Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Oliver79]

Auf dem FSM-Board hatte die auch treue Fans, aber bis vor kurzem standen da wohl auch Lawrence selbst keine Tapes zur Verfügung, mal schauen, was sie jetzt für die Veröffentlichung verwendet haben. Stilistisch erinnert der Score schon ein wenig an Michael Smalls "Klute".

[Oliver79]

Ab dem 29. März von Dragon's Domain Records:

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Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE LEE HOLDRIDGE COLLECTION, VOLUME 2 featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST) for two feature films from his extensive filmography, AFRICA and e’LOLLIPOP.

Lee Holdridge has scored a wide range of feature films, TV movies, television series and documentaries over the last four decades, with more than 220 projects, brimming with memorable and affecting music. Holdridge is particularly known for his lyrical, harmonic orchestral music but he’s also highly adept at dramatizing action and adventure. Dragon’s Domain Records celebrates two more of them in this second collection of his work; neither of them has been released commercially until now.

Released in 1999, AFRICA tells the story of a drug-troubled fashion model struggling to survive after a harrowing car accident leaves her stranded in the African bush. Holdridge composed a sultry score featuring soprano sax infused with West African percussion and copious synthesizers for the project. However his score was ultimately not used in the finished film. As are a lot of film scores that are unceremoniously tossed out, Holdridge’s music for AFRICA is a worthy listening experience on its own.

Released in 1975, e’LOLLIPOP tells the tale of two young boys—a young white orphan named Jannie and a black boy from the local village named Tsepo who meet face-to-face in Apartheid-stricken South Africa. After his parents tragically perish in a car accident, Jannie is temporarily sent to a missionary station near Tsepo’s village until more permanent housing arrangements can be made. Jannie and Tsepo share a lollipop through the missionary window and immediately become inseparable friends. After a serious playtime injury threatens Jannie’s life, Tsepo, his fellow villagers, and the missionary doctors work tirelessly to proffer ten-year-old Jannie special medical treatment in the United States. Stricken with guilt, Tsepo takes it upon himself to travel to New York City in search of Jannie and aide his recovery. e’LOLLIPOP was directed by Ashley Lazarus starring José Ferrer, Karen Valentine, Norman Knox, and Muntu Ndebele. An alternate version of e’LOLLIPOP retitled FOREVER YOUNG, FOREVER FREE featuring a truncated version of the film was released to audiences in the United States.

Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others.

Dragon’s Domain Records is excited to bring e’LOLLIPOP and AFRICA to compact disc for the first time as part of the LEE HOLDRIDGE COLLECTION, VOLUME 2, newly remastered by James Nelson at Digital Outland. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite with the participation of the composer.

THE LEE HOLDRIDGE COLLECTION, VOLUME 2 is a limited edition release of 500 units. THE LEE HOLDRIDGE COLLECTION, VOLUME 2 will begin shipping the week of March 29, 2021.

 

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Dragon’s Domain Records, to be distributed by BuySoundtrax, will be releasing KILLER PARTY for the first time, featuring music composed by John Beal (TERROR IN THE AISLES, THE FUNHOUSE) for the 1986 horror comedy directed by William Fruet, written by Barney Cohen and starring Martin Hewitt, Ralph Seymour, Elaine Wilkes and Paul Bartel.

 

Written by Barney Cohen of FRIDAY THE 13TH: THE FINAL CHAPTER fame, KILLER PARTY is a Canadian supernatural slasher film with comedic tongue-in-cheek overtones directed by William Fruet. A native of Alberta, Canada, Fruet directed a stream of low-budget horror flicks throughout the 1970s–80s including THE HOUSE BY THE LAKE, FUNERAL HOME, and SPASMS, before venturing into television to direct episodes of FRIDAY THE 13TH: THE SERIES, WAR OF THE WORLDS, and GOOSEBUMPS.

 

Released the same year as the seminal slasher APRIL FOOL’S DAY, KILLER PARTY lacerates the traditional April Fool’s joke to the nth degree. After a series of false introductions, the real plot of the movie revolves around a trio of young ladies who make a pact to pledge Sigma Alpha Pi, a popular sorority at their university during Hell Week. In spite of Mrs. Henshaw’s warning, the sorority sisters decide to hold their annual April Fool’s Night hazing ritual at Pratt House anyway. And the body count starts to rise…

 

The music for KILLER PARTY was composed and conducted by John Beal. A combat veteran of the United States Marine Corps, Beal is a prolific composer and conductor internationally recognized for his work with major recording artists including Elton John, Gladys Knight, Olivia Newton-John, Ella Fitzgerald, B.B. King, and Deadmau5 to name a few. As principal conductor of the Hollywood Symphony Orchestra, Maestro Beal has traveled the world directing orchestral performances in cities including London, Tokyo, Antwerp, Prague, Taipei, Kuala Lumpur, and Luxembourg. In addition to his extensive conducting experience, Beal is also an accomplished composer having scribed scores for forty-five theatrical motion pictures including THE FUNHOUSE, TERROR IN THE AISLES and multiple television series.

Beal’s eclectic score for KILLER PARTY is the quintessential amalgam of 1980s synthesizer technology fused with live performances. Composed in just two weeks with the help of trusted friend and orchestrator Douglas Timm), Beal amassed fifty hefty minutes of avant-garde horror music far surpassing the strict budgetary limitations. An arsenal of high-tech gadgets including a Yamaha DX7, Fairlight CMI, and a mellotron were intermixed with a modest string section comprised of eight musicians and one player each performing trumpet, trombone, and tuba.

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of KILLER PARTY, featuring music composed by John Beal, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by author and composer Brian Satterwhite, with the participation of the composer. 

KILLER PARTY is a limited edition of 500 units. KILLER PARTY is expected to start shipping the week of March 29th.

 

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Dragon’s Domain Records, to be distributed by BuySoundtrax, will be releasing DIE, MOMMY DIE! for the first time, featuring music composed by Dennis McCarthy (STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, V: THE FINAL BATTLE, MACGYVER) for the 2003 comedy directed by Mark Rucker, written by Charles Busch, starring Charles Busch, Natasha Lyonne, Jason Priestley, Angela Paton, Frances Conroy and Philip Baker Hall. 

DIE MOMMIE DIE! (2003) is a romantic comedy/murder mystery written by and starring female impersonator Charles Busch. Created as a parody/homage to 1950s and ‘60s women’s melodramas, the film is lightly humorous with plenty of dark comedy as it tells the story of fallen pop diva Angela Arden, who schemes to murder her inattentive and berating husband Sol in order to be with her young gigolo lover Tony, only to have his daughter Edith and their son Lance interfere with her carefully wrought plans.

The film’s musical score is the work of Dennis McCarthy, best known for scoring more than 250 episodes of STAR TREK across four iterations after the original series, THE NEXT GENERATION, VOYAGER, DEEP SPACE NINE and ENTERPRISE. During the 1980’s through the 2000’s, McCarthy was among the most durable and dependable TV composers in the business. From his experience scoring romantic suspense TV movies, McCarthy immediately understood the kind of musical treatment this film needed. McCarthy’s music budget for this film accommodated an orchestra of some 30 instruments; to that group he added a 15-player rhythm section to handle unique flavors and beats as needed. While the orchestral ensemble creates the tension, drama, and mood of the story, the rhythm section defines the period and maintains the rhythm, color, and groove throughout the music cues. 

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere release of DIE, MOMMY, DIE!, featuring music composed by Dennis McCarthy, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall Larson, featuring the participation of the composer.

DIE, MOMMY, DIE! is a limited edition of 500 units. DIE, MOMMY, DIE! is expected to start shipping the week of March 29th.

 

 

[Oliver79]

Die am 20. Juli bei Blue Underground  erscheinende neue limitierte Blu-Ray von Gary Shermans Horrorfilm Dead & Buried wird auch eine Bonus-CD mit der bisher unveröffentlichten Filmmusik von Joe Renzetti enthalten.

 

[Oliver79]

Music Box am 1. April: "Rare Soundtracks Vol. 4", Serge Franklin & Nicolas Erréra

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Original Motion Picture Soundtracks: LÉGITIME VIOLENCE, MESRINE, TWIST AGAIN À MOSCOU, MES MEILLEURS COPAINS, LE SANG DES AUTRES, LE CRIME D'AMOUR, L'EMPREINTE DES GÉANTS

World Premiere CD Release. 3-CD set.
16-page CD booklet with French and English liner notes by Albéric Marsolet.

In collaboration with AMC, Amplitude, Larghetto, Studiocanal and EMI Music Publishing, Music Box Records presents a 3-CD set featuring seven French soundtracks composed between 1979 and 1989: Légitime Violence (Quest for Justice) composed by Jean-Marie Sénia, Mesrine composed by Jean-Pierre Rusconi, Twist again à Moscou (Twist Again in Moscow) and Mes meilleurs copains (My Best Pals) both composed by Michel Goglat, Le Sang des autres (The Blood of Others) composed by Matthieu Chabrol, Le Crime d'amour composed by Jean Wiener and L'Empreinte des géants (The Imprint of Giants) composed by Karl-Heinz Schäfer.

This fourth Rare Soundtracks boxset puts the spotlight on the 1980s in all their political and social harshness, with their sense of self-derision but also their nostalgic side. Between the French vigilante movie (Légitime violence) and the comedy movies of Jean-Marie Poiré (Twist again à Moscou and Mes meilleurs copains), Music Box Records once again offers film music as eclectic as it is rare and cult. As for the soundtrack of Mesrine by Jean-Pierre Rusconi, it is the Grail whose release will delight many fans of this music which draws its inspiration from Giorgio Moroder and Ennio Morricone. This present edition also features the father-son partnership from the Chabrol family (Le Sang des autres, a lesser-known film adaptation of Simone de Beauvoir's novel, with Jodie Foster in the leading role), Jean Wiener (Le Crime d'amour by Guy Gilles, with a song performed by Macha Méril), as well as Karl-Heinz Schäfer (L’Empreinte des géants, with the sensitive bandoneon of Juán José Mosalini).

This remastered 3-CD boxset includes a 16-page booklet with liner notes by Albéric Marsolet, discussing the films and the scores. The release is limited to 350 units.

 

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World Premiere Release.
Remastered edition.
8-page CD booklet with French and English liner notes by Sylvain Pfeffer.

In collaboration with Warner Chappell Music France, Warner Music and Sony ATV, Music Box Records proudly presents the fourth volume of the collection Great Television Soundtracks dedicated to two original television soundtracks composed by Serge Franklin: Des grives aux loups (Thrushes to the Wolves, 1984) and Le juge est une femme - Le secret de Marion (The Judge Is a Woman - The Secret of Marion, 1995).

In 1984, Pathé and the French channel Antenne 2 decide to adapt Claude Michelet’s regionalist novel, Des grives aux loups, into a TV series. Broadcasted in six fifty-two-minute-long episodes, the series attracted a large audience and was awarded the 7 d’Or for Best TV series and was nominated in the Best Original Score category. Des grives aux loups marked the reunion between Philippe Monnier (L'Enfant des loups) and French composer Serge Franklin after two lesser-known television films. Recorded in Rome, this relatively intimate score is built around three reoccurring themes. The main theme is a bright and stirring waltz. Sung by Charles Dumont, the theme opens each episode of the TV series. The second theme is in line with the pastoral tradition through its use of the oboe. The third theme is associated with the Vialhe family. Sadder and more nostalgic, it is mainly performed by oboes and an accordion. This theme is also adapted as a song, Un peu d’enfance, performed by Charles Dumont.

For Le secret de Marion, an episode from the TV series Le juge est une femme, directed by Didier Albert and written by Daniel de Saint-Hamont (a frequent collaborator with director Alexandre Arcady), Serge Franklin delivers a dynamic score, sometimes jazzy, with an array of electronic drum loops, which reminds Sandra, princesse rebelle composed the same year.

Remastered from the original recording sessions, the program has been supervised by Serge Franklin. The 8-page booklet features an essay by Sylvain Pfeffer discussing the series and the scores based on an original interview with the composer. The release is limited to 300 units.

 

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World Premiere CD Release.
8-page CD booklet with liner notes by Daniel Schweiger.

In collaboration with Enka, Music Box Records presents the premiere CD release of the original soundtracks of Chinese director Larry Yang’s two feature films composed by Nicolas Errèra (The Butterfly, Adoring): Mountain Cry (2015) and My Other Home (2017).

Adapted from the award-winning novel by Ge Shuiping, Larry Yang’s acclaimed 2015 Chinese film Mountain Cry is both mystery and love story as the blame for the explosive death of a mute’s husband falls upon the wastrel bachelor Han Chong (Ziyi Wang). Mountain Cry’s lush score was recorded at Angel Studios in London, with the film premiering as the closing presentation at South Korea’s Busan International. With his poetic score, French composer Nicolas Errèra powerfully speaks to these depths and heights of human nature, as communicated in melody both intimate and emotionally sweeping.

Errèra's second collaboration with Yang titled My Other Home is about former NBA player Stephan Marbury based on his journey to China to find a new, winning destiny as the star player for The Beijing Ducks. Errèra’s tender melodies bring Marbury new hope, the melancholy tone of piano, violin and a subtle electronic beat rising with noble, brass determination that makes for this winningly inspirational sports film about team spirit.

The 8-page booklet features liner notes by Daniel Schweiger, discussing the films and the scores, based on new comments by Nicolas Errèra and Larry Yang

 

 

[Oliver79]

GAD Records haben zwei CDs mit weiteren Scores von Andrzej Korzynski veröffentlicht. Der

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Fenders Klavier, analoger Synthesizer, pulsierender Bass und Echo, Echo, Echo ... Musik aus Andrzej Jerzy Piotrowskis psychologischem Film ist ein hypnotisches Mysterium, das von denselben Musikern gespielt wird, die hauptsächlich unter dem Namen Arp Life aufgenommen haben.

Die verworrene persönliche Intrige mit Leonard Pietraszak und Małgorzata Braunek in den Hauptrollen bleibt bis heute eines der besten Bilder in der Produktion des Regisseurs (auf dem Niveau der "Geschäftsreise" des Fernsehens). Andrzej Korzyński mit innovativer und ansprechender Musik im zeitgenössischen Film. Zu diesem Zeitpunkt gewann das Arp Life-Projekt eine besondere Bedeutung für seine Leistungen - die Aufnahmen für "The Grand System" sind in der Tat eine weitere Session, die von diesem legendären Projekt durchgeführt wird. Es besteht aus Stücken voller Angst, basierend auf einem aggressiven Synthesizer-Puls und Themen, die in Reverbs getaucht sind und Fenders psychedelisches Klavier enthüllen. Dies ist die gleiche Richtung wie Man of Marble, die sechs Monate später realisiert wurde - nur viel mutiger und seltsamer.

"Wielki System" erscheint in einer überarbeiteten Ausgabe der Originalbänder aus den Archiven des CeTA Audiovisual Technology Center in Wrocław. Dies ist eine weitere Frucht (nach der Musik aus der Serie "Czterej pancerni i pies" und den Aufnahmen von Wojciech Kilar aus den Filmen "Cała naprzód" und "Giuseppe in Warschau") der Zusammenarbeit mit den Hütern der Erinnerung an den Wrocław Fabular Film Studio. Die CeTA-Sammlung umfasst über 10.000 einzigartige Filmkostüme und unveröffentlichte Filmmusik von Wojciech Kilar, Adam Sławiński, Piotr Hertl, Włodzimierz Nahorny und Jerzy Derfl.

 

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Ein Film voller Angst und dunkler Geheimnisse. Ein psychologisches Spiel, das sich auch in bewegender Musik widerspiegelt und oft in ebenso dunklen Farben gemalt wird. Einer der interessantesten Soundtracks von Andrzej Korzyński aus den 90ern des letzten Jahrhunderts kehrt auf das Album zurück - in einer völlig neuen Version.

"Panna Nobody" ist einer der bekanntesten Filme der 90er Jahre. Basierend auf dem Roman von Tomasz Tryzna erzählt er von einem 15-jährigen Mädchen, das vom Land in die Stadt zieht und sich nicht in der neuen Realität wiederfinden kann . Neu getroffene Freunde haben einen erheblichen Einfluss auf ihre Psyche und ziehen sie in ein gefährliches Spiel. Das dunkle Gemälde wurde von der faszinierenden Musik von Andrzej Korzyński begleitet, der als eine seiner größten Errungenschaften dieses Jahrzehnts gilt. Es handelt sich hauptsächlich um elektronische Musik, die auf monotonen, düsteren Sequenzen basiert und mehreren lyrischen Themen gegenübergestellt wird, die Korzyńskis melodischen Sinn enthüllen.

Die ursprünglichen Aufnahmesitzungen während des Soundtracks des Films wurden stark bearbeitet. Einige dieser Maßnahmen wurden anlässlich der ersten CD-Version wiederholt, die 1996 vom Koch-Verlag veröffentlicht wurde. Den Aufnahmen wurden Fragmente von Dialogen aus dem Film und Soundeffekten hinzugefügt, und einige Themen wurden durch zusätzliche Instrumentalparts und Loops ergänzt . Diese Ausgabe wiederholt einige der aus der ersten CD-Veröffentlichung bekannten Materialien, lässt jedoch Fragmente aus, die sich ausschließlich auf Dialoge und Sounddesign konzentrieren. Stattdessen erscheinen (soweit möglich) die Originalversionen der Themen und anderer Kompositionen, die unter Berücksichtigung des Films erstellt wurden.

"Panna Nikt" erscheint in einer überarbeiteten Form, angereichert mit einer neuen Broschüre. Dies ist ein weiteres Album von GAD Records mit Filmmusik, das zu einem der Schlüsselelemente des Verlagskatalogs geworden ist. Dies wird durch die in den letzten Monaten veröffentlichten Alben von Wojciech Kilar, Adam Sławiński, Adam Walaciński und Henryk Kuźniak bestätigt. Die nächsten werden bereits vorbereitet.

 

 

[Oliver79]

Zwei neue Titel von Keepmoving Records: 

[Oliver79]

Das japanische Label Kojima Rokuon hat ein Album mit den von Somei Sato komponierten Scores für Like the Dyer's Hand (2019) und Foujita (2015) veröffentlicht.

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Original soundtracks from two films music composed by Somei Sato. LIKE THE DYER'S HAND is a award winning documentary film about the life of a legendary Chinese Poet and literary woman, Chia-ying Yeh. FOUJITA is a biography film about Japanes-born French painter, Tsuguharu Fujita.

 

[JuergenH]

Am 7.4.2021 um 14:36 schrieb Oliver79:

Zwei neue Titel von Keepmoving Records: 

 

Interessant, musste mich erst vergewissern, dass Eugen Doga = Evgeny Doga.  Er hat einige wirklich schöne Filmmusiken komponiert. "The Prodigal Cat" kenne ich jetzt nicht, aber zu seinen bekanntesten Themen gehört der fantastische Walzer aus "My Sweet and Tender Beast":

 

P.S. noch eine Anmerkung am Rande - wusste ich bisher auch nicht, aber google hat es zum Vorschein gebracht:  Eugen Doga hat eine eigene moldavische Briefmarke und eine eigene moldavische Münze, wow!

Bilder konnte ich nicht einfügen, deshalb zwei ebay-Links (die Verkäufer kenne ich NICHT):

https://www.ebay.com/itm/MOLDOVA-2015-Famous-People-Music-Composer-Eugen-Doga-m-s-Sc852-Mi-Klb-897-MNH/303899521164

https://www.ebay.com/itm/NEW-2017-EUGEN-DOGA-80-YEARS-FROM-BIRTH-50LEI-PROOF-COIN-CERTIFIED-BOX/164252675316

 

[Stefan Schlegel]

Am 6.2.2021 um 22:35 schrieb Stefan Schlegel:

Wichtig und überraschend in dem Zusammenhang: Es ist das erste Mal seit mehr als einem Jahr, daß Digitmovies mit den beiden Fusco und Fidenco-Titeln überhaupt mal wieder was aus dem CAM-Katalog bringen darf.

Auch Four Flies darf wieder aus dem CAM-Katalog fischen. Am 30. April erscheint bei denen Armando Trovajolis IL VUOTO auf LP,  von dem es an 1964 nur eine CAM-EP mit vier Tracks gab:
https://www.fourfliesrecords.com/product/il-vuoto/

[Stefan Schlegel]

Am 7.2.2021 um 14:14 schrieb Oliver79:

Von Decca kommen in der Tat als nächste Re-Issues von Mondo Cane und I Malamondo auf CD und LP.

IL MALAMONDO läuft übrigens bei CAM Sugar inzwischen als "Morricone Segreto No. 2"-Album.

Morgen kündigt CAM Sugar auf Decca "Morricone Segreto No. 3" an, offenbar mit IL BANDITO DAGLI OCCHI AZZURRI einen der wenigen Jazz-Scores von Morricone aus dem Jahr 1980.
Das Filmcover läßt sich unschwer erkennen, auch wenn es noch halb abgedeckt ist auf der Facebook-Seite von CAM Sugar:
https://www.facebook.com/CAMSugarMusic/

VÖ-Termin soll Juli sein.
Die letzte Ausgabe von BANDITO war von Beat von 2013 - von daher fragt man sich, warum nun schon wieder. Eventuell mit irgendwelchen Alternativ-Cues, die bei den Recording Sessions dabei waren.

[Alexander Grodzinski]

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CD includes Digital Download - 24 Bit Wav, MP3 and Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth for several projects from his filmography presented here CD for the first time.

This collection of rare and previously unreleased tracks composed by Alan Howarth kicks off with the score for ARCADE, directed by Albert Pyun and written by David S. Goyer. Released in 1993, ARCADE tells the story of a psychologically compromised suburban teen named Alex (Megan Ward) who discovers her mother has committed suicide. One day after a particularly troubling day at school, Alex and her friends dart off to Dante’s Inferno, a local video game hangout, where a new virtual reality game called “Arcade” is being test-marketed by Difford (John de Lancie) a tech company snake-oil salesman who rewards the curious teens with home console versions of the game. Unknown to the kids, those who dare play the game and lose are imprisoned inside the console by a digital human-hybrid villain named Arcade (Johnathan Fuller). Over time the game infiltrates and manipulates their minds. Ultimately, it’s left up to Alex and Nick (Peter Billingsley) to convince the game’s lead programmer to help them free their friends and end Arcade’s deadly reign of technological terror.

In addition to Howarth’s score for ARCADE, THE ALAN HOWARTH COLLECTION, VOLUME 2 includes a block of odds and ends from other projects in his filmogragraphy.

For THE BEASTMASTER, Howarth composed a piece of music that was meant for the trailer but ultimately went unused. For BATTLE BEYOND THE STARS, at the request of composer James Horner, Howarth composed a piece of source music for the scene that introduces Gelt, played by Robert Vaughn. MONSTERS was a weekly horror anthology series that typically featured a different monster antagonist each week, ranging from animatronic puppets from a fictional children’s TV show to weapon-wielding mutated lab rats. Some of the episodes blended comic elements into the horror and were adapted from stories written by noted horror authors including Stephen King. One episode entitled “Far Below” from Season Three was produced by Debra Hill who had previously produced HALLOWEEN, THE FOG, HALLOWEEN II, and ESCAPE FROM NEW YORK for John Carpenter. Debra contracted Alan to compose this kind of music for the half-hour episode. Finally, THE OSTERMAN WEEKEND was released in 1983 and was the last film directed by Sam Peckinpah, the film was largely scored by Lalo Schifrin. Howarth was brought in at the last minute to write some additional suspense music for the film. 

Alan Howarth, in addition to being a composer, is an accomplished sound designer and editor, having worked on films such as STAR TREK: THE MOTION PICTURE, POLTERGEIST, TOTAL RECALL, ARMY OF DARKNESS, BRAM STOKER’S DRACULA, STARGATE and many others. He has been a frequent music collaborator with John Carpenter on his films beginning with ESCAPE FROM NEW YORK in 1980 and including HALLOWEEN II & III, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, THEY LIVE and PRINCE OF DARKNESS and Alan has scored many films on his own, including RETRIBUTION, HALLOWEEN 4 & 5, THE DENTIST, HEADLESS, BOO!, EVILUTION, BASEMENT JACK and most recently, HOUSE AT THE END OF THE DRIVE, BRUTAL and PROMISE.

Dragon’s Domain Records presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth. The booklet contains liner notes written by author and composer Brian Satterwhite, including insights by composer Alan Howarth on the creation of the music.

THE ALAN HOWARTH COLLECTION, VOLUME 2 is a limited edition release of 500 units and is expected to begin shipping the week of May 10th and can be ordered at www.buysoundtrax.com. The first 50 copies sold through our website will include an autograph by the composer.

ARCADE
1. Arcade – Main Titles (3:34)
2. Arcade Opening (3:14)
3. Into the Machine (1:16)
4. Virtual Worlds (4:35)
5. Explorations (3:59)
6. Find the Light (2:18)
7. Digital Topics (4:21)
8. The Virtual Mind (5:13)
9. Arcade’s Challenge (3:18)
10. Game Over (2:49)
11. Arcade - Main Titles
(Ghost in the Machine Mix) (2:59)

THE BEASTMASTER
12. Heroic Theme (2:06)

BATTLE BEYOND THE STARS
13. Gelt’s Chamber (1:31)

MONSTERS
14. Far Below (5:46)

THE OSTERMAN WEEKEND
15. Doggie in the Window (2:10)
16. Stingers (1:54)
17. End Credits (Unused) (4:17)
Total Time: 56:09

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CD includes Digital Download - 24 Bit Wav, MP3, Digital PDF

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the original motion picture soundtrack for INSEMINOID, featuring music composed, arranged and performed by John Scott for the 1981 science fiction horror film directed by Norman J. Warren, written by Nick and Gloria Maley and starring Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives, Barrie Houghton, Rosalind Lloyd, Victoria Tennant, Trevor Thomas, Heather Wright, David Baxt and Judy Geeson.

INSEMINOID tells the story of a crew of interplanetary archaeologists who are threatened when an alien creature impregnates one of their members (Geeson), causing her to develop a psychosis and mutilate her colleagues one by one. INSEMINOID was directed by British filmmaker Norman J. Warren, known primarily for a series of late ‘70s-’80s horror films, including SATAN’S SLAVE, PREY, BLOODY NEW YEAR and the like and produced by Richard Gordon known for a variety of films but specializing in horror movies such as THE HAUNTED STRANGLER, FIEND WITHOUT A FACE, CORRIDORS OF BLOOD, and DEVIL DOLL. Warren shot the film during May and June 1980, with a £1 million budget, half of which was financed by Hong Kong’s Shaw Brothers (their first investment in a British film). 

To compose the film’s score, Warren brought in distinguished orchestral composer John Scott, who by 1981 had composed wide-ranging scores for some 86 films and television series, beginning with James Hill’s 1965 Sherlock Holmes mystery, A STUDY IN TERROR. Scott’s efforts in the genre have included films such as Freddie Francis’ TROG, the West German thriller MARK OF THE DEVIL PART II, Kevin Connor’s THE PEOPLE THAT TIME FORGOT, and the magnificent score for 1980’s time-travel film, THE FINAL COUNTDOWN (along with GREYSTOKE, KING KONG LIVES, THE WICKER TREE amongst the 70 scores subsequent to INSEMINOID). Warren and Scott had worked together previously on his film, SATAN’S SLAVE. 

When it came to their next collaboration, INSEMINOID, using even a small orchestra was beyond the budget; leaving electronics as the only viable means. In the process, Scott made use of synthesized rock-and-roll elements (low basso structures, electronic drums, and in particular a recurring, 8-note motif shared between electric guitar and synths, most notably in the main titles and end credits, mixed over a variegated abundance of synthetic substances. As the mixing of the electronic score took shape, enhanced by many hours of multi-tracking and overdubbing, Scott was aided in recording the score by the Pinewood Studios music mixer Otto Snel.

For nearly sixty years, John Scott has established himself as one of the finest composers working in films today, having collaborated with the foremost producers and directors worldwide, including Richard Donner, Mark Damon, Hugh Hudson, Norman Jewison, Irvin Kershner, Daniel Petrie, Roger Spottiswoode and Charlton Heston, among others. He has been an essential voice in international scoring that thoroughly belies his occasional over-looked stature in the midst of 'brand name' composers. Frequently associated with Hollywood's finest composers, including Jerry Goldsmith, Elmer Bernstein and John Williams, John Scott has created a body of work that stands up as some of the finest music ever written for film.

Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere compact disc release of INSEMINOID, featuring music composed, arranged and performed by John Scott, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall Larson

INSEMINOID is a limited edition of 500 units and is expected to start shipping the week of May 10th.

1. Main Title (2:38)
2. The Chrysalis (3:36)
3. Virus (2:25)
4. Death in Space (4:03)
5. The Creature Strikes (3:22)
6. The Insemination (2:13)
7. Sandy’s Metamorphosis (4:03)
8. Sandy’s Warning (1:21)
9. Sandy Kills (2:29)
10. Birth of the Twins (2:44)
11. Death of Sandy (2:28)
12. Inseminoid (3:55)
Total Time: 35:45

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CD includes Digital Download - 24 Bit Wav, MP3, Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to GHOULIES IV, featuring music composed by Chuck Cirino for the 1994 horror comedy directed by Jim Wynorski, written by Mark Sevi and starring Peter Liapis, Barbara Alyn Woods, Stacie Randall, Raquel Krelle, Bobby Di Cicco, Tony Cox, Arturo Gil, Antonia Dorian and Ace Mask . GHOULIES IV continues the longtime collaboration between filmmaker Jim Wynorski and composer Chuck Cirino, which includes films such as CHOPPING MALL, DEATHSTALKER II, NOT OF THIS EARTH, TRANSYLVANIA TWIST, A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and, most recently, A DOGGONE ADVENTURE.

GHOULIES IV centers around a retired occultist turned police officer named Jonathan Graves (Peter Liapis) whose ex-lover Alexandria (Stacie Randall) summons creatures from the netherworld to hunt down a powerful amulet that will set Faust the demon ruler free upon the world. Meanwhile, two ghoulies waddle through an open porthole onto the streets of Los Angeles dishing out mayhem and madness as they search for a way home.

The electronic score for GHOULIES IV employs an arsenal of scoring techniques Cirino initially explored on CHOPPING MALL. It’s chock-full of frenetic sixteenth-note synth licks, regurgitating melodies, bizarre synth soundscapes, punctuations of synth slap bass, and a litany of pulsating percussion.

Chuck Cirino did not start his career as a composer, but rather as a programmer in Stroudsburg, Pennsylvania for a Public Access cable TV station, where he learned how to create TV shows by himself, without a crew. In his spare time, he experimented with the station’s video equipment and created a series of genre productions that allowed him the opportunity to learn how to incorporate special effects into his work. After relocating to California, Cirino transitioned into directing high-end special effects television commercials. His first work as composer was for the 1980 cult film GYPSY ANGELS, which starred Vanna White and Richard Roundtree. Since then he has scored films for Roger Corman, directed music videos for bands like Earth, Wind & Fire and The Dickies’ KILLER KLOWNS FROM OUTER SPACE, and has recorded over 40 music soundtracks for feature films including SORCERESS, HARD TO DIE, TRANSYLVANIA TWIST, and many others. Most recently, he has scored A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and A DOGGONE ADVENTURE.

Chuck has worked as a producer, director, filmmaker, videographer, animator, special effects technician, editor, and composer. He executive produces and directs WEIRD TV, a television series featuring weird Americans, bizarre news, unbelievable events and outlandish skits. Chuck’s credits also include executive producer and director of the Sci Fi Channel projects, WORLDWIDE WEIRD and WARPED IN SPACE, and BABERELLAS, an independent Sci Fi feature distributed by Xenon Pictures.

Dragon’s Domain Records is excited to bring GHOULIES IV to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author and composer Brian Satterwhite, with the participation of the composer.

GHOULIES IV is a limited edition release of 500 units.  As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge.

GHOULIES IV is expected to begin shipping the week of May 10th.

1. Cinetel Films Logo/
Alexandra Summons Faust/
Ghoulies Arrive/Main Titles (6:14)
2. Convenience Store Robbery/Shootout (2:42)
3. Alexandra Summons Faust Again (2:35)
4. Kate and Johnny toWarehouse Crime Scene (4:26)
5. Alexandra Seduces Scotty (2:07)
6. Jeanine Steals Johnny’s Jewel (1:34)
7. Faust Takes Control/Hell Pays (1:36)
(Vocal & Lyrics: Alexa Anastasia)
8. Alexandra Sets Trap (4:11)
9. Johnny Enters Warehouse (4:22)
10. Alexandria Into Johnny’s Apartment (5:25)
11. Ghoulies Hitch a Ride in the Truck (1:29)
12. Alexandra Kidnaps Jeanine (3:00)
13. The Ritual Begins/Johnny Fights Bongo (4:32)
14. The Final Battle (Faust Banished) (6:21)
15. Johnny and Kate Kiss (1:21)
16. Ghoulies Steal the Jewel/End Cast (2:41)
17. Ghoulies IV End Credits (3:23)
Total Time: 58:40

 

[Stefan Schlegel]

Am 21.4.2021 um 17:18 schrieb Stefan Schlegel:

Die letzte Ausgabe von BANDITO war von Beat von 2013 - von daher fragt man sich, warum nun schon wieder. Eventuell mit irgendwelchen Alternativ-Cues, die bei den Recording Sessions dabei waren.

Die Frage hat sich erledigt, denn es wird eh nur eine Vinyl-Ausgabe geben zum Record Store Day und insofern wohl mal wieder keine CD.
Mal macht man eine CD, mal keine, mal nur Vinyl, mal nur digitalen Download - schon ein recht chaotische Treiben: das die da abziehen:

"One of the very rare chances – quite possibly the only chance - to listen to the genius of Ennio Morricone engaging with the jazz musical language. His soundtrack for the film The Blue-Eyed Bandit (Il Bandito Dagli Occhi Azzurri by Alfredo Giannetti, 1980) is marked by the very singular 5/4 time which creates a relentless rhythm that perfectly matches the crime atmosphere of the film. This new edition of The Blue-eyed Bandit is part of the Morricone Segreto series by CAM Sugar and it is remastered from the original tapes preserved in the historical CAM Sugar archives. This is the first official vinyl reissue of the score since its original release in 1982 on the Cerberus label. Pressed exclusively for RSD Drops on Blue vinyl."

[peter-anselm]

Resteessen mit Alan Howarth....nein danke. Inseminoid  kennt ich nicht, aber ich mag Scott. Cirino kommt mir nicht auf den Plattenteller, da hab ich noch so viel besseres was gehört werden muss.

Über allem steht aber das grausame Design der vorgenannten CDs.

[Stefan Schlegel]

vor 47 Minuten schrieb peter-anselm:

 Inseminoid  kennt ich nicht, aber ich mag Scott.

INSEMINOID ist rein elektronisch und musikalisch ziemlich belanglos. Kann man kaum als typischen Scott-Score bezeichnen. Würde ich persönlich niemals kaufen wollen. Einmal gehört vor vielen Jahren und das wars dann auch für mich.

[Angus Gunn]

vor 16 Minuten schrieb Stefan Schlegel:

INSEMINOID ist rein elektronisch und musikalisch ziemlich belanglos.

Mit Ausnahme des End Titles. Den fand ich immer schon klasse. (Der Link ist mit "Main Title" beschriftet, das ist aber falsch). Alles andere klingt, wie Christian Kessler mal schrieb, wie 10 gehäutete Kaninchen.

 

[JuergenH]

Auf den Scott werde ich diesmal verzichten.

GHOULIES IV kenne ich jetzt nicht - aber GHOULIES von Richard Band auf der Intrada CD mit Re-Animator höre ich sehr gerne. Teil 4 dürfte aber wohl dennoch nichts für mich sein.

 

 

 

 

[Oliver79]

Von Beat Records kommen am 30. April zwei neue CDs mit Scores von Francesco De Masi bzw. Giacomo Dell'Orso.

Zitat

 

Beat Records is excited to release on CD, for the first time ever, the original soundtrack by Francesco De Masi for Fuga Dal Bronx, directed in 1983 by Enzo G. Castellari. It's a wonderful score that until now was only available on vinyl, released by our publishing group at the time of the film's release. For this soundtrack, Maestro de Masi skillfully weaved electronics with a real orchestra to great effect, riding the high-energy wave of the synthesizers and a powerhouse orchestral ensemble, arranged with true talent.

The CD is in our Classic Collector Releases (CDCR) series, with mastering by Enrico De Gemini, graphic layout by Daniele De Gemini and liner notes by Filippo de Masi. Also coming soon is a special video made in celebration of this release, featuring an interview by Filippo de Masi with Enzo G. Castellari, living icon of Italian cinema. Keep an eye on our socials so you don't miss the show!

 

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In our DDJ series, dedicated to funky cinema sounds, we are proud to present on CD the previously-unreleased score for the episodic movie directed by Domenico Paolella in 1979, Belli e brutti ridono tutti. The pen behind the soundtrack belongs to a Maestro very dear to us, Giacomo Dell’Orso, husband of the divine Edda and a fine musician, orchestra conductor and arranger for his friend, Maestro Nico Fidenco. After the Main Titles featuring a cool Rock ‘n’ Roll tune, we have a score dominated by the Disco sound, a vein that exploded worldwide and which sees the prominent voice of Giancarlo Balestram in the end credits over a vibrant rhythmic tapestry. The CD is packaged in a standard jewel case, with mastering by Enrico De Gemini, liner notes by Marco Ferretti and graphic layout by Daniele De Gemini. Also coming soon in celebration of this release is a video interview by Marco Ferretti with Giacomo Dell’Orso about his career in film music.

 

[yakuza]

Fuga Dal Bronx (dt.: The Riffs II – Flucht aus der Bronx): was für eine grandiose Italo-Trash-Granate (passend schimpft sich so auch der Titelheld des Streifens, dagestellt von dem mittlerweile untergetauchten/verschollenen/verstorbenen Mark Gregory), aufgewertet durch den immer wieder schmierig-sadistischen Henry Silva und vollends veredelt durch de Masis Score. Die Musik ist mitreißender End-Discosound mit denen für italienische Genre-Komponisten typisch schwelgerischen Melodien. Eigentlich ist die Musik viel zu gut für diesen brutalen Mad Max-Murks (incl. eines bombenlegenden, altklugen Knirpses - unfassbar; bei meinem letzten USA-Besuch musste ich unbedingt einen Originalschauplatz auf dem Roosevelt-Island in New York besuchen). Tolle Veröffentlichung.

 

[Angus Gunn]

vor 25 Minuten schrieb yakuza:

Tolle Veröffentlichung.

Finde ich auch. War schon lange überfällig. Bei der ellenlangen Trackliste habe ich mich zuerst erschrocken, aber es scheint so zu sein, dass der alte LP-Schnitt mit dabei ist.

[Stefan Schlegel]

vor einer Stunde schrieb Angus Gunn:

Finde ich auch. War schon lange überfällig. Bei der ellenlangen Trackliste habe ich mich zuerst erschrocken, aber es scheint so zu sein, dass der alte LP-Schnitt mit dabei ist.

Das Tracklisting auf der Beat-Seite könnte geradezu einem Witzblatt entsprungen sein.

Wenn man genau hinschaut, ist da doch wirklich direkt hintereinander zweimal dasselbe drauf: Zweimal jagen sich je 30 Escape Sequence-Cues in derselben Reihenfolge und fast immer auch mit denselben Tracklängen. Totaler Quatsch und offenbar nur künstlich hochgezogen.
Die LP-Sequenzierung fängt jedenfalls laut Beat ab Track 18 an.
Einziger nennenswerter Unterschied zwischen Filmsequenzierung und LP-Programm ist, daß bei der "film sequence" noch die 23 Sekunden "Comanche Rock"  am Anfang mit dabei sind.

[Oliver79]

Von Howlin' Wolf Records kommt eine CD mit Richard Einhorns Score für den Slasher The Prowler.

Zitat

 

Howlin' Wolf Records proudly presents THE PROWLER by composer Richard Einhorn (SHOCK WAVES, DON'T GO IN THE HOUSE). At the height of the success of slasher films came THE PROWLER (1981), one of the many independently produced entries in the subgenre. The film was directed and co-produced by Joseph Zito, best known for films including FRIDAY THE 13th: THE FINAL CHAPTER and action films MISSING IN ACTION, INVASION USA, and RED SCORPION. THE PROWLER is also known for its hard-edged violence with special effects by Tom Savini.

Composer Richard Einhorn's early work in film scores was primarily electronic. With THE PROWLER, the composer transitioned to using live acoustic instruments. The score for THE PROWLER is full of lush orchestrations for strings, winds, and brass. While THE PROWLER does incorporate some electronic studio effects, they are used to enhance the impact of certain moments rather than be the focal point. Assembled and mastered for CD by Ian Zapczynski from 15 ips master tapes, THE PROWLER features the complete score in 35 tracks.

With liner notes by Ian Zapczynski based on research and an in-depth interview with Richard Einhorn, THE PROWLER showcases a 16-page full-color booklet including Nestor Puchetti's original illustrations with art direction and designs by Luis Miguel Rojas. THE PROWLER is a limited pressing.

 

 

[Oliver79]

Und mehr Filmmusik aus Polen via GAD Records, diesmal mit einem Album, das Krzysztof Komedas bisher unveröffentlichte Scores zu Mam tu swój dom (1963) und Ubranie prawie nowe (1964) vereint.

 

[Oliver79]

Neu von Keepmoving Records

Zitat

 

“Gagarin: First in Space” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 052
Film Date: 2013
Album Date: 2021
Tracks: 30
Time: 62″33

KeepMoving Records announces expanded CD release of Gagarin: First in Space by George Kallis.

Directed by Pavel Parkhomenko, Gagarin tells the amazing true story of Soviet cosmonaut Yuri Gagarin, the first man to enter outer space on 12 April 1961. Starting off with his childhood and exploring the trails that lead to his selection, the film doesn’t shy away from showing some of the more gut-wrenching moments of the Soviet space program, including all the failures that lead to the eventual rise of the first man in space.

The music for Gagarin was written by Cyprus-born composer George Kallis, whose scores for Lev Yashin: The Dream Goalkeeper and Sadan Hanim are also available from KeepMoving Records. This earlier effort from the composer features a majestic symphonic score that naturally has the necessary action set pieces for the incredible efforts behind the space travel, but it also features a number of lyrical passages for Gagarin’s concerns as well as a wonderful love theme for the hero’s family.

This extended CD release includes virtually the entire score, assembled under the supervision of the composer. The liner notes by Gergely Hubai discuss the film as well as give a track-by-track breakdown of the score.

 

Zitat

 

“Doctor Liza” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 051
Film Date: 2020
Album Date: 2021
Tracks: 15
Time: 42″05

KeepMoving Records’ latest collaboration with Yuri Poteyenko is Doctor Liza, based on a unique true story.

Directed by Oksana Karas, Doctor Liza tells the story of Russian humanitarian Elizaveta Glinka (Chulpan Khamatova), whose wedding anniversary takes an unexpected turn when she decides to help a young girl in trouble. By compressing several true events from Liza’s life into one action-packed day, the film shows just how the life of a social worker can get as she must balance between the challenges of private life while also helping those left behind by the failing health care system.

The music by Yuri Poteyenko is a hybrid thriller score featuring a small ensemble of string players mixed in with suspenseful electronic passages to capture the essence of the human drama. Though the first half of the film is left mostly unscored, the second half features a variety of exciting mystery cues while also adding a bit of heist music into the mix as Doctor Liza takes it upon herself to possibly break the law as she tries to help out. The CD also premieres Poteyenko’s original conception of the opening sequence which eventually went unused.

The liner notes by Gergely Hubai discuss the film, its hero and of course the musical score, featuring original comments from the composer himself.

 

Zitat

 

“Three Days Till The Spring” Original Motion Picture Score

Limited Edition of 100 copies
Label: KMRCD 050
Film Date: 2017
Album Date: 2021
Tracks: 17
Time: 43″26

KeepMoving Records releases the premiere film score of Russian composer Anton Lubchenko from Leningrad-set action thriller Three Days Till The Spring.

Directed by Alexander Kasatkin, Three Days Till The Spring takes place during the 1000-day siege of Leningrad (now St. Petersburg). As a military operation destroys the storage of an experimental medicine institute, the threat of deadly dangerous viruses means that the city faces a biological catastrophe with only three days left till spring. It’s up to Dr. Olga Maritskaya (Elena Lotova) and an NKVD officer Vladimir Andreev (Kirill Pletnyov) to save the city from a threat that is sadly all too topical nowadays too.

Inspired by the film music of the 1960s and 1970s (when these war epics were first made in Soviet cinema), the main theme from Lubchenko’s score is a beautiful waltz, inspired by an earlier title of the movie (Leningrad Waltz). Besides this recurring waltz (an admittedly unique addition to a thriller score), the composer also provides a powerful theme for the people suffering as well as a handful of powerful organ cues lingering ominously over the besieged city. The score was recorded by the Mariinsky Symphony Orchestra in the Theatre Concert Hall under the baton of Anton Lubchenko.

The liner notes by Gergely Hubai discuss the film and the musical score, featuring original comments from the composer himself.

 

 

[Lars Potreck]

vor 2 Stunden schrieb Oliver79:

Neu von Keepmoving Records

 

Three Days Till The Spring ist schon bestellt. Der Kallis Score ist ein Extended Release im Vergleich zur Erstveröffentlichung von MSM.

[Oliver79]

Beat Records veröffentlichen am 31.05. drei weitere CDs.

Zitat

CFSoundtracks and Beat Records are pleased to release on CD the complete edition of the Armando Trovajoli soundtrack for "Straziami, ma di baciami saziami" (aka "Torture Me, but Kill Me with Kisses" – "Fais-moi très mal mais couvre-moi de baisers") a co-produced Italian–French comedy directed in 1968 by Dino Risi, with a screenplay by Age, Scarpelli and Dino Risi, photography by Sandro D'Eva, editing by Antonietta Zita and music score by Armando Trovajoli. The film was produced by Edmondo Amati (for Fida Cin.ca., Rome) and Productions Jacques Roitfeld (Paris). The cast included Nino Manfredi, Pamela Tiffin, Ugo Tognazzi, Moira Orfei, Livio Lorenzon, Gigi Ballista, Piero Tordi, Samson Burke, Checco Durante, Edda Ferronao, Michele Cimarosa, Ettore Garofalo, Gino Rocchetti, Mara Krupp, Antonietta Fiorito, Donatella Della Nora and Francesco Sormano. Without a doubt, the main theme song "Io ti sento" (Tr.24), sung by '60s pop star Marisa Sannia, was a big hit in Italy, launched on the 45 rpm single (Cetra / SP 1382) coupled with an orchestral version on the B side. The song has an orchestral accompaniment with cool beat arrangement, while the film version of the theme song is a different take with more of a beat performance (Marc 4 style, without orchestra), which sadly did not survive on the session tapes, having possibly been recorded during a different session. The recurring main theme is surely one of the most lovely themes written by M°Trovajoli in his long and successful career. The composer reprises it with many different variations, including a performance by the choir of I Cantori moderni di Alessandroni with tango style,with a little beat style and the very famous Italian song from the '30s, "Creola" (whose verse inspired the title of this movie), presented here as the film version with the reprise of the "Straziami tango". Armando Trovajoli composed a nice love theme for Marino and Marisa introduced with a waltz tempo and then reprised with a nice violin and fisa version. Lounge music has a huge significance in the career of M°Trovajoli during the late '60s and early '70s, here represented by the sweet, slow music of "Moonkiss" for small ensemble with predominant organ the wild restaurant shake "Beat trombone", swing music for the deaf-mute tailor. In 1997, Beat Records issued a CD featuring a trio of soundtracks by Armando Trovajoli, coupling twelve selections from this score with the album assembly of "La più bella serata della mia vita" and unreleased selections from "Dimmi che fai tutto per me." Returning to the mono master tapes, we were lucky to discover more unreleased material, for a total length of 49:17.

Album co-produced by Claudio Fuiano & Daniele De Gemini for CFSoundtracks and Beat Records Company, remastering by Claudio Fuiano & Enrico De Gemini, graphic design by Claudio Fuiano & Daniele De Gemini.


- Beat Records

Zitat

Beat Records is pleased to present on a double CD set the complete score by Piero Piccioni for the movie IO SO CHE TU SAI CHE IO SO (aka "I Know that You Know that I Know"), a comedy directed by Alberto Sordi in 1982, with a screenplay by Rodolfo Sonego, Alberto Sordi and Augusto Caminito, photography by Sergio D'Offizi, editing by Tatiana Casini Morigi and music score by Piero Piccioni, starring Alberto Sordi, Monica Vitti, Isabella De Bernardi, Salvatore Jacono, Giuseppe Mannajuolo, Micaela Pignatelli, Pierfrancesco Aiello, Ivana Monti, Claudio Gora, Sandro Paternostro, Napoleone Sgrugli and Cesare Cadeo.

Piero Piccioni, in the tradition of the splendid combination Sordi/director, Piccioni/musician, composed a soundtrack filled with all those elements typical of Alberto Sordi's Cinema, which all fans adore. With singular talent, Piccioni alternates extremely romantic themes with funky dance music, sometimes with a Latin American flavor, such as "Volo di mezzanotte," which sees the great Brazilian artist Toquinho performing on guitar. At the time, General Music released a 33 rpm (GM 30702) containing fourteen selections prepared by the composer. In 2009, GDM Music released a CD reissuing the original album for the first time, with eleven unreleased tracks. Today we re-release that expanded CD and include a second CD of unreleased material (total duration 139:13) using the stereo master tapes from the original recording session. This double-CD set is proof that in addition to top class music, Maestro Piccioni always wrote and recorded a huge amount of alternative versions with numerous different instruments, many of which were not used in the final version of the film.

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

Zitat

Beat Records is happy to present on CD the original score by Alessandro Alessandroni with love theme by Ennio Morricone for IL GIRO DEL MONDO DEGLI INNAMORATI DI PEYNET (aka LE TOUR DU MONDE DES AMOREUX DE PEYNET) a 1974 animated movie directed by Cesare Perfetto, with a screenplay by Cesare Perfetto, Raymond Peynet and Vezio Melegari. For this masterpiece of Italian animation (which enjoyed incredible success in Japan), Alessandro Alessandroni composed a simply delicious musical score describing through music all of the countries visited by the famous sweethearts, and for the composer, it was a real tour de force writing themes inspired by the musical traditions of each territory, such as a Greek sirtaki, Renaissance music for Florence, Russian choirs for Red Square, Tyrolean choirs for rivers of beer, mystical religious moments for a Roman sunset and San Pietro and pop music for the United States--in short, a musical trip around the world. Ennio Morricone wrote a very romantic love theme called "Forse basta (un fiore)," which is reprised with numerous instrumental arrangements, including performances by the Cantori Moderni choir. This beautiful motif by Maestro Morricone is also given a vocal treatment, performed by the wonderful voice of the late Demis Roussos. At the time, a 33 rpm record with twenty selections in stereo was released on the Seven Seas label (FML-25) in Japan, where it had incredible success in cinemas, and over the past twenty years, this evergreen soundtrack has been reissued in Italy and Japan on both CD and vinyl. Finally, it returns to the market in this complete edition with 38 tracks from the stereo master tapes of the original sessions, for a total duration of 76:10, much to the delight of fans of high quality film music. Enjoy this sincere tribute to Alessandro Alessandroni and Ennio Morricone, always in the our hearts.

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


- Beat Records