Bastet

Ich weiß es einfach nicht mehr! :konfused: Auch bei einer Göttin kann das Gedächtnis mal nachlassen.

Du fiese Möp, du! Aber Du hast Recht!!! Ich habe das mit Moross' BIG COUNTRY verwechselt!

So habe ich Deinen Kommentar auch NICHT verstanden! Wir vergessen nur manchmal, bei alten Veröffentlichungsdaten was der Neupreis war; wie klein die Auflage; eventuell wie viele Exemplare sind nach Europa bzw. Deutschland gekommen?

Ihr beide seid, in diesem speziellen Fall, ein bisschen unfair! Wenn ich mich richtig erinnere, war die CD mit einem 32 seitigen Booklet im LP-Format, in einem LP-Formatigen Karton verpackt. Veröffentlicht wurden nur 100 oder 500 Exemplar weltweit von Craig Spaulding anfang der 90er Jahre. Und der Neupreis war damals schon ganz schön hoch. In einem anderen Thread wurde schon mal darüber, mit Abbildungen, berichtet!

Kann ich nur unterstreichen! Aber wer kennt denn noch die Filme? Aber wer kennt denn noch die Komponisten?

Da wollen wir doch einmal ein paar Soundtrack-OLDIES genießen: http://www.goetz-alsmann.de/?cat=4&paged=6 http://www.goetz-alsmann.de/?cat=4&paged=5

Ohne Worte: http://www.hood.de/angebot/36093319/transformers-soundtrack-cd-ost-filmmusik-neu.htm

Wunderbarer Film mit einer auf den Punkt komponierten Musik!

Und wie heißt der andere Barry? Darf ich dafür mal einen lang vergriffenen Trevor Jones empfehlen? http://www.youtube.com/watch?v=IjhX0hWvfNs

http://www.youtube.com/watch?v=r4FzeW9V--4&feature=related Glücklich ist wer noch LPs besitzt!

ohne Worte

Vielleicht erkennen einige von Euch ja den Sänger.

Nicht nur geiles Cover, sondern auch GEILE Musik!

Kritzerland is pleased to present a new world premiere limited edition soundtrack – two great scores on one great CD: I MARRIED A MONSTER FROM OUTER SPACE Music Composed by Victor Young, Franz Waxman, Hugo Friedhofer, Aaron Copland, Hans J. Salter, Roy Webb, Nathan Van Cleave, Daniel Amfitheatrof, Leith Stevens, and others and THE ATOMIC CITY Music Composed and Conducted by Leith Stevens Bill and Marge – happy as clams, in love and about to be married. He’s affectionate, a dog lover, thoughtful – the perfect man. Until… he’s not. It’s a girl’s worst nightmare – the loving man she just married is suddenly not the man she thought he was. Why is he suddenly no longer affectionate? Why is he not affectionate to the dog? Why is he not affectionate to anything? Stranger still, why are some of the other men in their town behaving the same way? If only she’d seen the poster for this film, she’d have known exactly what was going on – because there’s no mistaking it with a title like I Married a Monster from Outer Space. Made in 1958, I Married a Monster from Outer Space is not as lurid as its title would suggest. It’s actually a very well made, thoughtful, low-budget sci-fi film with an excellent script, which has gathered a loyal following over the years. Starring Tom Tryon and Gloria Talbott, the film is a textbook example of how to make a terrific little film on a terrifically low budget. One of the most interesting aspects of the film is its wonderful score. The film carries no credit for music at all, despite having really effective music and quite a bit of it. The reason for the lack of a music credit is simple: In 1958 there was a musicians’ union strike. And so Hollywood studios had to go outside the United States and Canada to record music for their movies. In certain cases, especially in the case of the very low-budget I Married a Monster from Outer Space, they would re-record selections from existing scores that were owned by the studio’s publishing companies. Therefore, what we have is a score composed by Victor Young, Hugo Friedhofer, Aaron Copland, Franz Waxman, Leith Stevens, Daniel Amfitheatrof, Walter Scharf, Lyn Murray, Nathan Van Cleave, Roy Webb – well, you get the idea. The surprising thing is how well it all works and how seamlessly it all plays. Today, it would be called temp tracking, but back then it was born out of necessity and budget. It’s actually kind of a once-in-a-lifetime occurrence, where several of the greatest film composers of all time have music in the same film. The music, housed in the Paramount vaults, was in mostly excellent condition. A little wow and flutter on a couple of tracks was the only problem and we’ve left it as is because the music is so good and the problems only last for a few seconds. Our second feature is a tense little low-budget thriller from 1952 called The Atomic City, starring Gene Barry, Lydia Clarke and Nancy Gates. The basic plot is simple: Enemy agents kidnap the son of a nuclear physicist in Los Alamos, New Mexico; their ransom demand isn’t money, however – the bad guys want the physicist to turn over the formula for the H-bomb. Directed by Jerry Hopper, the screenplay was written by Sydney Boehm, a great writer who wrote several great films, including When Worlds Collide, The Big Heat, Union Station, Violent Saturday, The Tall Men, The Revolt of Mamie Stover, Shock Treatment and many others. His screenplay for The Atomic City was nominated for an Academy Award for Best Story and Screenplay – very unusual for a low budget programmer in 1952. The superb music was composed by Leith Stevens. Stevens made his mark in the early 1950s, beginning with two sci-fi scores that became instant classics – Destination Moon and When Worlds Collide. After The Atomic City, he would go on to write great scores to some iconic films, including War of the Worlds and The Wild One. He worked in almost every genre, turning out scores for such films as the noir classic The Hitch-Hiker, Scared Stiff, Private Hell 36, World Without End, Julie, But Not for Me, The Interns, A New Kind of Love and many others, as well as for such classic television fare as The Twilight Zone, Have Gun – Will Travel, Gunsmoke, The Untouchables, Burke’s Law, The Time Tunnel, Voyage to the Bottom of the Sea, Land of the Giants, and on and on. His music for The Atomic City is greatly responsible for the tense atmosphere and keeping the film an edge-of-the-seat thriller. The music was thankfully preserved on a set of acetates in excellent condition. These were transferred as carefully and lovingly as possible, and we hope you’ll be pleased with the result. I Married a Monster from Outer Space/The Atomic City is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the first week of July – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). Quelle: http://www.kritzerland.com/monster_atomic.htm

Kritzerland is pleased to present a new world premiere limited edition soundtrack CD: WHEN A STRANGER CALLS Music Composed and Conducted by Dana Kaproff “HAVE YOU CHECKED THE CHILDREN?” With that repeated line of dialogue, audiences seeing When a Stranger Calls in 1979 were put on the edge of their seats in one of the most nail-bitingly suspenseful opening scenes ever put on film. Between that film and Alien, it was a 1979 double whammy of suspense and chills. Oh, it’s easy from today’s perspective to sit in judgment and say, “Oh, it’s not so scary,” much the same way that kids today seeing Psycho don’t think that’s scary. Why? Because these films have been ripped off so many times, and the envelope they were pushing has now been pushed so much further, that the classic chillers of old look positively quaint today. The fact that most new movies look and sound exactly the same makes movies like When a Stranger Calls even more unique – a truly low-budget film ($700,000) that came out of nowhere and went on to be an audience and box-office sensation (grossing over $21 million when that actually meant something). And quaint it wasn’t in 1979. When a Stranger Calls is sometimes called one of the first slasher films – only it’s not a slasher film at all and there were certainly many that came before – in fact, if you want to talk slashing, Psycho would probably be at the top of the list. When a Stranger Calls has no slashing – what it has is pure suspense – there is literally no gore, just some blood in a flashback, but you never see any violence committed. Gore is easy – suspense, pure suspense, is hard. When a Stranger Calls began life as a short film called The Sitter, directed by Fred Walton. The Sitter was basically the first act of When a Stranger Calls. After the success of the 1978 John Carpenter film, Halloween, it was decided to expand the short film into a feature, starring Carol Kane, Charles Durning, Coleen Dewhurst, Rachel Roberts, and Tony Beckley. The film was instantly influential and many low-budget copycat films happened for quite some time thereafter, including the same director’s sequel, this one for TV, When a Stranger Calls Again. It was also remade in 2006, but the remake stretches out the original’s opening twenty minutes to feature length – and guess what? It doesn’t work. When a Stranger Calls was Dana Kaproff’s second film score – his first was for Bert I. Gordon’s Empire of the Ants (released by Kritzerland) – and Kaproff deserves a good deal of the credit for the film’s suspense level. It is simply unthinkable to imagine this film without his score because his score is as much a leading player as any of its cast. It’s relentlessly suspenseful music – there are no pretty themes to lull you and give you security – just dread, pure dread, and then almost psychotic music for those moments when things, well, get out of hand. The score is written for strings, prepared piano, and percussion. It is a superb genre score and a classic. This is the world premiere release of the soundtrack to When a Stranger Calls. The film, of course, was mono, as is this recording, taken from the original session tapes. We present every note of music Kaproff wrote, in film order, as that’s the way it plays best – like a symphony of dread and terror. When a Stranger Calls is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the first week of July – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). Quelle: http://www.kritzerla...en_stranger.htm

Ohoho, Scorefun hat GEBURTSTAG da kann ich Dir nur ALLES GUTE wünschen!

HOLLYWOOD RELOADED - Film Music at its Best Wo? = Natürlich in Nürnberg Wann? = Am 10. und 12. Juni 2012 Informationen? = http://www.nuernbergersymphoniker.de/docs/kon_det.php?KonDetID=849 HOLLYWOOD - 100 JAHRE FILMMUSIK 22. Juni 2012 20:00 Uhr Altdorf, Wichernhof http://www.nuernbergersymphoniker.de/docs/kon_det.php?KonDetID=804 DIE SCHÖNSTEN FILMMELODIEN - SYMPHONISCHES AUS HOLLYWOOD Samstag 23. Juni 2012 20:00 Uhr Zirndorf, Zimmermannspark http://www.nuernbergersymphoniker.de/docs/kon_det.php?KonDetID=805

Ich versteh' Euch NICHT! Der FCB ist doch Deutscher Fußballmeister in dieser Saison geworden! Ich glaub, Ihr habt alle das falsche Spiel gesehen. :lol2: Mindestens einen Titel holt er sich immer in einer Saison!

Die anderen Anbieter auf ebay-usa bzw. GB sind aber auch nicht gerade günstiger: http://www.ebay.com/itm/Ghostbusters-original-complete-score-by-Elmer-Bernstein-Varese-Club-RARE-SEALED-/251018135495?pt=Music_CDs&hash=item3a71d8c7c7 http://www.ebay.com/itm/GHOSTBUSTERS-Elmer-Bernstein-VARESE-CLUB-mint-/360441318046?pt=UK_CDsDVDs_CDs_CDs_GL&hash=item53ebfa0a9e http://www.ebay.com/itm/GHOSTBUSTERS-Elmer-Bernstein-VARESE-CLUB-mint-/360441318046?pt=UK_CDsDVDs_CDs_CDs_GL&hash=item53ebfa0a9e

Und sogar noch einige LPs Und allet nur wegen dat :demut: Cover !

http://www.soundtrack-club.net/content/product_info.php?products_id=4600 Natürlich wird die CD gekauft, allein schon, wie ich oben ausgeführt hatte, wegen des Covers!

LaLaLand meldet eben: LOW STOCK ALERT! Less than 200 units of Tiomkin’s 55 DAYS AT PEKING remain! Get yours now before they are gone!

Ohne weitere Worte eine kleine Rarität von Trevor Jones: http://www.youtube.com/watch?v=IjhX0hWvfNs