Alexander Grodzinski

Die ersten sechs Folgen sind natürlich schon hier und ich habe sie mittlerweile auch gehört. Ich kenne die Folgen natürlich alle von den Kassetten, aber es ist schön, sie auch von CD noch mal zu hören. Das Remastering macht sich in der Musik leicht bemerkbar, die hat etwas mehr Power. Und Uli Herzogs Stimme mehr Hall. Wenn ich was zu meckern hätte, dann ist das die Gestaltung der Booklets innen. Die Aufteilung der Blöcke der Info-Texte ist teilweise wie Kraut und Rüben und leider bei einigen Folgen auch mit Schreibfehlern oder fehlenden Leerzeichen. Das verleiht dem Ganzen dann wieder eher so einen Bootleg-Charme, wie ihn auch schon die Erstauflage auf CD hatte. Aber ich bin ja froh, dass die Serie überhaupt nochmal auf CD erscheint. Und es gibt eine weitere Hörspielmusik-Veröffentlichung alter Europa-Stücke. Dieses Mal wieder von Jan-Friedrich Conrad. Das Album „Crime Scenes" gibt es digital, als Doppel-Vinyl und Doppel-CD. Lange haben die Fans warten müssen. Jetzt ist es da: Ein brandneues Album von Jan-Friedrich Conrad - erstmals auf Doppel-Vinyl und Doppel-CD! Es enthält viele Klassiker aus den EUROPA-Hörspielserien Die drei ???, TKKG, Fünf Freunde, Das Schloß-Trio, A Nightmare On Elm Street, Hanni & Nanni, Knight Rider, Airwolf, u.v.m. CD 1 enthält die Classics aus den späten 80ern und frühen 90ern. CD 2 enthält einige Titel aus den frühen 2000ern und die aktuellen Produktionen ab 2013. Besonderes Highlight ist übrigens die Variante der Titelmelodie aus den Erstauflagen mit der legendären Textzeile "Justus Jonas, Peter Shaw, Bob Andrews / sind 'Die drei Fragezeichen'-Detektive.". Das Booklet enthält einige Fotos von damals und heute, sowie spannende Insider-Infos. Zusammengestellt wurde der Soundtrack euer Jugend (viele Songs sind inzwischen über 30 Jahre alt) von Felix Bartling. Für Illustrationen und Gestaltung zeigt sich Andreas Ruch, der sich im „Die drei ???“-Kosmos mit seinen Illustrationen und als Autor einen Namen gemacht hat, verantwortlich. Das Album erscheint – streng limitiert – als 180g Gatefold-Doppel-Vinyl, auf Doppel-CD und als Download. Alle Tracks wurden professionell remastered.

Ein Hinweis von Bernd: „Nachdem ich jetzt schon viele CD-Pakete verkauft habe, sind noch 1.022 Titel übrig geblieben. Mittlerweile habe ich auch eine Datenbank über die App CLZ Music erstellt, die für alle einsehbar ist und je nach Verkäufen aktualisiert wird. Die Datenbank ist über https://soundtracks.klangpirator.de/ zu erreichen. Die Abwicklung erfolgt ausschließlich über Ebay, da dieses für mich am bequemsten ist."

Ich habe das Album jetzt zweimal durch. Der erste und der letzte Titel sind meine persönlichen Highlights. Insgesamt finde ich aber, dass sich die Stücke sehr ähneln. Das war schon bei LOST THEMES III der Fall, die ersten beiden Alben finde ich da abwechslungsreicher. Wenn ich haarspalterisch wäre, würde ich fragen, warum das Album NOIR heißt, denn es ist Carpenter-Musik "wie immer". Bei dem Thema hätte ich mir wohl mehr "sinistere" Musik erwartet, wie in IN THE MOUTH OF MADNESS. Aber durch die meisten Tracks stampfen Carpenters Gitarrenriffs, was ich jetzt nicht direkt mit Noir verbinde. Aber sei es drum, es ist schön, dass er am musizieren so viel Spaß hat.

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

Und auch hier geht es am 07. Mai weiter.

Kommt am 07. Mai.

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. Franz Waxman: Legendary Hollywood Vol. 1 is a limited edition release of 500 units and is expected to begin shipping the week of May 3rd. 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 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, Morton 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. Dragon’s Domain Records presents the premiere release of BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens. 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 13th 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, to be distributed through buysoundtrax.com, presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for several projects in the Western genre from his extensive filmography appearing for the first time on compact disc. STORY OF A RODEO COWBOY was a 1963 two-reel television documentary produced by the David L. Wolper Production Company. The 24-minute black and white documentary was directed by Kent MacKenzie, filmed in Salinas, California, and narrated by John Willis. The short film follows the life and travels of a group of professional rodeo cowboys. WAGON TRAIN was a popular TV series that aired 284 episodes over eight seasons, first on NBC (1957–1962) and finally on ABC (1962–1965). Fried scored the second season episode, 'The Steve Campden Story,' directed by Christian Nyby (THE THING FROM ANOTHER WORLD, HELL ON DEVIL’S ISLAND). In this episode, Flint (Robert Horton) must find a way to get the wagon train around a snow-covered pass. On a scouting trek, he meets a father and son who are willing to help him, but they want to hike up the mountain… and the adventure ahead surprises them all. This episode was for Fried’s first Western film series and his only score for the show. TERROR IN A TEXAS TOWN was a 1958 Western film written by Dalton Trumbo and directed by Joseph Lewis, who had helmed 40 primarily action-oriented films from 1938 to 1958. TERROR IN A TEXAS TOWN is about a Swedish whaler (Sterling Hayden) who is out for revenge when he learns that a greedy oil man murdered his father for their land. It was Lewis’ last feature, after which he found a place in television work like many other Hollywood directors. Like other feature films by Lewis, such as GUN CRAZY, it has, over the years, acquired a cult following for Lewis’s stylistic flourishes, leading some to describe it as a Western film noir. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film well into his 90’s and passed away in February, 2023. Dragon’s Domain Records presents GERALD FRIED: THE WESTERNS, VOLUME 1, featuring the world premiere releases of music composed by Gerald Fried for these Western related projects. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson. GERALD FRIED: THE WESTERNS, VOLUME 1 is a limited edition release. GERALD FRIED: THE WESTERNS, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com . STORY OF A RODEO COWBOY 01. Pick Up Man (4:56) 02. Bronco Busting (5:20) 03. Barrell Man (5:24) WAGON TRAIN: THE STEVE CAMPDEN STORY 04. The Mountain (3:18) 05. Meet The Campdens (3:00) 06. Climbing The Mountain (6:29) 07. The Cave (7:02) 08. Top Of The World / Finale (5:41) TERROR IN A TEXAS TOWN 09. Prologue And Main Title (3:14) 10. The Saloon (2:27) 11. The Black Hat / A Father’s Death (2:02) 12. Hansen And The Boy (2:59) 13. End of Pepe (2:28) 14. Back To The Saloon (3:04) 15. Shootout And Finale (3:10) Total Time: 61:14 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley (WHEN A STRANGER CALLS, PUSHING DAISIES, THE LAST SHIP) for various projects from his filmography. THE JIM DOOLEY COLLECTION, VOLUME 1 opens with music from an industrial film Dooley was hired to score for Mercedes-Benz, entitled ‘The Mercedes-Benz Axor. The industrial film was meant to be used for promotional purposes and featured shots of the truck in question. The hit television series COSMOS based on the writings of author Carl Sagan was successfully rebooted in 2014 by Seth MacFarlane, Brannon Braga, Mitchell Cannold and Ann Druyan, featuring astrophysicist Neil deGrasse Tyson as the host. When COSMOS went into production, two composers were brought in to pen scores for each episode—one of them was Jim Dooley who was tasked to produce a series of themes that best demonstrated his proposed prescription to scoring the series. His demos were a huge hit with the producers. However, there was one alarming issue. The composer was already temporarily employed by the Ringling Bros. and Barnum & Baily Circus, preventing Dooley from accepting a role as composer for Cosmos. His demos for COSMOS are presented on this album for the very first time. Also included on this album are a smattering of rare tracks from obscure projects early in Dooley’s career. UNTITLED: 003-EMBRYO was a short film directed by Mike Goedecke. The plot centers around a certified agoraphobic who receives a wooden box with items inside and promise to fulfill his deepest fantasies if he feeds five dreams to a grotesque creature stored within the machine. The entire score is presented here. A collection of cues from the made-for-television sci-fi comedy AREA 52 appear next. AREA 52 was directed by Dooley’s college friend Adam Turner and starred Fred Savage. The plot revolved around a group of rag-tag government agents not good enough to guard Area 51 so they are assigned to the lesser Area 52. Hilarity ensues when they stumble into a legit mission requiring their services to help save the world. The final selection on the album is the entire orchestral score for Dreamworks’ animated short film FIRST FLIGHT about a fastidiously organized businessman whose perspective on life is forever changed through an unexpected encounter with a fledgling bird. Jim Dooley is an Emmy Award-winning composer/songwriter with a diverse repertoire spanning the film, television, video gaming and live theatrical industries.  He has earned accolades for his solo work as well as proud collaborations with many of the top names in music, from Hans Zimmer, Kristin Chenoweth to Babyface. Dooley is a graduate of New York University and upon completion of his degree moved to Los Angeles to study the art of film composing at USC in the SMPTV program with prolific scoring legends Christopher Young, Elmer Bernstein and Leonard Rosenman. He joined Media Ventures (now known as Remote Control Productions) in 1999 and collaborated with Hans Zimmer on THE DA VINCI CODE, PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, THE RING and many others. Dooley is currently the composer of the hit CW show WALKER Dragon’s Domain Records presents THE JIM DOOLEY COLLECTION, VOLUME 1, featuring music composed by Jim Dooley, appearing for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer. THE JIM DOOLEY COLLECTION, VOLUME 1 is presented as a disc-on-demand release. THE JIM DOOLEY COLLECTION, VOLUME 1 is expected to begin shipping the week of May 13th, 2024 and can be ordered at www.buysoundtrax.com. The first 50 copies sold through the website will include a booklet autographed by composer Jim Dooley. 01. The Mercedes-Benz Axor (6:49) From The Promotional Video A SPACETIME ODYSSEY (Inspired by COSMOS) 02. Looking At The Stars (4:00) 03. Starscape (4:08) 04. Beyond The Solar System (1:51) 05. Solar Winds (3:25) 06. Europa (2:05) 07. The Void (2:12) 08. The Martian Landscape (2:38) 09. The Outer Planets (2:17) 10. The Asteroid Belt (2:13) 11. Suite From EMBRYO (12:39) AREA 52 12. Opening / Dante’s Friends / First Mission (3:55) 13. First Cable / Haps Discovered (3:30) 14. Chase Dropped Off / Haps Tire Yard / Return / Van Hangar (1:51) 15. Return / End Credits (3:52) 16. Suite From FIRST FLIGHT (8:31) Total Time - 66:40 BSX Records and Bukimisha the Weird Society are proud to present the a Capella recreation of Akira Ifukube’s unreleased score to the 1961 film spectacular BUDDHA. To chronicle the origin of Buddhism, Daiei Studios spared no expense to create large and elaborate sets that were filled with hundreds of extras, all captured in 70mm by VistaVision cameras. Ifukube utilized the skills of The Tokyo Symphony Orchestra and the result was one of the maestro’s most magnificent efforts, an emotionally moving assemblage of thoughtful and awe-inspiring motifs. Shockingly, an original soundtrack album has never been released, though an abbreviated suite was included on a compilation album (it was just audio lifted from the film). The original master tapes were shipped to England for mixing and apparently never returned to Japan. Plus, Ifukube was apparently dissatisfied with their work. Bukimisha the Weird Secret Society is a self-proclaimed ‘secret society’ (pronounced “Boo-key-may-sha” and roughly translating into “Creepy Company”) and have enthralled Japanese audiences over several decades. They have transformed their love of music into a unique art form, building an impressive catalog currently exceeding 170 albums! Many of these feature selections from Akira Ifukube’s vast output of classical compositions and complete film scores. Bukimisha was even given the opportunity to perform before the legendary composer at one of his final birthday celebrations. BSX Records is proud to once more offer the distinctive performance art of Bukimisha to movie music fans around the world. This album has been mastered by James Nelson at Digital Outland from the group’s original digital recordings, all supervised and approved by Takeo Yahiro & their great mentor, Dr. Bukimi. Exclusive liner notes by author David Hirsch with Sam Scali, and comments from scholar Erik Homenick (akiraifukube.org) on the music featured. This CD set is a limited run of 500 units. 01. Opening 2:47 02. Above and Below Heaven, I Am Worthy 2:49 03. Martial Arts Tournament 4:33 04. Kapila Castle 5:17 05. The Tragedy of Princess Yashodhara 3:41 06. Bodhi Tree 8:33 07. Kishimojin 2:59 08. Hanako Castle 1:58 09. Enlightenment of Kunara 5:49 10. Devadathha’s Divine Power 10:49 11. Rajgir 4:39 12. Collapse of the Rasatta Temple 7:43 13. Closing 5:16 14. Return of Buddha, Devadathha (unused) 3:12

Zur Fantasykomödie DEATH OF A UNICORN hat das Trio Carpenter/Carpenter/Davis den Score geschrieben. Quelle

John Carpenter beim Steel City Con Panel. Gleich zu Beginn spricht er über seine Musik und erwähnt dort auch, dass er wieder Musik für jemand anderen gemacht hat. Zusammen mit seinem Sohn Cody und Daniel Davis hat er den Score zu DEATH OF A UNICORN geschrieben. Das ist ein Film mit Jenna Ortega und Paul Rudd in den Hauptrollen. Kommt wohl noch dieses Jahr.

Es soll wohl die schlechteste Planeten-Einspielung überhaupt sein. Ich paraphrasiere hier die Eindrücke anderer: Herrmann, hier schon kurz vor seinem Tod, dirigierte alles sehr langsam, was bei „Mars" noch reizvoll ist, da das langsamere Tempo die Musik noch bedrohlicher wirken lässt. Aber bei allen anderen Stücken ist das kontraproduktiv, es kommt keine Spielfreude auf, zudem gibt es wohl noch massenhafte Spielfehler des Orchesters.

Quartet legt den Score leicht erweitert neu auf. Quartet Records, in collaboration with Paramount Pictures, presents a remastered, slightly expanded reissue of James Horner’s classic war score for UNCOMMON VALOR (1983), directed by Ted Kotcheff and starring Gene Hackman, Robert Stack and young up-and-comers Patrick Swayze and Fred Ward. The film is a dramatic action picture centered on retired U.S. Marine Colonel Jason Rhodes, who recruits a motley crew of soldiers and leads them on a clandestine operation in Laos. Their mission is the rescue of unacknowledged U.S. prisoners of war (POWs) left behind after the withdrawal from Vietnam, including Rhodes’ son, officially declared missing in action (MIA). The possible existence of such POWs was a topic of considerable interest during the late 1970s and early 1980s. The messy conclusion of the Vietnam War, coupled with the scandals of the Nixon era, had left many Americans alienated from their government and deeply skeptical of official claims that there was no evidence of living POWs in the former war zone. James Horner was only 30 years old when he was hired to compose UNCOMMON VALOR, but he was already a seasoned composer with such successful films in his career as STAR TREK II, KRULL, BRAINSTORM and SOMETHING WICKED THIS WAY COMES, and he was about to enter the A-list of composers in Hollywood with his upcoming hit scores for ALIENS, AN AMERICAN TAIL and COCOON. Horner provides an inventive and effective score, robustly orchestral while endowed with exciting electronic rhythms and Vietnamese textures. Intrada Records issued the premiere release of UNCOMMON VALOR in 2014 and it quickly sold out. This new, remastered edition adds about 10 minutes of alternate takes. Produced by Dan Goldwasser and mastered by Chris Malone, it features in-depth liner notes by film music writer John Takis. 1. Vietnamese Solo / Main Title (7:31) 2. Airport (2:21) 3. Tag (2:49) 4. A Lot of us Have Been Killed (1:26) 5. Steal the Sucker (1:44) 6. First trek / Yellow Rain (2:45) 7. Pan Over Hill / Wilkes in Tunnel (7:35) 8. Attack Airbase (3:14) 9. Escape Airbase (3:22) 10. Copters Over Hill (2:51) 11. Final Escape (2:21) 12. End Credits (3:42) 13. Brothers in the Night* (4:48) Bonus Tracks 14. Main Title (Alternate Mix) (7:15) 15. Main Title Extension (Expanded) (3:08) 16. Parade Ground (3:58) 17. Main Title Extension Vietnamese Overlay (Alternate) (3:15) Total Disc Time: 64:14 *Performed by Ray Kennedy • Written by Ray Kennedy, Kevin Dukes and David Ritz

Quartet Records, in collaboration with Decca Classics and Universal Music Enterprises, presents a remastered CD edition of the unique, fascinating and controversial Bernard Herrmann recording of Gustav Holst’s THE PLANETS. Recorded during his post-Hollywood period when he was based in London, it was one of several albums he conducted for Decca Records’ Phase Four series, featuring both his own music and that of other composers. THE PLANETS has always been considered something of a cursed album, yet it is loved by his fans for an interpretation that is more Herrmann than Holst. The recording was not universally acclaimed when it was released. This was in part because several recordings of the work already on the market were considered classics, thus setting a very high bar for new entries. Some listeners, however, found the heavy tread of Herrmann’s “Mars” an actual plus, its mechanistic bombast far more threatening and imposing than the composer’s own recorded performance. Herrmann’s slow trek through the “big tune” in “Jupiter” was more widely criticized, but Herrmann was far from the only conductor who favored slower tempi in the later stages of their career—including in some of the Phase Four recordings of his own music. Nevertheless, Herrmann’s THE PLANETS sold well. Although reissued several times on LP in the 1970s, Herrmann’s recording of THE PLANETS was only released on CD in Australia in 2011 as part of a Holst compilation on Decca Eloquence. This new, first-ever solo CD edition has been restored and mastered by Chris Malone from the original master tapes transferred by UME in the UK, and features brilliant, extensive liner notes by classical and film music writer Frank K. DeWald alongside the original LP liner notes by renowned musicologist Harry Halbreich. Mars, The Bringer of War (8:43) Venus, The Bringer of Peace (10:04) Mercury, The Winged Messenger (4:34) Jupiter, The Bringer of Jollity (9:06) Saturn, The Bringer of Old Age (9:31) Uranus, The Magician (6:54) Neptune, The Mystic (8:11) Total Disc Time: 57:06

Music Composed by Alexeï Aïgui In collaboration with SBS Productions, Music Box Records presents the original motion picture soundtrack of Le Tableau volé (Auction), composed by Alexei Aigui (The Truth, I Am Not Your Negro). The film is directed by Pascal Bonitzer (Small Cuts). André Masson (Alex Lutz), an auctioneer at the famous Scottie’s auction house, receives a letter one day stating that a painting by Egon Schiele has been discovered in Mulhouse at the home of a young worker Martin (Arcadi Radeff). Very skeptical, he makes the trip and has to face the truth: the painting is authentic, a masterpiece gone missing since 1939, confiscated by the Nazis. André sees this discovery as the pinnacle of his career, but also the beginning of a struggle that could jeopardize it. Fortunately, he will be assisted by his ex-wife and colleague Bertina (Léa Drucker), and by his eccentric intern Aurore (Louise Chevillotte). For this art-world thriller and a study in human nature, Alexei Aigui provides a short delicate and dramatic score with his regular unrivalled style. Le Tableau volé is released in French theaters on May 1, 2024. The album is available on CD and digital version. This present edition also features the three other original motion picture soundtracks composed by Alexei Aigui for Pascal Bonitzer's films Je pense à vous, Le Grand Alibi and Cherchez Hortense (previously released on Music Box Records in 2014) with some previously unreleased tracks. LE TABLEAU VOLÉ 1. Le Tableau volé (0:57) 2. Aurore (1:42) 3. Arrivée à Paris (2:23) 4. Aurore et son père (0:53) 5. Les appels (1:08) 6. Dispute (1:25) 7. L’arnaque (1:08) 8. Conversations (1:30) 9. Martin (1:09) 10. Lettre de Martin (2:20) JE PENSE À VOUS 11. Générique début (1:48) 12. Anne sort du métro (1:08) 13. Anne seule (2:08) 14. La nuit (1:33) 15. Générique de fin (3:02) LE GRAND ALIBI 16. Le Grand Alibi (1:53) 17. Générique début (2:31) 18. Soupçons (1:32) 19. Révélations (1:44) 20. Le lieu du crime (2:02) 21. Dénouement (3:33) 22. Générique de fin (3:36) CHERCHEZ HORTENSE 23. Zoritsa et Damien (3:00) 24. Damien va voir son père (3:12) 25. Cherchez Hortense (Nuit) (1:19) 26. La tristesse de Damien (3:55) 27. Zoritsa part (2:21) 28. Générique de fin (3:27)

Varèse hat noch ein paar CDs gefunden.

Das war vielleicht eine Kombi aus "Ist günstig für uns zu machen" und "Irgendwie noch halbwegs populäres Videospiel".

Ich finde das Album ganz ok. Wenigstens nicht dreimal hintereinander das gleiche Stück, nur in unterschiedlicher Länge. Klar, die Songs kennt man alle schon von diversen Samplern und auch der instrumentale Rock-Track ist nach dem dritten Mal eher dröge. Aber ein großes Plus für mich ist, endlich das als "Walking down the street" bekannt gewordene Stück, wenn Bud mit den anderen zum großen Kampf mit den Außerirdischen läuft, zu haben (Track 18 auf der CD).

Neues aus der „Rob Zombie presents" Reihe. Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks. “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie In collaboration with Rob Zombie, Waxwork Records is thrilled to release Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack by Von Dexter. Starring Vincent Price, HOUSE ON HAUNTED HILL is a 1959 American Horror film produced and directed by William Castle. Vincent Price plays an eccentric millionaire, Frederick Loren, who, along with his wife Annabelle, has invited five people to a house for a "haunted house" party. Whoever stays in the house for one night will earn $10,000. As the night progresses, the guests are trapped within the house with an assortment of terrors. The film uses many props used in carnival haunted houses to generate fear and terror. The film is also known for its promotional gimmick, Emergo, which included a "flying skeleton" that would appear over the audience as they enjoyed the film in a movie theater. Waxwork worked with the rights holders of the original film elements which have been restored, allowing for the best source material of this never-before-released soundtrack album. In addition to the original music by composer Von Dexter, this release features segments of the film's dialogue and sound effects appealingly included and sourced from the restored original soundtrack. Included in this very special release is the first part of an exclusive two-part interview conducted by Rob Zombie with Vincent Price's daughter, Victoria Price. Part two will be included with Waxwork's upcoming release of Rob Zombie Presents The Last Man On Earth! Von Dexter (1912-1996) was an American composer born in Aurora, Illinois. He later moved to Chicago where his professional music career began playing in bars and nightclubs. After gaining a music degree at USC, he moved to California where he became the West Coast MD for NBC. In addition to House On Haunted Hill, Dexter composed the scores for other William Castle films including 13 Ghosts and The Tingler. Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack Features: The Original Motion Picture Soundtrack by Von Dexter 150 Gram Pink & Black Hand Poured Color Vinyl Exclusive Interview Conducted by Rob Zombie with Victoria Price Artwork By Graham Humphreys Deluxe Gatefold Packaging with Matte Satin Coating Four Page Booklet Select Dialogue & Sound Effects from the film included

What Lies Beneath (2000) was a first for filmmaker Robert Zemeckis: a serious, adult-minded ghost story starring Michelle Pfeiffer and, in a rare turn (and twist) as the villain, Harrison Ford. Originally developed for Steven Spielberg, the film was a Hitchcockian throwback of slow-burn suspense, with gorgeous Vermont locations supporting the A-list talent. Scoring What Lies Beneath was, as always for Zemeckis, his long-time collaborator, Alan Silvestri (Back to the Future, Forrest Gump). Silvestri conjured up a dark, moody soundscape of suspense, orchestral violence and eerie beauty for the supernatural hauntings and real-life threat that is closer than the heroine realizes—ably recalling the spirit of the classic Hitchcock–Herrmann partnership, with Silvestri’s own vernacular and modern dramatic sense. Varèse Sarabande released What Lies Beneath as a 9-track, 30-minute program at the time of the film. This long-awaited Deluxe Edition premieres the complete score in a 25-track, 60-minute program, with new liner notes by Daniel Schweiger interviewing screenwriter Clark Gregg. Produced by: Alan Silvestri and David Bifano Recorded and Mixed by: Dennis Sands Music Editor: Dan DiPrima, Jacqueline Tager and Lee Scott Mastered by: Chas Ferry and Melinda Hurley Track List: 1. ImageMovers Logo 2. Main Title 3. Panic Attack 4. Sobbing Neighbor 5. Claire Visits Feur House / I Thought I Saw / Watery What? 6. Broken Photo 7. Binocular Spy 8. Discover Key / Full Bath 9. Ouija Board 10. You Know 11. Newspaper Clipping 12. Madison’s Room 13. Forbidden Fruit 14. Jody Fesses Up / Electrocuted 15. I Opened The Door 16. Claire's Drive 17. Key Decision 18. Norman Attacks 19. Passive Aggressive Masterpiece / Norman Falls / Bloody Hand 20. Norman's Gone / Claire Steps In Blood / Hand Moves Sting 21. The Getaway 22. Reunited / Peace At Last 23. End Credits 24. Restaurant Source 25. The Four Seasons: Autumn

Doom (2005) was a big-budget feature film adaptation of the hit game from id Software, starring Karl Urban, Rosamund Pike and Dwayne Johnson (billed as The Rock). A team of marines are sent through a portal to a research facility on Mars, where they must battle demonic creatures which are revealed to be mutated humans from genetic experiments. Doom was an action-packed romp noted for its nods to videogame culture, creature design by Stan Winston Studios, and lengthy first-person shooter sequence. One of its most successful elements is its forward-thinking score by Clint Mansell, blending orchestra and electronics with authentic “alt. rock” elements, including a remix of the Nine Inch Nails song “You Know What You Are.” Mansell’s score smartly evolves from haunted-house spookiness to balls-out action, all impeccably produced. “I wanted to sort of capture the adrenaline and that sort of metal thrash that goes with the game and world in my opinion. It’s like it needed something edgy,” Mansell said at the time. “The original thought was to do a big orchestral score, and there is some orchestra in it, but it’s a very contemporary-type movie and the score needed to be contemporary, too.” Doom was released as a 22-track, hour-long by Varèse Sarabande at the time of the film. This new Deluxe Edition expands the content to two discs, with 41 tracks and over 140 minutes. The 20-page booklet features liner notes by Daniel Schweiger and two double-page interior spreads of newly commissioned artwork by Micha Huigen. Produced and Programmed by: Clint Mansell Orchestra Recorded and Mixed by: Geoff Foster Mastered by: Chas Ferry and Melinda Hurley Track List: CD 1: 1. Doom (Main Title) 2. Pray For War 3. Facing Demons 4. Olduvai 5. Into Action 6. Stealth 7. Searching 8. Access Denied 9. Sibling Rivalry 10. A Discovery 11. Goat's Demons 12. Nano Wall / Carmack 13. Zombie-Blood Gone 14. Down In The Sewer 15. Man Down 16. Taking Control 17. Carmack's Return 18. Childhood Memories 19. Mac Attacked 20. Resurrection 21. BFG 22. Bathroom Break 23. Destroyed 24. Clip Drop 25. Death From Above CD 2: 1. Infirmaray 2. Experimental Stahl 3. UAC Data 4. Containment Breach 5. It's Choosing 6. Kill Em All (A) 7. Kill Em All (B) 8. Mass Onslaught 9. C 24 10. First Person Shooter 11. Last Man Standing 12. Semper Fi 13. Fight Scene 14. Almost Home 15. You Know What You Are? (For E.C. Pt. 1) (Clint Mansell Remix) 16. Doom (For E.C. Pt. 2)

Oder er hat sich diese Rechte für seine Musik gesichert. Stammen die Sachen nicht auch aus seinem privaten Archiv?

Ich natürlich auch Er hat zwar nicht gesagt, von wem die Anfrage kam, aber bestimmt von LLL. Es passt in ihr Programm und mit Snow arbeiten sie nun schon auch länger zusammen. Daher gehe ich auch davon aus, dass von den älteren Sachen eher nichts kommt, wenn nicht ein Label wie LLL da hinterher ist. Die Studios selbst haben wohl eher kein Interesse, kein Geld dafür und/oder kein Personal für die entsprechende Recherche.

Klar, ich wollte es nur mit erwähnen.

Er hat zu dem Thema zwar schon länger kein Interview mehr gegeben, aber prinzipiell war der Tenor bei ihm eigentlich immer positiv, wenn es um Veröffentlichungen ging. In einem Interview zur Musik von MillenniuM meinte er mal, das war viele Jahre bevor es die CDs gab, dass er selbst gern mehr seiner Musiken veröffentlichen würde, aber die Studios eben die entsprechenden Rechte haben und in den meisten Fällen kein Interesse an solchen Veröffentlichungen. Daran scheitert es dann wie so oft. Vor einigen Jahren war laut Snow wohl auch eine Anfrage da zur Veröffentlichung einer oder mehrerer CDs mit seiner Musik aus GHOST WHISPERER. Aber hier scheiterte es wohl daran, dass da zwei Studios involviert sind. Und eines davon ist auch noch Touchstone, also Disney.

Ich hoffe ja immer noch, dass LLL auch die alten Snow-Sachen mal auf so einem Sampler wie der Quinn-Martin-Collection veröffentlicht. Einzelveröffentlichungen von HART TO HART oder T.J. HOOKER halte ich fast schon für ausgeschlossen.

Snow Files of the Week: „Woke up hungry/Not an option" aus „The X-Files", Episode „Darkness Falls" (1994). Classic X-Files at its best. Wieder eine Folge außerhalb der Alien-Mythologie, aber nicht weniger erinnerungswürdig. Als in einem großen Waldgebiet Holzfäller scheinbar spurlos verschwinden, machen sich Mulder und Scully auf, die Vorkommnisse zu untersuchen. Bereits seit den 30er Jahren verschwinden in diesem Gebiet immer wieder Menschen spurlos. Die Agenten finden schnell heraus, dass sich scheinbar eine bisher unbekannte Insektenart dort heimisch ist. Diese grün leuchtenden Insekten stürzen sich auf ihre Opfer, sobald die Dunkelheit herein bricht. Mark war zu diesem Zeitpunkt noch in der frühen Phase seiner X-Files-Musik. Was bedeutet, dass sie weniger melodisch daher kommt, aber dennoch nichts an Intensität vermissen lässt. Dafür sorgt schon ein hoher, sich als Echo wiederholender Klang, der die Nähe der Insekten heraufbeschwört. Die Tracks stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitiert ist. Viel Spaß beim Hören!