Veröffentlichung (USA) - BSX: YOR, THE HUNTER FROM THE FUTURE (John Scott, Oliver Onions) & AMERICA: HER PEOPLE, HER STORIES (William Stromberg, John Morgan)

[Alexander Grodzinski]

Neu von BSX:

BUYSOUNDTRAX Records presents a brand new expanded version of the original soundtrack to YOR, THE HUNTER FROM THE FUTURE, featuring music composed by John Scott (GREYSTOKE: THE LEGEND OF TARZAN, THE FINAL COUNTDOWN, THE PEOPLE THAT TIME FORGOT) and additional music composed by Guido and Maurizio De Angelis (KEOMA, A MAN CALLED BLADE, THE BLACK CORSAIR) for the 1983 camp science fiction classic directed by Antonio Margheriti (CANNIBAL APOCALYPSE, TAKE A HARD RIDE), from the graphic novel series HENGA, IL CAZADOR, written by Ray Collins and illustrated by Juan Zanotto, starring Reb Brown (CAPTAIN AMERICA, UNCOMMON VALOR, SPACE MUTINY), Corrine Clery (THE STORY OF O, MOONRAKER), Luciano Pigozzi and John Steiner in the part of The Overlord.

The film tells the story of YOR (Brown), a great hunter who wears a mysterious golden medallion and has no memory of his past. Yor comes to the rescue of a primitive tribe and learns of the existence of another person who has a medallion like his. His new friends are attacked by a tribe of mysterious Ape Men and the beautiful Ka-Laa (Clery) is abducted. Yor sets off to save her, with the help of her guardian, Pag (Piggozi). After rescuing Ka-Laa (with help from a recently deceased pterodactyl), Yor continues his journey to find the other person who carries the same medallion he wears. Yor finds the object of his search in the form of Queen Roa, living amongst a strange tribe of fire worshippers. Rescuing Roa from the Fire People, she joins Yor and his friends but finds herself in conflict with Ka-Laa who wants Yor for herself. After Roa is mortally wounded when they are ambushed by the Ape Men, she reveals to him that they both come from the same place: a castle on a mysterious island, in the middle of a great ocean and Yor resumes his quest. While they are resting in a fishing village, the villagers are attacked by armor-clad men, carrying advanced weapons. Yor and his friends take a boat through a great storm to the mysterious island, where he discovers the truth about his past. The island houses the remains of a technologically advanced society, ruled by the dark Overlord (Steiner). His past revealed, Yor is forced to choose between his new friends or to become a part of the Overlord’s Great Plan to take over the world.

YOR is an ambitious mash-up of sword and sorcery, prehistoric fantasy and post-apocalyptic science fiction. Originally designed as a mini-series for Italian television, IL MONDO DI YOR was comprised of four hour-long episodes, from which the feature film version was culled. The producers of YOR initially hired composer John Scott to write a traditional orchestral score but realized they were going to need more music for the project and hired Italian composers Guido and Maurizio De Angelis to compose additional music. The De Angelis Brothers chose a musical approach that mixed pop tunes, electronic rhythms and gentle orchestral melodies, along with a theme song for the hero of the piece. Ultimately, very little of John Scott’s music ended up being used in the film version of YOR and even the music composed by the De Angelis Brothers was modified, cropped and moved around in the film’s final mix.

Previously released on a scarce compact disc by Label X in 1993 which contained only John Scott’s music for the film, BUYSOUNDTRAX now presents a new release of YOR, THE HUNTER FROM THE FUTURE that includes John Scott’s music and, for the first time on compact disc, the music of the De Angelis Brothers as well, including the classic song “Yor’s World”. YOR, THE HUNTER FROM THE FUTURE is a limited edition release of 1500 units.

BSXCD 8890

Original Motion Picture Soundtrack

Yor, The Hunter From The Future

Music by

John Scott

Additional Music by

Guido and Maurizio De Angelis

$15.95

MUSIC BY JOHN SCOTT

1. Yor’s Theme (1:37)

2. Main Title (Unused) (2:03)

3. Aerial Assault (2:27)

4. Death Rules This Land (4:05)

5. Queen Roa (1:48)

6. At The Waterfall (1:40)

7. Ambushed (2:14)

8. Search For Ka-Laa (1:43)

9. Seaside Idyll (2:44)

10. Journey To The Island (2:23)

11. March Of The Overlord (1:18)

12. Mysterious Island (3:11)

13. The Revolution Begins (4:09)

14. Reinforced (1:36)

15. Final Battle/Race To The Shuttle (5:00)

16. Yor’s Theme (Reprise) (1:37)

17. Ka-Laa’s Dance (2:26)

ADDITIONAL MUSIC BY

GUIDO AND MAURIZIO DE ANGELIS

18. Flight From The Cavern (3:28)

19. Get Into The Seaside (1:38)

20. Roa’s Death (2:18)

21. The Bombed Village (1:49)

22. Yor and Roa At The Waterfall (1:36)

23. The Journey (2:31)

24. The Final Battle (5:35)

25. Hurricane (2:28)

26. Fight With The Firemen (2:02)

27. Yor’s Memories (0:34)

28. The Sacrifice Of The Fire (1:49

29. Yor’s World* (4:35)

Total Time: 73:38

* Music by Guido and Maurizio De Angelis

Lyrics by Barbara Antonia, Susan Duncan-Smith, Pauline Hanna and

Cesare De Natale • Performed by Oliver Onions

Produced by Guido and Maurizio De Angelis and Cesare De Natale

BUYSOUNDTRAX Records presents the original soundtrack to THE BATTLE OF BUNKER HILL, part of the educational film series AMERICA: HER PEOPLE, HER STORIES, produced by Tony Malanowski. AMERICA: HER PEOPLE, HER STORIES is a series of films designed to teach the history of the United States in an informative and positive way. The Values of the Founding Fathers and the perseverance of their Spirit and their Faith are featured in a manner that is designed to instill in the viewer a knowledge of their sacrifice, and an appreciation of our country and our culture. Released in 2009, THE BATTLE OF BUNKER HILL was the first installment of the series.

THE BATTLE OF BUNKER HILL tells the story of of the first military engagement in the American War For Independence, taking place on June 17th, 1775, during the Siege Of Boston early in the American Revolutionary War. The film follows two fathers and two sons as they volunteer to defend the heights overlooking Boston Harbor. The film mixes commentary by select historians with an engaging dramatic story that depicts the events that proceeded and took place during the famous battle. THE BATTLE OF BUNKER HILL was filmed mostly on location at the Howell Living History Farm in New Jersey instead of sound stages and the decision was made early on motion picture film instead of video stock. Careful attention was paid to historical accuracy in costumes and field maneuvers, enhanced by the use of re-enactors who brought their own carefully detailed and maintained costumes and firearms.

When it came time to score THE BATTLE OF BUNKER HILL, producer Tony Malanowsky knew exactly what kind of sound he wanted and who he wanted to hire. Having met years earlier on another project in which he was the editor, Malanowsky went straight to composer William Stromberg. While more popularly known in film music circles for his role, along with fellow composer John Morgan, in reconstructing and recording faithful symphonic representations of classic film scores from Hollywood’s Golden Age, Stromberg and Morgan have also composed a number of notable film scores, both in collaboration and on their own, for several independent motion pictures.

For THE BATTLE OF BUNKER HILL, the composers had found a canvas that would allow them to write the kind of music they love, informed by the influence of Bernard Herrmann and other Golden Age film composers they admired and their producer enthusiastically encouraged them to follow their instincts. The bulk of the score and all of its themes were composed by William Stromberg. John Morgan assisted by composing a number of additional cues. Anna Bonn-Stromberg completed the music team by assisting with additional orchestrations. Despite its documentary elements, Stromberg and Morgan approached the scoring of THE BATTLE OF BUNKER HILL as if it were a feature film.

William Stromberg has composed and conducted music for many films, including the documentary TRINITY AND BEYOND, STARSHIP TROOPERS 2, BUGS and ARMY OF THE DEAD for the Sci-Fi Channel. He has conducted and orchestrated regularly for many Hollywood composers such as Rolfe Kent, Joseph LoDuca, Elia Cmiral, and Marco Beltrami, including the scores for LEGALLY BLONDE, NURSE BETTY, THE TRIANGLE, THE MESSENGERS, and MIMIC. William has also composed and orchestrated music for Steven Spielberg's TINY TOON ADVENTURES and BATMAN: THE ANIMATED SERIES. In the summer of 2001 he toured with the rock group YES for the YES Symphonic Tour across America, composing the overture for the show and conducting the orchestra onstage with the band.

William has also been heavily involved in performing classic film music, conducting scores by such eminent composers as Max Steiner, Bernard Herrmann, and Erich Wolfgang Korngold. He has also conducted Americana concert music by such composers as Ferde Grofé, Robert Russell Bennett, and Meredith Willson.

John Morgan is a film composer based in Los Angeles, California. After receiving his Masters Degree in Music at San Diego State University, and studying composition with David Ward-Steinman, he stayed on at the University and taught orchestration, music theory and various film music courses.

In the late 1970s, Morgan moved to the Los Angeles area and secured work orchestrating for such composers as Fred Steiner, Bruce Broughton and Alex North. In 1979, Morgan composed and orchestrated his first feature film score and in the ensuing years composed music for more than 30 feature films, as well as many television, radio and cable projects including STARSHIP TROOPERS 2, TRINITY AND BEYOND, RAY HARRYHAUSEN – THE EARLY YEARS, CINERAMA ADVENTURE, DEMON IN THE BOTTLE, TINY TOON ADVENTURES and others, many in collaboration with his music partner and life long friend, William Stromberg.

Morgan's love and passion for the great scores of Hollywood's golden age has led him to the arena of arranging and reconstructing many classic scores for new recordings. He has embarked on a long series of film music recordings for Marco Polo (Naxos), BMG Classics his own label with Anna Bonn and William Stromberg, TRIBUTE FILM CLASSICS.

Among the scores he has reconstructed and orchestrated for new recordings are: Max Steiner's THE CHARGE OF THE LIGHT BRIGADE, KING KONG; Erich Wolfgang Korngold's CAPTAIN BLOOD, ESCAPE ME NEVER, THE ADVENTURES OF ROBIN HOOD, THE SEA HAWK; Roy Webb's scores for the Val Lewton films, Hans Salter and Frank Skinner's THE WOLF MAN, HOUSE OF FRANKENSTEIN, ABBOTT AND COSTELLO MEET FRANKENSTEIN as well as scores by Hugo Friedhofer and Victor Young.

After earning her Bachelors Degree in Music Composition at the University of Southern California, Anna Bonn Stromberg continued her studies by completing the program of Scoring for Motion Pictures and Television headed by legendary Disney composer, Buddy Baker. At USC, she proudly had the opportunity to study with film composers such as David Raksin, Christopher Young, Fred Karlin, John Parker and Joe Harnell, among others.

After college, Anna went to work for Christopher Young as an assistant and orchestrator. While working with Chris, she orchestrated cues for MURDER AT 1600, HARD RAIN and THE MAN WHO KNEW TOO LITTLE. She then went to work at Warner Brothers to be part of the music team for ANIMANIACS, PINKY AND THE BRAIN and many Warner Bros. films. She became the head proofreader at Warner Bros. and soon after became the head proofreader for Sony Pictures Entertainment. Anna has composed music with her husband, William Stromberg for feature films such as THE INNER CIRCLE, DISMEMBERED, ARMY OF THE DEAD and SASQUATCH HUNTERS for the Sci-Fi Channel. Most recently, working with Eric Stonerook Music, she has been a co-superviser for the music preparation for PUBLIC ENEMIES, FAST AND FURIOUS, DRAGONBALL: EVOLUTION, GRAN TORINO and CHANGELING.

BUYSOUNDTRAX Records presents the original motion picture soundtrack to THE BATTLE OF BUNKER HILL, featuring music composed by William Stromberg and John Morgan. The booklet features notes by Randall Larson and includes the participation of producer Tony Malanowsky and composer William Stromberg. Previously released on iTunes as a digital download, BUYSOUNDTRAX Records brings THE BATTLE OF BUNKER HILL to compact disc with additional music, professionally mastered by James Nelson of Digital Outland. THE BATTLE OF BUNKER HILL is a limited edition of 1000 units. The first 100 copies sold through our website will be autographed by the composers.

BSXCD 8888

Original Motion Picture Soundtrack

America: Her People, Her Stories:

The Battle of Bunker Hill

Music by

William Stromberg and John Morgan

$15.95

1. Bunker HIll Promo (2:20)

2. The Revolution Begins (6:19)

3. War Montage (2:36)

4. We The People (1:23)

5. Taxes (2:29)

6. Main Title (1:44)

7. Morgan’s Stance (2:16)

8. Turn Out!! (3:15)

9. Hudson and His Son (1:48)

10. Breed’s Hill (1:22)

11. Young Militiaman (1:37)

12. Rights and Resolve (1:39)

13. Digging Redoubts (0:43)

14. It’s a Long Night (2:56)

15. Battle Begins (2:30)

16. The British Set Fires (1:57)

17. The Red Coats (2:44)

18. Rebels Hold Ground (2:50)

19. The Prayer (0:45)

20. The Boys Head Home (0:52)

21. The Red Coats Advance (2:13)

22. Josh Sets Out (1:23)

23. Here They Come (2:32)

24. The Rebels Retreat (1:23)

25. Finale (2:34)

26. Main Titles (Alt.) (1:45)

Total Time: 57:02

[Boneking]

Oh schön Yor, der muss wohl bestellt werden. Mein armer Geldbeutel...

[Gast Stefan Jania]

Yor ist gekauft. Beim Scott-Anteil hat die BSX-CD nun den großen Vorteil, das Material der 30 Minuten-Suite auf der Label X-CD in einzelne Tracks aufgespalten zu haben. Der Anteil der Brüder DeAngelis? Nun, teilweise arg schräge Synthie-Stücke wie "The Bombed Village", aber auch recht hübsches Synth-Material wie "Yor & Roa At The Waterfalls" oder "The Journey". Dazu einige leichte Carpenterismen wie im (auch ziemlich schrägen) "The Final Battle". Und der Titelsong ist ein typisches Oliver Onions-Produkt seiner Zeit.

[ame=http://www.youtube.com/watch?v=0PWaJ6URRU0]Yor: The Hunter from the Future (1983) trailer - YouTube[/ame]

[ame=http://www.youtube.com/watch?v=Q39f4YzK6sU]Yor: The Hunter From the Future - title theme (Yor's World) - YouTube[/ame]

[Thomas Nofz]

Hier ein kleiner Eindruck von Scotts Score:

[ame=http://www.youtube.com/watch?v=JUO6XYIkoXw]John Scott - YOR: HUNTER FROM THE FUTURE (1983) - Soundtrack Suite - YouTube[/ame]

Schön, daß neben all dem stilistischen Mischmasch, den Hildegunst beschrieben hat, auch Darth Vader kurz vorbeischaut . Trotzdem, eine sehr unterhaltsame Fantasy-Adventure-Melange.

[BigBear]

YOR ist bestellt.

Den Film kenne ich zwar nicht (was wohl auch besser so ist ), aber von Scotts Score habe ich einige Tracks auf einem Sampler, und die gefielen mir schon immer recht gut.

[Mephisto]

Wahnsinn: "Einer gegen das Imperium" - bzw. "Yor"! Den habe ich vor fast genau einem Jahr auf DVD für 5,- gekauft und gestern sogar überlegt, ihn mir wieder (das wäre das dritte Mal) mit einem alten Kumpel anzusehen. Hätte nie gedacht, dass die Musik jemals zu haben sein wird. Der Film ist absolut göttlich, wie ein He-Man-Verschnitt mit Flachsperücke gegen (zugegebenermaßen recht gut gemachte Dinos) in der Steinzeit kämpft und schließlich gegen einen bösen Imperator mit Darth-Vader-Robotern kämpft, die absolut nichts machen können und daher reihenweise kaputt gehen.

Die Musik hatte ich immer als möchtegern-orchestral-typische Musik solcher Filme aus dieser Zeit wahrgenommen, kann jetzt aber verstehen, wie's dazu kam. Als Freund von zwei Musiken für einen Film sowie als Souvenir ist diese CD wahrscheinlich früher oder später Pflichtkauf, zumal mich mal wirklich interessieren würde, wie die orchestrale Musik für diesen Film in ihrer ursprünglichen Intention klingt.

Von Stromberg kenne ich nur seine hervorragenden Filmmusik-Neuaufnahmen, aber wenn man hier einen Golden-Age-Score zu einem Film einer historischen Schlacht bekommt dürften sich doch endlich die zweite und dritte Buysoundtrax-CD in meine Sammlung mischen.

[Sebastian Schwittay]

Strombergs eigene Kompositionen sind eigentlich durchgehend klasse. Sowohl seine Doku-Scores (TRINITY AND BEYOND), als auch STARSHIP TROOPERS 2, der üppig instrumentiertes, schwungvolles Actionscoring à la Max Steiner mit scharfkantig-modernistischen, Penderecki-nahen Passagen kombiniert.

Ehrlich gesagt finde ich die Stromberg-CD auch weitaus interessanter als den Scott, auch in Sachen Hörclips.

[Gast Stefan Jania]

..als auch STARSHIP TROOPERS 2, der üppig instrumentiertes, schwungvolles Actionscoring à la Max Steiner mit scharfkantig-modernistischen, Penderecki-nahen Passagen kombiniert.

...und sehr nach Zimmers Backdraft klingt!

[Sebastian Schwittay]

Zimmer sollte sich schämen, dass das Plagiat seines eigenen Themas besser klingt (Instrumentierung, Satztechnik) als das Original.

[Gast Stefan Jania]

Ist doch normal. Gib' nem beliebigen Komponisten einen begnadeten Orchestrator. Morgan und Stromberg sind begnadet. Nicholas Dodd auch. Ups!

[Gast Stefan Jania]

Den "Author's Cut" der Liner Notes zur BSX-CD von Yor gibt es diesen Monat bei Randall Larson zu lesen.

Notes on YOR: The Extended Edition

Last year, when I wrote my commentary notes for BSX Records’ reissue of the soundtrack to the 1983 Italian sci-fi film YOR: HUNTER FROM THE FUTURE, combining together the two scores by John Scott and Guido & Maurizio De Angeles, I was conscious of the controversy surrounding the film and its uneven mixture of scores, and I sought to convey an honest and accurate accounting of the creation of the film and its musical soundtrack. Recognizing that the notes had to be approved by the studio that currently owns the film and its soundtrack, as a condition of its licensing of the score for CD release, I tried to remain objective and give both scores their respectful due in my commentary; although I expected the studio’s notes to insist on some changes in my coverage; after all YOR was their property and they certainly would not permit a critical tonality to surround our coverage of the picture. What I didn’t expect was the thorough evisceration of an entire third of my analysis, eliminating such things as references to cast’s prior filmography and other things that had little to do with positive or negative references to the film’s quality. I felt that the final result became a less than honest appraisal of the history and scoring of the film and the reaction of audiences to its release. It resulted in a mendacious examination of the nature of its mashed-up soundtrack that lacked the integrity I felt my audience deserved. With the understanding of the record label, I removed my byline from the album notes (as I had no album commentary notes version of Alan Smithee to fall back on!).

So here, with the label’s consent, I offer the Author’s Cut – my complete and unedited notes on YOR: HUNTER FROM THE FUTURE: The Whole Story.

KLICK MICH