Intrada has released both of Jerry Goldsmith's superb soundtracks for "Our Man Flint" and "In Like Flint" in a CD set. The albums were available on vinyl when the films were originally released in 1966/1967. The new remastered recordings are enhanced when compared to any previous CD releases. Below is the official blurb from the Screen Archives site.

Finally! Two great sixties albums by Jerry Goldsmith make their debut on CD, mastered from the recently discovered original 20th Century-Fox stereo album session masters! Preserved in pristine condition in the vast UMG vaults, Our Man Flint and In Like Flint were short but exciting LPs that came out in 1966 & 1967 respectively. Both movies featured James Coburn as secret agent Derek Flint. Daniel Mann directs the former, Gordon Douglas directs the latter. Not to be confused with the Varese Sarabande release of soundtrack highlights, this Intrada CD offers both classic original albums exactly as Goldsmith recorded them, in crisp stereo with vivid orchestral color. Cool action, tuneful adventure and one of the composer's most famous themes all have their say. Included are authentic reproductions of both Bob Peak album jackets, classics in their own right, presented in our flipper-style CD cover. Choose your own favorite! These two albums have been amongst the most requested for CD release in our label's history. Wait no more, they're yours to spin! Jerry Goldsmith conducts both scores. Intrada Special Collection release available while quantities and interest remain! -INTRADA

OUR MAN FLINT
01. Our Man Flint (1:46) 02. Never Mind, You'd Love It (2:09) 03. It's Gotta Be A World's Record (2:20) 04. Man Does Not Live By Bread Alone (2:16) 05. Take Some Risks, Mr. Flint? (1:40) 06. Tell Me More About That Volcano (2:44) 07. You're A Foolish Man, Mr. Flint (1:46) 08. In Like Flint (1:57) 09. Doing As The Romans Did (2:11) 10. Galaxy A Go-Go! -Or- Live It To Flint (2:15) 11. All I Have To Do Is Take A Bite Of Your Apple? (2:13) 12. Stall! Stall! Flint's Alive (2:01)
Total Time: 25:57

IN LIKE FLINT
13. Where The Bad Guys Are Gals ("In Like Flint" Theme) (2:38) 14. Ladies Will Kindly Remove Their Hats (2:45) 15. Lost In Space (2:36) 16. Odin, Dva, Tri, Kick! (3:07) 17. No Rest For The Weary (2:27) 18. Your Zowie Face (Vocal) (2:34) 19. Mince And Cook Until Tender (2:33) 20. Ahh, Yer Father's Bob-Lip (2:20) 21. Who Was That Lady… ? (2:11) 22. Westward Ho-o-o! (5:37)
Lyrics By Leslie Bricusse
Total Time: 29:14

Total Disc Time: 55:20

CLICK HERE TO ORDER FROM SCREEN ARCHIVES

By Darren Allison

(Cinema Retro Soundtrack Editor)

I was recently fortunate enough to make an acquaintance with Jason Lee Lazell of Moochin’ About Records which is earning kudos for releasing some high profile film-related recordings. The latest box set in their Jazz on Film series – ‘Crime Jazz’- will be featured in our upcoming print edition of Cinema Retro. Another of their impressive releases, Film Noir, is a superb 5 CD box set featuring seven fantastic scores including Alex North’s A Streetcar Named Desire (1951), Leith Stevens’s Private Hell 36 (1954), Elmer Bernstein’s The Man with the Golden Arm (1955), Elmer Bernstein and Chico Hamilton’s Sweet Smell of Success (1957), Henry Mancini’s Touch of Evil (1958), Duke Ellington’s Anatomy of a Murder (1959) and John Lewis’s Odds Against tomorrow (1959). I must admit, I initially thought these releases were just going to be another in a long line of reissues, but how wrong I was…

First, I can’t emphasise enough just how classy these releases are. In terms of audio quality alone, they are undoubtedly the best I have ever had the pleasure of hearing. Sonically, they are simply outstanding, revealing a sharpness which no other label has seemed to achieve. The recordings are so clean; they almost offer a vibrant new listening experience.

Packaging of this release is also first class; its sturdy hard box contains a 52 page book with extensive liner notes, full personnel details, recording history and full colour reproductions of film posters from around the world. Each of the 5 discs are housed in beautiful card sleeves, each with a generic b/w brick wall design from which the relevant soundtrack’s film poster is pasted. It’s a very nice touch, providing a charming film noir feel to eye as well as the ear.

Film Noir offers a fabulous set of quality sounding soundtracks at an extremely good price. Don’t hesitate to check out this beautiful set. It might be hiding in the shadows, but it’s well worth pursuing.

You can find Jazz on Film...Noir at:

Amazon UK

Amazon USA

Or at theMoochin’ About website at http://moochinabout.com/

BY FRED BLOSSER

Ambrose Bierce defined “misfortune” as “the kind of fortune that never misses.”  By that measure, Damiano Damiani’s A-budget Spaghetti Western “A Genius, Two Companions, and an Idiot” (“Un Genio, Due Compari, Un Pollo”) (1975), starring Terence Hill, was one of the all-time grand slams of jinxed cinema. Damiani’s negative was stolen during post-production and the film had to be reassembled from alternate takes. The movie was ultimately disowned by its producer, Sergio Leone, who regretted selecting Damiani as the director. In Germany and Sweden, the title was changed to “Nobody Is the Greatest” in an attempt to market the film as a sequel to Tonino Valerii’s popular “My Name Is Nobody” (1973), also produced by Leone and starring Hill. Lacking an American star for marquee value and released in the twilight of the Spaghetti era, the picture never played in U.S. theaters.

Paralleling the relative obscurity of the movie itself, Ennio Morricone’s musical score is the least known of his eight scores for films directed or produced by Leone. There was a soundtrack release on vinyl by CBS-Sugar in Italy in 1975 (with a charming old-timey-style cover photo of stars Terence Hill, Miou-Miou, and Robert Charlebois as their scruffy characters Joe Thanks, Lucy, and Steam Engine Bill), but no American edition. For newer Morricone collectors who have had to pay high prices for the CBS-Sugar vinyl and other now-out-of-print foreign editions -- and for those of us who are fond of Damiani’s sadly underrated and neglected movie -- Quartet Records has done the enormous service of releasing the 1975 soundtrack on a new limited-edition CD. Remastered from the first-generation master tapes, the disc sounds terrific.

“Un Genio, Due Compari, Un Pollo” may be Morricone’s most eclectic Spaghetti Western score, a mixture of old and new styles. Some of the 13 tracks employ familiar motifs from his scores for earlier Spaghettis by Leone and others. For example, “Cavalcata . . . per Elisa” is an energetic chase theme carried by Edda Dell’Orso’s familiar, soaring vocals. As part of the tune, Morricone samples Beethoven’s “Fur Elise” as he did in his showdown theme in Sergio Sollima’s “La Resa dei Conti”/”The Big Gundown” (1966). “Ansie dell’Oro” revisits the American-style orchestral sound that Morricone favored in early Spaghettis like Duccio Tessari’s “Una Pistola per Ringo”/”A Pistol for Ringo” (1965), when Italian-made cowboy films tried to sneak into the U.S. market as American B-pictures. In that sense, intentionally or not, the track bookends Morricone’s amazing decade-long run of iconic Spaghetti scores.

Other tracks, which actually anchor the score as the film’s signature themes, continued Morricone’s move in the ABBA era toward a lighter, Europop-inflected style first introduced in his title track for “My Name Is Nobody.” “Un Genio, Due Compari, Un Pollo,” the title tune that might also be called “Joe Thanks’ Theme,” sounds a bit like the “Nobody” theme, but more bubblegum in flavor. “Pepper Chewing-Gum,” the theme for Robert Charlebois’ hard-luck con man Steam Engine Bill, incorporates a farting bassoon that brings to mind the jokey frog croaks in “March of the Beggars” from Leone’s “Giu La Testa”/”Duck You Sucker” (1971), but it’s lighter and bouncier than the earlier tune. The romantic theme “Quando Arriva L’Amore,” which is reprised later in the film as “Dolore e Gioia,” is one of Morricone’s loveliest compositions. And it’s the one that you’re the most apt to replay in your mind after you listen to the CD, fittingly so since it underscores the movie’s most striking aspect, the sometimes wistful, sometimes slapstick romantic triangle of Joe, Lucy, and Bill.

Also included in the Quartet Records‘ two-fer, and also remastered from first-generation tapes, is Morricone’s score for Sergio Corbucci’s “Sonny & Jed”/”La Banda J. & S. -- Cronaca Criminale del Far West” (1972), a lesser work by the maestro. But for fans, lesser Morricone is still golden, and this is another hard-to-find soundtrack. The standout among the seven tracks is the title theme “Sonny,” which sounds a little like “Cheyenne’s Theme” from “Once Upon a Time in the West” (1969). The Quartet Records CD includes an informative, generously illustrated souvenir booklet by Randall D. Larson, and is limited to 500 copies.

“Un Genio, Due Compari, Un Pollo”/”Sonny & Jed” can be ordered from Quartet Records HERE http://www.quartetrecords.com/un-genio-due-compari-un-pollo.html or from Screen Archives Entertainment HERE http://www1.screenarchives.com/title_detail.cfm?ID=27870

Cinema Retro has received the following press release from Dust Bug Records. 

HAMMER PRESENTS DRACULA WITH CHRISTOPHER LEE

Unavailable on vinyl since its release in 1974, Dust Bug Records is proud to present this special Limited Edition 40th Anniversary 180 g vinyl pressing of Hammer Presents Dracula with Christopher Lee.

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Side one features the horrifying story of vampirism with spine- chilling sounds, and music composed by James Bernard and narration by Christopher Lee. Side 2 features The Four Faces Of Evil music suite: Fear In The Night: She: The Vampire Lovers; and Dr. Jekyll and Sister Hyde. Music arranged and conducted By Philip Martell.

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We've gone back to the original 1/4 inch tapes to bring you the best sound possible.

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100% analogue- Dust Bug Records is proud to confirm that this record has been cut on vintage analogue equipment. A DIGITAL- FREE PROCESS.

The signal path is Studer A80 Mk1 tape recorder > RCA BA 6A limiter> EMI RS56 Curvebender EQ> Pultec EQP 1A> EMI REDD series valve disc cutting desk> Neumann VMS 70 cutting lathe with SX74 stereo cutter head.

Cut at midnight by candlelight for maximum enjoyment.

180 g vinyl

100% Analogue

Gatefold sleeve

Mist enshrouded blood infused virgin vinyl.

Limited to 500 numbered copies only!

Catalogue Number DBVR001

Barcode: 5060124571614

Available to order now from: www.dustbugrecords.com

Don't miss out. When the sun comes up the 500 will be gone.

BY DARREN ALLISON

Following the break-up of Emerson, Lake and Palmer at the end of the 1970s, Keith Emerson ventured into the world of film soundtrack composition with his score for Italian director Dario Aregento’s horror film Inferno in 1980. This, in turn, led to Emerson being commissioned to compose and perform the music for the Sylvester Stallone film Nighthawks in 1981. From here a succession of film scores were to follow for directors in Italy, Japan and the United States. At the Movies gathers together Emerson’s music for seven movies including Nighthawks, Best Revenge, Inferno, La Chiesa (The Church), "Muderock, Harmagedon and Godzilla Final Wars.

Disc One (US Movies) contains 2 full soundtracks. Firstly, there is Nighthawks (1981) an enjoyable cop thriller from Sylvester Stallone. The movie co-starred Billy Dee Williams as Stallone’s partner, Lindsey Wagner (of TVs Bionic Woman fame) as the love interest and Rutger Hauer as terrorist Heymar Reinhardt. Emerson’s music, in consideration of its period, works very well indeed. Many composers, including the likes of orchestral masters such as Jerry Goldsmith, were experimenting tentatively with electronic music and synths during this film making period, and many failed miserably. However, Emerson appears to address the balance rather impressively. If you possess the patience to overlook a few genuinely cheesy moments – such as ‘Nighthawkin’ and ‘I'm a man’ which contain a vocal style reminiscent of the dying disco era – than you are in for a treat. There is some fine dramatic scoring here. Its main theme works very well - listen carefully and you may even pick up on a motif which is not too dissimilar to that of ELP’s ‘Fanfare for the common man’. The soundtrack is sometimes deep and broody – sometimes light and soulful. ‘Tramway’ for instance is a tense and edgy piece that never seems to rely permanently on synths – Emerson instead feels confident enough to introduce and experiment – and in this case – adds a delicate sound of a whirling police siren as part of the soundscape. All in all, Nighthawks still works very well – which is a pleasant surprise.

The second half of the CD contains the soundtrack of John Trent’s Bad Revenge (1984) which appears to be a European – British production? Nevertheless, it is something of an obscure film which has disappeared under the radar. But it contained a rather impressive cast including John Heard, John Rhys-Davies and Michael Ironside. The story revolves around an American tourist in Spain who is forced to take part in a $4 million drug deal, because his best friend has been kidnapped and is being tortured by the drug kingpin who set up the operation. The score begins with a somewhat lengthy orchestral suite (15.29) which serves in setting the tone. Whistles, rhythmic clapping hands and maracas indicate a strong European flavour. Bad Revenge certainly has a more established prog rock feel to it, again there are some vocals which perhaps unflatteringly date the score. But there are some real nice moments, too - The Dreamer, for instance is the film’s love theme and is performed beautifully by simple piano and delicate background synths. Because Bad Revenge is such a rarely seen movie, we don’t ever enter this score with any preconceived ideas - no clues, which, whilst refreshing, it can also, leave you a little empty. However, Bad Revenge is also a very nice way to round off the first disc, look upon it as a generous bonus and all will serve well.

Disc Two (Italian Movies) contains 2 full soundtracks and an EP. Disc 2 begins with Dario Argento’s Inferno (1980) the film in which Emerson cut his teeth in terms of film music. Inferno is a wonderful score, opening with a truly beautiful theme, which is so often the case with Italian horror films. However, there is a rich diversity throughout the score; tracks such as Taxi Ride provide a clear example of Emerson’s classically trained background and his virtuosity as an accomplished pianist. Sarah in the Library Vaults also highlights his flair for tense, dramatic scoring with the aid of lengthy, unsettling strings. Whilst Mater Tenebrarum explodes like an assault on the senses and becomes a full blown synth orientated operetta. The soundtrack as a whole remains quite superb and bristles with a seemingly eternal energy.

Next is an EP containing music (Four tracks) from Michele Soavi’s La Chiesa (The Church) (1989). The film told of an old Gothic cathedral, built over a mass grave, which develops strange powers. The Church trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth. Emerson’s music for La Chiesa takes on a much darker element, the emphasis is centred very much on its gothic surroundings. Much of its fifteen minutes are brooding, tense and full of dread, but Emerson does dabble with some electronic percussion which does inject a burst of much needed elevation.

Rounding off Disc 2 is Emerson’s score for Lucio Fulci’s Murderock (Uccide a passo di danza)(1984). By Fulci’s standards, Muderock was something of a standard thriller which saw the owner of a prestigious New York ballet school team up with a male model in order to solve a series of bizarre murders of a few of the students. The soundtrack is something of a mixed bag - following a fast paced opening theme, the score wastes little time in reverting to a very dated vocal (Not so innocent) provided by Doreen Chanter. Hereafter, the album takes on a very mainstream life. Instrumental keyboard pieces are broken up with some nice individual cues, Prelude to Candice is a sweet, subtle composition, and Coffee Time provides some light Jazzy relief (and a rare excursion) before we are launched back into a standard prog rock landscape. The score concludes with a lift in the shape of The Spilone, a funky bass driven track that seems somewhat out of place with what has preceded it.

Disc 3 (Japanese Movies) consists of 2 full soundtracks starting off with Harmagedon: The Great Battle with Genma, a science fiction anime movie released in 1983. Emerson’s score for this rarely seen movie is probably the lightest from this box set. The music is pretty safe throughout – entertaining organ riffs dominate and provide a jolly enough experience if this is your kind of thing. Totalling some 18 minutes in length, it is thankfully rather short.

To finish disc 3, there is the score to Ryûhei Kitamura’s Godzilla Final Wars (2004). This turned out to be something very different. I found myself quite enjoying this score. Perhaps it was due to the fast forwarding - a quantum leap of some 20 years in the evolution of Emerson’s film music? I’m not sure. The music for Godzilla Final Wars is without doubt, more upbeat, and arguably down to the advances - not only in Emerson’s compositions - but in technology and instrumentation. The score is incredibly diverse – tracks such as EDF Headquarters fight are pure club dance! EDF museum is a track bordering on trance, whilst Infant Island has more than a passing resemblance to Jean Michel Jarre’s ambient classic Équinoxe. All of which is wonderful, so why do I remain confused? Well, I just can’t match this music to Godzilla… Featuring elements of break beat and electronic rock mixed with orchestral elements, it is unlike any other Godzilla soundtrack. A little research revealed that Emerson was only given two weeks to write the score of the film and that only a small percentage of his score made it to the final cut of the film. Having not seen the movie – I can’t comment on what appeared in the film, but I’m led to believe it contains more music by the director’s regular collaborators, Nobuhiko Morino and Daisuke Yano, who were later hired to complete the rest of the film's score. So, as a result, I’m assuming this is Emerson’s music for the film - most of which did not make the final cut. However, as a standalone listen, the soundtrack works well and benefits enormously from Akira Ifukube’s original Godzilla theme arranged by Emerson - which is very good indeed!

Overall, this excellent set is always going to intrigue – as a collective, it is a fine representation of Keith Emerson’s film work. Sound quality is absolutely spot on, as is the packaging which uses individual card covers for each of its 3 CDs and sits in a very strong clamshell box alongside a 16 page book. Released by Esoteric Recordings and available through Cherry Red Records priced at £17.99, it’s well worth taking a look at.

Click here to order.

By Dave Worrall

One of the most sought-after film scores in the last 40 years has finally been released on CD. When released in 1968, Michael Reeves’ classic Witchfinder General (released in America as The Conqueror Worm) , starring Vincent Price (in arguably his finest role) featured an equally impressive score by Paul Ferris. At the time of the film's initial release a 45rpm record of the love theme was issued in England, but not a complete soundtrack. Thought to be have been lost forever, the original 1/4-inch master tapes were found in the vaults of recording studio De Wolfe Ltd in 2013.

Recently-discovered box containing reels of the original score.

The tapes, which are the original recordings, and not a copy, include every cue used in the film, and are now available on a CD for fans of this film (and the music) to enjoy at long last. Released by De Wolfe Ltd, the 3-sided gatefold sleeve reproduces photos of the newly discovered tape box and reel itself, and also comes with a 12-page booklet detailing the film's history. For this author, this is the 'find' of the decade!

CLICK HERE TO ORDER FROM AMAZON USA

CLICK HERE TO ORDER FROM AMAZON UK

(Issue #5 of Cinema Retro (now almost sold out) features extensive coverage of the making of the film.)

By Darren Allison, Cinema Retro Soundtrack Editor

Let’s face it, 1979 was a particularly bad year for the Concord. It was the year in which the ‘Airport’ franchise were about to deliver their latest offering in the shape of the quite awful Airport ’79 The Concord. However, Airport ’79 was beaten (by several months) to the screen by a cheesy little flick from Italy, Concord Affaire '79. Directed by Ruggero Deodato, Concord Affaire '79 is more an action thriller rather than the formulated disaster flick that we have come to know. Some commentators have argued that it is actually far better than its ‘Airport’ rival, and to be honest, I would probably side with that opinion. But let’s be clear from the start, neither film will ever be described as a classic…

Deodato’s film was not a big budgeted project, the film’s restraints are apparent – mainly through the use of stock footage of the British Airways supersonic ‘bird’ or the (less than seamless) shots of some average miniature models. But of course, that is half of the film’s 70s charm and its era defining identity stamp. Concord Affaire '79 separates itself from the typical disaster genre film right from the start, largely by having the plane crash in the first reel. There is no long laborious build up – this plane is down, crashing into the ocean off the coast of Martinique and leading us to believe there are no survivors. Of course, that’s not quite true, Jean Beneyton, the young French flight attendant played by Mimsy Farmer, does survive the crash. She is captured / rescued by the man responsible for the crash – Milland, played by Hollywood veteran Joseph Cotton. The film in fact boasts a string of established stars; Van Johnson plays Captain Scott, whilst Edmond Purdom played Danker, one of Milland's leading henchmen. Heading the cast is the ever enjoyable James Franciscus as Moses Brody, an American investigative reporter who decides to go to the Antilles in an attempt to rescue Jean Beneyton and uncover the story. From here on, it’s all rather good fun.

Stelvio Cipriani’s score for Concord Affaire '79 marks its debut release on CD. It’s only previous release was on vinyl LP consisting of 15 tracks and released in Japan on Polydor records. Whilst Cipriani sets an energetic pace with his opening main title Danger flight, there are also plenty of lush romantic cues. The score does however illustrate an age, due mainly to an overwhelming backbeat of Euro disco, an era which perhaps does not transfer too easily in today’s society. But of course, its style is very much of its time and still retains a certain retro charm. The composer cleverly based his score on variations of a single theme, which is hard to achieve unless in the hands of someone such as Cipriani. The central theme is used to good effect, sometimes melodic and rich or in the case of the underwater scenes there is an edgy dreamlike quality attached. But above all else, Cipriani uses Concord Affaire '79 to indulge himself deep into a world of synths and electronica, perhaps in reflection of the futuristic, supersonic era of the film’s narrative. Synth theme in particular is a long, almost operatic homage to a haunting electro heaven. However, Cipriani never seems to step too far over the line, and later adds more familiar analogue instrumentation (such as strings) to the synth sound and as a result, the blending works very well in deed.

Concord Affaire '79 is a curious, almost experimental score, yet Cipriani ultimately succeeds in making it work. But there are moments where one is left considering, if Cipriani perhaps deliberated over which route to take when composing this score. It is certainly an eclectic mix of styles, both in mood and in its instrumentation. For Cipriani collectors and soundtrack collectors in general, Concord Affaire '79 is well worth adding to your collection. Consisting of 27 tracks, (7 of which did not make it into the film), the CD is a huge improvement over the original album and its audio has been beautifully remastered. Chris’ Soundtrack Corner has demonstrated a full commitment to Cipriani’s work - with Concord being the composer’s Sixth title in their increasingly impressive catalogue. We can only hope there is more to come. 

http://www.soundtrackcorner.de/

Review by Darren Allison

On Chris' Soundtrack Corner label

Stelvio Cipriani's beautiful percussion based score for Joe D'Amato's ORGASMO NERO (1980) (CSC 014) sits very nicely alongside Chris' Soundtrack Corner’s previously released PAPAYA DEI CARAIBI (1978) (CSC 006). Both films are among D’Amato’s island-based sexploitation features and both were scored by Italian composer Cipriani. Both of Cipriani’s scores are superb examples of Mondo-exotica/erotica film music. Beyond the percussion based tribal themes there are also many subtle and romantic pieces that reflect the sun, sand and sexuality – each of which were often the staple exponents of European cult cinema of the 70s. Yes, these films were of course adult sub-genres, and in this case the focus was on American born actor Richard Harrison who plays Paul, an ethnological researcher who is investigating a little known island tribe. Paul is accompanied on the trip by his wife Helen (played by Spanish actress Nieves Navarro). Helen subsequently begins a sexual relationship with Haini (Lucia Ramirez), a beautiful black tribeswoman who exercises a lusty ‘primitive’ sexuality. Thus begins a fractured love triangle – a relationship that is further complicated when Paul and Helen take Haini back with them to the big city. From here on, D’Amato relies on a very familiar and tested formula, using each occurring situation as the premise for a soft porn sequence.

Cipriani's music is always reliable and often outlives the film itself, and this again proves to be the case with ORGASMO NERO. Cipriani provides some rich Bossa cuts, but you are never too far away from a piece of evocative, multi layered ambiance. Cipriani wisely chose a contrast of styles, an intelligent decision on his part – as it isn’t hard to imagine how other (and arguably lessor) composers may have simply relegated it to one particular genre. Fans and collectors of Cipriani’s work will certainly have little problem melting into this latest release and no doubt take to it like an old familiar friend.

To order click here

By Darren Allison

I’m very proud to say that I have travelled alongside Cineploit Records since the summer of 2012, and what a journey it is proving to be. Since then, they have featured regularly in the print edition of Cinema Retro. Unfortunately, Cineploit’s latest two releases arrived shortly after our print deadline; nevertheless, I wanted to make sure they received the exposure they fully deserve.

Omaggio a Bruno Nicolai ed alle sue musiche per il cinema Giallo - Orgasmo Sonore

The efforts of Cineploit really do demand applauding. Over the past couple of years their devotion to the music genres of Euro Horror, Poliziotti, Italian westerns and Giallo have begun to find broader audiences. Among the label’s artists is Orgasmo Sonore, a group that have already produced two previous albums of diverse delights. For their latest release, they have focused on the work of Bruno Nicolai. ‘Omaggio a Bruno Nicolai ed alle sue musiche per il cinema Giallo’ (Exploit 05) arrives in the form of a 12” 180g Vinyl mini album (45rpm) with a beautifully Euro flavoured gatefold sleeve. Containing 6 tracks (26 mins), the album is a tribute to Nicolai, selecting music from five of the composer’s Giallo soundtracks from 1971-1975. Ok, so there may not be anything new here for the Nicolai collectors, however, it has been put together exceptionally well, and if anything serves as a perfect introduction to the composer’s bulging body of work. The music is certainly faithful and true, ‘La Dama Rossa Uccide Sette Volte’ (or The Lady in Red Kills Seven Times) (1972) kicks off the album impressively, from its haunting childlike intro – right through to its razor sharp Harpsichord strings. Whilst still beautiful, a track such Sergio Martino’s Magico Incontro (1972) loses its edge to some degree – which is no doubt due to the absent wistful tones of vocalist Edda Dell'Orso. Dell'Orso became such an integral element of Nicolai’s (and Morricone’s) sound, it set an almost unattainable level, and there the bridge becomes blatantly apparent. Nevertheless, do not be deterred from this fine album If anything, I find adding alternative or cover versions of my favourite composer’s work somewhat welcoming, especially when produced with such impressive quality. Orgasmo Sonore has (unobtrusively) mixed various sound bites to the music, which, as a result, also refreshes the entire concept.

Producer and band member François Rideau has delivered an excellent tribute to the legendary composer. Oh, and to add a further dash of retro flavour, the record is pressed in a glorious yellow vinyl with blood red splatter! Stylish, original and above all, hugely enjoyable – it’s just a shame that it isn’t beefier in terms of its content. Regardless of this, I have little doubt fans of Giallo will absolutely lap it up.

http://www.cineploit.com/?p=926

Non bussare alla porta del diavolo – Sospetto

It was great to hear the latest offering from Sospetto. Whilst Sospetto are extremely modern in their execution, it is clear that they are heavily influenced by the Giallo soundtrack traditions of the 60s and 70s. Every so often, ripples of Fabio Frizzi and (arguably more often), the work of Euro-horror specialists Goblin, seem to transcend from their music. Of course, for fans of Giallo in particular, this isn’t a bad thing – and probably the reason why ‘Non bussare alla porta del diavolo’ (Cine 07) will surely prove successful. As with their previous album ‘Segni Misteriosi, Con Il Sangue Dipinto Sul Muro’ the music is oppressive, ethereal and sometimes heavy. However, despite their obvious influences, Sospetto have a unique talent of sounding both fresh and unique. With this latest release, the German duo of Christian Rzechak and Hobo Jeans have raised the bar to some degree, smoothing out some rough edges and producing a much more polished album in the process. Tracks such as ‘Sulla Strada Verso Il Nulla’ and ‘Viena Da Me’ are a pure delight, enhanced by the laid back, lounge-like wordless vocals of Christine Marks - they are simply crying out for a film to accommodate. On the flip side tracks such as ‘Citta Che Esplode’ are sharp and funky, percussion driven pieces that wouldn’t sound out of place in a Richard Roundtree Shaft film from the 70s.

Diversity seems key to this album, and there’s almost 35 minutes to enjoy spread over its 14 tracks. The packaging for Sospetto’s 180g LP comes in a super gatefold sleeve with a design to fit seamlessly alongside the Giallo soundtracks of the day. The LP is also available as a special set containing the 180g Vinyl, a CD version of the album and a bonus DVD (PAL encoded only) containing a 23 minute film by the group in 1.85:1 (16:9 enhanced). A classy album, and arguably the group’s finest album to date.

http://www.cineploit.com/?page_id=840

If interested in either of these titles, please be aware that they are strictly limited, so please contact Alex at Cineploit to check availability, tell him I sent you and he’ll see you right.

informazione@cineploit.com

-Darren Allison, Soundtrack Editor, Cinema Retro Magazine

By Darren Allison

Finally, Vocalion has treated us to a rather unique couple of albums. Visions of Eight (CDSML 8502) is a film about the personal dreams that make the Olympic Games transcend the physical into the spiritual. When the Wolper Organization was granted the authority to record the 1972 official film of the games, they elected to ignore the traditional documentary approach in favour of the human stories that emerged during the contests. Whilst the cameras recorded the tragic events surrounding the death of the Israeli athletes, the film remains a non - political tribute to all the contestants and to the spirit of the games. Eight respected directors of the era were brought on board, each with a chance to capture their separate visions. The producers commissioned three-time Academy Award winner Henry Mancini to provide a score that captured the film’s international spirit. Mancini handles the scoring rather well; it is full of his beautiful melodies, whilst tracks such as ‘Spaced Out’ and ‘Soft Flight’ reveal an otherworldly, dreamlike quality. It is an album that remains an essential part of the composer’s body of work. If Visions of Eight was not enough to tempt Mancini collectors, Vocalion have also added the rare 1977 album Just You and Me Together Love as a bonus. Vocalion’s CD marks the first time this has been released on a digital format. A rather obscure piece, it features original music by Mancini scored to the poems and narration of John Laws. Laws worked for Australian radio and struck up a friendship with Mancini during several of his tours in the country. It is a pleasant enough listen and one that will certainly appeal to the Mancini completists. The audio quality is what one would come to expect from Vocalion with crisp clear sound, a nicely produced booklet and production notes. Original British LP artwork has been reproduced for the front cover, with the option of reversing to display the original Japanese LP artwork – perfectly thought out and highly recommended! Keep em coming! Darren Allison

http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDSML8502

By Darren Allison

Vocalion’s latest release from their continuing series of popular Geoff Love re-releases from the 70s is this pairing of a couple of glorious albums originally released by MFP Records, La musique de Michel Legrand (MFP 2M046-95030) and La musique d’ Ennio Morricone (MFP 2M046-94653) (both 1973). What made these two albums unusual was the fact that they were specifically produced for the European market. Later in 1975, both were issued in the UK as a 2-LP set - The Music of Michel Legrand and Ennio Morricone (EMI DUOS 1181). Legrand’s heartfelt melodies work perfectly for Geoff Love’s style of Orchestration. The Windmills of your Mind and The Summer of ’42 will of course always be considered among Legrand’s finest signature pieces. However, Love brings a genuine sense of warmth to these covers, satisfying the ear of the easy-listening enthusiasts without distracting too far from the much remembered originals. There is certainly plenty of material to cheer about; music from Lady Sings the Blues provides a rare opportunity to listen to Legrand’s wonderful melancholic score. The Happy Ending is a 1969 film that doesn’t perhaps conjure up too many memories, but chances are – you’ll instantly recognise ‘What Are You Doing for the Rest of Your Life?’, a beautiful theme from the film that enjoys longevity much more than the film itself. The album is an impressive compilation and a joy from beginning to end.

The second half of the CD focuses on Ennio Morricone. As with the nature of Morricone’s compositions, they are dauntingly unique, and one can only imagine exhaling a sigh of tense disillusionment at the prospect of taking on the man’s work. However, Love handles the challenge well, kicking off proceedings with a very nice, haunting version of Harmonica’s theme from Once Upon a Time in the West. It is only when we reach the “Dollars Trilogy” that the album appears to suffer slightly. The renditions are not unlistenable - but they just seem to lose the boldness or weight of their unconventional instrumentation. Cymbals, rumbling trumpets and even flutes simply appear weak and lack in sustaining their vibrant punch. What is perhaps apparent to this listening experience is the absence of any wordless vocals, often provided by long term Morricone collaborator Edda Dell'Orso. That said, the epic nature of the CD’s closing track (from Once Upon a Time in the West), seems to manage very nicely indeed, but one can only wonder what Love might had achieved had he been afforded the luxury of a full choir. Overall, the album is a delight and very easy on the ears.

In regards to production values, La musique de Michel Legrand / La musique d’ Ennio Morricone (Vocalion CDLK 4509) retains Vocalion’s very high standards. Beautifully remastered by Michael J. Dutton from the original analogue tapes, the CD ensures that our ongoing trip down ‘MFP Lane’ continues to be an extremely happy experience. Long may it continue!

http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDLK4509

By Darren Allison

Our good friends at Vocalion Records have released three excellent CDs. First is the super score to Bernard Kowalski’s 1969 B-movie thriller STILETTO (Vocalion CDSML 8501). Starring Alex Cord in the lead role and with support from Britt Ekland, Patrick O’Neal, Joseph Wiseman and Roy Scheider, the film was based on the Harold Robbins novel of the same name. Whilst Stiletto was never going to be an Oscar contender, as so many of these great little thrillers proved, it did gather something of a cult following. More often than not, restricted budgets and tight schedules surprisingly lead to great production values, with artists and crews having to think instinctively on their feet and with little time to elaborate. Stiletto music by American composer Sid Ramin is a truly evocative score. Ramin’s work was often uncredited and as a result, perhaps never received the recognition he ultimately deserved. Stiletto certainly highlighted Ramin’s ability to score a dramatic action movie. Pulsating Hammond organ, pounding percussion and golden brass lines - certainly draw similarities to the work of leading composers of the day such as Lalo Schifrin and Roy Budd. The music implies a rich, Mediterranean vibe which captures the film’s international romanticism. Stiletto’s score is, without doubt, the film’s dominant feature - the enduring survivor.

Vocalion’s release marks the score’s debut on CD. As a direct re-issue of the original CBS LP (CBS Records S 70062), the music has been beautifully remastered by Michael J. Dutton from the Original Analogue tapes. Considering the low key nature of the movie, Oliver Lomax has provided a richly detailed booklet covering both the production of the film and its spectacular music. To their credit, Vocalion have also included a reversible cover containing the original LP artwork and the splendid British colour artwork (which always gets my vote). Vocalion have again proved that big things are often salvageable from relatively minor films, and their foresight can only be applauded.

http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDSML8501

By Lee Pfeiffer

Sony has released the original soundtrack to Robert Altman's 1970 anti-war comedy M*A*S*H as a burn-to-order title. The original vinyl version of the soundtrack, issued in conjunction with the film, was considered quite unique at the time because the bulk of the tracks consisted of dialogue from the film as opposed to composer Johnny Mandel's score. A criticism was that the original release only provided a truncated vocal version of the main theme, which is actually titled Suicide is Painless. In 1995, a remastered CD of the soundtrack was released with the full version of the song along with some bonus tracks and it is this version that has just been reissued by Sony. With the exception of the brilliant title theme, most of Mandel's amusing score is only heard in snippets, with the dialogue from the film still providing the basis for the content. It's rather odd to remember that in the pre-home video era, listening to dialogue from a film such as this was a rare treat. The success of the subsequent TV series has led many people to forget that there initially was an Oscar-nominated film that inspired the show. Thus, you can relive the zany wisecracks of the original Hawkeye and Trapper John (Donald Sutherland, Elliott Gould) interacting with Hot Lips (Sally Kellerman), Frank Burns (Robert Duvall) and Radar (Gary Burghoff, the only cast member carried over from the film to the TV series). A third lead in the film was Duke Forrest, played by Tom Skerritt, but the character was not imported to the TV show, though he is present on the album. 

With the dialogue compromising the bulk of the soundtrack, you can at least revel in Suicide is Painless in its uncut glory. The song was deemed too controversial for TV so an instrumental version was used on the series. The brilliance of the lyrics resonate even today, as the gentle, seemingly benign folk song extols the joys of offing oneself. Shockingly, the lyrics were written by Robert Altman's 14 year-old son, though he did not receive a screen but is said to have made a fortune in royalties over the decades. 

The M*A*S*H  soundtrack is certainly an oddity, coming at a time when albums derived from hit films consisted entirely of music. However, if Altman broke the rules with his off-the-wall anti-Establishment gags, it seems only suitable that the soundtrack did the same. It's a great deal of fun to return to the days when audio snippets of your favorite films were as close as you could get to experiencing them, at least until cut-up, watered down versions would be released to television. 

Click here to order  

By Lee Pfeiffer

Following on the successful premise of burn-to-order DVDs, Sony has expanded the process to its audio line, re-issuing retro-based albums on CD that have not been officially available for decades. One of the more notable releases is Come Spy With Me by Hugo Montenegro and His Orchestra. Montenegro composed original themes for TV series and feature films during the 1960s including  Lady in Cement, the Matt Helm movies The Ambushers and The Wrecking Crew as well as the music for the 1969 John Wayne-Rock Hudson starrer The Undefeated. However, his greatest success was as the king of cover versions of popular movie and TV themes. Montenegro's album of cover music from The Man From U.N.C.L.E. (nevertheless released as the "original" soundtrack) was so successful that it spawned a sequel album. Similarly, his cover version of Ennio Morricone's magnificent theme for The Good, the Bad and the Ugly became an international smash and earned him a gold record despite the fact that his rendition was positively anemic compared to Morricone's original. Nevertheless, Montenegro and his orchestra knew how to arrange music for popular tastes and his future influence on the music industry was characterized by helping to popularize the Moog synthesizer. Among his more successful albums was the aforementioned Come Spy With Me, the title of which was derived from a 1967 low-grade James Bond spoof. Nevertheless, it had a catchy title theme (originally written by Bob Flowers) and the cover of Montenegro's album had some eye-catching graphics of comely spy girls. The tracks include Montenegro's instrumental version of Come Spy With Me (the original had lyrics) as well an eclectic selection of title tracks from popular TV series and feature films:

• Secret Agent 
• I Spy
• The F.B.I 
• Thunderball
• The Silencers
• Get Smart
• Goldfinger
• The Spy Who Came in From the Cold
• Our Man Flint
• The James Bond Theme

It's terrific to have a retro treasure like this back in circulation. Break out your old smoking jacket, grab a fine cigar and pour yourself a glass of wine...for the duration of this record, you'll be transported back to the glory days of spy movie music and the cover artists who celebrated the genre. 

To order click here 

The Tall Texan (1953) (MMM-1974) was another low-budget B Western movie and starred Lloyd Bridges, Lee J. Cobb and Marie Windsor. It was directed by Elmo Williams, (the Oscar-winning editor of High Noon). The basis of The Tall Texan was a familiar one, a collection of five travellers set out in a wagon through Comanche territory. The group includes a tinhorn and his woman, a sheriff escorting an accused murderer, and a sea captain. After a renegade Indian tells them about a virgin gold field as thanks for saving his life, the group becomes fixated on the gold and greed becomes their main objective. Bert Shefter, this time working without his collaborator Paul Sawtell, took a thematic approach to this rather rich sounding score. Shefter provides themes to several of the central characters, including a menacing (if rather traditional) woodwind and native drum rhythms for the Indians. Shefter also and makes good use of a couple of traditional standards, Yankee Doodle Dandy can be heard, and is gently woven into the fabric of Luther Adler’s character Joshua Tinnen. The composer also introduces the old sea shanty Blow the Man Down which works surprisingly well as a dramatic motif. So, is there anything that makes this stand out from any other B movie western score of the time? Well, yes, actually there is. The Celesta is an instrument that conjures up numerous magical memories. Today, it is probably more associated with the Harry Potter themes or perhaps traditional arrangements of Tchaikovsky’s Dance of the Sugar Plum Fairy. However, Shefter took its distinctive sound and applied it to the film’s silent character, the gold. The Celesta was certainly an inspired choice of instrumentation by Mr Shefter. If rousing western scores from the 50s are your thing, you are sure to enjoy this nugget. Another excellent 20 page booklet (written by David Schecter) is included with the CD.

This fascinating collection from David Schecter’s Monstrous movie music continues to reiterate their place in the soundtrack market. Their tireless efforts, attention to detail and commitment to explore new genres, continue to feed our high expectations. Check them out for yourself at: http://www.mmmrecordings.com/

Darren Allison- Cinema Retro Soundtrack Editor

By Darren Allison, Soundtrack Editor

Virgin Sacrifice (1959) (MMM-1973) starred David DaLie as Samson, an American hunter on a safari in Guatemala. While tracking game, Samson encounters a strange ceremony in which a young woman named Morena (Angelica Morales) is to be sacrificed at the bidding of her father to appease the gods following a vicious animal attack. Morena is able to escape, and Samson gives chase, hoping to rescue her before the tribesmen can capture her and complete the ritual. Sound like drivel? Well… you’d be right. So let’s waste little time and talk about the finer side of Virgin Sacrifice, the team of Paul Sawtell and Bert Shefter. Sawtell and Shefter are no strangers to Monstrous Movie Music soundtracks, with previous releases including Kronos, It! The Terror From Beyond Space and The Last Man on Earth. For collectors of Sawtell and Shefter, this rarely seen exploitation film contains a rather unique and satisfying score from the pair. Diverse and subjective in its approach, the score leads us through the beauty and dangers of its Guatemalan jungle setting. The music is peppered with expressive and melancholy cues. The film’s main title is both tranquil and dramatic, before both male and female chanting is applied, perhaps in order to remind us that this is a jungle movie. Tracks such as Medal of Death make clever use of keyboard tricks (provided by Jack Cookerly’s ‘magic box’ organ) and work to startling effect. Flittering clarinets and brooding flutes maintain that the majority of score is designed to hold us in suspense whilst providing a sense of mystery throughout. However, it is the use of Hammond organ that really provides the pay-off, used sparingly in tracks such as Through the Cave, it makes a wonderfully spooky touch. At 54 minutes, Virgin Sacrifice is a generous score that benefits from some fine orchestration. Collectors of Sawtell in particular, might well be reminded of his music from the Tarzan films he wrote for RKO. Again, an excellent 20 page booklet provides a unique and well researched written history of the production.

Click here to order  

By Darren Allison, Cinema Retro Soundtrack Editor  

When considering the scores for movie Westerns, film music collectors often refer to classics such as Max Steiner's The Searchers, Dimitri Tiomkin's Rio Bravo or Victor Young's Shane, all of which are, of course, fabulous scores. Monstrous Movie Music have again, (and in keeping with their refreshing style), ventured into new territories with the release of Paul Dunlap’s Western score to Hellgate (1952) (MMM-1972). Rather surprisingly, this CD marks the first full release to feature Dunlap’s film music. The composer was incredibly prolific throughout his career scoring diverse projects which spanned from many of The Three Stooges movies to the cult classic AIP horrors including the Teenage Frankenstein/Werewolf series of films. For a B movie western, there was something a little different about Hellgate – it was really rather good! Hellgate was directed by Charles Marquis Warren, a tough all-rounder who would go on to produce the popular TV series Rawhide. The film boasted a strong, testosterone fuelled cast featuring Sterling Hayden, James Arness and Ward Bond. Hayden plays a veterinarian who is wrongly convicted of guerrilla activities shortly after the Civil War. The prison camp is tough and he has to survive the sadistic commandant (Bond), a cruel guard (Robert Wilke), and deceitful prisoners like Arness. Throw in some Pima Indians (who patrol the canyon walls) in order to catch any escapees for a reward, prisoner punishment that involves being baked in metal coffins or whipped within an inch of their lives and you have a Western story that is well above the expected standard of Poverty Row Lippert Pictures. Dunlap’s music is incredibly dramatic throughout, but it isn’t your regular western score. His main theme begins with heavy brass and drums, but slips into a more solemn, string based theme before it builds gently and provides a sense of hope. It sets the tone perfectly and emphasises the film’s opposing themes of hatred vs. forgiveness. Tracks such as “Kearne Makes Lunge at Nye” illustrate Dunlap’s ability to create genuine excitement by employing his full range of brass and string sections. Quality, for the best part of this score, is highly acceptable. MMM took the decision to release Dunlap’s original recordings in place of re-recording his score, which I believe was the correct option. Whilst there is some minor noise (from the surviving acetates) evident on a handful of tracks, it does not detract or spoil the acoustic soundscape and naturally maintains the composer’s original work. As a bonus, Monstrous movie music has generously included Dunlap’s excellent score for The Lost Continent (1951). A simple enough story, The Lost Continent successfully merged two fantasy elements, combining rocket ships with roaming dinosaurs on a south pacific island. Making good use of an increased budget, Dunlap was able to employ a 47 piece orchestra, and it was warranted – given the enormity of aircraft, rockets, natural disasters and battling monsters that confronted the composer. The result was a highly enjoyable score, and whilst some of the music has been lost in time, the 28mins of music included here make this a CD that is hard to ignore. We can only hope that there is a lot more of Paul Dunlap’s music to come. Included is a great 20 page booklet that covers just about every aspect of the music, composer and the film, all written (in exquisite detail) by David Schecter.

Click here to order  

Click here to read review of Hellgate DVD 

By Darren Allison, Cinema Retro Soundtrack Editor 

From its heavy percussion based main title, She Demons (1958) (MMM-1971) opens with a sense of heart pounding excitement and sets the tone for what is to follow. Nicholas Carras’s jungle-based score is threaded with dramatic cues of which the composer makes impressive use of his 22 piece orchestra. Whist She Demons (as a movie) was never going to attain the title of ‘classic’, Carras’s music, as is often the case, promotes the film to a higher level. Cues such as Escape and Nazis in Pursuit make excellent use of the orchestra’s brass and string section. Carras provides a hopeful, triumphant end title that runs concurrent with a few lonesome drum beats which provides continuity with the film’s central themes. For an isolated island movie (occupied by scantily clad girls, caged mutant women and Nazis) they probably don’t come any better than this. MMM have previously delighted us with a couple of superb Carras scores such as Missile to the Moon and Frankenstein’s Daughter. Their commitment to the composer’s work has proven to be a fruitful decision as She Demons is certainly one of his most accomplished scores.

Doubling up very nicely with She Demons is Guenther Kauer’s score to another low budget slice of sci-fi, The Astounding She-Creature (1957). If Carras’s score for She Demons was impressive, Kauer’s is simply enlightening. Granted, Kauer’s score was recorded using a 45 piece orchestra and as a result, the sound is a great deal richer. Perhaps more remarkably, Kauer sent his 33 minute written score to a friend in Germany who conducted and recorded the music (performed beautifully by The Stuttgart Symphony Orchestra) without screening the actual film. Cue timings were sent, but it often meant that final cues were not always precise. However, what emerged was a wonderful sounding score. Ronnie Ashcroft’s rather poor film succumbed to many edits and, as a result, the final music mix suffered. Thankfully, all of Kauer’s score is delivered here and is an orchestral delight. It is a beautifully crafted and intelligently written composition that really has no right to accompany such a lacklustre movie. Like many sci-fi classics, there is an undeniable ambiance that is certainly Herrmannesque in its delivery, and that can’t be a bad thing. Included is a super 20 page booklet that covers just about every aspect of the music, composer and the film, all written (in exquisite detail) by David Schecter.

TO ORDER CLICK HERE 

La-La Land has released Jerry Goldsmith's original soundtrack score for the 1968 Western Bandolero as a limited edition CD. The release includes the original album originally released on vinyl as well as never-before-released tracks. Curiously, the cover art depicts James Stewart and Dean Martin - though Raquel Welch is not depicted. On the original album, Martin could not be depicted because his image could only be used on Reprise Records during that period. The same thing occurred with the soundtrack for Lady in Cement- which could not depict the film's star Frank Sinatra. To order the album click here 

UPDATE:

Contributing writer Nick Anez supplies us with the following facts:

Regarding the notice of the new Bandolero CD soundtrack on the Cinema Retro website, I have the original LP album. It is true, as the article states, that Dean Martin is not depicted on the album's cover. But what is even stranger is that his name is not even mentioned. On both the front and back of he album, the cast is listed as "James Stewart, Raquel Welch, George Kennedy in Bandolero." The album has a gatefold cover and opens out. Inside are six photos from the film, none of Martin There is also a complete summary of the story. As each character's name is mentioned, the name of the actor portraying him or her is mentioned afterward in parentheses - except for Martin's  character.  No actor is listed for his character. It's ridiculous. Dean probably couldn't have have cared less.

Intrada Records  has announced the premiere of Jerry Goldsmith original soundtrack scores for two great Frank Sinatra films: Von Ryan's Express and The Detective. Both scores appear on the same special edition CD.  For details click here to order from Screen Archives. 

The web site SpyVibe informs us that some ultra groovy 60's spy soundtracks from classic TV series are being made available...some in glorious mono! Among them is a repressing of the original soundtrack from The Girl From U.N.C.L.E. Click here for more info

Screen Archives has released Jerry Fielding's Oscar-nominated score for Sam Peckinpah's 1969 classic The Wild Bunch as a 3-CD special edition with the complete score, remastered soundtrack album and collector's booklet. 

Please click here to order

Click on image above to order from La-La Land Records.

Writer Thomas Vinciguerra  pays homage to the legendary themes from the original Star Trek in conjunction with a major boxed set of soundtrack CDs from the series released by La-La Land Records.. Click here to read the Wall Street Journal article.

Press release from Film Score Monthly:

The 1976 Dino De Laurentiis remake of King Kong (starring Jeff Bridges and Jessica Lange) was one of the first scores John Barry composed after settling in Los Angeles from his native England. Although the composer was forced to write quickly due to production delays, he provided a powerful score that reflects both the film’s exotic adventure setting and the love story at its emotional center.

The Molly Maguires was director Martin Ritt's gritty look at Irish coal miners working in Pennsylvania in the 19th century. The film was a costly financial flop despite starring Sean Connery and Richard Harris, but that doesn't diminish its merits as an excellent film. One of the best aspects of the movie is Henry Mancini's wonderful score. Click here to listen

WARNING SHOT and other themes composed by Jerry Goldsmith - SI ZENTNER

Dutton Vocalion is a company whose soundtracks feature regularly in our printed version of Cinema Retro. Just missing the deadline on this occasion are two superb debut releases, one of which includes Jerry Goldsmith’s excellent score (performed by Si Zentner) for Warning Shot (1967). Originally released on LP (LST 7498), Vocalion’s new CD (CDLK 4470) has smartly doubled up the release to include Si Zentner’s 1964 album From Russia With Love (originally released LP LST 7353). Warning Shot is a relatively short score, but as with the original album, it includes some great interpretations of Goldsmith favourites such as the Von Ryan march, The Prize, A Patch of Blue and The Man from U.N.C.L.E. Warning Shot is a film that generally tends to slip under the radar. However, it’s a neat little thriller starring the ever reliable David Janssen and a host of other great character performers. Made in the 1967, it came to Janssen during the same year that his enormously successful TV series The Fugitive entered its final season. Goldsmith’s music plays perfectly as an accompaniment to this minor action thriller. The composer’s score in its original form has never been released on any format, but Zentner’s arrangement does a highly capable job of capturing the essence of Goldsmith’s composition. As always, Vocalion have dressed this release to replicate the original album, adapting the LP artwork to also incorporate Zentner’s From Russia with Love sleeve. From Russia with Love (as with Warning Shot) contains a straight remastered version of the album content. Its twelve tracks include a superb array of crime jazz themes from the day including Burkes Law, Mr Lucky, Dragnet, The Third Man, Peter Gunn, Charade and the aforementioned The Fugitive. Vocalion’s latest CD provides a cracking stereo mix and again proves that modern day collectors are only too eager in welcoming these charismatic crime jazz classics from the past. Keep ‘em coming!

BIG WAR MOVIE THEMES – GEOFF LOVE and his Orchestra

Last year Vocalion made the smart move to begin re-releasing the extremely popular series of MFP albums from the 1970s by Geoff Love and his Orchestra. Recent releases included Big Terror Movie Themes, Big Suspense Themes and Bond Movies. Now, Vocalion have released one of the most popular titles in the series, BIG WAR MOVIE THEMES (CDLK 4468). The original 1971 LP (MFP 5171) has arguably become an iconic image. Culturally, and perhaps because of its original budget price, the album found its way into thousands of vinyl collections across the UK. Making its debut on CD, BIG WAR THEMES has lost none of its power to thrill. Unlike similar cover compilations (which had a tendency to sound either weak or tipped in comparison), these beautifully recorded themes retain an epic and sumptuous edge. Love and his Orchestra are clearly on top of their game and one can only imagine the brisling atmosphere that immersed Studio 1 at the Abbey road studios. The album offers a generous collection of the most memorable war themes including Ron Goodwin’s Where Eagles Dare, Battle of Britain and 633 Squadron, Dimitri Tiomkin’s The Guns of Navarone and Maurice Jarre’s enigmatic Lawrence of Arabia. A wonderful remastering job provided by Michael J Dutton helps propel this vintage recording to a worthy high end, professional standard. As a bonus, Vocalion have also doubled up on this CD and included Geoff Love’s 1972 album BIG CONCERTO MOVIE THEMES. Originally released on LP (MFP 5261), the album concentrates on the cinematic use of classical themes. As one would expect, there is a more serious edge to this collection of music. However, it remains a glorious reminder of how the influences of classical composers and their works have lived on through cinema history. Vocalion’s continued commitment to these long lost classic albums is certainly worthy of the highest respect.   - Darren Allison, Cinema Retro Soundtrack Editor

To order: http://www.duttonvocalion.co.uk

La La Land Records has issued a 2-CD original soundtrack recording of Dimitri Tiomkin's score for the 1963 epic 55 Days at Peking. The Samuel Bronston film remains woefully underrated in its telling of the rebellion by the Chinese Boxer movement against American and European governments that they perceived had encroaching influence in China. The resulting clash saw the U.S. and European garrisons fighting against overwhelming odds. The film, which mingles the merits of the political stances of both sides with major battle sequences,  starred Charlton Heston, Ava Gardner and David Niven. Tiomkin's wonderful score can now be enjoyed in its true glory- but you'd better hurry. This is limited to only 2500 units. Click here to order

The label Buysoundtrax has released James Horner's score for Roger Corman's 1980 sci-fi movie Battle Beyond the Stars as a limited edition CD. The film starred Richard Thomas, Robert Vaughn and George Peppard. Only 1,000 CDs have been pressed. Click here to order from Film Score Monthly,. 

By Darren Allison, Cinema Retro music critic

Peter Collinson’s directorial career may have been cut tragically short (he died of cancer at the age of 44), but the British born director left an indelible mark in cinema during the latter half of the 1960s. Collinson made a powerful debut with the disturbing The Penthouse (1967), a film which caused Film Review magazine to comment, ‘quite brilliantly achieved.’ In 1969 his contribution to cinema would become eternally cemented with the classic The Italian Job, a film that turned Michael Caine’s popular Charlie Croker into a movie legend. In between these two projects, Collinson directed the gritty drama Up the Junction (1968). The film centred on a mixed class romance between middle-class Polly (Suzy Kendall) and working-class Peter (Dennis Waterman). Most of Up the Junction’s soundtrack (RPM 189) was written by Mike Hugg and Manfred Man. It may have been perceived by some as a bold move on Collinson’s part, but the director was more than happy with the eventual outcome, ‘The result was incredible’ Collinson said. ‘They had captured the heart of the picture. Their music belonged to the picture, it was not superimposed.’ The music has a mellow mix of harmonious songs and instrumentals which capture perfectly the heady social movement of swinging London. The film’s main theme, which was also released as a single (Feb 3^rd 1968), contained the B-side track Sleepy Hollow, a song that failed to make it to the original soundtrack album. However, RPM records have included this rarity on the CD as a welcome bonus track. The fold out sleeve notes are very informative and contain a nice selection of tie in memorabilia as well as a choice of both original U.K. and U.S. album art. Up the Junction’s is a great slice of 60s social history and representative of London’s cultural past. Check it out for yourself at http://rpmrecords.co.uk

By Darren Allison, Cinema Retro music critic

If you like music from vintage spy thrillers, you should check out the Poker / Cherry Red Records release James Bond in Action / Themes for Secret Agents (DeckCD2 007). This is another inspired and excellently produced double CD set. Featuring the great Roland Shaw and his Orchestra, the release is packed with tracks from four of his original Decca / London albums, James Bond in Action (1965), Themes for Secret Agents (1966), World of James Bond Adventure (1971) and Phase 4 World of Spy Thrillers (1971). Shaw had the unique ability to add a certain gloss and excitement to an already established exciting sound. The much respected British orchestral arranger was a prolific worker, with a reputation and passion for high quality music. This new release showcases that passion rather perfectly. For anyone perhaps unfamiliar with Shaw’s important contribution to the genre, this is arguably the finest way of discovering it. The audio reproduction over the CD’s mammoth 37 tracks is nothing short of crisp, clean and clinical. The result of which stands as a testament to Shaw’s experiments in Phase 4 stereo. The CD packaging provides a brief, but informative piece on Shaw and includes a couple of nice full page reproductions of Decca’s original album art. Essential listening for both fans of the genre and soundtrack enthusiasts in general; you’d certainly feel a lot better for adding this set to your collection. For more information check it out at www.cherryred.co.uk

By Darren Allison, Cinema Retro music critic

The Monster that challenged the World (Monstrous Movie Music Label #MMM-1961) is a film that refuses to fade away. A firm favourite from the 1950s big monster cycle, (or the big caterpillar variety to be precise), The Monster that Challenged the World (1957) is fondly remembered and continues to find new audiences. Arriving for the first time on CD, the score has remained high on many ‘wanted’ lists. The soundtrack’s composer Heinz Roemheld had won an Academy Award for his work on the James Cagney classic Yankee Doodle Dandy (1942). However, his work on Universal classics such as Dracula’s Daughter, The Black Cat, The Invisible Man, The Mole People and The Creature Walks Among Us, would always see him welcomed back to the popular genre with open arms. The score is a good dramatic piece of work, there is little in the way of gentle underscoring, even though the film has more dialogue than most other monster movies. Instead, the music is more purposeful, almost intent on advancing forward. It’s evident that the recording sessions remained free of any real budgetary restraints, and as a result the music attains a level far above its B movie grade. Monstrous Monster Music has again applied their extraordinary dedication in producing an excellent trilogy of essential monster mayhem.

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By Darren Allison, Cinema Retro music critic

Project Moon Base (MMM-1960) from the Monstrous Movie Music label is an exciting score and one of the earliest to feature the sci-fi signature sound of the Theremin. Made in 1953, Project Moon Base began life as an intended television series. It wasn’t until about a week into shooting that the decision was made to turn it into a theatrical movie. As a result, the film suffered in terms of the production values, a point accentuated when it was shown on cinema screens. However, composer Herschel Burke Gilbert’s score seemed to sustain a rather better longevity than the film itself. Gilbert was highly inventive when it came to recording the score. Working to a very tight budget, and with very few musicians, Gilbert employed an amplification technique in order to make the sound larger. Gilbert’s use of electronic bass also helped to produce a rather unique and strange sound quality. The composer’s flair for creativity clearly shines through and stands as fine example of brilliance over budget. The CD also includes Gilbert’s powerhouse score for the crime thriller Open Secret. It is also worth mentioning that Gilbert’s score for this movie became so popular, that certain cues were revived for the opening season of George Reeves’ 1950s TV series The Adventures of Superman. Overall, it’s a handsomely produced package that will no doubt appeal to fans of the genre.

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By Darren Allison, Cinema Retro music critic

Classic sci-fi and horror form the basis of two very popular soundtrack genres. My good friend David Schecter of Monstrous Movie Music recently sent me some of their new releases starting off with It! The Terror from Beyond Space (MMM-1959). The CD is part of their current series of Original MGM Motion Picture Soundtracks. Often cited as the original inspiration behind Ridley Scott’s Alien (1979), Edward L. Cahn’s tautly directed 1958 film, remains a favourite among fans and perceived by some as a minor classic of the genre. Marking its first ever soundtrack release, and in its entirety, the score stands up well as an excellent example of evoking both a sense of threat and foreboding. Composed by Paul Sawtell and Bert Shefter, the music offers both a subtlety in conveying the isolation of space, and an intense attacking style, reserved for the film’s more dramatic sequences. The score benefits from an array of inventive electronic sounds, courtesy of Jack Cookerly’s delightful ‘magic box’, the history of which, makes for an extremely enjoyable read and included among the extensively detailed 16 page booklet. The disc includes 26 tracks in all, 2 of which come in the form of bonus tracks. Great fun and great to see this score finally released.

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By Darren Allison, Cinema Retro music critic

With the restrictive nature of deadlines for our printed magazine, it is perhaps inevitable that I often receive some terrific releases after the deadline date. Last month was particularly frustrating, as there were many excellent CDs which I would have clearly wished to feature. Here is a new release that didn't make it into the magazine by deadline time. Themes for Super Heroes / Big Terror Movie Themes (Vocalion CDSML 8476) is a truly wonderful compilation of two classic albums. If the album covers do look familiar, you may spotted them on those rotary stands that were often to be found in the record department of most Woolworth stores. Who knows, like me you may have even paid out your £1.25 in order to own these super pieces of vinyl. First released on the MFP (Music for Pleasure) label in 1976, Big Terror is a magical time capsule of cinema sounds. Including some incredibly funky re-recordings of themes such as Jaws, The Eiger Sanction, Earthquake, Three Days of the Condor and Death Wish to name just a few, the albums proved incredibly popular. Arriving for the first time on CD, the audio quality is both fresh and ageless. The glorious album sleeve is also indicative of a time when cinema art was perceived as works of pure beauty.

Themes for Super Heroes arrived later in 1979, again on the MFP label. Equally, the album focused on popular themes (largely from TV) including The Incredible Hulk, The Six Million Dollar Man, Wonder Woman and a couple of nicely arranged tracks from Superman-The Movie. While the original artwork struggles to match the aesthetics of Big Terror, it is to Vocalion’s credit that they remained loyal to the albums original concept. Personally, I wouldn’t have had it any other way. Naturally, much of the albums success was due to Geoff Love and his marvellous interpretations. Recorded at both the world famous Abbey road and Chappell studios in London, these recordings have never sounded better. Oliver Lomax has provided a definitive history behind these two releases in the form of a very well produced booklet. It’s not only a must have, but an incredibly long overdue release. Add this one to your collection and you’ll probably find yourself playing it over and over again.

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The late, legendary film composer Maurice Jarre's soundtrack recordings for the Westerns Villa Rides! and El Condor have been released on a single CD. Here is background from the Screen Archives web site:

"A few months after my Oscar for Doctor Zhivago, Columbia contacted me to do The Professionals, and I literally fell off my chair. I thought I was too French to get involved in such a typically American genre as the western. To me, succeeding with this score amounted to getting a Hollywood certificate, proof that I belonged; it was a test, like a ragging in college..." Maurice Jarre was talking about his relationship to westerns, a genre which symbolizes American films, and the composer went on to work on eight full-length features. Among them were two pictures with very rare scores: Villa Rides! (never reissued on CD before now) and El Condor (which has never been available on any record). These are sister-scores, and the composer's taste for South-American rhythms bursts through them: lavish orchestrations and a whole range of wild percussion display the full range of Jarre's considerable imagination on his journey through the folk-music of Mexico and The Andes. Following the release of the boxed-set Le Cinéma de Maurice Jarre, this album contains the complete versions of two original soundtracks which, taken together, provide an accurate reflection of the singular rapport tying the composer of Lawrence of Arabia to the western, a genre where he was one of the great innovators. Maurice Jarre aficionados will love this CD, and so will anyone with nostalgic memories of Lee Van Cleef, Charles Bronson or Robert Mitchum on horseback.

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David Shire's soundtrack to the 1970s disaster movie comedy The Big Bus has been released by Film Score Monthly as a limited edition (2,000) CD. Click here for info

Earl Hagen's super hip score for the classic 1960s TV series I Spy starring Robert Culp and Bill Cosby spawned two soundtrack albums back in the day. Those original vinyl masters have formed the basis of a new release from Film Score Monthly which combines them both onto one deluxe CD release- complete with extensive liner notes and rare photos. Click here to order

By Lee Pfeiffer

The good folks at Silva Screen Records have released composer Roy Budd's magnificent score for the 1978 film The Wild Geese on CD. The film, which starred Richard Burton, Roger Moore, Richard Harris and Hardy Kruger, remains one of the great adventure movies of its era, centering on a mercenary mission into an African nation that results in deceit, double-crosses and some of the best action filmmaking director Andrew V. McGlaglen ever accomplished. Budd's score is integral to the film, and he created the kind of stirring, old-fashioned march music one never gets to hear in major movies today. (One track even includes actor Jack Watson's foul-mouthed insults as he mercilessly trains The Wild Geese for combat.)  The CD also includes the wonderful title theme, composed and sung by Joan Armatrading. Silva Screen have outdone themselves with the usual deluxe packaging, in this case a booklet packed to the rafters with fascinating information about the film by Tony Earnshaw, who even gets fresh comments from the movie's producer Euan Lloyd. There are a wealth of rare photos included, as well. They don't make movies like The Wild Geese anymore, and we don't have have many composers the likes of Roy Budd. Kudos to Silva Screen for putting his work back in the spotlight.

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(For an exclusive interview with producer Euan Lloyd about the making of the film, see Cinema Retro issue #3)

Film Score Monthly has released an original soundtrack CD from the classic 1964 sci-fi film Robinson Crusoe On Mars, with music by Nathan Van Cleave. Click here for info and to order

The Ventures had a big hit back in the 1960s with their cover version of the title theme from Hawaii 5-0. However, if you long to hear composer Morton Stevens' entire original soundtrack album from the classic TV series, Film Score Monthly has it available for only $12.95. This is the complete album that was issued on vinyl during the show's original run. Click here to order and to listen to sample tracks. These may be in short supply, so book 'em, Dan-O!

The Intrada record label has released a three CD soundtrack of Elmer Bernstein's magnificent score for The Great Escape. Here is the official announcement:

Together in one package at nice price! 3-CD set includes classic original 1963 United Artists re-recorded album prepared by Elmer Bernstein when film was new, plus two-disc presentation of actual soundtrack. John Sturges directs legendary WWII POW classic with Steve McQueen leading cast, solidifying status as iconic loner character on screen. James Garner, Richard Attenborough, Charles Bronson, James Coburn amongst fellow POWs. Motorcycle sequence with McQueen outriding pursuers is an action cinema landmark - Bernstein's music throughout sequence is unparalled display of rhythmic orchestral energy! Intrada presents soundtrack from same 1/4" two-track stereo session elements as earlier Varese Sarabande limited release but newly re-masters them to remove annoying tape print-through that plagued loud sections of earlier version. 1963 UA album mastered from original 1/2" three-channel stereo masters. Informative notes from Nick Redman illuminate impact of McQueen on film & audience plus offer details about real escape incident film is based on. A genuine film and score classic back in print for new generations. Elmer Bernstein conducts both recordings. - Douglass Fake, Intrada Producer

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Sonny Rollins' classic score for Alfie is among the gems played on the El Diabolik podcast site.

We were just made aware of El Diabolik's World of Psychotronic Soundtracks. We'll let Duncan, who runs the podcast site, describe what they do:

"We play soundtracks from all over the world, mainly from the 60's through to the 80's. Horror, Italian crime, British Cult, French Crime, Blaxploitation, Beat, Giallo, Bollywood, Sexploitation, Fung Fu, and just plain classic soundtracks. The latest show is a German special. We're far from professionals, we do this for fun and hope others enjoy the music with us. I try and play nearly all the music from the original vinyl pressings where possible." Click here to visit site.

The Big Boss (aka The Fists of Fury) was the film which launched Bruce Lee’s international film career. Director Lo Wei’s movie premiered in Hong Kong in 1971, but its international success arrived some time later. The German distributor (Cinerama) tried to subtly adapt the film to western visual habits. This was done mainly through an altered soundtrack. It was supposed that the original score of Chinese composer Wang Fu-ling would would appeal only to Lee's core fans in Asia and would have little appeal in Western nations.

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This proved to be the moment when Peter Thomas came into play. He had been commissioned to conceive the new soundtrack. As a result, his music can be heard in the film worldwide with the exception of China and England. So Thomas’ soundtrack virtually became the most identified score of The Big Boss. It is striking the way in which Thomas successfully integrates his music into the oriental cinematic milieu. The snappy main theme alone, with its stunning brass motif, has become eternal in its very essence. Some 37 years on, Chris’ Soundtrack Corner and All Score Media have released this music on CD for the very first time. Spread over 20 razor sharp sounding tracks, Thomas’ music bristles with energy, some of which benefit from the pleasing use of 70’s style electronic sound effects. Like the legend himself, this CD is fast, furious and slicker than slick!

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http://www.allscore.de/

http://www.soundtrackcorner.de/

Darren Allison – Cinema Retro soundtrack editor

Film Score Monthly have released Leonard Rosenman' score for the 1970 film A Man Called Horse on CD. The new release includes the complete vinyl soundtrack album that was issued in conjunction with the film, as well as bonus tracks and cues. Richard Harris starred as an Englishman captured by an Indian tribe. He manages to survive unspeakable rituals of torture and becomes a full-fledged brave in the tribe. For more click here

By Dave Worrall

Obviously released to tie-in with the new big Hollywood 2011 version of The Green Hornet, this soundtrack CD released by Harkit Records in England features the music from the original Sixties TV show starring Van Williams and Bruce Lee. The series, which was produced by William Dozier, the man behind the hit show Batman, was originally intended to fill a one-hour time slot, but was eventually aired by Fox as 26 half-hour episodes. Made with the same flair and quality as Batman, The Green Hornet failed to grab the audience’s attention in the same way the caped crusader did. This was due, in part, to the fact that it wasn’t so “comic bookish” in its approach, and didn’t have such crazy villains as its predecessor. That said, the show boasted ‘Black Beauty’, the Hornet’s gadget-laden car designed by Dean Jeffries, some excellent plot lines, and the talents of the then unknown martial arts expert, Bruce Lee. Although not a hit back in 1966, the show has a cult following today.

The ‘Big Band’ jazz-inspired score was by Billy May, who was also responsible for the TV shows The Mod Squad, Emergency! and C.H.I.P.S. May worked closely with Al Hirt, the renowned trumpeter, adapting the Rimsky-Korsakov piece ‘Flight of the Bumblebee’ as the Green Hornet’s theme. This album, which has been available before, comes with sixteen vibrant musical tracks and now includes an excerpt from the original 1940’s “Hit and Run” episode from ‘The Green Hornet’ radio show, and a complete specially adapted episode: “The Canine Culprit”, narrated by Jackson Beck.

This is a nice addition to those who love TV shows of the era. Good to see Retro’s very own Martin Gainsford responsible for writing the very informative liner notes.

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(See Cinema Retro issue #1: January 2005, for Martin Gainford’s fascinating 2-page article on The Green Hornet’s car.)

By Dave Worrall

For those of you familiar with the British television series Doctor Who, which was rebooted by the BBC and writer Russell T. Davies back in 2004, you will, no doubt, be aware of the huge contribution the music made to the series success. Composed by Murray Gold and ably assisted by conductor Ben Foster and the services of The BBC National Orchestra of Wales, the score to the show has raised the bar in what one expects to hear on a TV show today. To say that Gold’s compositions are good, and perfectly suited to the show, is simply an inadequate description. His music is superb, and far superior to some of the music scores of big Hollywood productions seen on the big screen today.

Previously, Silva Screen Records have released in conjunction with the BBC, four CD’s encompassing the four series made up until 2009, with a fifth – series five – due next. However, this new release features music from the Doctor Who ‘Specials’: ‘The Next Doctor’, ‘Planet of the Dead’, ‘Waters From Mars’ and ‘The End of Time’. And, unlike the single releases, this is a 2-CD set - for the price of one. Well done Silva! There is some wonderful and masterly music on this set, with the tracks ‘Vale’, ‘The Greats of Past Time’, ‘Gallifrey’, ‘Song For Ten (reprise)’ standing out, in what is a brilliant selection of music from these shows. The music is both powerful and moving, can bring a shiver to your spine and a tear to your eyes. Gold really is a terrific and gifted composer. I wonder how long it will be before he gets the call to the big screen and the BBC won’t be able to afford his talents anymore. On a selfish note, I hope not for a long time.

Doctor Who Series 4: The Specials is currently available direct from www.silvascreen.com and Amazon and other good retail outlets.

Note: Silva have also released Series One (with ‘Rose’s Theme’ and the amazing ‘Doomsday’) and Two (which includes tracks from the specials; ‘The Christmas Invasion’ and ‘The Runaway Bride’) on a double-CD set, plus Series Three and Series Four (which includes the brilliant ‘Song of Freedom’ and ‘The Doctor’s Theme’) as single CD releases. All are highly recommended.

Dimitri Tiomkin's rousing score for the 1967 John Wayne/Kirk Douglas Western The War Wagon has finally been released on CD. It's the first time the soundtrack has been available in any format. The score includes Ed Ames singing the title track, The Ballad of the War Wagon. Intrada, which produced the new CD, has limited this to only 2,000 copies. Click here to order

We were saddened to hear that our friends at Movie Grooves, one of the UK's best sources for rare film soundtracks, is going out of business. There are precious few companies that specialize in film scores and Movie Grooves proved to be a terrific source for retro film fans worldwide. We wish them the best. Here is the statement sent by E mail from Movie Grooves:

We're sorry to announce that Movie Grooves will shortly be closing down - for ever.

IMPORTANT: All pending orders will be fulfilled before we close.

Please don't cancel any pending orders or payments. We know that some of you are waiting for Tootsie and Outland (and items you may have ordered whilst ordering those) and they WILL be sent to you in due course. Tootsie and Outland are being held by our overseas supplier and will be shipped to us shortly.

We will no longer be stocking or taking pre-orders on any new or forthcoming releases or back catalogue items and we are no longer selling any items full stop (or period, as they say in the USA).

Movie Grooves is closing because I feel that it's time for me to move on and do something different with my life. The business has changed slightly to when I started out and, of course, the global financial situation - whilst not being a direct reason for closing down - has affected trading conditions and contributed to me making the decision to close. Yes, there's a sadness at closing, but I know it's the right decision so I also have an excitement at what possibilities the future holds (schmaltzy, but true).

I've had a great eight years or so running Movie Grooves. Movie Grooves was something that had its gestation years and years ago with my love of 60s and 70s horror, cult and b-movies which then got me into the soundtracks from those movies which then developed into a successful business during which time I had the pleasure to meet some great people, gain some new friends and also attend some fantastic related events. I even had a crack at DJing a few times in clubs and also on the radio (thanks Jonny!) which was so much fun. I also had the experience of running a successful business selling products I loved and that provided a service to many like-minded and friendly people all around the world.

I hope that I offered a good level of service - something that was high on my list of priorities when starting out. And I hope that every customer took pleasure from the CDs and LPs (and DVDs) that they purchased from Movie Grooves over the years.

Many thanks to each and every customer for your business and especially to the loyal band of regulars (you know who you are!) - thanks!

All that's left to say is that as a final send-off I'll be playing a selection of my favourite soundtrack/library tracks on Jonny Trunk's 'OST' Radio show on Resonance FM on Saturday 25th September from 4.30pm - 6.30pm UK time. I may be having a few drinks throughout, hopefully lots of laughs and perhaps at points even crying like a small child so it could be quite a funny/harrowing/interesting listen.

If you live in London you can listen on 104.4 FM or if you live elsewhere on the planet and have an internet connection you can listen live at http://resonancefm.com/listen  - put it in your diary now!

For old times sake I'll probably be running a silly competition so you could even win a few CDs, LPs or DVDs.

Thanks again - take care and keep groovin'!

regards

Col

Film Score Monthly has released a special 2-CD soundtrack of Jerry Goldsmith's score for Peter Hyams' 1981 sci-fi film Outland. The loose remake of High Noon starred Sean Connery. This set includes the original soundtrack album vinyl release along with many unreleased tracks and cues. Click here to order

Movie Grooves, the soundtrack company in the UK, advises that a 4-CD soundtrack from Roger Moore's classic TV series The Saint is due out this month. The boxed set has extensive liner notes and contains Edwin Astley's score for all of the color seasons of the series. (Thanks to reader Bill Parisho for the heads up)  For more click here