|
Search Result for Genre SOUNDTRACK
viewing 1 To 25 of 676 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
SVVRCH 006LP
|
$22.00
PREORDER
RELEASE DATE: 4/26/2019
Space Pirate Captain Harlock was originally a manga comic series created and illustrated by Leiji Matsumoto, which debuted in 1977. The comic was adapted into an anime television series in 1978 directed by Rintaro and produced by Toei Animation. The soundtrack to this series was composed by Seiji Yokoyama and is perhaps his best-known work. Symphonic and tense, the music perfectly complements the show, where Captain Harlock denies defeat and leads an outlaw crew aboard his starship Arcadia to undertake daring raids against Earth's oppressors during a low time for Earth's population, in the future of 2977 AD. A great and rare anime soundtrack, highly sought after by collectors both of anime and Japanese electronics/symphonic music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PAN 089CD
|
$16.50
PREORDER
RELEASE DATE: 4/26/2019
Written and directed by Joji Koyama and Tujiko Noriko, Kuro tells the tale of Romi, a Japanese woman living in the suburbs of Paris with her paraplegic lover Milou. Tending to Milou by day and working in a karaoke bar by night, Romi reminisces about a time she and Milou once lived together in Japan with a mysterious ailing man named Mr. Ono. Weaving together personal history, anecdotes, and myths, her stories soon turn ominous. Composed and recorded during the editing of the film in Berlin, the Kuro OST by Tujiko Noriko (with contributions from Joji Koyama, Sam Britton, and Will Worsley), is a crucial and integral part of the film, acting not only as a glue to bind the layers of the film together, but along with the sonic palette of the film's sound design, evokes it's claustrophobic atmospheres and moments of haunting beauty. The music, which in the film is largely heard in tandem to the narrating voice of Tujiko Noriko (who also stars as Romi), is presented and arranged here as a separate piece in its own right. Written and produced by Tujiko Noriko. Photography by Joji Koyama. Mastered by Rashad Becker at Dubplates & Mastering, Berlin.
"When we first decided to 'split' the film into what might be described as two parallel layers -- the narrated story and the visual story -- we found that it opened up an 'in-between' space, a space where what is heard and seen continually wrestle with one another. We envisaged that the true setting of the film would emerge from this friction, as something imagined and projected by the audience. After a few screenings we were struck by how some audience members would refer to scenes or events in the film that, for us, did not take place... We both thought of the music of Kuro as a score to this space in-between." --Joji Koyama
"I tried to think of the pieces in abstract terms, like moods and atmospheres. In a way, the process was quite similar to how I usually make music, in the sense that I have images in my head. Of course, in this case there were actual images and a lot of them very close to me, but I didn't want to get overly conscious about them either -- I didn't want to get stuck by trying to be too specific." --Tujiko Noriko
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PAN 089LP
|
$25.50
PREORDER
RELEASE DATE: 4/26/2019
LP version. Written and directed by Joji Koyama and Tujiko Noriko, Kuro tells the tale of Romi, a Japanese woman living in the suburbs of Paris with her paraplegic lover Milou. Tending to Milou by day and working in a karaoke bar by night, Romi reminisces about a time she and Milou once lived together in Japan with a mysterious ailing man named Mr. Ono. Weaving together personal history, anecdotes, and myths, her stories soon turn ominous. Composed and recorded during the editing of the film in Berlin, the Kuro OST by Tujiko Noriko (with contributions from Joji Koyama, Sam Britton, and Will Worsley), is a crucial and integral part of the film, acting not only as a glue to bind the layers of the film together, but along with the sonic palette of the film's sound design, evokes it's claustrophobic atmospheres and moments of haunting beauty. The music, which in the film is largely heard in tandem to the narrating voice of Tujiko Noriko (who also stars as Romi), is presented and arranged here as a separate piece in its own right. Written and produced by Tujiko Noriko. Photography by Joji Koyama. Mastered by Rashad Becker at Dubplates & Mastering, Berlin.
"When we first decided to 'split' the film into what might be described as two parallel layers -- the narrated story and the visual story -- we found that it opened up an 'in-between' space, a space where what is heard and seen continually wrestle with one another. We envisaged that the true setting of the film would emerge from this friction, as something imagined and projected by the audience. After a few screenings we were struck by how some audience members would refer to scenes or events in the film that, for us, did not take place... We both thought of the music of Kuro as a score to this space in-between." --Joji Koyama
"I tried to think of the pieces in abstract terms, like moods and atmospheres. In a way, the process was quite similar to how I usually make music, in the sense that I have images in my head. Of course, in this case there were actual images and a lot of them very close to me, but I didn't want to get overly conscious about them either -- I didn't want to get stuck by trying to be too specific." --Tujiko Noriko
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RBL 064-2LP
|
$28.00
PREORDER
RELEASE DATE: 4/19/2019
"Rustblade presents Claudio Simonetti and his Goblin playing and reinterpreting the score of one of the most famous horror movies of all times to celebrate 40 years of the idolised film Dawn of the Dead directed by George Romero and produced by Dario Argento. The music that accompanies the movie is a mix of prog and electronic rock full of tension and magic tribalism. Piercing guitars, synth orchestration and virtualism give life to thousands of blood thirsty zombies. Limited colored lime vinyl plus gatefold poster."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
12BACH 010EP
|
$12.50
PREORDER
RELEASE DATE: 4/12/2019
A world premiere of AI-generated symphonic music -- all three audio files are compiled from two live recordings with different microphone settings. The cover image is generated by algorithms trained with the following image searches: migration, Mediterranean, boat, Libyan coast, EU. Different search engines were used. Land der Musik celebrated its world premiere on October 7th 2018 at steirischer herbst '18 -- volksfronten in Graz, Austria. Commissioned and produced by steirischer herbst in cooperation with ORF Musikprotokoll.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DGST 038CD
|
Digitmovies present the complete edition of Stelvio Cipriani's original sound track for the action film Tough To Kill ("Duri A Morire") for the first time on CD. Stelvio Cipriani composed an OST where funk music, which was typical at the time, blends with Latin American sounds. The wild dance song in the opening credits is reprised in a fast version, a slow version with South American rhythms, and then contrasted with sad and dramatic strings. Electronic and rhythmic suspense pieces are perfect to describe the hidden dangers waiting for the protagonists of the story. There is no lack of piano pieces performed by the composer, Greek folk music, and military themes. For this CD, the restored stereo master tapes from the original recording session were used. Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GZH 087CD
|
$15.50
PREORDER
RELEASE DATE: 3/15/2019
Manta Ray is the first release of Snowdrops, a French-based keyboard duo composed by Mathieu Gabry and Christine Ott (Yann Tiersen, Tindersticks, Foudre !); this opus is the soundtrack they composed for Phuttiphong Aroonpheng's film of the same name, which has won several awards including Best Film in the Orizzonti section at the Venice Film Festival. Strangers in a strange land... Borders, belonging and banishment are the issues in Manta Ray. The Thai film trains a poetic look at the void of humanity through the story of two men, a Thai fisherman with peroxide blonde hair and a nameless stranger stuck in a foreign land and supposed to be a Rohingya of Myanmar, whose continuing persecution is constituting one of the biggest human rights scandals of our time. The realism of this story melds with magical elements into a complex whole leaving plenty of room for interpretation. Aroonpheng's first feature is a mesmerizing experience, sometimes compared to Weerasethakul's Uncle Boonmee (2010) and Hitchcock's Vertigo (1958). Snowdrops' soundtrack brings another dimension to Aroonpheng's movie. The duo was especially focused to build their sound here on a frame of keyboards of different generations (Ondes Martenot, Mellotron, MS2000 or Altered keyboards). The color is sometimes dark ("The Mangrove", "Losing A Friend To Death"), sometimes surrealistic ("Lights In The Deep"), and in the case of "Weird Dance", a suggestion of romance between the two main characters on the rhythm of a dreamy electronic tune. The French duo also re-arranged a composition ("Hot Springs") by renowned Thai singer Rasmee, who features as an actor in the movie. Always moving in a physical and sensorial approach, Snowdrops were also involved in the sound design of the movie, as the music is often merging with the other auditive elements and with the images themselves as an organic painting; this hypnotic experiment finds its climax at the end of the movie, with Ott's piano running wild and Gabry's soundscapes swirling in between "The Harmony Of Rohingya's Voices" in a breathtaking scene. File under: avant-garde, electronic, experimental, modern classical, soundtrack.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DGST 037CD
|
Digitmovies release the complete edition CD of Carlo Savina and Aldemaro Romero's original sound track for the historical film Simon Bolivar. The film was presented at the XI Festival of Moscow (1969) where it won the Special Jury Prize, Carlo Savina and Aldemaro Romero work together on this symphonic score dominated by the charming sounds of Latin America. The historical figure of Simon Bolivar is emphasized through heroic passages for orchestra and chorus which alternate with a romantic love theme and music for the battle scenes. C.A.M. originally released a vinyl LP (SAG 9022) with eighteen stereo selections, which was reissued for the first time on CD in 1992 in the C.A.M. Soundtrack Encyclopedia series. Thanks to the stereo master tapes from the original recording session, which were kept in excellent condition, Digitmovies discovered about forty minutes of previously unreleased material such as alternative mixes and film versions. Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FKR 048LP
|
B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes, and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploit-o double-bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protégé and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line. Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere (Curt Boettcher, Kid Dynamite, Don & Stevie) would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging krautrock scene or the more localized stoner psych of Skip Spence (whose radically ahead of its time LP OAR (1969) was recognized by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Düül or some Swedish prog outfits like Träd, Gräs Och Stenar or a sedated Kebnekaise. In comparison to the Curb Records/Davie Allan scores, for films like Wild Angels (1966), Devil's Angels (1967), Thunder Alley (1967), and Born Losers (1967) (often released on Curb's own Sidewalk or Tower Records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation... "Pre-certified biker psych from the hillbilly Haxan. Amazing!" --Sean Canty (Demdike Stare)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RED 256LP
|
$28.50
PREORDER
RELEASE DATE: 3/1/2019
Dagored present a vinyl reissue of the soundtrack for Farewell Uncle Tom ("Addio Zio Tom"), complete with extra tracks. Italian directors Gualtiero Jacopetti and Franco Prosperi gave birth to a whole new subgenre of "non-fiction" exploitation movies with their 1962 hit Mondo Cane. After repeated accusations of forgery, unethical behaviors, and war crimes, they decided to make a movie about the atrocities of American slavery as an apology of sorts. It was 1971 and the movie was Farewell Uncle Tom ("Addio Zio Tom"). The famous critic Roger Ebert called the result "the most disgusting, contemptuous insult to decency ever to masquerade as a documentary." Naked flesh, voyeurism, and violence is constantly used but gorgeous photography and a memorable score from Academy Award nominee Riz Ortolani add a sickening slickness to it all: rock-beat tunes mixed with classic big band themes, waltz, and funny marches and the beautiful "Oh My Love", with the vocals from Katyna Ranieri, used, among many others by Winding Refn in his cult movie Drive (2011).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RGM 850LP
|
"Seldom has any artist captured that ineffable 'high, lonesome sound' quite as beautifully as Ry Cooder did on his landmark soundtrack to Wim Wenders' 1984 film Paris, Texas. Not quite blues, not quite bluegrass, not quite ambient, Cooder's haunting, evocative score mirrors the existential journey of Harry Dean Stanton's Travis Henderson as he wanders through the empty Texas prairie landscape in pursuit of his irretrievable past. With the able help of multi-instrumentalists David Lindley and Jim Dickinson, Cooder crafts a soundscape (much of it based on Blind Willie Johnson's 'Dark Was the Night, Cold Was the Ground') that is profoundly sad yet leavened with bits of humor and whimsy. Real Gone Music is proud to present this classic soundtrack in a limited white vinyl edition."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JBH 077LP
|
$25.50
PREORDER
RELEASE DATE: 2/15/2019
Out of print since 2001, a classic Trunk release gets a rare repress, the original soundtrack of Kes. This is pastoral British jazz film music at its very best. Includes sleeve notes by Jarvis Cocker. Kes by Ken Loach is one of the greatest British films of all time. It also has one of the finest soundtracks of the period. Put together by the incredibly talented John Cameron (the arranger for Donovan and great film score composer in his own right) this score sums up beautifully the freedom, innocence, and tragedy put across in the film. With a crack British jazz line-up, including flute legend Harold McNair, Ronnie Ross (bass clarinet), Tony Carr (drums), Danny Moss (clarinet), and David Snell (harp), this score not only appeals to the soundtrack collectors but also followers of the classic British jazz sound. Source material was the original John Cameron master, which had been slightly damaged at the front end, so there is a slight change in volume at the beginning of the LP. Nobody moaned back in 2001. Things might be different now. The score is only 19 minutes long and therefore fits perfectly onto a one-sided LP. Full color sleeve; Produced by Jonny Trunk.
"The sound of long-lost childhood... The smell of a damp school cloakroom, from an age when comics were still printed on newsprint... But this is more than just a product of the nostalgia industry -- put on this album and immediately you'll be soaring through the air, free of your earth shackles; for this is the sound of a human soul in flight. A beautiful daydream antidote to an all too real South Yorkshire nightmare. This is the real thing. This is beauty so fragile it hurts." --Jarvis Cocker
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FKR 092LP
|
With this previously unreleased 1963 score for Jindlich Polák's Ikarie XB-1, Finders Keepers present an "elusive" musical artifact by Zdeněk Liska, the label's third soundtrack by the composer. Fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman, and Stanley Myers. But having waited patiently behind the borders of the wider landscapes of international cinema, Liska's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like "lost", "rare", and "unreleased" in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin, and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivaled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Lubos Fiser, Zdeněk Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liska is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his "client" who would in-turn end up working under this composer's creative direction. Not only was Liska a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilizing primitive sample techniques by "looping" a film's existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liska would independently develop his own techniques which had simultaneously become known in Paris as musique concrète. It is a direct extension of these experiments that saw Liska also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liska a relatively untraveled pioneer of early electronic composition and sound design due to his unlikely global environment. Remastered from the original tapes with the full cooperation of the National Film Archive in the Czech Republic.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DOC 145LP
|
Akira Ifukube's score to the legendary 1962 monster movie King Kong vs. Godzilla. Ifukube's visionary music is tense and violent, a perfect complement to Ishirō Honda's film. This incredible score alternates between brass and strings as you witness the death and destruction that comes in the wake of these two classic film monsters' battles. Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CDDM 295CD
|
In a small village in Emilia, pastor Don Camillo (Terence Hill) and Communist Mayor Peppone (Colin Blakely) are from opposing political factions and are invaluable friend/enemies. They clash at every opportunity, which often ends up in a fight -- as in the case of the football game played by teams which they had trained. Obviously, the mayor is not happy with Don Camillo's behavior and threatens to transfer him to a remote mountain village. This is a remake of the movie Don Camillo (1952) by Julien Duvivier. It was Terence Hill's first time behind the camera and he wanted to make the action between Don Camillo and Peppone take on a more modern feel, which better suited his style. The story is set in recent times, with a sportier priest (he skates in the church), and embellished with classic fist-fights (as in the football game scene). There are also some small cameos by famous Italian ex-footballers, including Roberto Boninsegna, Roberto Pruzzo, Luciano Spinosi, and Carlo Ancelotti. Ancelotti was a soccer player for A.S. Roma and former coach of teams such as Juventus, Milan, Chelsea, Paris Saint-Germain, and Real Madrid. He is now the current coach of Bayern Munich. Music by Pino Donaggio; Conductor: Natale Massara; Producer: Roberto Danè. In this new edition Digitmovies honor the original editing of the album released in 1984 by Senso Unico.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPDM 014LP
|
LP version. In a small village in Emilia, pastor Don Camillo (Terence Hill) and Communist Mayor Peppone (Colin Blakely) are from opposing political factions and are invaluable friend/enemies. They clash at every opportunity, which often ends up in a fight -- as in the case of the football game played by teams which they had trained. Obviously, the mayor is not happy with Don Camillo's behavior and threatens to transfer him to a remote mountain village. This is a remake of the movie Don Camillo (1952) by Julien Duvivier. It was Terence Hill's first time behind the camera and he wanted to make the action between Don Camillo and Peppone take on a more modern feel, which better suited his style. The story is set in recent times, with a sportier priest (he skates in the church), and embellished with classic fist-fights (as in the football game scene). There are also some small cameos by famous Italian ex-footballers, including Roberto Boninsegna, Roberto Pruzzo, Luciano Spinosi, and Carlo Ancelotti. Ancelotti was a soccer player for A.S. Roma and former coach of teams such as Juventus, Milan, Chelsea, Paris Saint-Germain, and Real Madrid. He is now the current coach of Bayern Munich. Music by Pino Donaggio; Conductor: Natale Massara; Producer: Roberto Danè. In this new edition Digitmovies honor the original editing of the album released in 1984 by Senso Unico.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DGST 036CD
|
Digitmovies release the first complete edition CD of Carlo Rustichelli's original soundtrack for the giallo comedy film The Almost Perfect Crime (original title: Delitto Quasi Perfetto). Carlo Rustichelli (December 25, 1916 Carpi - November 13, 2004 Rome) wrote a mysterious score of pure suspense with strings and organ pieces. The author alternates gloomy atmospheres with wild surf lounge-style music and a recurring melody with trumpets and orchestra, which you might think of as a "cousi"" to the movie Blood and Black Lace (Sei Donne Per L'assissino) directed by Mario Bava in 1964. This soundtrack also contains the hit song "E Se Domani" ("And If Tomorrow") by G. Calabrese and C.A. Rossi in an instrumental jazz-blues club version beautifully arranged by Rustichelli. C.A.M. previously released a single with two tracks specially assembled by the author using various takes. For Digitmovies' full-length CD, the label was able to access the mono master tapes from the original recording session, with Bruno Nicolai as conductor. This is another CD which can be added to the ever-growing discography of the venerated maestro Carlo Rustichelli.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DGST 043CD
|
Digitmovies presents the soundtrack by brothers Guido & Maurizio De Angelis for the movie Zorro (1974). At that time a 45 rpm single was issued in Italy and in Japan, with the songs "Zorro Is Back" and "To You Mi Chica", and a vinyl album with twelve selections was issued in France, Germany and Japan and later reissued with the same contents by C.A.M. on CD in 1991. For this CD, Digitmovies uses the first generation stereo master tapes of the original recording session allowing for almost forty extra minutes of material. The De Angelis brothers have written a cheerful main theme for the masked avenger Zorro called "Zorro Is Back", introduced in the version performed by Oliver Onions in "Titoli Di Testa" and reprised in instrumental form. This motif is alternated with the love theme "To You Mi Chica" for solo guitar, orchestra, and vocal with dramatic symphonic music with Latin flavor for the heroic actions of Zorro. The bonus material contains exciting reprises of the album versions of "Zorro Is Back", "To You Mi Chica" and the dramatic background themes among which a remarkable rarity can be found: the off-vocal take of the main theme song, that is to say "karaoke" with Zorro! Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PECLEC 2656CD
|
"Esoteric Recordings are pleased to announce the release of a new re-mastered and expanded edition of the classic 1972 soundtrack album to Roman Polanski's gritty film of Shakespeare's Macbeth. New re-mastered & expanded."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FKR 098LP
|
From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels (1971), comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (The Holy Mountain, 1973) with the soundtrack music to what is now considered his rarest and most overlooked feature film, Tusk (1980). As part as Finders Keepers' ongoing dedicated Jodorowsky soundtrack series, the label present the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz. Following his mind-melting masterpieces Fando & Lis (1968), El Topo (1970), and The Holy Mountain, Jodorowsky's "disowned" attempt at a family film retains the director's ongoing demand for intense, experimental film music resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography. Cherry-picked from pre-recorded synthesizer-fueled, cosmic pop sessions by Skornik, these compositions provided Tusk with arabesque new age synthesis alongside full-blown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie's most memorable moments. Presented here in isolation, Guy Skornik's multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno's Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don't ignore Jodorowsky's "elephant in the room" -- you never know what is hidden in the trunk. Tusk not only unearths a lesser-known Jodorowsky gem, but forms another spiritual circle in the label's alternative pop universe, forming new twines in the Finders Keepers family tree.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RGM 824LP
|
"One part psychologist, one part psychonaut, and one part huckster, Dr. Timothy Leary was one of the most fascinating and enigmatic figures to emerge from the '60s, and the fact that he released a soundtrack to a film that nobody ever saw fits right in with his modus operandi. Indeed, mass confusion reigns as to the origin of the tracks found on Turn On, Tune In, Drop Out. First of all, Leary had released an album by the same name a year earlier on the ESP-Disk label; that one was a spoken-word record offering Leary's thoughts on LSD, philosophy, and religion. Then, in 1967, Mercury Records released this record, ostensibly a soundtrack recording, but to what? Latter day sources differ as to this question; IMDB claims the soundtrack hails from five short films (including footage of the San Francisco Be-In and Andy Warhol's Plastic Inevitable, and an early Nam June Paik film featuring The Beatles), but then how could there be one soundtrack to five separate and distinct films? Other authorities provide a more plausible answer -- Turn On, Tune In, Drop Out was a film that Leary, his partner Rosemary Woodruff Leary, and long-time psychedelic traveling companion Ralph Metzner made that was so far out (even for 1967), that it received little theatrical release if any at all. In it, Leary guides Metzner on a trip through his body, through his memory, and all the way back to his evolutionary cellular origins, while Rosemary is the divine connection echoing Leary's calming words. But, unlike its eponymous predecessor, this is no mere spoken-word record; alternating with and accompanying Leary's rap is a mesmerizing East-West blend featuring guitar, tabla, and the rarely-heard veena, an Indian instrument akin to a sitar or a sarod, while odd use of reverb and sound effects create a musique concrete effect mixing voice and music. Trippy? You bet. Even the song titles chart the course of an acid trip. It's also a bit of a time machine back to the heady days of the Summer of Love; and for this limited edition vinyl reissue, we've pressed up 1600 copies in red, blue & green 'kaleidoscope' vinyl. Turn on and tune in with the guy Richard Nixon called 'The most dangerous man in America!'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LR 103LP
|
Joe Jackson finished the Night And Day tour in May 1983. He had been asked to contribute a song to Mike's Murder, a film written and directed by James Bridges. He ended up writing both a handful of songs and a few instrumental pieces that were released on a soundtrack album in September. Unfortunately, the film itself was not ready for release then, since it was the subject of a dispute between Bridges and the movie studio that had financed it, the result being re-shooting and reediting, such that the film did not open until March 1984, by which time it had a score by John Barry and only a little of Jackson's music remaining, and then it earned only one-million dollars during a few weeks of theatrical showings, making it a disastrous flop. The orphaned soundtrack album, however, managed to get into the Top 100 and even spawned a chart single in the Jackson composition "Memphis", while "Breakdown" earned a Grammy nomination for Best Pop Instrumental Performance.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NFN 1017LP
|
"Limited edition LP reissue of Michel Legrand's Wuthering Heights on transparent purple vinyl. The wealthy Mr. Earnshaw (Harry Andrews) adopts Heathcliff (Timothy Dalton), a young street urchin he meets on a trip to the city, welcoming the boy into his stately rural mansion, Wuthering Heights. Though Earnshaw's daughter Catherine (Anna Calder-Marshall) initially treats Heathcliff with disgust, the two eventually fall in love. But when Catherine's hateful brother Hindley (Julian Glover) returns home in the wake of his father's sudden death, it threatens to tear the young lovers apart. This is the original album presentation, with the addition of a previously unreleased track, digitally remastered from the original ¼' stereo tapes from the MGM vaults. This is the original album presentation. Limited edition of 300 LPs."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SME 056LP
|
Founded in early '70s by historical RAI TV trumpeter and composer Cicci Santucci (Looking Around (1971), On The Underground Road (1971)), New Tape grew up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid jazz base of the musicians and inspired by theme music. Andrea Galtieri aka Cavalier Piscopo has sequenced the very best shots from the label's production and included exclusive liner notes, creating an explosive mix of jazz-rock, bossa, spellbinding grooves, and raw experimental stuff. "A leading figure in the Italian jazz scene, Santucci worked as trumpeter in the legendary RAI TV orchestra for over 20 years. He was renowned for collaborations with such jazz legends as Lionel Hampton, Gato Barbieri, and Kenny Clarke, until his foray into the avant-garde with The Living Music, a project founded by his brother Umberto. During these same years, he took part in important Italian jazz sessions like Looking Around and On The Underground Road, with Enzo Scoppa. It was just around this period that Cicci founded his own label, New Tape. His goal was to dedicate himself to composing library music with a new expression, less linked to hard bop or American standards, but more focused on the sounds of the time that brought the listener closer to modern vibes, like jazz-rock and the avant-garde. Mixed Grill opens this series, by the maestro's alias, Girosan, along with Lesiman (aka Paolo Renosto). Rengran Mix (1971) and Tropical (1972) followed, with music by Renosto and Romolo Grano. This work gave way to electronic instrumentation, and was built on a rich rhythmical carpet -- tropical percussion, rock and blues-inspired vibes, sleazy psych, and jazz improvisations. The label's most important production was the fourth album, Mirage (1971) by Santucci and Enzo, an explosive mix of elegant jazz, funk, and psychedelia. The last album of the series is Appunti Di Guerra (1971) by the mysterious Ruscigan, an obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation, foreshadowing industrial music. With pressings of only 100 copies per title, New Tape is among the most interesting discoveries to date in terms of original production library music." --Andrea Galtieri. Edition of 500, 180 gram vinyl in heavy cardboard packaging.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD
|
|
DGST 042CD
|
Digitmovies rerelease, on a triple-CD set, Fiorenzo Carpi's complete original soundtrack for the TV drama Le Avventure Di Pinocchio ("The Adventures of Pinocchio") in full stereo, directed in 1972 by Luigi Comencini. At the time the C.A.M. issued a 33rpm containing eighteen tracks and a 45rpm single with two tracks. The album material was re-released in France on an LP and on another vinyl with music and dialogues narrated by Genevieve Casile. C.A.M. reissued on CD for the first time ever, the content of the vintage 33rpm in 1991, in its series Cam's Soundtrack Encyclopedia and in 2005 with a new music suite. For the production of Digitmovies' triple-CD set, the label were able to access the master tapes in full stereo of the recording session of the time which allowed them to use every note recorded in 1972, under the direction of the fabulous orchestra conductor Bruno Nicolai (who had also handled the arrangements). An open sea of music... the label almost felt like the puppet Pinocchio who desperately swims in front of the monstrous jaws of the whale; experience of recovery, edit, sequence, and restoration really tiring and unprecedented, which led finally to the realization of Digitimovies' ambitious project. CD one contains the material of the historic 33rpm, followed by TV versions and alternate takes; CD two continues with many other TV versions and alternate takes; the third CD contains TV versions, alternate takes, and test versions sung by Andrea and Nino Manfredi Balestri with the orchestra of the brothers De Angelis. The magnitude of Fiorenzo Carpi and Bruno Nicolai is highlighted by the impressive number of different arrangements of the main themes (the most attentive audiophiles will notice even the presence of certain sonic atmospheres typical of Nicolai for the Italian thriller!) That lead the listener into the magical world of Pinocchio, thanks to a popular flavor of music, strong in its extreme simplicity. An absolute masterpiece that wants to pay homage to Nino Manfredi in one of his most intense performances, the director Luigi Comencini and of course the musical art of Fiorenzo Carpi and Bruno Nicolai. Edition of 300.
|
viewing 1 To 25 of 676 items
Next >>
|
|