Alexander Grodzinski

PASADENA tauchte auch schon hier im Thread auf. Der und THE SUBSTITUTE WIFE, das sind die beiden, die digital veröffentlicht wurden. Vielleicht hat BSX jetzt auch alle Scores von Snow rausgehauen, an die sie einfach gekommen sind (oder die sie einst schon als Promo veröffentlicht haben). An GHOST WHISPERER hat sich wohl vor einigen Jahren schon ein Label versucht. Vermutlich LLL, würde ja in ihr Portfolio passen. Aber da sind zwei Studios involviert, darunter Touchstone/Disney, weshalb daraus nichts wurde. Von der Folge "Leap of Faith" gibt es zumindest eine FYC-Promo.

Leider nicht. Digital haben sie ja noch zwei Scores von Snow veröffentlicht, aber CDs kamen bisher keine mehr. Wobei ich mir kaum vorstellen kann, dass sich unbekanntere Snow-Sachen schlechter verkaufen als vieles von den anderen obskuren Sachen, die sie so veröffentlichen.

HEAVY METAL: REMASTERED LIMITED EDITION (2-CD SET) LLLCD 1641 Music by Elmer Bernstein Limited Edition of 1500 Units RETAIL PRICE: $26.98 STARTS SHIPPING JUNE 4 Available to order on JUNE 4, 2024 starting at 12 noon (pst) at www.lalalandrecords.com La-La Land Records, Columbia Pictures and Asylum Records proudly present a remastered 2-CD limited edition re-issue of renowned composer Elmer Bernstein’s (GHOSTBUSTERS, TRUE GRIT, STRIPES) original motion picture score to the 1981 big screen, cult classic animated fantasy/action epic HEAVY METAL, produced by Ivan Reitman and directed by Gerald Potterton. A highly ambitious feature film animated adaptation of the legendary comic magazine HEAVY METAL required a musical underscore worthy of launching the entire enterprise into the stratosphere and the late, great Elmer Bernstein proved more than up to the challenge, delivering a rousing orchestral score that expertly drives the movie’s varied scenarios, moods and characters to wonderous heights. In total, the score remains a signature effort from one of the most uniquely American composers ever to come out of Hollywood. Produced by Neil S. Bulk and mastered by Doug Schwartz, this deluxe remastered release features the Score Presentation on Disc One, sourced from the composer’s own ¼” stereo tapes, while Disc Two unleashes the Original 1981 Score Album, which offers a different mix, and is also making its world premiere CD debut here, sourced from the original album masters. Limited to 1500 units, this release features exclusive, in-depth liner notes by author Jeff Bond, including new comments from the film’s special effects director, John Bruno, and thrilling art direction by Dan Goldwasser. TRACK LISTING: DISC 1 (57:43) SCORE PRESENTATION 1. Soft Landing 1:16 2. Grimaldi 1:19 3. Den And The Green Ball 3:18 4. Den Makes Out 2:42 5. Castrate Him / Searching For Loc-Nar 2:04 6. Den And The Queen 2:55 7. Den’s Heroics 2:52 8. Captain Sternn 1:27 9. Getting Bombed 3:07 10. Green Ball 2:15 11. Dem Bones 2:44 12. No Alarm 0:58 13. Space Love 1:33 14. Harry 1:36 15. The Next Morning 1:57 16. End Of Baby 2:43 17. Taarna Summoned 2:49 18. Flight 2:17 19. Taarna Prepares 3:33 20. Flight To Holiday Town 2:20 21. Fighting 2:43 22. My Whips! / Taarna Escapes Pit 4:57 23. Taarna Forever 3:35 DISC 2 (40:38) ORIGINAL SCORE ALBUM 1. Den And The Green Ball 3:14 2. Den Makes It 2:50 3. Den And The Queen 2:54 4. Den’s Heroics 2:51 5. Bomber And The Green Ball 4:34 6. Space Love 1:30 7. Harry And The Girl 3:41 8. Taarna Summoned 2:49 9. Flight 2:17 10. Taarna Prepares 3:32 11. Barbarians 3:35 12. Taarna Forever 3:34 TOTAL ORIGINAL SCORE ALBUM TIME: 37:42 BONUS TRACK 13. Den Makes It (Alternate Mix) 2:49 TOTAL ALBUM TIME: 98:21 This is a CD format release.

HEAVY METAL kommt von LLL wieder.

Snow Files of the Week: "Ice Cubes/Dan to the Rescue/Hit and Run/No One Ever Leaves Me/Victoria's Madness" aus dem TV-Film "Seduced and Betrayed" (1995). In den frühen 90ern eroberte BASIC INSTINCT die Kinos und wurde fast gleichzeitig ein moderner Klassiker. Der Film verhalf dem Genre des Erotikthrillers zu neuer Popularität und in den Jahren danach folgten viele Filme, die so sein wollten wie dieser. Das trifft auch auf den Score von Jerry Goldsmith zu. Als SEDUCED AND BETRAYED 1995 auf der Bildfläche erschien, versuchte auch er die sexuellen Spannungen des großen Vorbilds zu kopieren. Und es ist ziemlich offensichtlich, dass Goldsmiths Score als Temp Track diente, bevor Mark mit seiner Arbeit begann. Sein Main Theme ist im Grunde nur eine minimal veränderte Variation von Goldsmiths Thema. Für den Rest des Scores griff Mark aber auf seine bekannten Stilismen zurück. Das Main Theme erschien bereits auf dem Sampler "The Snow Files". Der Score wurde, zusammen mit CAROLINE AT MIDNIGHT, auf "The Mark Snow Collection Vol.2" von Dragon's Domain Records veröffentlicht. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Neu von Quartet: Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered 45th anniversary reissue of Ennio Morricone’s bizarre sci-fi score for Aldo Lado’s THE HUMANOID (1979), a sort of parody-reboot-plagiarism-homage to the recent STAR WARS success that featured a cast of actors famous for their recent appearances in THE SPY WHO LOVED ME and MOONRAKER: Richard Kiel, Barbara Bach and Corinne Clery. The story encompasses stealing revolutionary scientific inventions, mad doctors and crazy plans for world domination. Because of this chaotic storyline, Lado went by the pseudonym George B. Lewis (just as Luigi Cozzi used the name Lewis Coates in STAR CRASH). This made it seem like an international production, and in his case, it wouldn’t affect his career as a serious director. Ennio Morricone had scored almost all of Aldo Lado’s films since his debut in LA CORTA NOTTE DELLE BAMBOLE DI VETRO, so it was only logical that he should also compose the music for THE HUMAMOID. With the huge success of John Williams’ revival of symphonic scoring in STAR WARS as a precedent, Morricone adopted a completely different approach—toward electronic music, pastiches of classics by Beethoven and Bach, and a fascinating sound close to the avant-garde music he’d encountered during his time with the Gruppo d’Improvvisazione Nuova Consonanza. His score for THE HUMANOID quickly became a cult classic, and the LP was released by RCA in 1979. Subsequently, the same program was released on CD in 1992, and an expanded edition, quickly sold out, came in 2010 from GDM. This new edition, remastered by Chris Malone and supervised by Claudio Fuiano, celebrates the 45th anniversary of the film and one of the most bizarre scores ever penned by the Roman genius. Un Uomo Nello Spazio 5:48 Estasi Stellare 5:04 Infanzia, Evoluzione E Ritorno 6:37 Informale Primo 0:59 Trasmissione Difettosa, Rotazione E Rivoluzione 6:27 Incontri A Sei 8:05 Robodog 3:02 Informale Secondo 5:18 Estasi Stellare (#2) 5:08 Trasmissione Difettosa, Rotazione E Rivoluzione (#2) 2:46 Informale Primo (#2) 2:17 Infanzia, Evoluzione E Ritorno (#2) 4:36 Estasi Stellare (#3) 5:02 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered reissue of famous giallo score composed by Ennio Morricone in 1971 for COSA AVETE FATTO A SOLANGE?, directed by Massimo Dallamano and starring Fabio Testi, Joachim Fuchsberger, Cristina Galbó and Camille Keaton. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. COSA AVETE FATTO A SOLANGE? shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, and despite the success of the movie on its release, no album of Ennio Morricone’s score for COSA AVETE FATTO A SOLANGE? was released—not even a 45-rpm single with the main title. It was not until 1986 that the Intermezzo label in Italy released an LP with a selection of 14 cues personally chosen by the composer. This selection was released on CD in 1997, along with Morricone’s unreleased score for the 1974 thriller SPASMO. The first edition of the complete score was released in 2006 on the Digitmovies label. That edition sold out quickly. This new Quartet release has been completely remastered by Chris Malone from original master tapes, giving a new generation of avid collectors the chance to hear this score by the Roman maestro. Cosa avete fatto a Solange? 2:41 Raccapriccio 2:31 Anche un quartetto per lei 1:52 Una tromba e la sua notte 2:58 C’e qualcuno qui? 1:56 Cadenze 3:14 Aleatorio 2:10 Aleatorio secondo 2:11 Ostinazione al limone 2:28 Altre cadenze 2:42 Pensierosamente 2:35 Fragile organetto 2:38 Fine di solange 2:47 Cosa avete fatto a Solange? (# 2) 1:00 Una tromba e la sua notte (# 2) 1:56 Altre cadenze (# 2) 2:07 Raccapriccio (# 2) 1:43 Fragile organetto (# 2) 1:53 C’e’ qualcuno qui? (# 2) 2:09 Una tromba e la sua notte (# 3) 1:32 Cosa avete fatto a Solange? (# 3) 3:01

In den USA zumindest sind Abbott und Costello noch recht bekannt. Darauf wird man hier wohl vorrangig setzen. Und als zusätzliches Zugpferd hat man eben die Sachen von Mancini dazugeholt, um noch einen populäreren Namen dabei zu haben.

Das ist tatsächlich ein Sammlermarkt, bei dem Leute alle Varianten eines Mediabooks kaufen, aber dann natürlich ungeöffnet im Regal stehen lassen. Kurioserweise ist das aber, vor allem in Deutschland, die Nische, mit der die Label noch Geld verdienen können. Physische Medien verkaufen sich immer schlechter, aber Sammlereditionen gehen immer noch gut weg. Das Thema wurde aktuell auch auf Facebook auf der Seite des Labels Turbine diskutiert. Da gibt es im Grunde drei Fraktionen. Eine fragt, wann der Film als Mediabook kommt, eine fragt, wann das Steelbook kommt und eine fragt, wann es den Film als normale Amaray gibt. Turbine und auch Plaion Pictures veröffentlichen nun mal hauptsächlich Box-Sets und Collector's Editions. Und diese sind auch wirklich liebevoll gemacht, kosten aber auch entsprechend. Von dem Amaray-Käufern wird dem Label daher Geldmacherei vorgeworfen, denn sie wollen nur den Film und keine Box für 50 oder 100 Euro. Aber alle Label sagen hier das gleiche: Bei den gesunkenen Verkaufszahlen von physischen Medien und bei dem Aufwand, den sie mit einer Veröffentlichung eines Titels betreiben müssen (sind ja auch viele Erstveröffentlichungen dabei), vor allem natürlich finanziell, würde sich eine Veröffentlichung als normale Amaray für 15 Euro gar nicht lohnen. Das würde die Kosten niemals decken bei den geringen Verkaufszahlen der normalen Amaray. Die Amaray müsste dann mindestens 20 bis 25 Euro kosten und dann wird auch wieder gemeckert, das wäre zu teuer. Beide Label lösen das so, dass die Titel nach den ganzen Media-, Steelbooks und Box-Sets oft auch als Amaray erscheinen. Das kann aber eben dauern, da dies laut Turbine erst erfolgt, wenn die ganzen Sonderauflagen abverkauft sind. Sprich, wenn die Kosten für das Projekt wieder drin sind.

Von Roger auf Facebook: Intrada is prepping a new Kickstarter campaign featuring our usual team, with William Stromberg conducting the Royal Scottish National Orchestra. Up this time is Abbott and Costello Meet Frankenstein paired as a bonus with Henry Mancini's Abbott and Costello and the Keystone Kops. Stay tuned for more soon.

Ich habe den Film auch schon länger nicht mehr gesehen, aber glaube mich zu erinnern, dass da nicht mehr Musik zu hören war. Im Gegenteil, auf dem Album sind Tracks enthalten, wie „Nostalgia", die im Film gar nicht auftauchen. An was ich mich allerdings erinnere, ist, dass die Musik im Film teils rearrangiert wurde. Tracks wurden gekürzt oder geloopt. Also die Musik erscheint im Film nicht unbedingt so, wie sie auf dem Album zu hören ist. Da hätte man eine Filmversion erstellen können, aber das wollte oder konnte man scheinbar nicht. Macht ja eigentlich auch keinen Sinn, wenn die Musik „in voller Länge" auf dem Album repräsentiert ist. Wobei das in der Vergangenheit auch nicht unbedingt ein Ausschlusskriterium war. Vielleicht war es auch genau das. Das Ganze war günstig zu produzieren (kein Remastering, keine zusätzliche Arbeit an der Musik) und günstig zu lizensieren.

So sieht es aus. Die CD ist OOP und nur noch gebraucht erhältlich. Das scheint für Intrada Grund genug zu sein, das Album um ein Booklet ergänzt neu für 23 Dollar rauszubringen. Deshalb wundert es mich eben ein wenig, dass Intrada ausgerechnet dieses Album neu bringt. Inhaltlich ist es identisch, laut Roger wurde auch am Mastering des alten Albums nichts verändert und gebraucht bekommt man es schon für ein paar Euro.

Ist auf jeden Fall ein schöner Score von Angelo. Mal ganz ohne die düsteren Klanglandschaften, die es Lynchs Filmen sonst so gibt. Aber der Film selbst ist ja auch wohl Lynchs „einfachster" Film. Einfach ein „straightes" Roadmovie. Daher bekommt man hier Angelos melancholische Themen, dieses Mal gewürzt mit Folk-Einsprengseln, die die Hauptfigur Alvin Straight auf ihrer Reise begleiten. Von Angelo gibt es sowieso nicht so viele Neuveröffentlichungen oder erweiterte Veröffentlichungen seiner Scores. Daher schon etwas erstaunlich, dass Intrada gerade den Score neu bringt und dann auch nur als Wiederveröffentlichung des alten Albums. Der Film wurde damals von Disney mitproduziert und vertrieben. Eventuell liegt es auch daran, denn Intrada hat ja meines Wissens nach noch einen Draht zum Studio Disney.

Noch mehr von BSX: Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1, featuring music from several films from the composer’s lengthy filmography, focusing on Westerns and World War II centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills. FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1 includes music from RED MOUNTAIN, CIMARRON, THE INDIAN FIGHTER, THE ADVENTURES OF HUCKLEBERRY FINN, UNTAMED, THE FURIES, TASK FORCE, DESTINATION TOKYO, HOTEL BERLIN, MISTER ROBERTS and OBJECTIVE, BURMA!. Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more. Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA. Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year. This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson. WESTERNS 1. THE PIONEER SUITE 10:23 Music From Red Mountain, Cimarron and The Indian Fighter 2. THE ADVENTURES OF HUCKLEBERRY FINN Overture 6:18 3. UNTAMED 7:18 Suite: Prelude; Capetown Street; By the River; Vorwarts & Finale 4. THE FURIES 7:01 Suite: Prelude; Juan & Vance; The Mark Of The Furies; The Romance Revived & The King Of The Furies WORLD WAR II 5. TASK FORCE Liberty Fanfare 0:50 6. DESTINATION TOKYO 6:22 A Montage For Orchestra 7. HOTEL BERLIN Cafe Waltzes 8:32 8. MISTER ROBERTS 3:19 Suite: Prelude; Main Title; Final Scene; End Cast 9. OBJECTIVE, BURMA! 12:06 Suite: Prelude; Take-Off; In the Plane; Jumping; The Patrol; Stop Firing; No Landing; Up the Hill; Invasion; Retreat; Finale Total Time: 62:33 Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2, featuring music from several films from the composer’s lengthy filmography, focusing on Comedy and Thriller centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills. FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2 includes music from THE HORN BLOWS AT MIDNIGHT, ON BORROWED TIME, THE PARADINE CASE, THE DEVIL DOLL, SORRY, WRONG NUMBER, DARK CITY, NIGHT UNTO NIGHT and NIGHT AND THE CITY. Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more. Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA. Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year. This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson. COMEDIES 1. THE HORN BLOWS AT MIDNIGHT 6:46 Athaneal The Trumpeter; Overture For Trumpet And Orchestra 2. ON BORROWED TIME Suite: Prelude; Miss Nellie, Pud, & Mr. Brink; Where the Woodbine Twineth 10:44 THRILLERS 3. THE PARADINE CASE Rhapsody for Piano and Orchestra12:20 4. THE DEVIL DOLL Souvenir de Paris Waltzes 6:21 5. SORRY, WRONG NUMBER Passacaglia For Orchestra 7:01 6. DARK CITY Suite: Prelude; Stroll in the Dark; Finale 12:36 7. NIGHT UNTO NIGHT Dusk: A Setting For Orchestra 8:29 8. NIGHT AND THE CITY Nightride For Orchestra 8:05 Total Time: 72:42 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens for the 1979 television miniseries directed by Michael O’Herlihy, developed for television by Gwen Bagni and Paul Dubov. The cast included Leslie Uggams, Olivia Cole, Louis Gossett Jr., Robert Hooks, Bill Overton, David Downing Celeste Holm, Lee Grant, Larry Gates, Jan Sterling, Eileen Heckart, John Anderson, Harry Morgan, Estelle Parsons, Barbara Barrie, Andrew Duggan, Leslie Nielsen, Hari Rhodes, George Kennedy, Ed Flanders, Victor Buono, Barry Sullivan, Paul Winfield and Robert Vaughn. BACKSTAIRS AT THE WHITE HOUSE was a 1979 NBC television miniseries presented in four parts and based on the 1961 book ‘My Thirty Years Backstairs At The White House’ by Lillian Rogers Parks (with Frances Spatz Leighton). The series, produced by Ed Friendly Productions, was the story of behind-the-scenes workings of the White House and the relationship between the staff and the First Families. BACKSTAIRS AT THE WHITE HOUSE was nominated for 11 Emmy Awards at the 31st Primetime Emmy Awards, winning for Outstanding Achievement in Make-up. At its heart, BACKSTAIRS AT THE WHITE HOUSE is a story about resilience, self-sacrifice, and the enduring human spirit. Through its diverse cast of historical characters, the series celebrates the unsung heroes whose contributions often go unnoticed in the annals of American history. Whether it's the dedicated housemaids, the skilled chefs, or the loyal butlers, each member of the White House staff plays a vital role in upholding the traditions and dignity of the presidential residence. The music for BACKSTAIRS AT THE WHITE HOUSE was crafted by composer extraordinaire Morton Stevens. Stevens gained industry-wide recognition for his work as the composer for the mega-hit television series HAWAII FIVE-O, which boasted one of the most recognizable themes in the history of television. Stevens’ music for BACKSTAIRS AT THE WHITE HOUSE is a veritable journey through six decades of period-accurate American folk music, with a European romantic twist. The modest-sized orchestra helps to create a close intimacy between the characters on screen and the audience. The main theme, often expressed in the upper strings, is peppered throughout the entirety of the series. The individual presidential administrations are scored as if each were its own “episode” within the larger framework of the narrative. There are individual themes and motifs representing the Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower families. Along the way, Stevens’ music evolves throughout the various administrations, mirroring the ongoing maturation of the United States as a nation. Born In Newark, New Jersey in 1929, Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICE WOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981 miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he both received Emmy nominations. The liner notes are written by author and composer Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland. The music is presented on two CDs. When the score for BACKSTAIRS AT THE WHITE HOUSE was recorded , it was common for studios or networks to house the master tapes wherever storage space was available, even if proven detrimental to the materials over time. There was no foresight in preserving these reels for posterity. Many recordings during this period (especially for television) have not survived the passage of time. Magnetic tape warps and will eventually disintegrate if not properly stored in precise conditions. Several tracks of BACKSTAIRS AT THE WHITE HOUSE weathered significant damage which can be heard in the final transfer. Effort was taken to mend the damaged reels and digitally remove as much of the unwanted artifacts as possible. However, a handful of tracks were scarred beyond repair and are properly labeled as “Damaged” on this album presentation. BACKSTAIRS AT THE WHITE HOUSE is a limited edition release and is expected to begin shipping the week of May 20th and can be ordered at www.buysoundtrax.com. CD 1 EPISODE 1 (Taft, Wilson, Harding) 1. Main Theme (2:12) 2. The Story Begins / Getting To Work /Montage (4:48) 3. The Fan / Sneaking Food / Lillian in Catholic School (2:25) 4. Maggie’s Fine Dress / The Tafts Leave /Enter The Wilsons (4:19) 5. May 1914 / The Death of Mrs. Wilson / Hardly Dignified (2:17) 6. War Is Imminent / A Letter / War Is Over / Wilson Collapses (4:06) 7. Lincoln’s Bed / Fooling Senators / Meet The Prince Of Wales (7:03) 8. Wilsons Leave White House / Preparing For The Hardings / End Credit Theme (2:48) 9. Forgotten Coat / Contaminated Blood / Harding Walks Out / The Suicide / Goodbye (5:19) EPISODE 2 (Harding, Coolidge, Hoover) 10. Annie’s Farewell / Efficient Coolidge / Bowl Of Peanuts (3:38) 11. Coolidge To The Dress Shop / Miss Jaffrey Resigns (4:11) 12. Repo Men Take Freezer / Lillian Goes To Work / First Day On The Job / Coming Up (5:26) SOURCE CUES 13. Marching Band (Source) (3:57) 14. Party (Source) (3:24) 15. Piano A (Source) (2:00) 16. Victrola (Source) (0:24) 17. The Charleston (Source) (0:45) 18. Music Box (Source) (0:16) DAMAGED TRACKS 19. Spring 1912* / Mrs. Taft’s Stroke* / Lillian’s Surgery* / Lillian’s Crutches* (4:34) 20. Recap Episode 1 / Illegal Booze / Teapot Dome* / Mrs. Harding and Maggie (3:31) 21. Spring 1912* (Alternate) (0:22) 22. Main Theme* (Alternate) (2:06) Total Time - Disc One: 70:51 CD 2 EPISODE 3 (Hoover, Roosevelt) 1. Main Theme (Long Version) (2:25) 2. Roosevelts Take Over / Lillian and FDR Bond / First Maid / Cleaning Frenzy (3:28) 3. I Am Never Going To Leave You / Salary Cut / Louis Howe Is Dead / Maggie Retires (5:50) 4. Miss LeHand Has A Stroke / Fraser Says Goodbye / FDR Talks of War (6:09) EPISODE 4 (Roosevelt, Truman, Eisenhower) 5. Recap Episode 3 (3:46) 6. 1942 / Nothing But A Towel / Maggie Returns / Tea Tasting / No Excuse For Slovenliness (2:32) 7. Take Me Home / Fraser’s Death (3:20) 8. Lillian and FDR / The Trumans Take Over (4:15) 9. Mushroom Cloud / The Scrapbook / Blair House / Shootout / Surprise Birthday Party (5:22) 10. The Mays Funeral / Maggie’s Last Breath (5:01) 11. Lillian’s Last Day / I Am Going To Write A Book (3:40) 12. End Credit (1:05) SOURCE CUES 13. Happy Days Are Here Again (Source) (2:14) 14. Newsreel (Source) (0:38) 15. Radio Play (Source) (0:56) 16. Big Band (Source) (0:45) 17. Piano B (Source) (0:42) 18. Party A / B (Source) (3:16) 19. Piano C (Source) (0:27) DAMAGED TRACKS 20. Recap Episode 2 / Money’s Gone* / Secret Service (5:33) 21. Face To Face With Hoover / Henry Loses His Job* / Maggie Collapses (6:47) 22. Main Theme* (Short Version) (1:29) Total Time - Disc Two: 70:38 Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring music composed by David Michael Frank ( ABOVE THE LAW, THE STAIRCASE, THE MOLE). This fourth collection of David Michael Frank’s film music includes music from four projects from the composer’s extensive filmography that show off two sides of the composer’s incredible talent. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 includes music from POISON IVY, CALL ME, SUBURBAN COMMANDO and GOING UNDER. The music is presented on two CDs. Released in 1992, POISON IVY is an erotic thriller directed by Katt Shea, starring Drew Barrymore, Sara Gilbert, Tom Skerritt and Cheryl Ladd. It tells the tale of Ivy (Barrymore), a teenage temptress who befriends an introverted high school student named Sylvie (Gilbert). Ivy weaponizes her seductive charm to worm her way into the sanctity of Sylvie’s affluent family. For POISON IVY, Frank composed a delicious main theme for Ivy, a quarter-note melody played by the violins with violas doubling an octave below supported by an eighth-note ostinato in the harp. Released in 1988, CALL ME, written by Karyn Kay and directed by Sollace Mitchell, starring Patricia Charbonneau, Stephen McHattie, David Strathairn, and Steve Buscemi is about a young journalist named Anna (Charbonneau) who strikes up a relationship with an obscene phone caller whom she mistakes for her boyfriend and in the process becomes entangled in a mysterious murder. Frank’s rhythm-heavy electronic score for Call Me was recorded live using three synthesizer players, Simmons electronic drums, fretless bass, and an EWI or electronic wind instrument. Released in 1991, SUBURBAN COMMANDO was written by Frank A. Cappello, directed by veteran Burt Kennedy, starring Hulk Hogan, Christopher Lloyd and Shelley Duvall. Hogan plays Shep Ramsey, an interstellar warrior hellbent on a mission to capture intergalactic despot General Suitor (William Ball). Ramsey fails miserably at his objective and is subsequently ordered by his superiors to 'take a vacation’. Infuriated, Ramsey smashes the control systems of his spacecraft and crash-lands on Earth. He befriends a weak-willed architect named Charlie (Christopher Lloyd) and is marooned with Charlie’s family until his spacecraft can be repaired. Frank’s rousing orchestral score for SUBURBAN COMMANDO is brimming with colloquial riffs, familiar spoofs, and heart-felt homages to a variety of musical masterpieces. Finally, also released in 1991, GOING UNDER was written by Darryl Zarubica and Randolph Davis, directed by Mark W. Travis, starring Bill Pullman, Wendy Schaal, Chris Demetral, Ned Beatty, Robert Vaughn, Roddy McDowall, Richard Masur, Joe Namath and Michael Winslow. The plot revolves around the submarine USS Sub Standard and its mission to recover a nuclear weapon ahead of the Russian navy in the aftermath of an international disaster. Frank’s pun-filled orchestral score is chock-full of quotes, quips, and musical chortles. David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition. Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring the world premiere releases of POISON IVY, CALL ME, SUBURBAN COMMANDO and GOING UNDER, digitally mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is presented on two CDs and is a limited edition release of 500 units. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is expected to begin shipping the week of June 19th, 2024. The first 100 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge. CD 1 POISON IVY 01. Ivy’s Theme (3:38) 02. A Merciful Murder (3:07) 03. Ivy and Georgie (2:58) 04. Balcony Blues (2:28) 05. Mother and Child (2:01) 06. Dances With Nymphs (2:20) 07. Seduction (3:20) 08. Damn Dog (1:57) 09. Sex On The Hood (2:43) 10. Unhappy Birthday (2:22) 11. Funerals and Forlorn Friends (3:19) 12. Road Curves / The Switch (3:10) 13. From IV to Ivy (3:34) 14. Sylvie’s Discovery (5:34) 15. End Credit Suite (4:00) 16. Sex On The Hood (Alternate) (2:21) CALL ME 17. Anna’s Theme (2:58) 18. Witness To A Murder (1:23) 19. Erotic Fantasies (4:30) 20. Web Of Deception (3:41) 21. A Taste Of Forbidden Fruit (2:18) 22. Desperate Escape (1:38) 23. Fatal Finale (3:58) Total Time, Disc 1 - 70:16 CD 2 SUBURBAN COMMANDO 01. Main Title (4:27) 02. Dashing Through (3:44) 03. Earthlings Suck (5:04) 04. The Big Apple (1:13) 05. Zoot Suitor (3:00) 06. Guns and Toes (3:50) 07. Rabbit Punch (4:28) 08. Repo Man (5:04) 09. Mighty Marsha (1:48) 10. E.T. and She (2:23) GOING UNDER 11. Main Title (2:54) 12. Water Musik (1:30) 13. Cracked Crew (2:24) 14. Sub Trek (1:45) 15. Dutch Treat (2:42) 16. Loop The Loop (3:12) 17. A Biscuit, A Basket (3:01) 18. The Hunt (3:38) 19. The World Watches (1:19) 20. Time Out (1:42) 21. Cap’n Biff (2:46) 22. Sub Sushi (2:44) 23. End Credits (4:13) Total Time, Disc 2 - 69:49 Dragon’s Domain Records presents the world premiere release of the original motion picture soundtrack for DEATH HUNT, featuring music composed by Jerrold Immel (HOW THE WEST WAS WON, DALLAS, MEGAFORCE) for the 1981 action adventure film directed by Peter R. Hunt ( ON HER MAJESTY’S SECRET SERVICE), written by Michael Grais and Mark Victor, starring Charles Bronson, Lee Marvin, Angie Dickinson, Andrew Stevens, Carl Weathers, Ed Lauter, Scott Hylands, Jon Cedar, William Sanderson, Maury Chaykin, August Schellenberg, Len Lesser and Henry Beckman. Yukon Territory, November 1931... On his way to Rat River, trapper Albert Johnson (Bronson) comes across an organized dog fight. Johnson breaks up the fight as one of the dogs is fatally injured. Johnson offers the dog’s owner, Hazel (Lauter), money to buy it but Hazel takes offense to Johnson’s intrusion and vows to catch up to him. Later, Hazel takes several of his men and follows Johnson to an isolated cabin where he has been keeping to himself and allowing the dog time to heal from its wounds. After an unsuccessful attempt to ambush Johnson, the dog is killed and while Johnson is trying to defend himself from Hazel’s mob, he kills one of the men. Hazel returns to the nearest town at Rat River to report what’s happened to Sergeant Edgar Millen (Marvin), the officer in charge of the local Royal Canadian Mounted Police outpost. Millen is suspicious of Hazel’s interpretation of the events that have occurred. He reluctantly agrees to investigate Hazel’s story and forms a posse and sets out for the cabin. Arriving at the cabin, Millen attempts to parlay with Johnson, expressing his suspicions about Hazel’s claims and offering Johnson his protection if he will return to the outpost until his case can be heard by a judge. The parlay is disrupted by one of Hazel’s men opening fire on Johnson and in the course of defending himself, Johnson kills more of Hazel’s men. Johnson is now well fortified inside the cabin while the posse is outside, with the disadvantage of having to deal with night falling and the temperature dropping. Later in the evening, Millen has one of his men prepare some dynamite to use on the cabin. After the dynamite goes off, some of the men approach the cabin and Johnson suddenly appears, opening fire and killing one of Millen’s men. Johnson disappears in the aftermath, setting off one of the largest manhunts in the history of the region... DEATH HUNT was produced by Raymond Chow, along with veteran producer Albert S. Ruddy and Canadian producer Murray Shostak. Ruddy had achieved great success producing films such as THE GODFATHER and THE LONGEST YARD and many hours of television on shows such as HOW THE WEST WAS WON and was one of the creators of HOGAN’S HEROES. To score DEATH HUNT, Albert S. Ruddy turned to composer Jerrold Immel, with whom he had a relationship based on employing him for the television series of HOW THE WEST WAS WON, which eventually evolved into THE MACAHANS, starring James Arness of GUNSMOKE fame. Jerrold Immel was born in September, 1936 in Los Angeles, California, in the middle of the Great Depression. His father was a fine musician and taught band, orchestra and chorus for many years. In 1951, he joined the American Federation of Musicians and played baritone sax. Immel signed on with Four Star Television in 1959, where he was trained thoroughly as a copyist and librarian. In 1964, he followed composer Herschel Gilbert to CBS Television, where he continued to work until 1973. He was sponsored by composer Jerry Fielding into the Composers and Lyricists Guild Of America. Immel had a successful career composing music for television projects such as GUNSMOKE, HOW THE WEST WAS WON, HAWAII FIVE-O, LOGAN’S RUN, WALKER, KNOTS LANDING, THE TWILIGHT ZONE, GUNS OF PARADISE and WALKER, TEXAS RANGER and many television films. His most famous work is the theme music for the night time soap opera DALLAS. Immel has also scored many theatrical films including SOURDOUGH, MEGAFORCE and PROGRAMMED TO KILL. 01. Main Title / Dog Fight (6:07) 02. Man’s Best Friend / The Cabin (5:00) 03. Millen’s Posse / Shoot Low(5:44) 04. Thawing Out / Dynamite / He’s Gone (2:44) 05. Would It Make Any Difference? / In Pursuit (3:00) 06. Millen and Johnson Spot Each Other (1:52) 07. Hazel and Alvin Fight / Running With The Caribou (3:10) 08. Aerial Pursuit (4:22) 09. Another Hard Choice / Across The Ice Peaks (2:02) 10. One Last Chance / Now You’re In Charge (5:06) 11. End Credits From Death Hunt (3:35) 12. Rat River (Source) (2:55) 13. Outpost (Source) (3:15) 14. Trading Post (Source) (2:04) 15. My Darling Clementine (Source) (2:37) Total Time: 54:11 Dragon’s Domain Records proudly presents the fourth volume in our ongoing series of music from classic science-fiction films. It’s only the end of the world . . . again as we salute the late, great Roger Corman’s third outing as director, THE DAY THE WORLD ENDED (1955 THE DAY THE WORLD ENDED (1955), scored by Ronald Stein. The film begins just after a nuclear attack, described as “Total Destruction Day,” and much of humanity is apparently wiped out. A rag-tag collection of survivors gather at the home of a doomsday prepper and his daughter. They struggle with the threat of radiation, limited food and water, and a three-eyed mutant creature lurking outside! The second film in this collection features music from the criminally under represented composer Elisabeth Lutyens, who became Britain’s first female feature film composer when she began accepting commissions to write scores for both Hammer and Amicus studios. THE EARTH DIES SCREAMING (1964) has another group of survivors huddling down in a small English village inn, only be confronted by two space-suited figures that have the touch of death! Terence Fisher (HORROR OF DRACULA, 1958) directed this alien invasion film making good use of his limited resources with atmospheric lighting, imaginative camera work and well-chosen location shooting. This fourth volume in this Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland. Exclusive liner notes by author David Hirsch explore these classic films from the sci-fi craze of the 1950s and 60s. This CD set is a limited run. The Golden Age Of Science Fiction Volume 3 is expected to begin shipping the week of June 19th, 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. DAY THE WORLD ENDED (1955 - Ronald Stein) 01. Opening and Main Titles (4:42) 02. The Big Event (3:44) 03. The Survivors Gather (2:57) 04. Strange Shadows (2:46) 05. The Watcher / Fight (2:27) 06. Love, Suffering and Loneliness (5:00) 07. Heavy Pressure (4:17) 08. Stalking and Chase (3:57) 09. Signal and Invasion (3:04) 10. Kidnapping in the Rain / Finale (5:03) 11. The S.F. Blues (Jazz Source) (1:56) 12. Day the World Ended (1955) Theatrical Trailer (2:36) THE EARTH DIES SCREAMING (1964 - Elisabeth Lutyens) 13. Main Title from “The Earth Dies Screaming” (2:34) 14. Investigating a Dead Town (2:11) 15. Suspicions / Be Careful (3:23) 16. They Are Here (1:40) 17. Danger (2:51) 18. Extermination Everywhere (3:47) 19. Finale / End Titles (4:42) 20. The Earth Dies Screaming (1964) Theatrical Trailer (2:04) Total Time 66:37

Das Intrada-Album ist eine 1:1-Wiederveröffentlichung des ursprünglichen Albums. Hat man auch nicht so oft. Selbst am Mastering wurde wohl nichts geändert. Auf dem Album war aber sowieso schon mehr Musik drauf, als im Film zu hören ist. Und jetzt gibt es eben ein Booklet mit Infos dazu. Intrada announces a reissue of Angelo Badalementi's charming and bittersweet score to The Straight Story. Directed by David Lynch, The Straight Story furthered their partnership that had previously included Blue Velvet, Mulholland Drive and the acclaimed Twin Peaks. The score focuses on two primary themes. At the core of the score is one of his most poignant melodies, "Rose's Theme," reflecting a deeply caring daughter mischaracterized as "slow,” a tender guitar and strings expressing the unbearable loss of a woman who’s had her children taken from her after being unfairly blamed for a kitchen accident. For the character of Alvin, Badalamenti keenly tunes in on his earnest, sagebrush appeal with a theme that features a sly fiddle-and-guitar rhythm that goes from a leisurely stride to a gentle canter. It's all part of a lovely work for a lovely and earnest story. This latest CD release of the score features the same contents as previous releases (which already ran longer than the score in the film proper), but with the addition of in-depth liner notes by Daniel Schweiger as well as updated packaging including newly created key art. The album will also be available digitally. The story involves 73-year-old Alvin Straight (Richard Farnsworth). Though poor eyesight had prevented him from getting a driver’s license, nothing would stop him from seeing his estranged brother, Henry, who’d suffered a stroke. Setting out on a lawnmower strong enough to tow a trailer, Straight determinedly rode 240 miles at a top speed of five mph over the course of six weeks, traveling from his hometown of Laurens, Iowa, over the Mississippi to Henry’s residence in Mount Zion, Wisconsin. Play all clips 01. Laurens, Iowa (2:45) 02. Rose’s Theme (2:55) 03. Laurens Walking (4:11) 04. Sprinkler (2:56) 05. Alvin’s Theme (4:24) 06. Final Miles (4:06) 07. Country Waltz (2:45) 08. Rose’s Theme (Variation) (3:07) 09. Country Theme (3:37) 10. Crystal (4:07) 11. Nostalgia (6:51) 12. Farmland Tour (3:08) 13. Montage (7:24) TOTAL CD TIME: 52:24

Erscheint am 28.05.

PEACEMAKER muss weg, weil da schon die 4-CD-Anniversary-Box am Black Friday wartet.

Das werden auch nur die CDs sein, die sie noch im Lager haben. Scheinbar enden die Lizenzen für die Titel und nach Ablauf dieser dürfen sie die CDs nicht mehr verkaufen. Oder die Titel liegen jetzt schon so lang im Lager, ohne dass noch ein Exemplar davon verkauft wurde und daher sind sie nun für den Abverkauf freigegeben

Snow Files of the Week: „The Seeds Of Mistrust", aus „The X-Files", Episode „Kitten" (2018). In dieser Folge aus der elften Staffel erfahren wir etwas mehr über Assistant Director Skinner. Während des Vietnam-Krieges diente Skinner bei den Marines. Zusammen mit seinem Kameraden John „Kitten" James soll er eine Kiste mit der Aufschrift MK-NAOMI eskortieren. Sie werden angegriffen und beide müssen sich in einer Hütte mit anderen Zivilisten verstecken. Während Skinner einem verwundeten Soldaten hilft, wird die Kiste von Kugeln getroffen und ein grünes Gas tritt aus, welchem John ausgesetzt wird. Als Skinner in die Hütte zurück kommt, sieht er, dass „Kitten" alle Zivilisten ermordet hat. In der Gegenwart werden Mulder und Scully auf die Spur Skinners gesetzt, der spurlos verschwunden ist. Etwas aus der Vergangenheit ist wieder aufgetaucht. In diesem Stück zeigt sich Mark wieder von seiner melancholischen Seite. Ein geisterhafter Chor singt über die sanften Streicher und Piano-Motive, das X-Files-Thema taucht kurz auf, bevor das Stück mit einer wehmütigen Solo-Trompete endet. Die Tracks stammen vom 2CD-Set von LLL, welches auf 3.000 Stück limitiert ist. Viel Spaß beim Hören!

Neu von Quartet: Quartet Records, in collaboration with GDM and Sony EMI Italia, presents a remastered, expanded edition of Academy Award-winning composer Luis Bacalov’s score for ROMA BENE, directed by Carlo Lizzani in 1971 and starring Nino Manfredi, Virna Lisi, Philippe Leroy, Irene Papas, Senta Berger and Michèle Mercier. ROMA BENE is a satirical comedy featuring a luxurious cast that gives life to a gallery of quirky characters, aimed at portraying the vacuous worldliness, moral misery and societal vices of the time. It depicts a wealthy, consumerist middle class that sacrifices human relationships to profit and personal fulfillment and is condemned to a final, mocking backlash. For ROMA BENE, Luis Bacalov (QUIEN SABE?, DJANGO, SUMMERTIME KILLER) composed a score based on the progressive rock sound that had been bringing him much success in his collaborations with the group Osanna. The songs “Rhythm,” with lyrics by Audrey Nohra Tainton (reused in Fernando di Leo’s MILANO CALIBRO 9), “Don’t Put Me Down” (lyrics by Mack David) and “Down Memory Lane” (lyrics by Susy Carrington) are performed by Richard Cocciante with the group Godfather. The hard-to-find soundtrack album was released on LP in 1971 by Delta Records in Italy and issued on CD in 2004 by the Japanese Avanz label. For this new release, the original stereo album is completed with the original film versions recorded by Bacalov and mixed in mono. Restored and mastered by Chris Malone and supervised by Claudio Fuiano, the package includes liner notes by European film music scholar Bruno Oliver. THE ORIGINAL ALBUM 1. Down Memory Lane 4:26 Richard Cocciante 2. Boulders Movement (Part. 1) 3:08 Godfather 3. Uma Bossa Praí Dedeí 2:52 Toquinho 4. Blue, Eggs And Ham 2:58 Country Lovers 5. Rhyhm 4:38 Richard Cocciante 6. Sylviaís Earrings 1:49 7. Boulders Movement (Part. 2) 2:47 Godfather 8. Una Villa Bene 1:50 9. Donít Put Me Down 4:24 Richard Cocciante FILM VERSIONS 10. Roma Bene (Pezzo classico) 2:45 11. Rhythm (Instrumental) 4:43 12. Una Villa Bene (Film Version) 3:50 13. Uma Bossa Praí Dedeí (Film Version ñ Take 1) 2:54 14. Roma Bene (Barocco 1) 2:22 15. Sylviaís Earrings (Film Version) 5:15 16. Roma Bene (Bossa Slow) 3:55 17. Roma Bene (Barocco 2) 2:38 18. Uma Bossa Praí Dedeí (Film Version ñ Take 2) 2:43 19. Boulders Movement (Film Version) 3:07 20. Roma Bene (Sequenza Psichedelica) 2:24 Total Disc Time: 65:40 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered edition of two iconic western scores by Ennio Morricone for the for the classic RINGO diptych, directed by Duccio Tessari in 1965 and starring Giuliano Gemma. This 2-CD deluxe edition brings together all the previously released material from both RINGO movies with programs that were originally put together for RCA and GDM Music. Disc 1 contains the stereo program of both RINGO movies, with the cues selected by Morricone for the original RCA release. We have also included the very rare 1965 album originally entitled “La Storia, I Dialoghi, Le Canzoni di Il Ritorno Di Ringo.” This soundtrack was a dialogue/music hybrid that featured Morricone’s music interspersed with newly recorded narration and even included sound effects to retell the whole story in about half an hour. This album also notably includes some short cues that can only be heard in that program. Also included is a clean take of “L’incontro con la figlia” Although originally composed for his rejected score for THE BIBLE, and later used in THE SECRET OF THE SAHARA, Morricone also used this cue in IL RITORNO DI RINGO, and it even appeared on the 1965 dialog album. Disc 2 includes the first version released by GDM on CD in 2004 with cues once again selected by the composer, which was entirely in mono. It is interesting because some takes are different from the previous stereo version, as well as the fact that the program was expanded. Restored and mastered by Chris Malone and supervised by Claudio Fuiano, the richly illustrated 16-page booklet contains in-depth liner notes by the much-missed Gergely Hubai discussing the film and the score. DISC ONE UNA PISTOLA PER RINGO (Stereo) 1. Angel Face 2:18 2. Honky Tonky 0:42 3. Suspence Grottesca 1:40 4. Rag Sospeso 1:24 5. Messico Eroico 1:35 6. Bamba Bambina 1:31 7. La Strage 1:58 8. L’attesa 2:36 9. Lo Scontro 1:23 10. Una Pistola per Ringo 2:17 IL RITORNO DI RINGO (Stereo) 11. Il Ritorno di Ringo 2:16 12. Il Travestimento 2:23 13. Lo Sceriffo Carson 1:20 14. Dai Fuentes 1:08 15. L’incontro con la figlia 2:45 16. La Bamba di Barnaba 2:34 17. Il Matrimonio e la Vendetta 1:28 18. Il Funerale 2:03 19. La Pace Torna a Mimbres 2:20 LA STORIA, I DIALOGUI, LE CANZONI DI IL RITORNO DI RINGO (Mono) 20. La storia, I dialogui, le canzoni di Il Ritorno di Ringo Part I 17:47 21. La storia, I dialogui, le canzoni di Il Ritorno di Ringo Part II 18:58 Total Disc Time: 73:49 DISC TWO UNA PISTOLA PER RINGO (Mono) 1. Angel Face (Titoli di testa) 2:18 2. Honky Tonky 0:41 3. Suspence Grottesca 1:40 4. Lo Scontro 1:58 5. Rag Sospeso 1:24 6. Messico Eroico 1:35 7. Una pistola per Ringo (Instrumental) 2:17 8. Bamba Bambina 1:31 9. La Strage 1:58 10. L’attesa 2:36 11. Lo Scontro (#2) 1:30 12. Rag Sospeso (#2) 1:13 13. Messico Eroico (#2) 1:00 14. Angel Face (Titoli di coda) 1:40 15. Una pistola per Ringo Suite 3:53 IL RITORNO DI RINGO (Mono) 16. Il ritorno di Ringo (Titoli di testa) 2:15 17. Il Travestimento 2:23 18. Il ritorno di Ringo (Mariachi #1) 1:51 19. Il ritorno di Ringo (Violenza) 5:54 20. Lo Sceriffo Carson 1:20 21. Dai Fuentes 1:07 22. Il ritorno di Ringo (Mariachi #2) 2:03 23. Il ritorno di Ringo (Instrumental) 1:26 24. La Bamba di Barnaba 2:33 25. Il Matrimonio e la Vendetta 1:27 26. Il Funerale 2:01 27. La Pace Torna a Mimbres 2:20 Total Disc Time: 55:28 Total 2-CD Time: 129:17

Intrada announces the premiere release of the 1957 Universal Pictures western Night Passage. Composer Dimitri Tiomkin was famous for his westerns, including such classics as High Noon, Gunfight at the OK Corral, Red River and Rio Bravo. Until now, very little of his score to Night Passage has been released. Here, Tiomkin displays his legendary talent for scoring the genre, including exciting action passages, broad sweeping themes and two songs written with lyricist Ned Washington: “Follow The River” is a soulful ballad, sweeping and wide, and “You Can’t Get Far Without A Railroad” is a folksy, comic song that a vaudevillian might have called a “novelty number.” Stewart, with his rustic, untrained baritone, performs both in the film (as can be heard in the Extras on this disc). The CD was produced by Chris Malone using the original mono session masters stored in pristine condition at Universal. The score runs 52 minutes wiht an additional 24 minutes of extras. In the film, James Stewart plays Grant McLaine, a onetime “trouble shooter” for railroad boss Ben Kimball (Jay C. Flippen). McLaine is now a vagabond who earns his supper playing the accordion and singing. Amid encounters with two old flames, Charlie (Dianne Foster) and Verna (Elaine Stewart), who is now Kimball’s wife, he learns that the railroad payroll has twice been stolen by an outlaw gang led by Whitey Harbin (Dan Duryea) and that among the gang is The Utica Kid (Audie Murphy), whose personal history with McLaine is what led to the latter’s fall from grace. Kimball offers McLaine a shot at redemption if he will safeguard the payroll as it travels by train to the end of the line. 01. Main Title (Follow The River) (2:34) 02. Short Cut / Bully, Bully (2:13) 03. Four Bits A Night (1:22) 04. You Belong To The Railroad (3:04) 05. The Bargain (2:26) 06. Risky Ride (1:41) 07. Follow The River (3:12) 08. Train A-Winding/What’ll It Be? (1:33) 09. Tanked (3:33) 10. In The Box/Do It Yourself Kid (2:09) 11. Coming To (2:16) 12. Railroaded/Charlie My Girl (2:57) 13. Looking For Trouble (3:35) 14. Fast Gun/For Joey’s Sake/Marry Me Now (7:42) 15. Pursued/Mill Town (3:42) 16. Flying Bullets/Sure As Shootin’ Part 1 (3:13) 17. Sure As Shootin’ Part 2/Count Your Bullets (4:00) 18. End Title (Follow The River) (0:56) Total Score Time: 52:26 THE EXTRAS 19. Follow The River (Vocal) (2:29) 20. You Can’t Get Far Without A Railroad (Vocal) (3:53) 21. Take 203 – Follow The River (0:37) 22. Take 154 (3:55) 23. Sweet Betsy From Pike/Follow The River (1:43) 24. Follow The River (Film Version) (Vocal James Stewart) (4:08) 25. Follow The River – Scene With Joey (Vocal James Stewart) (1:50) 26. You Can’t Get Far Without A Railroad I (Vocal James Stewart) (3:11) 27. You Can’t Get Far Without A Railroad II (Vocal James Stewart) (0:35) 28. You Can’t Get Far Without A Railroad III (Vocal James Stewart) (0:49) Total Extras Time: 23:29 Total CD Time: 75:55

Snow Files of the Week: „Time like a heartbeat/Lonely Man", aus „The X-Files", Episode „Memento Mori" (1997). In der Folge „Leonard Betts" hat Scully von Leonard erfahren, dass sie einen Krebs-Tumor hat. Sie erzählt es nur Mulder und Skinner und möchte auf jeden Fall weiterarbeiten. Während Mulder nach Informationen sucht, um Scully zu helfen, versucht Skinner mit dem Cigarette Smoking Man einen Deal zu machen, der Scullys Leben retten soll. Entsprechend melancholisch kommt Marks Musik daher. Die sanften Streicherflächen begleiten den Kampf um Scullys Leben, ein schönes Piano-Thema gibt es ebenfalls zu hören. Die Musik stammt vom vierten Set von LLL, welches auf 2.000 Stück limitiert ist. Viel Spaß beim Hören!

LLLCD 1643 Music by George Duning Theme from Star Trek by Alexander Courage Limited Edition of 1701 Units RETAIL PRICE: $29.98 La-La Land Records and CBS Studios proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 5, the fifth 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. 5 of the 1701 Collection focuses on the Trek TOS music of renowned composer George Duning, with the “Star Trek Theme” by Alexander Courage, and contains original music from the classic episodes METAMORPHOSIS, RETURN TO TOMORROW, PATTERNS OF FORCE, IS THERE IN TRUTH NO BEAUTY? and THE EMPATH, along with MAIN and END TITLES. 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, as well as forthcoming volumes of this series, illustrate 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. TRACK LISTING: DISC 1 1. Main Title/End Title* (2nd Season, Soprano Version, Enhanced Stereo) 1:18 Arranged and Conducted by Alexander Courage Metamorphosis Music Composed and Conducted by GEORGE DUNING Episode #31, Recorded 6/28/67 • Aired #38, 11/10/67 Total Time: 30:36 2. Shuttlecraft/Shuttle Helpless M11/M12 2:09 3. The Planetoid/Most Unusual M13/M14 1:16 4. Cochrane* M15 1:35 5. Looks Familiar M21 0:51 6. Companion*/Still Alive M22+M22X/M23 0:42 7. Zefram/Nancy Flips M24/M25 1:14 8. You’ve Got It/Angry Companion* M26/M27–30+M27–30X 1:13 9. Cochrane Calls M31+M31X 2:15 10. Spock OK/Judas Goat M32/M33/M33A 2:07 11. Mad Companion* M34+M34X 1:36 12. Starship*/Scott Anxious M41 tk 3/M42 0:38 13. Transition*/Companion Talks/Kirk Frustrated M43/M44/M44A 4:23 14. Cochrane Angry/Spock Puzzled/Nancy Sobs* M45/M46–50/M51 1:11 15. Kirk Pleads/New Nancy M52+M52X/M53 3:06 16. It’s Her/Loneliness M54/M55–60 2:57 17. You Loved Me M61 1:45 18. Cochrane’s Decision* M62 1:12 Return to Tomorrow Music Composed and Conducted by GEORGE DUNING Episode #51, Recorded 12/29/67 • Aired #49, 2/9/68 Total Time: 18:08 19. The Voice* M12 1:07 20. Who Are You/The Globes* M15/M21 1:20 21. Sargon Transfers/Sargon Requests M22/M23 2:23 22. Thalassa/Kirk Returns M24/M31 1:14 23. Kirk’s Philosophy* M32 0:58 24. Ready Sargon M33 0:52 25. Thalassa Recalls M34–40 1:53 26. Henoch†/I Remember† M41/M44 1:14 27. Thalassa Worried†/Nurse Puzzled†/Thalassa Concerned/Thalassa Pleads M45/M45A/M46/M51 2:33 28. Sargon Inert† M52 0:56 29. Nurse Chapel*/Spock Alive M55–60/M63 1:34 30. Last Moments* M64 1:41 Patterns of Force Music Composed and Conducted by GEORGE DUNING Episode #52, Recorded 12/29/67 (With “Return to Tomorrow”) Aired #50, 2/16/68 Total Time: 6:36 31. Military Mite (Nazi March) M10 tk 1 1:41 32. Military Mite (Nazi March) (soft version) M10 tk 2 1:17 33. Military Mite (Nazi March) (10 bars, soft opening) M10 tk 3 0:24 34. Military Mite (Nazi March) (10 bars, hard opening) M10 tk 4 0:26 35. Military Mite (Nazi March) (6 bars, long ending) M10 tk 5 0:15 36. Military Mite (Nazi March) (6 bars, short ending) M10 tk 6 0:14 37. Military Mite (Nazi March) (horn motive) M10 tk 7 0:09 38. Military Mite (Nazi March) (horn theme) M10 tk 9 0:15 39. Military Mite (Nazi March) (percussion only) M10 tk 10 1:43 Total Disc Time: 56:59 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry † Contains “Blackship Theme” Composed by Fred Steiner DISC 2 1. Main Title* (3rd Season, Soprano Version, Stereo) 1:02 Arranged by Alexander Courage, Conducted by Wilbur Hatch Is There in Truth No Beauty? Music Composed and Conducted by GEORGE DUNING Episode #62, Recorded 9/6/68 • Aired #60, 10/18/68 Total Time: 36:40 2. Enter Marvick*/Enter Miranda† M11/M12 1:37 3. Ambassador Arrival*/My Life Is Here†/I Must Know/Starship Party* M13/M14/M15/M21 3:36 4. McCoy’s Toast/Quite a Woman/Marvick Pleads M22/M23/M24/M24A 5:27 5. Marvick Mad/Marvick Berserk/Marvick Dies M31/M32/M32A/M33 5:56 6. Unknown Void/Sentimental Jim/What Is Ugly?†/Why? M34/M41/M42/M43 3:57 7. Blind Miranda/Mind Link†/Spock—Kollos M44/M51/M52 4:55 8. Hero Spock*† M53/M53A/M53B 3:38 9. Don’t Move/Spock Out/No Change/Miranda Mad†/Miranda’s Farewell*† M61/M62/M63/M64/M64B/M64A/M64C/M65 7:19 The Empath Music Composed and Conducted by GEORGE DUNING Episode #63, Recorded 9/6/68 • Aired #67, 12/6/68 Total Time: 32:24 10. Starship Again*/Nova Phase/What Happened? M11/M12/M13 2:02 11. Lost Trio/Enter Gem/The Vians/Kirk Stunned/Force Field/Kirk Healed M14/M15+M15A/M16/M21/M22/M23 4:27 12. Vian Lab/The Subjects M24/M25 1:55 13. Cave Exit†/Star Trek Chase/Slow Motion Kirk M26/M27/M28–30/M28–30A/M28–30B 3:18 14. One Specimen/Kirk Tortured/Kirk’s Agony/Help Him/Vians’ Threat M31/M32/M33/M34/M35 4:55 15. How’s It Going*/Spock’s Hypo/Spock Stuck†/McCoy Tortured/Gem Wistful M41/M42/M43/M44/M45 3:52 16. Poor McCoy/Bedside Manner/No Interference/Time Grows Short M51/M52/M53/M54–60/M54–60A 6:34 17. Don’t Touch Me M61 2:07 18. Vians’ Farewell/Off Again* M62/M62A/M63 1:51 19. Empath Finale*† M64 1:05 20. End Title* (3rd Season, Soprano Version, Stereo) 0:44 Arranged by Alexander Courage, Conducted by Wilbur Hatch Total Disc Time: 71:06 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry † Contains “Mr. Spock” Composed by Gerald Fried This is a CD format release.

Universal Pictures Film Music Classics Collection Music composed and conducted by John Addison Also featuring the unused score recording Composed and conducted by Bernard Herrmann Limited Edition of 3000 Units RETAIL PRICE: $22.98 La-La Land Records and Universal Studios proudly present the twentieth title within the acclaimed Universal Pictures Film Music Classics Collection – TORN CURTAIN, a remastered and expanded limited edition CD release of the original motion picture score to the 1966 dramatic thriller directed by the legendary Alfred Hitchcock, and starring Paul Newman and Julie Andrews. This special release, produced in partnership with Universal Music Enterprises, showcases the original film score, composed and conducted by John Addison (THE ENTERTAINER, TOM JONES) as well as the film’s unused score recording by Bernard Herrmann (VERTIGO, PSYCHO). With ’60s era pop sensibilities infused throughout, composer John Addison’s score to TORN CURTAIN marked a musical departure for Hitchcock, providing a notable contemporary style and sound for its time. Addison’s work lends a bright sense of fun and romance to the film, in addition to expertly satisfying the story’s requirements for drama and suspense. Composer Bernard Herrmann’s final work for Hitchcock is a darker, more traditional affair, demonstrating the renowned maestro’s excellence in the grand tradition of his previous collaborations with the director. Produced, edited and mastered by Mike Matessino from high resolution transfers of pristine 3-track stereo vault masters, this special presentation features Addison’s score sounding better than ever, and expanded by almost double the running time of the 1966 Decca album. Herrmann’s unused score presents all material he captured during his one day of recording for the film. Herrmann’s material here is expanded by more than eight minutes beyond what was previously released in 1999. Limited to 3000 units, this CD release includes exclusive, in-depth liner notes by author Jeff Bond and sharp art direction by Dan Goldwasser. MUSIC COMPOSED AND CONDUCTED BY JOHN ADDISON SCORE PRESENTATION 1. Main Title From Torn Curtain 2:24 2. Code One 0:35 3. The Love Theme From Torn Curtain (Extended Version) 3:25 4. Book Store 2:05 5. First Premonitions 2:28 6. Behind The Curtain (Extended Version) 3:11 7. More Premonitions 1:39 8. Sarah Alone 1:49 9. East Berlin At Dawn 2:32 10. First Introduction To ‘Pi’ 1:19 11. The Murder Of Gromek (Extended Version) 3:19 12. Sarah And Superimposures 4:44 13. Michael And Sarah – Alone On The Hill 1:24 14. Phone Wire / Hole In The Ground / Caution 3:57 15. Escape On The ‘Pi’ Bus (Part 1) 3:45 16. Escape On The ‘Pi’ Bus (Part 2) 4:12 17. Escape On The ‘Pi’ Bus (Part 3) 2:29 18. Finale From Torn Curtain 2:06 19. Variations On The Love Theme From Torn Curtain 1:17 TOTAL SCORE TIME: 49:41 ADDITIONAL MUSIC 20. Torn Curtain Love Theme Instrumental 1:37 21. The Love Theme From Torn Curtain (Alternate Segment) 2:42 22. First Premonitions (Alternate) 2:24 23. Behind The Curtain (Alternate Segment) 1:33 24. End Title From Torn Curtain (Alternate) 1:18 25. The Love Theme From Torn Curtain (Green Years) 1:36 Performed by The Johnny Mann Singers Lyrics by Jay Livingston and Ray Evans TOTAL TIME: 11:27 THE UNUSED SCORE RECORDING COMPOSED AND CONDUCTED BY BERNARD HERRMANN 26. Torn Curtain Prelude 2:13 27. The Ship 0:54 28. The Radiogram 1:55 29. The Hotel 0:40 30. The Bookstore 1:38 31. The Book 1:52 32. The Travel Desk / The Blurring 1:29 33. The Killing 2:19 34. Torn Curtain Prelude (Alternate Take) 2:01 TOTAL TIME: 15:20 TOTAL DISC TIME: 76:36 This is a CD format release.

John rennt als erstes in die Videospiel-Abteilung. Auch eine witzige Szene bei seinem Auftritt auf dieser SteelCityCon (Video oben). Eine Frau aus dem Publikum erzählt ihm, dass sie Gelegenheitsschauspielerin ist und fragt ihn, ob sie in seinem nächsten Film dabei sein darf. Er antwortet mit „Klar, ich lasse dich vorsprechen und entscheide dann, ob du gut genug bist" und verweist sie an seine Assistentin hinter der Bühne, bei der sie sich melden und ihren Namen hinterlassen soll. Die Frau ist begeistert. Was mich daran schmunzeln lässt, ist die Tatsache, dass ich John das total abkaufe, er meint das wirklich ehrlich. Aber gleichzeitig weiß er auch, dass er keinen Film mehr machen wird. Da kann er das natürlich leicht versprechen. Das wäre wirklich ein Wunder, wenn Carpenter noch mal einen Kinofilm machen würde. Aber ich glaube da nicht mehr dran. Schon bei THE WARD hat er in den Interviews betont, wie schwierig das Filmemachen für ihn mittlerweile ist und dass er einfach nicht mehr die Lust und die Kraft hat für lange Arbeitstage und viel Stress. Und auch hier bei dem Panel erzählt er wieder, wie schwer es mittlerweile geworden ist, einen Film zu machen. Also bezogen auf eigene kreative Entscheidungen und das Einmischen anderer bei großen Studios. Carpenter hat das ja am eigenen Leib erfahren müssen, bei BIG TROUBLE IN LITTLE CHINA und ESCAPE FROM L.A.. Letzterer wurde mal in einer Doku von einem französischen Kritiker als der Knackpunkt in Carpenters Karriere bezeichnet. Nach diesem Erlebnis war Carpenter ein anderer, was sich in seinen Filmen, die er danach gemacht hat, auch zeigt. Ich würde diesen Knackpunkt schon viel früher ansetzen, eben bei BIG TROUBLE. Da war er schon so frustriert von der Filmbranche, dass er PRINCE OF DARKNESS und THEY LIVE! danach wieder im Low-Budget-Bereich gemacht hat. Aber dafür hatte er die kreative Kontrolle. Und selbst da gab es dann Probleme mit den Produzenten, die Carpenter quasi verklagten, damit er noch einen dritten Film für sie drehen würde, wie es vertraglich ausgemacht war. Und Carpenter verklagte die Produzenten, weil sie seiner Meinung nach Geld aus den Gewinnen einbehalten hatten. Das Ergebnis dieses Rechtsstreits war dann VILLAGE OF THE DAMNED, den Carpenter dann Wohl oder Übel machen musste. Selbst in seinem Low-Budget-Bereich lief es also nicht mehr rund, also was sollte er noch machen? Daher sehe ich diesen Knackpunkt eben schon Ende der 80er/Anfang der 90er. Er hatte einfach das Feuer und die Leidenschaft für seinen Beruf verloren, hangelte sich aber noch weiter durch, denn Geld musste er ja trotzdem irgendwie verdienen. Aber seine 90er-Jahre-Periode ist geprägt von mittelmäßigen Filmen, mit kleinen Ausreissern wie IN THE MOUTH OF MADNESS. Und seine Kinokarriere beendete er dann eben mit dem absoluten Tiefpunkt GHOSTS OF MARS. Der Film hat so gut wie keinen Carpenter-Flair mehr, ist, im Gegensatz zu seinen früheren Filmen, absolut uninspiriert und flach abgefilmt und runtergekurbelt. Carpenter selbst hat über die Zeit später gesagt, dass er erschrocken ist, als er Aufnahmen von sich aus der Zeit gesehen hat. Darauf wirke er wie ein Zombie, der nur noch funktionierte. Und besser kann man seine Filme aus dieser Zeit auch nicht beschreiben. THE WARD war dann zwar wieder einen Ticken besser, aber im Vergleich zu früheren Werken ebenso uninspiriert wie sein letzter Output. Von daher finde ich es gar nicht schlimm, dass er keinen Film mehr machen wird. Damit würde er nur noch weiter an seinem Vermächtnis sägen. Umso schöner, dass er die Musik wieder für sich entdeckt hat (für THE WARD, sowie für die beiden Folgen der Serie MASTERS OF HORROR, die er inszeniert hat, schrieb er nicht mehr die Musik, war ihm zu anstrengend) und sich in dem Bereich jetzt austoben kann.

Gern. Schon erstaunlich, wie lukrativ diese Veröffentlichungen doch sein müssen. Nachdem Carsten Bohns Musik jahrzehntelang unter Verschluss war, hat er mit seinen Brandnew Oldies wohl die Tür aufgestoßen und nach und nach veröffentlichen alle Europa-Komponisten ihre Musik. Wenn auch, im Gegensatz zu Bohn, die Originalaufnahmen. Aber die von Bohn dürften bis zum jüngsten Gericht in den Archiven von Europa vor sich hin dämmern. Bohns Musik ist natürlich meine liebste Europa-Musik. Die Backert-Sachen noch mit Abstrichen, da ist auch die Qualität von Produktion und Arrangement nicht mehr so hoch wie bei Bohn. Die Musik, die die Drei Fragezeichen mittlerweile haben, ist für mich eigentlich nicht mehr der Rede wert. Sie haben jetzt das lahmste Titelstück überhaupt, das klingt so ein bisschen nach Rentnerveranstaltung (was es mittlerweile in Bezug auf das Alter der Sprecher fast schon ist ). Und auch die Zwischenstücke kann man größtenteils nicht mehr als Musik bezeichnen, da bewegen wir uns eher im Bereich des Sounddesigns. Und nicht mal im guten Bereich. Schon erstaunlich, dass auch hier die Entwicklung der Filmmusik, also weniger Melodie, mehr Wabern, Einzug gehalten hat.