The original Blake Edwards film was released in 1963 and achieved worldwide success. Its soundtrack is definitely one of the great creations of Mancini. The 1989 CD features twelve original songs, although after 2001 have been published in other CDs with expanded repertoire that distort the content of the original work. The skill and compositional genius of Mancini unfold luxuriously melodies with rhythms such as bolero rumba, slow, samba, twist, chacha or slowfox that in some cases show airs jazz.
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Track list:
1. The Pink Panther theme 2. It had better be tonight (instrumental) 3. Royal blue 4. Champagne and quail 5. The village inn 6. The Tiber twist 7. It had better be tonight (vocal) 8. Cortina 9. The lonely princess 10. Something for Sellers 11. Piano and strings 12. Shades of Sennett
01. Once Upon A Time In America (2:15) 02. Poverty (3:39) 03. Deborah's Theme (4:28) 04. Childhood Memories (3:25) 05. Amapola (5:23) 06. Friends (1:38) 07. Prohibition Dirge (4:24) 08. Cockeye's Song (4:24) 09. Amapola Part II (3:10) 10. Childhood Poverty (1:43) 11. Photographic Memories (1:02) 12. Friends (1:26) 13. Friendship & Love (4:18) 14. Speakeasy (2:26) 15. Deborah's Theme - Amapola (6:18) 16. Suite from Once Upon A Time In America (13:38) 17. Poverty (temp. version) (3:29) 18. Unused Theme (4:50) 19. Unused Theme (version 2) (3:39)
This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age's obsession with flying saucers and giant robots, Bernard Herrmann's score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it's almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann's most visionary and influential scores.
Review by Heidi MacDonald, Amazon.com
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Amidst all the endless issues and reissues of the standard repertoire, there are still recordings released of the less-than-standard repertoire, of the masses of Ockeghem, of the symphonies of Krauss, and of the songs of Hahn. But of all the projects dedicated to the less-than-standard repertoire, perhaps the most needful and certainly the most interesting is Varese Sarabande's series of recordings of the film scores of Bernard Herrmann. Herrmann's scores are not only supremely effective as soundtracks, but extremely evocative and even deeply moving as pieces of music, and listening to the scores for Vertigo or Citizen Kane is as involving and exciting as listening to the Four Seasons or the 1812 Overture. But in most cases, Herrmann's scores are either recorded only in parts or unrecorded altogether, and it was not until Varese Sarabande began its Herrmann series that many of his complete scores could be heard. This 2002 recording of the complete score of Herrmann's The Day the Earth Stood Still conducted by Joel McNeely is the first recording of all the music for the score -- even the original soundtrack only includes 18 of its 33 cues. And like the previous nine titles in the series, it is magnificent. McNeely and his 30-piece orchestra of brass, percussion, keyboards, and Theremin perform as well and often better than Herrmann's own recording and producer Robert Townson's superlative sound that is far, far better than the sound of the original 1951 recording. The score itself is wonderful: vivid, colorful, terrifying, awe-inspiring, and always and everywhere gripping. For anyone who likes film scores in general, or Herrmann's scores in particular, this disc is mandatory. And for anyone who simply likes great music, this disc will be a welcome relief from the standard repertoire.
The 1981 Jean-Jacques Beineix film Diva is a dizzying cornucopia of delights, with a strong sense of urban cool and a cast of characters whose alternating detachments and obsessions hint at the legacy of pain and loneliness that helped form them. Its score, composed by Vladimir Cosma, is inseparable from the film, which, after all, is about music itself, and the ways that it links to desire and longing. From the beautiful arias of Wilhemina Wiggins Fernandez (who plays an opera singer in the film) to the eerie, achingly beautiful instrumental pieces composed by Cosma to set the mood for images of rain-slicked streets, Taiwanese music pirates, teenaged Vietnamese thieves, jaded middle-aged art sages, motorbikes and car chases, the score for Diva remains one of Cosma's masterpieces, a perfect companion to a film that became an international underground hit. This edition celebrates the 20th anniversary of the film -- which has held up remarkably well considering it was initially a commercial and critical flop. Cosma's score seems steeped in gritty '80s punk mojo, while remaining completely stylish and refined. Eight new tracks are included and thorough liner notes, including interviews with Beineix and Cosma, make this an album worth picking up.
Review by Stacia Proefrock, Allmusic.com
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Tracklist: 01. La Wally (A. Catalani - argt V. Cosma) (03:35) 02. Promenade Sentimentale (piano solo: V. Cosma) (02:39) 03. Voie Sans Issue (03:07) 04. Gorodish (03:04) 05. Le zen dans l'art de la tartine (02:06) 06. Ave Maria (C. Gounod) (01:39) 07. La Wally (version instrumentale) (03:08) 08. Promenade Sentimentale 2 (piano solo: V. Cosma) (03:35) 09. Lame de Fond (04:24) 10. Metro Police (02:36) 11. L'Usine Desaffectee (03:11) 12. Le Cure et l'antillais (01:32) 13. Tuileries sous la Pluie (piano: V. Cosma) (01:29) 14. Prelude de la Suite en Re mineur BWV 1005 (J.S. Bach, violoncelle solo: H. Varron) (01:12) 15. La Baignoire et la Mer (02:22) 16. J'aime pas les Ascenseurs (02:30) 17. La Wally (A. Catalani - argt V. Cosma, Piano solo: R. Allessandrini) (03:03) 18. Le Chien de M. Michel (02:50)
foobar2000 1.2 / Dynamic Range Meter 1.1.1 log date: 2013-11-04 20:27:35
-------------------------------------------------------------------------------- Analyzed: J.S. Bach / Diva (1) Vladimir Cosma - by Wilhelmenia Wiggins Fernandez / Diva (2-3) Vladimir Cosma / Diva (4-18) --------------------------------------------------------------------------------
DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR12 -7.02 dB -22.57 dB 1:12 14-Prelude de la Suite en Re mineur BWV 1005 (violoncelle solo: H. Varron) DR10 -1.27 dB -16.02 dB 3:36 01-La Wally DR7 -7.18 dB -20.40 dB 1:29 13-Tuileries sous la Pluie (piano: V. Cosma) DR13 -6.19 dB -23.55 dB 2:39 02-Promenade Sentimentale (piano solo: V. Cosma) DR13 0.00 dB -15.26 dB 3:08 03-Voie Sans Issue DR12 -2.75 dB -20.33 dB 3:04 04-Gorodish DR10 -3.16 dB -18.96 dB 2:07 05-Le zen dans l'art de la tartine DR9 -2.12 dB -16.45 dB 1:40 06-Ave Maria DR12 -5.26 dB -22.55 dB 3:08 07-La Wally (version instrumentale) DR14 -2.68 dB -21.21 dB 3:36 08-Promenade Sentimentale 2 (piano solo: V. Cosma) DR12 -7.06 dB -22.10 dB 4:24 09-Lame de Fond DR13 -5.25 dB -22.18 dB 2:37 10-Metro Police DR10 -6.81 dB -21.94 dB 3:12 11-L'Usine Desaffectee DR11 -9.28 dB -24.28 dB 1:32 12-Le Cure et l'antillais DR14 -7.24 dB -25.81 dB 2:22 15-La Baignoire et la Mer DR15 -6.39 dB -24.23 dB 2:30 16-J'aime pas les Ascenseurs DR15 -0.22 dB -20.74 dB 3:03 17-La Wally (Piano solo: R. Allessandrini) DR16 -4.00 dB -23.62 dB 2:50 18-Le Chien de M. Michel --------------------------------------------------------------------------------
Varese's original soundtrack to Psycho finds Joel McNeely conducting the Royal Scottish National Orchestra through Bernard Herrmann's classic original score. This album is the first time the entire score has been recorded for an album and its remarkable how eerie and evocative the music is, even when its separated from the film. Psycho stands as one of Herrmann's finest moments, and even if many collectors and film buffs would prefer the original soundtrack recording, this version is essential for fans of the composer, since it is the clearest, cleanest edition of score yet produced.
01. Prelude (01:56) 02. The City (02:12) 03. Marion (01:35) 04. Marion and Sam (01:53) 05. Temptation (02:51) 06. Flight (01:08) 07. Patrol Car (01:06) 08. The Car Lot (01:45) 09. The Package (01:31) 10. The Rainstorm (03:11) 11. Hotel Room (02:04) 12. The Window (01:12) 13. The Parlor (01:38) 14. The Madhouse (01:54) 15. The Peephole (03:02) 16. The Bathroom (01:02) 17. The Murder (01:03) 18. The Body (00:17) 19. The Office (01:20) 20. The Curtain (01:15) 21. The Water (01:45) 22. The Car (00:52) 23. Cleanup (02:15) 24. The Swamp (02:04) 25. The Search (00:41) 26. The Shadow (00:50) 27. Phone Booth (00:54) 28. The Porch (01:04) 29. The Stairs (02:58) 30. The Knife (00:30) 31. The Search (B) (01:40) 32. The First Floor (02:45) 33. Cabin 10 (01:09) 34. Cabin 1 (01:06) 35. The Hill (01:05) 36. The Bedroom (00:59) 37. The Toys (01:02) 38. The Cellar (01:06) 39. Discovery (00:41) 40. Finale (01:32)
Remastered special edition soundtrack to the British gangster film, a cult favorite and arguably Roy Budd's finest work, it was originally released in 1971 and stars Michael Caine. Includes enhanced dialogue plus a bonus disc of remixes, 'Breakneck' (7' Edit, Rob's Old School Mix, Deadly Avenger Remix), 'Dope On A Rope' (12' Remix and Gentleman Thief Remix), 'De Few' ('2 Smoking Barrels Remix'-12' and Full Vision Remix-'Carter Express'), 'Lionrock' (Justin Robertson Remix, Andy H. & Full Vision Remix)-'Just Call Me Full' and 'Breakneck' ('Dirtbox Remix'-featuring Phil Dirtbox).
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This double-disc special edition soundtrack summarizes everything that made Mike Hodges' groundbreaking 70's revenge film a cult classic. This soundtrack is mandatory for any fan of the film or of talented composer Roy Budd whose haunting theme is highlighted throughout the album with dialogue samples from the film selectively placed between music cues capturing the gritty atmosphere of Michael Cain's uber-cool Jack Carter. In addition, this album includes a bonus remix CD featuring 10 tracks remixed by some of the most talented techno DJ's world wide and take Roy Budd's main theme to a new level, eclipsing Tyler Bates electronic reworking for the disappointing Stallone remake. This special edition import CD is beautifully packaged in a glossy gatefold sleeve featuring liner notes booklet with stunning cover artwork and photographs capturing the essence of the quintessential film. It is worth every penny (or shilling) to purchase this import version instead of the standard version which includes 28 tracks, 3 more than the standard edition which are basically just additional dialogue samples from the film, however the instrumental version of Getting Nowhere In A Hurry is absent from this edition. I own both versions and the special edition is by far the best, the rarest, and geared for the collector so go get yourself some Carter!
Review by Dave Cordes, Amazon.com
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Excepting only the work of the great Lalo Schifrin, Roy Budd's Get Carter was the best theme in the lucrative world of spy/gangster/heist soundtracks from the late '60s and early '70s. Underpinning the tense strength of director Mike Hodges' film about a hit man turned avenging angel, the film's main theme ("Carter Takes a Train") is a paranoid, hallucinatory title that deftly played up the menace of Michael Caine's character. Interested parties who've only heard the legend of Get Carter, however, may not find much else to interest them; those who've seen it can carry a bit more, but most of these tracks are titles to a film, and don't escape the period feel. The fine collections Rebirth of the Budd or Buddism are both better purchases toward understanding the brilliance of Roy Budd.
Artist: VA Title Of Album: Inside Llewyn Davis Year Of Release: 2013 Label: Nonesuch Genre: folk, original soundtrack Quality: MP3 Bitrate: 320 kbps Total Time: 41:56 Total Size: 102 MB
Tracklist:
1. Oscar Isaac – “Hang Me, Oh Hang Me” 2. Marcus Mumford & Oscar Isaac – “Fare Thee Well (Dink’s Song)” 3. Stark Sands with Punch Brothers – “The Last Thing on My Mind” 4. Justin Timberlake, Carey Mulligan and Stark Sands – “Five Hundred Miles” 5. Oscar Isaac, Justin Timberlake and Adam Driver – “Please Mr. Kennedy” 6. Oscar Isaac – “Green, Green Rocky Road” 7. Oscar Isaac – “The Death of Queen Jane” 8. John Cohen with The Down Hill Strugglers – “The Roving Gambler” 9. Oscar Isaac with Punch Brothers – “The Shoals of Herring” 10. Chris Thile, Chris Eldridge, Marcus Mumford, Justin Timberlake, Gabe Witcher – “The Auld Triangle” 11. Nancy Blake – “The Storms Are on the Ocean” 12. Oscar Isaac – “Fare Thee Well (Dink’s Song)” 13. Bob Dylan – “Farewell” 14. Dave Van Ronk – “Green, Green Rocky Road”
Cosma Cinema Collection Vol. 22 includes the soundtracks to films by Claude Zidi: Inspecteur la Bavure, Banzaï, Les Rois Du Gag, L'aile ou la cuisse, Vous n'aurez pas l'Alsace et la Lorraine.
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One of France and Europe's most distinguished film composers, Vladimir Cosma scored more than 150 films and TV productions. Although he enjoyed almost immediate success in comedies, he continued to experiment with different styles and genres, and this versatility brought him wide international acclaim.
Born on April 13, 1940, in Bucharest, Romania, to the family of a renowned conductor and concert pianist, Cosma studied music from his early years onward, eventually attending the National Conservatory in Bucharest (from which he graduated with two first prizes, for violin and composition). In 1963, he went to Paris to advance his studies at the French Conservatory, where, in addition to his classical background, he developed an interest in jazz, folk music, and film music.
Between 1964 and 1967, he toured the world as a concert violinist, visiting the U.S., Latin America, and Southeast Asia. A meeting with popular film composer Michel Legrand became the first step toward his future career. Cosma always credits Legrand's importance, though he also admits the influence of such composers as Burt Bacharach and Henry Mancini.
In 1967, he began his long-running partnership with film director Yves Robert, for whom he scored the international hits Alexandre (1967), The Tall Blond With One Black Shoe (1972), and The Return of the Tall Blond (1974), as well as the critically acclaimed dramas My Father's Glory and My Mother's Castle (both in 1990). He also wrote the music for several comedies directed by Francis Veber and Gerard Oury, starring such hit French comedians as Pierre Richard and Louis de Funes.
One of his biggest international hits was the Erik Satie-inspired soundtrack for Diva (1981), for which he was awarded his first Cesar (the French equivalent of the Oscar). He received another Cesar for Le Bal (1983), and the main instrumental theme from it became a substantial hit worldwide. Among the other awards given to Vladimir Cosma are the Sept d'Or, the French TV award for L'ete '36 (1986), and a Cannes Film Festival award for the entire body of his work.
06. Banzai rapshodie (Banzai) (05:31) 07. Rhapsodie in Bronx (Banzai) (03:06) 08. Sur la route de Tunis (Banzai) (01:04) 09. Hong Kong flirt (Banzai) (01:45) 10. Hot dog (Banzai) (02:09) 11. SOS Planete (Banzai) (01:08) 12. Le monstre (Banzai) (01:12) 13. Ben Zidi melodie (Banzai) (03:22)
Les rois du gag
14. Les rois du gag (Les rois du gag) (03:08) 15. Gaetan (Les rois du gag) (01:37) 16. Cabine de Plage (Les rois du gag) (00:59) 17. Paul et Francois (Les rois du gag) (01:02) 18. Don Welson Corleone (Les rois du gag) (01:52) 19. Prise d'otage (Les rois du gag) (01:25) 20. Le dernier homme (Les rois du gag) (05:43) 21. Alexandra (Les rois du gag) (01:00)
L'aile ou la cuisse
22. Concerto gastronomique (L'aile ou la cuisse) (03:04) 23. Tarte a la creme (L'aile ou la cuisse) (02:00) 24. L'usine Tricatel (L'aile ou la cuisse) (01:42) 25. Jumbo l'elephant (L'aile ou la cuisse) (02:59) 26. Conecerto gastronomique (allege) (L'aile ou la cuisse) (02:58)
Vous n'aurez pas l'Alsace et la Lorraine
27. Chanson du Chevalier Blanc (Vous n'aurez pas l'Alsace et la Lorraine) (01:45) 28. Theme des Mousquetaires (Vous n'aurez pas l'Alsace et la Lorraine) (01:54)
Password: designol
With an iconic, Academy Award®-nominated lead performance by Paul Newman as the free spirit who refuses to be broken by cruel Southern justice, director Stuart Rosenberg's Cool Hand Luke has rightly taken its place as a modern American classic. One of the key elements to the film's deft balance of drama and humor is also its most unlikely: the Oscar®-nominated score of Argentine-born composer Lalo Schifrin. As he's done throughout a career that's moved gracefully between jazz recordings, classical podiums, and scoring stages, Schifrin's music fuses seemingly disparate genres--bluegrass, symphonic, rhythmic jazz--into a soundtrack that evokes them all yet becomes distinctly more than the sum of its parts. Given that gratifying sensibility, it's a soundtrack full of surprising twists and turns, crackling with energy. Such is its dynamic nature that one reedited cut ("Tar Sequence") has taken on a second life as the ubiquitous "Eyewitness News" theme music at local TV stations across America.
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Of all the film scores Lalo Schifrin has composed -- good and bad, and yes, he's done some stinkers -- the score to Stuart Rosenberg's 1967 film Cool Hand Luke, a star vehicle for Paul Newman, is among his greatest achievements. First, there is the score itself, pure cinema in scope, breadth, and architecture. Next is its attempted marriage to bluegrass music -- not entirely successful, but pretty great anyway -- and finally there is Schifrin's attempt to offer an actual view of the character through the score, not just provide a series of incidentals to accompany the movement of a plot. The complexities of Newman's Luke are borne out in a score that works futuristic themes (like the CNN-meets-Star Trek music for the "Tar Sequence," the most problematic in the film), gorgeous jazz elements (just check out "Lucille," a seductive love theme if there ever was one), and bluegrass concepts into a framework where they were needed but would be obtrusive no matter where they were placed -- like Luke himself. This shows through loud and clear on "Egg-Eating Contest," even if Schifrin's sensibilities run closer to Jobim than Bill Monroe. There is also the delightful, Stephen Foster-ish theme called "Plastic Jesus," with Tommy Tedesco playing a sweet banjo and guitar over a lush, melancholy string arrangement. It's here that the drama in the film turns into the only fate a character like Luke can have befall him. Immediately after this beautiful interlude comes a heavily reverbed psychedelic banjo that threatens to rip the insides out of "Foggy Mountain Breakdown," but instead becomes a suspenseful meditation on clarity called "I Got My Mind Back." The knowledge of all that transpired previously is clearly in every wash of the strings over the harp. "Ballad of Cool Hand Luke" is heard as the beginning of the last third of the film comes into play. A harmonica carries its melody against a backdrop of horns, electric guitars, and percussion. It's almost like Fred Neil's "Everybody's Talkin'," as scored by Jobim during his Warner Bros. period. As "Dog Boy" begins to signal the beginning of the end, brass and a rumbling piano challenge one another momentarily as a wash of strings and a bongo find their place in the mix to carry its drama. The castanets spot-check the horns and winds, changing the dynamic from tense to unbearable, and escalating that sensation three times inside as many minutes. Here, though, the end title doesn't end the score: There are bonuses that weren't part of the original film. As the reverie of the end title played so simply by Tommy Tedesco becomes a poignant memory of the film's hero and his struggle -- as well as his laughter -- listeners will find themselves wanting more, as did viewers of the film. Here, after the soundtrack is over, Lalo and Donna Schifrin have provided listeners with two large bonuses: One is a gorgeous symphonic sketch -- almost seven minutes long -- of the various themes in Cool Hand Luke, and the other is a lost treasure, the original recording of "Down Here on the Ground," recorded by everybody from Wes Montgomery to Gerald Wilson to Oscar Peterson. It's a straight-up jazz melody, languid, wistful, and beautiful in its elegantly swinging whispers and sliding, dancing grace. What a bonus! This makes Cool Hand Luke, in stunning 24-bit remastered sound, an essential soundtrack in the library of any serious -- or casual for that matter -- film music collector.
Review by Thom Jurek, Allmusic.com
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Tracklist: 01. Main Title (02:06) 02. Tar Sequence (03:11) 03. Just a Closer Walk With Thee (02:54) 04. Chase (03:17) 05. Lucille (02:45) 06. Egg Eating Contest (02:57) 07. Eye-Ballin Glasses (02:24) 08. Arletta Blues (02:53) 09. Criss-crossing the Fence (02:19) 10. Plastic Jesus (01:56) 11. Got My Mind Back (03:08) 12. Ballad of Cool Hand Luke (02:34) 13. The First Morning (01:49) 14. Bean Time (01:10) 15. Road Gang (01:48) 16. Radio in Barracks (01:47) 17. Dog Boy (03:09) 18. End Title (02:13) 19. Symphonic Sketches of Cool Hand Luke (06:56) 20. Down Here on the Ground (Symphonic Version) (05:59)
The film The Sandpiper is best-remembered today for Johnny Mandel's "The Shadow of Your Smile". Its soundtrack CD has 11 pieces on it, ten of which are variations of that one melody. Other than a straightforward version of the theme that features a vocal group, Jack Sheldon's trumpet is prominent throughout much of the haunting score; the one exception to the moody music is the brief R&Bish "Bird Bath" which was used in a nightclub scene. Otherwise this CD's value to listeners depends largely on how much one enjoys "The Shadow of Your Smile".
01. The Shadow Of Your Smile (Vocal) (01:54) - Music by Johnny Mandel, Lyrics by Paul Francis Webster 02. Main Title (04:15) 03. Desire (02:27) 04. Seduction (05:00) 05. San Simeon (04:14) 06. Weekend Montage (04:28) 07. Baby Sandpiper (03:51) 08. Art Gallery (05:35) 09. End Title (02:36) 10. Bird Bath (02:14) 11. Weekend Montage (unedited version) (04:59) CD bonus track
La-La Land Records and Sony Music presents the remastered and expanded 2-CD SET of legendary composer Dimitri Tiomkin’s (SHADOW OF A DOUBT, GIANT, RIO BRAVO, THE OLD MAN AND THE SEA) score to the 1963 motion picture epic 55 DAYS AT PEKING, starring Charlton Heston, Ava Gardner and David Niven, directed by Nicholas Ray. Tiomkin's robust orchestral score, regarded as one of his finest works, soars with excitement and boundless creativity. Expanded by well over an hour beyond its original LP release, this comprehensive re-issue contains additional material that was not used in the final cut of the film. Produced by Didier C. Deutsch and Mark G. Wilder, and mastered by Mark G. Wilder from recently discovered Sony Music vault elements, this release is a must for all golden age score enthusiasts. The handsome 24-Page booklet contains exclusive, in-depth liner notes by film music writer Frank K. DeWald. This is a limited edition of 2500 units.
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55 DAYS AT PEKING was the third epic film created by Samuel Bronston in Spain, originally released in 1963. This superb deluxe production of Dimitri Tiomkin's glorious soundtrack does full justice to the original film score, and even exceeds that standard by including several previously unfilmed and unreleased tracks. Tiomkin's score is a brilliantly dramatic fusion of East and West, blending classical, oriental and Russian themes with precision and panache. This La-La Land Records release is to be fully commended for dedication beyond the call of soundtrack duty. Booklet photography and sleeve notes by Frank K. DeWald are a welcome additional treat. If you like epic film-making, Tiomkin or Samuel Bronston, purchase and consume this product as soon as possible. You will not be disappointed.
01. Overture (02:55) 02. Main Title (03:03) 03. Peking, China, The Summer Of The Year 1900... (00:44) 04. Order From A Prime Minister / In The Palace (01:46) 05. Oriental (01:19) 06. The Water Wheel Torture (01:36) 07. A Dead British Missionary (00:38) 08. Welcome Marines (01:54) 09. Hotel Blanc (02:24) 10. Lewis And Natashaҳ First Encounter (02:20) 11. Prince Tuan (02:02) 12. Dance At The British Embassy (The Belfry Two-Step) (03:06) 13. The Boxers Entertain (02:43) 14. Natashaҳ Waltz (02:20) 15. Murder Of The German Minister (02:12) 16. Mass Execution (00:29) 17. An EmpressҠWarning (01:09) 18. Rescued From An Angry Crowd (01:09) 19. Preparing For Battle (02:12) 20. Natasha Visits A Chinaman (01:38) 21. Lewis And Natasha Disagree (01:10) 22. Attack On The French Legation (03:17) 23. British Soldier Wounded (00:49) 24. On Top Of The Wall (02:06) 25. All Quiet On The Eastern Front (00:35) 26. Here They Come (Peking First Battle) (02:45) 27. Hospital Scene (01:03) 28. Moon Fire (05:51)
CD2:
01. Intermission: The Peking Theme (02:28) 02. Childrenҳ Corner (01:40) 03. At The Hospital (01:06) 04. A Message From Admiral Sidney (01:20) 05. Lewis And Natasha (03:04) 06. Theresa In Danger (01:55) 07. Religious Ceremony / Covert Operation (04:15) 08. Spoiling The EmpressҠParty: Explosion Of The Arsenal (02:39) 09. Old Soldiers Never Volunteer (02:15) 10. Lewis Saves The Boy (01:48) 11. Necklace For Drugs (01:14) 12. The Truce Is Over (01:08) 13. Theresa And Lewis (01:01) 14. Death Of Natasha (02:51) 15. A New Kind Of Weapon (02:27) 16. Peking Second Battle (00:44) 17. Bad News (02:18) 18. Attack On The Compound (01:50) 19. Help Arrives (02:52) 20. The Empress Alone (01:36) 21. Auld Lang Syne (00:42) 22. End Title (01:36) 23. Exit Music: The Peking Theme (02:49) 24. So Little Time (EP Version) (02:15) 25. March (EP Version) (01:56) 26. Natasha (EP Version) (01:57) 27. Theresa (EP Version) (02:05) 28. So Little Time (Single Version) (02:15) 29. Moon Fire (Single Version) (02:01)
Despite the fact that he came to prominence in the heyday of Hollywood's great film scores, Hugo Friedhofer never achieved the recognition enjoyed by his contemporaries Miklos Rozsa, Alfred Newman, Bernard Herrmann, and Franz Waxman. This may have been a result of the fact that he tended to score movies that were more noted for their stars than their dramatic content.
Hugo Wilhelm Friedhofer was the son of a cellist from Dresden. He quit school at the age of 16 to take a job as an office boy, and studied art at night at the Mark Hopkins Institute in San Francisco. He'd started learning the cello from his father at age 13, but for most of his teen years, music and art challenged each other as his first love. At 18, he finally decided to devote himself to music, taking up the cello in earnest and achieving a professional level of competency by the time he was 20. He played in a symphony orchestra and a theater orchestra while continuing to study music full-time, including composition courses with Italian composer Dominico Brescia. He worked periodically as an arranger for popular bands and playing in theater orchestras, and then, with the advent of talking pictures, was suddenly thrown out of work when the theater orchestras disappeared. He scrambled around for work for two years, already married and with a wife and child to support. Then in the late '20s, he landed a job in Hollywood as an arranger at Fox Studios. Arriving there in April of 1929, he took his first assignment, the movie Sunny Side Up, and then worked as a freelancer for the next few years. He was finally hired by Warner Bros. and spent the middle and end of the '30s orchestrating more than 50 of the movie scores written by Max Steiner, and 15 of the renowned scores of Erich Wolfgang Korngold.
By the early '40s, he was widely admired as an orchestrator even among the classical community, which normally looked down its nose at film music, including such renowned figures as conductor Jascha Horenstein. Friedhofer emerged very slowly as a composer. His first assignment, for The Adventures of Marco Polo starring Gary Cooper, came about in 1937 through his friend Alfred Newman. Unfortunately, the Warner Bros. music department had all of the composing talent it needed and only used Friedhofer as an orchestrator. Luckily, he had Newman's lasting friendship. In 1944, Newman got Friedhofer an assignment at 20th Century Fox to score The Lodger. Newman was the most respected creative figure in film music in Hollywood, whose word was law with many producers and even a few moguls, among them Samuel Goldwyn. It was on Newman's recommendation that Goldwyn -- over the objections of director William Wyler (who wanted Newman) -- selected Friedhofer to compose the music to the most important movie he had ever made, The Best Years of Our Lives, in 1945. Friedhofer's score for The Best Years of Lives was one of the finest ever written for a Goldwyn movie and it won the composer an Academy Award and attracted the favorable attention of serious music critics. Friedhofer's career as a composer was made, and he went on to score such diverse films as Ace in the Hole, The Bishop's Wife, Three Came Home, Seven Cities of Gold, An Affair to Remember, The Young Lions, and One-Eyed Jacks. He worked well into the 1970s on movies including Roger Corman's Von Richthofen & Brown and Paul Bartel's Private Parts. In the 1970s, Friedhofer was respected as an elder statesman of film music. As one of the few surviving members of his generation, he ended up as a spokesman for them and a symbol of the neglect to which their work was subjected; many of his scores were part of a massive amount of studio documents bulldozed as landfill during the early '70s. Ironically, by the end of that decade, scholars and record companies were busy reconstructing Friedhofer's orchestrations and arrangements for new recordings.
01. Main Title - Ski Run (2:03) 02. Christian & Francoise / Michael's Theme (5:38) 03. Hope & Noah (4:49) 04. The Captain's Lady (2:07) 05. North American Episode (5:44) 06. Parisian Interlude (5:09) 07. Berlin Aftermath (3:13) 08. A Letter from Noah (2:13) 09. River Crossing (3:03) 10. Death of Christian / End Title (5:22)
CD2 - This Earth Is Mine!:
01. Main Title (3:27) 02. Martha's Vineyard (1:58) 03. The Kiss (1:50) 04. Wine Caves (2:36) 05. Good Catch (3:21) 06. Amorous Andre (1:31) 07. Confessional (4:40) 08. John & Mother (1:05) 09. Be Honest (3:35) 10. Mountain Vineyard (2:26) 11. Catastrophe (2:49) 12. Hospital (2:19) 13. Back to the Soil (2:55) 14. End Title (3:41)
Artist: Francois De Roubaix Title Of Album:Anthologie Volume 1&2 Year Of Release:1960-70 (1999) Label: Play Time Country:France Genre: Soundtrack Quality: mp3/Flac (image+.cue) Bitrate: 320 kbps/Lossless Total Time:73:50 + 74:58 Total Size:333,35 / 965,55 Mb
Tracklist :
Volume 1: Commissaire Moulin 1. Indicatif 1:36 Les Aventuriers 2. Journal De Bord 3:18 3. Enterrement Sous-Marin (Version Inédite) 1:20 La Scoumoune 4. Xavier A La Maison D'Arrêt 2:32 Les Secrets De La Mer Rouge 5. La Vie A Bord 2:34 6. Thème De Célima 1:22 7. Les Pirates 1:52 8. Thème D'Amina 1:32 Chapi-Chapo 9. Chapi-Chapo 2:45 Le Saut De L'Ange 10. Le Saut De L'Ange (Version Longue) 3:33 11. Drive-In 1:49 La Guerre D'Algérie 12. Thème 2:56 À Vous De Jouer Milord 13. Générique 1:51 14. Titan 2:35 15. Un Tank Pour L'Aventure 1:56 16. Angoisse Sous-Marine 2:05 Le Provocateur 17. Générique 1:56 Les Sesterain Ou Le Miroir 2000 18. Générique 2:07 19. Amour Et Mariage 1:55 20. Tignes 2:32 21. Schuss... 1:50 Sial IV 22. Thème 2:06 Tante Zita 23. Le Monde Est Fou 2:23 24. Loin (Version Inédite) 1:58 25. Miniland 1:52 Opération Gauguin 26. La Plongée 1:53 Le Soleil Se Lève à L'Est 27. Générique 2:06 28. Cavaliers En Manoeuvre 2:05 29. Le Soleil Se Lève A L'Est 2:23 La Vie Commence à Minuit 30. Thème 1:41 Bonus Tracks 31. La Scoumoune 2:46 32. Tramp 1:39 33. Les Caïds 1:41 34. Trois Pas 1:40 35. L'Appel Du Large 1:59
Volume 2: Dernier Domicile Connu 1. Suite 2. Ecoute Le Temps Vocals – Brigitte Bardot Les Chevaliers Du Ciel 3. Générique Jeunesse "L’Age Tendre" 4. Deux Chevaliers Dans Les Andes 5. Le Ciel Nous Fait Rêver 6. Poursuite Dans Les Airs 7. Tahiti Jeff 8. Le Canal Gelé 9. Poursuite A Anvers 10. Laurent Et Eva Pépin La Bulle 11. La Bulle De Pépin Vocals – Jean-Jacques Gallard 12. En Avant Pépin! La Loi Du Survivant 13. Valse Du Vertige (Version 1) 14. La Loi Du Survivant 15. Valse Du Vertige (Version 2) Ou Est Passé Tom? 16. Tom 17. Les Prisonniers Les Grands Moyens 18. Vendetta Vocals – François De Roubaix 19. Les Mémés Flingueuses Les Etrangers 20. Thème Les Anges 21. Les Anges A Dossiers Ouverts 22. Générique 23. Calomnie Des Poissons Et Des Hommes 24. Requiem Pour Un Congre 25. Valse Du Poulpe Millénaires 26. Thème Les Oiseaux Rares 27. Je Suis Sportive Amours, Delices Et Orgues 28. Thème Pénélope 29. Balade De Pénélope 30. Pénélope Se Déchaîne Comment Ça Va J'm'en Fous 31. Une Vie A L'envers Mais Ou Sont Passées Les Jeunes Filles En Fleur? 32. Des Jeunes Filles Et Des Fleurs… Titres Bonus 33. Rêverie (Maquette De Travail Inédite) 34. Les Aventuriers (Maquette D'Une Chanson Inédite) Vocals – Joanna Shimkus 35. Demain… (Maquette De Travail Inédite)
Artist: Vladimir Cosma Title Of Album:Le jumeau Year Of Release: 1984 Label: Carrere Genre: Jazz, Score Quality:Flac (image+.cue) Bitrate: Lossless 24 bit/96 kHz Total Time:35:33 Total Size: 696,67 Mb
Tracklist : 01. Le jumeau (4:15) 02. Les filles en or (3:49) 03. Matthias-Matthieu (4:53) 04. Les bigames (1:31) 05. Blue dôme (2:27) 06. Elizabeth et Elisabeth (1:10) 07. Two Much (4:54) 08. Le jumeau singulier (2:20) 09. La folle journée (4:16) 10. Betty (1:10) 11. Pardon, mon affaire (3:50)
Soundtrack of 'Saturday Night Fever' (1977), who came to achieve 15 times platinum in USA and in those years to be the best selling film music of all time. The 'Bee Gees' were preparing a new studio album for which had about five original songs, which proved to be right for the start of the soundtrack, who played the first 4 themselves, while the fifth,' If I Can not Have You ", was recorded by Yvonne Elliman. Along with those songs added two other previously released their own songs, "Jive Talkin 'and' You Should Be Dancing '. The rest of the music of the film are outstanding songs written and adapted by musician David Shire, which makes loans of three of them.
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Track list:
1. Stayin' alive (Bee Gees)
2. How deep is (Bee Gees)
3. Night fever (Bee Gees)
4. More than a woman (Bee Gees)
5. If I can't have you (Yvonne Elliman)
6. A fifth of Beethoven (Walter Murphy)
7. More than a woman (Tavares)
8. Manhattan skyline (David Shire)
9. Calypso breakdown (Ralph McDonald)
10. Night on Disco Mountain (David Shire)
11. Open sesame (Kool & The Gang)
12. Jive talkin' (Bee Gees)
13. You should be dancing (Bee Gees)
14. Boogie shoes (K.C. and The Sunshine Band)
15. Salsation (David Shire)
16. K-Jee (M.F.S.B.)
17. Disco Inferno (The Trammps)
Oft-recorded Bernard Herrmann masterpiece finally gets complete release in dynamic stereo from new masters! Previous release on Rhino label was spectacular album, albeit several major set pieces (including main title & climactic Mount Rushmore sequence) were transferred from damaged elements, all that was then available. Thanks to Warner Bros., new stereo mixes have been made available for first time ever, revealing spectacular sonics (for 1959) and illuminating new details of magnificent score never before captured. While score has also been digitally re-recorded twice under different conductors, neither version can match crisp, exciting performance of MGM Studio musicians under baton of Herrmann himself. Hear harp arpeggios, castenets, wood blocks, snare drums like never before. Get entire climax with punch of bass trombone, thrilling trumpets amidst swirling variety of tempos that keep tension, excitement of Hitchcock's incredible action set-piece moving at fierce pace. Alfred Hitchcock's brilliant film stars Cary Grant, Eva Marie Saint, James Mason, young Martin Landau and is regarded as one of director's greatest achievements. Crop-dusting scene, Mount Rushmore climax are movie icons. Romance between Grant, Saint is heartfelt, all the more so with Herrmann's tender love theme for strings. Composer is also major part of excitement, suspense of wild tale. Under loving guidance of Neil Bulk & Lukas Kendall, Herrmann's score comes home at last not only with best sound possible but also with first-ever reproduction of original MGM artwork campaign, color stills, informative notes by Frank De Wald, complete cue assembly details plus musician's list. The final word on North By Northwest! Bernard Herrmann conducts. Intrada Special Collection release available while quantities and interest remains.
01. Overture - Main Title (02:17) 02. The Streets (01:04) 03. Kidnapped (02:15) 04. The Door / Cheers (01:22) 05. The Wild Ride / Car Crash (03:11) 06. The Return / Two Dollars (01:13) 07. The Elevator (00:47) 08. The U.N. / Information Desk (01:52) 09. The Knife (00:49) 10. Interlude (01:16) 11. Detectives / Conversation Piece / Duo (04:40) 12. The Station / The Phone Booth / Farewell (02:52) 13. The Crash / Hotel Lobby (03:12) 14. The Reunion / Goodbye / The Question (02:32) 15. The Pad & Pencil / The Auction / The Police (02:35) 16. The Airport (01:00) 17. The Cafeteria / The Shooting (02:21) 18. The Forest (01:23) 19. Flight / The Ledge (01:28) 20. The House (03:12) 21. The Balcony / The Match Box (02:44) 22. The Message / The T.V. / The Airplane (02:37) 23. The Gates / The Stone Faces / The Ridge / On The Rocks / The Cliff / Finale (08:55)
The Extras: 24. It's A Most Unusual Day (Source) (01:10) 25. Rosalie (Source) (01:33) 26. In The Still Of The Night (Source) (02:24) 27. Fashion Show (Source) (05:20) 28. The Crash (Alternate Take) (01:48)
For the first time on CD, the magnificent and complete score for 'Laura'. The previous CD release on Arista was missing about ten minutes of cues. Additionally, what was presented was compiled into a twenty-seven minute suite with no track breaks - one long track. That release was taken from a reel-to-reel tape, but for this complete release the original elements were used. Additionally, included as a bonus are some test demos and the entire suite from the previous release. In total, eighteen tracks of prime David Raksin, and a score that truly stands the test of time. 'Laura' is a limited edition printing of only 1000 copies.
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Laura—both the 1944 film and the immortal David Raksin score that supports and, in the opinion of some, lends it classic status—is the ultimate in noir-ish Hollywood glamour: a dark masterpiece that somehow transcended all the difficulties strewn along its path to production to become one of the great exemplars of the accidental artistry of a largely commercial studio system. With a brilliant cast, including Dana Andrews, Gene Tierney, Clifton Webb, Vincent Price, and Judith Anderson, and sublime direction by Otto Preminger, Laura, based on the novel by Vera Caspary, is as iconic a film noir as there ever was. The film is filled with classic bon mots, most of them coming from Clifton Webb as the acerbic Waldo Lydecker. “I should be sincerely sorry to see my neighbor’s children devoured by wolves,” or “I don’t use a pen, I write with a goose quill dipped in venom,” or “I cannot stand these morons any longer. If you don’t come with me this instant I shall run amok.”
The film, which runs a brisk eighty-eight minutes, was nominated for four Academy Awards – Clifton Webb received a Best Supporting Actor nomination and the others were for screenplay, director, art direction, and photography. It took home the prize for Joseph LaShelle’s velvety beautiful black-and-white photography. But what becomes a legend most? In the case of Laura it is clearly one of the greatest movie themes ever written. Laura was David Raksin’s first major composing assignment and he delivered the goods, with a breathtakingly beautiful monothematic score that fits Laura like a glove. Shockingly, there were twenty best score nominations in 1944 and Laura was not one of them. But the theme and the score have endured and grown even more popular over the years. Many singers have recorded the song (with its lyric by the great Johnny Mercer), and there have been an equal number of instrumental and jazz covers – in fact, during Raksin’s lifetime it was said to be the second most recorded song in history.
In tandem with the film’s release on Blu-ray, we are thrilled to present for the first time on CD, the complete score for Laura. The previous CD release on Arista, which has been out of print for many years, was missing about ten minutes of cues. Additionally, what was presented was compiled into a twenty-seven minute suite with no track breaks – one long track. That release was taken from a reel-to-reel tape, but for this complete release the original elements were used. Additionally, we include as a bonus some test demos and the entire suite from the previous release. In total, eighteen tracks of prime David Raksin, and a score that truly stands the test of time.
Tracklist:01. Main Title (02:17) 02. The Phonograph (00:23) 03. The Cafe (04:05) 04. Waldo Walks Away (00:59) 05. Theatre Lobby (01:26) 06. Night (03:03) 07. The Cafe / Waldo's Apartment (Including 'You Got To My Head') (04:12) 08. Laura Leaves (00:57) 09. The Portrait (03:21) 10. Mark (01:03) 11. Apartment House (01:19) 12. Radio (01:23) 13. The Party (03:39) 14. Outside Waldo's Door (01:25) 15. Waldo (04:28) 16. End Title (01:19) 17. Laura Theme (Test Demos) (01:40) 18. The Laura Suite - Theme And Variations (27:20)
Space is the Place is an album by Sun Ra and His Intergalactic Solar Arkestra. The music was recorded in early 1972 in San Francisco, California for the film Space Is the Place. However, the music remained unreleased until Evidence Music issued a compact disc in 1993. The soundtrack CD compiles 16 tracks that Sun Ra recorded for the film.
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Space Is the Place is the soundtrack to a film that was made but never released, and the tunes are among his most ambitious, unorthodox, and compelling compositions. Between June Tyson's declarative vocals, chants, and dialogue and Ra's crashing, flailing synthesizer and organ fills, and with such songs as "Blackman/Love in Outer Space," "It's After the End of the World," and "I Am the Brother of the Wind," this disc offers aggressive, energized, and uncompromising material. Ra's pianistic forays, phrases, and textures were sometimes dismissed as mere noodling when they were part of a well-constructed multimedia package. This comes as close as any of Ra's releases to being not only a concept work but a blueprint for his live shows from the early '70s until the end of his career. Features some previously unissued cuts.
Review by Ron Wynn, Allmusic.com
Tracklist:
01. It's After The End Of The World (03:28) 02. Under Different Stars (03:58) 03. Discipline 33 (03:24) 04. Watusa (07:14) 05. Calling Planet Earth (03:07) 06. I Am The Alter-Destiny (01:12) 07. Satellites Are Spinning (02:35) 08. Cosmic Forces (03:11) 09. Outer Spaceways Incorporated (03:03) 10. We Travel The Spaceways (02:31) 11. The Overseer (03:08) 12. Blackman/Love In Outer Space (16:55) 13. Mysterious Crystal (05:55) 14. I Am The Brother Of The Wind (05:56) 15. We'll Wait For You (04:15) 16. Space Is The Place (04:23)
Elmer Bernstein’s score for 1962’s Birdman of Alcatraz may well be the composer’s most important score never to have found its way to a commercial release. After nearly 45 years, however, the film music headlines finally can turn to this masterful score and, all hyperbole aside, trumpet a truly historic discovery.
Birdman of Alcatraz was released by United Artists in 1962. The film was directed by John Frankenheimer and starred Burt Lancaster as convicted murderer Robert Stroud. For the film, Lancaster gave one of the most memorable performances of his career.
Birdman of Alcatraz comes from a time that could be quite accurately described as the most important two or three-year period of Elmer Bernstein’s entire 50-plus year career. Birdman, along with The Magnificent Seven, Summer and Smoke, Walk on the Wild Side, To Kill A Mockingbird and The Great Escape, all fall between 1960 and 1963. An astounding run of inspiration and success!
For Birdman of Alcatraz, Bernstein composed a magical score, so subtle, and so delicate that he brought compassion to the character of a convicted murderer and, in one of the best-scored scenes of his entire career, brought a baby bird into the world. Hearing the hour of music that Bernstein composed for this film, assembled together for the very first time, is sure to bring a new appreciation for this important opus.
This CD contains many cues in their complete form that were only heard in abbreviated versions in the film. We’ve also got 11 cues that were not heard in the final cut at all! We couldn’t be more excited about this release and are so pleased to be able to finally offer this landmark score.
The CD cover features artwork by the great and legendary Bob Peak.
Tracklist:01. Main Title 02. The Letters 03. The Courthouse 04. Washington 05. Idleness 06. Flight 07. Bird Cart 08. Canaries Arrive 09. bottle Bath 10. Apology 11. Cage Preparations 12. Cage Building 13. Godfather Feto 14. Runty Returns 15. No Cure 16. Runty Dead 17. Apie Dead 18. Peggy 19. Oldest Enemy 20. Second Prize 21. Partners 22. The Tigress 23. No Parole Fight 24. Stround Drunk 25. Book Montage 26. Transferred 27. To Alacatraz 28. "D" Block 29. Bon Vivant 30. 23 Years 31. The Visitor 32. Saving Face 33. The Parting 34. Riot 35. Transfer Boat 36. Like A Bird 37. To Springfield 38. End Credits 39. The Birdman
![VA – Inside Llewyn Davis [Original Soundtrack Recording] (2013)](http://www.israbox.com/uploads/posts/2013-11/1383894250_cover-5.jpg "VA – Inside Llewyn Davis [Original Soundtrack Recording] (2013)")
