Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[bimbamdingdong]

Danke @ronin1975

Orchestrale Westernmusiken nehm ich immer gern.

[Alexander Grodzinski]

Am 8.2.2023 um 09:09 schrieb Alexander Grodzinski:

Neu von Quartet, zweimal Morricone:

Quartet Records presents a remastered CD reissue of Ennio Morricone’s bizarre giallo score for the 1974 thriller L’ULTIMO UOMO DI SARA (aka SARAH’S LAST MAN).

Directed by actress Maria Virginia Onorato (in her only foray into feature film directing), the movie stars Oddo Bracci as Paolo Castellano, an artist who wants to investigate the death of his ex-wife Sara long after the police declare the case closed. Aided by Sara’s friend Anna (played by Rosemary Dexter), Paolo goes through the hours of footage shot by Sara on her camera, slowly realizing that the identity of the killer is captured on film and his identity might be one of the reasons why the police wants the case closed as soon as possible.

The CD opens with the title song, performed by singer Carmen Villani, a passionate plea for peace and the memory of a doomed romance. The score features a propulsive action theme that Morricone varies and adorns with experimental percussion noises that mimic the sound of big-city traffic. Other tracks in the varied score include a heartbreaking love theme, a nice cue featuring Edda dell’Orso practicing musical scales, and a funny silent film pastiche.

The score was previously released by GDM in 2005. This new edition contains the same program produced by Claudio Fuiano and Dániel Winkler, and it has been rebuilt and remastered by Chris Malone from the first-generation stereo master tapes. The package includes a richly illustrated 8-page booklet with Gergely Hubai discussing the film and the score, and beautiful new artwork by Luca Barcellona.

1. L’ultimo uomo di Sara (4:31)
2. Quasi Rock (3:11)
3. Archi (2:19)
4. Scale (1:35)
5. Informale III (2:14)
6. Topi (1:52)
7. Stanlio e Ollio (4:10)
8. Informale IV (4:44)
9. Informale V (3:27)
10. Informale VI (2:13)
11. Informale VII (3:33)
12. Informale VIII (4:03)
13. Resquiescant (3:35)
14. Quasi Rock II (1:53)

 

Quartet Records presents a remastered CD reissue of the long-out-of-print killer soundtrack by Ennio Morricone for the 1975 police thriller IL GIUSTIZIERE (aka THE HUMAN FACTOR).

Directed by Hollywood veteran by Edward Dmytryk, the film stars George Kennedy, John Mills, Raf Vallone and Rita Tushingham. The plot is about John Kinsdale (Kennedy), a computer engineer whose family gets brutally murdered while he is working in Naples on a top secret project. Aided by fellow engineer Janice (Tushingham), Kinsdale uses a combination of his expertise as well as brute force to take revenge on the left-wing terrorists—Charles Bronson style!

Morricone’ score comes from the composer’s fertile period of poliziotteschi thrillers and “Years of Lead” dramas that he approached in a similar manner. The music features several variations on the beautiful family theme which eventually gains new meaning as Kinsdale must carry the burden on his own. The music for the terrorists features the psychedelic, percussion-heavy and often ostinato-based cues that Morricone typically reserved for the steamy chaos of his poliziottecshi titles.

The score was previously released by GDM in 2010. This new edition contains the same program produced by Claudio Fuiano and Dániel Winkler, and it has been rebuilt and remastered by Chris Malone from the first-generation stereo master tapes. The package includes a richly illustrated 8-page booklet with Gergely Hubai discussing the film and the score.

1. Il Giustiziere (4:49)
2. Terroristi! (11:31)
3. Vite Cancellate (4:56)
4. Terroristi! #2 (5:26)
5. Il Giustiziere #2 (2:57)
6. Terroristi! #3 (1:43)
7. Vite Cancellate #2 (2:48)
8. Il Giustiziere #3 (1:08)
9. Gusto di Vendetta (2:59)
10. Terroristi! #4 (6:41)
11. Vite Cancellate #3 (2:54)

Gibt es beide jetzt auch als Vinyl.

Quartet Records presents the premiere vinyl edition Ennio Morricone’s bizarre giallo score for the 1974 thriller L’ULTIMO UOMO DI SARA (aka SARAH’S LAST MAN).

Directed by actress Maria Virginia Onorato (in her only foray into feature film directing), the movie stars Oddo Bracci as Paolo Castellano, an artist who wants to investigate the death of his ex-wife Sara long after the police declare the case closed. Aided by Sara’s friend Anna (played by Rosemary Dexter), Paolo goes through the hours of footage shot by Sara on her camera, slowly realizing that the identity of the killer is captured on film and his identity might be one of the reasons why the police wants the case closed as soon as possible.

The LP opens with the title song, performed by singer Carmen Villani, a passionate plea for peace and the memory of a doomed romance. The score features a propulsive action theme that Morricone varies and adorns with experimental percussion noises that mimic the sound of big-city traffic. Other tracks in the varied score include a heartbreaking love theme, a nice cue featuring Edda dell’Orso practicing musical scales, and a funny silent film pastiche.

This premiere LP has been produced and mastered by Chris Malone using the first-generation analogue stereo master tapes and pressed in 180 GM audophile black vinyl. The package features luxurious artwork designed by Luca Barcellona.

SIDE A

1. L’ultimo uomo di Sara (4:31)
2. Quasi Rock (3:11)
3. Archi (2:14)
4. Scale (1:31)
5. Informale III (2:14)
6. Topi (1:50)
7. Stanlio e Ollio (4:06)
8. Quasi Rock II (1:50)

SIDE B

1. Informale IV (4:40)
2. Informale V (3:24)
3. Informale VI (2:11)
4. Informale VII (3:29)
5. Informale VIII (4:03)
6. Resquiescant (3:35)

 

Quartet Records presents the premiere vinyl edition of killer soundtrack by Ennio Morricone for the 1975 police thriller IL GIUSTIZIERE (aka THE HUMAN FACTOR).

Directed by Hollywood veteran by Edward Dmytryk, the film stars George Kennedy, John Mills, Raf Vallone and Rita Tushingham. The plot is about John Kinsdale (Kennedy), a computer engineer whose family gets brutally murdered while he is working in Naples on a top secret project. Aided by fellow engineer Janice (Tushingham), Kinsdale uses a combination of his expertise as well as brute force to take revenge on the left-wing terrorists—Charles Bronson style!

Morricone’ score comes from the composer’s fertile period of poliziotteschi thrillers and “Years of Lead” dramas that he approached in a similar manner. The music features several variations on the beautiful family theme which eventually gains new meaning as Kinsdale must carry the burden on his own. The music for the terrorists features the psychedelic, percussion-heavy and often ostinato-based cues that Morricone typically reserved for the steamy chaos of his poliziottecshi titles.

The score of IL GIUSTIZIERE hasn’t ever been previously released on vinyl. This premeire edition has been produced and mastered by Chris Malone using the first-generation analogue stereo master tapes and pressed in 180 GM audiophile black vinyl.

SIDE A

1. Il Giustiziere (4:49)
2. Terroristi! (11:31)
3. Gusto di Vendetta (2:54)
4. Il Giustiziere #2 (2:55)
5. Terroristi! #2 (1:41)

SIDE B

1. Vite Cancellate (4:52)
2. TerroRisti! #3 (5:21)
3. Vite Cancellate #2 (2:42)
4. Il Giustiziere #3 (1:05)
5. Terroristi! #4 (6:41)
6. Vite Cancellate #3 (2:54)

[Oliver79]

Und noch zwei weitere Dragon's Domain-Veröffentlichungen:

Zitat

Dragon’s Domain Records presents the original soundtrack to BLACK SCORPION, featuring music composed by Kevin Kiner (STAR WARS: THE BAD BATCH, PEACEMAKER, DOOM PATROL) for the 1995 action film directed by Jonathan Winfrey, written by Craig J. Nevius and starring Joan Severance, Rick Rossovich, Michael Wiseman, Bradford Tatum, Casey Siemaszko, Terri J. Vaughn, Bruce Abbott, Darryl M. Bell, Stephen Lee, John Sanderford and Garrett Morris.
Produced by Roger Corman, BLACK SCORPION was a 1995 Showtime film, starring Joan Severance as police detective Darcy Walker, secretly known to a small few as the Black Scorpion. After her father is murdered before her eyes, detective Darcy becomes the vigilante Black Scorpion to avenge him. Modeled after Batman but displaying lots more female flesh, the show was essentially a camp comedy. She had no superpowers, but like Batman, she deals justice to criminals with her capable martial arts fighting ability and a variety of technological gadgets, speeding around the city in a modified Porsche called the Scorpionmobile. Being both a Corman production and a Showtime movie, Severance displayed her share of flesh as Darcy Walker, while as Black Scorpion she focused on putting crime in its painful place.
Kiner’s score for BLACK SCORPION was primarily synths, but he did manage to include a handful of live players. The film is scored in the manner of a standard detective thriller, with tense percussion and mostly synth elements, but once Darcy dons her black leather outfit and roars around the City of Angels in her Scorpionmobile, Kiner reprises his action vibe with strings, winds, and heavy percussion.

Prolific composer Kevin Kiner began his film music career in 1985, scoring a number of television projects, including all 100+ episodes of the syndicated 1988-92 superhero TV series SUPERBOY. His subsequent, mostly television, endeavors range from animated STAR WARS series such as THE CLONE WARS and THE BAD BATCH, Westerns and cop TV shows, and DC superhero shows such as DOOM PATROL, PEACEMAKER and TITANS.

Dragon’s Domain Records presents BLACK SCORPION, featuring music from the original Showtime film composed by Kevin Kiner. The liner notes are written by noted author Randall Larson, featuring the participation of the composer. The music has been mastered by James Nelson at Digital Outland.

BLACK SCORPION is a limited edition release of 500 units and is expected to begin shipping the week of March 13th, 2023. The first 50 copies sold through our website will include an autograph by the composer.

Zitat

Dragon’s Domain Records presents THE HUMMIE MANN COLLECTION, VOLUME 2, featuring the release of music composed by Hummie Mann for two films from his extensive filmography, THE SECOND CIVIL WAR and the director’s cut of BROKEDOWN PALACE.

Released in 1999, BROKEDOWN PALACE was directed by Jonathan Kaplan, starring Claire Danes, Kate Beckinsale, and Bill Pullman, this drama film (titled after a Grateful Dead song) followed two young American friends who are imprisoned in Thailand after being tricked into carrying drugs into the country. Unknown to the composer, there was some political strife at the studio about the director being hired for the film. By the end of post production, Kaplan had been taken off the film and it was finished by others. Although Mann had scored the director’s cut of the film, another composer was ultimately hired to score the theatrical release. Mann had intended for the final score to be performed by an orchestra but found himself off the project before that could be recorded. Included here is a fully electronic version of a score that intended to be performed by an orchestra.

Released in 1997, THE SECOND CIVIL WAR was a satirical black comedy made for HBO. Starring Beau Bridges, Phil Hartman, James Earl Jones, James Coburn, Ron Perlman, and Joanna Cassidy, the film focuses on anti-immigrant sentiment in the United States after the Governor of Idaho closes his state’s borders in response to immigrants seeking asylum after India drops a bomb on Pakistan. For this project, Mann recorded the film in Salt Lake City with an 80-piece orchestra.

Two-time Emmy-award winning Canadian composer/arranger Hummie Mann has collaborated with some of Hollywood's most celebrated directors in both theatrical and television films.  His motion pictures projects include ROBIN HOOD: MEN IN TIGHTS, YEAR OF THE COMET and WOOLY BOYS. For television, his projects include P.T. BARNUM, IN COLD BLOOD, PICTURE WINDOWS – SOIR BLEU, THE RESCUERS: TALES OF COURAGE – TWO WOMEN, MASTERS OF HORROR )Homecoming and The Screwfly Solution), FIRST DO NO HARM, SUZANNE’S DIARY FOR NICHOLAS and REBEL HIGHWAY.

Born in Montreal, Mann began studying music at the age of seven.  He learned to play not only the piano, but also recorder, guitar, clarinet and oboe.  He graduated magna cum laude in 1976 from Boston's prestigious Berklee College of Music and moved to Los Angeles in 1980, where he began orchestrating and composing for such top-rated series as FAME, MOONLIGHTING, KNOT’S LANDING, ALF and THE SIMPSONS. In early 1998 Berklee Faculty member and world renowned vibraphonist Gary Burton presented Mann with Berklee’s Distinguished Alumnus Award.

Besides his busy composing career, Mann is the creator and lead instructor of the Pacific Northwest Film Scoring Program which 5 years ago became the music department of the Seattle Film Institute.  He was the founding president and a long time board member and of the Seattle Composers Alliance and for 10 years served as a governor of the Northwest Chapter of the National Academy of Recording Arts and Sciences.  Currently he divides his time between Mercer Island, Washington and Santa Monica, CA where he continues to work in the film industry.

Dragon’s Domain Records present THE HUMMIE MANN COLLECTION, VOLUME 2, including music from BROKEDOWN PALACE (Director’s Cut) and THE SECOND CIVIL WAR for the first time on compact disc, mastered by James Nelson at Digital Outland. The booklet includes liner notes written by author Randall D. Larson, with the participation of the composer.

THE HUMMIE MANN COLLECTION, VOLUME 2 is a limited edition release of 500 units. THE HUMMIE MANN COLLECTION, VOLUME 2 will begin shipping the week of March 13th, 2023

 

[Oliver79]

Und neu von Buysoundtrax:

Zitat

BSX Records presents a new release by composer Dennis McCarthy of various original pieces as well as interpretations of various classic tunes arranged for Solo Piano.

Included herein are new recordings of some of his film and television works from STAR TREK GENERATIONS, “V” THE SERIES, STAR TREK DEEP SPACE NINE and STAR TREK ENTERPRISE as well as arrangements of “When You Wish Upon a Star” from PINOCCHIO by Leigh Harline and “Over The Rainbow” from THE WIZARD OF OZ by Harold Arlen.

Among the classic standards featured are “Danny Boy,” an Irish tavern song by Frederick Weatherly, “That Lucky Old Sun (Just Rolls Around Heaven All Day)” by Beasley Smith, “Myself Times Two” by Mary Fengar Gail, “Summertime” by George Gershwin and a medley of compositions by Sergei Rachmaninoff.

Dennis McCarthy’s career has ranged from being a session keyboardist and musical director for Glen Campbell to composing Emmy award- winning scores for television’s “Star Trek” franchise. For more than 40 years, McCarthy has been an in-demand composer for films and television, scoring such shows as “V: The TV Series” (1984-85), “Dynasty” (1985-89), “McGyver” (1985-91), “Birdland” (1994), as well as made-for-TV movies such as “V: The Final Battle” (1984), “Overkill: The Aileen Wuornos Story” (1992), “In His Life: The John Lennon Story” (2000), and “A Modern Twain Story: The Prince and the Pauper” (2007). McCarthy gained prominence as one of the regular composers on “Star Trek: The Next Generation” beginning in 1987, and has continued in the same capacity for three subsequent Trek series (“Deep Space Nine,” “Voyager,” and “Enterprise”), as well as the seventh Star Trek feature film, “Generations” in 1994 and related media such as video games and shorts involving “Star Trek” characters. McCarthy’s efforts have gained him six Emmy Award nominations – and two wins, first in 1991 for his dramatic score to the “Unification, Part 1” episode of “Star Trek: the Next Generation,” and again in 1993 for his Main Title to “Star Trek: Deep Space Nine.”

McCarthy also scored music for feature films, including “McHale’s Navy” (1997), “Letters from a Killer” (1998), and “Die, Mommy, Die” (2003). McCarthy has also scored theatrical plays in Southern California. He continues scoring film projects but takes more time off to spend with his wife Patty and three children and nine grandchildren. 

BSX Records is proud to release “Tunes of Future Past” by Dennis McCarthy. The production has been mixed by Matt LaPoint and mastered by James Nelson at Digital Outland in Tacoma, Washington. The first 50 copies will be autographed by Dennis McCarthy at no additional charge,

 

[ronin1975]

Am 23.2.2023 um 10:41 schrieb bimbamdingdong:

Danke @ronin1975

Orchestrale Westernmusiken nehm ich immer gern.

Und wie findest?

[ronin1975]

Am 26.2.2023 um 13:59 schrieb Oliver79:

Und noch zwei weitere Dragon's Domain-Veröffentlichungen:

 

Grad gefunden bei spotify:

 

[bimbamdingdong]

vor 16 Stunden schrieb ronin1975:

Und wie findest?

Ganz nett. Muß aber noch genauer reinhören.

[Oliver79]

Bei Better Noise ist eine CD mit Kyle Dixon und Michael Steins Score für den Horrorfilm The Retaliators (2021) erschienen.

[Oliver79]

Von Chris' Soundtrack Corner gibt es auch wieder drei neue Veröffentlichungen:

Piedone a Hong Kong (expanded, 2 CDs) - Guido & Maurizio De Angelis

Zitat

Chris' Soundtrack Corner proudly presents an expanded double CD soundtrack to PIEDONE A HONG KONG, directed by Stefano Vanzina—better known simply as Steno, and perhaps best recognized for directing the 1972 poliziotteschi LA POLIZIA RINGRAZIA (Execution Squad) and the 1976 comedy FEBBRE DA CAVALLO ("Horse Fever"). PIEDONE A HONG KONG was the second of four "Flatfoot" poliziotteschi-comedy films directed by Steno, following PIEDONE LO SBIRRO (1973; The Knock Out Cop), and in turn followed by PIEDONE L'AFRICANO (1978, Flatfoot in Africa) and PIEDONE D'EGITTO (1980; Flatfoot in Egypt). Each of the films featured comedy Western star Bud Spencer (1929-2016) as Naples Police Inspector "Flatfoot" Rizzo, eschewing guns in favor of his forceful fists and propulsive palms to corral criminals in Italy and beyond.

Rizzo's signature theme composed for the first film embodied the De Angelis' penchant for flavorful, catchy melodies. That theme was carried over into the succeeding three sequels. It, naturally, becomes the primary motif heard in PIEDONE A HONG KONG, given an exotic electric guitar treatment that works well to identify the luxurious Hong Kong landscape as well as accommodating Rizzo's cheerful, uninhibited swagger and self-confidence, just as it would later treat the detective's adventures in Africa and Egypt. Reprising their infectious main theme from the first PIEDONE movie, brother composers and musicians Guido & Maurizio De Angelis adorn PIEDONE A HONG KONG with a delightful array of tuneful themes and a degree of ethnic Asian music which energizes Rizzo's journey, all of which treats the film's humor and action with music in turns both cheerful and suspenseful. In the album notes we examine in detail six major themes the composers configured for their score, as well as a number of source music cues for local color.

Chris' Soundtrack Corner is delighted to make PIEDONE A HONG KONG available in an extended two CD edition with 101 minutes of music, incorporating the complete film score, including a number of alternate tracks and music not used in the final film. It's one of Guido & Maurizio De Angelis' most stimulating comedy scores, with its wealth of different themes and motifs presented in a constantly varied musical mosaic of energy and excitement. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 16-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes by Randall D. Larson, who explores the making of the film and its score in detail.

...dopo di che, uccide il maschio e lo divora (expanded) - Piero Piccioni

Zitat

Chris' Soundtrack Corner proudly presents the CD soundtrack to the 1971 Spanish/Italian co-production ...DOPO DI CHE, UCCIDE IL MASCHIO E LO DIVORA. This title translates from Italian into English as the rather gruesome "After that, It Kills the Male and Devours It;" the movie was known in the US as simply MARTA. The film is a dramatic thriller about a wealthy landowner haunted by the specter of his dead mother. When he has a fling with a beautiful fugitive who bears a striking resemblance to his missing wife (who possibly ran away or may have been murdered) things turn decidedly awkward.

Based on a play by Juan José Alonso Millán, who also co-wrote the screenplay, MARTA was directed by Spanish filmmaker José Antonio Nieves Conde. His influence for MARTA's story was not so much the giallo flavorings of Dario Argento, as some might suspect from its wordy Italian title, but more from the films of Alfred Hitchcock, with a psychopath linked to a mother who dies from a morbid relationship, whose hobby is collecting insects instead of taxidermy, and a notorious vice of spying on beautiful women from hidden holes in the walls. MARTA stars Austrian actress Marisa Mell, who became very popular in Europe (especially in Italy, where she co-starred in DANGER: DIABOLIK and many other genre movies). She essays a double role here, playing both the titular Marta and the missing wife, Pilar, thereby confirming both women's resemblance. Miguel, the aristocratic landowner who lives alone in a large castle and spends his days studying insects, was played by North Irish actor Stephen Boyd (BEN-HUR, FANTASTIC VOYAGE). At the time, Boyd was in an actual relationship with Mell, so their charged sexual chemistry on screen was more than simply good acting.

Piero Piccioni's score for MARTA is an interesting and engaging mélange of original cues along with a large variety of library music or cues tracked in from other films. The repetition of motifs, textures, and full-on themes throughout the score assertively integrates the music with the drama playing out on screen. Even with a variety of individual tracks and musical sequences, Piccioni ties most of them together by recognizable instrumental patterns and designs that characterize the uncertain and potentially dangerous liaison between Marta, Pilar, and Miguel.

Chris' Soundtrack Corner is delighted to make MARTA available in this 30-track CD edition. It's one of Piero Piccioni's most stimulating thriller scores, with its wealth of themes and variations that offer an intriguing listening experience. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet featuring detailed notes by Randall D. Larson. With this expanded CD edition from Chris' Soundtrack Corner, we include Piccioni's original 11-track playlist with an additional assortment of mostly unreleased cues culled from the film's soundtrack.

Le ultime ore di una vergine - Daniele Patucchi

Zitat

Chris' Soundtrack Corner proudly presents Daniele Patucchi's masterful score to LE ULTIME ORE DI UNA VERGINE. In the 1970s, the genre of Italian melodramas found new and innovative ways to discuss heavy topics against the backdrop of romantic stories. Until abortion was made legal in 1978, Italian filmmakers shot dramas centering around the issue with varying degrees of good taste. LE ULTIME ORE DI UNA VERGINE (THE LAST HOURS OF A VIRGIN; also known as UN DOPPIO A METÀ and DOUBLE BY HALF in the American market) is one of the more constructively made examples of these abortion dramas. 

The film was co-written and directed by Gianfranco Piccioli and employs a relatively small cast, including Massimo Farinelli as Enrico, a photographer; this was his last movie. Laura, his pregnant girlfriend, is played by American-born actress Sydne Rome, best known as the fetish-geared archaeologist hypnotized by Donald Pleasance in PUMA MAN (1981). Enrico's duplicitous journalist friend Roberto is portrayed by Don Backy. 

But for fans of film scoring, there's only one real star in the movie, and that's the underappreciated composer Daniele Patucchi – one of the lesser-known (and less frequently released on record) composers of the Italian silver age. The score's central theme is introduced in "Titoli" and is written for the female character – curiously enough Patucchi titled it "Sydne's Theme," labelling it after the actress rather than the character's name. There are also brilliant recurring motives for other aspects of the story. "I mendicanti" collects several cues that use the same propulsive energy for a montage highlighting the various swindles all captured with a POV-style. The score also offers a few suspense cues, and in what is arguably the film's weirdest moment, Enrico attends a magic show and Patucchi provides a more-or-less self-contained cue for one of the story's visually most interesting sequences. The CD has two bonus sections, opening with the so-called record versions of certain cues, which includes the unused version of "Tema per Sydne," which was slated to appear on the soundtrack but was actually removed from the film. The second half of the bonus section includes all the source music heard in the movie. 

Though this is a premiere release of the film's soundtrack, a few tracks have been released before on various library compilations of Daniele Patucchi's music. Now, for the first time, Chris' Soundtrack Corner presents the score in a single package, as this Patucchi masterpiece deserves much more than having its parts scattered among various library LPs. When the cues are heard together, the score's strengths become undeniable. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet featuring detailed notes by Gergely Hubai.

 

[Oliver79]

Am 20. März gibt es wieder v. a. Neuauflagen von Beat Records. Auf der Ortolani-CD findet sich mit I tre spietati immerhin ein bisher auf CD nicht greifbarer Score.

I tre spietati / Requiescant / O Cangaceiro - Riz Ortolani

Zitat

Beat Records is pleased to reissue on CD Riz Ortolani's scores for REQUIESCANT and O'CANGACEIRO, with a special bonus: the world premiere release of his music from the film I TRE SPIETATI! This interesting Western-adventure triptych, made between 1963 and 1969, bears the authoritative signature of the great Maestro Riz Ortolani. All the material included here comes from the mono masters of the original sessions, with the exception of "O'Cangaceiro," of which only the two tracks of the original 45 have survived (the film had very little music anyway due to an artistic choice by the director). For the unreleased I TRE SPIETATI, Riz Ortolani composed a symphonic commentary that pays homage to the American Western, echoing the sound of Elmer Bernstein's "The Magnificent Seven," an epic and exciting main theme that is alternated with a tender love theme, dramatic sequences and suspenseful tension, which provide contrast to the cheerful saloon themes. Ortolani's approach for REQUIESCANT was quite different, closer in tone to his score for LA NOTTE DEI SERPENTE (1969), with saloon pieces and a delicate love theme featuring the magnificent harmonica of Franco De Gemini accompanied by the orchestra. Franco De Gemini's harmonica returns in a cavalcade theme, a motif that is reprised by the orchestra. From O'CANGACEIRO, we present the two songs issued on the original single (Ariston - AR 0347): "Mulhe Rendeira," a lively samba for choir, and "Vou caminhando," an evocative, slow bossa tempo piece for male voice. This CD, dedicated to the musical art of Riz Ortolani, is surely an essential addition to any collection dedicated to quality film music.

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

Il mercenario - Ennio Morricone

Zitat

Beat Records is proud to reissue the classic OST by Ennio Morricone for the Western movie "Il mercenario" (aka "The Mercenary"), Ennio Morricone composed a wonderful soundtrack for a genre for which he has written immortal masterpieces. The Roman Maestro surrounded himself with his usual collaborators such as Bruno Nicolai for the conducting of the orchestra, I Cantori Moderni Choir, and Alessandro Alessandroni for his famous whistling. For this CD, lasting 38:14, the original stereo master tape assembled for the 33rpm of the time was used, since to this day the complete recording sessions remain missing. Following a dramatic introduction by the winds, "Bamba vivace (Main Titles)" develops with an excited mariachi for orchestra and choir. An atmosphere of suspended mystery is provided by the whistle, orchestra and castanets in "Estasi," "Il mercenario," "The Mercenary (Reprise)," and "The Mercenary (Reprise Terza)." A moment of great romanticism and heroism is reached in "Libertà," a thrilling piece with the intervention of the Cantori Moderni. "Paco" takes up the choral Mexican motif of the opening credits, and "Ricciolo" is a piece for guitars and castanets with the melody of the organ. The climax of the soundtrack is "The Mercenary (L'arena)," arranged with whistle and castanets, trumpet and electric guitar that introduce a heroic motif for orchestra and chorus of Mexican flavor, also used by Quentin Tarantino in "Kill Bill Vol.2" in 2004. There is no shortage of Mexican folk music such as "Sueno Mejicano," "Fiesta (Mariachi)," and "Canto a mi Tierra," plus a waltz for the party scene. This CD is essential for any collection dedicated to the musical art of Ennio Morricone and the Italian Western genre.

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

 

[Oliver79]

Von Gondwana Records kommt unter dem Titel On Giacometti die von Hania Rani komponierte Musik zu der Dokumentation The Giacomettis auf CD, LP und Download:

Zitat

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family.

"On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani’s most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Łukasz Pałczyński. Plus Double sided printed insert and download code inside.

 

[Oliver79]

Emilie Levienaise-Farrouchs Musik für Living erscheint am 31. März beim japanischen Rambling-Label auf CD.

Zitat

Japanese exclusive CD release! Original Soundtrack from "LIVING", is a 2022 British drama film directed by Oliver Hermanus from a screenplay by Kazuo Ishiguro, adapted from the 1952 Japanese film Ikiru directed by Akira Kurosawa

 

[ronin1975]

Reicht hier zu erwähnen: Brian Tyler&Sven Faulconers Scream 6…

sehr laut und klingt eigentlich eher nach Orchestersamples und Standardhorrorklischeemusik lose aneinandergepuzzelt.

Im Film wars ok, ohne Bilder reichlich anstrengend und wenig geistreiche Musik. Naja, glaube von Beltramis Team wäre nach Scream 4 hier auch nichts anderes mehr bei rumgekommen… (Film gefiel mir allerdings ganz gut):

 

[Oliver79]

Neben der Sarde-CD gibt es von Music Box in dieser Woche auch noch eine Neuauflage des Albums mit Michel Legrands Kompositionen für Les feux de la chandeleur und La vieille fille.

Zitat

Remastered reissue. Limited Edition of 350 units.  
8-page CD booklet with French and English liner notes by Nicolas Magenham.

In collaboration with Warner Chappell Music France, Music Box Records is pleased to reissue on CD two original motion picture soundtracks composed and conducted by Michel Legrand. The common point with the two French films is actress Annie Girardot (Rocco and His Brothers, Docteur Françoise Gailland and Les Misérables) at the height of her popularity in the 1970s. 

Les Feux de la Chandeleur (Hearth Fires, 1972) (directed by Serge Korber) evokes the breakup of a middle-aged, provincial couple and the pain of passionate love. It recounts the separation of Marie-Louise (Annie Girardot) and Alexandre (Jean Rochefort) in a small provincial town. The years pass, but Marie-Louise lives increasingly in the hope of a reconciliation, a hope which is driving her crazy and ends up killing her. The film is at once a melodrama and a commentary on society. Michel Legrand does not attempt here to mince words or to attenuate the melodramatic aspect of Korber's film. Indeed, on the contrary, perhaps influenced by a Hollywood aesthetic in which he is immersed in this period, he composes a score in which plaintive and luxuriant strings dominate, that communicate a theme of infinite sadness. The score also includes some very "seventies" pop numbers, serving as backdrop to parties scenes as well as a nod towards musical comedy, a tribute to French cinema master Jacques Demy.

La Vieille Fille (The Old Maid, 1972) (directed by Jean-Pierre Blanc) speaks of a fledgling love, by contrast Serge Korber's film and evokes its exact opposite. It tells the story of a couple (Annie Girardot and Philippe Noiret) whose love for each other begins before either has confessed it to one another, during the gentle days of the famous French summer holidays. The film's writing brings out an atypical kind of mood, strange, depressing, and full of an affectionately mocking tone towards the characters. This sweet and melancholic film’s musical score (but also dissonant and pop) includes numerous harmonically descending marches which illustrate main character’s fall into speechlessness and reserve. Michel Legrand brought together a series of instruments both discreet and modest, but each of which nevertheless has its own prominent and perceptible colour (glockenspiel, celesta, harp, harpsichord).

Between the romantic heights of Les Feux de la Chandeleur and the melancholy delicateness of La Vieille Fille, this album presents a rich, complex and almost schizophrenic portrait of the composer Michel Legrand at the beginning of the 1970s. This reissue has been newly remastered from the original master tapes. 

 

[Stefan Jania]

Shogun hat die ersten beiden Alben zur neuen BBC-Naturdoku Wild Isles veröffentlicht. Die wunderschöne Musik stammt von, wie könnte es anders sein, George Fenton.  

 

[Oliver79]

All Score Media haben Peter Thomas' Musik für die WWII-Gurke Steiner - Das Eiserne Kreuz, 2. Teil auf CD und LP veröffentlicht. Mit einem zusätzlichen Track.

Zitat

Steiner - Das Eiserne Kreuz, Teil 2 (aka: Breakthrough, Cross of Iron II, Sergeant Steiner, Steiner - Das Eiserne Kreuz II) ist eine Deutsch-Britische Filmproduktion aus dem Jahr 1979, hochkarätig besetzt mit Richard Burton, Robert Mitchum, Rod Steiger, Curd Jürgens, Klaus Löwitsch, Michael Parks, Werner Pochath, Horst Janson, Helmut Griem, Christoph Waltz (uncredited) und vielen mehr.

Der Produzent Wolf C. Hartwig plante, finanziert mit den Millionen der immens erfolgreichen Schulmädchen-Report-Filme, eine internationale Großproduktion: Steiner - Das Eiserne Kreuz, basierend auf Willi Heinrichs Weltkriegsroman „Das geduldige Fleisch“. Regie führte Sam Peckinpah. Die Musik sollte aus der Feder von Peter Thomas kommen. Leider kamen die beiden nicht miteinander klar (Interview mit Peter Thomas in „Der Filmkomponist Peter Thomas“ von Gerd Naumann, 2009 ibidem Verlag). Letztendlich schrieb der amerikanische Komponist Ernest Gold die Musik. Der Film wurde 1977, trotz großer finanzieller Querelen, ein internationaler Erfolg.

Alsbald wurde eine Fortsetzung gedreht. Die Regie führte Andrew V. McLaglen, und bei der Filmmusik kam nun Peter Thomas zum Zuge. Der neue Regisseur und der Komponist verstanden sich auf Anhieb gut. Die Titelmelodie von Peter Thomas wurde kurz nach der Filmpremiere 1979 von der Ariola als Single veröffentlicht. Der Film Steiner - Das Eiserne Kreuz, Teil 2 konnte allerdings trotz Starbesetzung nicht mehr an den Erfolg des ersten Teiles anknüpfen. Eine bereits angedachte LP-Veröffentlichung des Soundtracks wurde vermutlich deshalb nicht mehr weiterverfolgt.

Das vorliegende Album ist die Vinyl-Premiere der Filmmusik, ergänzt um einen bisher unveröffentlichten Titel, der auf einer längst vergriffenen CD-Veröffentlichung aus dem Jahr 1993 noch nicht enthalten war.

Nach Peter Thomas Sound Orchester – Bruce Lee: The Big Boss (CD/LP ASM 048, Allscore 2020) und Peter Thomas Sound Orchester – Winnetou und sein Freund Old Firehand (CD/LP ASM 049, Allscore 2021) ist dies die dritte LP/CD-Veröffentlichung einer Reihe, die dem Komponisten Peter Thomas gewidmet ist.

Für die Illustrationen auf dem Gatefold-Cover der LP sowie dem Digipack der CD zeichnet einmal mehr Adrian Keindorf verantwortlich. Die LP erscheint auf transparent-orangefarbigem 180g-Vinyl in gefütterter Innenhülle, limitert auf 500 Exemplare.

 

[Oliver79]

Im April gibt es von Kronos Records wieder drei Alben mit amerikanischen B-Movie-Scores aus den 1950er und 1960er Jahren.

Counterplot - Paul Sawtell & Bert Shefter

Monstrosity / The Cape Canaveral Monsters - Gene (Günther) Kauer & Douglas M. Lackey

The Big Caper - Albert Glasser

 

[peter-anselm]

Kronos gräbt aber schon derbe tief, aber manchmal finden sich auf dem Grund so manche Schätze.....

[Stefan Schlegel]

vor 2 Stunden schrieb peter-anselm:

Kronos gräbt aber schon derbe tief, aber manchmal finden sich auf dem Grund so manche Schätze.....

In diesem Fall aber sicher nicht, denn das ist schon alles ziemlich dürftiges drittklassiges Zeug, was da jetzt so veröffentlicht wird. Die Sawtell/Shefter-Musik geht gerade noch so halbwegs, aber die beiden anderen sind für mich schon allein von den Soundclips her absolut ungenießbar.
Und vor allem: Kronos gräbt da ja nicht selbst, sondern ist abhängig von dem, was der Lieferant aus den USA - wohl hauptächlich der frühere Anti-Bootlegger David Schecter - so anbieten kann und wobei natürlich möglichst keine größeren Studios involviert sein dürfen.
Was die ganze rechtliche Situation hinsichtlich Europa/USA angeht, so läßt selbstverständlich Tsunami hier schön grüßen. Das läuft nicht anders ab. Kann es auch gar nicht bei solch geringen Auflagen mit 300 Stück und da ja ohnehin nicht mal die vorherigen Glasser/Sawtell/Shefter/Kauer/Lackey-Scheiben von Kronos bislang ausverkauft sind.

[peter-anselm]

Hab ich mir in etwa so gedacht. Danke für die Infos.

[Stefan Schlegel]

Schade ist halt, daß Kronos sich mittlerweile offenbar ganz von Veröffentlichungen älterer italienischer Scores abgewandt hat. Klar ist CAM/Sugar was LIzenzierungen angeht momentan mehr oder weniger tot, aber auch mit auf CD bislang unveröffentlichten Bruno Nicolai-Titeln von Edipan tut sich seit Dezember 2020 bei Kronos rein gar nichts mehr, was ich nicht recht verstehe. Ich versuche momentan noch herauszufinden, woran es da wirklich hängt.

[Oliver79]

Stefan, welche Nicolai-Titel von Edipan fehlen denn noch?

[Stefan Schlegel]

vor 2 Stunden schrieb Oliver79:

Stefan, welche Nicolai-Titel von Edipan fehlen denn noch?

Da fehlen noch eine ganze Menge an Titeln, die es früher auf Edipan und Gemelii-LPs gab - teilweise auch unter Nicolais Pseudonym Leo Flag.

Vor allem fehlt natürlich noch die herrliche Musik zum TV-Dokumentarfilm L´ALPIN L`È SEMPRE QUEL von 1972 - für mich mit der schönste Nicolai-Score überhaupt. Weitere TV-Scores sind L´ARMA MERAVIGLIOSA von 1974 (früher sogar auf einem Doppel-LP-Klappalbum veröffentlicht!) oder LETTERE DAL FRONTE von 1975.
Es gibt dazuhin mehr als ein Dutzend Library-LPs, manche davon natürlich im Easy Listening-Stil gehalten, aber auch sehr interessante sinfonische Alben wie etwa CARTOLINE, CONTRASTI, DRAMMA E PAESAGGIO oder CANTO ALLA TERRA. Recht abstrakt und dissonant gehalten ist das MYTHOS-Album und recht gut gefallen haben mir zudem auch noch KALENDIMAGGIO (nur Gitarrenstücke) oder LIBER ORGANUM (nur Orgelstücke).

Zumindest die Album Master dieser LPs müßten normalerweise alle noch vorhanden sein im Edipan-Katalog. Das erscheint aber alles nicht.

[Stefan Schlegel]

vor 1 Stunde schrieb Stefan Schlegel:

Es gibt dazuhin mehr als ein Dutzend Library-LPs, manche davon natürlich im Easy Listening-Stil gehalten, aber auch sehr interessante sinfonische Alben wie etwa CARTOLINE,

Sorry, das war jetzt ein Verschreiber. Das CARTOLINE-Album ist eher unter ziemlich "easy" einzuordnen - ich meinte eigentlich die GIRASOLE-LP.

[Oliver79]

Doch überraschend viel. Die Library-Alben kenne ich sogar in Auszügen via youtube. Vor einigen Jahren gab es ja auch eine ganze Welle von Reissues von Library-LPs auf CD aber v.a. natürlich auf LP. Da kommt jetzt auch fast gar nichts mehr von den entsprechenden Labels.