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CLICK HERE TO ORDER THE TITLE Surprise someone special this Father’s Day with an incredible offer! For just $44.99 plus shipping, you will receive a selection of 30 CDs chosen from the catalogs of BSX, Dragon’s Domain, Citadel, and others. Each box features a curated mix of soundtracks, composer releases, and classical titles, including works by several popular composers. This offer will be available until June 17, 2026, at 11:59 PM. What’s included in the Father’s Day Mystery Box? That’s a surprise! However, you can expect a delightful assortment of goodies that any recipient is sure to enjoy. Will you receive any duplicates from previous boxes? While we strive to provide a varied selection, a few titles from last year may appear again. However, you are likely to discover many new titles that you haven’t seen before. You can’t go wrong with this offer at just $44.99 (plus shipping). Don’t miss out! Have a wonderful Father’s Day!

CLICK ON THE IMAGE TO GO TO THE WEBSITE BSX Records and Dragon’s Domain Recordings are offering 30% OFF all in-stock CDs, DVDs, LPs,as well as all digital download titles from BSX and Dragon’s Domain Recordings! SPECIAL NOTE: NEW RELEASES ARE EXCLUDED FROM THIS SALE. Sorry, folks. This offer expires on 05/26/2026 at 11:59 PM (Pacific Time). All other special discount offers are null and void during this sale. Have a happy and safe Memorial Day weekend! THE STAFF OF BUYSOUNDTRAX.COM

This Mother’s Day, Buysoundtrax.com proudly presents three heartfelt television movie soundtracks making their debut as special digital download releases — celebrating the emotional power of family, love, sacrifice, and second chances through music by three exceptional composers. This special offer is only available for a limited time as part of our Mother’s Day promotion: • DROPOUT MOM — Music by Gerald FriedA warm, touching and uplifting score from the Emmy-winning composer whose career spanned classic television and motion pictures. Fried’s music beautifully underscores the humor, drama and emotional journey at the center of this beloved television film. • A MOTHER’S GIFT — Music by Lee HoldridgeOne of Holdridge’s most moving and heartfelt television scores, filled with emotional depth, lyrical melodies and the composer’s unmistakable gift for intimate storytelling through music. • A MATCH MADE IN HEAVEN — Music by Don DavisBefore his iconic large-scale orchestral works, Don Davis crafted this charming and emotional score filled with warmth, romance and heartfelt dramatic themes. As a special Mother’s Day offer, purchase all three digital download titles before May 10, 2026, and receive 25% OFF your order. Celebrate Mother’s Day with three memorable scores from some of the finest composers in film and television music history — only from Buysoundtrax.com..

Get someone an incredible Holiday gift to someone special with this One Box offer - containing 25 CDs) selected from the BSX, Dragon’s Domain, Citadel and other Catalogues. What’s actually in the BIG BOX? Well, that’s a surprise! Rest assured, there will be quite a number of “Goodies” for whoever gets it will enjoy. If you have purchased previous mystery boxes, it is entirely possible that there will be some duplicated material, we try and mix it up so people don't get too many duplicates, but no guarantees. This offer will end on December 19 @ 11:59pm (PST) allowing us to ship them out with enough time to arrive before Christmas. We would urge customers who are considering purchasing this who live outside of the United States to purchase as early as possible so your item will be received before Christmas. Happy Holidays to everyone from the staff of BSX Records and Dragons Domain Recordings.

You are most welcome Ford A. Thaxton

The CAR TEST still holds today: if the final products sound good in the car (which these days tend to have good sound), Ear Buds, and even on your computer speakers, that's a good gauge. Whether or not you like it, these are the three primary ways most people consume their music: a minute fraction actually invest in marvelous home stereo systems to sit down and listen. Remember, music is often heard as a secondary medium while people are doing other things. If you have doubts, look up the studies. I also base this on 37 years of experience in this field. Ford A. Thaxton

it's the original soundtrack, it states that at the top of the cover

CLICK HERE TO GO TO THE PRODUCT PAGE MARTIAN MANIA: THE TRUE STORY OF WAR OF THE WORLDS safari-reader://buysoundtrax.myshopify.com/cdn/shop/files/Martian_Mania_Digital_cover_grande.jpg?v=1753368361 Downloads include choice of MP3, WAV, or FLAC BSXDG0175 Includes Digital Booklet BSX DIGITAL presents music composed by Kevin Kiner (STAR WARS: THE BAD BATCH, PEACEMAKER, STAR WARS: AHSOKA) from the documentary film MARTIAN MANIA: THE TRUE STORY OF THE WAR OF THE WORLDS. Directed by Melissa Jo Peltier, written by Peltier and W.W. Weiner, hosted by director James Cameron. MARTIAN MANIA: THE TRUE STORY OF THE WAR OF THE WORLDS explores the impact of Orson Welles and his Mercury Theater On The Air players when they staged a dramatic radio adaptation of the classic H.G. Wells novel over Halloween, 1938. Alleged to have caused a panic among listeners, just exactly how big the reaction has been contested for decades, with some suspecting that the newspapers simply magnified the level of terror because they saw radio as a thief stealing their much-needed advertising revenue. The documentary also explores the creation of the radio drama during the second season of Mercury Theater On The Air. Interviewed in the documentary are several people who listened to THE WAR OF THE WORLDS during the original live broadcast, including radio and TV personality Steve Allen. Prolific composer Kevin Kiner began his film music career in 1985, scoring a number of television projects, including all 100+ episodes of the syndicated 1988-92 superhero TV series SUPERBOY. His subsequent, mostly television, endeavors range from animated STAR WARS series such as THE CLONE WARS and THE BAD BATCH, Westerns and cop TV shows like WALKER, TEXAS RANGER, CSI: MIAMI and NARCOS: MEXICO, and DC superhero shows such as DOOM PATROL, PEACEMAKER and TITANS. BSX Digital presents the premiere release of MARTIAN MANIA: THE TRUE STORY OF THE WAR OF THE WORLDS, featuring music composed by Kevin Kiner. The music has been mastered by James Nelson at Digital Outland and includes new liner notes by writer David Hirsch.

CLICK HERE TO GO TO PRODUCT PAGE THE GOLDEN AGE OF HORROR VOL. 3 SPECIAL NOTE: Digital Download will be sent out to. customers later this week. CD Includes Digital Download / Digital Booklet Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER. Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone... Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged. Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone... Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character. Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment... The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body... The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage). This third volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 3 is a limited edition release and is expected to begin shipping the week of October 28th,2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. THE GORGON (1964) Music by James Bernard 01. Main Title (3:22) 02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33) 03. The Siren's Call /Turning to Stone (4:31) 04. Surviving Son Contemplates (2:22) 05. The Legend / Terrible Reflection (4:04) 06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35) 07. Take Me Away Now (3:01) 08. Meister Steals the File (2:33) 09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 10. She's Free & Finale (4:27) 11. The Gorgon (1964) Theatrical Trailer (2:42) THE MANSTER (1959) Music by Hirooki Ogawa 12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 13. Disposing Kenji's Body (1:47) 14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo / Injecting Stanford (2:44) 15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31) 16. Saki Before Our Bath / An Evening with Tara (2:46) 17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05) 18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? / Murderous Rampage (2:57) 19. Emiko / Eye On His Shoulder / Second Head (2:06) 20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08) 21. Mansterhunt (2:00) 22. Searching Tara's House (1:16) 23. The Shipyard (2:23) 24. Suzuki Shoots Emiko (1:39) 25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11) 26. The Manster (1959) Theatrical Trailer (1:33) Total Time 74:05

CLICK HERE TO GO TO PRODUCT PAGE THE HILLS HAVE EYES: Original Soundtrack by Don Peake CD Includes Digital Download / Digital Booklet Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama. Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone... Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer. THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025 1. Opening Credits (2:07) 2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58) 3. Bobby Runs After Beauty The Dog / Bobby Runs Back Down The Hill (3:42) 4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28) 5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47) 6. Explosive Diversion / Big Bob’s Burned Corpse (2:10) 7. Stealing The Baby / Lynne Is Shot / RV Fight / Finding The Walkie-Talkie (2:46) 8. Dog Scare / Running Back Up The Hill / Finding The Camp / Mutants Run To RV / Ruby Steals The Baby (2:48) 9. Ruby Runs With Baby / The Rabbit / Brenda Sees Mutant / Dead Mom Decoy (2:11) 10. Gas Trap / The RV Explodes / Chasing The Baby / Rock Fight / The Rattlesnake (2:42) 11. End Credits (1:23) 12. Bobby Runs Back Down The Hill (Alternate) (0:35) 13. Bobby Runs (Alternate) (0:23) 14. Lynne Is Shot / RV Fight (Alternate) (1:22) 15. Chasing The Baby / Rock Fight (Alternate) (1:04) 16. Dog Scare / Running Back Up The Hill (Alternate) (0:55) 17. Wild Synth Wind (0:18) 18. Wild Axe Hits (0:10) 19. Percussion Suite 1 (0:40) 20. Percussion Suite 2 (1:02) Total Time: 36:24

CLICK HERE TO GO TO PRODUCT PAGE WHAT EVER HAPPENED TO AUNT ALICE?: Original Score by Gerald Fried CD Includes Digital Download / Digital Booklet Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen. Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel... The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite. WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025. 01. Come With Me (1:40) (Sherlie Matthews) 02. Prologue: The Respectable Widow (3:51) 03. Prelude To Murder / Opening Titles (3:27) 04. Miss Tinsley Death (3:55) 05. A New Tree / Alice Dimmock Arrives (2:44) 06. Snooping Around / A Stormy Night (4:11) 07. Falling In Love (1:24) 08. The Dog (4:50) 09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16) 10. I Don’t Want To Lose You (1:26) 11. Late Night Call (2:25) 12. Fight To The Death (3:17) 13. Stamp Collection / Pine Trees / End Titles (3:06) 14. Come With Me (Alternate Version) (2:58) (Sherlie Matthews) 15. Cocktail Party I (4:30) 16. Cocktail Party II (4:19) 17. Car Radio (Source) (5:14) 18. Dixieland (Source) (3:42) 19. Mon Pauvre Amour (Source) (3:41) (Lilyan Chauvin) 20. Mon Pauvre Amour - Instrumental (Source) (3:41) 21. Viens À Moi (Come With Me) (2:04) (Lilyan Chauvin) 22. Viens À Moi (Come With Me) (Instrumental Version) (2:05) 23. Quand Revient La Nuit (Source) (2:25) (Lilyan Chauvin) 24. C’est La Vie (Source) (2:10) (Lilyan Chauvin) Total Time: 78:22

CLICK HERE TO GO TO PRODUCT PAGE PSYCHO: Bernard Herrmann's Complete Music For Alfred Hitchcock's Suspense Thriller CD Includes Digital Download / Digital Booklet Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland. Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. PSYCHO is a limited edition release. PSYCHO will begin shipping the week ofOctober 28th, 2025. 01. Prelude (2:08) 02. The City / Marion / Marion and Sam (4:34) 03. Temptation (3:06) 04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43) 05. Hotel Room / The Window / The Parlor (4:01) 06. The Madhouse (2:14) 07. The Peephole (3:10) 08. The Bathroom / The Murder / The Body (2:07) 09. The Office / The Curtain / The Water / The Car / The Swamp (6:39) 10. The Search (A) / The Shadow / Phone Booth (2:23) 11. The Porch / The Stairs / The Knife (4:33) 12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09) 13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24) 14. Finale (5:45) BONUS TRACKS 15. The Hill / The Bedroom / The Toys / The Cellar / Knife (reprise) / Discovery (film edit) (1:49) PSYCHO: A NARRATIVE FOR STRING ORCHESTRA 16. Part 1: Prelude (2:08) 17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23) 18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36) Total Time: 78:37

Click Here for Audio Clips and product page: https://tinyurl.com/23xaxyxk CD Includes Digital Download / Digital Booklet Starts Shipping on October 8th THE DEVIL AND BERNARD HERRMANN includes suites from THE DEVIL AND DANIEL WEBSTER, OBSESSION, and the composer’s own WELLES RAISES KANE, a suite from CITIZEN KANE, and THE MAGNIFICENT AMBERSONS, featuring the composer conducting the London Philharmonic Orchestra and the National Philharmonic Orchestra in recordings from 1967 and 1975. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio, and in 1934, he began a 25-year career as a conductor and composer in radio, working for CBS. In 1938, he scored the notorious, infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER, and many hours of episodic television, including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. These historic recordings were initially released on vinyl in the 1970s and later on compact disc in the 1990s. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited, with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer, including the participation of the composer. THE DEVIL ANDDANIEL WEBSTER 01. Mr. Scratch (5:18) 02. The Ballad of Springfield Mountain (4:38) 03. The Sleigh-Ride (2:02) 04. The Miser's Waltz (5:26) 05. Finale / Swing Your Partners (2:48) WELLES RAISES KANE 06. Overture (2:36) 07. Theme and Variations (5:10) 08. Ragtime / The Saturday Night Band Concert (1:44) 09. Meditation / Antimacassar (2:42) 10. Finale / Pursuit and Happiness (2:37) OBSESSION* 11. Main Title / Valse Lente / Kidnap (6:02) 12. Newsboy / The Tape / The Ferry (4:58) 13. The Tomb / Sandra (8:06) 14. The Church / Court's Confession / Bryn Mawr (9:26) 15. New Orleans / Wedding / Court, The Morning After (4:33) 16. The Plane / Court and La Salle's Struggle / Airport (6:00) Total Time: 74:05

To Hear Audio Samples and to go to the product page: https://tinyurl.com/43bjhjdu Dragon’s Domain Records presents the premiere release of original music composed by Harry Lubin for the second season of THE OUTER LIMITS. Originally broadcast on the American television network ABC from 1963 to 1965, THE OUTER LIMITS was one of many series influenced by THE TWILIGHT ZONE and SCIENCE FICTION THEATRE, though it ultimately proved influential in its own right. 49 Episodes were produced. When the familiar dulcet tones of the ‘Control Voice’ welcomed viewers back to THE OUTER LIMITS for the second season premiere, few, if any, were aware of the behind-the-scenes turmoil that had caused the departure of several key staff members. But something was different. In particular, there was a new signature tune that was lonely, sad, and claustrophobic. Despite its current reputation as a cult classic, the original ABC run of THE OUTER LIMITS was not the ratings blockbuster the network had been hoping for. Creator Leslie Stevens and fellow writer Joseph Stefano continually struggled to bring their personal visions of “extraordinary people in extraordinary circumstances” to life each week, despite being gifted with an ensemble of first-class actors, directors, and stunning noir photography. Network executives constantly interfered, trying to make the show more formulaic and easily marketable. The perpetual battles between Stevens and ABC over what the network classified as “questionable content,” along with frequent budget overruns, eventually led ABC to demand that several conditions be met in order for them to commission a second season. These conditions included a time slot change and cutting the budget. Season 1 combined science fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring ‘scary monster’ motif of Season 1. Each episode in Season 1 was to have a monster or creature as a critical part of the story line in a villain of the week format. Season 1 writer and producer Joseph Stefano believed this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as ‘the bear.’ This device was, however, mostly dropped in Season 2 after Stefano left. Also gone were Leslie Stevens and composer Dominic Frontiere. ABC then installed one of their own executives, Ben Brady, as the new producer. No stranger to television production, Brady had come to the network after a successful run on the first two seasons of PERRY MASON. Brady’s limited resources for the second season required him to rely on the talents of another former co-worker to provide an impactful, but cost-effective musical score. Harry Lubin was an accomplished composer, arranger and conductor who began his career as a piano accompanist for Feodor Chaliapin, Sr. At only 20 years old, Lubin became musical director of the Irving Palace Theater in New York City before spitting his time between Broadway shows and locally-produced radio drama. Eventually, he transitioned into television as musical director for THE LORETTA YOUNG SHOW, a long-running anthology series that allowed him to experiment with early electronic instruments like the theremin. He further expanded his palette of unusual instrumentation while scoring the horror/science-fiction anthology ONE STEP BEYOND, which pre-dated THE OUTER LIMITS. Though there were some new recordings done for the second season of THE OUTER LIMITS, much of the second season’s 17 episodes featured thematic material edited from multiple variations within the vast library Lubin had amassed from his earlier series. To create this compilation, Dragon’s Domain Records has carefully selected and grouped together the most memorable musical themes for the episodes in which they were initially used. So turn out the lights, sit back and allow us to control all that you hear from as we take you back to…THE OUTER LIMITS. Dragon’s Domain Records presents THE OUTER LIMITS: SEASON 2, featuring the premiere release of original music from the second season composed by Harry Lubin. The album includes liner notes written by authors David Hirsch and Sam Scali. The music has been mastered by James Nelson at Digital Outland. THE OUTER LIMITS: SEASON 2 is a limited edition release and is expected to begin shipping the week of September 29th, 2025. 01. Main Title (0:55) 02. Suite From SOLDIER (9:20) 03. Suite From COLD HANDS, WARM HEART (9:55) 04. Suite From BEHOLD, ECK! (3:44) 05. Suite From EXPANDING HUMAN (6:19) 06. Suite From DEMON WITH A GLASS HAND (5:32) 07. Suite From CRY OF SILENCE (3:37) 08. Suite From WOLF 359 (6:30) 09. Suite From THE INHERITORS Pt. 1 (4:15) 10. Suite From THE INHERITORS Pt. 2 (7:27) 11. Suite From KEEPER OF THE PURPLE TWILIGHT (6:26) 12. Suite From COUNTERWEIGHT (4:23) 13. Suite From THE PREMONITION (3:10) 14. End Title (0:54) Total Time: 73:20

To Hear Audio Samples and to go to the product page: https://tinyurl.com/ycyeuu85 Dragon’s Domain Records presents music from the original score to TIME AFTER TIME, composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1979 science fiction thriller directed by Nicholas Meyer (THE DAY AFTER, STAR TREK II: THE WRATH OF KHAN), written by Karl Alexander, Steve Hayes and Meyer, starring Malcolm McDowell, Mary Steenburgen and David Warner. TIME AFTER TIME starts with the premise that H.G. Wells actually constructed the time machine which he wrote about in his classic novel. TIME AFTER TIME is a romantic thriller in which Wells (McDowell), the scientific genius, tracks Jack the Ripper (Warner), the criminal genius, from 19th-century London to 20th-century San Francisco in order to bring the Ripper to justice. When Wells is transported in his time machine to modern San Francisco, he seems to be more of a babe in the woods than a sophisticated Victorian gentleman. What he finds is that some of his predictions have come true, while others, like a utopian society, have not... Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others. Originally released on vinyl by Entr'acte at the time of the film’s release, this presentation of the score is a rerecording produced by the composer and performed by the Royal Philharmonic Orchestra. Southern Cross would release this program later on compact disc in the early days of the format. In 2009, Film Score Monthly released a compact disc with the original film tracks for the first time. Dragon’s Domain Records presents this new release of TIME AFTER TIME, featuring the rerecording produced by the composer, newly remastered by James Nelson at Digital Outland, and retaining the original album liner notes by director Nicholas Meyer and John Lasher. Following the original album program is a selection of bonus tracks of additional music composed by Miklós Rózsa, including music from PROVIDENCE, THE LOST WEEKEND, SPELLBOUND, THAT HAMILTON WOMAN, and THE PRIVATE FILES OF J. EDGAR HOOVER. TIME AFTER TIME is a limited edition release of 500 units. TIME AFTER TIME will begin shipping the week of Sept.29th, 2025 01. W.B. Fanfare* And Prelude (2:09) (* - Max Steiner) 02. Search For The Ripper/ Decision (2:06) 03. Vaporizing Equalizer / The Time Machine (2:12) 04. Time Travel (1:33) 05. Bank Montage (1:08) 06. Utopia (1:34) 07. The Ripper / Pursuit (3:29) 08. The Time Machine Waltz (4:01) (Eric Parkin: piano) 09. Man Before His Time (1:56) 10. Redwoods (2:32) 11. Frightened (1:45) 12. Murder (1:45) 13. The Fifth Victim (1:35) 14. The Last Victim (1:46) 15. Nocturnal Visitor (1:38) 16. Dangerous Drive (3:08) 17. Journey’s End And Finale (3:59) BONUS TRACKS 18. Time After Time: Pocket Watch (0:28) (The Meridian Studio Ensemble) 19. Providence: Valse Crèpusculaire (3:58) (Gregg Nestor, William Kanengiser: Guitar) 20. The Lost Weekend: Love Theme (5:10) (The National Philharmonic Orchestra) 21. Spellbound: Theme From “Spellbound” (4:46) (Sinfonia of London) 22. That Hamilton Woman: Love Theme (4:46) (The London Symphony Orchestra) 23. The Private Files of J. Edgar Hoover: Main Title / Dr. King / End Titles (9:33) (Conducted by Miklós Rózsa) Total Time: 67:50