Steffromuk

Thanks @Holko for pointing me to this thread!

Here are a bunch of my Classic SW covers
 
1st, The 1997 Special edition set.



 
2nd, the 1993 Anthology boxset.

 
3rd, Shadows of the Empire



 
5th, Complete classic trilogy soundtrack (one day we'll get it, I'm sure of it.)



 
and 6th, "The Story of" series

The Molly Maguires

THE TEMPEST
 

The Molly Maguires

The Molly Maguires

The Molly Maguires

The Molly Maguires

I never heard of it before today.
I love the samples! and I'm watching it tonight actually.

Quartet Records, in collaboration with Paramount Pictures, presents a remastered, remixed and expanded edition of one of Henry Mancini’s most evocative and powerful dramatic scores: THE MOLLY MAGUIRES.
 
Directed by Martin Ritt in 1970, starring Sean Connery, Richard Harris, Samantha Eggar and Frank Finlay. Written by Walter Bernstein, the movie is set in Pennsylvania coal country in 1876 and is loosely based on the true story of a small band of Irish miners/terrorists called the Molly Maguires.
 
Henry Mancini was hired to compose the film score after the previous one by Charles Strouse (BONNIE AND CLYDE), famous composer of stage musicals and some film scores, was rejected. Mancini wrote a sensitive, dramatic, delicate score with an Irish flavor that was always close to his heart; he considered it one of his favorites.
 
Originally released on vinyl at the time of its premiere, the album has been reissued on CD several times, most recently in 2012 by Kritzerland in a limited edition that included Mancini’s score and the premiere of the rejected Strouse.
 
For this centenary celebration of Henry Mancini, Chris Malone remixed the score, eliminating the unpleasant hiss in previous editions using new technology. We were also fortunate that new elements appeared in the Paramount vaults, and the score has been released in a more complete form, with more than 20 minutes of previously unreleased cues, and revised and alternate versions. Finally, Mr. Strouse’s unused score has been newly remixed and included in this set.
 
The 24-page package includes in-depth new liner notes by film music writer Jeff Bond.
 
1. Theme From The Molly Maguires (Pennsylvania, 1876) 4:24
2. The Mollys Strike 2:51
3. Main Title 1:52
4. Room And Board 1:58
5. Sandwiches And Tea 2:15
6. Work Montage 2:18
7. Pennywhistle Jig / On Your Knees 1:52
8. A Hard Day’s Work 1:11
9. Jamie And Mary  2:48
10. Trip To Town 1:49
11. Strike Two / Strike Three 2:33
12. The Hills Of Yesterday  1:43
13. There’s More 1:06
14. The Mollys Strike Again 1:24
15. A Suit For Grandpa 2:16
16. Kehoe Lights Up / The Last Strike 0:57
17. The End 0:48
 
Bonus Tracks
18. Fiddle And Fife (Film Version – Fiddle Only) 2:00
19. A Brew With The Boys (Film Version – Fiddle Only) 1:43
20. Pennywhistle Jig (Album Version) 1:55
21. Jamie And Mary #1 (Film Version) 0:55
22. Jamie And Mary #2 (Film Version) 1:53
23. The Hills Of Yesterday (Film Version) 1:41
24. Bye Bye Jamie 0:35
25. The Hills Of Yesterday (Alternate 1) 1:48
26. Room And Board (Alternate) 3:08
27. The Hills Of Yesterday (Alternate 2) 1:49
28. Fiddler #4 (Fiddle Only) 2:25
29. Fiddle And Fife (Album Version) 2:01
30. A Brew With The Boys (Album Version) 1:45
31. Pennywhistle Jig (Alternate) 0:37
 
The Charles Strousse Unused Score
32. Sabotage 1:41
33. Fuse 1:06
34. Work In The Mine 1:24
35. Bleak Street / To Find A Room / To Work 2:18
36. The Long Walk 1:23
37. Widow Shopping 0:52
38. Truant Picnic-ers 1:44
39. The Last Rites 1:04
40. The Company Store (Parts I And II) 2:10
41. Arson 1:12
42. End Titles 0:48
Total Disc Time: 77:19
 
https://quartetrecords.com/product/the-molly-maguires/

Today’s Kickstarter update from Leigh includes session video of one very cool and eerie cue!
https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4266202

“Day #1 of recording is done and dusted, with all music from The People Next Door and Crawlspace captured with time to spare (in fact, we may have had time to record a promo cue for the next project...).

The orchestra really enjoyed performing both scores and, from a producer's perspective, two things became very clear; with excellent sonics TPND's score is unexpectedly more weird and avant garde when divorced from its visuals, and Crawlspace is far more colourful and expansive than the original audio and/or any Sibelius demos could possibly hint toward. Recording these scores, today, has been quite a revelation.

Here's a small sample from the Crawlspace session (this is raw studio audio - basically what we hear coming through the mixing desk):
 
Yavar

My good friend Maria Andreotti, a stopmotion and puppet artist is making a documentary about a legend of animation who's name is known only by a few when his work is by almost everyone.
Kent Melton was the guy who sculpted all those Disney characters that were used as reference by the animators before CG took over.


Maria needs a little financial help in order to finish it, so she just launched a Kickstarter campaign.

If you're a fan of animation and love to learn about the artists who made you dream, here is a chance to chip in 

Maria was interviewed about the documentary on the Cartoon Brew Podcast a couple days ago.
 
 

THE TEMPEST
 

THE TEMPEST
 

THE TEMPEST
 

I endorse everything a fellow JWFaner does for film music. 

I miss it too. FSM really set the standard in that regard, and prompted everyone else to often raise to their level... but at some point after the label ended in 2013, track-by-track analysis seemed to fall out of favor.
 
For what it's worth, I made a point of doing in depth track-by-track notes for Jerry Goldsmith at The General Electric Theater... over 15,000 words total on the original downloadable PDFs from Leigh Phillips. Intrada usually has a word limit on their booklets of around 5,000 words, but they very kindly bent the rules for me. I spent days revising my notes down as much as possible and still couldn't get them under 7,000 words, so they went with that and to their credit allowed full cue coverage even though it resulted in an abnormally thick physical booklet which I must admit is a bit of a struggle to get in and out of the jewel case.
 
 
 
 
Lately they've started hiring this forum's @Steffromuk, and I've frankly liked his artwork for Intrada (Conan the Destroyer redux cover, The Man Who Knew Too Much/On Dangerous Ground, Jerry Goldsmith at The General Electric Theater, Night Passage) even more than Titus's.
 
Yavar

The Bride of Frankenstein
 

Beautiful colors on that Bride of Frankenstein 

The Bride of Frankenstein
 

In addition to the dull and black, text-only covers for the STAR WARS sequel scores, there also were limited editions specially designed for the Japanese market. I have taken these designs, revised them carefully, and also created similar designs for the remaining six SW scores.
 

 

 

 

 

 

 

 

 

 
If you want to know more, in longer form, using even more boring words, please visit my website.

Joe Sikoryak says
 
Looks like Intrada is reissuing Jerry Goldsmith's score to ISLANDS IN THE STREAM. This would be the original film tracks and not their re-recording based on the video.
 
That is correct. Coming to the label for the first time. Back in print because it deserves to be! Available Tuesday, November 19, with the master that Doug Fake personally tweaked.
 
https://filmscoremonthly.com/board/posts.cfm?threadID=158389&forumID=1&archive=0
 
Since the video does not say its a 2-CD set, it appears that the 1986 re-recording conducted by Goldsmith (reissued by the label in 2005) is not included with it.
 
EDIT: Joe confirmed as such in the thread
 
Since Intrada owns the re-recording and Paramount owns the film tracks, they will stay as two separate releases.
 
The film recordings were first released by FSM in 2010.  It's OOP, but SAE still has copies listed.

Kevin Shirka just put this out. We’ll see how long this lasts!
 

Super cool @Tallguy!!
You know I also made a cover for the 1993 trilogy set!

 
 
@heidl It's weird, I don't see what you're talking about. I updated my post multiple times already, so maybe that's why I don't see it.