136 replies to this topic

[Mark Olivarez]

New Kritzerland.


John Barry's Until September.


http://www.kritzerla...m/untilsept.htm


CAMELOT - Original London Cast Album

http://www.kritzerla...m/camelotUK.htm

[Joe Brausam]

I ordered Until September to replace the Intrada copy that I sold last summer.

I'm strongly considering Camelot as well, though I may order that from SAE later on.

[ManofDestiny]

Ordered Until September, since I missed the Intrada's release.

[Mark Olivarez]

So did I.

[Mark Olivarez]

Tomorrow morning's release (Monday morning in the US) will be David Grusin's Mulholland Falls.

[Mark Olivarez]

http://www.kritzerla...om/mulfalls.htm

[Mark Olivarez]

Bruce pulled a surprise and released Kritzerland's newest CD today.

THE BERLIN AFFAIR
Music Composed by Pino Donaggio



http://www.kritzerland.com/berlin.htm

[Joe Brausam]

Really gorgeous samples, this will be a nice one to hear.

[Mark Olivarez]

Looks like Monday's (June 6th) release could be the US scored version, by Les Baxter, of Marco Polo (1962). The film was an Italian production originally scored by Angelo Francesco Lavagnino.

[Mark Olivarez]

And here it is.

http://www.kritzerla...m/marcopolo.htm

[Mark Olivarez]

Tomorrow's release, June 20th:


KINGS GO FORTH (1958) / THE PRIDE AND THE PASSION (1957)
Elmer Bernstein, George Antheil

[Jason LeBlanc]

Wow, has Bruce Kimmel always been a dickhead? Cause he sure is being one in this thread:

http://www.filmscore...?threadID=80396

[indy4]

Yeah, he's being really unreasonable. I'm not a rah-rah-Americuh!-capitalism guy, but Mr. Kimmel needs to suck it up and deal with it, MV did nothing wrong. I'd guess he just lost his temper at the sales decrease, and MV will probably be getting a public apology tomorrow.

[Koray Savas]

His first post came off a little harsh but I don't think he's a dick. I actually agree with him a little.

[indy4]

I agree with him that his sales probably decreased as a result of MV's aunnoncements, but I don't think MV was obligated to delay the aunnoncement for that reason. There's not really any happy solution to the issue...Either Kimmel gets less money (the current situation) or consumers get less money (because they buy Drago before knowing of LLL's goodies).

[Jason LeBlanc]

Later in the thread he says that there are 150 copies of Drango left - so he's complaining that he "only" sold 850 copies out of 1000 in 24 hours. Give me a break! The title will clearly sell out soon enough.

[Koray Savas]

He was probably just upset that the sales dipped. You know the feeling. Things going well, well, this thing happens - NO!

[Joe Brausam]

I have to admit, that while Bruce's attitude sucks at times, I kind of agree with him too. LaLa Land DID say they weren't going to be announcing anything this week, and Bruce knew Varese was a week away. While LLL isn't obligated to keep to the schedule they set well in advance, it would have been nice if they did. Whether they announced Golden Child this week or the week of Comic Con won't affect LLL sales at all, however it is sure to negatively effect any other release at the time of the announcement as people decide to save their money rather than spend. Bruce is practically a one man operation that NEEDS his releases to sell out, and they used to, very well. But the market definitely has changed.

[Mark Olivarez]

I agree with Bruce that right now the market is getting saturated with releases. However it seems none of the labels are interested in his arguments or share his concerns so it may be best for him to let them go and just continue to do what he does.

I've been passing on a lot of stuff I would have bought a few years ago, there's just too much coming out.

[Joe Brausam]

It's been very hard to pick up back titles lately too, unless there are sales. I've been wanting to get Quartet's release of Killing Me Softly, but haven't been able to yet. There are several Kritzerlands I've wanted but haven't been able to get, I always make priority for the Bernstein releases though. And I haven't even bought a new release FSM title since Lassie, not for lack of interest, but because there has beennso much other stuff coming out. Bruce has been saying for a long time the market is becoming saturated, and I'm inclined to agree, especially now. Things need to slow down a bit.

[Mark Olivarez]

Yeah I wanted the last two Bernstein albums Bruce released, I haven't even picked up Clue, It's Mad Mad Mad Mad World or Breakdown from LaLaLand and I may end up skipping The Golden Child. Last month was the first time I haven't bought anything from a Varese CD club.

I wanted Shoot To Kill but skipped that. I'm afraid it's getting to a point where it's going to be Williams, Goldsmith and Giacchino purchases only. Just too much.

[Jason LeBlanc]

The market being saturated is one thing, and a completely separate point.

What Bruce did was pop into MV's thread where he announced The Golden Child, and complain that sales of his release of Drango were hurt because of said announcement. His argument is that because a few weeks ago MV posted on the board that after their June 21st batch they wouldn't have any new releases until Comic Con, that they should have stood to that posting, and not released The Golden Child before Comic Con when the CDs showed up earlier than expected. He thinks because MV prior posted that they would have no releases, MV should just sit on that extra inventory for a month! When in reality, MV felt bad that all the Comic Con titles except 2 got pushed back, and he wanted to do something nice and release this title early for us.

The thing is, at the same time he is complaining about all this, he is also saying that he releases titles every 2 weeks "like clockwork" regardless of what else the other labels are doing. So he wouldn't have moved his release anyway, even if he had known! And he also said in the thread he's sold 850 out of 1000 copies and has 150 copies left. He sold 850 copies in 24 hours! Does he really think the last 150 will never sell now that MV announced that 7 days from now, a 5,000 unit John Barry title for a movie most people have never seen will come out? Ridiculous.

He also mentions that next week is a known "four-header" with 2 Varese and 2 Intrada titles coming out. What he doesn't seem to release is that The Golden Child is ALSO coming out next week - it was just ANNOUNCED today, you still can't order it! Bruce wins this week - Drango is the only title you can ORDER this week. Next week there will be 5 new titles you can order. Something tells me those last 150 copies of Drango will be spoken for by then, and Bruce will have regretted saying anything.

[Maurizio]

I'm afraid it's getting to a point where it's going to be Williams, Goldsmith and Giacchino purchases only. Just too much.

For me it's the same: now it's only Williams, plus sometimes Goldsmith and the casual oddity here and there. My money is low and other priorites (i.e. bills!) come first, sadly.

[Koray Savas]

Did anyone ever buy that $60 TV score set from FSM?

[Mark Olivarez]

I wanted to, as well as the Ron Jones set but I just don't have the time to listen, I still haven't given the Rozsa set a good listen yet.

[indy4]

That's on my very long term "to buy" list.

[Trent Bennett]

I agree with Bruce that right now the market is getting saturated with releases. However it seems none of the labels are interested in his arguments or share his concerns so it may be best for him to let them go and just continue to do what he does.

I've been passing on a lot of stuff I would have bought a few years ago, there's just too much coming out.

I do agree that the market is getting over saturated with releases.

I think though that's why I've been pretty picky about score releases lately. There were actually a couple of releases lately I had planned to get but had to cancel them due to finical reasons.

The market being saturated is one thing, and a completely separate point.

What Bruce did was pop into MV's thread where he announced The Golden Child, and complain that sales of his release of Drango were hurt because of said announcement. His argument is that because a few weeks ago MV posted on the board that after their June 21st batch they wouldn't have any new releases until Comic Con, that they should have stood to that posting, and not released The Golden Child before Comic Con when the CDs showed up earlier than expected. He thinks because MV prior posted that they would have no releases, MV should just sit on that extra inventory for a month! When in reality, MV felt bad that all the Comic Con titles except 2 got pushed back, and he wanted to do something nice and release this title early for us.

The thing is, at the same time he is complaining about all this, he is also saying that he releases titles every 2 weeks "like clockwork" regardless of what else the other labels are doing. So he wouldn't have moved his release anyway, even if he had known! And he also said in the thread he's sold 850 out of 1000 copies and has 150 copies left. He sold 850 copies in 24 hours! Does he really think the last 150 will never sell now that MV announced that 7 days from now, a 5,000 unit John Barry title for a movie most people have never seen will come out? Ridiculous.

He also mentions that next week is a known "four-header" with 2 Varese and 2 Intrada titles coming out. What he doesn't seem to release is that The Golden Child is ALSO coming out next week - it was just ANNOUNCED today, you still can't order it! Bruce wins this week - Drango is the only title you can ORDER this week. Next week there will be 5 new titles you can order. Something tells me those last 150 copies of Drango will be spoken for by then, and Bruce will have regretted saying anything.

I do agree with some of Bruce's points but over all he's being a complete ass about the whole situation. Jason your post practically summed things up very well. I'm sure MV had no idea that all but 2 of the Comic Con titles would be pushed back at a later date. Hell that kind of shit happens in this business. All though I thinkj MV is the only one of the labels that comes out to say that things have been pushed back for one reason or another. Quite frankly I'm glad that that MV comes out to say that stuff. While it's unfortunate things get pushed back but it's understandable.

As you said too Jason MV probably felt bad about the whole Comic Con situation so thus decided to release just ONE title next week. Seriously is 1 LLL title, or 4 Varèse titles, 2 Intrada titles, and however many FSM titles will effect Kritzerland's sales? Most likely NOT they haven't before so why start now?

Those who buy regularly from Krizterland knows that his titles will be sold out in a timely manor. Hell some of the bigger titles from LLL have yet to sell out... IE: ID-4 and Batman.

Again as I said some of Bruce's points I agree with but over all he's acting like a whiny child.

[Mark Olivarez]

Of course the positive side is that these aren't selling out as quick and I ain't getting any younger so some of these releases need to come out quickly.

[Mark Olivarez]

New Kritzerland:

Divorce, American Style - Dave Grusin | The Art of Love - Cy Coleman


http://www.kritzerla.../divorceArt.htm

[Jason LeBlanc]

As Drango was shipping, we decided to do some inventory and were a little surprised at how low we are on certain titles, so this is our official low quantity alert page, since we can't do it on the site itself:

Mulholland Falls - less than 80
Marco Polo - less than 100
The Pride and The Passion/Kings Go Forth - less than 175
The Berlin Affair - less and 90
Ordeal By Innocence - less than 150
Pirates - less than 80

After the special we're running with Divorce, American Style, Married To It will be sold out.

I don't really find the need to do low quantity alerts on anything we have over 200 of, so I leave that to others

[Wojo]

I thought Pirates was sold out weeks ago?

[fommes]

I fully agree with Jason on this one.

[Jason LeBlanc]

Today's Kritzerland release is:

Adventures Of Casanova - Hugo Friedhofer(1000)

[Jason LeBlanc]

Today's Krizterland release:

Kritzerland is proud to present a limited edition soundtrack release, first time on CD:

DIVORCE, ITALIAN STYLE
Music Composed by Carlo Rustichelli

What’s a poor Baron to do? He’s in love with his sixteen-year-old cousin. He’s married to a clingy and not so attractive woman with a little moustache. The laws in Italy in the early 1960s do not allow divorce. But they don’t look too harshly on murder, if the murder is for family honor – for example, catching your wife with another lover. That is the germ of Pietro Germi’s brilliant dark comedy, Divorce, Italian Style (Divorzio, all’Italiana). Mastroianni, with his slicked-back hair, his moustache, his cigarette holder, and his perpetually drooping eyelids gives one of the greatest comedy performances in all of cinema. Rocca is a wonderful foil, and Sandrelli is luminous and angelic. Add to that a cast of great Italian character actors, a brilliant screenplay (which won the Academy Award) and you have the recipe for Comedy, Italian Style, one that is as funny and sharp today as it was then.

The film was a sensation and audiences all over the world were entranced. It was hugely influential and ushered in a whole era of Comedy, Italian Style, which included Germi’s own Seduced and Abandoned, Marriage, Italian Style, Yesterday, Today, and Tomorrow and others. In addition to winning the Academy Award for Best Screenplay (Ennio de Concini, Alfred Gianetti, and Germi), Mastroianni received a Best Actor nomination and Germi a Best Director nomination, which, considering the competition in 1962, one of the greatest years in film history, was really something.

Aiding and abetting the mischievous fun was the wonderful score by Carlo Rustichelli. Rustichelli, born in 1916, had begun working in film in 1939 and by 1962 had become a hugely popular composer for Italian films. His first film for Pietro Germi was Lost Youth in 1948 and thus began one of the longest and most fruitful director/composer collaborations ever, with Rustichelli composing scores for all but the first of Germi’s films – eighteen in total. He also worked with other directors such as Billy Wilder, Mario Bava, Gillo Pontecorvo, Luigi Comencini, and provided scores for countless sword and sandal films, spaghetti westerns, crime films, and just about every genre imaginable. He was a superb melodist, and Divorce, Italian Style is rife with great themes, which all serve the film perfectly. In fact, the film would be unthinkable without Rustichelli’s wonderful and tuneful score.

Divorce, Italian Style was released on a United Artists LP. As was the case with several UA soundtrack albums, there were both mono and stereo releases, but both were actually mono. For this premiere CD release the original mono album masters were used. Additionally, we’re pleased to present a suite of additional and alternate cues that were not included on the LP.

Divorce, Italian Style is a one-of-a-kind classic and so is its score by Carlo Rustichelli.

.

This release is limited to 1000 copies only. The price is $19.98, plus shipping. Go to the item page and click on the link to find out about it.

CD will ship the last week of September – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.

http://www.filmscoremonthly.com/board/posts.cfm?threadID=81637

http://www.kritzerland.com/divorceItal.htm

[Jason LeBlanc]

Krizterland's August 29th release:

Kritzerland is proud to present a limited edition soundtrack release, first time on CD:

ANOTHER MAN, ANOTHER CHANCE
Music Composed by Francis Lai

Fate. Chance. Destiny. These three themes recur constantly in the work of Claude Lelouch, one of the most distinctive and interesting filmmakers in French cinema. In 1966, Lelouch burst on the scene with Un Homme et Une Femme (A Man and a Woman), which became an international sensation and a hugely influential film, style-wise, music-wise, and every otherwise-wise, Lelouch never quite achieved success like that again – but he continued and continues to make interesting, intriguing, occasionally brilliant, moving, funny, thought-provoking and wildly enjoyable films.

Another Man, Another Chance is a wonderful film, much maligned at the time of its release (Star Wars had just come out and that’s all anyone wanted to see and/or talk about, although it was a very strong year for films and there were many other hits – they certainly didn’t want to see a slow-moving, adult art film set in the old West), and the film disappeared quickly after tepid reviews and no business. But time has been kind to Another Man, Another Chance and seeing it today simply makes one appreciate what a fine film it is. The photography, the acting, the style, the leisurely pace, the way you find out certain key information as almost an afterthought – it’s unique filmmaking and storytelling and no one does this sort of thing better than Lelouch, not that many people have tried. And his partner in crime for so many of his films has been composer Francis Lai – it’s one of the longest composer/director relationships in cinema and Lai’s music has helped give Lelouch’s films their unique quality.

Like Lelouch, Lai burst on the scene with A Man and a Woman – the soundtrack album was a major seller, and Lai’s memorable theme was recorded over and over again, with lyrics, without lyrics, and several other themes from the film were also oft recorded. Then Lai struck gold doing the score to Love Story in 1970. Once again, he created a theme that could be hummed by everyone and was, with many cover versions and a best-selling soundtrack album – and it garnered him his first and only Oscar nomination and his first and only Oscar win for Best Score. In addition to the Lelouch films, all of which contain wonderful and melodic scores, Lai also wrote masterful scores for such films as Mayerling, The Bobo (another delectably memorable theme), Hannibal Brooks, Rider On The Rain, The Games, Hello-Goodbye, Bilitis, International Velvet, Oliver’s Story, My New Partner, Marie, just to name a few.

Lai’s score for Another Man, Another Chance is absolutely gorgeous, with only a handful of themes, but as always with Lai, they are memorably melodic and give the film a dreamlike quality. There are a few short snippets of Beethoven’s Fifth and a lot of Lai, used in all sorts of interesting and different ways in the film. No one else’s film music sounds quite like Francis Lai’s – and this score is one of his finest.

Another Man, Another Chance was released on LP, but only as a hard-to-find import. For this first ever CD release, we’ve gone back to the original French two-track stereo tapes housed in the MGM vaults. The cues were in slightly different order due to time constraints for LPs, but we’ve left them in their original order. The track titles on the LP were weird, with most of the titles listing as “Un Autre Homme, Une Autre Chance” over and over again. We’ve opted to use the titles listed exactly as they were on the tape boxes. Another interesting thing about this score is that Gabriel Yared did most of the musical arrangements.

We’re very happy to bring this wonderful Francis Lai score to CD for the first time. His name may not be first on a film score fan’s lips, but Lai has created some great scores and it’s great to know that he’s alive and well and regularly composing music for films.

This release is limited to 1000 copies only. The price is $19.98, plus shipping. Go to the item page and click on the link to find out about it.

CD will ship the second week of October – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.

http://www.kritzerland.com/anotherman.htm

Kritzerland's September 12th release:

Kritzerland is proud to present a limited edition soundtrack release, first time on CD:

MEN IN WAR
Music Composed and Conducted by Elmer Bernstein

“Tell me the story of the foot soldier and I will tell you the story of all wars.”

Men In War is a terrific movie directed by Anthony Mann (El Cid, The Fall Of The Roman Empire, Winchester ’73, The Naked Spur), and starring Robert Ryan and Aldo Ray. It takes place in one day, September 6, 1950 during the Korean war, as we follow a platoon of bone-weary foot soldiers who’ve been cut off from their division. Without radio contact, and with nerves frayed, their leader, Lieutenant Benson tries to get them to a hill where he believes their division is. The film is beautifully written (credited to Philip Yordan and based on the novel Day Without End by Van Van Praag), and beautifully shot in black-and-white by Ernest Haller (all filmed in Hollywood’s Bronson Canyon). Robert Ryan turns in his usual great performance as Benson, and Aldo Ray as “Montana” is also excellent. But every performance in the film is wonderful – Robert Keith is a lesson in great film acting as the Colonel – he speaks exactly one word in the film and that’s in the last five minutes, but there’s an entire screenplay going on in his eyes. The rest of the supporting cast makes the most of their screen time – Nehemiah Persoff, Phillip Pine, Vic Morrow, James Edwards, L.Q. Jones, and Scott Marlowe all get their moments to shine.

Tying all of its elements together is the fantastic score of Elmer Bernstein. Bernstein did three films for Mann – Men In War, The Tin Star, and God’s Little Acre (all three of which have been released on Kritzerland – in fact, with this release Kritzerland has issued the entirety of Bernstein’s 1957 output with the exception of Sweet Smell Of Success – his four other films that year were Fear Strikes Out, Men In War, The Tin Star, and Drango – all currently available as limited edition CDs), and all three scores are great and all three are completely different. Men In War begins with drums and jagged orchestral stabs, and then it is by turns pensive, intense, propulsive, brooding, and suspenseful as it captures the moods of the soldiers as they trudge on through dangerous terrain, with their tensions at the breaking point.

Men In War was originally released on Imperial Records in mono. There was a release in “stereo” but it was a weird fake “stereo” with some sort of spread and trying to shift things into different channels arbitrarily and not very well. Obviously, we are issuing the recording in mono, as it was recorded. The tapes, housed in the Capitol/EMI vaults, were in great condition and the mono sound is full-bodied and crisp, clean, and clear.

This is Kritzerland’s seventh Elmer Bernstein release, and we would be happy to just keep releasing all of his never before on CD scores. Elmer Bernstein was one-of-a-kind and his music is part of the landscape of cinema.

This release is limited to 1000 copies only. The price is $19.98, plus shipping. Go to the item page and click on the link to find out about it.

CD will ship the second week of October – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.

http://www.kritzerland.com/menWar.htm

[FrankV]

Kritzerland is proud to present a limited edition soundtrack release – world premiere of the complete score:

THELMA & LOUISE
Music Composed by Hans Zimmer

Sometimes the right people come together at the right time to make the right movie for the right audience. Certainly it happened in 1991 with Thelma & Louise, a film where each of its creative elements came together and resulted in a film that truly struck a chord with audiences and critics. A road movie, a buddy movie, a comedy, a tragedy, Thelma & Louise became an instant classic. Susan Sarandon and Geena Davis are perfection as Thelma and Louise, both delivering multi-layered and iconic performances. Harvey Keitel is their equal as Detective Hal Slocumb, and Michael Madsen, Christopher McDonald, and Brad Pitt are all excellent in supporting roles.

Every creative component of the film is masterful – from direction, writing, acting, editing, photography, art direction, costuming – it’s all of a piece and that includes the great score by Hans Zimmer. Zimmer, born in 1957, had begun scoring films on his own in the 1980s, with projects such as A World Apart, Paperhouse, and others. But it was in 1988 that he got his big break, scoring the Barry Levinson film Rain Man. Rain Man was a smash, and Zimmer received his first Oscar nomination. Then came Twister, Black Rain, and Driving Miss Daisy, and since then he has been one of the most successful film composers in history, composing scores for such hits as Days Of Thunder, A League Of Their Own, The Lion King, As Good As It Gets, Crimson Tide, The Rock, The Prince Of Egypt, Gladiator, Hannibal, Pearl Harbor, Black Hawk Down, Batman Begins, The Da Vinci Code, Pirates of the Caribbean 2 and 3, Kung Fu Panda, Sherlock Holmes, Inception, and many, many others. He has been nominated for eight Academy Awards and taken home the prize once – for The Lion King.

Zimmer’s score for Thelma & Louise captures Scott’s visuals and the tone of the film perfectly. While there are a fair number of pop songs used in the movie, it’s Zimmer’s twangy, mournful, exciting, hard-driving, bluesy music that really propels the film and helps give it its distinctive feel – and it features the absolutely mind-bending guitar work of the great Pete Haycock.

Thelma & Louise had a soundtrack release on MCA that was all songs save for one four-minute track, “Thunderbird.” That track was assembled specifically for that album and was not used in the film in that form ever. It basically pieced together parts of three different cues to make the one four-minute track. For this first ever release of the film score, we present all the music as Zimmer recorded it for its use in the film. As sometimes happens, a few of the cues were shortened for the movie, but we left them in their entirety for the CD. As a bonus, we also include the “Main Title” cue exactly as it is edited in the movie (it’s comprised of two score cues). It’s a real pleasure to finally bring Zimmer’s wonderful score to CD – it’s been way too long in coming.

This release is limited to 1200 copies only. The price is $19.98, plus shipping. Go to the item page and click on the link to find out about it.

CD will ship the last week of October – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.

[Thor]

Kritzerland just announced:

2011-09-21 Hans Zimmer - Thelma And Louise (1200)

And it's already ordered! A rarity for me these days...

[fommes]

Not buying this. This complete score release is way too long. I much preferred the shorter running time and the sequencing on the original soundtrack; I don't think I could bear more of this, the original listening experience was perfect.

[BloodBoal]

Kritzerland just announced:

2011-09-21 Hans Zimmer - Thelma And Louise (1200)

And it's already ordered!

Not buying this. This complete score release is way too long. I much preferred the shorter running time and the sequencing on the original soundtrack; I don't think I could bear more of this, the original listening experience was perfect.

Corrected.

[Jason LeBlanc]

Gold star for you!