Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Oliver79]

Gern geschehen. 

Die Korzysnski-CD ist zumindest historisch gar nicht mal uninteressant, da man ja mit Veröffentlichungen zu DEFA-Produktionen auch nicht gerade totgeworfen wird.

[Oliver79]

Neu von Dragon's Domain Records:

Josef Mengele - The Final Account - Joe Harnell

Zitat

 

Dragon’s Domain Records, to be distributed by buysoundtrax.com, presents JOSEF MENGELE: THE FINAL ACCOUNT, featuring music composed by Joe Harnell for the 1995 documentary directed by Dan Setton, written by Ron Frank, based on the books written by Gerald Posner and John Ware about the infamous German officer and physician. During World War II, Mengele was assigned to the Auschwitz concentration camp, where he conducted torturous experiments on its prisoners, showing no consideration for the suffering of these human specimens. As a member of the team in charge of selecting persons to be sent to the gas chambers, Mengele condemned hundreds of captive Jews and other “undesirables” to their deaths, many after suffering torturous experimentation.

Once hostilities ended in 1945 and war trials were likely to take place against members of the Reich, Mengele fled to South America, lived under assumed names, and avoided capture for some thirty years. In February 1979 he suffered a stroke while swimming in the ocean and drowned. Six years later his suspected remains were unearthed and a forensic exam positively identified the bones as those of Mengele.

The score for JOSEF MENGELE: THE FINAL ACCOUNT is performed by a handful of instruments – piano and synth keyboards, an oboe and cello, mostly if not wholly created via digital samples. Much of the music was meant to be present beneath narration, so Harnell focused on rhythmic arrangements, spare melodies, and recurring and cyclical motifs that wouldn’t conflict with spoken commentary and witness accounts. This atmospheric approach also serves the film’s structure by maintaining a fairly unobtrusive sonic ambiance that is felt more than it is made perceptible. Harnell’s music was provided to the production primarily as a series of library tracks, which Dan Setton (who also served as film editor) then inserted into the film wherever he saw fit. The full tracks as recorded by Harnell are presented here in a historically chronological format, which paint a more coherent musical picture. 

JOSEF MENGELE: THE FINAL ACCOUNT was among the final scores Harnell would compose. In fact, Harnell’s last five scores were all for fugitive Nazi documentaries: THE HUNT FOR ADOLF EICHMANN (1994), MENGELE: THE FINAL ACCOUNT (1995), and ANGELS OF VENGEANCE (1995) were directed by Dan Setton for his production company, Set Productions. JOSEF MENGELE: MEDICAL MADMAN OF AUSCHWITZ (1996) was produced by Greystone Communications Inc. for the A&E Network’s BIOGRAPHY television series, and ADOLF EICHMANN - THE SECRET MEMOIRS (2002), Harnell’s last film score, was produced by veteran documentarians Nissim Mossek and Alan Rosenthal for their Biblical Productions company.

Joe Harnell was born in 1924, in the Bronx. He began studying piano at the age of 6. His professional career started at age 14 as jazz pianist playing with name bands while continuing serious musical studies. In high school, he began arranging and studying orchestral instruments. He received a scholarship to the University Of Miami for piano and trombone. In 1943, he entered the Air Force, where he soon began touring with the Glenn Miller Air Force Band, serving both in the United States and Europe. While still in the service, he attended composition classes with Nadia Boulanger in Paris, then later with William Walton in London at the Trinity College Of Music. He returned to the United States and was discharged from the Air Force in 1946. During the summers of 1949 – 1951, he continued his studies in composition with Aaron Copland at Tanglewood. He also held the post of musical director with Grey Advertising in New York City for three years. Joe resumed his professional career as a pianist and arranger and began a new career as musical director for many celebrated singers. Shortly thereafter, he took on a new role as recording artist himself and, to date, recorded 18 albums – among them his Grammy winning “Fly Me To The Moon”.

From 1967 to 1973, Joe was the musical director for THE MIKE DOUGLAS SHOW. Following his success with THE MIKE DOUGLAS SHOW, Joe came to California, where he began his career as a composer of film and television music. Joe composed music for numerous television movies and series including CLIFFHANGERS, HOT PURSUIT, THE INCREDIBLE HULK, V – THE ORIGINAL MINI-SERIES and ALIEN NATION. He has been nominated for an Emmy on three separate occasions for Best Dramatic Score. In his lifetime, he composed over 400 hours of original music for television and motion pictures. His scores for THE BIONIC WOMAN and THE INCREDIBLE HULK heavily influenced the scoring of all Universal television programs in the late 1970’s. His scores used a traditional orchestral approach (influenced by his Jazz roots) using a 32 piece orchestra. He frequently conducted scores from the piano during recording sessions and he performed all the piano and keyboard solos in all of his scores. Joe remained active composing and performing until his passing on July 15th, 2005 from heart failure at the age of 80.

Dragon’s Domain Records presents the original soundtrack recording to JOSEF MENGELE: THE FINAL ACCOUNT in loving memory of the great Joe Harnell. JOSEF MENGELE: THE FINAL ACCOUNT is limited to 500 units and professionally mastered by Digital Outland, including liner notes written by author Randall Larson. Ships the week of January 28th.

 

For the Term of His Natural Life / The Wild Duck - Simon Walker

Zitat

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of FOR THE TERM OF HIS NATURAL LIFE/THE WILD DUCK, featuring music composed and conducted by Simon Walker for two projects for Australian television and film.

FOR THE TERM OF HIS NATURAL LIFE aired on Australian television in 1983 as a two part series directed by Rob Stewart, starring Colin Friels, Anthony Perkins, Patrick Macnee, Diane Cilento and Samantha Eggar. FOR THE TERM OF HIS NATURAL LIFE was based on the novel by Marcus Clarke, first serialized in Australia in the late 1800s and the subject of an early feature film in 1927. The mini series tells the story of a young English gentleman (Friels) wrongfully convicted of murder and sentenced to life imprisonment at a Tasmanian penal settlement. Adopting the name “Rufus Dawes” to protect his family, he tries to survive the rigors of hard labor but gradually becomes a hardened convict. His manner is softened when he falls in love with the young daughter of an officer at the colony. When Dawes learns that his English title and inheritance have been stolen from him during his incarceration, he escapes and seeks revenge on those who wronged him.

Simon Walker was hired to score FOR THE TERM OF HIS NATURAL LIFE because the filmmakers had been impressed by the music he’d written on previous films. The result is a large scale orchestral score largely centered on Walker’s main theme, a heraldic melody favoring brass, strings, and rolling percussion and also including a rapturous love theme for Dawes and Sylvia, along with a spritely woodwind and violin motif associated with the character of Reverend Meekin (Perkins).

THE WILD DUCK was Simon Walker’s first feature film score, based on Norwegian playwright Henrik Ibsen’s tragicomedy. Directed by French-born Australian filmmaker Henri Safran and adapted and anglicized by the director along with Tutte Lemkow and John Lind with “additional material” by Peter Smalley, the film starred Jeremy Irons, Liv Ullmann, Lucinda Jones, Arthur Dignam, and Michael Pate. Set in a small industrial Australian town THE WILD DUCK concerns a couple, Harold and Gina (Irons and Ullmann), who are forced to answer for the legitimacy of their adolescent daughter Henrietta (Jones) when her true father, Gregory (Dignam), comes to town. Figuring into the drama is a wild duck that has been wounded by Gregory's father (Pate) and rescued by Henrietta; its symbolism looms over the stifling household as personalities reach a heartrending climax.

It was Walker’s score to FOR THE TERM OF HIS NATURAL LIFE that led to being hired for THE WILD DUCK. While his instincts were to score THE WILD DUCK with a very gentle small scale orchestral score, the producer and the director had other ideas and preferred a full blown symphonic score with lots of strings. His score for THE WILD DUCK is written in a warm, Romantic style like FOR THE TERM OF HIS NATURAL LIFE and includes a main theme that is thoroughly engaging, coloring the drama and reflecting the conflicts of the story.

Simon Walker was born in Sydney in 1961, and by the age of twelve he had developed a keen interest in music after tinkering with the family piano. He attended the Sydney Boys High School (1974-1980) as a selective student (for academic achievements) and was heavily involved in the music department during his years there. At the age of 17, Walker won the Australian Broadcasting Corporation’s “Young Composers Competition” with his entry “Fibres,” which was later performed in concert by the Sydney Symphony. Like many composers starting out, Walker’s first film scores were for student productions in the late 1970s. His first professional commission came in 1979, to score THE THINGS WE WANT TO KEEP, a Film Australia documentary about the richness and variety of the country’s national heritage. By the early 1980s Walker was an in-demand composer, scoring a number of notable films and TV movies, including a series of animated films based on popular literary novels for Burbank Films Australia which were shown on American television. By his untimely death at the age of 48, after a career that lasted only sixteen years, Walker had composed dozens of films and television episodes and was among the most respected of Australian film composers.

Both FOR THE TERM OF HIS NATURAL LIFE and THE WILD DUCK were released previously in the early days of the compact disc format and have been difficult to find over the years. Dragon’s Domain Records is pleased to bring these wonderful scores back into the marketplace now newly remastered by Digital Outland for new listeners to discover Simon Walker’s incredible talent and including liner notes by author Randall Larson.

 

 

[Oliver79]

Am 7. Februar kommen zwei neue CDs von Digitmovies:

Simon Bolivar (expanded) - Carlo Savina & Aldemaro Romero

Zitat

We are pleased to release the complete edition CD of the OST by Carlo Savina and Aldemaro Romero for the historical film "Simon Bolivar." The film was presented at the XI Festival of Moscow (1969) where it won the Special Jury Prize. 
SOUNDTRACK 
Carlo Savina and Aldemaro Romero work together on this symphonic score dominated by the charming sounds of Latin America. The historical figure of Simon Bolivar is emphasized through heroic passages for orchestra and chorus which alternate with a romantic love theme and music for the battle scenes. C.A.M. originally released a vinyl LP (SAG 9022) with eighteen stereo selections (lasting 33:09min) which was reissued for the first time on CD (CSE 092) in 1992 in the C.A.M. Soundtrack Encyclopedia series. Thanks to the stereo master tapes from the original recording session, which were kept in excellent condition, we discovered about forty minutes of previously unreleased material such as alternative mixes and film versions. 
DIRECTOR AND CAST 
Directed in 1969 by Alessandro Blasetti. Starring: Maximilian Schell, Francisco Rabal, Rosanna Schiaffino, Ángel del Pozo, Luis Dávila, Tomas Enriquez, Sancho Gracia, Manuel Gil, Elisa Cegani, Manuel Otero, Julio Peña, Mirella Pamphili, Conrado San Martín, Fernando Sancho. 
PLOT 
At the beginning of the 1800s in Venezuela the first rebel groups start a guerrilla war against the Spanish rulers. Simon Bolivar, who the indigenous people admire, manages to unite various revolutionary groups together into an army and guide them to victory against the invaders. After the country is freed, Bolivar soon enters into opposition with the representatives of the new political class, who oppose his plan to make all of Latin America independent and united. When congress allows him to begin his arduous venture in the hopes that he will fail and his popularity will go down, Bolivar moves his army towards Peru. At the news of the Venezuelan leader's new victory, the incredulous members of congress can't help but applaud with enthusiasm. 

Duri a morire - Stelvio Cipriani

Zitat

We are pleased to release the complete edition OST by Stelvio Cipriani for the action film "Tough to Kill" ("Duri a morire") for the absolute first time on CD. 
SOUNDTRACK 
Stelvio Cipriani composed an OST where funk music, which was typical at the time, blends with Latin American sounds. The wild dance song in the opening credits (Tr.1) is reprised in a fast version (Tr.5, Tr.11), a slow version with South American rhythms (Tr.3, Tr.13) and then contrasted with sad and dramatic strings (Tr.2, Tr.17). Electronic and rhythmic suspense pieces are perfect to describe the hidden dangers waiting for the protagonists of the story (Tr.4, Tr.12, Tr.15). There is no lack of piano pieces performed by the composer (Tr.6, Tr.10), Greek folk music (Tr.7) and military themes (Tr.8, Tr.14). For this CD (total running time 42:31min), the restored stereo master tapes from the original recording session were used. 
DIRECTOR AND CAST 
Directed in 1979 by Joe D'Amato (aka Aristide Massaccesi). Starring Luc Merenda, Donald O'Brien, Alessandro Haber, Percy Hogan, Lorenza Rodriguez, Laurence Stark, Wolfango Soldati, Piero Vida. 
PLOT 
Secret agent Martin (Merenda) enlists in the mercenary forces that Major Hagerty is training on behalf of an African country. Martin's goal is to capture the highly sought-after international Sergeant Léon "dead or alive," and make the million-dollar bounty his own. Although he is the only one to know the details of Léon's delivery and the only to have the identikit, his mission is not completely secret and the Major, the Polish man and another mercenary want in on the action. The most cunning character of all is Wabu, a friendly villager who pretends to be ignorant and offers to be Martin's devoted lackey. 
Hagerty receives the order to blow up a dam and takes some of the mercenaries with him. At just the right moment he separates Leon from the others, but they are pursued by enemy forces and start to get at each other's throats. The "bounty hunters" have thinned out when the Major and the seriously injured Martin finally reach their destination. They get rid of Hagerty but are then played for fools by Wabu who, finally speaking in perfect English, reveals his plan to proceed to Switzerland to get the reward. 

 

[Oliver79]

Neu von Beat Records:

Cannibal Holocaust (complete) - Riz Ortolani

Zitat

Almost 40 years after its theatrical debut, Beat Records is proud to present—for the first time on CD—the complete original motion picture soundtrack to one of the most controversial Italian genre movies of all time: CANNIBAL HOLOCAUST, directed by Ruggero Deodato and featuring a beautiful score by Riz Ortolani. Considered the founder of the "Found Footage" subgenre, Cannibal Holocaust follows the research by some adventurous filmmakers who disappear in the Amazonian "Green Inferno" while searching for another group of explorers who'd also recently gone missing. The discovery of the missing filmmakers' footage unveils the atrocities that took place in the forest as well as the moral poverty of the protagonists from the "civil" world who become the real villains of the story. 

The music of this absolute cult classic, composed by one of the greatest Italian musicians of all time—Riz Ortolani—is among his fans' favorites. Long out of print and available only in its original album presentation, the complete score is finally here, a wonderful contrast to the images for which it was composed, one of the most disquieting musical experiments ever created for scenes with such violence. 

After Porno Holocaust and Zombi Holocaust, Beat Records unleashes its third Holocaust, this time Cannibal, available in the DDJ series, packaged in a jewel case with a 12-page booklet designed by Daniele De Gemini, with mastering by Claudio Fuiano and liner notes by Fabio Babini. 

La professoressa di lingue - Lallo Gori

Zitat

Beat Records continues exploring the discography of a fine musician, Lallo Gori, pulling from the shelves the score from this movie shot in the late '70s starring the divine Femi Benussi in the guise of an English teacher giving extra summer lessons to the young boy of a wealthy family. The story will soon shed some clothing and derail onto more comedic tones. 

The Romagnan musician is one of those composers (such as Maestro Kojucharov) whose music has been released almost exclusively by Beat Records, part of a group of great composers for cinema whose music we present in order to shine a spotlight on hidden corners of Italian film music.

To the collection of his wonderful scores for Westerns (Inginocchiati straniero… I cadaveri non fanno ombra, Con lui cavalca la morte, Buckaroo il winchester che non perdona), cop movies (Ritornano quelli della calibro 30, Il commissario di ferro), thrillers (A.A.A. Massaggiatrice bella presenza offresi) and comedies (002 Operazione luna, il clan dei due borsalini), we now add this diversion into the sexy comedy genre that provides the context for the divine Femi's curves, a soundtrack that begins lightly with apparently simple themes given surprising development throughout the course of the movie, becoming almost difficult to recognize by the end of the film, wide and open, a nice musical document to expand our knowledge of this great Maestro through its pleasant, one-hour listening experience. 

The CD, part of the DDJ series, is packaged in jewel case with graphic layout by Alessio Iannuzzi, liner notes by Fabio Babini and mastering by Enrico De Gemini. 

 

Bearbeitet 1. Februar 2019 von Oliver79
Bilder hinzugefügt

[Oliver79]

Neu von Rosetta Records

El lado oscuro del corazón - Osvaldo Montes

Zitat It was in Montreal a cold morning of snow and mate, when I first opened the script El lado oscuro del corazón (The dark side of the heart) by Eliseo Subiela, and on the first page I read: "I don't give a damn that women have breasts like magnolias, or fig raisins… etc."  Since then, it was a trip without stops until the last page, a great moment, I couldn't believe it, before composing the first note and seeing the first frame I could imagine the whole movie.  Many years later, talking about this matter in an interview, I said that there are scripts you don't need to read, but they are seen and heard, and this one was the first of them. And that's how we started, fax go, fax come, exchanging ideas, until I sent an audio cassette (via fedex) and a few days later I received a fax from Eliseo, that I kept until a few years ago, and almost illegible. In there you could read: "After listening to the music you sent me for El lado oscuro del corazón I want to tell you that, whether it's a co-production or not, I want you to make the music for my movie."  And that's when they continued to fly like Ana and Oliverio, cassettes with music between Montreal and Buenos Aires.  Today I have the pleasure to share this new edition of the music of a film that gave me the opportunity not only to compose the music of this extraordinary film, but to have met a unique director and a dear friend who will always be Eliseo "Chiche" Subiela.  - Osvaldo Montes

[Angus Gunn]

Am 1.2.2019 um 16:40 schrieb Oliver79:

Neu von Beat Records:

Cannibal Holocaust (complete) - Riz Ortolani

Peter Blumenstock, der den damals zuerst herausgebracht hat, hat damals klar gesagt, dass die Lucertola-CD bereits die komplette Aufnahme enthält. Ich gehe also davon aus, dass es sich bei den zusätzlichen Tracks lediglich um alternative Abmischungen oder Schnittfassungen handelt.

[Oliver79]

Davon gehe ich stark aus. Halt so ne typische Italo-Expandierung um die Kuh nochmals zu melken. Aber ich kann es Beat gar nicht übel nehmen.

[Lars Potreck]

Nick Glennie-Smiths Musik zum Live Spektakel Puy du Fou - La Cinéscénie ist nun auch offiziell als Download erhältlich. Das Album scheint sogar etwas länger zu sein als die CD Version.

https://www.amazon.de/Puy-Fou-Cinéscénie-Nick-Glennie-Smith/dp/B079RWJQLX/ref=sr_1_3?s=dmusic&ie=UTF8&qid=1549271264&sr=1-3&keywords=nick+glennie-smith&refinements=p_n_format_browse-bin%3A180848031

[Oliver79]

Am 12. Februar kommen zwei neue CDs von Music Box Records:

Pétrole! Pétrole! / Le bourreau des coeurs / C'est dur pour tout le monde - Éric Demarsan

World Premiere CD Release.
Remastered and expanded edition.
8-page CD booklet with French and English liner notes by Gilles Loison.

Zitat

Music Box Records presents on CD the complete collaboration between composer Éric Demarsan (Army of Shadows, Attention, the Kids Are Watching) and French director Christian Gion: C’est dur pour tout le monde (It's Tough for Everybody, 1975),  Pétrole ! Pétrole ! (Oil! Oil!, 1981) and Le Bourreau des cœurs (The Heartbreaker, 1983).

C’est dur pour tout le monde tells the story of Dan Letellier (Francis Perrin), an ambitious up-and-comer, who is in competition with his former boss Paul Tardel (Bernard Blier), a tycoon of the advertising sector. Eric Demarsan composed two different themes: one for the action sequences, a melody played by clashing strings backing up a boastful solo trumpet, with the addition of a piano in the low register; the other one for the romantic moments.

Pétrole ! Pétrole ! deals with the second oil crisis in 1978, using a humoristic tone. An Arab emir, Emir Abdullah (Bernard Blier), finds his lost daughter, Liza (Catherine Alric) who becomes the new heiress to his fortune. She is married to Bernard Bérian (Henri Guybet), a young fuel seller who is a competitor and worst enemy of the emir's largest client, Jean-Marie Tardel (Jean-Pierre Marielle) attempting to woo Emir Abdullah. Éric Demarsan composed a bright theme played by a dynamic brass section. The score displays a wide range from the universes of Western movies, the circus and the Arabian Nights.

Le Bourreau des cœurs tells the story of Vittorio Garibaldi (Aldo Maccione), an extra who dreams to become famous and becomes a star idolized by the public, seeing his childhood dream suddenly come true. He is hired by a producer to become the stunt double for a movie in Tahiti. Éric Demarsan wrote a lively theme to follow Garibaldi’s ascent and based his score on nostalgic and light comic material. 

The three scores have been fully mastered and expanded from the scoring session elements. The package includes an 8-page booklet featuring exclusive liner notes by writer Gilles Loison and new comments by Éric Demarsan and Christian Gion on their collaboration. Limited edition of 300 units.

Grâce à dieu - Evgueni & Sacha Galperine

Zitat

In collaboration with Mandarin Production and FOZ, Music Box Records proudly presents on CD the original motion picture soundtrack of François Ozon’s Grâce à Dieu (By the Grace of God) composed and orchestrated by Evgueni and Sacha Galperine.

Alexandre (Melvil Poupaud) lives in Lyon with his wife and children. One day, he discovered by chance that the priest who abused him to scouts always officiates with children. He then starts a fight, quickly joined by François (Denis Ménochet) and Emmanuel (Swann Arlaud), also victims of the priest, to “release their word” on what they suffered.

François Ozon's new film is inspired by the scandal surrounding a Roman Catholic priest who was accused of having abused scouts from 1986 to 1991, and was only recently indicted after several victims decided to file lawsuits. For the original score, François Ozon called on Evgueni and Sacha Galperine who recently composed Andrey Zvyagintsev’s Loveless (2017). They also received Best Composer Award at the European Film Academy.

The music of Grâce à Dieu reflects the fight of Alexandre with a haunting and hypnotic theme. To emphasize the search for truth by the main characters of the film, they wrote a very pure and luminous theme with the use of of boys' choir.

The album includes an 8-page booklet featuring Evgueni and Sacha Galperine’s statement. Grâce à Dieu will be realeased in French theaters on February 20, 2019.

 

[Oliver79]

Das Label Filmtrax veröffentlicht am 1. März eine CD mit Charlie Moles Score zu Dorian Gray.

 

[Alexander Grodzinski]

Zitat

Dragon’s Domain Records, to be distributed by BuySoundtrax Records, will be releasing THE JOEL GOLDSMITH COLLECTION, VOLUME 1, featuring the previously unreleased scores to Jim (PIRANHACONDA) Wynorski’s gentle family comedy HOME FOR CHRISTMAS (1993, aka LITTLE MISS MILLIONS) and Tony (HELLBOUND: HELLRAISER II) Randel’s revenge thriller ONE GOOD TURN (1996).

HOME FOR CHRISTMAS starred a young Jennifer Love-Hewitt as a millionaire heiress who runs away from her step-parents to find her real mother, prompting an all-out pursuit to find her. The latter is a revenge thriller with an unusual twist, as a reunion between a guy and the man who saved his life years earlier becomes a deadly quest for unfulfilled vengeance. HOME FOR CHRISTMAS’s music is mostly written for a rhythm section/rock combo with a small orchestral ensemble, giving the film a lighthearted, toe-tapping, and forward-moving vibe; while Joel’s music for ONE GOOD TURN is quite at home in dark thriller territory, offset by a sublime love theme. The small orchestral score is suspenseful and provocative.

Joel Goldsmith was born in Los Angeles in 1957, the third of four children of singer Sharon Hennagin and legendary composer Jerry Goldsmith. Joel quickly followed in his father’s musical footsteps, favoring electronic instruments. His first film scoring credit, shared with his friend Richard Band, was for the science fiction thriller LASERBLAST (1978). Joel proved to be a versatile compose on hist own, both in the electronic and orchestral realms, composing a number of feature and television films throughout the 1980s and ‘90s. These ranged from the sci-fi series SUPER FORCE (1990), Roland Emmerich’s early science fiction thriller MOON 44 (1990), TV’s THE UNTOUCHABLES (1993) and WITCHBLADE (2000), the family-friendly drama SHILOH (1996) and its 1999 sequel, KULL THE CONQUEROR (1997), the 2003 miniseries HELEN OF TROY, and several iterations of the STARGATE TV series (1997-2011). Sadly, Joel passed away at the age of 54 in 2012, from cancer. His last score was for the unreleased post-apocalyptic TV pilot, ECHOES.

With THE JOEL GOLDSMITH COLLECTION, VOLUME 1, Dragon’s Domain Records, distributed by BuySoundtrax Records, presents the world premiere release of Joel Goldsmith’s music for HOME FOR CHRISTMAS and ONE GOOD TURN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by author Randall D. Larson. The album is presented in a limited edition of 500 units. It is now available for pre-order at www.buysoundtrax.com and is expected to start shipping the week of March 3^rd.

HOME FOR CHRISTMAS (1993)
(Original Score)
01. Nick Busts Santa Claus (3:01)
02. Heather Runs Away (2:28)
03. Lost Daughter (1:33)
04. Airport Escape (2:06)
05. Heather Sneaks Out (1:19)
06. Biker Bar Fight (3:25)
07. Good Night (1:58)
08. Breakfast (2:07)
09. The F.B.I. (2:16)
10. Heather and Nick (4:01)
11. The Big Chase (2:23)
12. A Christmas Reunion (3:08)
13. Closing Theme (1:02)

ONE GOOD TURN(1996)
(Original Score)
14. Main Title (2:27)
15. Street Encounter (1:10)
16. I Should Have Died (2:09)
17. Searching for Simon (2:38)
18. Simon’s Place (2:09)
19. Love Scene (2:05)
20. If I Had Saved the Girl (0:53)
21. Phone Call / Train Kill / Night Time (4:56)
22. What Records? (1:36)
23. Simnon’s Hacking (1:50)
24. Rooftop Encounter (2:09)
25. He May Be Working For You / Romantic Getaway (1:07)
26. Gentle Interlude (0:51)
27. Simon Shows Up (1:25)
28. Shaving Cut (0:56)
29. The Truth About Simon (2:09)
30. To The Rescue and Simon’s End (8:03)
Total Time: 69:10

Ich hoffe, die bringen auch endlich mal Joels THE MAN WITH TWO BRAINS in dieser Reihe heraus.

[TheRealNeo]

Und einfach auch mal mehr Stargate.

[Alexander Grodzinski]

vor 1 Stunde schrieb TheRealNeo:

Und einfach auch mal mehr Stargate.

Davon gibt es zumindest bereits mehrere CDs.

Noch was von Dragon's Domain:

Zitat

Dragon’s Domain Records presents the world premiere soundtrack release of DR. HECKYL AND MR. HYPE, to be distributed through buysoundtrax.com. DR. HECKYL AND MR. HYPE features music composed by Richard Band for the 1980 science fiction/horror film written and directed by Charles B. Griffith (LITTLE SHOP OF HORRORS), starring Oliver Reed, Sunny Johnson, Maia Danziger, Virgil Frye, Mel Welles, Kedrick Wolf, Jackie Coogan, Corinne Calvet, Sharon Compton, Denise Hayes, Charles Howerton and Dick Miller.          

1. HECKYL AND MR. HYPE began life as a result of a conversation between Charles B. Griffith and Menahem Golan. Griffith was a prolific writer/director for low budget films whose main claim to fame was the quirky LITTLE SHOP OF HORRORS and screenplays for many Roger Corman films including DEATH RACE 2000, EAT MY DUST and THE WILD ANGELS. Griffith’s concept for the film would be that “the ugly guy would be the good guy”.

Released in 1980, DR. HECKYL AND MR. HYPE tells the story of Dr. Heckyl (Reed), an atrociously ugly, malformed podiatrist who falls in love with one of his patients. When his colleague, Dr. Hinkle (Welles) develops an ‘instant diet paste’ that reduces his fat patients to skinny babes, Heckyl steals a vial and drinks it down – and finds himself transformed into Hype (also Reed), a handsome, hedonistic but violently self-absorbed ladies’ man. Soon, the transformations become more frequent and uncontrollable, with Hype reverting back to Heckyl at the most inappropriate of times.

Composer Richard Band was contacted by Charles B. Griffith and asked to score the film. DR. HECKYL AND MR. HYPE would be his third score. His music for the film is a mixture of orchestra and electronics, considered a unique approach in those days as synthesizers were still relatively in their infancy in film music. The score is built around the interaction of three primary themes and two subordinate motifs. The main theme consists of the melody that accompanies both Dr. Heckyl and Mr. Hype as they are characterized through the story. The main theme represents the overall quirkiness of the whole tone of the movie. The score was recorded with a small orchestra of 20 – 22 pieces, small string, brass and woodwind sections, along with two percussionists and augmented by synthesizers.

Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER and Disney's SING ME A STORY series.

Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich. In more recent years, Richard has also enjoyed scoring a variety of family and comedy films for Viacom and Paramount Pictures as well as hundreds of animated vignettes for the WB kid's network all of which were scored with orchestra. His musical talents can also be heard on several amusement park rides including ALIENS - THE RIDE as well as several Vegas venues. Among the many interactive games Richard has scored the music for STAR TREK, WATERWORLD, CASPER, STONEKEEP, DECENT UNDER MOUNTAIN, CLAYFIGHTER and INVICTUS: THE SHADOW OF OLYMPUS.

Dragon’s Domain Records is excited to present the soundtrack to DR. HECKYL AND MR. HYPE for the very first time. DR. HECKYL AND MR. HYPE has been produced from the composer’s original elements by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer.

DR. HECKYL AND MR. HYPE is a limited edition release of 500 units. DR. HECKYL AND MR. HYPE will begin shipping on the week of March 3, 2019 and can be ordered at www.buysoundtrax.com. The first 50 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge.

01 Intro / Main Titles 2:38

02 Heckyl’s Office and Partners 0:49

03 Coral’s Love Theme 1:21

04 The First Transformation 2:26

05 Dream / Mr. Hype 2:00

06 Mr. Hype Sneaks Out / Havoc 1:49

07 Hinkle, Finebum and Hype 1:47

08 Honky-tonk Cop and Coral’s Love Theme #2 1:32

09 Hype’s Stroll Thru Town 0:38

10 Cops Chase Hype / Hype Dumps Woman 0:53

11 Druck Follows Hype 2:00

12 Madame Puree’s Last Foxtrot 2:18

13 Heckyl Remembers Coral 1:03

14 Dumping Puree / Finding Coral 2:01

15 In Pursuit / Monster On The Loose 1:00

16 Love Reprise 0:54

17 Transformation Music FX 0:52

18 Cops Follow 2:18

19 Hoo Tries The Potion 0:30

20 Followed / Liza Dropped Her Bag 3:50

21 Squish You Like a Bug 1:43

22 Hyping It Up 3:06

23 Heckyl Remembers When 0:55

24 Still Looking - In The Garbage? 0:59

25 Hoo Dies 1:08

26 Escape & Capture 0:58

27 Goodbye 0:33

28 Finale & End Titles 2:35

Total Time: 45:44

 

[Oliver79]

Das Label RRAW veröffentlicht am 22. Februar Rick Wakemans Musik für die Fußballdoku Hero auf CD.

 

[Oliver79]

Italo-Quartet von Quartet: Drei CD-Premieren und ein verlängerter Morricone.

[Oliver79]

Von Digitmovies gibt es im März nur verlängerte Re-Issues von Scores aus der Feder von Luis Bacalov und Piero Piccioni:

 

[Oliver79]

Bereits am vergangenen Freitag haben GAD Records ein Album mit Andrzej Korzynskis Musik aus der polnischen TV-Serie Tulipan (1986) veröffentlicht.

 

[Oliver79]

Columbia Japan veröffentlicht morgen ein 3-CD-Set mit Toru Foyukis Musik aus The Return of Ultraman (1971 - 72):

 

 

 

[Mephisto]

Oha! Was hat man sich denn darunter vorzustellen?

[Oliver79]

Da kann ich leider auch nur auf youtube verweisen.

 

 

[Oliver79]

Einen bisher unveröffentlichten Western-Score von Pippo Franco auf dem Unterlabel Pentamusic und Piero Piccionis Musik für die Dokureihe Islam gibt es ab dem 13. März bei Beat:

 

 

[Oliver79]

Bei Music Box Records sind am Montag zwei CDs mit jeweils zwei Scores der Elektropop-Formation Zombie Zombie bzw Alexei Aigui erschienen:

 

[Oliver79]

The Omega Productions Records veröffentlichen am 24. April die von Georges Boukoff, Anthony d'Amario und Ed Rig komponierte Musik für Pascal Laugiers Ghostland und Seppuko Paradigms Score zu Laugiers früheren Film Martyrs.

 

 

[Oliver79]

Das japanische Label Three Shells veröffentlicht  am 20.03. drei neue CDs: Toru Fuyukis Scores für den Monsterfilm Daigoro vs. Goliath (1972) und den Erotikstreifen Mandara (1971) sowie ein Album mit elektronischen Kompositionen von Toshiro Mayuzumi.

 

 

[boogiepop]

Am 11.3.2019 um 14:45 schrieb Oliver79:

The Omega Productions Records veröffentlichen am 24. April die von Georges Boukoff, Anthony d'Amario und Ed Rig komponierte Musik für Pascal Laugiers Ghostland und Seppuko Paradigms Score zu Laugiers früheren Film Martyrs.

Danke für den Hinweis. Endlich mal eine CD-Veröffentlichung von Martyrs (den Score hatten die Komponisten ja lange über ihre Website kostenlos als Download zur Verfügung gestellt). Der Titel der Veröffentlichungsreihe "Novelle Vague Horrifique" lässt hoffen, dass noch mehr Scores aus der Blütezeit des französischen Schockers Anfang der 2000er veröffentlicht werden. Vielleicht sogar mal der zu Haute Tension *daumendrück*