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Underground set.. The symphonies that followed differed but little in character from this one and afford little if any insight into Haydn's influence on the symphonic form. He appears to have followed in the footsteps of his predecessors, curiously enough, ignoring the symphonies of Emanuel Bach. The orchestration is meagre and conventional, the violins are almost constantly playing, and the wind is only used to duplicate them. It is not until we come to the first symphony composed by him at Eisenstadt that we see him as an innovator.
This work is in C-major, and is generally known as "Le Matin. The opening allegro is remarkable for its variety of subjects and their treatment, and for the careful manner in which it worked out. Between this movement and the adagio is a long dramatic recitative for the violin, very impressive, but having no discoverable connection with what precedes or what follows it.
In breadth, dignity, and expressiveness it surpasses anything that the composer had hitherto produced. From this time forth the symphony steadily grew under Haydn's hands; the form was enlarged, the orchestration was varied, the timbres of the different instruments were studied and instrumental effects gradually assumed an importance that increased with each succeeding symphony.
But his greatest symphonies were not written until the period of the Salomon concerts. In the meanwhile Mozart had appeared upon the scene. Haydn's first symphony was produced when Mozart was three years old, and the latter died in the very year in which Haydn's connection with the Salomon concerts began.
That Haydn influenced Mozart's early works is beyond question; that Mozart in turn, influenced Haydn later, is equally indisputable. From an engraving by J. Mansfield, published by Artaria, in Vienna, Haydn in his forty-ninth year. In "Le Matin," before alluded to, the second violins play with the first, and the viola with the basses almost through the whole of the first movement.
The slow movement has no wind instruments whatever. In the minuet, though, there is a long passage for wind instruments only, and in the trio is an extensive and florid solo for bassoon.
Haydn treated the strings in this same confined manner, and the wind after this solo fashion for some twenty years. Then came an effort to make the strings more independent and to pay attention to the peculiar qualities of the viola and violoncello.
In the symphony in E-minor Letter I the wind is given long holding notes while strings sustain the subject. This was the first step toward greater freedom of orchestration in Haydn's symphonies; but it was not until his "Oxford" symphony that he broke wholly with the past. It was written in , the same year in which Mozart produced his three greatest symphonies. This work is in his mature style, and the orchestration is delightfully clear, flexible and fresh.
If he had written no more symphonies after this, however, he would not have attained to the rank he has won as a symphony composer. His fame in this walk of his art was assured by the twelve symphonies he wrote for Salomon after In these he reached his highest point. His mastery of form was perfected, his technical skill was unlimited, and he ventured into bold harmonic progressions that were little short of daring, for his time.
His orchestra had been enlarged to two flutes, two oboes, two bassoons, two horns, two trumpets and drums, and in his three last symphonies, the two in D-minor and the one in E-flat, two clarinets appear. It is in these twelve symphonies that the influence of Mozart is clearly manifested. The bass has attained to inde  pendence; the violas no longer duplicate it except for certain effects; the second violins have a free motion of their own; the wind instruments express musical ideas proper to them and appropriate to their special qualities of utterance.
The form and character of the symphony were established permanently. Simplicity, clearness of style, grace and playfulness are the leading features of Haydn's symphonies. There are few of the more notable of them in which his command over the science of his art is not delightfully manifested. Haydn is invariably lucid, always finished to the highest point, always logical and always free from display for the mere sake of display. It is a prevailing fault to dwell too persistently on the cheerful simplicity of Haydn's music and to forget how serious and profound he could be when occasion demanded.
These latter qualities are nobly manifested in his more important symphonies in those portions of them devoted to the "working out. It would perhaps be over dogmatic to assert that had it not been for Haydn the symphonies of Mozart and of Beethoven would not have been what they are; but it is certain that Haydn gave the impulse to both in as far as their symphony writing is concerned. Of the quartet Haydn may be justly called the inventor, and it is in this phase of his art that he may be most profitably studied.
The quartet was, as Otto Jahn truly says, "Haydn's natural mode of expressing his feelings," and it is in the quartet that Haydn's growth and progress in his art are most strikingly illustrated. Their influence on music has been greater than that exerted by his symphonies. Here he is seen in his full and his best strength, and it is here too that his extraordinary creative powers are most brilliantly emphasized.
When these works first appeared they were sneered at by the pedagogues of the day, but by-and-by more respect was shown to them even by their earlier antagonists, for it was seen that the quartet was not only susceptible of depth of sentiment and seriousness of treatment, but that musical learning also had in them a field for its finest development.
These quartets, from the opportunities they afforded for performance in the family circle, exercised great influence in raising the standard of taste, and in their educational aspects they were thus of the highest service. They crystallized form and in essence may be looked on as the parent of all the serious and so-called classical music that has been composed since. The progeny may only distantly resemble the parents, but the form establishes beyond all cavil the family resemblance.
Haydn's first quartet is the merest shadow. The first half of the opening movement consists of no more than twenty-four bars. The subject comprises eight bars; then comes eight bars of an episode modulating into the dominant, and then the second subject, also eight bars in length; but brief and pale as it is, it is unmistakably the germ that was elaborated by Beethoven into such prodigious masterpieces.
It is in the quartet that Haydn found the fullest outlet for his wealth of musical thought, and it is in the quartet that his genius is illustrated in its most marked individuality. Quartets were written before his day, and also by his contemporaries, J. Bach, Stamitz, Jomelli, Boccherini, and others, but Haydn's marvellous invention, his originality in the mastery of form, his fine feeling for the characteristic speech of each instrument enabled him to obtain a mastery that left him without a rival.
His early quartets are exceedingly thin, and are in such glaring contrast with what came after the composer had wholly developed the capacity of the quartet as a means of profound expression of musical thought, that he is said to have wished to ignore all his works in this class that preceded the nineteenth quartet; but they are necessary to the student who would follow the growth of musical form.
It is an immense stride from the first of these compositions to the ever-beautiful "Kaiser quartet," with its exquisite variations, or "Gott erhalte Franz den Kaiser. Haydn stamped a character on the quartet that has never been departed from; and what is known as the "quartet style" was established by him so thoroughly that in all the mutations in musical taste, it still remains a distinction that admits of no change.
Haydn also left the impress of his genius on the sonata, though to Emanuel Bach is due the honor of having broken with the past as represented by Domenico Scarlatti and Kuhnau.
The same copiousness of invention and perfection of form that characterize his quartets and symphonies are to be found  in his sonatas, too much neglected at present, for in several of his later compositions of this class he appears to have gone further than Mozart and to have overlapped into the era of Beethoven.
His trios for clavier and strings are full of interest, but with two or three exceptions they are not of special value except as models. The strings are often held subordinate to the piano, and the outer voices are too persistently doubled.
Of his other purely instrumental works, including concertos and divertimenti, nothing survives except the fine concerto for clavier in D with "principal violin. His songs, of which he wrote many, have passed for the most part into deserved oblivion. Some of his canzonets are marked by grace and delicacy, but the sign of age is unmistakably on them. His masses display that eternal freshness and that cheerfulness of spirit that are peculiarly Haydn's, and the more important of them must rank forever among the masterpieces of their class, notably the "Mariazell" Mass in C-major, and the "Cecilia" Mass, in the same key.
It is true that his fame does not rest on them, and it is equally true that if he had written nothing else these works would not have brought the composer's name down to our day with the glory that now surrounds it. Some portions of "The Creation" however, are noble music, and these will always be listened to with delight. Never was the human voice treated in a more masterly manner than it has been by Haydn in these "oratorios," and the study of their scores is still valuable to all who would learn how to support the voice by flowing and brilliant orchestration without giving undue prominence to the instruments.
The dramatic interest of "The Creation" is not strong. There is nothing in the shape of declamation, and the singers are confined to mere description. The result is a lack of passion and a consequent monotony of sentiment. The tone-picture of Chaos, with which the work opens, stands out as one of the noblest bits of instrumentation that Haydn ever wrote.
The air "With Verdure Clad" is exquisite, in melody and orchestration, but its many repetitions mar it and make it tiresome. The choruses reach a high point of beauty in regard to themes, development and voice treatment, and "The Heavens are telling" still remains one of the noblest oratorio choruses outside of Bach and Handel. But the breadth and dignity of all the choruses are impaired by the elaborateness of the orchestration.
Haydn was essentially an instrumental composer, and it was but natural that he should have yielded to the temptation to produce effects of which he was practically the inventor and at which the musical world still marvelled. It is, with all its faults, an amazing work for a man not far from three-score and ten years of age; and it may still be listened to with pleasure, when the last part is omitted; for the wooings and cooings of Adam and Eve have become incurably old-fashioned; and the grace, melodiousness and tenderness of the music do not atone for its monotonous effect and its lack of dramatic color.
When it is remembered that the composer compassed this work at the age of 69, and consequently near the end of a busy life whose active pursuit might well have exhausted his capacity to invent, its wealth of melody is astonishing.
And yet, he said to Michael Kelly, "It is the tune which is the charm of music, and it is that which is most difficult to produce.
In this connection another saying of Haydn's may be reproduced for the felicity with which it applies to the present time: "Where so many young composers fail is, that they string together a number of fragments and break off almost as soon as they have begun; so that at the end the hearer carries away no clear impression. Of Haydn's lighter vocal works there is no need to speak, for they have passed away forever.
His operas have been wholly forgotten, and not unkindly. It is, however, as an instrumental composer that Haydn is entitled to the most earnest consideration. In this field of his industry he has left an imperishable name.
He was, to all intents and purposes, the creator of orchestral music. His place in musical  history is among the greatest in his art. He broke with pedantry at the outset of his career, enlarged the scope and dignified the aim of music, and made the world the happier for his presence and in the rich legacy he left it. Music has changed greatly since his day, and in its progress it has departed widely and is still departing, even more widely, from the conditions in which he left it; but in all its changes it has left his position unassailed.
His best achievements in his art are yet listened to with delight, despite the richer orchestration and the larger design that characterize the music of our time.
He has outlived every mutation thus far, and it is perhaps not overbold to prophesy that his fame will endure long after the vague, restless and labored music that is peculiar to the present era, is forgotten. The moral of his life is devotion to art for art's sake. He was loyal to it through poverty, suffering and disappointment, never doubting his mission on earth. His early career was through tears, but as Heine says: "The artist is the child in the fable, every one of whose tears was a pearl.
This portrait, though quite different from the more familiar pictures, is the best and most characteristic life portrait of Mozart in his later years. The date is incorrect. He lived in Augsburg, and in he married Anna Maria Peterin, the widow of a fellow-handicraftsman named Banneger. By her he had five children, and the youngest boy was Johann Georg Leopold, the author of the "Violin School" and the father of Wolfgang, the immortal composer.
Leopold Mozart was a man of no ordinary parts. His face is known to us by the engraving from the portrait painted by the amateur Carmontelle in Paris, , and by the family group in the Mozarteum in Salzburg.
It is an honest face, keen, austere; a mocking jest might have passed the lips, but neither flatteries nor lies. His tastes were simple, his life was ever free from dissipation.
In money matters he was regarded as close, and the reproach has been made by some that he acted as a Barnum towards his two precocious children. The reproach is unjust. The man was poor. His earnings were small. He needed money to pay his debts and support his family. But no specific charge of meanness or avarice has been substantiated. On the other hand he was scrupulously honest, sincere in the duties of his profession, and of a profoundly religious nature that was shown in profession and practice.
At the same time he was not a bigot. He would not yield to the tyranny of priests; he was free from superstition of every sort; his sane spirit and his bitter wit were exercised in spiritual as well as temporal affairs. Grimm, who was no mean judge of men, wrote of him as follows: "The father is not only a skilful musician, but a man of good sense and ready wit, and I have never seen a man of his profession who was at the same time so talented and of such sterling worth. His treatise upon violin playing was known throughout Europe, and it showed the solid qualities of the musician and the ironical temperament of the man.
All of his gifts were used, however, chiefly in directing and developing most wisely the extraordinary genius of the young Wolfgang. The affection shown him, however, was lavished equally upon his wife and other children. Salzburg is a town renowned for its beauty. There was a German proverb that ran as follows: "He who comes to Salzburg grows foolish the first year, becomes an idiot the second; but it is not until the third year that he is a Salzburger.
No wonder then that the town and the society were distasteful to Leopold Mozart. He left his birthplace to study law in Salzburg; and in he entered the service of the Archbishop Sigismund, as a court-musician.
Later he became court-composer and leader of the orchestra; in he was second Kapellmeister. In he married Anna Maria Pertl or Bertl. She was the daughter of the steward of a hospital. She was very beautiful, good natured, loving, and of limited education.
Seven children were born of this marriage. Five died at a very early age. The fourth, Maria Anna born July 30, , was familiarly known as "Nannerl," and she was a musical prodigy. The seventh and last was born at eight o'clock in the evening, Jan. According to the certificate of baptism, he was named Joannes-Chrysostomus-Wolfgangus-Theophilus.
His first  compositions published in Paris in are signed J. Later works bear the name Wolfgang Amade. In private life he was known as Wolfgang. Variations sometimes found in the biographies come from the fact that Theophilus and Amadeus and Gottlieb are but one and the same name.
Schachtner, the court trumpeter, and a house-friend of the father, preserved for us in a letter written to Mozart's sister many interesting details of the early manifestations of the boy's genius.
At the age of three he sought thirds upon the keys of the pianoforte. At the age of four his father began to teach him little pieces. When he was five he dictated minuets to his father, which are of natural but correct harmony, melodious and even characteristic. The first of these minuets is given herewith. These are not legends, but well attested facts. Four minuets and an allegro have been published by Otto Jahn in the second edition of his "Mozart.
Up to the age of ten he could not endure the sound or sight of the trumpet. He wrote a pianoforte concerto, clearly conceived, but of unsurmountable difficulty, when he was four.
His sense of pitch was extraordinary. The father watched this astounding precocity with loving fear and prayed that he might be wise enough to direct it.
The court dress was sent to him by the Empress Maria Theresa. Painter unknown. Original in the Mozarteum in Salzburg. This is the earliest portrait of Mozart. In Wolfgang and Maria Anna—the latter was now a pianoforte virtuoso—played before the Elector of Bavaria in Munich, and the enthusiasm provoked by their appearance was so great, that Leopold obtained leave of absence in September of the same year and went with his family to Vienna.
At Passau the children played before the Bishop, who marvelled greatly and gave the father a ducat. At Linz they gave their first concert. They then descended the Danube to Vienna, stopping at the monastery of Ips, where Wolfgang played so effectively upon the organ that the Franciscan fathers left the dinner table that they might hear him; which miracle is doubtless recorded in the annals of the abbey.
Original in the Mozarteum, in Salzburg. On the bottom of the music—"Th. Helbling juv. The Austrian imperial family was passionately fond of music. Francis the First was a distinguished connoisseur, and Maria Theresa was a pupil of Wagenseil, as well as an accomplished singer. The Mozart children were received with open arms.
The courtiers were astonished at the display of genius. The Emperor spent hours in testing and wondering at the powers of Wolfgang. The young Marie Antoinette romped with the boy who promised to marry her when he was old enough. Painted by Dominicus van der Smissen, The original in possession of Mr. The noble families of the town vied with each other in their attentions. The children were given money, court dresses, and tokens of genuine affection, and the first portrait of Wolfgang was painted then in Vienna, in which he has powdered hair, and he carries a sword.
The boy was seized with scarlet fever in October, and in the beginning of Leopold went back to Salzburg. But the 9th of June of the same year, with his wife and children, he set out for Paris, having letters of credit from his good friend Haguenauer.
They had adventures, and they gave concerts on the way. They arrived at Ludwigsburg, the Versailles of Stuttgart, where Jomelli, with his carriages and horses, houses and yearly salary of four thousand florins, brought to Leopold's mind his own modest condition, and provoked him to bitter remarks. Frankfort, Bonn and Brussels were seen, and finally the family arrived in Paris the 18th of November. The letters of Leopold contain much curious information about the musical condition of the city.
Frederick Melchior Grimm, who was regarded as an authority, exerted himself most actively in the behalf of his compatriots. They were presented at Court; they were celebrated in prose and in verse; their portraits were painted; and four sonatas "pour le clavecin" were engraved and published.
In England the family were received most kindly by the King and the Queen, who, as is well known, were passionate amateurs of music. The curiosity of the Londoners to hear the children was great; the learned Daines Barrington proved the genius of Wolfgang in many ways, and then made it the subject of a letter preserved in the annals of the "Philosophical Transactions" of the year ; and guineas chinked pleasantly together in Leopold's pocket.
Here Wolfgang wrote three symphonies, four according to Jahn and Koechel, but Wilder gives good reasons for doubting the date of the one in B-flat major. He also dedicated six sonatas for pianoforte and violin or flute to the Queen. His London visit benefited his education. Pohl in his interesting and valuable "Mozart in London" gives a full account of the condition of music at the time.
Wolfgang had an opportunity of hearing Handel's oratorios and Italian opera; he became intimate with Christian Bach; he heard the castrate Tenducci, the master of cantabile; he took singing lessons of the famous male soprano Manzuoli. In July Leopold and the children started for the Hague; at Lille, Wolfgang was seriously ill, and at the Hague the sister was attacked by a violent fever.
Wolfgang wrote while in Holland six sonatas and other pieces. After passing through Paris and Swiss towns, the family arrived at Salzburg in November, Wolfgang was pleased at seeing again his favorite cat, and then under his father's direction he began the study of the "Gradus" of Fux.
In he learned Latin and set to Latin words a comedy, "Apollo et Hyacinthus," at the instigation of the Archbishop, who had hitherto played the part of doubting Thomas.
He also wrote four pianoforte concertos for his own use in concerts. Leopold was not blind to the fact that Italy was the home of great composers and illustrious singers; that its atmosphere was stimulating to musical thought; that its very name was synonymous with music. Under pretext of a short visit to Vienna, he made his excuses to the Archbishop and started, in September, , with his family on a longer journey.
In Vienna, the children were seized with small-pox, and it was not until January, , that they were able to enter into the musical life of the town.
It won the unqualified praise of the singers and such composers as Hasse, but the cabal against Wolfgang was too strong, and the opera was not given. The pastoral theme of the instrumental introduction, the intrada, anticipates in a singular manner the opening of Beethoven's Third Symphony. Wolfgang's first mass was given in public, and he himself directed. The Archbishop of Salzburg sent word to Leopold that his pay would continue only while he was actually in Salzburg, and so the family returned home.
Cale , J. Ward , M. Big , Mr. Bungle , Mr. But Who's Buying? Kelly , R. Burnside , R. Stevie Moore , R. De spelade i Europa mellan mars och maj ABBA var den svenska popgruppen Abbas tredje studioalbum, utgivet den 21 april Aboryms sjunde studioalbum Shifting.
Vid pianot ses Charlie Norman. An Overdose of Death Anthony G. Ane Brun, Hamburg The soundtrack uses a variety of music genres, including soul. The soundtrack also includes dialogue from the motion picture and a lack of typical film score, similar to the other soundtracks of Tarantino films.
With works by legendary composers Martial Solal, Michel Legrand, and Georges Delerue, this is an essential collection of music from the films of one of the most important directors of the French New Wave.
Liner notes by composer Kurt Stenzel. Original artwork by Nick Stewart Hoyle. Includes download card for full album. This is the soundtrack to the story about the greatest film that never was. Jodorowsky's Dune tells the tale of cult filmmaker Alejandro Jodorowsky's unsuccessful attempt to adapt Frank Herbert's classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowskys own vision for his Dune-a film whose A-list cast would have included Salvador Dal, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd.
Building upon director Frank Pavich's idea for a score with a "Tangerine Dream-type feel," Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZs, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. As Stenzel notes, "Jodo's voice is actually the soundtrack's main musical instrument-listening to him was almost like hypnosis, like going to the guru every night.
The satisfaction of seeing these discs spin on a turntable is hard to pass up. ROUTE 29 RUN D. ERIC B. The soundtrack is a virtual Best of Clark Terry collection, which features many of his most iconic recordings, including his performances with some of the all-time jazz greats: Duke Ellington, Oscar Peterson, Count Basie, and Quincy Jones.
As with all of Tarantino's films, music plays a major role. For Kill Bill Vol. THE 5. Slight price increase from the label. Now enter Kill Bill Vol. As with all of the writer-director's films, from Pulp Fiction to Jackie Brown, music plays a major role in the finale of this martial arts action- adventure epic about an assassin who seeks revenge. Robin Beanland and Graeme Norgate's music spans metal, rock, hip-hop, and of course Set in modern day Los Angeles, this original musical about everyday life explores the joy and pain of pursuing your dreams.
The story of Mia, an aspiring actress, and Sebastien, a dedicated jazz musician, who are struggling to make ends meet in a city known for crushing hopes and breaking hearts. BOISE Plus dialogue from the film. The three-fin, high performance, "thruster" shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive "surf and destroy" movement in board culture.
Litmus, Andrew Kidmans first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidmans band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the "one-and-done" sessions was a lo-fi, rustic, experimental rock n roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa.
Litmus was a defining moment in surf filmmaking - it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidmans follow up, Glass Love, in new form.
By the early '90s, surfing was on an upswing in popularity as professional surfers became marketable athletes. Litmus, Andrew Kidman's first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the "alternative" mainstream. The outcome of the "one-and-done" sessions was a lo-fi, rustic, experimental rock'n'roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa.
Kidman released his second film, Glass Love, ten years later. As with Litmus, the music came first; Kidman felt his songwriting was ready to take on a new life. Thanks in part to Litmus, experimentation in board design progressed as surfers became more contemplative, questioning, 'is surfing art or sport? Pressed on gram Audiophile Virgin vinyl. The film's score was composed by Angelo Badalamenti with additional music by Barry Adamson. Trent Reznor from Nine Inch Nails was responsible for assembling the soundtrack.
Lost Highway is the French-American neo-noir-horror mystery film written and directed by David Lynch. It stars Bill Pullman as a man convicted of murdering his wife Patricia Arquette , after which he inexplicably morphs into a young mechanic and begins a new life.
The film's score was composed by Angelo Badalamenti, with additional music by Barry Adamson, however Trent Reznor from Nine Inch Nails was responsible for assembling the soundtrack. Love, Simon follows its titular character as he navigates through his personal journey of coming out. A closeted gay teen, Simon finds himself being blackmailed when an email falls into the wrong hands.
With some complicated dynamics emerging in his once tight-knit group of friends and his relationship with his pen pal crush Blue growing stronger every day, Simon's junior year has suddenly gotten all kinds of complicated. Newly remastered audio. LP housed in a deluxe gatefold tip-on jacket. Includes rare archive photos. This soundtrack is not only an aural companion to Low Down-the acclaimed biopic of jazz pianist Joe Albany, based on the memoirs of his daughter Amy-Jo Albany-but also the perfect primer for Albanys lifework.
Comprised of Albanys own compositions alongside those of Coleman Hawkins, Max Roach, Thelonious Monk, and selections from Ohad Talmors score, this album conjures both a feel for Albanys own avant-garde, quick-tempo, bebop jazz and a mood that evokes the life of Hollywood's notorious jazz hustler. The album meets with the deep approval of Flea, who took the role of executive producer and co-star of the film.
As a child, this is the music I listened to that blew my mind; it let me know that all things were possible. If human beings were capable of doing this, then anything could happen. Double LP on gram vinyl in gatefold sleeve. New essay from Fulci expert Stephen Thrower. Mastered for vinyl by James Plotkin. White vinyl. The outside three panels consist of all new original artwork while the inner panels display minis of the original jackets and the tracklisting.
The color of the vinyl is Gray, Sand and Black respectively in keeping with the central colors of the new art panels. No more than units will be made. David Carbonara's winning mix of contemporary score and period jazz delivers a distinctive sound that has become a part of the series as much as the timeless visuals and characters.
Gatefold sleeve. First copies on red vinyl. It is the second film in the View Askewniverse series and prequel to 's Clerks. The song selection is a playground of alternative music and punk. The title song by Wax and the guitar heavy "Guilty" by All are the standout cuts, but it also features songs by Weezer, Elastica, Belly and more.
Continuing with its vinyl soundtrack reissue campaign, UMe will be reissuing this title on vinyl for the first time since its original pressing 20 years ago. Domestic release was just cancelled. Featuring original artwork by Phantom City Creative. On white vinyl.
It's a good'un. It also features beautiful performances by Hawaiian actress Auli'i Cravalho, who voices the film's heroine, Moana. Includes music from the game expansions as well. With digital download card. XEN JOHN J. Lurhmann's iconic musical vision took almost two years to gather rights to use all the amazing songs needed to tell the tale of the turn of the century Paris cabaret.
How do they cope? With laughter-and song! Joel Hodgson's Mystery Science Theater aired for 10 seasons and episodes on its way to being named one of the top best TV shows of all time by Time and Entertainment Weekly, and its reboot on Netflix overjoyed the show's long-time fans while gaining some new converts.
Now, Real Gone Music in association with Shout! Factory brings songs, incidental music, and instrumental bumpers from the show's triumphant return season in the only format that makes sense for a show like this: vinyl! UFO Not Natural Born Killers. Assembled by Trent Reznor Nine Inch Nails , the soundtrack to Oliver Stone's brutally warped serial killer saga recreates the hallucinatory feeling of the film.
ROUTE The Nightmare Before Christmas is an animated movie musical about the abduction of Christmas by the denizens of Halloween land, and Elfman sings the part of Jack, the Pumpkin King. Featuring images from the classic Tim Burton film and the full soundtrack composed by Danny Elfman, this is a wickedly perfect collection for any Nightmare fan. Set in feudal Japan, the wandering ninja mercenary Jubei becomes drawn into the plot of eight demons plotting to overthrow the Shogun.
Groundbreaking in its depictions of swordplay and animated action sequences, Ninja Scroll stands with Akira and Ghost in the Shell as a classic of the genre. Kaoru Wada's timeless score frames Jubei's adventure across a fantastical Japan with a stirring mix of brass, trembling strings, and traditional woodwinds.
JUBEI JUICY The soundtrack charged No. LIES GOLD LEAVE ONCE The soundtrack to Jim Jarmusch's film won the Cannes Soundtrack Award, so there's a whole new level of customer right there. And the film is about underground musicians Double LP in gatefold jacket on blood red vinyl. HAL For its first-ever LP release, we've created a custom gatefold sleeve adorned with production stills, and pressed up only copies in what else?
Get 'em while they last! A plot filled with so many holes it's impossible to follow, chainsaws cutting heads left and right, downright terrible acting, hilariously absurd scenes, and a brilliant soundtrack! This limited vinyl edition includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of poliziottesco movie La Polizia Sta a Guardare the main theme of which was reborn in in Quentin Tarantino's Death Proof , multiple scores for Spaghetti Western movies starring Tony Anthony, and winner of a Nastro d'Argento award for best score for The Anonymous Venetian Set for world domination this time around, Pitch Perfect 2, the highly-anticipated sequel to the smash hit and platinum-selling soundtrack, Pitch Perfect.
Appropriately reflecting an endless day to night cycle and bursting with eye catching colors, this special "Day turns to Night" colored double vinyl is sure to please. Go ahead, we dare you! The German film music composer Marc Streitenfeld is known for his collaborations with director Ridley Scott.
The movie revitalized Richard Gere's career, and made a superstar of Julia Roberts. Brian Tyler's thunderous score incorporates themes from Jerry Goldsmith's previous work and was hailed by Rambo fans as an excellent continuation to the music of the series. Brian Tyler's previous scores included Constantine, Paparazzi, The Final Cut and Timeline and he has gone on to become one of the most successful action film composers working today, with more recent soundtracks including The Expendables trilogy and Iron Man 3.
Distributed by Troma, this movie follows the dark humor and extreme gore that is trademark of the Troma brand. Adrian Bond brings us 15 low fi tracks; including four tongue in cheek vocal songs and 11 tracks of '80s synth underscore. Limited blood red colored vinyl LP. Of course, Rez is about more than just music and iam8bit wanted some place to show off the visual side of the game as well. So, they bundled a retrospective art book with the vinyl - pages of giant Rez images on some pages, 24 inches wide!!
Double LP plus retrospective book plus bonus 7" single. Most songs are exclusive to the soundtrack. Double LP on red vinyl. EDDIE Album Art by Mario Graciotti. Limited Edition of 2, units. Includes digital download. The songs mostly blend raw, adolescent urges and insecurity with an awkward grace, composed primarily of popular music from the s. Continuing with its soundtrack initiative, UMe will be reissuing this classic soundtrack back on vinyl for the first time in years.
LORNA Michael McDonald, Amy Holland who at the time had made a solo name for herself and incidental themes by Italian electronic maestro Giorgio Moroder. The album's sound, as well as its roster of artists, give it the feel of a time capsule buried in the late '80s.
Continuing with it's soundtrack reissue campaing, UMe will be reissuing this classic soundtrack back on vinyl for the first time in years. With music composed by Hirofumi Murasaki, Morihiko Akiyama and Masayuki Nagao, Shinobi III is a relentless bass-driven soundtrack which, upon its release in , pushed the Mega Drive's audio capabilities to its limit.
Its strong percussive elements are something of a technical marvel and, like all of the greatest soundtracks of the 16bit era, showcases the ingenuity and resolve of game composers when faced with extremely limited hardware. With audio sourced directly from a Japanese Model 1 Mega Drive AV Intelligent Terminal, VA5 with stereo output mod and painstakingly remastered for vinyl, Shinobi III should appeal to anyone with even a passing interest in video game culture, FM synthesis or electronic music in general.
All copies also include a foldout poster featuring the original Japanese artwork, sourced from the SEGA archives. Now repressed on vinyl for the first time in 30 years. The bonus CD of rarities and unreleased tracks is included as a special insert in the 2xLP vinyl package.
Blue vinyl edition limited to copies. Headup Games, Fabraz and Black Screen Records are happy to announce their cooperation for the worldwide publishing and distribution of the soundtrack to their upcoming action-platformer Slime-san. We wanted to create a soundtrack that is worth the price of admission alone, and I think we've accomplished that. Baby Boom and was the rare Hollywood film to focus the romantic spotlight on a couple in the autumn of their years, the fifty-something Keaton and the sixty-something Jack Nicholson.
Something's Gotta Give never did come out on LP, and for its maiden vinyl release we at Real Gone Music wanted to conjure images of that to-die-for Hamptons beach house inhabited by Keaton's character-so sea foam green vinyl it is, limited to copies!
To celebrate one of the most captivating biker drama series ever, Friday Music once again enhances your music pleasure with the first time ever audiophile vinyl release of these stellar soundtrack albums.
This amazing double album is the second in a deluxe series of a limited edition Gram Audiophile Vinyl releases from the Sons Of Anarchy television soundtrack series with Friday Music. Come Healing! For a very limited time, Songs of Anarchy: Music from Sons of Anarchy Seasons will be presented on a 2 LP clear audiophile vinyl with a stunning gatefold cover featuring the SOA logo and original artwork as you will remember from this incredible series created by Kurt Sutter.
JUDE The Soundtrack to the comedy drama St. SNOKE Heavyweight old-style tip on jacket with thick film laminate gloss. A 12"x12" art print featuring extensive liner notes from composer Jonathan Snipes. A digital download card offering the entire score and bonus cues not featured on the LP. This 2LP set contains a mini 8x12 fold-out poster and a crack-and-peel sticker! The album features nineteen songs and eleven audio clips from the show.
The album also features the first full-length version of the ConfidentialMX Feat. Becky Hanson cover of "I Started A Joke," which was featured in the Suicide Squad Comic-Con trailer, named one of the most-watched trailers of with over million views since its release. The film, which also stars Hollywood icons Tracii Guns of L. Using audio sourced directly from the original arcade machine sound board, this carefully restored and remastered edition presents the unforgettable soundtrack to SEGA and Yu Suzuki's classic racer on vinyl for the first time outside of Japan.
Housed in a meticulously designed custom die-cut sleeve, on gsm matt finish cardstock, with gsm printed inner sleeve and a traditional OBI strip. GOAL Numbered edition of on double vinyl, 3 sides of music, one side a stunning screen print! Based on the original blaxploitation crime drama, which was helmed by Gordon Parks Jr. Redefine the hustle. Composed by Andy Hull and Robert McDowell, members of the prestigious Manchester Orchestra, the sounds present here aren't what you'd expect.
The duo has, in fact, shattered convention entirely, incorporating the melodic voices of stars Paul Dano and Daniel Radcliffe, into an almost completely A cappella experience. LIAR Insert with liner notes by director Justin Seaman. Artwork by Sadist Art Designs. Exact reproduction of the original artwork. Available as a deluxe vinyl edition limited to copies. AMEN SAFE M83 - WAIT Double gram vinyl, debossed gold foil-stamped double gatefold sleeve.
COCO Q. In an effort to present an object that integrates all the inter-connected components of this release, Third Man Records has gone the extra mile with their limited-edition version of the soundtrack in pioneering a never-before released method for vinyl records.
Both LPs in the set are blindingly reflective metallized discs. Disc one is platinum and disc two is gold. These are the first-ever commercially available records made using these precious metals via this process. Not stopping there, the records come housed in an entirely unique laser-cut wooden LP jacket riveted to aluminum spines.
All of these elements gold, platinum, aluminum, wood and brass showcase the Art Deco-meets-modern style, classic meets cutting edge, which is the essence of The Great Gatsby film and Third Man Records. Also comes in a standard gatefold sleeve, vs. The 2-LP set comes in a gatefold package featuring stills from the original film production and is limited to copies. Includes download code. Charlie Brown, the world's most beloved underdog, embarks upon an epic and heroic quest, while his best pal, the lovable beagle Snoopy, takes to the skies to pursue his arch-nemesis, the Red Baron.
From the imagination of Charles M. Featuring 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show.
Reached 49 on Billboard pop charts in Recorded before Johnson's first album Brushfire Fairytales, these tracks predate Johnson's rise to worldwide stardom. Continuing with its soundtrack campaign, UMe will be reissuing this title on gram opaque orange vinyl for the first time ever.
The film is full of aliens, comic books, rednecks, zombies, boobs, gals, gals fighting, and rock 'n' roll. Friedman himself. Greg Oblivian doing a toy instrument version of the much-loved "Bad Man" is worth the price of the record by itself. This re-release coincides with McCarthy's new edit of the film. Southern sci-fi trash has never looked or sounded so good. This marks the first vinyl reissue of the original soundtrack and includes the eight page booklet which accompanied the original vinyl release.
MARIA HOME CHANT 10 CHANT 2 Now available on gram vinyl. Double gram black vinyl, remastered, printed insert, gatefold. Features the re-mastered original soundtrack, in addition to the vinyl debut of the complete film score by Barry DeVorzon. The 40th Anniversary Edition has a different track listing to the preceding OST double album, selecting only the songs to make a single LP. Silva Screen commissioned artist Richey Beckett to come up with artwork for a poster and sleeve and the original pressing contained a certificate from the artist.
When an English farmer leaves his colonial plantation and relocates his family to a remote plot of land, strange and unsettling occurrences begin happening immediately - animals become vicious, crops wilt and one of the children disappears. Paranoia grips the family as they accuse one of their own of witchcraft.
Any great horror film has an equally impressive composer. The Witch is no different. Mark Korven has created a one-of-a-kind spine-chilling score by employing obscure instrumentation from hurdy gurdys to nyckelharps. The result is a discordant, spectral affair that draws the listener into the misty world of the family's farm as horror permeates throughout.
Kknagpae or Thug is a collection of works for a film that was abandoned. Envisioned as a cross between a Friedkin-esque gumshoe detective saga meets something like Black Rain. The music was written based on the synopsis and concept art, which is all that remains of the project.
Given that Antoni Maiovvi has done this sort of thing before and it was a lie, it is important to note that this story is all true. Mystery surrounds the abandoning of this project, but permission has been granted to release the music and concept art as a stand alone album. Maiovvi's score pairs dark synth sounds with far-eastern experimental instrumentation.
Centred around the heroin subculture of Edinburgh in the s, the film is occupied with surrealism, black comedy, and most importantly - a killer soundtrack.
Including tracks from Iggy Pop, New Order, Blur and Underworld, this soundtrack is an essential part of any music lovers collection. One-time limired run on orange vinyl, after this it will be on black vinyl.
Set to a soundtrack of synth-based incidental music and hard-driving metal music, composed by Vince DiCola, the movie has a decidedly darker tone than the television series. Newly-commissioned artwork plus plethora of color stills inside.Playlist files: 1. Budapest Symphony Orchestra - Hungarian Rhapsody No. 2 (Magyar rapszódia II.) () 2. Die Hard - Music Video - NEW 4th Verse!