Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[ronin1975]

Atlas - Andrew Lockington

Zun Netflix ‚Blockbuster‘ mit JLO hat Lockington wieder für Regisseur Peyton einen Score in seiner üblichen Actionmasche geliefert: Gesichtslos, wenn auch flott. Nie langweilig, aber auch kein Track dabei, bei dem man denkt ‚wow gleich nochmal‘. Bisschen emotional immerhin. Gefällt mir besser als RAMPAGE, aber das heisst natürlich auch nicht viel.

 

[TheRealNeo]

Hatte echt mal viel Hoffnungen in Andrew Lockington gesteckt, aber so viel spannendes gab es da in den letzten Jahren nicht von ihm, oder?

[Alexander Grodzinski]

Noch mehr von BSX:

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1, featuring music from several films from the composer’s lengthy filmography, focusing on Westerns and World War II centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills.

FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1 includes music from RED MOUNTAIN, CIMARRON, THE INDIAN FIGHTER, THE ADVENTURES OF HUCKLEBERRY FINN, UNTAMED, THE FURIES, TASK FORCE, DESTINATION TOKYO, HOTEL BERLIN, MISTER ROBERTS and OBJECTIVE, BURMA!.

Composer, conductor and impresario,

 Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more.

Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA.

Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year.

This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson.

WESTERNS
1. THE PIONEER SUITE 10:23
Music From Red Mountain, Cimarron and The Indian Fighter
2. THE ADVENTURES OF HUCKLEBERRY FINN Overture 6:18
3. UNTAMED 7:18
Suite: Prelude; Capetown Street; By the River; Vorwarts & Finale
4. THE FURIES 7:01
Suite: Prelude; Juan & Vance; The Mark Of The Furies;
The Romance Revived & The King Of The Furies
WORLD WAR II
5. TASK FORCE Liberty Fanfare 0:50
6. DESTINATION TOKYO 6:22 A Montage For Orchestra
7. HOTEL BERLIN Cafe Waltzes 8:32
8. MISTER ROBERTS 3:19
Suite: Prelude; Main Title; Final Scene; End Cast
9. OBJECTIVE, BURMA! 12:06
Suite: Prelude; Take-Off; In the Plane; Jumping; The Patrol;
Stop Firing; No Landing; Up the Hill; Invasion; Retreat; Finale
Total Time: 62:33

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2, featuring music from several films from the composer’s lengthy filmography, focusing on Comedy and Thriller centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills.

FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2 includes music from THE HORN BLOWS AT MIDNIGHT, ON BORROWED TIME, THE PARADINE CASE, THE DEVIL DOLL, SORRY, WRONG NUMBER, DARK CITY, NIGHT UNTO NIGHT and NIGHT AND THE CITY.

Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more.

Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA.

Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year.

This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson.

COMEDIES
1. THE HORN BLOWS AT MIDNIGHT 6:46
Athaneal The Trumpeter; Overture For Trumpet And Orchestra
2. ON BORROWED TIME Suite: Prelude; Miss Nellie, Pud, & Mr. Brink;
Where the Woodbine Twineth 10:44
THRILLERS
3. THE PARADINE CASE Rhapsody for Piano and Orchestra12:20
4. THE DEVIL DOLL Souvenir de Paris Waltzes 6:21
5. SORRY, WRONG NUMBER Passacaglia For Orchestra 7:01
6. DARK CITY Suite: Prelude; Stroll in the Dark; Finale 12:36
7. NIGHT UNTO NIGHT Dusk: A Setting For Orchestra 8:29
8. NIGHT AND THE CITY Nightride For Orchestra 8:05

Total Time: 72:42

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents BACKSTAIRS AT THE WHITE HOUSE, featuring music composed by Morton Stevens for the 1979 television miniseries directed by Michael O’Herlihy, developed for television by Gwen Bagni and Paul Dubov. The cast included Leslie Uggams, Olivia Cole, Louis Gossett Jr., Robert Hooks, Bill Overton, David Downing Celeste Holm, Lee Grant, Larry Gates, Jan Sterling, Eileen Heckart, John Anderson, Harry Morgan, Estelle Parsons, Barbara Barrie, Andrew Duggan, Leslie Nielsen, Hari Rhodes, George Kennedy, Ed Flanders, Victor Buono, Barry Sullivan, Paul Winfield and Robert Vaughn.

BACKSTAIRS AT THE WHITE HOUSE was a 1979 NBC television miniseries presented in four parts and based on the 1961 book ‘My Thirty Years Backstairs At The White House’ by Lillian Rogers Parks (with Frances Spatz Leighton). The series, produced by Ed Friendly Productions, was the story of behind-the-scenes workings of the White House and the relationship between the staff and the First Families. BACKSTAIRS AT THE WHITE HOUSE was nominated for 11 Emmy Awards at the 31st Primetime Emmy Awards, winning for Outstanding Achievement in Make-up.

At its heart, BACKSTAIRS AT THE WHITE HOUSE is a story about resilience, self-sacrifice, and the enduring human spirit. Through its diverse cast of historical characters, the series celebrates the unsung heroes whose contributions often go unnoticed in the annals of American history. Whether it's the dedicated housemaids, the skilled chefs, or the loyal butlers, each member of the White House staff plays a vital role in upholding the traditions and dignity of the presidential residence.

The music for BACKSTAIRS AT THE WHITE HOUSE was crafted by composer extraordinaire Morton Stevens.

Stevens gained industry-wide recognition for his work as the composer for the mega-hit television series HAWAII FIVE-O, which boasted one of the most recognizable themes in the history of television. Stevens’ music for BACKSTAIRS AT THE WHITE HOUSE is a veritable journey through six decades of period-accurate American folk music, with a European romantic twist. The modest-sized orchestra helps to create a close intimacy between the characters on screen and the audience. The main theme, often expressed in the upper strings, is peppered throughout the entirety of the series. The individual presidential administrations are scored as if each were its own “episode” within the larger framework of the narrative. There are individual themes and motifs representing the Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower families. Along the way, Stevens’ music evolves throughout the various administrations, mirroring the ongoing maturation of the United States as a nation.

Born In Newark, New Jersey in 1929,

Stevens studied composition at the Juilliard School and became the arranger and later, the musical director, for Sammy Davis, Jr., Frank Sinatra, Dean Martin and Liza Minnelli. He also served as music director for CBS and was a prolific composer and arranger for television for over 30 years. Best known for the famous theme music for HAWAII FIVE-0, for which he won two Emmys, Stevens contributed music to many television shows, including GUNSMOKE, POLICE WOMAN, THRILLER, WAGON TRAIN, THE MAN FROM U.N.C.L.E., CIMARRON STRIP, THE WILD WILD WEST and TINY TOON ADVENTURES. Stevens also served on the board of directors for the Academy Of Television Arts And Sciences. Surprisingly, he only scored a few feature films including ACT OF PIRACY, THEY STILL CALL ME BRUCE, CRACKING UP and THE RAIDERS. Stevens scored 101 TV movies and nine motion pictures in a three-decade career that began in the early 1960s and ran until 1990. A former student of Jerry Goldsmith, he co-scored the 1981 miniseries MASADA and Arthur Hayley’s WHEELS in 1978, for which he both received Emmy nominations.

The liner notes are written by author and composer Brian Satterwhite. The music has been mastered by James Nelson at Digital Outland.

The music is presented on two CDs. When the score for BACKSTAIRS AT THE WHITE HOUSE was recorded , it was common for studios or networks to house the master tapes wherever storage space was available, even if proven detrimental to the materials over time. There was no foresight in preserving these reels for posterity. Many recordings during this period (especially for television) have not survived the passage of time. Magnetic tape warps and will eventually disintegrate if not properly stored in precise conditions. Several tracks of BACKSTAIRS AT THE WHITE HOUSE weathered significant damage which can be heard in the final transfer. Effort was taken to mend the damaged reels and digitally remove as much of the unwanted artifacts as possible. However, a handful of tracks were scarred beyond repair and are properly labeled as “Damaged” on this album presentation.

BACKSTAIRS AT THE WHITE HOUSE is a limited edition release and is expected to begin shipping the week of May 20th and can be ordered at www.buysoundtrax.com.

CD 1 EPISODE 1 (Taft, Wilson, Harding)
1. Main Theme (2:12)
2. The Story Begins / Getting To Work /Montage (4:48)
3. The Fan / Sneaking Food / Lillian in Catholic School (2:25)
4. Maggie’s Fine Dress / The Tafts Leave /Enter The Wilsons (4:19)
5. May 1914 / The Death of Mrs. Wilson / Hardly Dignified (2:17)
6. War Is Imminent / A Letter / War Is Over / Wilson Collapses (4:06)
7. Lincoln’s Bed / Fooling Senators / Meet The Prince Of Wales (7:03)
8. Wilsons Leave White House / Preparing For The Hardings / End Credit Theme (2:48)
9. Forgotten Coat / Contaminated Blood / Harding Walks Out / The Suicide / Goodbye (5:19)
EPISODE 2 (Harding, Coolidge, Hoover)
10. Annie’s Farewell / Efficient Coolidge / Bowl Of Peanuts (3:38)
11. Coolidge To The Dress Shop / Miss Jaffrey Resigns (4:11)
12. Repo Men Take Freezer / Lillian Goes To Work / First Day On The Job / Coming Up (5:26)

SOURCE CUES
13. Marching Band (Source) (3:57)
14. Party (Source) (3:24)
15. Piano A (Source) (2:00)
16. Victrola (Source) (0:24)
17. The Charleston (Source) (0:45)
18. Music Box (Source) (0:16)

DAMAGED TRACKS
19. Spring 1912* / Mrs. Taft’s Stroke* / Lillian’s Surgery* / Lillian’s Crutches* (4:34)
20. Recap Episode 1 / Illegal Booze / Teapot Dome* / Mrs. Harding and Maggie (3:31)
21. Spring 1912* (Alternate) (0:22)
22. Main Theme* (Alternate) (2:06)
Total Time - Disc One: 70:51

CD 2 EPISODE 3 (Hoover, Roosevelt)
1. Main Theme (Long Version) (2:25)
2. Roosevelts Take Over / Lillian and FDR Bond / First Maid / Cleaning Frenzy (3:28)
3. I Am Never Going To Leave You / Salary Cut / Louis Howe Is Dead / Maggie Retires (5:50)
4. Miss LeHand Has A Stroke / Fraser Says Goodbye / FDR Talks of War (6:09)
EPISODE 4 (Roosevelt, Truman, Eisenhower)
5. Recap Episode 3 (3:46)
6. 1942 / Nothing But A Towel / Maggie Returns / Tea Tasting / No Excuse For Slovenliness (2:32)
7. Take Me Home / Fraser’s Death (3:20)
8. Lillian and FDR / The Trumans Take Over (4:15)
9. Mushroom Cloud / The Scrapbook / Blair House / Shootout / Surprise Birthday Party (5:22)
10. The Mays Funeral / Maggie’s Last Breath (5:01)
11. Lillian’s Last Day / I Am Going To Write A Book (3:40)
12. End Credit (1:05)
SOURCE CUES
13. Happy Days Are Here Again (Source) (2:14)
14. Newsreel (Source) (0:38)
15. Radio Play (Source) (0:56)
16. Big Band (Source) (0:45)
17. Piano B (Source) (0:42)
18. Party A / B (Source) (3:16)
19. Piano C (Source) (0:27)
DAMAGED TRACKS
20. Recap Episode 2 / Money’s Gone* / Secret Service (5:33)
21. Face To Face With Hoover / Henry Loses His Job* / Maggie Collapses (6:47)
22. Main Theme* (Short Version) (1:29)
Total Time - Disc Two: 70:38

Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring music composed by David Michael Frank ( ABOVE THE LAW, THE STAIRCASE, THE MOLE). This fourth collection of David Michael Frank’s film music includes music from four projects from the composer’s extensive filmography that show off two sides of the composer’s incredible talent. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 includes music from POISON IVY, CALL ME,

 SUBURBAN COMMANDO and GOING UNDER. The music is presented on two CDs.

Released in 1992, POISON IVY is an erotic thriller directed by Katt Shea, starring Drew Barrymore, Sara Gilbert, Tom Skerritt and Cheryl Ladd. It tells the tale of Ivy (Barrymore), a teenage temptress who befriends an introverted high school student named Sylvie (Gilbert). Ivy weaponizes her seductive charm to worm her way into the sanctity of Sylvie’s affluent family. For POISON IVY, Frank composed a delicious main theme for Ivy, a quarter-note melody played by the violins with violas doubling an octave below supported by an eighth-note ostinato in the harp.

Released in 1988, CALL ME, written by Karyn Kay and directed by Sollace Mitchell, starring Patricia Charbonneau, Stephen McHattie, David Strathairn, and Steve Buscemi is about a young journalist named Anna (Charbonneau) who strikes up a relationship with an obscene phone caller whom she mistakes for her boyfriend and in the process becomes entangled in a mysterious murder. Frank’s rhythm-heavy electronic score for Call Me was recorded live using three synthesizer players, Simmons electronic drums, fretless bass, and an EWI or electronic wind instrument.

Released in 1991,

 SUBURBAN COMMANDO was written by Frank A. Cappello, directed by veteran Burt Kennedy, starring Hulk Hogan, Christopher Lloyd and Shelley Duvall. Hogan plays Shep Ramsey, an interstellar warrior hellbent on a mission to capture intergalactic despot General Suitor (William Ball). Ramsey fails miserably at his objective and is subsequently ordered by his superiors to 'take a vacation’. Infuriated, Ramsey smashes the control systems of his spacecraft and crash-lands on Earth. He befriends a weak-willed architect named Charlie (Christopher Lloyd) and is marooned with Charlie’s family until his spacecraft can be repaired. Frank’s rousing orchestral score for

 SUBURBAN COMMANDO is brimming with colloquial riffs, familiar spoofs, and heart-felt homages to a variety of musical masterpieces.

Finally, also released in 1991, GOING UNDER was written by Darryl Zarubica and Randolph Davis, directed by Mark W. Travis, starring Bill Pullman, Wendy Schaal, Chris Demetral, Ned Beatty, Robert Vaughn, Roddy McDowall, Richard Masur, Joe Namath and Michael Winslow. The plot revolves around the submarine USS Sub Standard and its mission to recover a nuclear weapon ahead of the Russian navy in the aftermath of an international disaster. Frank’s pun-filled orchestral score is chock-full of quotes, quips, and musical chortles.

David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition.

Dragon’s Domain Records presents THE DAVID MICHAEL FRANK COLLECTION, Volume 4, featuring the world premiere releases of POISON IVY, CALL ME,

 SUBURBAN COMMANDO and GOING UNDER, digitally mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer.

THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is presented on two CDs and is a limited edition release of 500 units. THE DAVID MICHAEL FRANK COLLECTION, Volume 4 is expected to begin shipping the week of June 19th, 2024.

The first 100 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge.

CD 1
POISON IVY
01. Ivy’s Theme (3:38)
02. A Merciful Murder (3:07)
03. Ivy and Georgie (2:58)
04. Balcony Blues (2:28)
05. Mother and Child (2:01)
06. Dances With Nymphs (2:20)
07. Seduction (3:20)
08. Damn Dog (1:57)
09. Sex On The Hood (2:43)
10. Unhappy Birthday (2:22)
11. Funerals and Forlorn Friends (3:19)
12. Road Curves / The Switch (3:10)
13. From IV to Ivy (3:34)
14. Sylvie’s Discovery (5:34)
15. End Credit Suite (4:00)
16. Sex On The Hood (Alternate) (2:21)
CALL ME
17. Anna’s Theme (2:58)
18. Witness To A Murder (1:23)
19. Erotic Fantasies (4:30)
20. Web Of Deception (3:41)
21. A Taste Of Forbidden Fruit (2:18)
22. Desperate Escape (1:38)
23. Fatal Finale (3:58)
Total Time, Disc 1 - 70:16

CD 2
SUBURBAN COMMANDO
01. Main Title (4:27)
02. Dashing Through (3:44)
03. Earthlings Suck (5:04)
04. The Big Apple (1:13)
05. Zoot Suitor (3:00)
06. Guns and Toes (3:50)
07. Rabbit Punch (4:28)
08. Repo Man (5:04)
09. Mighty Marsha (1:48)
10. E.T. and She (2:23)
GOING UNDER
11. Main Title (2:54)
12. Water Musik (1:30)
13. Cracked Crew (2:24)
14. Sub Trek (1:45)
15. Dutch Treat (2:42)
16. Loop The Loop (3:12)
17. A Biscuit, A Basket (3:01)
18. The Hunt (3:38)
19. The World Watches (1:19)
20. Time Out (1:42)
21. Cap’n Biff (2:46)
22. Sub Sushi (2:44)
23. End Credits (4:13)
Total Time, Disc 2 - 69:49

 

Dragon’s Domain Records presents the world premiere release of the original motion picture soundtrack for  DEATH HUNT, featuring music composed by  Jerrold Immel (HOW THE WEST WAS WON, DALLAS,  MEGAFORCE) for the 1981 action adventure film directed by Peter R. Hunt (

 ON HER MAJESTY’S SECRET SERVICE), written by Michael Grais and Mark Victor, starring Charles Bronson, Lee Marvin, Angie Dickinson, Andrew Stevens, Carl Weathers, Ed Lauter, Scott Hylands, Jon Cedar, William Sanderson, Maury Chaykin, August Schellenberg, Len Lesser and Henry Beckman.

 Yukon Territory, November 1931... On his way to Rat River, trapper Albert Johnson (Bronson) comes across an organized dog fight. Johnson breaks up the fight as one of the dogs is fatally injured. Johnson offers the dog’s owner, Hazel (Lauter), money to buy it but Hazel takes offense to Johnson’s intrusion and vows to catch up to him.

Later, Hazel takes several of his men and follows Johnson to an isolated cabin where he has been keeping to himself and allowing the dog time to heal from its wounds. After an unsuccessful attempt to ambush Johnson, the dog is killed and while Johnson is trying to defend himself from Hazel’s mob, he kills one of the men.

Hazel returns to the nearest town at Rat River to report what’s happened to Sergeant Edgar Millen (Marvin), the officer in charge of the local Royal Canadian Mounted Police outpost. Millen is suspicious of Hazel’s interpretation of the events that have occurred. He reluctantly agrees to investigate Hazel’s story and forms a posse and sets out for the cabin.

Arriving at the cabin, Millen attempts to parlay with Johnson, expressing his suspicions about Hazel’s claims and offering Johnson his protection if he will return to the outpost until his case can be heard by a judge. The parlay is disrupted by one of Hazel’s men opening fire on Johnson and in the course of defending himself, Johnson kills more of Hazel’s men. Johnson is now well fortified inside the cabin while the posse is outside, with the disadvantage of having to deal with night falling and the temperature dropping.

Later in the evening, Millen has one of his men prepare some dynamite to use on the cabin. After the dynamite goes off, some of the men approach the cabin and Johnson suddenly appears, opening fire and killing one of Millen’s men. Johnson disappears in the aftermath, setting off one of the largest manhunts in the history of the region...

 DEATH HUNT was produced by Raymond Chow, along with veteran producer Albert S. Ruddy and Canadian producer Murray Shostak. Ruddy had achieved great success producing films such as THE GODFATHER and THE LONGEST YARD and many hours of television on shows such as HOW THE WEST WAS WON and was one of the creators of HOGAN’S HEROES.

To score

 DEATH HUNT, Albert S. Ruddy turned to composer

 Jerrold Immel, with whom he had a relationship based on employing him for the television series of HOW THE WEST WAS WON, which eventually evolved into THE MACAHANS, starring James Arness of GUNSMOKE fame.

 Jerrold Immel was born in September, 1936 in Los Angeles, California, in the middle of the Great Depression. His father was a fine musician and taught band, orchestra and chorus for many years. In 1951, he joined the American Federation of Musicians and played baritone sax. Immel signed on with Four Star Television in 1959, where he was trained thoroughly as a copyist and librarian. In 1964, he followed composer Herschel Gilbert to CBS Television, where he continued to work until 1973. He was sponsored by composer Jerry Fielding into the Composers and Lyricists Guild Of America. Immel had a successful career composing music for television projects such as GUNSMOKE, HOW THE WEST WAS WON, HAWAII FIVE-O, LOGAN’S RUN, WALKER, KNOTS LANDING, THE TWILIGHT ZONE, GUNS OF PARADISE and WALKER, TEXAS RANGER and many television films. His most famous work is the theme music for the night time soap opera DALLAS. Immel has also scored many theatrical films including SOURDOUGH,  MEGAFORCE and PROGRAMMED TO KILL.

01. Main Title / Dog Fight (6:07)
02. Man’s Best Friend / The Cabin (5:00)
03. Millen’s Posse / Shoot Low(5:44)
04. Thawing Out / Dynamite / He’s Gone (2:44)
05. Would It Make Any Difference? / In Pursuit (3:00)
06. Millen and Johnson Spot Each Other (1:52)
07. Hazel and Alvin Fight / Running With The Caribou (3:10)
08. Aerial Pursuit (4:22)
09. Another Hard Choice / Across The Ice Peaks (2:02)
10. One Last Chance / Now You’re In Charge (5:06)
11. End Credits From  Death Hunt (3:35)
12. Rat River (Source) (2:55)
13. Outpost (Source) (3:15)
14. Trading Post (Source) (2:04)
15. My Darling Clementine (Source) (2:37)
Total Time: 54:11

 

Dragon’s Domain Records proudly presents the fourth volume in our ongoing series of music from classic science-fiction films.

It’s only the end of the world . . . again as we salute the late, great Roger Corman’s third outing as director, THE

 DAY THE WORLD ENDED (1955

 THE DAY THE WORLD ENDED (1955), scored by Ronald Stein. The film begins just after a nuclear attack, described as “Total Destruction Day,” and much of humanity is apparently wiped out. A rag-tag collection of survivors gather at the home of a doomsday prepper and his daughter. They struggle with the threat of radiation, limited food and water, and a three-eyed mutant creature lurking outside!

The second film in this collection features music from the criminally under represented composer Elisabeth Lutyens, who became Britain’s first female feature film composer when she began accepting commissions to write scores for both Hammer and Amicus studios.

 THE EARTH DIES SCREAMING (1964) has another group of survivors huddling down in a small English village inn, only be confronted by two space-suited figures that have the touch of death! Terence Fisher (HORROR OF DRACULA, 1958) directed this alien invasion film making good use of his limited resources with atmospheric lighting, imaginative camera work and well-chosen location shooting.

This fourth volume in this Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland. Exclusive liner notes by author David Hirsch explore these classic films from the sci-fi craze of the 1950s and 60s. This CD set is a limited run. The Golden Age Of Science Fiction Volume 3 is expected to begin shipping the week of June 19th, 2024.

SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings.

 DAY THE WORLD ENDED (1955 - Ronald Stein)

01. Opening and Main Titles (4:42)
02. The Big Event (3:44)
03. The Survivors Gather (2:57)
04. Strange Shadows (2:46)
05. The Watcher / Fight (2:27)
06. Love, Suffering and Loneliness (5:00)
07. Heavy Pressure (4:17)
08. Stalking and Chase (3:57)
09. Signal and Invasion (3:04)
10. Kidnapping in the Rain / Finale (5:03)
11. The S.F. Blues (Jazz Source) (1:56)

12.  Day the World Ended (1955) Theatrical Trailer (2:36)
 THE EARTH DIES SCREAMING (1964 - Elisabeth Lutyens)

13. Main Title from “The Earth Dies Screaming” (2:34)
14. Investigating a Dead Town (2:11)
15. Suspicions / Be Careful (3:23)
16. They Are Here (1:40)
17. Danger (2:51)
18. Extermination Everywhere (3:47)
19. Finale / End Titles (4:42)

20.  The Earth Dies Screaming (1964) Theatrical Trailer (2:04)
Total Time 66:37

[nordfriesede]

vor 6 Stunden schrieb Alexander Grodzinski:

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1, featuring music from several films from the composer’s lengthy filmography, focusing on Westerns and World War II centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills.

FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1 includes music from RED MOUNTAIN, CIMARRON, THE INDIAN FIGHTER, THE ADVENTURES OF HUCKLEBERRY FINN, UNTAMED, THE FURIES, TASK FORCE, DESTINATION TOKYO, HOTEL BERLIN, MISTER ROBERTS and OBJECTIVE, BURMA!.

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2, featuring music from several films from the composer’s lengthy filmography, focusing on Comedy and Thriller centered films. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills.

FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2 includes music from THE HORN BLOWS AT MIDNIGHT, ON BORROWED TIME, THE PARADINE CASE, THE DEVIL DOLL, SORRY, WRONG NUMBER, DARK CITY, NIGHT UNTO NIGHT and NIGHT AND THE CITY.

 

Bei Spotify sind die beiden CDs schon einige Zeit gelistet. Mich sprechen das Coverdesign und die Verlockung nach einem verbesserten Klang an. Seit Tagen bin ich angefixt und überlege einen Kauf, obwohl ich die 4-teilige Varese CD Serie mit der Richard Mills/The Queensland Symphony Orchestra besitze. Der Klang auf Spotify überzeugt, doch ist der Sound auf CD identisch und rechtfertig sich somit ein Kauf? Die Varese Einspielungen sind recht gelungen, der Sound etwas muffig, aber im Großen und Ganzen nach über 30 Jahren ganz okay. Somit spare ich mir das Geld.

Wer die Varese CDs nicht hat, ist mit den Citadel CDs mehr als gut bedient. Sie beeinhalten einen tollen Überblick über einen der ganz Großen der Filmmusik. Stellenweise finde ich Waxman im Vergleich zu Steiner oder auch Korngold zu den interessanteren und innovativsten Komponisten des Golden Age.

Die Suiten zu Demetrius and the Gladiators, Huckelberry Finn, The Nun´s Story, The Bride of Frankenstein, Night &The City, Night unto Night, The Silver Chalice und besonders die 4.Varerse CD sind eine Empfehlung wert!

[Trekfan]

Zitat

Dragon’s Domain Records proudly presents the fourth volume in our ongoing series of music from classic science-fiction films.

THE DAY THE WORLD ENDED (1955), scored by Ronald Stein. The film begins just after a nuclear attack, described as “Total Destruction Day,” and much of humanity is apparently wiped out. A rag-tag collection of survivors gather at the home of a doomsday prepper and his daughter. They struggle with the threat of radiation, limited food and water, and a three-eyed mutant creature lurking outside!

The second film in this collection features music from the criminally under represented composer Elisabeth Lutyens, who became Britain’s first female feature film composer when she began accepting commissions to write scores for both Hammer and Amicus studios.

Auf den ersten Blick eine sehr willkommene Veröffentlichung, gerade die Lutyens! Aber hier scheint selbst für Dragon's Domains Verhältnisse das Ausgangsmaterial durchgehend sehr problematisch zu sein. "The Day the World Ended" gehört nicht zu den Scores, die Stein in seiner Perma Music Library zur Verfügung hatte und von denen Steins Witwe auch Kopien des Bandmaterials einem Uniarchiv übergeben hatte. Sind beide Scores auf der CD ins Public Domain gefallen oder versucht man es hier mal wieder beim Label unterm Radar? Angegeben ist hier nur "P Dragon’s Domain Records".

"Death Hunt" von Jerrold Immel ist eine schöne Nachricht. Ein Score, über den vor Urzeiten auch in deutschen Foren hin und wieder diskutiert wurde. Zu den Filmen von Charles Bronson gibt es irgendwie nie schlechte Scores.

[Stefan Schlegel]

Diese ganzen "Golden Age of Science Fiction"-CDs sind doch garantiert alle nicht lizenziert. Die Filme, um die es sich hier handelt, wurden früher überwiegend von kleineren US-Firmen produziert, die zumeist heute gar nicht mehr existieren. Wer macht sich da noch ewig lang die Mühe, eventuelle Nachfolge-Rechteinhaber ausfindig zu machen? Wenn Dragon´s Domain für diese heutzutage meist obskuren Titel noch einen Haufen Geld zahlen müßte, dann könnten sie gar nicht so viele CDs hintereinander auf den Markt bringen und es würde sich bei den kleinen Auflagen nie im Leben mehr für sie lohnen. Das sollte man immer im Hinterkopf behalten.
Bei der einen Glasser-CD haben sie halt nicht damit gerechnet, daß es die Witwe von AIP-Produzent James Nicholson doch etwas genauer nimmt als es sonst bei derartigen Veröffentlichungen üblich ist - deshalb Thaxtons großes Erstaunen. Der Normalfall dagegen ist eher der, daß es niemanden mehr juckt.
Diese alten Musiken aus den 50ern und 60ern wären hier in Europa oder auch in Kanada zwar Public Domain - der Lutyens-Score z.B. jedoch nicht, da von 1964 -, aber in den USA nicht, denn da gelten an sich viel strengere Copyright-Regeln für "sound recordings".

[magnum-p.i.]

vor 1 Stunde schrieb Stefan Schlegel:

Diese ganzen "Golden Age of Science Fiction"-CDs sind doch garantiert alle nicht lizenziert. Die Filme, um die es sich hier handelt, wurden früher überwiegend von kleineren US-Firmen produziert, die zumeist heute gar nicht mehr existieren. Wer macht sich da noch ewig lang die Mühe, eventuelle Nachfolge-Rechteinhaber ausfindig zu machen? Wenn Dragon´s Domain für diese heutzutage meist obskuren Titel noch einen Haufen Geld zahlen müßte, dann könnten sie gar nicht so viele CDs hintereinander auf den Markt bringen und es würde sich bei den kleinen Auflagen nie im Leben mehr für sie lohnen. Das sollte man immer im Hinterkopf behalten.
Bei der einen Glasser-CD haben sie halt nicht damit gerechnet, daß es die Witwe von AIP-Produzent James Nicholson doch etwas genauer nimmt als es sonst bei derartigen Veröffentlichungen üblich ist - deshalb Thaxtons großes Erstaunen. Der Normalfall dagegen ist eher der, daß es niemanden mehr juckt.
Diese alten Musiken aus den 50ern und 60ern wären hier in Europa oder auch in Kanada zwar Public Domain - der Lutyens-Score z.B. jedoch nicht, da von 1964 -, aber in den USA nicht, denn da gelten an sich viel strengere Copyright-Regeln für "sound recordings".

Lizenzen würde mich in diesem Fall aber auch nicht jucken. Wieviel Leute werden das wohl kaufen? Mehr als eine handvoll? Abgesehen davon, kann man froh über jede Musik sein, die rauskommt, ob lizenziert oder nicht.

[Stefan Schlegel]

vor einer Stunde schrieb magnum-p.i.:

Lizenzen würde mich in diesem Fall aber auch nicht jucken. Wieviel Leute werden das wohl kaufen? Mehr als eine handvoll?

Mehr als eine Handvoll sind es auf jeden Fall. Es dürften weltweit schon so rund 200-300 interessierte Käufer sein. Man darf nicht vergessen, daß es immer noch einige Sci-Fi-Fans gibt, für die so was selbstverständlich in Frage kommt. Wenn es wirklich nur eine Handvoll Leute wären, dann würden sich Thaxton & Co. gar nicht erst die Mühe machen, solche CDs in Reihe zu produzieren.

[Trekfan]

vor 1 Stunde schrieb magnum-p.i.:

Lizenzen würde mich in diesem Fall aber auch nicht jucken. Wieviel Leute werden das wohl kaufen? Mehr als eine handvoll? Abgesehen davon, kann man froh über jede Musik sein, die rauskommt, ob lizenziert oder nicht.

Willkommen zurück in der Bootlegger Ära um 1990. Es ging im Kampf gegen die Bootleggerei gerade darum, dass die Labels wie FSM, LLL, Intrada, Music Box oder Quartet eine Beziehung zu den Studios aufbauen und so deren Archive zugänglich gemacht werden. Vorneweg in diesem "Kampf" war ein gewisser David Schecter, der nun ganz offensichtlich keine Probleme mehr mit den Alben auf DD hat und das Label offensichtlich auch mit Material versorgt. Es sind die Art von Scores, die er auf seinem MMM Label gebracht hat, die aber sauber lizensiert nicht rentabel waren. Die Erkenntnis hat er jetzt natürlich auch und sie hoffen, dass es bei der Handvoll an Exemplaren in der Grauzone unterm Radar durchläuft.

[magnum-p.i.]

vor 2 Stunden schrieb Trekfan:

Willkommen zurück in der Bootlegger Ära um 1990. Es ging im Kampf gegen die Bootleggerei gerade darum, dass die Labels wie FSM, LLL, Intrada, Music Box oder Quartet eine Beziehung zu den Studios aufbauen und so deren Archive zugänglich gemacht werden. Vorneweg in diesem "Kampf" war ein gewisser David Schecter, der nun ganz offensichtlich keine Probleme mehr mit den Alben auf DD hat und das Label offensichtlich auch mit Material versorgt. Es sind die Art von Scores, die er auf seinem MMM Label gebracht hat, die aber sauber lizensiert nicht rentabel waren. Die Erkenntnis hat er jetzt natürlich auch und sie hoffen, dass es bei der Handvoll an Exemplaren in der Grauzone unterm Radar durchläuft.

Überraschend ist das nicht, denn in den letzten Jahren wurde es ja ins Gegenteil umgekehrt. Universal ist teuer, bei Disney weiß man nie, woran man ist und Warner Bros. hat seinen Laden komplett dichtgemacht. Bleibt Paramount, aber da sagte MV, daß es fast nichts mehr gäbe, was sich verkaufen läßt - was ich persönlich nicht glaube.

[Lars Potreck]

Muss ich mir als Käufer Gedanken machen, ob diese Lables ihre Scores "sauber" veröffentlichen?

[Trekfan]

vor 9 Minuten schrieb Lars Potreck:

Muss ich mir als Käufer Gedanken machen, ob diese Lables ihre Scores "sauber" veröffentlichen?

Denke nein.

Aber es gab auch hier mal im Forum Zeiten, da war so ein "bootleg talk" nicht gern gesehen.

 

 

[Lars Potreck]

vor 6 Minuten schrieb Trekfan:

Denke nein.

Aber es gab auch hier mal im Forum Zeiten, da war so ein "bootleg talk" nicht gern gesehen.

 

 

Das stimmt allerdings. Jedoch gehen wir bei diesen Veröffentlichungen hier ja von offiziellen Veröffentlichungen aus.

[magnum-p.i.]

Aber Stiefelbeine scheinen ja wieder mehr in den Fokus zu rücken und die o. g. scheinen ja eventuell dazuzugehören. Ich denke zwar nicht, daß es bei den Veröffentlichungen Ärger geben könnte, denn dazu ist m. E. die Musik einfach zu alt und die Studios wird das nicht kümmern. Es ist aber deren Risiko. Mich wundert nur, daß Ford A. Thaxton dort so fleißig mitmischt, obwohl er doch eigentlich genug mit ganz legalen Aufträgen zu tun hat. Oder ist Trekfans Wunsch endlich in Erfüllung gegangen und LLL läßt ihn keine Stücke mehr raussuchen? 😀 Und ist das eigentlich Musik, die es schonmal gab oder alles Premieren?

[Trekfan]

vor 6 Minuten schrieb magnum-p.i.:

Aber Stiefelbeine scheinen ja wieder mehr in den Fokus zu rücken und die o. g. scheinen ja eventuell dazuzugehören. Ich denke zwar nicht, daß es bei den Veröffentlichungen Ärger geben könnte, denn dazu ist m. E. die Musik einfach zu alt und die Studios wird das nicht kümmern. Es ist aber deren Risiko. Mich wundert nur, daß Ford A. Thaxton dort so fleißig mitmischt, obwohl er doch eigentlich genug mit ganz legalen Aufträgen zu tun hat. Oder ist Trekfans Wunsch endlich in Erfüllung gegangen und LLL läßt ihn keine Stücke mehr raussuchen? 😀 Und ist das eigentlich Musik, die es schonmal gab oder alles Premieren?

Ich störe mich auch nicht an diesen halb- bis gar nicht legalen Veröffentlichungen. Mir geht es hier nur um die Doppelmoral von den Machern in den US-Foren, wo jahrelang alles niedergemacht wurde, was nicht dem Kampf gegen Bootlegs entsprach. Das lässt sich in unzähligen Threads nachlesen.

In dieser SciFi Reihe auf DD sind alle Musiken Premieren. 

PS meine Meinung zu Thaxtons Sequenzierungskünsten kennst du ja. Mit großer Treffsicherheit hat er endlose Spannungscues auf LLLs Trek Boxen gepackt und zielsicher die interessanten Passagen links liegen lassen.

 

[magnum-p.i.]

vor 2 Minuten schrieb Trekfan:

Ich störe mich auch nicht an diesen halb- bis gar nicht legalen Veröffentlichungen. Mir geht es hier nur um die Doppelmoral von den Machern in den US-Foren, wo jahrelang alles niedergemacht wurde, was nicht dem Kampf gegen Bootlegs entsprach. Das lässt sich in unzähligen Threads nachlesen.

In dieser SciFi Reihe auf DD sind alle Musiken Premieren. 

PS meine Meinung zu Thaxtons Sequenzierungskünsten kennst du ja. Mit großer Treffsicherheit hat er endlose Spannungscues auf LLLs Trek Boxen gepackt und zielsicher die interessanten Passagen links liegen lassen.

 

Ich stimme Dir ja zu, aber nur zum Teil. Bei den beiden DS9-Sets war für mich alles dabei, was ich je haben wollte. Ich wüßte auch nicht, was bei DS9 großartig an interessanter Musik fehlen sollte. Bei TNG kann ich das weniger beurteilen, aber selbst wenn dort fast gar nichts Interessantes da ist, haben wir ja noch FSMs Ron Jones Box und die macht das mehr als wieder wett.

[Trekfan]

Es stimmt, DS9 schneidet am besten ab, bei TNG wurde noch einiges nachgeschoben, schlechter schaut es bei Voy und vor allem Ent aus. Da hätte man viel an Spannungshülsen straffen und vor allem das interessante Material draufpacken können. Leider viele verpasste Chancen. 

Die Scores von Jones und vor allem die große Box spielen in einer ganz anderen Liga. 

[Stefan Schlegel]

vor 1 Stunde schrieb magnum-p.i.:

Ich denke zwar nicht, daß es bei den Veröffentlichungen Ärger geben könnte, denn dazu ist m. E. die Musik einfach zu alt und die Studios wird das nicht kümmern.

Es gab doch gehörigen Ärger bei der Albert Glasser-CD mit THE AMAZING COLOSSAL MAN, die letztes Jahr deshalb ja auch wieder ganz zurückgezogen werden mußte. Thaxton arbeitet im Moment daran, das irgendwie wieder gerade zu biegen und hofft, es bis Ende des Jahres geschafft zu haben.

[magnum-p.i.]

vor 22 Stunden schrieb Stefan Schlegel:

Es gab doch gehörigen Ärger bei der Albert Glasser-CD mit THE AMAZING COLOSSAL MAN, die letztes Jahr deshalb ja auch wieder ganz zurückgezogen werden mußte. Thaxton arbeitet im Moment daran, das irgendwie wieder gerade zu biegen und hofft, es bis Ende des Jahres geschafft zu haben.

Wie biegt man denn so etwas gerade? Nach Canossa wird Thaxton wohl nicht gehen, aber ein Blumenstrauß mit Konfekt und einem Briefchen wo drinsteht "Tut mir sooooooooooooooo leid, ich tu's auch nie wieder!"... wäre das möglich?

[Stefan Schlegel]

Mit Blumenstrauß, Konfekt und Briefchen allein wirds nicht getan sein. Dafür ist Susan Hart, die die Rechte an insgesamt 11 Filmen ihres verstorbenen Mannes hat, denn doch wohl als zu hartnäckig bekannt. Es geht mit Sicherheit um die Höhe des Lizenzbetrags, der nun für diese eine CD-Veröffentlichung zu zahlen ist. Da wirds ein langes Hin und Her geben - der eine möchte gerne mehr Geld, der andere will jedoch bei so geringer Auflagenhöhe natürlich auch nur deutlich weniger zahlen. Kann man sich alles sehr leicht vorstellen.

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered 45^th anniversary reissue of Ennio Morricone’s bizarre sci-fi score for Aldo Lado’s THE HUMANOID (1979), a sort of parody-reboot-plagiarism-homage to the recent STAR WARS success that featured a cast of actors famous for their recent appearances in THE SPY WHO LOVED ME and MOONRAKER: Richard Kiel, Barbara Bach and Corinne Clery.

The story encompasses stealing revolutionary scientific inventions, mad doctors and crazy plans for world domination. Because of this chaotic storyline, Lado went by the pseudonym George B. Lewis (just as Luigi Cozzi used the name Lewis Coates in STAR CRASH). This made it seem like an international production, and in his case, it wouldn’t affect his career as a serious director.

Ennio Morricone had scored almost all of Aldo Lado’s films since his debut in LA CORTA NOTTE DELLE BAMBOLE DI VETRO, so it was only logical that he should also compose the music for THE HUMAMOID. With the huge success of John Williams’ revival of symphonic scoring in STAR WARS as a precedent, Morricone adopted a completely different approach—toward electronic music, pastiches of classics by Beethoven and Bach, and a fascinating sound close to the avant-garde music he’d encountered during his time with the Gruppo d’Improvvisazione Nuova Consonanza.

His score for THE HUMANOID quickly became a cult classic, and the LP was released by RCA in 1979. Subsequently, the same program was released on CD in 1992, and an expanded edition, quickly sold out, came in 2010 from GDM.

This new edition, remastered by Chris Malone and supervised by Claudio Fuiano, celebrates the 45th anniversary of the film and one of the most bizarre scores ever penned by the Roman genius.

1. Un Uomo Nello Spazio 5:48
2. Estasi Stellare 5:04
3. Infanzia, Evoluzione E Ritorno 6:37
4. Informale Primo 0:59
5. Trasmissione Difettosa, Rotazione E Rivoluzione 6:27
6. Incontri A Sei 8:05
7. Robodog 3:02
8. Informale Secondo 5:18
9. Estasi Stellare (#2) 5:08
10. Trasmissione Difettosa, Rotazione E Rivoluzione (#2) 2:46
11. Informale Primo (#2) 2:17
12. Infanzia, Evoluzione E Ritorno (#2) 4:36
13. Estasi Stellare (#3) 5:02

Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a revised, remastered reissue of famous giallo score composed by Ennio Morricone in 1971 for COSA AVETE FATTO A SOLANGE?, directed by Massimo Dallamano and starring Fabio Testi, Joachim Fuchsberger, Cristina Galbó and Camille Keaton.

Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. COSA AVETE FATTO A SOLANGE? shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film.

As with many of his giallos, and despite the success of the movie on its release, no album of Ennio Morricone’s score for COSA AVETE FATTO A SOLANGE? was released—not even a 45-rpm single with the main title. It was not until 1986 that the Intermezzo label in Italy released an LP with a selection of 14 cues personally chosen by the composer. This selection was released on CD in 1997, along with Morricone’s unreleased score for the 1974 thriller SPASMO. The first edition of the complete score was released in 2006 on the Digitmovies label. That edition sold out quickly.

This new Quartet release has been completely remastered by Chris Malone from original master tapes, giving a new generation of avid collectors the chance to hear this score by the Roman maestro.

1. Cosa avete fatto a Solange? 2:41
2. Raccapriccio 2:31
3. Anche un quartetto per lei 1:52
4. Una tromba e la sua notte 2:58
5. C’e qualcuno qui? 1:56
6. Cadenze 3:14
7. Aleatorio 2:10
8. Aleatorio secondo 2:11
9. Ostinazione al limone 2:28
10. Altre cadenze 2:42
11. Pensierosamente 2:35
12. Fragile organetto 2:38
13. Fine di solange 2:47
14. Cosa avete fatto a Solange? (# 2) 1:00
15. Una tromba e la sua notte (# 2) 1:56
16. Altre cadenze (# 2) 2:07
17. Raccapriccio (# 2) 1:43
18. Fragile organetto (# 2) 1:53
19. C’e’ qualcuno qui? (# 2) 2:09
20. Una tromba e la sua notte (# 3) 1:32
21. Cosa avete fatto a Solange? (# 3) 3:01

[Stese]

THE HUMANOID von einigen sicherlich gehasst, aber mir hat der Score schon immer gefallen. Da ich den Score nur als Kaufdownload habe, wandert die CD auf alle Fälle in die Sammlung.

COSA AVETE FATTO A SOLANGE? kenne ich nicht, gefällt mir aber anhand der Hörproben vom Stil und den Melodien ganz gut. Ich glaube, dass beide Titel in den Warenkorb wandern.

[nordfriesede]

Am 28.5.2024 um 09:57 schrieb Alexander Grodzinski:

Noch mehr von BSX:

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 1,

 

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 2, f

 

Auf der Franz Waxman Webseite sind weitere CDs angekündigt. Vol. 3 und Vol. 4 sind eigentlich klar, da die Zusammenstellungen auf Grundlage der 4 Varese CDs basieren.  Dann sind  diese ausgeschöpft. Allerdings werden für die Serie Vol. 5 und Vol. 6 für September 2024 angekündigt. Hat man weiteres Material gefunden? Bin gespannt.

https://franzwaxman.com/

[Trekfan]

Interessant! Es ist natürlich gut möglich, dass damals mehr Material eingespielt wurde, als sie veröffentlicht haben. Aber das füllt zwei CDs aus? Eher nicht. Vielleicht wurde aktuell noch etwas neu aufgenommen. 

[Alexander Grodzinski]

Von Quartet auf CD und Vinyl:

Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-CD edition of Ennio Morricone’s celebrated score for a 1971 Italian thriller, GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli. 

Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film.

 As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score. In 2001, Dagored expanded the program to 10 minutes, and it was expanded again for release in Japan in 2007 on the Verita Note label. But despite these expansions, there was still a large amount of music recorded by Morricone that remained unreleased. For this new Quartet edition, the score has been fully restored, remixed and edited by Daniel Winkler from the original tapes of the recording session, presenting the complete score as Morricone conceived it on disc 1. Disc 2 contains the original remastered album prepared by Morricone in 1996, as well as several alternates.

This CD has been mastered by Chris Malone, supervised by Claudio Fuiano, and includes a 20-page booklet with in-depth liner notes by film music writer Jeff Bond.

DISC ONE

The Film Score

1. Paura e aggressione 2:41

2. Giornata nera per l’ariete – Titoli 2:36

3. Giocoso, gioioso 3:23

4. II ripresa 0:52

5. La voce bella 1:01

6. Voce 3:04

7. Giornata nera 1:10

8. Giornata nera per l’ariete 3:17

9. Giornata nera 1:26

10. Un organo suona 1:12

11. Severamente 3:34

12. Paura e aggressione 1:20

13. Severamente 1:50

14. Punte d’ago 1:33

15. Punte d’ago 1:34

16. Paura e aggressione 3:16

17. Paura e aggressione 2:49

18. Voce seconda 2:3

19. Paura e aggressione 2:53

20. Giornata nera 1:27

21. Giornata nera 1:32

22. La voce bella 3:53

23. Voce 2:02

24. Severamente 2:59

25. Giornata nera per l’ariete 2:06

26. Giornata nera per l’ariete 2:06

27. Resa 3:30

28. Trafelato 5:01

29. Ripresa 5:34

30. Giornata nera per l’ariete 3:34

Total Disc One Time: 77:52

DISC TWO

The Original Album

1. Giornata nera per l’ariete 2:36

2. Punte d’ago 3:05

3. Severamente 5:18

4. Paura e aggressione 5:40

5. Giornata nera per l’ariete 3:16

6. La voce bella 3:34

7. Voce 2:01

8. Resa 2:20

9. Trafelato 2:30

10. Giornata nera 1:26

11. Ripresa 2:50

12. Giocoso, gioioso 3:23

13. II ripresa 0:49

14. Voce seconda 2:35

15. Giornata nera 1:32

16. Un organo suona 1:07

17. Giornata nera per l’ariete 3:33

Bonus Tracks

18. Giornata nera per l’ariete (Alternate) 1:53

19. Paura e aggressione (Alternate) 2:37

20. Voce (Alternate) 1:54

21. Giornata nera per l’ariete (Alternate) 2:39

Total Disc Two Time: 58:34

Total Collection Time: 136:26

 

 

Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-LP edition of Ennio Morricone’s celebrated score for 1971 Italian thriller GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli.
 
Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film.
 
As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score on CD. The first vinyl edition was released by Dagored on a generous LP in 2001. It was subsequently released by Spettro in 2016, this time using the same program that Morricone had produced in 1996.
 

For this new deluxe, 2-LP Quartet release, the music has been fully restored, remixed and edited by Daniel Winkler from the original session tapes, presenting the first vinyl edition of the complete score as Morricone conceived it for the film. It has been specially mastered for vinyl by Chris Malone, and is presented in a luxurious gatefold jacket printed in transparent bloody red and giallo splatter.