Upcoming CDs

Well I'm not doing NNW ... but OBSESSION complete.... while another label will be issuing the original tracks. However, I might well do both a stereo and surround sound mix as this would really be good for the organ and choir bits...

Finally after all these years we get an official release of Bill Conti's beautiful and emotionally charged score from Quartet Records, claiming to be truly complete, and what do we get? Alternate versions, untreated music frorm the stereo stems with the expected volume changes, and it's missing music as well. So what went wrong? I don't know, but here's a rundown of all that's weird:

1. Main Titles - this is an alternate recording, not the film version, featuring an alternate string arrangement of the main theme and an added echo effect over the synth dulcimer towards the end.

2. The Raid - also an alternate mix with the added echo effect over the synth dulcimer, not the film version.

4. Martin Waits / Martin's Confession / Billy & Jenny - this as actually missing the "Martin Waits" portion, even though it gets described in the booklet.

8. It's All Right, Malachi / Malachi's Murder - after "Malachi's Murder" we get to hear the "Main Titles" again for unexplained reasons, this time in the film arrangement.

12. Meehan Gets Anna / The Boat - this track is missing the whole "The Boat" portion, even though it's being described in the booklet.

13. Martin & Meehan / Martin on the Cross - this mix is missing the synth choir during the big finale.

The Quartet Records release comes with a beautiful cover and a lavish and informative 20-page booklet sporting detailed liner notes by Daniel Schweiger as well as lots of stills. It looks great, though the liner notes would probably have benefitted from some major proofreading.
It's great that this Bill Conti score finally gets some attention, but it's a pity that this so-called "complete" release is anything but.
Anyone wo still has the old Concorde CD should hold on to it, as it features all the respective film versions as well as the missing track "The Boat" under the title "Ship of Fools". Some of its tracks even sound better, because they don't come from the film stems but are actual studio recordings.
Sorry about the rant, but I had been looking forward to this a lot, and I'm quite disappointed by the presentation. For anyone interested in a chronological track order, this would be it:

1. Main Titles (film version: "Main Title - In London")
2. The Raid (film version: "Tipping Off the Cops")
3. Graveside Hit
4. Martin Waits (still unreleased)
5. Martin's Confession
6. Billy & Jenny
7. Malachi's Meeting
8. Martin Meets Anna
9. Meehan the Malevolent
10. Trashing the Church / Da Costa's Agony
11. Message for Martin
12. It's All Right Malachi
13. Martin & Anna
14. Billy Goes Away
15. Malachi's Murder
16. Meehan at Church
17. Meehan Gets Anna (unused)
18. The Boat (only available on Concorde CD under the title "Ship of Fools")
19. Martin & Meehan / Martin on the Cross (film version: "Just As You Told Me")
20. End Credits

CDDM264
IL MORALISTA
Carlo Savina

Soundtrack:
Only a 45rpm EP (Cetra SP 611) was recorded for this film, with the main score written by Franco Migliacci and Carlo Savina and performed by Fred Buscaglione. Nothing had been previously released from the instrumental OST, but thanks to the mono master tapes it was possible to release all of Savina’s background music, which recalls the instrumental leitmotif and alternates between a dance tune and a romantic love theme. This CD (54:15 minutes) contains the song from the opening credits (a fanfare in music hall style during the beginning and ending credits), and a single with a different intro. Director and Cast: Directed by Giorgio Bianchi in 1959. Starring Alberto Sordi, Vittorio De Sica, Franca Valeri, Franco Fabrizi, Piera Arico, Nando Angelini, Mimo Billi, Renzo Cesana, Liana Del Balzo, Anna Filippini, Ciccio Barbi, Mara Berni, Gina Mattarolo, Christiane Nielsen, Alberto Plebani, Maria Perschy, Lidia Simoneschi, Leopoldo Trieste, Vincenzo Talarico, Enzo Tarascio.

Plot:
Agostino (Sordi) is an impeccable and unintelligent secretary-general of OIMP who seems like a bureaucrat with morals so high it’s almost absurd, but in reality is a shady individual who attempts to play up to the influential president of the organization and woo his daughter (Valeri). Although he is eventually found out, he takes revenge by pillorying the foibles of the president.

Notes about the film:
According to some cinema historians, the screenwriters were inspired by the lawyer Agostino Greggi when choosing the name for the character played by Alberto Sordi. Greggi was an influential spokesperson for the most conservative Catholics of the Christian Democrats. He became famous for his campaigns to set high moral values (but unlike the character in the movie, he was honest). According to others, the character was based on a young Oscar Luigi Scalfaro (president of Italy from 1992-1999) who was accused of reprimanding a woman in public for taking off her jacket and exposing her shoulders (il caso detto “del prendisole”). When the movie was released, it was prohibited to minors because of some scenes with excessive profanity. Nowadays it would not be considered excessive. Mara Berni’s crazy mother was played by Lydia Simoneschi who was considered the queen of Italian dubbing. Her voice was used to dub over 5,000 movies between 1935 and 1975. Vera Serni, who played Mara Berni, was considered one of the most beautiful actresses of Italian cinema. Gina Mattarolo, who played the secretary Eleonora, was an excellent acting teacher but only starred in five movies during her career. Ciccio Barbi, born in 1919, had become famous at the time because of a well-known advertisement for Fiuggi water. Liana Del Balzo was one of the most loved Italian actresses at the time. Sylvia Lopez died the same year the film came out from Leukemia at the age of 23. This film was the debut for Maria Perschy (1938-2004), an attractive Austrian actress who died poor and alone.

01. IL MORALISTA (seq.1 - Titoli versione film) 2:00
02. IL MORALISTA (seq.2) 0:52
03. IL MORALISTA (seq.3) 0:55
04. IL MORALISTA (seq.4) 1:07
05. IL MORALISTA (seq.5) 1:13
06. IL MORALISTA (seq.6) 2:00
07. IL MORALISTA (seq.7) 0:54
08. IL MORALISTA (seq.8) 1:58
09. IL MORALISTA (seq.9) 2:08
10. IL MORALISTA (seq.10) 1:01
11. IL MORALISTA (seq.11) 1:38
12. IL MORALISTA (seq.12) 1:16
13. IL MORALISTA (seq.13) 2:30
14. IL MORALISTA (seq.14) 1:50
15. IL MORALISTA (seq.15) 1:19
16. IL MORALISTA (seq.16) 1:18
17. IL MORALISTA (seq.17) 4:34
18. IL MORALISTA (seq.18) 2:07
19. IL MORALISTA (seq.19) 2:49
20. IL MORALISTA (seq.20) 1:31
21. IL MORALISTA (seq.21) 0:58
22. IL MORALISTA (seq.22) 2:00
23. IL MORALISTA (seq.23) 1:46
24. IL MORALISTA (seq.24) 1:22
25. IL MORALISTA (seq.25) 1:44
26. IL MORALISTA (seq.26) 1:30
27. IL MORALISTA (seq.27) 1:56
28. IL MORALISTA (seq.28) 1:27
29. IL MORALISTA (seq.29 - finale) 2:02
30. IL MORALISTA (seq.30 - Titoli versione alternativa) 2:30






CDDM267
IL DIAVOLO A SETTE FACCE
Stelvio Cipriani

For the first time on CD, Digitmovies has released the OST by Stelvio Cipriani for the film “The Devil Has Seven Faces” (aka “Il Diavolo a 7 facce”), complete and in full stereo.

Soundtrack:

For the making of this CD (38:25 minutes), we were able to use the stereo master tapes from the original recording session. Stelvio Cipriani composed a cheerfully elegant main score with a touch of rock and Nora Orlandi on vocals. The score is heard in different versions and alternates with dramatic music during the dramatic scenes where the female protagonist finds herself in a sticky situation.

Director and Cast:
Directed in 1971 by Osvaldo Civirani. Starring George Hilton, Carroll Baker, Stephen Boyd, Carla Mancini, Lucrezia Love, Roberto Messina, Luciano Pigozzi, Maria Ricotti, Gianni Pulone, Franco Ressel, Ivano Staccioli, Daniele Vargas.

Plot:
Worried about the disappearance of her twin sister Mary, Julie Harrison (Baker) asks for help from a lawyer, Dave Barton (Boyd), after being followed by a strange man on the streets of Amsterdam. Mary, however, has not disappeared but has instead joined a gang of dangerous criminals who intend to gain possession of “the devil has seven faces,” a precious diamond belonging to an Indian maharajah. Mary hides the jewel in a pack of cigarettes, which is later found by Barton. Mary and Dave leave for London together, promising to sell the diamond and share the earnings. However they don’t realize that the jewel in their possession is a fake.

01. IL DIAVOLO A SETTE FACCE (Titoli) 3:35
02. IL DIAVOLO A SETTE FACCE 2:37
03. IL DIAVOLO A SETTE FACCE 0:58
04. IL DIAVOLO A SETTE FACCE 3:07
05. IL DIAVOLO A SETTE FACCE 1:15
06. IL DIAVOLO A SETTE FACCE 2:06
07. IL DIAVOLO A SETTE FACCE 1:34
08. IL DIAVOLO A SETTE FACCE 2:05
09. IL DIAVOLO A SETTE FACCE 1:47
10. IL DIAVOLO A SETTE FACCE 2:02
11. IL DIAVOLO A SETTE FACCE 1:27
12. IL DIAVOLO A SETTE FACCE 2:17
13. IL DIAVOLO A SETTE FACCE 1:26
14. IL DIAVOLO A SETTE FACCE 1:41
15. IL DIAVOLO A SETTE FACCE 2:09
16. IL DIAVOLO A SETTE FACCE (Finale) 7:38






DPDM017
SODOMA E GOMORRA
Miklós Rózsa

Digitmovies is truly proud to present – after having produced numerous CD's dedicated to great Italian musicians – the first reissue in digipack format of the CD dedicated to the important international musician Miklós Rózsa releasing in a double CD BOX de-luxe edition of the full stereo original motion picture score from the 1962 movie “SODOM AND GOMORRAH” directed by Robert Aldrich (and Sergio Leone as second unit director). This double-disc set also celebrates the 52nd anniversary of the movie and its musical score. Miklós Rózsa’s name is closely linked to hundreds of scores for romantic and dramatic cinema exploding effectively during the Golden Age of Hollywood. Miklós Rózsa’s cinematic debut is connected to the 1937 British production by compatriot Sándor Korda. In fact “Knight without armor” (“La contessa Alessandra”) was the movie that brought both Korda and Dr. Rózsa to Hollywood, where Rózsa scored a row “The four feathers” (“Le quattro piume”) in 1937 and the wonderful Colossal Fantasy “The Jungle Book” (“Il libro della giungla”) in 1942, both movies directed by Zoltán Korda, brother of the known producer. Rózsa also scored one of the great fantasy films, “The Thief of Bagdad” (“Il ladro di Bagdad”) directed in 1940 by Ludwig Berger and Michael Powell. After his first Hollywood works Miklós Rózsa primarily specialized in writing scores for the “noir” genre, scoring such classical movies as “Double indemnity” (“La fiamma del peccato”) directed by Billy Wilder in 1945, “Spellbound” (“Io ti salverò”) by Alfred Hitchcock in 1946, “A double life” (“Doppia vita”) by George Cukor in 1947 (for his scores for these last two movies Rózsa won two of his three Oscars), “The Strange Love of Martha Ivers” (“Lo strano amore di Marta Ivers”) by Milestone in 1946, “The Killers” (”I gangsters”) in 1946 and “Criss Cross” (“Doppi giochi”) in 1949, both directed by Robert Siodmark, “Brute Force” (“Forza bruta”) in 1947 and “The Naked City” (“La città nuda”) in 1948, both directed by Jules Dassin. For the cinema of Epic genre Miklós Rózsa composed and conducted original scores that are considered as milestones of cinema history. In 1951 MGM hired him for the super colossal “Quo Vadis” directed by Mervyn LeRoy, followed by “Ivanhoe” in 1952, “Knights of the Round Table” (“I cavalieri della tavola rotonda”) in 1953, both directed by Richard Thorpe, “Young bess” (“La regina vergine”) by George Sidney in 1953, “Julius Caesar” (“Giulio Cesare”) by Joseph L. Mankiewicz in 1953, “The King’s Thief” (“Il ladro del re”) by Robert Z. Leonard in 1955, “Diane” (“Diana la cortigiana”) by David Miller in 1956, “Ben-Hur” by William Wyler in 1959, “King of Kings” (”Il re dei re”) by Nicholas Ray in 1961, “El Cid” by Anthony Mann in 1961 and last but not least “Sodom and Gomorra” (“Sodoma e Gomorra”). Among the other musical comment by Miklós Rózsa the following scores are to be mentioned: “Lust for Life” (”Brama di vivere”) directed by Vincent Minelli in 1956, “The World, the Flesh and the Devil”(”La fine del mondo”) by Ronald McDougall in 1959, “The Private Life of Sherlock Holmes” (“Vita privata di Sherlock Holmes”) by Billy Wilder in 1970 (director Wilder realized this movie after having the sensational experience while listening to Rózsa’s “Concerto per violino”, a piece on which the score is based). In the last years of his fabulous career Rózsa returned to his most beloved of genres: to the Epic/Fantasy “The Golden Voyage of Sinbad” (“Il viaggio fantastico di Sinbad”) directed by Gordon Hessler in 1974, to the dramatic movies like “Providence” by Alain Resnais in 1977 and “Fedora” by Billy Wilder in 1978, the science fiction “Time After Time” (“L’uomo venuto dall’impossibile”) by Nicholas Meyer in 1979, the noir movies “Last embrace” (“Il segno degli Hanna”) by Jonathan Demme in 1979, “Eye of the Needle” (“La cruna dell’ago”) by Richard Marquand in 1981 and the last movie he scored “Dead Men Don’t Wear Plaid” (“Il mistero del cadavere scomparso”) by Carl Reiner in 1982, a comedy but with noiresque touch that recalls the tradition of great American classics for which Rózsa had been the musical soul. Sadly Dr. Rózsa passed away on the 27th july of 1995 in Los Angeles. “Sodom and Gomorrah” (“Sodoma e Gomorra”) from the year 1962 is a splendid production by Goffredo Lobardo for Titanus that continues the tradition of the epic cinema of Hollywood. An international cast was hired for this mega production: Stewart Granger (who was not a newcomer for the epic genre since he had already acted in movies like “Scaramouche” from 1952, “Salomè” from 1953 and “Beau Brummell” from 1954) in the role of Loth, head of an Jewish nomad tribe led by him through the desert to the twin cities Sodom and Gomorrah, famous for the lasciviousness and dominated by Bera, a queen of lust for power (Anouk Aimee), Ildith (Pier Angeli), the wife of Loth who becomes a pillar

of salt, Astaroth (Stanley Baker), Shuah (Rossana Podestà), Tamara (Scilla Gabel) and other characters interpreted by illustrious names of the Italian Cinema: Ishmael (Giacomo Rossi-Stuart), Melchior (Rik Battaglia), the Captain (Anthony Steffen), Lieutenant (Gabriele Tinti), Arlok (Mimmo Palmara), Maleb (Claudia Mori) and the dancer twins (Hellen & Alice Kessler). Enormous scenery both of interiors and exteriors of the colossal cities, exotic locations, including the special effects for the destruction of the sinner cities by divine hand: all this realization was done following the approved rules of the Hollywodian cinema. Rumoured is that originally composer Dimitri Tiomkin was called, but he was not available that time because of health problems and therefore he had been replaced by Miklós Rózsa to compose and conduct an original symphonic score for orchestra and choir to cover two third parts of the 155 minute movie. The score was recorded in the studio “A” of RCA in Rome in June 1962. Rózsa has always been a researcher specialized in world music history.

In the case of “Sodom and Gomorrah” he had performed deep research into Yemeni and Babylonian Jewish music so as to create the dances and prayer songs for choir in their original language. Thence the orchestral themes of pure fantasy are combined with motifs that have antique origins. For what concerns the OST discography of “Sodom and Gomorrah”, this score has been issued on 33 rpm long-playing record by RCA in different countries all over the world (Usa: Rca Victor LSO 1076 – Spain: Rca Cinematres NL 43755 – Japan: Rca CR 10023 – Usa: Citadel CT MR 1, album produced by composer Rózsa-expert Tony Thomas, containing six selections coupled with the score from 1968 movie “The power”). The first CD release of this OST in mono sound was issued on Cambria CD 1050 then the original American LP was reissued on the CD BMG special products/collectables COL-CD-6480 (DRCI-2634) in stereo. The first complete and stereo version was issued in 1986 on a double LP set (Legend DLD 1-2). The realization of our double CD Box de-luxe edition was made possible – once again – thanks to the generous help of C.A.M. authorizing this reissue (with a total playing time of 111’38”) of this memorable OST including the 6 rare bonus tracks discovered on the original session master tapes: 5 alternative choral pieces and a Jewish dance piece that were recorded during the 1962 session but not used in the final version of the movie. Despite careful digital restoration and remastering some anomalies pre-existing on the original sources remain.

DISC 1

01. OUVERTURE 4:34
02. PRELUDIO 2:21
03. IL DESERTO 2:17
04. L'INCONTRO 0:35
05. LE PORTE DI SODOMA 2:19
06. TORTURA DI TAMARA 2:54
07. MUSICA PER LIRA 1:15
08. LA FAVORITA DELLA REGINA 1:30
09. IL GIORDANO 3:02
10. IL POPOLO ELETTO 2:40
11. GIOCO BAMBINI 1:39
12. IL PREZZO DELLA LIBERTÀ 2:35
13. LA SCONFITTA DI ASTAROTH 2:31
14. PREGHIERA 0:44
15. RISPOSTA AD UN SOGNO 2:39
16. LA DIGA 1:06
17. LETTURA DELLA MANO 1:47
18. MARCIA DEGLI ELAMITI 1:07
19. IL BAGNO DELLA REGINA 0:24
20. LA MINACCIA DI LOT 1:34
21. PASTORALE DEL FIUME 4:40
22. ILDITH HA PAURA 0:55
23. MATRIMONIO 1:30
24. L'ADDIO 1:17
25. TRANELLO 1:28
26. LA BATTAGLIA DELLA DIGA 4:35
27. MARCIA DELLA VITTORIA 0:38
28. IL BENVENUTO DI SODOMA 1:22

DISC 2

01. INTERMEZZO 5:07
02. ENTRO LE MURA DI SODOMA I:29
03. LA VOLONTA' DI JEHOVAH 1:46
04. GELOSIA 2:49
05. DANZA DELLE GEMELLE 3:56
06. DANZA DEI PECCATORI 2:32
07. FUGA DEGLI SCHIAVI 1:03
08. LA DISFATTA DI ASTAROTH 2:29
09. PRIGIONE 1:07
10. MESSAGGERI DI GEOVA 2:15
11. NUOVAMENTE LIBERO 0:42
12. LA MISSIONE DI LOT 1:58
13. ESODO 1:32
14. DISTRUZIONE DI SODOMA 4:17
15. STATUA DI SALE 3:37
16. EPILOGO 2:03

Archives Bonus tracks (previously unreleased):
17. PREGHIERA (unused take 1) 2:44
18. PREGHIERA (unused take 2) 2:27
19. PREGHIERA (unused take 3) 2:33
20. DANZA (unused take 4) 1:31
21. PREGHIERA (unused take 5) 2:10
22. PREGHIERA (unused take 6) 2:30

(October 7, 2014 – Los Angeles, CA) Aleph Records will release the ENTER THE DRAGON: EXTENDED EDITION CD soundtrack on November 11, 2014. The album features 56 minutes of Lalo Schifrin’s original score, much of it previously unavailable in any format.

“It was a challenge to take music from the Orient – not the stereotypical Fu Manchu ideas that Hollywood had about Chinese music, but something more authentic – and do it bigger than life, as Ennio Morricone had in the spaghetti westerns,” said Schifrin.

ENTER THE DRAGON was the first martial arts film produced by Americans and would be actor Bruce Lee’s final film. Both the film and Schifrin’s score have earned cult followings in the 40 years since the initial release. The film was added to the National Film Registry in 2004.

But to a certain generation, it is Schifrin’s score for ENTER THE DRAGON that set the standard. Director Brett Ratner (who would go on to hire Schifrin to score his RUSH HOUR trilogy) said “ENTER THE DRAGON is one of my favorite movies, but its one of my favorite movies for one main reason: that it’s the best score I have ever heard in any movie,” (KCRW interview, October 26, 2011).

Kung Fu culture has proven to be a major influence on the development of hiphop culture, movies and music – and both the film and Lalo’s score are still recognized as major influencers. Even as recently as 2013, the group Blue Scholars released a song called “Lalo Schifrin”, boasting the lyric “I compose fight music like Lalo Schifrin/Me and Bruce Lee, not so different.”

Recruited by an intelligence agency, outstanding martial arts student Bruce Lee participates in a brutal karate tournament hosted by the evil Han (Kien Shih). Along with champions Roper (John Saxon) and Williams (Jim Kelly), he uncovers Han’s white slavery and drug trafficking ring located on a secret island fortress. In the exciting climax, hundreds of freed prisoners fight in an epic battle with Lee and Han locked in a deadly duel.

“Lee told me that there was a 2,000-year tradition in martial arts,” Schifrin described his first meeting with the film’s star Bruce Lee. “He had to learn all of the rules in order to break them. Right away, I found we had that in common: I studied classical music, centuries of European classical tradition, rules and regulations, things that you can and cannot do. And then we break all the rules.”

Track Listing:
Prologue – The First Fight 2:36
Main Titles 2:20
Su-Lin (The Monk) 4:56
Sampans and Flashbacks 6:19
Han’s Island 2:54
The Banquet 3:02
Headset Jazz 2:10
The Gentle Softness 2:40
Into The Night 3:43
Goodbye Oharra 1:54
Bamboo Birdcage 2:32
Han’s Cruelty 3:09
The Human Fly 3:34
The Big Battle 4:47
Broken Mirrors 5:54
End Titles 1:06
Theme From Enter The Dragon 2:23
Main Titles (Alternate) 3:17

FOR IMMEDIATE RELEASE

INVADA RECORDS TO RELEASE SOUNDTRACK FOR CULT CLASSIC 1985’s
WARNING SIGN
COMPOSED BY: CRAIG SAFAN

Groundbreaking Film Featured One Of The First All-Electronic Scores

(October 7, 2014– London, UK) – Invada Records will release an expanded, re-mastered edition of the WARNING SIGN soundtrack digitally, on CD and LP in November. The album features the original score by Craig Safan (THE LAST STARFIGHTER, TV’s CHEERS), along with 20 minutes of unreleased music presented as bonus tracks.

“I was very surprised and excited to get the call from Invada that they wanted to release the score,” said Safan. “I’ve been involved in synthesizers since my college days and it’s always been a large part of my compositional palette. I love being able to invent new sounds and alter familiar ones.”

WARNING SIGN was one of the first all-electronic film scores, recorded using a Synclavier synthesizer - an incredibly expensive piece of kit at the time for the story of a man-made virus that is accidentally released, turning the laboratory workers into zombies.

“The Synclavier was so complex that I was literally reading the three huge loose-leaf manuals while composing,” joked Safan. “It was truly on-the-job training! The synth cost $75,000 (in 1983!), ran on Unix, and a 10 meg (not gig) hard drive cost $10,000!”

Craig Safan has composed the music for over thirty feature films including MR. WRONG, STAND AND DELIVER, MAJOR PAYNE, NIGHTMARE ON ELM STREET IV, REMO WILLIAMS, and THE LAST STARFIGHTER. For the small screen, Craig is best known for his work as the composer for the series CHEERS for which he was awarded eight ASCAP Top TV awards, as well as for his music for LIFE GOES ON, which earned Safan an EMMY® nomination.

Safan’s music has been performed by Bernadette Peters, Nathan Lane, Faith Prince, Leon Redbone, the London Symphony, and Cincinnati Pops Orchestras. His musical, BUTTERFLY was produced at the Goodspeed Opera House, and LOLA (THE TRUE STORY OF LOLA MONTEZ) was part of the Eugene O’Neill Musical Theater Conference. His new musical CLUB CALIFORNIA was recently produced at Arcadia University. Craig also composed all the music and songs for the 144th edition of Ringling Brother's Barnum & Bailey Circus. His CD CIRCUS! was recently released on Perseverance Records.

Safan's music can be heard on television today including DANCE MOMS, HARDCOVER MYSTERIES, MILLIONAIRE MATCHMATER, PIT BOSS and many other reality shows. In 2014 Craig conducted his film music at the 10th annual International Film Music Festival in Cordoba, Spain, and was pleasantly surprised to receive the festival’s Basil Poledouris Award For A Film Music Legend. Intrada Records will reissue the soundtracks for REMO WILLIAMS and THE LAST STARFIGHTER later this year.

The WARNING SIGN soundtrack will be available digitally, on CD and on LP in November 2014.

“Vinyl?! I really thought it was gone for good… but now I’m going to have to go out and buy a turntable!” joked Safan.
###
http://craigsafan.com/index.html

For more information contact: cinemediapromo@yahoo.com, or @cinemediapromo on Twitter

Join us celebrating our birthday with 25% off your ENTIRE ORDER at www.lalalandrecods.com. A perfect opportunity to catch up on great titles at a great price!

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November 4 is just Jessabelle

November 18 we have 3 limited coming out

Dec 2 is our last batch for the year...planning on 5 titles for the Black Friday announcement on November 28.

Passion of the Christ is one of those Final Five releases

MV

"... one of his great 80s scores, with stunningly gorgeous themes and the perky and classic Mountain Dance-like theme he originally wrote for the film, and which I like better."

JOSHUA THEN AND NOW
Music Composed by Philippe Sarde
Limited Edition of 500 units

World premiere release of the masterful score composed by Philippe Sarde (Tess, Quest for Fire, Les choses de la vie, Quay d’Orsay) for the 1985 Canadian film (and later, miniseries) directed by Ted Kotcheff, starring James Woods and Alan Arkin.

Joshua Then and Now was written by Mordecai Richler. Based on his own novel, it tells the story of a Jewish writer, from his life as a young boy in Montreal and his conflicting relationship with his father, to his more complicated grown-up life when he moves to London, marries and becomes a successful writer. Conceived first as a theatrical film (Ted Kotcheff was, in fact, nominated for the Palm d’Or at the Cannes Film Festival) it was later released in a longer cut as a TV miniseries.

Philippe Sarde provides a bittersweet score—written during one of the most prolific periods of his career—with a wide variety of motifs (ranging from jazz to barrel organ), a beautiful love theme, dramatic cues, and big-band arrangements of such standard classics as “Temptation.” All this is offered with Sarde’s trademark elegance and sophistication.

Performed by the Orchestre de Paris under the baton of Billy Byers, with the participation of soloists Jack Nimetz on sax and clarinet, Warren Bernhardt on piano, Clark Terry on flugelhorn and trumpet, and Pierre Charrial on barrel organ. This CD has been mastered by Jean-Pierre Chalbos under the personal supervision of Philippe Sarde from the three-track original stereo session masters. The package includes a 12-page booklet with liner notes and a track-by-track analysis by John Takis.



LA NOTTE DI SAN LORENZO (NIGHT OF THE SHOOTING STARS)
Music Composed by Nicola Piovani
Limited Edition of 500 units


Quartet Records and Gruppo Sugar present the world premiere complete edition of the famous score composed by Nicola Piovani (Nel nome del padre, Fellini’s Ginger e Fred, Academy Award winner for Life Is Beautiful) for the Italian classic La Notte di San Lorenzo (aka Night of the Shooting Stars), directed by Paolo and Vittorio Taviani in 1982.

The Night of San Lorenzo, the night of the shooting stars, is the night when dreams come true in Italian folklore. In 1944, a group of Italians flee their town after hearing rumors that the Nazis plan to blow it up and that the Americans are about to arrive to liberate them. This film was a particular triumph for the Italian cinema in the early eighties, winning the Jury Prize at the Cannes Film Festival and five David di Donatello awards (the Italian Oscars), including Best Picture. It was a critical and commercial success worldwide, besides being the first collaboration of the Taviani brothers with Nicola Piovani, who would go on to score such other Taviani films as Good Morning Babilonia and Kaos.

Piovani’s music for La Notte di San Lorenzo is, without a doubt, one of his best and richly melodic scores, with a delicate lullaby as a main theme, melodies based on Italian folk music, and strong, tense dramatic underscore. The composer also provides clever adaptations of Wagner’s Tannhäuser and Verdi’s Messa da Requiem, very important in the development of the film plot.

Mastered by Claudio Fuiano from both the album master tapes and the original stereo recording sessions, this edition opens with the original album program arranged by Nicola Piovani himself in two long suites, followed by the complete score as conceived for the film. The package includes a 12-page full-color booklet with liner notes by Tim Greiving.


DANIELE AND MARIA
Music Composed by Nicola Piovani
Limited Edition of 500 units


Quartet Records and Beat Records presents the first CD release of lyrical Nicola Piovani (La Notte di San Lorenzo, Kaos, Academy Award winner for Life Is Beautiful) score for an Italian teenage romance.

Directed by the Oscar-winning screenwriter Ennio De Concini, Daniele e Maria (1973) is the tale of a forbidden romance between a rich and reclusive boy and the poor girl whose kindness opens up his formerly sheltered life. As the familiar setup from Romeo and Juliet suggests, the romance can only have a tragic ending as Maria is whisked away from her love and is forced into a loveless marriage organized by the rich family sheltering Daniele…

Daniele e Maria was one of Italian composer Nicola Piovani’s earliest scores. For the film, he had to come up with a very interesting, dramatic score that worked alongside classical pieces. Because classical records are Daniele’s only gateway to a normal life, many famous pieces are peppered throughout the story. Piovani adapts a piece by Dvorak for his score and also adds his own original material, including a beautiful love theme for the tragic love story of Daniele and Maria.

This edition expands upon the original 30-minute LP program with previously unreleased cues and alternates. Mastered by Enrico De Gemini, the richly illustrated booklet features liner notes by Gergely Hubai, who discusses this rarely seen film and shares his insights about the music.


For more info and listen audio samples, please visit www.quartetrecords.com

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Quartet Records is proud to present the magnificent musical sound of Jules Verne!

THE MYSTERIOUS ISLAND OF CAPTAIN NEMO (2 CD SET)

Music Composed and Conducted by Gianni Ferrio
Limited edition of 500 units
Release date: 11/20/14


At last! Quartet Records, in collaboration with Cinevox Records and the Gianni Ferrio Estate, is proud to present a remastered and expanded release in a limited edition 2-CD set of this famous score by Gianni Ferrio (Vivi o preferiblemente morti, Un dollaro bucato, Tony Arzenta). The 1973 Italian-French-Spanish film adaptation of the immortal novel by Jules Verne (The Mysterious Island of Captain Nemo – aka L’Isola Misteriosa e il Capitano Nemo) was directed by J.A. Bardem (Calle Mayor, Les pianos mecaniques) and starred Omar Sharif as Captain Nemo.

Gianni Ferrio provides a classy and colorful, dynamic score, dominated by a memorable theme and gloomy action passages. It is full of enigmatic and suggestive romanticism and one of the most deservedly famous scores of his career. The collaboration of I Cantori Moderni di Alessandroni and the fascinating voice of Edda Dell’Orso is one of the most appealing aspects of the score, but not the only noteworthy feature in a work generous in thematic diversity with many delights to be discovered.

The soundtrack album of The Mysterious Island of Captain Nemo was released in 1973 in Italy by the Cinevox label with 12 tracks and a running time of 37 minutes. In 1997 the premiere CD release (in Germany only) included the album program plus five minutes of unreleased music found on the Cinevox album masters. Collectors around the world have sought the complete score without success—until now. This special double-disc set, carefully mastered by Claudio Fuiano and José Luis Crespo, is possible thanks to Alba Ferrio, the composer’s widow, who fortunately kept the complete mono sessions of the score in her husband's private archives. Now, thanks to this recent discovery, this project has become a reality. Even though the tapes were slightly damaged (specially track 22), we are lucky that it has all survived.

The package includes a 12-page full-color booklet including liner notes by Ángel García Romero.



THE LIGHT AT THE EDGE OF THE WORLD
Music Composed and Conducted by Piero Piccioni
Limited Edition of 500 units
Release date: 11/20/14


Quartet Records and GDM present the long-awaited fully remastered reissue of a classic score by Piero Piccioni (More Than a Miracle, Fumo di Londra, Bora Bora) written in 1971 for Kirk Douglas' The Light at the Edge of the World (aka Il faro in capo al mondo)

This British-USA-Italian coproduction was directed by Kevin Billington and produced by Kirk Douglas together with Alexander and Ilya Salkind. The Light at the Edge of the World is based on the posthumously published novel of Jules Verne. The story takes place at the southernmost tip of Latin America where American refugee Denton is tasked with operating a lighthouse. When the men of ruthless pirate captain Kongre (Yul Brynner) invade his island, Denton retreats to the interior, hatching a scheme to defeat the captain and stop the massacre. Though it's a cult favorite now, The Light at the Edge of the World was a relative failure at the box office as the film was simply too tough and uncompromising for a family adventure (as most Verne films were marketed across the world).

The music by Piero Piccioni is one of the composer's own personal favorites and his care for the project shines through the music. The score has a rich thematic vein, featuring distinct themes for Denton, the island, the pirates and a former romance that haunts him to this day. Though Piccioni wrote a lot of music for the film, many cues were truncated when the picture lost about 20 minutes from its running length. Now you can hear the whole score in excellent quality, remastered by Claudio Fuiano from the first-generation master tapes.

The new edition by Quartet Records begins with the original album program from 1971 and is followed by an assortment of bonus tracks, including two organ cues performed by Piccioni himself. The full-color 12-page booklet includes liner notes by Gergely Hubai, who discusses the making of the film and the score, including the various cuts made to the story and the music.


Both releases are available for shipping now.
For more info and listen audio samples, please visit www.quartetrecords.com