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Search Result for Genre SOUNDTRACK
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LP
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MPI 009LP
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$37.50
PREORDER
RELEASE DATE: 12/17/2021
Musica Per Immagini present a first time reissue of Piero Umiliani's Atmospheres, originally released in 1979. Atmospheres is one of his most interesting Umiliani albums, published in a limited edition in the mid-seventies. A period of musical confusion even though not for him, who had always been eclectic. The charming soundtracks for Luigi Scattini's documentaries were already behind him, as was the great orchestral jazz production: his career had already been long and full of professional satisfactions. The present time for the composer when recording Atmospheres consisted of the scores for a number of Italian comedies and, most all, a set of sonorizations. These appeared projected into the future, thanks to their avant-garde attitude and the electronic sounds which seemed to arrive from a parallel universe. The sixteen tracks of Atmospheres belong to this group of works which were not tied to specific cinema projects, where the composer's incredible imprint is at its height. In all this creative freedom it is clear how the titles of several pieces pointed to specific thematic suggestions, so that they could instantly be adopted by producers and documentary film editors. A choice that is not accidental. Just like that of Musica Per Immagini which continues to select hidden treasures from the rich catalog of the maestro. Remastered from the original tapes.
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LP/CD/BOOK
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CY 001BCL
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$78.00
PREORDER
RELEASE DATE: 12/3/2021
Song Cycle Records present the release of Solaris (Original Soundtrack), a collector's edition box set, that includes the soundtrack realized by the great Russian composer Edward Artemiev for Andrey Tarkovsky's masterpiece film Solaris (1972). The box includes the soundtrack in two formats: 180 gram, high-quality virgin vinyl and CD. The release is also accompanied by an exclusive, hardcover photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky.
The collaboration between Tarkovsky and Artemiev started in conjunction with the completion of Solaris when the director was seeking for a film score capable to give back and complete, through the sound, the meaningful images of the film. Back in the day, Artemiev was a member of the legendary Experimental Studio of Electronic Music in Moscow, a place of high experimentation in the field of the electronic music, in the context of which the ANS synthesizer was conceived and employed for the first time for music composition. Invented almost ten years before by Murzin, the ANS was used by Artemiev to create the special sound atmosphere that Tarkovsky was looking for. Artemiev and Tarkovsky's association will also extend to two other undisputed masterpieces of Tarkovsky, Mirror (1975) and Stalker (1979). A unique artistic joint-venture is that among the duo, in which the musician is seen as a sound organizer, more than a composer, within the process of giving form to a soundscape intertwined completely with the film in its unfolding: always essential and never to be experienced as an accessory element. What emerges here is how and at what degree for Tarkovsky the sound is part of his own existence. Made in collaboration with the Andrey Tarkovsky Institute, this box set is a compelling publication for everyone who wants to dive deep into the Tarkovsky's realm.
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LP
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TDP 54068LP
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$25.00
PREORDER
RELEASE DATE: 11/26/2021
Trading Places present a reissue of Sandro Brugnolini's Fantabulous (La Donna, il Sesso e il Superuomo), originally released in 1968. Roman saxophonist and clarinetist Sandro Brugnolini began his long recording career in the Junior Dixieland Gang in the early 1950s and came to greater prominence as chief composer in the Modern Jazz Gang, awarded best original composition for his 'Arpo' at Italy's National Jazz Festival in 1958. Of the many film soundtracks he scored in the '60s, Fantabulous is the most legendary, Brugnolini bringing a jumble of mod jazz, psych-beat, freaky soul, and off-kilter pop into the mix, as an aural accompaniment to a film inspired by superheroes, secret agents, and swinging dames. One of the ultimate soundtrack rarities, this one is a must-have, far-out listening experience. 180 gram turquoise vinyl; edition of 500.
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7"
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FKSP 021EP
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$20.00
PREORDER
RELEASE DATE: 11/26/2021
Not content with liberating what many consider the rarest soundtrack on both the cut-throat Italian and Japanese collectors' markets (with the repress of the music to Eiichi Yamamoto's erotic-historic Pinky anime psych cinematic feature Belladonna Of Sadness), Finders Keepers Records return to the composer Masahiko Sato's bottomless well in an attempt to retrieve the elixir which enticed us in the first place. From a clutch of thirteen lost cues which never appeared on the mythical Italian-only soundtrack album, this limited 45rpm single finally combines the two elusive freak fuzz tracks aficionados unanimously agree to be the finest themes to feature on the film. Encompassing virtually all of the free jazz and screaming psych signatures found on Masahiko's own albums and collaborations, such as Amalgamation, Yamataifu and Rumour (all recorded around the same era), these two tracks also hear Sato experimenting with hard rock rhythms and Afro rock aesthetics devised to enhance the flamboyant and erratic folkloric storyboard of the film. Not scared to deploy radical 1970s studio devices like guitar fuzz pedals and keyboard ring modulators Masahiko literally pulls out all the stops with his organs, synths and pianos to deeply coat artist Kuni Fukai's most eye-popping scenes with his own sonic equivalent of hallucinogenic face melting mayhem. Complete with rhythm players and soloists from his associated bands The New Herd and The Soundbreakers these two tracks alone draw comparisons with the likes of Wolfgang Dauner and will certainly strike similarities to Miles Davis' Filmore/Bitches Brew period, but never without his own distinct Japanese jazz flavor, thus placing these tracks alongside other rare and unreleased psychedelic recordings such as J. A. Caesars music for the films of Shuji Terayama and Toshi Ichiyanagi and April Fools music for Yoshishige Yoshida's Eros Plus Massacre. Continued comparisons to Alain Goraguer's animation soundtrack for La Planete Sauvage can be attributed to Sato's use of Rhodes electric pianos, but as one of the first three people to import a Moog synthesizer to Japan (a key player on the collectable Electro Keyboard Orchestra), Sato's tracks on this 45 successfully convey his wash of electro enhanced layered noise that illustrates the films pivotal plague scene in which Fukai paints an unforgiving black sea over the world to avenge the honor of the films traumatized leading protagonist.
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7"
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FKSP 020EP
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$20.00
PREORDER
RELEASE DATE: 11/26/2021
Transparent bumper blue 7". Greg Kmiec's Xenon pinball machine was released in 1980 and marked a significant milestone in pinball technology and design. The expansion of microchip technology would provide new opportunities for sound designer and synth pioneer Suzanne Ciani, allowing for basic oscillator control and a wider scope for sampling capacity which could facilitate the higher frequencies of a female human voice and entirely reshape the concept of the machine in the process. By using state of the art Synclavier synthesizer technology and an invaluable experience in film scoring and record production Suzanne would devise a complete minimal music score for the machine, then dissect the piece into separate fragments that would be triggered throughout the game play adding an extra creative dimension in player inter-activity (potentially turning the participant into their own musical arranger). By incorporating her own infamous voice box (which had been the focus of a seminal David Letterman Show feature) Suzanne's combination of a harmonizer and a vocoder also provided the first-ever female identity to a pinball machine which in conjunction with the games ergonomic design and Paul Faris' figurative graphics (echoing the aesthetic of Rene Laloux and Roland Topor's La Planète Sauvage) Xenon was able to add a degree of subconscious sensuality to its performance, a feature previously unchartered in arcade development. This disc presents the full extent of Suzanne Ciani's groundbreaking musical effects for Xenon, in their isolated form, for the first time ever heard outside of the confines of the machine which recently earned the composer her own induction to the Pinball Expo Hall Of Fame.
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CD
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BCM 9598CD
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$23.50
PREORDER
RELEASE DATE: 11/12/2021
Beat Records present on CD the original score by Mario Migliardi for the western Matalo! directed by Cesare Canevari in 1970. For the soundtrack of Matalo!, director Canevari decided to call a composer he had never worked with: Mario Migliardi. Thus, after Ferrio, Gian Piero Reverberi (for Una jena in cassaforte) and Armando Sciascia (Per un dollaro a Tucson si muore), the director begins a new collaboration with a composer who had done a lot for television, but little for cinema, with the exception of Duccio Tessari's La sfinge sorride prima di morire" and Mal's negligible musicarello Pensiero d'amore. It could therefore have been a risk, a sensational flop, but instead it was a stroke of genius, because Migliardi not only accepted Canevari's challenge but also veered dramatically towards a crazy, brilliant and psychedelic soundtrack, definitely ahead of its time. Why? Because instead of fishing from the sound of spaghetti Westerns and known references, Migliardi -- who was fifty years old at the time -- decided to take the rock and pop sounds in vogue at the end of the sixties, mixing Western and psychedelic, folk and electric guitars in a combination that still today, sounds incredibly modern. The Matalo! soundtrack is a forgotten little (big) gem that absolutely must be rescued and reconsidered, even within the path of cinema composition of the period. After entering the Western, Canevari in fact returned to Reverberi for Il romanzo di un giovane povero, shot four years later, while Migliardi would remain in the west with Klaus Kinski, first in Prega il morto e ammazza il vivo and then in Il venditore di morte. In fact, however, his work on Matalo! was sort of a dead end that remains so today, a brilliant venture from which one could probably go back, a soundtrack that not only remains standing without the images it comments upon, but that seems almost like a concept album halfway between prog, rock and echoes of contemporary "modern," between John Cage and Terry Riley. Also, pay attention to the voice you hear on the album: it is that of Giano Ton (or Giacomo Tosti), the singer and producer who in the sixties had recorded several 45 rpms and who later would also produce the Scottish band Middle Of The Road. Mastering by Claudio Fuiano; liner notes by Andrea Morandi; graphic layout by Daniele De Gemini; 12-page booklet.
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LP
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LPDM 036LP
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Digitmovies presents on LP another musical jewel by Ennio Morricone from the TV movie broadcasted by Italian Rai Television in 1978 Il Prigioniero (The Prisoner). Ennio Morricone has composed an extremely serious score which reflects the whole sentimental and dramatic side of the historic atmosphere, in which the protagonist is immersed. The author varies the main theme with different orchestrations: the romantic, but nostalgic "L'estate È Finite" for flute, harpsichord and orchestra, reprised with harpsichord chromatism and with harpsichord and orchestra. The second motif "I Due Prigionieri" is introduced by the solo flutes in an almost experimental context, later accompanied by cellos and basses and then reprised as a background to psychological suspense with brass, piano and vibes and with fascinating variations. This painful atmosphere is broken up by "source music" which re-creates the sound of that era, like the Sicilian folk song for voice and guitar "Si L'ammuri" and the romantic old-fashioned romantic tune for male voice, piano and guitar "Dove sei amore". Edition of 300.
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LP
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PCR 051LP
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In the early sixties Michel Magne has already made a name for himself though pigeonholed as "rive gauche" owing to his experimental compositions ("Musiques Tachistes"), his collaborations with Françoise Sagan and his musical adaptations of Jacques Prévert, Charles Péguy and Bernard Dimey for the magnificently Christ-like La Mort D'un Homme (Chemin De Croix) (Barclay, 1961). Things suddenly change when composing the music for Gigot by Gene Kelly and with Jackie Gleason the king of "mood music" rediscovered today by people like Joseph Lanza and Boyd Rice. When nominated at the Oscars, as the doors of Hollywood open wide Michel Magne chooses to remain in Paris feeling no enthusiasm at the idea of becoming a Californian. From then on, wreathed in success as he is, a more popular cinema is making eyes at him. Starting with Henri Verneuil with A Monkey in Winter starring nothing less than the greatest name of the time in France, Jean Gabin and a "rising newcomer", Jean-Paul Belmondo. With dialogues by Michel Audiard from the book by Antoine Blondin. A "French quality" that would not be to the taste of the nouvelle vague aficionados. Rather, this "daddy's cinema" is nothing less than the reflection of a certain Gaulish spirit of rebellion, all the same fiercely individualistic and that, disabused of all ideologies, doesn't want to die for ideas as the song by Georges Brassens goes. The music of Michel Magne outlines the nostalgic wanders of Albert Quentin (Jean Gabin) who after an adventurous youth on the Yang-Tse-Kiang now lives a quiet life with Suzanne (Suzanne Flon) whom he met at the Bourboule and manages the Stella hotel at Tigreville (actually Villerville in the Normand Calvados) and takes care of Gabriel Fouquet (Jean-Paul Belmondo), a young adman whose heart was broken in Madrid. The genius of Magne is found in his evocations of Spain and China not as they were at the time but as the two main characters picture them with the help of not just a few drinks. Two dreamers treating themselves to a blessed interlude where "o tempora, o mores" they do not have to cope with anti- speciesism (apology of bullfighting, cultural appropriation concepts (stereotyped Spain and China) nor the Évin law (elevation of inebriation to a fine art status). Here is a jolly good record you will want to go back to every time the right-minded ones try to mess with your basic rights. Henri Verneuil's cult original soundtrack from the 1962 movie.
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LP
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JBH 090LP
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$29.00
PREORDER
RELEASE DATE: 10/29/2021
Unreleased until now and super duper wow. Like British pastoral jam with killer (boom bap) drums, bass and percussion. Just dying for some huge hip-hop producer to come and piss all over it, in a good way. This record is the hidden monster, the one killer OST no one saw or heard. Bartleby the film is from 1970. Full color LP sleeve with Julian House artwork.
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LP
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LPDM 035LP
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Digitmovies release an LP of the OST by Ennio Morricone: Noi Lazzaroni (We Rascals). Ennio Morricone has composed a very "rural" score with the sounds that represent the life of the protagonist. Although integrated within modern society, the soul of this man is always directed to his past, to his land, to the teachings of his father which he could never leave behind. This adherence to the homeland is expressed through deliberately wild and almost enraged vocal performances of Edda Dell'Orso. Ennio Morricone has composed music which reflects the bucolic atmosphere of this tale through a series of archaically flavored themes played by instruments like recorder and mandolin. Among the recurrent themes there are a mysterious motif, dramatic music for dissonant strings and a lounge theme with the typical Morricone sound. The main theme is reprised for recorder and guitar and there is Baroque music for the puppet theater played by woodwinds and percussions. Contains two bonus tracks, unreleased alternate takes of the original album versions which will surely be quite attractive for fans and scholars of the music of Ennio Morricone. Edition of 300.
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LP
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LPOST 018LP
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Cinedelic Records present a reissue of Paolo Vasile's score to Antonio Margheriti's 1975 poliziottesco, Controrapina (The Rip Off) starring Lee Van Cleef. This soundtrack runs the gamut from strumming guitar and vocal numbers, to straight-up dancefloor heaters. This beautifully produced record incorporates smooth sax, disco strings, wah-wah guitar, and a driving beat -- all the essential elements of a first-rate '70s Euro-crime soundtrack. Include a promotional .45 caliber pistol cut-out; edition of 400.
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LP
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LPOST 019LP
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Cinedelic Records present a reissue of Paolo Vasile's score to Enzo Castellari's 1980 poliziottesco film, Il Giorno Del Cobra. This record features one of maestro Vasile's most iconic themes as featured on various polizio compilations. The cues on this soundtrack feature a wonderful mix of cool keyboards, horns, funky basslines, and driving kick drums -- a perfect reverb-fueled accompaniment to Franco Nero's onscreen antics. Includes three bonus tracks; also includes a postcard; edition of 400.
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LP
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SME 075LP
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Sonor Music Editions present a reissue of Nico Fidenco's soundtrack of Emanuelle In America, originally released in 1977. The finest and rarest chapter of Emanuelle saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie Emanuelle In America from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo funk and timeless beats, mental Afro-beat and dancing percussion, sweet psychedelic guitars, subtle female chorus, heavy strings and orchestra, lounge-y sounds, driving funky drums and so on. Essential Italian OST masterpiece! Edition of 800.
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LP
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PNY 33020LP
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Penny Records present the vinyl version of the soundtrack from the TV series Anna, written and directed by Niccolò Ammaniti. Fueled by Niccolò Ammaniti's passionate and immersive creative style, the score for Anna was approached almost as a character study. Anna exposes a world of extreme conditions where the essentials of human existence flourish in a wide range of emotions and sentiments tainted through the eyes of children. Striking brutality and primal savagery go hand in hand with the beauty of innocence and hope. Rauelsson's musical language for Anna includes tense and spare textures that blend seamlessly with intimate ambient minimalism; classical elements that coexist with electronic drone experimentation and tribal rhythms, candid piano melodies buried in tape loops and otherworldly rituals of wordless voices. To arrive at this music landscape, Rauelsson enlisted an international cast of collaborators including Finnish percussionist Tatu Rönkkö, German cellist Anne Müller, American multi-instrumentalist Peter Broderick and Oslo-based vocalist Simin Tander. With this ensemble, Rauelsson's music documents a journey of survival that highlights the power of imagination and love. Gatefold sleeve; includes poster of the TV series and download code for the complete digital release; edition of 500.
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2CD
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DGST 049CD
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Digitmovies releases on double CD for the very first time in full edition, three of Stelvio Cipriani's original soundtracks of the costume erotic comedies Metti lo diavolo tuo ne lo mio inferno (Put your devil into my hell), Leva lo diavolo tuo dal... convento (The countess died of laughter), and Racconti proibiti... di niente vestiti (Master of love). Three completely unpublished soundtracks from Stelvio Cipriani, based on costume erotic comedies influenced by antique novels of Decameron and Boccaccio. This trilogy was formerly supposed to be a quadrilogy with ...E continuavano a mettere lo diavolo ne lo inferno, but unfortunately the master tapes were lost. Thanks to stereo master tapes, Digitmovies used every single note recorded back then, with a result of 140 minutes of music. The author composed many themes that go from classical passages to more modern ones, from holy to profane, both funny and dramatic with the intervention of Nora Orlandi's vocalisms and her notorious choir.
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LP
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LPDR 008LP
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$35.00
PREORDER
RELEASE DATE: 10/15/2021
"Complete collection. From the cult movies of Dario Argento. Contains also a cover of John Carpenter's 'Halloween' and rare soundtracks tracks. Red vinyl."
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LP
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SFTS 002LP
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Licensed in 1975 by Gemelli, Rendez Vous is a holy grail in Bruno Nicolai's long-running career as a composer. The orchestra director and musical editor has been active for at least 30 years and his majestic opus is a must for any avantgarde freak or obsessive moviegoer. While studying piano and composition at the Santa Cecilia Conservatory in Rome, he befriended Ennio Morricone and formed a long working relationship with Nicolai eventually conducting for and co-scoring films with Morricone. Nicolai also scored a number of giallo exploitation films and wrote many scores for director Jesús Franco. His work was featured in the Quentin Tarantino films Kill Bill: Volume 2 (2004) and Once Upon a Time in Hollywood (2019). Tension! Pretty much what this whole record is all about. An imaginary soundtrack that turned out to be an in-demand obscure library, Rendez Vous shows off the many skills of the composer and his alumni. Morricone is possibly playing muted trumpet in several episodes -- "Diffidenza" and "Subdolamente" --absorbing thrilling experiences similar to the Maestro soundtracks for Dario Argento's early movies (it's not the case that Nicolai was the conductor for several adventures in movie sound theater such as L'Uccello Dalle Piume Di Cristallo, Il Gatto A Nove Code or 4 Mosche Di Velluto Grigio). Rendez Vous is now ranked among the most adventurous of Nicolai's soundtracks, a unique combination of classic contemporary arrangements and superb jazz noir sketches.
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LP
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BCR 008LP
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2015 release. "While exhumation of the tapes used for the Black Diamonds box sets was in progress some unmarked magic was found on those tapes containing sides by The Sunsets. You most likely already know that if you've been following the bouncing ball that are our releases and the release of the previously shelved 1967 The Sunsets single, 'Animal/Uptight, Out of Sight' (BRC 007) that finally saw the light of day late last year. Well, you only got part of the story. Aside from those two snarling sides that were finally released as originally intended there were completely different extended takes on four songs specifically recorded to be used in the movie, The Hot Generation. Being that that this was the days prior to studio trickery of recording a song and then chopping it up to be extended, or edited to be a single, The Sunsets recorded completely different versions of the songs. Single versions that were specifically for release as sides on 45s and soundtrack versions that were for use in the Paul Witzig movie, The Hot Generation. Segments of those soundtrack versions can be heard accompanying the epic surfing footage all through the movie. Here are the complete Soundtrack versions. One of them, The Hot Generation, was used on the excellent compilation album Down Under Nuggets, the other three have been completely unheard or released in their originally recorded form. Something that is an extremely rare occurrence in 1960s Australian music, unearthing completely unreleased material. So what you get here is the three 7" singles on Side A. 'The Hot Generation' and 'Animal' 45's from The Hot Generation movie, and 'Theme From A Life In The Sun' 7". A Life In The Sun being the original Paul Witzig surf movie, segments of that footage was then used in The Hot Generation movie. Sadly, the original A Life In The Sun movie has been lost. Side B features the four extended workouts that are the Soundtrack versions. Listening to these versions, in particular the almost 8 minute 'Uptight, Out Of Sight' that's a genre in itself, progressive garage punk, you can see where the seeds were formed for The Sunsets transition into Tamam Shud and wonder how mindblowing an album recorded by The Sunsets would have been. This is as close as we'll ever get to knowing. Manufactured from original master tapes. Three completely unreleased tracks seeing the light of day for first time. Two tracks appear for the first time since original release. Liner notes by The Hot Generation film maker, Paul Witzig, along with lot's of eye candy from the movie."
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LP + 7"
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WWSLP 048LP
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Wewantsounds reissue one of Michel Legrand's best soundtracks composed for the French thriller La Piscine (The Swiming Pool), released in 1969 and featuring Alain Delon and Romy Schneider. Legrand penned the score straight after The Thomas Crown Affair OST and it features the same ultra-cool mix of memorable themes, slick jazzy instrumentals, and funky pop songs. The full soundtrack was only released in Japan and France and is now very rare. Three bonus tracks that have never been released on vinyl have been added, all newly remastered and housed in a deluxe gatefold sleeve with new liner notes by Jeremy Allen. Also includes Legrand's ultra-rare funky 7" OST of Un Homme Est Mort from 1972 in its original artwork. When La Piscine was released in France in 1969, it created a stir and became an instant classic. Starring the sexy duet of Alain Delon and Romy Schneider, it had all the ingredient for a smash hit: stunning actors, a great story of jealousy and sexual tension and the magical sun-drenched setting of the French Riviera. All you needed was a soundtrack to match and Deray turned to Michel Legrand who had struck gold with The Umbrella Of Cherbourg and The Thomas Crown Affair. For La Piscine, Legrand came up with the same magic: a great theme which he declined in several jazzy and groovy variations to match the moods and tensions of the film. For the "Main Theme" and "De Souvenirs En Regrets" Legrand invited his sister Christiane, also a gifted singer, to scat with him and mirror the Delon-Schneider couple on screen. Also invited was French violin ace Stephane Grappelli who play on several queues. To spice up the score and reflect the party mood of late '60s Cote D'Azur, Legrand added a pinch of groove with "Dans La Soiree" and two funky pop songs penned by Marilyn and Alan Bergman, the jerky "Run, Brother Rabbit, Run" sung by Delaney Bramlett (Delaney & Bonnie) and the superb mid-tempo "Ask Yourself Why" sung by Sally Stevens. This The super rare and funky 7" of another Legrand-Deray collaboration from 1972 for the film "Un Homme Est Mort." The soundtrack only came out in France as a single at the time which has become a highly sought-after nugget on the jazz funk digging scene and is reissued here in its original artwork. Gatefold sleeve.
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2LP
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MOVATM 314LP
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"A Fantastic Woman (Spanish: Una mujer fantastica) is a 2017 drama film directed by Sebastian Lelio and written by Lelio and Gonzalo Maza. It was selected as the Chilean entry for the Best Foreign Language Film where it won in the 90th Academy Awards. The film is about Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. It premiered at the 67th Berlin International Film Festival in 2017 where it won the Silver Bear for Best Screenplay and the Teddy Award, an award given to films with a LGBT theme. Matthew Herbert is an award-winning composer, artist, producer and writer. He has had work commissioned by the Royal Opera House, the BBC and has remixed iconic artists such as Quincy Jones, Ennio Morricone and been a longtime collaborator of Bjork's, but he is best known for working with sound, turning ordinary or so-called found sound in to electronic music. This is a limited edition contains of 1000 individually numbered copies on transparent pink color vinyl. The LP package contains an insert with notes from director Sebastian Lelio."
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LP
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SKAO 5099LP
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"A rock star decides he'd rather rule the free world than just sell records in this ambitious fusion of political satire and teen exploitation. Teenage rebel Max Flatow (Christopher Jones) has grown tired of life in suburbia with his domineering mother (Shelley Winters) and weak-willed father (Bert Freed), and, having saved up 800 dollars he earned by selling home-brewed LSD to his schoolmates, he blows up the family car with a makeshift bomb and strikes out on his own. A few years later, Max has adopted the name Max Frost, and is one of the world's biggest rock stars, selling millions of records and earning a fortune from concert appearances and music publishing. Max has learned firsthand about the buying power of America's youth, and when Sen. John Fergis (Hal Holbrook) asks Max to appear at a 'youth rally' to mobilize younger voters, he realizes the kids could also sway an election if they wanted. At Fergis' rally, Max debuts a new song, 'Fourteen or Fight,' which demands the voting age be reduced to 14; the youth respond by rising up in support of Max's demands, reducing many American cities to a standstill. As political leaders bow to public pressure, the age of suffrage is reduced to 15, but rather than choosing candidates to support, Max decides it's time he and his inner circle took control. After Max doses Washington, D.C.'s water supply with LSD, congress votes to make any registered voter eligible to hold federal office, and before long Max Frost has become president of the United States. Once in office, Max unveils a bold plan to once and for all do something about people over 30 -- including his parents. Wild in the Streets features an early screen appearance from Richard Pryor as drummer and political activist Stanley X, while media personalities Dick Clark, Walter Winchell, Army Archerd, and Melvin Belli portray themselves. Barry Mann and Cynthia Weil wrote the songs for fictional rockers 'Max Frost and the Troopers,' including the hit single 'The Shape of Things to Come.' A soundtrack album was released on Tower Records and became successful, peaking at #12 on the Billboard charts. Taken from the soundtrack and film, 'Shape of Things to Come' (written by songwriters Barry Mann and Cynthia Weil) and performed by the fictional band Max Frost and the Troopers, was released as a single (backed with 'Free Lovin'') and became a hit, reaching #22 on Billboard."
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DDJ 054CD
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Beat Records release in the label's DDJ series an unreleased score by maestro Gianni Ferrio, for a summer movie, the ideal choice for the sun-dominated season. An eclectic OST heralded by the main theme "Sciacqua l'acqua", a sparkling theme sung by Johnny Dorelli that, together with divine Laura Antonelli is protagonist of the story. A wonderful album with bossa, jazz, lounge and upbeat tunes featuring also an astonishing cue in The Bee Gees style, everything in a great stereo. Liner notes by Fabio Babini. Mastering by Claudio Fuiano. Graphic layout by Daniele De Gemini. 12-page booklet.
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LP
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LPF 093LP
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LP version. Beat Records present the original score by Alessandro Alessandroni for Formula 1 nell inferno del Grand Prix (aka Maniacs On Wheels) a comedy with dramatic undertones directed in 1970 by Guido Malatesta, with a screenplay by Guido Malatesta and Gianfranco Clerici, photography by Mario Mancini, and editing by Jolanda Benvenuti. The cast includes Olga Berová, Giacomo Agostini, Agostina Belli, Graham Hill, Brad Harris, Irio Fantini, Silvana Jachino, Marianne Hoffmann, Fulvio Mingozzi, Gioiella Minicardi, Franco Ressel, Franca Sciutto, Rafael Santos, Ivano Staccioli, Hans von Borsody, and Gigi Bonos. Alessandro Alessandroni is a 360-degree musician, having linked his name to the famous choir of Cantori Moderni in countless soundtracks and to Italian television (Studio Uno, Sabato sera, Canzonissima'68, Canzonissima'69), not to mention composing music for movies as well as many themes for libraries. Beat Records releasing this soundtrack assembled from the mono master tapes of the recording sessions. Maestro Alessandroni composed a soundtrack where lounge music is prominent, starting with the "Main Titles," a rhythmic motif for orchestra and choir that provides the background to a car race, but also both instrumental and vocal dancefloor themes (that accompany dance scenes during house parties or at night clubs) and even a beat-like march. The composer also wrote pieces where the solo organ creates sensual atmospheres alternating with suspense music for strings and a romantic love theme for orchestra and choir. This OST is another rescue and preservation of Italian film music and a tribute to the great talent of Alessandro Alessandroni, a musician loved by fans all over the world. Mastering and liner notes by Claudio Fuiano. Graphic layout by Daniele De Gemini.
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RBL 079BOX
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$95.00
PREORDER
RELEASE DATE: 8/27/2021
Deluxe box edition. Includes CD. Magenta vinyl. Also includes two art posters, silkscreen poster, and transparent cover. Edition of 149.
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BCM 9590CD
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Beat Records present the original score by Alessandro Alessandroni for Formula 1 nell inferno del Grand Prix (aka Maniacs On Wheels) a comedy with dramatic undertones directed in 1970 by Guido Malatesta, with a screenplay by Guido Malatesta and Gianfranco Clerici, photography by Mario Mancini, and editing by Jolanda Benvenuti. The cast includes Olga Berová, Giacomo Agostini, Agostina Belli, Graham Hill, Brad Harris, Irio Fantini, Silvana Jachino, Marianne Hoffmann, Fulvio Mingozzi, Gioiella Minicardi, Franco Ressel, Franca Sciutto, Rafael Santos, Ivano Staccioli, Hans von Borsody, and Gigi Bonos. Alessandro Alessandroni is a 360-degree musician, having linked his name to the famous choir of Cantori Moderni in countless soundtracks and to Italian television (Studio Uno, Sabato sera, Canzonissima'68, Canzonissima'69), not to mention composing music for movies as well as many themes for libraries. Beat Records releasing this soundtrack assembled from the mono master tapes of the recording sessions. Maestro Alessandroni composed a soundtrack where lounge music is prominent, starting with the "Main Titles," a rhythmic motif for orchestra and choir that provides the background to a car race, but also both instrumental and vocal dancefloor themes (that accompany dance scenes during house parties or at night clubs) and even a beat-like march. The composer also wrote pieces where the solo organ creates sensual atmospheres alternating with suspense music for strings and a romantic love theme for orchestra and choir. This OST is another rescue and preservation of Italian film music and a tribute to the great talent of Alessandro Alessandroni, a musician loved by fans all over the world. Mastering and liner notes by Claudio Fuiano. Graphic layout by Daniele De Gemini. CD version includes 12-page booklet.
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