetic realism. Supervised by Philippe Sarde, the program has been assembled by Édouard Dubois and fully remastered from the original master tapes. The package includes a 12-page booklet featuring exclusive liner notes by writer Gérard Dastugue discussing the films and the scores. The CD release is limited to 500 units. LE CHOIX DES ARMES 1. Le Choix des armes (2:55) 2. Noir (1:33) 3. En liberté (2:18) 4. Itinéraire en banlieue (2:29) 5. Duo (4:58) 6. La maison abandonnée (2:14) 7. Soudain dans un paysage calme (1:24) 8. Rue vide avec petite fille (2:15) 9. Le Choix des armes (Suite) (7:44) Time • 27:55 GARÇON ! 10. Garçon ! (3:28) 11. Le petit voyage (3:33) 12. Claire (1:01) 13. La journée d'Alex (3:26) 14. Le trampolino (1:06) 15. Le pourboire (1:12) - Previously Unreleased 16. Le parc de jeux (2:37) Time • 16:29 LA GARCE 17. Prologue (2:10) 18. Avant le viol (0:44) 19. Fausse adresse (0:53) 20. Filature nocturne (2:15) 21. Les aveux de Samuel (5:02) 22. Max (1:09) 23. Passage à tabac (2:17) 24. Aline et Max (1:08) 25. Petit matin (1:28) 26. Incendie (1:52) 27. Fuite d'Aline et Lucien (3:54) 28. Déjà-vu (2:08) 29. Mathilde (1:58) 30. Épilogue (2:32) 31. La Garce (2:01) Time • 31:36 Total Time • 77:04

Nun auch auf Vinyl.

Snow Files of the Week: "Prayer/Suicide Exam" aus der Akte-X-Episode "Die Hand Die Verletzt". Ein herausragender Score in der Serie von Snow. Die Geschichte um satanische Rituale, Glaube und Besessenheit inspirierte Mark zu diesem düsteren Gothic-Score. Die brodelnde Ambient-Musik erschafft die passende Atmosphäre für die unheimlichen Ereignisse an einer High School. Mark benutzt sogar düstere Chorgesänge in seiner Musik und verleiht dem Score damit einen hohen Wiedererkennungswert innerhalb der Serie. Die Zeile "Die Hand Die Verletzt" ist in der Episode gleich am Anfang zu hören in dem satanischen Gebet, welches die Lehrer sprechen. Obwohl der Original-Titel der Episode mit "Die Hand Die Verletzt" schon deutsch ist, bekam die Folge hierzulande einen anderen Titel. Bei uns heißt sie "Satan". Musik aus "Die Hand Die Verletzt" befindet sich auf dem zweiten 4-CD-Set mit Akte-X-Musik von LLL, limitiert auf 3000 Stück. Das Set ist ausverkauft. Viel Spaß beim Hören!

Vermutlich. Ich habe die Filme nur auf Blu-ray und da sind eben bei KROKODIL und HIMMELHUNDE die Titeleinblendungen auf deutsch (bei KROKODIL ist der Titel deutsch, die restlichen Credits sind italienisch). HECTOR erschien auch nicht bei 3L, sondern LEONINE. 3L hat eben die veröffentlicht, an denen sie die Rechte hatten. Bei HECTOR ist auch der Titel auf deutsch, die restlichen Credits italienisch. Bei RAND UND BAND sind die Credits komplett italienisch.

40 Euro ist mir dafür eigentlich auch zu viel. Zumal alle Cover, außer die mit den Kinomotiven, echt häßlich sind. Und die Kinomotive sind natürlich schon ausverkauft.

Als kurzer Einwurf sei noch erwähnt, dass das kleine Label Retro Gold 63 die beiden Filme DAS KROKODIL UND SEIN NILPFERD und ZWEI HIMMELHUNDE AUF DEM WEG ZUR HÖLLE im November je als Blu-ray-Mediabook veröffentlicht. Das Besondere daran ist, dass ein neues Master zum Einsatz kam. Als das Label 3L vor vielen Jahren anfing, die Spencer/Hill-Filme auf Blu-ray zu veröffentlichen, hatten sie für diese beiden Filme keinen Zugriff auf das italienische Master. Es wurden daher deutsche Kinokopien verwendet, die natürlich qualitativ schlechter waren als das originale Master. Besonders bei den Himmelhunden ist das deutlich zu sehen. Die Blu-ray-Version ist an vielen Stellen stark verrauscht und auch die Farben sehen oft unnatürlich gesättigt aus, worunter auch insgesamt die Bildschärfe immer wieder leidet. Im Vergleich sieht sogar die DVD besser aus. Der Grund, dass man damals die italienischen Master nicht verwenden konnte, war ein, zumindest damals, noch andauernder Rechtsstreit in Italien. Ob dieser nun beigelegt ist, weiß ich leider nicht, aber scheinbar konnte nun wohl ein italienisches Master erstellt werden. Ähnlich wie bei der Musik ist wohl auch die Rechtelage bei dem Filmen nicht immer so einfach. Das ist sicherlich auch ein Grund, warum mittlerweile zwar fast alle Spencer/Hill-Filme auf Blu-ray veröffentlicht wurden, aber der Spencer-Solofilm ALADIN bisher nur als DVD erhältlich ist. Das war damals eine Cannon-Produktion und scheinbar gibt es auch da bei Veröffentlichungen immer wieder mal Schwierigkeiten, auch, was nicht mehr auffindbare Master betrifft. Es gibt eine spanische Bootleg-Blu-ray, aber eine offizielle Veröffentlichung wäre schon schön. Nächste Woche erscheint sogar die TV-Serie ZWEI SUPERTYPEN IN MIAMI auf Blu-ray, also sollte das doch für die Kinoproduktion ALADIN auch noch drin sein.

Scheinbar kommt auch was zu STAR TREK. Vielleicht zieht LLL den Black Friday vor.

Heute von LLL: Da heute vor 60 Jahren GOLDFINGER in die Kinos kam und wohl auch die Schriftart die des Kinoplakates ist, kommt der Score wohl am 01.10. von LLL.

DAS KROKODIL UND SEIN NILPFERD wird in der erweiterten Version nun auch auf Vinyl erscheinen. It was 1979, and I was barely 5 years old. Some memories are impressed on my mind with a sort of solarized texture, like in the photographs of the period, full of icons and myths. My father Franco and mother Luciana were like crazy pinballs, touring the world: America, France and Germany were the sides against which they continuously bumped and Italy's capital the hole to which they always returned. I was really young, but I remember very well the period in which my father worked on this little jewel, produced and shot with great love and poetry by Mr. Zingarelli. I remember Italo, a large guy who made an enormous impression on me: tall, with an imposing frame and often wearing a big beard that made him both tender and menacing, like an Italian version of Santa Claus. We owe a lot to this man who gave so much to Italian cinema, sensibly enriching our artistic fortune, sometimes, as in this case, with great irony and poetry. Shot in Africa in the late '70s, Io sto con gli ippopotami (aka I'm for the Hippopotamus), is a movie that in my imagination is just like Italo: humorously menacing and bulky, protective, awesome and sweet, a description that also fits the mascot of this delicious film, the hippopotamus. In this movie we feel the presence of its producer/director's poetry, often handed down with great passion and cheerfulness through his cinema. It's a simple message of love for nature, respect for the weaker and the duty to intervene when they are subjected to abuse. Everything is presented with disarming simplicity, as powerful as it is beautiful. You must confess that you were moved when Terence Hill, toward the end of the movie, delights himself with his friend-of-a-thousand- adventures Bud Spencer by watching the flight of the animals from Mr. Ormond's boat to the wonderful notes of "Freedom," where my father's harmonica together with the melody infuses the scene with an almost maternal sweetness. Well, we are all in debt to this big guy for his kind message and the clean, sparkling, soft and amusing sincerity that dwells there, among the lines of his cinema, apparently devoted to simple entertainment but so wonderfully deep and full of feeling. Heartiest thanks, Italo. Daniele De Gemini This album, dedicated to the memory of Italo Zingarelli, is released on a 180 grams colored vinyl, mastering by Enrico De Gemini, graphic layout by Daniele De Gemini. Tracklist: A Side 1 Grau Grau Grau 2:46 2 Boogie match 3:44 3 A bus in the wild 2:09 4 Happy fists 2:24 5 Smoothly 2:34 6 Caviar and lobster 3:16 4 Grau Grau Grau 2:04 B Side 1 Freedom 3:07 2 Angry with me? 1:14 3 Ciocio flute 3:02 4 Joyful release 1:32 5 Casino 1:35 6 Lulla ciocio 0:57 7 Caterpillar 2:53 8 Ciocio-Ciociolosa 2:14 9 Grau Grau Grau 2:10

Intrada presents the premiere release of composer Frédéric Talgorn's first film score: the 1989 MGM horror film Edge of Sanity. His approach to scoring the film, as with many of his scores after this first venture, comes from the orchestral tradition created by many film music legends. As he describes in the liner notes, “I’m from a mid-70s generation of people who discovered film music when John Williams put symphonic scoring back on the map. I realized the power of what you could do for the cinema with orchestral music thanks to composers like him, Jerry Goldsmith and Miklós Rózsa.” Bringing a fresh voice to a legacy of music scores sprawling decades behind him, Edge of Sanity brims with strong themes, fierce action, eerie suspense and even some brief moments of pastoral joy. Talgorn proved right out of the gate that he could bring a level of sophistication and artistry to any film he might score. Seemingly lost for decades until its recent discovery in DAT format by the composer, the breadth of the music’s brash, richly melodic transgression remains as wonderfully shocking as ever, no more so than to Talgorn. “When I listen now, I’m surprised by some of this music,” he remarks. “You write what you are, and my obsession was to write for an orchestra. I didn’t even think of doing anything else, because the greatest film music I knew was orchestral. The energy you feel in this score comes from that beginner’s enthusiasm because I wanted to show what I could do." This long overdue album was well worth the wait. Talgorn produced the album for Intrada, with Doug Schwartz responsible for mastering. The film presents a dark, twisted take on the classic tale of Dr. Jekyll and Mr. Hyde. Starring Anthony Perkins as the classic character, the film follows Dr. Jekyll, a troubled scientist who experiments with a new drug that unleashes his alter ego, the violent and depraved Mr. Hyde. As Hyde's rampages become increasingly brutal, Jekyll struggles to control his darker half while the film delves into themes of duality, madness, and the thin line between genius and insanity. The film combines elements of psychological horror with a gritty, atmospheric setting, offering a chilling exploration of the human psyche. THE SCORE 01. Opening Scene (2:45) 02. Main Title (2:32) 03. Susannah Theme (1:14) 04. Transformation (2:25) 05. Hyde Walks In The Street (0:42) 06. Frenzy (0:37) 07. Meet Susannah (0:41) 08. Blue Scene (4:16) 09. Return From Picnic (0:54) 10. Good Night, Henry (1:01) 11. Maggie Climbs The Stairs (2:03) 12. Maggie’s Murder (1:24) 13. Hyde Scribbles (0:32) 14. Looking For A Murder (1:22) 15. Visions From Nightmare (0:50) 16. Looking For Susannah (1:56) 17. Murder Of Frank’s Prostitute (1:19) 18. Jekyll And Elisabeth On The Stairs (0:55) 19. Hallucination (3:21) 20. Elisabeth Finds The Scribbles (1:42) 21. Looking For Jekyll (0:52) 22. In The Attic (1:52) 23. End Titles (2:21) 24. End Credits (2:33) Total Score Time: 41:00 THE EXTRAS 25. Opening Scene (Alternate Performance and Mix) (2:59) 26. Hallucination (Alternate Performance and Mix) (3:39) Total Extras Time: 6:40) SOURCE MUSIC 27. At The Bordello (1:34) 28. In The Tavern (0:51) 29. Jekyll’s Waltz (2:22) Total Source Music Time: (4:52) Total CD Time: 52:43

Intrada announces a new, 2-CD expansion of James Newton Howard's beloved score to the Walt Disney animated feature Dinosaur (2000). The score was the first of three animated features Howard would score during that time for Disney, followed shortly thereafter by Atlantis and Treasure Planet. Originally released in a generous 51-minute program, this new Intrada release features the full score running some 82 minutes, featuring a wealth of new material previously only heard in the film. One of the absolute highlights is the entire opening sequence, relying primarily on music as there is no dialog. It's well over an hour of soaring themes, aggressive action music, comedic moments—everything you'd expect from a prehistoric dinosaur adventure. For this new release, Intrada was given access to the complete multi-track sessions stored at Disney, which were remixed by Chris Malone. Douglass Fake assembled the album program (one of the last projects he was able to personally produce before his passing). Fake was a huge fan of Newton Howard's work and was thrilled with the opportunity to revisit this epic work. He would have been proud of the final result. The film is a groundbreaking blend of traditional animation and computer-generated imagery. Directed by Eric Leighton and Ralph Zondag, the film follows the journey of an iguanodon named Aladar, who is raised by a family of lemurs after being orphaned. As he grows, Aladar and his adoptive family face the challenges of a changing world and struggle to survive against the backdrop of a dramatic asteroid collision. Dinosaur is notable for its innovative visual effects, which combine CGI dinosaurs with live-action backgrounds, creating a visually stunning and immersive prehistoric world. CD 1 THE SCORE 01. Inner Sanctum/The Nesting Grounds (3:20) 02. The Attack (1:17) 03. The Egg Travels (2:47) 04. The Egg Hatches (3:46) 05. Playing Monster (2:13) 06. The Mating Ritual (4:19) 07. The Meteor (4:07) 08. Arrival On The Mainland (2:12) 09. Raptors/Aladar Meets The Herd (4:29) 10. Aladar Meets The Misfits (Film Version) (5:47) 11. The Trek (2:34) 12. Finding Water (5:14) 13. Aladar And Neera (6:11) 14. The Cave (5:27) 15. Attack In The Cave (3:54) 16. Neera Rescues The Orphans (1:15) 17. A Dead End (1:06) 18. Breakout/Comes With A Pool (5:48) 19. Kron And Aladar Fight (3:01) 20. Carnotaur Stand-Off (4:53) 21. Epilogue (2:34) CD 1 Time: 76:09 CD 2 THE SCORE (Cont.) 01. End Credits (6:20) Total Score Time: 82:20 THE EXTRAS 02. Aladar Meets The Misfits (Alternate Ending) (3:34) 03. The Trek (Alternate) (2:55) 04. Enough For Everyone (Alternate) (1:32) 05. End Credits – Version 2 (6:05) 06. End Credits – Version 3 (6:18) The Extras Time: 20:33 2000 SOUNDTRACK ALBUM 07. Inner Sanctum/The Nesting Grounds (3:00) 08. The Egg Travels (2:44) 09. Aladar & Neera (3:29) 10. The Courtship (4:14) 11. The End Of Our Island (4:01) 12. They’re All Gone (2:09) 13. Raptors/Stand Together (5:38) 14. Across The Desert (2:26) 15. Finding Water (4:15) 16. The Cave (3:41) 17. The Carnotaur Attack (3:53) 18. Neera Rescues The Orphans (1:13) 19. Breakout (2:44) 20. It Comes With A Pool (3:02) 21. Kron & Aladar Fight (2:58) 22. Epilogue (2:33) Soundtrack Album Time: 51:53 Total CD 2 Time: 78:48

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

Waxwork Records bringen zumindest schon mal die Vinyl des Songalbums mit zwei Elfman-Tracks.

Varese bringt den Score nochmal auf Vinyl, CD und digital. 25th Anniversary Edition, kuratiert von Don Davis aus dem Material der Complete Edition. Wake up, Neo. We are thrilled to announce a 25th anniversary edition of Don Davis’ iconic score for The Matrix. Out November 15th and available for pre-order today on LP, CD, and digital formats, The Matrix (Original Motion Picture Score) features an expanded 18-song tracklist curated by Davis himself from key tracks previously only available on the complete edition of the score, and brand-new artwork by acclaimed illustrator Yuko Shimizu. In addition to CD and digital, fans can find the album on several exclusive vinyl colorways including “Cyber Swirl Green”, available exclusively on our website, while a “Blue Pill” pressing will be available via Barnes & Noble. International Matrix fans will be treated to a “Red Pill” edition. Each version features brand-new anime-inspired illustrations by artist Shimizu, depicting two of the iconic bullet-time moments from the film. All formats and variants are available to order/pre-save. Track List: 1. Main Title (from The Matrix) / Trinity Infinity 2. Unable To Speak 3. Switched For Life 4. Switched At Birth 5. Switches Brew 6. Nascent Nauseous Neo 7. A Morpheus Movement 8. Domo Showdown 9. Bring Me Dinner 10. The System 11. The Hotel Ambush 12. Ignorance Is Bliss / Cyber Cyphernetic 13. Exit Mr. Hat 14. The Cure 15. The Lobby 16. Dodge This 17. Ontological Shock 18. He’s The One Alright

Order yours starting 9/10 at 12 noon pst at www.lalalandrecords.com and get your CD Booklet autographed by composer Lorne Balfe at no additional charge. Autographs are available while supplies last and are NOT guaranteed. La-La Land Records and Netflix proudly present the limited edition CD release of acclaimed composer Lorne Balfe’s (MISSION: IMPOSSIBLE FALLOUT & DEAD RECKONING, BAD BOYS: RIDE OR DIE) original motion picture score to the triumphant action-comedy BEVERLY HILLS COP - AXEL F, starring Eddie Murphy and directed by Mark Molloy. The return of the legendary BEVERLY HILLS COP franchise, with Eddie Murphy reprising his most iconic role of Axel Foley, demanded a brilliant music score worthy of such an event, and composer Lorne Balfe delivered, providing BEVERLY HILLS COP – AXEL F with an astounding and propulsive blend of syth, rock and orchestra that honors the famous Harold Faltermeyer themes of the original films in thrilling fashion while also unleashing exciting new musical material! Includes the single “HERE WE GO!” by Lil Nas X Produced by Lorne Balfe, executive produced by Dan Goldwasser, and mastered by Reuben Cohen at Lurssen Mastering, this CD release is limited to 3000 units. Art Design is by Dan Goldwasser. TRACK LISTING: 1. “HERE WE GO!” – Lil Nas X 3:13 2. Beverly Hills Cop: Axel F (Curnow Harding Remix) 2:55 featuring Tim Cappello 3. Snowplough Chase 2:11 4. Junior Bollinger 1:31 5. Meet Jane 2:13 6. Trackers 4:02 7. Wilshire Boulevard 3:02 8. Bribe Chalino 2:41 9. Axel’s Return 4:10 featuring Tim Cappello and Sunglasses Kid 10. Rooftop Escape 3:54 11. Bad Helicopter 3:43 12. Rescue Rosewood 2:11 13. Mansion Shootout 4:09 14. Team Talk 3:25 15. 90210 1:16 TOTAL ALBUM TIME: 44:38 This is a CD format release

Order yours starting 9/10 at 12 noon pst at www.lalalandrecords.com and get your CD Booklet autographed by composer Harry Manfredini at no additional charge. Autographs are available while supplies last and are NOT guaranteed. The release of FRIDAY THE 13 PART V – A NEW BEGINNING, would attempt to give the beloved series exactly that, a new beginning.. But the dark beating heart and soul of both Jason and the franchise - Harry Manfredini’s brilliant scores - unquestionably had to remain front-and-center in order to preserve what came before, while also pushing it into new territory. Now, in 2024, this film’s iconic score pushes further into new territory with the release of FRIDAY THE 13th PART V – A NEW BEGINNING: THE ULTIMATE CUT, the newly restored, remixed and expanded presentation of composer Harry Manfredini’s (F13 PARTS 1,2,3,4,5,6, 9, 10, HOUSE, DEEPSTAR SIX), score to the famed horror franchise’s fourth sequel. In 2021, the discovery of original FRIDAY score elements culminated in La-La Land’s “Ultimate” restoration of the first three films in the legendary franchise. Once again, engineer Jerry Lambert and album co-producer Brian Satterwhite, under supervision of Manfredini, have brilliantly restored and remixed the music with results nothing short of astounding! The score is richer, bolder and as unstoppable as Jason himself! Included in this deluxe assembly is music NEVER before released! Produced by Dan Goldwasser and Brian Satterwhite, mixed by Jerry Lambert, meticulously assembled and edited by Satterwhite, and mastered by James Nelson, this special CD release features exclusive liner notes by Satterwhite that provide a detailed track-by-track breakdown along with an in-depth examination of the release’s restoration and remix process. The art direction is by Goldwasser and the original cover art is by Scott Saslow. A must-have for all FRIDAY fans and film score enthusiasts! TRACK LISTING: 1. Graveyard 3:30 2. Here Comes Jason! 1:38 3. Main Titles* 2:12 4. Arriving at Pinehurst 0:59 5. Tommy Scares Reggie / Tommy Watches 0:55 6. Vic Chops* 1:04 7. Roy Gets His Hands Dirty 0:48 8. Pete in the Woods 0:48 9. Flare / Pete in the Front Seat 0:50 10. Jason in the Mirror 1:19 11. Tommy Fights Eddie 0:34 12. Lana and Billy and You Know Who* 1:20 13. Tommy at the Window* 1:01 14. The Eyes Have It* 1:59 15. Drive to Demon’s* 1:29 16. Tommy Meets Junior 2:27 17. Them Damn Enchiladas* 0:55 18. The Gang Waits While Heads Roll* 1:06 19. Robin Gets Ready for Dead 1:56 20. Bodies, Bodies, Bodies* 1:16 21. Pam and Reggie Meet “Jason” 4:38 22. Reckless to the Rescue 2:49 23. Chainsaw Pam 1:17 24. Tommy Confronts “Jason”* 2:34 25. Battle in the Barn* 2:15 26. Tommy’s Dream* 1:28 27. Jason’s Final Visit 1:41 28. End Titles 3:19 BONUS TRACKS 29. Heavy Metal Source 3:25 30. Punk Funk Source 1:04 31. “Ki-ki-ki…Ma-ma-ma…” 0:15 TOTAL ALBUM TIME: 53:56 * contains previously unreleased material not used in film This is a CD format release.

Und dann kommt eine 40th Anniversary 4-CD-Box davon zum Black Friday.

Ist ja bald Halloween Beim vierten Teil gab es doch eh einige Cues, die einfach aus den Musiken der vorherigen Filme zusammengeschnitten wurden. Vielleicht dachte sich LLL, dass sich deswegen da kein ULTIMATE CUT lohnt. Oder es war einfach nicht mehr Material vorhanden als das, was sie schon veröffentlicht hatten, eben weil so vieles aus den vorherigen Musiken verwendet wurde.

Jetzt ist es soweit: