Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Gast Stefan Jania]

60'er/70'er grooviger Hammond-Pop-Rock-Jazz von der The Whit Boyd Combo zu Dracula (The Dirty Old Man). Gefällt mir, bis auf das Slate-Notes-Gelaber am Anfang von Tracks.

https://open.spotify.com/album/070jmXTIWCWZBmL7reDNwa

Zitat

Glorious audio swagger discovered buried deep in this mess of a film!

Every minute previously unreleased outside of being buried in the mess of a film.
Organ lead groove with a swagger only the undead could muster.
Includes the entire infamous film on DVD and copious notes on the copulation conquests of Alucard!
From out of a rotted tomb crawls the full score for the “film” Dracula (The Dirty Old Man)! Uncovered by archivist George Gimarc, these tapes, untouched for nearly 50 years and mislabelled "Sex Monsters," are finally dusted off and cut to phonograph for your audible appreciation. And you’ve never heard the music sound this good–the sound that made it into the film is an utter stake through the heart. Rumor has it that the audio from the original cut was so bad that they went back and redubbed everything (à la Woody Allen’s What’s Up, Tiger Lily?) to comedic effect. Who knew that buried under all that jabberwocky was a funk leaning jazz soundtrack that really grooves? This album comprises the highlights of the film score accompanied by audio cues believed to be Whit Boyd instructing the musicians in what was likely a live performance while watching the film, with nearly a half-hour more of vampire grindin’ groove exclusive to the CD!

On your choice of blood red vinyl with a liner insert or CD, both including a DVD of the entire awful film and more!

Includes:

Fast Music Trailer • Dracula (The Dirty Old Man) Theme • Peppy Music For A Dating Scene • Music For The Hummingbird • Chase Music For Girl In A Cave • Music Number Five • Three Minutes Of Love Music* • Six Minutes Of Music To Make Love By* • Music Number Four* • Dracula’s Close Up*

*CD only

Also available on LP!
 

http://www.modernharmonic.com/the-whit-boyd-combo-dracula-the-dirty-old-man-original-motion-picture-soundtrack-cd-dvd.aspx

[Oliver79]

Am 20. November erscheint bei GAD Records Adam Walacinskis Musik für die polnische TV-Serie Czteej pancermi i pies erstmals auf CD. Eine LP soll später folgen. Das Album ist der erste Titel in einer Reihe mit Scores aus dem Archiv des ehemaligen staatlichen Filmstudios, in dem im März diesen Jahres eine große Sammlung an bisher verloren geglaubten Aufnahmen entdeckt wurde.

 

Zitat

 

Das CeTA Audiovisual Technology Center in Wrocław geht auf die reiche Vergangenheit von Wytwórnia Filmów Fabularnych zurück, dessen Erbe es ist. Nach der Renovierung der Kostüme ist die Zeit für Kassetten mit unveröffentlichter Filmmusik gekommen, die im CeTA-Archiv entdeckt wurden. Sie werden die Grundlage für eine ganze Reihe von Veröffentlichungen sein, die in Zusammenarbeit mit GAD Records veröffentlicht werden.

Das Spielfilmstudio in Wrocław war in den Jahren 1954-2011 als eigenständige Einheit tätig. Fast 500 Produktionen, Filme und Serien wurden im WFF gedreht, darunter legendäre Titel wie "Ashes and Diamonds" von Andrzej Wajda, "Sami swoi" von Sylwester Chęciński, "The Saragossa Manuscript" und "The Doll" von Wojciech Jerzy Has, "Diabeł" und "On the Silver Globe" von Andrzej Żuławski und "Czterej pancerni i pies" von Konrad Nałęcki und "Stawka größer als das Leben" von Janusz Morgenstern und Andrzej Konic. Seit 2011 fungiert die Institution als CeTA Audiovisual Technology Center.

Zusätzlich zu unseren derzeitigen gesetzlichen Aktivitäten - hauptsächlich Filmproduktion, Bildung und Kulturförderung - setzen wir Initiativen um, um die Geschichte und Errungenschaften des WFF und des polnischen Kinos zu bewahren und sie künftigen Generationen näher zu bringen. Vor einigen Jahren wurden über 100 Kostüme aus Filmen, die im Studio produziert wurden, renoviert. In diesem Jahr haben wir dank der Zusammenarbeit mit GAD Records damit begonnen, Tonbänder mit Musik aus Filmen des WFF zu digitalisieren, von denen wir eine große Sammlung in unserem Archiv entdeckt haben. Einige von ihnen enthalten Originalaufnahmen für in Breslau produzierte Gemälde. Einige dieser Aufnahmen werden in Kürze als CDs veröffentlicht, und ausgewählte werden auch für den digitalen Vertrieb verfügbar sein. Wir können bereits verraten, dass die erste davon Musik aus der ersten Staffel der Serie "Czterej pancerni i pies" sein wird. - sagt Robert Banasiak, CeTA-Direktor.

 

Der Soundtrack zu Konrad Nałęckis Serie "Czterej pancerni i pies" , komponiert von Adam Walaciński , ist eine äußerst lebendige, orchestrale Reise voller Angst, Emotionen und erhabener Motive. Die in den ersten acht Folgen der Serie verwendeten Originalmotive werden durch die berühmte "Ballade über die Panzer" von Edmund Fetting und beide Versionen von "Wołam You" von Wojciech Kilar (bekannt als "Radio Telegraphist Song") ergänzt. Ergänzt wird die Musik durch eine Broschüre mit einem Überblick über die Aufnahmen, einer detaillierten Beschreibung der Verwendung einzelner Themen in der Serie, Originalfotos und Erinnerungsstücken.

Das Thema Archivaufnahmen von Filmmusik tauchte bereits bei der Gründung des Audiovisual Technology Center auf. Zu dieser Zeit war jedoch nur bekannt, dass einige Bänder mit Soundeffekten überlebt hatten. Alles änderte sich im März dieses Jahres, als ich ein Foto des CeTA-Archivs mit mehreren hundert Bändern sah, darunter - lange als beschädigt angesehene - Aufnahmen von Andrzej Żuławskis "Devil". Für mich ist dies nicht die Entdeckung des Monats oder des Jahres - es ist absolut die Entdeckung des Jahrzehnts. Umso mehr freut es mich, dass wir mit dem Zentrum bei der Digitalisierung und Organisation dieses Archivs zusammenarbeiten und die Breslauer Produktionen in unseren Verlagen verwenden können. Die mit jedem dieser Titel verbundenen Rechte sind recht komplex, aber wir werden unser Bestes tun, um die interessantesten Videos ans Tageslicht zu bringen. Wir beginnen mit einer absolut ikonischen Sache: "Czterej pancerni i pies" ist eine Serie, die nicht viel Reden braucht. Jeder erinnert sich perfekt an den Titelsong von Edmund Fetting. Aber Adam Walacińskis illustrative Musik ist ein Wert für sich, perfekt arrangiert, mit dem vollen Potenzial des Orchesters und vor allem - klingt nach so vielen Jahren immer noch großartig. Ich hoffe, dies ist ein guter Vorbote dessen, was 2021 in Bezug auf Filmmusik in unseren Verlagen passieren wird - sagt Michał Wilczyński, Leiter von GAD Records.

Die CD-Version mit Musik aus der Serie "Czterej pancerni i pies" erscheint am 20. November 2020 (der Vorverkauf beginnt am 2. November). Eine Vinyl-Version ist ebenfalls in Vorbereitung, deren Premiere in den ersten Monaten des Jahres 2021 geplant ist.Über das Audiovisuelle Technologiezentrum Das Audiovisuelle Technologiezentrum
(CeTA) in Breslau ist eine staatliche Kulturinstitution, die dem Ministerium für Kultur und nationales Erbe, dem Erben des Spielfilmstudios (1954-2011), unterstellt ist. CeTA ist ein Ort, an dem alle Phasen der professionellen Film- und Fernsehproduktion umgesetzt werden können. Die Aktivitäten der Institution umfassen auch Ausbildung und Professionalisierung im Bereich neuer
Technologien und Filme sowie die Verbreitung von Kultur und die Förderung von Multimediatechnologien. CeTA verfügt über eine umfassende Infrastruktur und professionelle technische Einrichtungen (darunter zwei Fotohallen, darunter ein Studio mit Greenbox, ein Kinoraum, Tonstudios, ein Animationsstudio und Computerlabore).
www.filmstudioceta.pl

 

 

 

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[JuergenH]

Klingt interessant, gibt es mögliche polnische Produktionen, auf die man besonders achten sollte?

 

Hier eine Folge von "Czterej pancerni i pies"  - habe nur teilweise reingehört, könnte mir aber gefallen...

 

 

[Oliver79]

Ich würde mich zum Beispiel über diesen frühen Score von Wojciech Kilar freuen: 

 

[Gast Stefan Jania]

Am 7.11.2020 um 13:53 schrieb Stefan Jania:

Nächste Woche (endlich!) von Lakeshore: John Debneys großer symphonischer Score zu Come Away.

Als Nachtrag hier der Spotify-Link zu Debneys Come Away.

https://open.spotify.com/album/6RhnEZ65lVm12szQsghoO6

[Gast Stefan Jania]

Für Fans von Gabriel Yared: The Life Ahead

Zitat

Plaza Mayor Company will release a soundtrack album for the drama The Life Ahead (La vita davanti a sé). The album features the original score from the film composed by Academy Award winner Gabriel Yared  (The English Patient, The Talented Mr. Ripley, Judy, City of Angels, Message in a Bottle). The soundtrack will be released digitally this Friday, November 13 and is now available for pre-order on Amazon. As previously reported, WM Italy has released the film’s original song Io sì (Seen) written by Diane Warren and performed by Laura Pausini last month. The Life Ahead is directed by Edoardo Ponti and stars Sophia Loren, Ibrahima Gueye, Renato Carpentieri, Massimiliano Rossi, Abril Zamora, Diego Iosif Pirvu and Babak Karimi. The drama tells the story of a Holocaust survivor with a daycare business who takes in a 12-year-old street kid who recently robbed her. The movie is currently playing in select theaters and will premiere on November 13 on Netflix.

https://open.spotify.com/album/0EltipsIc2bA9JsttBY9Bf

[Gast Stefan Jania]

Backlot bietet Neues von Bear McCreary: Freaky.

Zitat

Back Lot Music will release a soundtrack album for the horror comedy Freaky. The album features the film’s original music composed by Bear McCreary (Godzilla: King of the Monsters, 10 Cloverfield Lane, Outlander, Happy Death Day, The Walking Dead, Battlestar Galactica). The soundtrack will be released digitally tomorrow, November 13 and will be available to stream/download on Amazon and other digital music services. Freaky is co-written and directed by Christopher Landon and stars Kathryn Newton, Vince Vaughn, Celeste O’Connor, Misha Osherovich, Dana Drori, Uriah Shelton, Katie Finneran and Alan Ruck. The Blumhouse production centers on a teenage girl who trying to survive the bloodthirsty halls of her high school and the cruelty of the popular crowd when she switches bodies with a relentless serial killer. The movie is being released in theaters nationwide this weekend by Universal Pictures.

https://open.spotify.com/album/3xRRU7fA9XGOOHqOl3KCig

[Gast Stefan Jania]

Lorne Balfe: Jungleland (Ich habe nach "Jungleland" gesucht und nichts gefunden, obwohl Balfe recht oft hier genannt wird.)

Zitat

Universal Music’s Globe will release a soundtrack album for the drama Jungleland. The album features the film’s original score composed by Lorne Balfe (Mission: Impossible – Fallout, His Dark Materials, Bad Boys for Life,The LEGO Batman Movie, Genius, Home). The soundtrack will be released digitally tomorrow, November 13 and will be available to stream/download here. Jungleland is directed by Max Winkler and stars Charlie Hunnam, Jack O’Connell and Jessica Barden. The movie follows a boxer and his manager brother who are left in debt to a local crime boss after a devastating loss in the ring and are forced to risk it all in a bare-knuckle boxing tournament. The drama, which premiered at last year’s Toronto Film Festival and is being distributed by Vertical Entertainment and Paramount Pictures, was released in select theaters last weekend and is now available on on VOD.

https://open.spotify.com/album/7oBRAkHMBwtvSpgZfUzQSH

[Gast Stefan Jania]

Am 17.10.2020 um 15:06 schrieb Stefan Jania:

Von M-Square im November auf Vinyl und digital. Peter Thomas' Die Schlangengrube und das Pendel.

https://www.hhv.de/shop/de/artikel/peter-thomas-ost-die-schlangengrube-und-das-pendel-red-vinyl-edition-765572v1

https://www.amazon.de/gp/product/B08JG6HFFN

Auf CD wohl nur zusammen mit der Blu-ray.

https://ucm.one/de/deluxe-mediabook-die-schlangengrube-und-das-pendel-m-square-classics-ab-jetzt-im-vorverkauf/

 

Da ist das Album nun...

https://open.spotify.com/album/4enS4ussebFLgUoRPZ9XG7

Noch nichts bei Qobuz, 7digital... ?

[Gast Stefan Jania]

Neues von Bruno Coulais: WolfWalkers. Zur Zeit leider anscheinend nur bei Apple. ?

Zitat

22D Music has released a soundtrack album for the animated feature Wolfwalkers. The album features the film’s original music composed by Academy Award nominee Bruno Coulais (Coraline, The Chorus, The Crimson Rivers, The Secret of Kells, Winged Migration) and Kila. Also included is the new version of AURORA’s Running with the Wolves (written by herself, Nico Rebscher & Michelle Leonard and newly arranged and recorded for the movie). The soundtrack is now available to stream/download on Apple Music/iTunes, where you can also check out audio samples. Wolfwalkers is directed by Tomm Moore & Ross Stewart, written by Will Collins and tells a magical, unlikely friendship between two girls in 17th-century Ireland. The animated film produced by Cartoon Saloon & Cartoon Saloon & Mélusine Productions premiered at this year’s Toronto Film Festival and is being released in select theaters this weekend by GKIDS before premiering on December 11 on Apple TV+.

Here’s the album track list:

1. WolfWalkers Theme – Bruno Coulais (1:24)
2. Wolves – Bruno Coulais (4:19)
3. Running with the Wolves (WolfWalkers Version) – AURORA (2:47)
4. Mechanical – Bruno Coulais (1:38)
5. Wolf or Girl – Bruno Coulais (1:29)
6. I’m a WolfWalker – Bruno Coulais (2:07)
7. Howls the Wolf (Moll’s Song – Wolf Run Free) – Kila (1:57)
8. Our Forest – Bruno Coulais (4:24)
9. What Are You Doing Here? – Bruno Coulais (2:32)
10. This Is Intolerable – Bruno Coulais (3:37)
11. Please Mummy – Bruno Coulais (1:47)
12. My Little Wolf – Bruno Coulais (2:21)
13. Our Victory – Bruno Coulais (4:13)
14. Follow Me – Bruno Coulais (3:27)
15. Mebh’s Tune – Kila (3:04)
16. Robyn’s Tune – Kila (1:43)

https://music.apple.com/us/album/wolfwalkers-original-motion-picture-soundtrack/1539748859

[Oliver79]

Von Beat Records kommen am 10.12. zwei neue CDs: Eine erweiterte Fassung von Riz Ortolanis La ragazza di Trieste und ein Neuauflage von Ennio Morricones Spasmo.

Zitat

 

"LA RAGAZZA DI TRIESTE" (aka "The Girl from Trieste" - "La fille de Trieste") is a drama film directed in 1982 by Pasquale Festa Campanile starring Ornella Muti, Ben Gazzara, Jean-Claude Brialy, Mimsy Farmer, Andréa Ferréol, William Berger. At the time, a 33 rpm (New Polaris - POL / BP 733) was printed in Italy and reissued in Switzerland by Milan (A CH 002). Unfortunately, the album master was lost, but it was possible to reassemble it using the first generation stereo masters of the original session. Apart from some tracks that were identical to those from the session, we also had to edit most of the pieces that M ° Ortolani had assembled by editing small takes together. Ultimately, the ten tracks from the vinyl (duration about 30:28) were rescued in excellent stereo sound, and in the session masters, we discovered twelve unreleased tracks that bring our CD to a total duration of 51:50. This soundtrack once again highlights the whole romantic side of Riz Ortolani, certainly one of the greatest melodists in the world. Alas, another CD joins the ever-growing discography of M ° Riz Ortolani.

Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini

 

Zitat

Beat Records is pleased to reissue this soundtrack on CD from the thriller film directed in 1974 by Umberto Lenzi and starring Suzy Kendall, Robert Hoffman, Ivan Rassimov, Guido Alberti, Adolfo Lastretti, Franco Silva. For a story between thriller and mystery, Ennio Morricone has composed a soundtrack based on two recurring tonal themes, a pop ballad for choir and orchestra and a requiem that alternate with hallucinatory atmospheres between the experimental and psychedelic. For this reissue we used the original stereo masters with a tracks list approved at the time by the late Maestro Morricone which also includes the single version. Mastering by Claudio Fuiano, liner notes by Fabio Babini, graphic layout by Daniele De Gemini

 

[Gast Stefan Jania]

John Williams, arrangiert von George Shaw. Lullabies for Younglings. Die.. die.. perfekte.. Ein.. Einschla. Hilfe. Chrz....pühhh ?

https://www.georgeshawmusic.com/post/lullabies-for-younglings-a-star-wars-lullaby-album

https://open.spotify.com/album/1kb68uZcXD8fP4wGhfWmsj

 

 

 

 

 

[Gast Stefan Jania]

Noch mehr Albert Glasser, nun von Kronos: Viking Women And The Sea Serpent (wohl im Januar).

Zitat

Another beautiful gem to close a pretty memorable 2020 for us  VIKING WOMEN AND THE SEA SERPENT is indeed a hidden gem from the Golden Age of cinema proudly presented for the first time even in any format by Kronos Records THE GOLD COLLECTION. 

The music was written by prolific composer ALBERT GLASSER (THE MONSTER MAKER, THE CISKO KID RETURNS, THE GAY AMIGO, GRAN CANYON among others) who composed a big score fitting a class A Hollywood film of the Golden Age.  The CD contains all the surviving music for the film, which is most of it, restored and presented on CD, or any other format for the matterm for the first time ever 63 years after being recorded!

Despite the small budget  Glasser managed to write a big and adventurous score worthy of pictures with ten times the budget.  Glasser’s music is very recogniseable and gives the film a more epic feel than it would have had managed to have without it.

The CD is strictly limted to 500 copies. A Must for all classic sword and sandal and Albert Glasser Fans!

http://www.kronosrecords.com/KG40.html

[Trekfan]

vor 19 Minuten schrieb Stefan Jania:

Noch mehr Albert Glasser, nun von Kronos

Tja, Glassers eigene Bandkopien haben seit den 70s eben ziemlich die Runde gemacht.

Aber mal ehrlich, bei aller Liebe zu Glassers charmantem B-Sound: ein Score "fitting a class A Hollywood film of the Golden Age"?

 

[Stefan Schlegel]

Charme hat das für mich keinen, ich höre da hauptsächlich stumpfsinniges und aufdringliches Getröte, das ich abseits der B-Filme noch nie wirklich goutieren mochte.
Man merkt eben: Godwin Borg kommt durch das Moratorium bezüglich des italienischen CAM-Katalogs, aus dem seine Gold Collection bis letztes Jahr hauptsächlich bestückt war, momentan nicht mehr weiter. Dafür gibts jetzt als Ersatz den ein oder anderen Sawtell oder Glasser-US-Score aus dem Public Domain-Bereich, von dem Kopien unter Sammlern schon länger im Umlauf sind - aber er hütet sich eindeutig vor den großen US-Studios wie er es zunächst bei A DOG OF FLANDERS noch austesten wollte.

Wenn man schon von Charme spricht, dann trifft das für meine Ohren vielmehr auf die recht schöne, überwiegend pastorale Bruno Nicolai-Musik zu CIVILTÀ DEL MEDITERRANEO (1972-1976) zu. Diese CD - sowie Francesco De Masi´s Doku-Score L´UOMO EUROPE0, den ich allerdings weitaus weniger schätze - erscheint zum selben Termin im Dezember/Januar bei Kronos.
Allerdings ist dabei in der Ankündigung auch ein gehöriger Schnitzer drin: Von Edipan kam die CIVILTÀ-LP keinesfalls an 1971 heraus - das wäre ja noch bevor die TV-Serie überhaupt gesendet wurde - , sondern selbstverständlich erst an 1981. Die Zeichnung auf dem Front Cover der LP stammte von 1971 und das ist auch auf dem Back Cover vermerkt - dadurch dürfte sich der Fehler wohl eingeschlichen haben. Würde ich mir jedenfalls kaufen, wenn ich die LP - die CD enthält nun genau dieselben Tracks - nicht schon längst in der Sammlung hätte. Immerhin steigt Kronos jetzt im Edipan-Katalog wieder ein bißchen ein nachdem diesbezüglich in den letzten paar Jahren - vor allem nach der Beat-CD mit Nicolai´s  ELEONORA, die wohl nicht so besonders gut lief -  kaum mehr was passiert ist:

http://kronosrecords.com/KG39.html

http://kronosrecords.com/KG38.html

[Alexander Grodzinski]

Zitat

CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of T-REX: BACK TO THE CRETACEOUS, featuring music composed by William Ross (THE GAME OF THEIR LIVES, SEPTEMBER DAWN, YOUNG BLACK STALLION) for the 1998 IMAX adventure film directed by Brett Leonard (LAWNMOWER MAN) and starring Liz Stauber and Peter Horton.

Released in 1998, T-REX: BACK TO THE CRETACEOUS is an educational narrative IMAX film produced and co-written by Andrew Gellis and directed by Brett Leonard. T-REX: BACK TO THE CRETACEOUS tells the story of sixteen-year old Ally Hayden (Liz Stauber), the daughter of world-renown paleontologist Dr. Donald Hayden (Peter Horton). Ally is infatuated with dinosaurs and wants to prove to her father that she harbors some valid theories regarding parental behavior in Tyrannosaurus Rex. She begs her father to take her on his expeditions. Fearing the danger, he forbids her from tagging along. Ally reluctantly settles for leading tours of the natural history museum instead. 

One night while Ally is visiting her father at the museum, she knocks over an oblong rock from her father’s desk. It cracks open on impact with the floor and emits a brown mist, transporting Ally back in time to the early twentieth-century and eventually to the Late Cretaceous (about 65–70 million years ago). While traveling backward through time she meets famed dinosaur painter Charles Knight, pioneering paleontologist Barnum Brown, and encounters several living dinosaur breeds: Hadrosaurus, Velociraptor, Pteranodon, Ornithomimus, and even Tyrannosaurus Rex!

One of the characteristics shared by a majority of IMAX films are their rousing orchestral scores, hellbent on seizing advantage of the robust audio systems installed throughout IMAX theaters. The lush romantic score for T-REX: BACK TO THE CRETACEOUS was composed by William Ross and is no exception. The gorgeous music for T-REX: BACK TO THE CRETACEOUS is the epitome of the grandiose IMAX film score. But for as beautiful, touching, and emotional as Ross’ score gets, there is also a dark side. The Late Cretaceous is a dangerous, mysterious, and merciless period and Ross paints its treacherous landscapes with aplomb. 

William Ross is a prolific, award-winning composer and arranger whose work has spanned feature films, the recording industry and television. He has composed music for such films as TUCK EVERLASTING, MY DOG SKIP, TIN CUP, MY FELLOW AMERICANS, the IMAX film, YOUNG BLACK STALLION, HARRY POTTER & THE CHAMBER OF SECRETS, where he was adapting the musical themes of John Williams and, most recently, SEPTEMBER DAWN. Ross has orchestrated more than 100 films, including THE MATRIX RELOADED, FORREST GUMP, STUART LITTLE, THE MUMMY RETURNS, THE POLAR EXPRESS and VAN HELSING. He has also arranged for a remarkable list of artists including Barbra Streisand, Celine Dion, Josh Groban, Whitney Houston, Kenny G., Michael Jackson, David Foster, Quincy Jones and Babyface. In 2007, he was Music Director for the 79th, 83rd, 85th, and 86th Academy Awards shows. Arrangements penned by Ross have been a part of the opening ceremonies of several Super Bowls along with the opening and/or closing ceremonies of the Olympic Games in Calgary (1988), Atlanta (1996), Salt Lake City (2002), Torino (2006), Vancouver (2010), and Sochi (2014). Ross is also the recipient of four Emmy Awards, two BMI Film Music Awards, the Golden Score Award from ASMAC, and has been nominated for two Grammy Awards and an Annie Award.

Previously released on a rare compact disc, Dragon’s Domain Records is excited to bring T-REX: BACK TO THE CRETACEOUS back to the marketplace, newly remastered by James Nelson at Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite. 

T-REX: BACK TO THE CRETACEOUS is a limited edition release of 500 units. The first 100 copies ordered through the website will include a booklet signed by composer William Ross.

T-REX: BACK TO THE CRETACEOUS is available for pre-orders at www.buysoundtrax.com and is expected to begin shipping the week of December 14th, 2020.

1. Main Title (3:28)
2. Ally (1:26)
3. Liz Falls (1:55)
4. Finding the Egg (1:52)
5. Ally and Dad (2:58)
6. Journey to the Cretaceous (5:36)
7. Meeting Charles Knight (2:04)
8. Kiss and a Squeeze (2:00)
9. Meeting Barnum Brown (4:38)
10. Meeting T-Rex (4:38)
11. Finale (3:57)
Total Time: 34:58

Zitat

CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of PATRICK, featuring music composed by Brian May (MAD MAX, THE ROAD WARRIOR, CLOAK & DAGGER) for the 1978 horror film directed by Richard Franklin (ROAD GAMES, PSYCHO II, LINK), produced by Antony I. Ginnane and William Fayman during the boom of the Australian New Wave of cinema in the late 1970s and early 1980s and starring Susan Penhaligon, Robert Helpmann, Rod Mullianar, Bruce Barry, Julia Blake, Walter Pym and Robert Thompson as Patrick.

Directed by Richard Franklin and written by Everett De Roche, PATRICK is a psychological horror-thriller that tells the story of a mentally disturbed young man who becomes so enraged by his mother’s unchecked libido that he electrocutes her and her lover while they are frolicking in a bathtub. After this act of matricide inflicts irreparable damage to his brain, Patrick ends up comatose in a bed at the Roget Clinic, unable to move or speak and fully dependent on the care of others for his most basic needs. Kathie, a young nurse recently hired by the Clinic, is assigned to care for Patrick and immediately takes a shine toward him. Unbeknownst to Kathie and the hospital staff, Patrick possesses telekinetic powers. His conscious mind is capable of leaving his physical body to travel limitless distances in search of victims. Kathie becomes increasingly aware of Patrick’s abilities and pleads for assistance, but nobody at the hospital will believe her. As Patrick becomes more infatuated with her, his control over his abilities increases and the stakes get higher.

Brian May’s unorthodox approach to scoring PATRICK involved composing music that expresses both sides of the narrative coin. One, a tale of lopsided love—an invalid patient with telekinetic powers aches to win the affection of his unrequited love. The raw emotion of May’s saccharine music imbues sympathy for Patrick’s motivations while injecting the necessary terror into his violent psychokinetic attacks. The other side of the coin is Patrick’s willingness to stop at nothing, not even murder, to possess Kathie. Like other films featuring telekinetic characters, PATRICK utilizes sound effects to materialize psychological concepts into physical forms.

Born in Adelaide in 1934, Brian May (no relation to Brian Harold May of Queen) was one of the first composers to achieve international acclaim as an Australian composer and was best known as the composer of MAD MAX and THE ROAD WARRIOR (MAD MAX II). May received his musical training as a pianist, violinist and conductor at the Adelaide Elder Conservatorium. He joined the Australia Broadcasting Company in 1957, where he formed the ABC Adelaide Big Band, an ensemble that performed all manner of light music for broadcast, and May became a leading figure in Australian light music as a result. He moved to Melbourne in 1970 to arrange and conduct the ABC’s Melbourne Show band. Moving into film music in a period of time when Australia’s film industry was just beginning to take its place among international film circles, May composed such notable film scores as RACE FOR THE YANKEE ZEPHYR, ROAD GAMES, CLOAK AND DAGGER, DEATH BEFORE DISHONOR, MISSING IN ACTION 2, SKY PIRATES, STEEL DAWN, DR. GIGGLES, FREDDY’S DEAD: THE FINAL NIGHT MARE and BLINDSIDE. He won the Australian Film Institute Award for best original score with MAD MAX; many other awards followed, including the Golden Award from the Australian Performing Rights Association. He continued to score films until 1993, composing music for more than 30 films and many hours of television, most of which he orchestrated himself. Sadly, the composer passed away in 1997 at the age of 63.

Previously released on very rare compact disc releases, Dragon’s Domain Records is excited to bring the PATRICK back to the marketplace, newly remastered by Digital Outland. The booklet includes liner notes written by author and composer Brian Satterwhite.

PATRICK is a limited edition release of 500 units. PATRICK is expected to begin shipping the week of December 14, 2020.

 

01 Main Title 2:08
02 Matricide 1:05
03 The Flat 1:19
04 The Intruder 1:23
05 Room 15 1:21
06 You Can Feel 2:07
07 Bossa for Ed 1:56
08 Kathy’s Tune 1:49
09 The Trance 1:48
10 Patrick Power 1:51
11 Kathy’s Theme 1:50
12 The Strobe 3:07
13 Exit Matron 1:59
14 Kathy Looks for Ed 1:42
15 Dr. Roget 1:37
16 The Needle 1:17
17 Kathy Returns 1:00
18 I’m Going Now 1:33
19 He’s Dead 1:24
20 End Title 1:57
Total Time: 35:04

Zitat

CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1, featuring two scores from one of the most creative periods of science fiction cinema, the 1950s.

The Golden Age of Science Fiction cinema is generally understood to have occurred during the 1950s. The science that resulted in the creation and devastation of the atomic bomb, the paranoia that came with the rise of the Cold War and the advances in rocket science that heralded the possibility of space exploration had a profound effect on the popular entertainment of the decade. The monster movie that waged terror during the 1930s and ‘40s gave way to spectacles about alien invasion, enlarged mutated flora & fauna, and the dangerous discoveries beyond Earth’s horizons manifested new concepts in motion picture storytelling. But of course for every classic film, there were dozens of less stellar science fiction entertainment that found its way into cinema screens and drive-in theaters. Many of these were quickly and properly forgotten but low budget did not necessarily mean low quality, and some of these cheaply-made productions had a special charm about them.

For example, the two pictures addressed in this collection. Both are the work of director Edward Bernds, whose career began directing THREE STOOGES shorts, BLONDIE and BOWERY BOYS comedy features before switching to low-cost science fiction entertainment like SPACE MASTER X-7, RETURN OF THE FLY, and THE THREE STOOGES MEET HERCULES.

Released in 1956, WORLD WITHOUT END tells the story of a group of astronauts returning from a voyage to Mars, who are unexpectedly caught in a time warp and are propelled into a future, post-Apocalyptic Earth populated by mutates. Exploring the ruined, future Earth, the astronauts discover an underground civilization in which the women are strong and men have grown less virile. WORLD WITHOUT END has a competent main cast that includes Hugh Marlowe (THE DAY THE EARTH STOOD STILL, EARTH VS. THE FLYING SAUCERS, BIRDMAN OF ALCATRAZ), Nancy Gates (THE ATOMIC CITY, SOME CAME RUNNING), and a young Rod Taylor (THE TIME MACHINE, THE BIRDS, ZABRISKIE POINT).

The music for WORLD WITHOUT END was composed by acclaimed film composer Leith Stevens, known for scoring some of the decade’s most influential science fiction films, from George Pal’s DESTINATION MOON (1950), WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) to his unique jazz-inflected scores for THE WILD ONE, CRASHOUT, and PRIVATE HELL 36. During the ‘60s he composed episodes of Irwin Allen’s television series VOYAGE TO THE BOTTOM OF THE SEA, LOST IN SPACE, THE TIME TUNNEL, and LAND OF THE GIANTS.

Released in 1958, QUEEN OF OUTER SPACE was based on a ten-page treatment by Ben Hecht that took a satirical look at a planet run by women, which Charles Beaumont fleshed out into a screenplay. Allied Artists eventually brought the project into fruition, with former THREE STOOGES screenwriter Ellwood Ullman touching up Beaumont's screenplay into a full-on spoof of 1950s space opera, with American astronauts being drawn by a mysterious force to the planet Venus, which they find to be inhabited only by beautiful women and their tyrannical queen, who takes the astronauts prisoner. The film was noted for casting excessively glamorous Zsa Zsa Gabor as Venusian scientist Talleah.

The score for QUEEN OF OUTER SPACE was composed by Marlin Skiles, who began working in Holly­wood in 1933, where he orchestrated and scored many kinds of films. His earliest fantastic score was for Columbia’s A THOUSAND AND ONE NIGHTS in 1945. He joined Al­lied Artists in 1952 as a staff composer, providing music for the studio’s low-budget fantasy-comedies science fiction dramas such as THE MAZE (1953). After QUEEN OF OUTER SPACE, Skiles went on to score films for other studios, including SPOOK CHASERS (1957), THE HYPNOTIC EYE (1960), THE CRAWLING HAND (1963), JOURNEY TO THE CENTER OF TIME (1967) and numerous films outside the science fiction genre.

Dragon’s Domain Records presents THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1, featuring music from QUEEN OF OUTER SPACE and WORLD WITHOUT END for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1 is a limited edition release of 500 units. THE GOLDEN AGE OF SCIENCE FICTION, VOLUME 1 is expected to begin shipping the week of December 14th, 2020.

QUEEN OF OUTER SPACE (1958 - Marlin Skiles)
01. Prologue / Main Title (2:17)
02. Mysterious Ray and Space Station Destroyed (2:05)
03. We’re Not On Earth (1:58)
04. Captured by the Posse and Brought to the Queen (3:25)
05. Take Them Away / Women Drivers (2:34)
06. The Captain and the Queen (3:37)
07. Queen Unmasked (1:21)
08. Underground Escape (1:14)
09. Giant Spider and Cave Romance (2:56)
10. Captured by the Posse Again (2:40)
11. The Beta Disintigrator (3:06)
12. Finale and End Credits (1:21)

WORLD WITHOUT END (1956 - Leith Stevens)
13. Prelude (2:30)
14. The Giant Spider Cave (3:42)
15. Night Encampment and Mutant Attack (2:11)
16. The Graveyard and Mutants Attack Again (4:17)
17. The Underground City and Garnet Appears (3:31)
18. No Guts and the Tour of the City (3:24)
19. Garnet and John (2:16)
20. Eavesdropping and Mories’s Treachery (6:57)
21. The End of Mories / Final Fight and Rebirth (4:34)
Total Time 62:49

Zitat

CD includes 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE GERALD FRIED COLLECTION, VOLUME 1, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography.

Airing on television in 1978, CRUISE INTO TERROR tells the story of the son of Satan hitching a ride inside an Egyptian sarcophagus and causing havoc when shipped as cargo on a pleasure cruise ship. The story as written has a kind of a Love Boat Meets Hellraiser kind of sensibility, although much less frightening. To score the film, Fried utilized an approach he had favored in the horror films he scored during the ‘50s: paraphrasing from traditional material, which included the Dies Irae , a medieval plainsong chant that is one of the most quoted in musical literature, appearing in numerous classical compositions and film scores alike. Fried recorded the score with a 40-piece orchestra, as he recalls, which gave a sense of size and assertion to the music as the film plays out.

Released in 1976, SURVIVE! is a Mexican film released under the Spanish title SUPERVIVIENTES DE LOS ANDES (Survivors Of The Andes) and tells the true story of the crash of Uruguayan Air Force Flight 571, which was chartered to carry the country’s rugby team to a match in Santiago, Chile when it crashed in the Andes Mountains. Rescuers could not find the crash site as the plane was far off course when it plowed into snow and rock on a mountainside; without food, survivors had to choose between starvation and eating the flesh of the dead; of the 45 persons on board the plane, 33 initially survived the crash, but only 16 would survive to be rescued after 72 days on the mountain top, trapped by injuries, lack of food, and severe weather, with only the aircraft’s torn fuselage for shelter. The tragedy was later filmed by Frank Marshall as ALIVE (1993).

The original Mexican version of the film was released in January 1976, and featured a relatively sparse score by Mexican composer Raul Lavista. An edited English language version was adapted by Paramount and released in the United States in August 1976, presented by Allan Carr and Robert Stigwood; for this version Gerald Fried was brought in to compose a new score for the American edit of the movie. Fried composed a sizeable score that perfectly fit the storyline and set the tone for its dramatic and controversial situations.

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. Now in his 90s, Fried continues to score the occasional commission, short or feature film, and keeps those creative juices active and finding expression.

Dragon’s Domain Records presents THE GERALD FRIED COLLECTION, VOLUME 1, featuring music composed by Gerald Fried for CRUISE INTO TERROR and SURVIVE! for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson.

THE GERALD FRIED COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE GERALD FRIED COLLECTION, VOLUME 1 is expected to begin shipping the week of December 14th,

CD 1 - CRUISE INTO TERROR (1978)
01. Prologue and Main Title (3:10)
02. Out to Sea (1:59)
03. Who Is Buried There?/Overboard (2:50)
04. It Wasn’t an Accident/Repressed Wife (2:51)
05. Shark Attack (4:45)
06. Passengers/Underwater Search (7:41)
07. Underwater Discovery and Nathan’s Death (5:02)
08. Troubled Waters (1:41)
09. The Reverend’s Rant (3:06)
10. The End of Dr. Bakkun (2:12)
11. Voyage of Evil (5:22)
12. You Are the Guardian! (4:53)
13. Finale (5:57)
Total Time: 52:01

CD 2 - SURVIVE! (1976)
01. Opening Titles (1:36)
02. Off Course (3:04)
03. After The Crash (2:24)
04. The Search Begins (3:14)
05. Burying the Dead (7:16)
06. Trying to Survive (2:57)
07. Prayers and Death (3:09)
08. The Tall Section Search (3:49)
09. Death of Sylvia (2:36)
10. Friends for Dinner (7:48)
11. Growing Stronger (1:56)
12. My Birthday/After the Avalanche (3:11)
13. Another Death/Montage (5:42)
14. The Trek Begins (2:59)
15. You Can’t Give Up (2:28)
16. Helicopter Rescue (1:38)
17. Finale and End Credits (3:35)
Total Time: 60:05

 

[Caldera]

Der Gerald Fried Sampler ist ein unlizensiertes Bootleg - wie die meisten Veröffentlichungen aus der Dragon's Domain Composer Collection-Reihe. Hier meine Anmerkungen dazu aus dem FSM Board:

How does Ford A. Thaxton co-ordinate with Stephan Eicke on which Gerald Fried titles will get released ... and on whose labels? Usually that is not necessary since the right owners will tell us immediately if a score has already been licensed and is "in the works" from another label. It is, however, a pity when a label decides to put out an unlicensed score. "Survive" - which we were working on - is, of course, not owned by "Gerald Fried Productions" as the back cover claims - a company which doesn't even exist as the company registers of the different states show - but by Paramount which assigned Gerald to write a new score for the film, with publishing owned by Warner Chappell: https://www.ascap.com/repertory#ace/search/title/survive/writer/gerald%20fried Just a few days ago I had gotten in touch with the responsible licensing manager who indubitably will be surprised by this release. Unfortunately, this happened before multiple times before, e.g. with the release of Howard Blake's AMITYVILLE 3-D. Again, this is not owned by the (non-existent) Howard Blake Productions. Howard Blake's company is called Howard Blake Entertainments Limited as per the UK company register: https://find-and-update.company-information.service.gov.uk/company/08829393 But the rights to AMITYVILLE are with de Laurentiis - hence the absence of stills from the movie. (That's the reason Howard Blake had released the score previously as a promo only as is mentioned on the back cover of that CD along with Flash Gordon.) (Amusing side note: When I had lunches with Howard a few years ago, we mulled over some potential releases but the rights were always an issue. When I mentioned such-and-such was owned by such-and-such, Howard would just shrug and say, 'Who cares? Just put it out.') It's sad that these unlicensed releases kill properly licensed, official releases. So, no "Survive" from us, then.

[yakuza]

Mir war nicht bewusst, dass es sich bei Dragon Domain schon häufiger um unlizensierte Sachen gehandelt haben soll. Glaube aber nicht, dass diese "zweitklassigen" Veröffentlichungen den offiziellen Ausgaben dauerhaft das Wasser abgraben werden. Aus einem anderen Musikbereich kenne ich es anders: das Re-Issue-Label Bear Family Records bringt u.a. Oldies und Schlager als Lizenzprodukte heraus, meistens in superber Klangqualität und umfangreichen Booklets, oft von Titeln, die anderweitig (auf Grund abgelaufenden Copyrights) verramscht werden - jedoch dort ohne aufwändiges Mastering oder Booklet. Die Bear Family-Edel-Veröffentlichungen verkaufen sich dennoch gut. Im Bereich der Filmmusik funktioniert das m.E. ebenso, wenn man an Boxen von LaLaLand (Star Trek), Intrada (The Ten Commandements) oder das schmerzlich vermisste FSM-Label (Meuterei auf der Bounty) denkt. Da doch die meisten Käufer eher Liebhaber als Konsumenten sind, setzt sich auch hier Qualität (hoffentlich) durch.

[Trekfan]

Und nach den Anmerkungen bei FSM musste sich natürlich Kimmel mit Unterstellungen zu Wort melden. Da kann ich nur sagen, wer im Glashaus sitzt, sollte die Klappe halten. Wenn man sich mal die letzten 20-30 Veröffentlichungen auf Kritzerland anschaut, dürfte da durchgehend auf "Grauzonen"-Veröffentlichungen stoßen. Er baut genauso wie Thaxton darauf, dass die Handvoll Exemplare unterm dem Radar der Rechteinhaber durchlaufen, falls da bei dem Material überhaupt noch jemand Interesse daran besitzt, bezogen auf Kritzerland. 

[Oliver79]

Cinema-Kan veröffentlichen am 20. Januar zwei neue Alben:

30,000 Miles Under the Sea  (2 CDs) - Takeo Watanabe

Graveyard of Honor - Toshiaki Tsushima

 

[Stefan Schlegel]

vor einer Stunde schrieb Trekfan:

Und nach den Anmerkungen bei FSM musste sich natürlich Kimmel mit Unterstellungen zu Wort melden. Da kann ich nur sagen, wer im Glashaus sitzt, sollte die Klappe halten. Wenn man sich mal die letzten 20-30 Veröffentlichungen auf Kritzerland anschaut, dürfte da durchgehend auf "Grauzonen"-Veröffentlichungen stoßen. Er baut genauso wie Thaxton darauf, dass die Handvoll Exemplare unterm dem Radar der Rechteinhaber durchlaufen, falls da bei dem Material überhaupt noch jemand Interesse daran besitzt, bezogen auf Kritzerland. 

Kimmel sitzt natürlich direkt an der Quelle in L.A. und weiß ganz genau, was er sich leisten und wie er alle dortigen rechtlichen Lücken für sich ausnützen kann. Bei Paramount ist er eh unten durch und bei Fox wird nach Übernahme durch Disney und dem Tod seines Freundes Nick Redman für ihn auch nichts mehr zu holen sein. Ohne die halbseidenen Sachen der letzten Monate würde es daher Kritzerland inzwischen vielleicht schon gar nicht mehr geben, zumal die Käuferschaft von Kimmels CDs im Vergleich zu vor noch rund 10 Jahren eh enorm gesunken ist.
Und Dragon´s Domain wird auch nur so viele CDs derzeit raushauen können, weil sie eben fast nichts dafür bezahlen. Müßte das allles noch lizenziert und ein Haufen Geld dafür gelöhnt werden, dann würden sie aufgrund der hohen Kosten wohl kaum mehr aus dem Minus rauskommen und auch kaum noch was veröffentlichen.

[Trekfan]

Verlogene Bande. Was hat er nicht immer gegen Esterhammer oder Schecter oder über die Veröffentlichungen nach EU-Recht gehetzt. Und jetzt macht er selber am laufenden Band so alte Scores und Musicalsachen, wofür sich kein Rechteinhaber mehr interessiert. 

[Stefan Schlegel]

Ich vermute eigentlich auch, daß Bandkopien der beiden Golden Age SciFi-Titel von Skiles und Stevens ursprünglich von David Schecter in Umlauf gebracht wurden. Wenn ich mich noch recht entsinne, hatte Schecter mir vor mehr als 10 Jahren bei einem CDR-Tausch neben vielem anderen auch den Skiles QUEEN OF OUTER SPACE angeboten gehabt. Natürlich nur privat und nicht zum Weiterkopieren gedacht. Aber mich hat die Musik nicht besonders interessiert und ich habe dann lieber andere Sachen von ihm genommen und auch erhalten.
Wundert mich eh, daß er sich bei dem Dragon´s Domain-Release bislang überhaupt nicht zu Wort gemeldet hat, denn das ist ja an sich seine ganz spezielle Sparte.

[Trekfan]

vor 21 Minuten schrieb Stefan Schlegel:

Ich vermute eigentlich auch, daß Bandkopien der beiden Golden Age SciFi-Titel von Skiles und Stevens ursprünglich von David Schecter in Umlauf gebracht wurden.
Wundert mich eh, daß er sich bei dem Dragon´s Domain-Release bislang überhaupt nicht zu Wort gemeldet hat, denn das ist ja an sich seine ganz spezielle Sparte.

Damit hatte ich auch gerechnet. Queen war vor einigen Jahren im Gespräch als Veröffentlichung für Schecters MMM. Vielleicht konnte er damals nicht die Rechte klären, denn der Film hat Kult und hätte gut in sein Angebot gepasst. Er hat für die Zukuft weitere CDs auf seinem Label ausgeschlossen, scheint jetzt aber hier beteiligt. Es sieht so aus, als würde er im Booklet in den Danksagungen erwähnt. Kurios dabei, dass Dragon's Domain auch hier keine Rechteinhaber zu nennen scheint.

[Caldera]

Bruce Kimmels Unterstellungen waren so vorhersehbar wie das Amen in der Kirche. Kimmel hatte mir nämlich kurz nach Veröffentlichung von Fried's THE BABY eine recht unhöfliche Mail geschrieben, dass man den Fried-Veröffentlichungskalender doch miteinander abstimmen sollte. Meine Antwort war, dass das aufgrund der Lizenznahme ja nicht notwendig sei. Darauf kam dann auch nichts mehr. Kimmel wollte ganz offensichtlich mehrere Frieds ohne Lizenznahmen veröffentlichen.

Was Stefan sagt, ist sehr richtig. Kimmel veröffentlicht seit einigen Jahren mehr und mehr Bootlegs, weil ihm die Türen der Studios versperrt sind. Einigen schuldet er Geld, bei anderen hat er es sich mit seinem Benehmen verscherzt. Der leider viel zu früh verstorbene Nick Redman war in den letzten Jahren Kimmels einziger Fürsprecher. Selbst davor hatte Kimmel schon Bootlegs auf den Markt geworfen. Beispielsweise waren weder THE BRIDE WORE BLACK/TWISTED NERVE noch Herrmann's CHRISTMAS CAROL lizenziert laut des Herrmann Estate. Für erstere CD gabs dann (laut des Herrmann Estate) auch ein Schreiben vom Anwalt.

Sowohl die Copyright-Angaben auf dem Backcover als auch die Auswahl des Bildmaterials geben schon immer gute Hinweise, ob es sich bei einer Kritzerland- oder Dragon's Domain-Veröffentlichung um ein Bootleg handelt (Bsp BRIDE WORE BLACK/TWISTED NERVE, FRIED SAMPLER, etc). Thaxton und Kimmel verwenden mit Absicht eigenes Artwork ohne film stills (beim Fried Sampler scheint ein (1) "film still" im Booklet-Inneren versteckt zu sein, wenn ich das richtig erkenne. Der Rest sind stock images.)

Bzgl David Schecter: Ich habe mich in den letzten Tagen mit ihm unterhalten. Ihm wird nicht nur beim Skiles gedankt, sondern auch beim Fried Sampler: "I sometimes get thanked in CDs that I had nothing to do with, and seldom get thanked in CDs when I do help out a little (LOL!). So all I know is that I have no information about the releases you mentioned, as I had nothing whatsoever to do with them. I was asked by the label in question if I had any photos of Gerry, and I sent them some that Gerry had given me years ago. So if my name's mentioned in that Fried CD, which I don't have, that would be why. I know nothing about that score."

Aus dem Soundtrackgeschäft hat David sich herausgezogen, unter anderem aufgrund der Schwemme an Bootlegs (und wegen illegaler Downloads).