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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.

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/2wzrxv2j Dragon’s Domain Records presents THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES, a compilation of music composed by John Charles from several projects in his filmography, including THE QUIET EARTH, UTU, and IRIS. Celebrating its 40th anniversary this year, THE QUIET EARTH has become a cult classic among sci-fi film buffs and is frequently shown at art cinemas around the world. Released in 1985, the film was directed by Geoff Murphy, written by Craig Harrison, Bill Baer and Bruno Lawrence, starring Lawrence, Alison Rutledge, Pete Smith, Anzac Wallace, Norman Fletcher and Tom Hyde. THE QUIET EARTH follows scientist Zac Hobson (Lawrence), who is awoken early one morning in his oceanside motel room to witness Operation: Flashlight, an effect whereby, through a giant energy blast, there are suddenly no people anywhere. Zac attempts to contact other survivors without success. He decides to enjoy “the good life,” moving into an elegant mansion, treating himself in style to goods in local supermarkets and shopping centers. Eventually, he locates two other people in his new world — Joanne (Routledge) and Api (Smith). The usual tension, which develops in the two-men-one-woman scenario, gives way to the realization that the urgency of their very survival is paramount. The film’s empty streets, quiet countrysides and deserted buildings create otherworldly landscapes, augmented by John Charles’ elegant score, employing a large symphony orchestra and judicious use of electronics. Airing on television in 1984, IRIS was directed by Tony Issac, written by Keith Aberdein, starring Helen Morse, Philip Holder, John Bach, Donogh Rees, David Ashton, Elizabeth McRae, Roy Billing, and Peter Hambleton. IRIS relays the life of New Zealand writer Iris Wilkinson, an international novelist, poet, and journalist who wrote under the name of Robin Hyde. Helen Morse plays IRIS, fondly remembered for her work in A TOWN LIKE ALICE. John Charles composed one of his finest works for IRIS, a chamber score, very much in the style of the 20th-century impressionists such as Debussy, Ibert, and Ravel. Released in 1983, UTU was directed by Geoff Murphy, written by Murphy and Keith Aberdeen, starring Anzac Wallace, Bruno Lawrence, Tim Elliot, Kelly Johnson, Tania Bristowe, Ilone Rodgers, Martyn Sanderson, John Bach, Sean Duffie and John Malcolm. UTU is a visually stunning, well-paced and powerfully acted adventure film, dealing with passion and revenge between the European settlers and native Māoris in late nineteenth century New Zealand. UTU was well received by the major critics at the time of its initial release. Charles’ rich and evocative original score, drawn from folk music and traditional Māori material, evokes the period of the drama with orchestration reminiscent of classical music of the nineteenth century. John Charles was born in Wellington, New Zealand, in 1940. During his first year at University of Victoria Wellington, where he enrolled for a BA in 1958, he joined the UVW Jazz Club and began playing jazz regularly as their pianist. In 1963, after two years at New Zealand Broadcasting Service, he returned to UVW to complete his study for a Bachelor of Music degree. In 1967 he was appointed producer for NZBC television. There he produced and directed various live current affairs, documentary music, ballad and jazz programs, and broadcasts of the New Zealand Symphony Orchestra (1970-1973). He moved to Australia in 1974 and for the next four years worked in the Music Department at ABC-TV, directing broadcasts of the Sydney Symphony Orchestra and the series MUSIC OF AUSTRALIA and WILFRED LEHMAN CONDUCTS. His cinema music credits include GOODBYE PORK PIE, CONSTANCE, A SOLDIER’S TALE , ZOMBIE BRIGADE and TAKING LIBERTIES, the television movies MAN OF LETTERS, THE PERFECTIONIST and the mini-series HEART OF THE HIGH COUNTRY. Previously released on compact disc by Label X in 1993, Dragon’s Domain Records brings together the scores for THE QUIET EARTH and UTU, along with IRIS, newly remastered by James Nelson at Digital Outland, carrying over the original liner notes from producer John Stephen Lasher.  THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES is a limited edition release. THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES will begin shipping on Sept 29, 2025 THE QUIET EARTH 01. Sunrise (3:24) 02. Empty Town (1:27) 03. Moving Up In The World (2:13) 04. Zac Takes Over (0:51) 05. Going Down (1:24) 06. Born Again / There Are Others (2:33) 07. The Effect Continues (1:33) 08. Trio (1:44) 09. Taking Off (1:07) 10. Road Block (1:14) 11. Alarm (1:04) 12. Last Love Scene (1:14) 13. Finale / Saturn Rising (4:14)   IRIS 14. Opening Music (2:28) 15. You’ve Been With Spring (1:41) 16. Backstage (0:50) 17. Thunder In The Night / Sandhills (2:06) 18. A Ride With Simone (1:36) 19. We Are Two Ghosts / A Real Accident (2:02) 20. All Night Long (1:21) 21. Sleep, Sweet Sleep (1:55) 22. The Wanderer (2:15) 23. God’s Matchless Vault / But The Last Black Horse of All (2:12) 24. Take Me Home (2:06)   UTU 25. Theme From Utu (2:09) 26. Patrol / Destroyed Village* (2:59) (*trad. chant sung by Rangi Dewes) 27. Te Wheke Stalks Emily (2:42) 28. Moko (2:16) (trad. chant sung by Joe Malcolm) 29. The Raid After The Raid / Williamson Retaliates (4:17) 30. Quadruple Barrelled Shotgun* / The Army Approaches Te Puna (3:57) (*composed by S.C. Foster / arr. John Charles) 31. Henare / Night Sentry / Fishing After The Battle (4:18) 32. Williamson Reflects / Te Wheke’s Trek / Williamson Prepares For Utu (2:57) 33. Death Of Te Wheke (Lament*) And Finale (2:33) (*trad. chant sung by Rangi Dewes) 34. Drummers (0:44) 35. Waiata Tangi (2:37) (trad. chant sung by Jane & Paul

Dragon’s Domain Records presents THE GOLDEN AGE OF SCIENCE FICTION: VOL. 8 Click here to go to the product page and listen to Audio Clips

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CD includes Digital Download - 24 Bit Wav, MP3 and Digital PDF Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth for several projects from his filmography presented here CD for the first time. This collection of rare and previously unreleased tracks composed by Alan Howarth kicks off with the score for ARCADE, directed by Albert Pyun and written by David S. Goyer. Released in 1993, ARCADE tells the story of a psychologically compromised suburban teen named Alex (Megan Ward) who discovers her mother has committed suicide. One day after a particularly troubling day at school, Alex and her friends dart off to Dante’s Inferno, a local video game hangout, where a new virtual reality game called “Arcade” is being test-marketed by Difford (John de Lancie) a tech company snake-oil salesman who rewards the curious teens with home console versions of the game. Unknown to the kids, those who dare play the game and lose are imprisoned inside the console by a digital human-hybrid villain named Arcade (Johnathan Fuller). Over time the game infiltrates and manipulates their minds. Ultimately, it’s left up to Alex and Nick (Peter Billingsley) to convince the game’s lead programmer to help them free their friends and end Arcade’s deadly reign of technological terror. In addition to Howarth’s score for ARCADE, THE ALAN HOWARTH COLLECTION, VOLUME 2 includes a block of odds and ends from other projects in his filmogragraphy. For THE BEASTMASTER, Howarth composed a piece of music that was meant for the trailer but ultimately went unused. For BATTLE BEYOND THE STARS, at the request of composer James Horner, Howarth composed a piece of source music for the scene that introduces Gelt, played by Robert Vaughn. MONSTERS was a weekly horror anthology series that typically featured a different monster antagonist each week, ranging from animatronic puppets from a fictional children’s TV show to weapon-wielding mutated lab rats. Some of the episodes blended comic elements into the horror and were adapted from stories written by noted horror authors including Stephen King. One episode entitled “Far Below” from Season Three was produced by Debra Hill who had previously produced HALLOWEEN, THE FOG, HALLOWEEN II, and ESCAPE FROM NEW YORK for John Carpenter. Debra contracted Alan to compose this kind of music for the half-hour episode. Finally, THE OSTERMAN WEEKEND was released in 1983 and was the last film directed by Sam Peckinpah, the film was largely scored by Lalo Schifrin. Howarth was brought in at the last minute to write some additional suspense music for the film. Alan Howarth, in addition to being a composer, is an accomplished sound designer and editor, having worked on films such as STAR TREK: THE MOTION PICTURE, POLTERGEIST, TOTAL RECALL, ARMY OF DARKNESS, BRAM STOKER’S DRACULA, STARGATE and many others. He has been a frequent music collaborator with John Carpenter on his films beginning with ESCAPE FROM NEW YORK in 1980 and including HALLOWEEN II & III, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, THEY LIVE and PRINCE OF DARKNESS and Alan has scored many films on his own, including RETRIBUTION, HALLOWEEN 4 & 5, THE DENTIST, HEADLESS, BOO!, EVILUTION, BASEMENT JACK and most recently, HOUSE AT THE END OF THE DRIVE, BRUTAL and PROMISE. Dragon’s Domain Records presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth. The booklet contains liner notes written by author and composer Brian Satterwhite, including insights by composer Alan Howarth on the creation of the music. THE ALAN HOWARTH COLLECTION, VOLUME 2 is a limited edition release of 500 units and is expected to begin shipping the week of May 10th and can be ordered at www.buysoundtrax.com. The first 50 copies sold through our website will include an autograph by the composer. ARCADE 1. Arcade – Main Titles (3:34) 2. Arcade Opening (3:14) 3. Into the Machine (1:16) 4. Virtual Worlds (4:35) 5. Explorations (3:59) 6. Find the Light (2:18) 7. Digital Topics (4:21) 8. The Virtual Mind (5:13) 9. Arcade’s Challenge (3:18) 10. Game Over (2:49) 11. Arcade - Main Titles (Ghost in the Machine Mix) (2:59) THE BEASTMASTER 12. Heroic Theme (2:06) BATTLE BEYOND THE STARS 13. Gelt’s Chamber (1:31) MONSTERS 14. Far Below (5:46) THE OSTERMAN WEEKEND 15. Doggie in the Window (2:10) 16. Stingers (1:54) 17. End Credits (Unused) (4:17) Total Time: 56:09 Link https://tinyurl.com/wp447k74

We wanted to do this for those folks who have supported over the last year. This offer will expire on 12/31/2020 @ 11:59pm (PST) Here are direct links to these titles THE DAN REDFELD COLLECTION - MUSIC FROM VARIOUS SHORT FILMS BY DAN REDFELD https://tinyurl.com/yb6v8px7 FRANZ WAXMAN: THE DOCUMENTARIES: THE MYSTERIOUS DEEP / LENIN AND TROTSKY https://tinyurl.com/ybgdclhu THE AFTERMATH (John Morgan) https://tinyurl.com/y9drcs6p We Hope you enjoy them all.

[/img] https://tinyurl.com/yaque9of . THE DAY TIME ENDED is presented as a limited edition of 500 units. LISTEN TO A SOUNDCLIP FROM “THE DAY TIME ENDED" https://tinyurl.com/y7ymtmwf CD includes Digital Download-24 Bit Wav, MP3, Digital PDF Dragon’s Domain Records presents a new release of THE DAY TIME ENDED, to be distributed through buysoundtrax.com. THE DAY TIME ENDED features music composed by Richard Band (RE-ANIMATOR, FROM BEYOND, GHOST WARRIOR, TROLL) for the 1979 science fiction/adventure film directed by John ‘Bud’ Cardos, written by Wayne Schmidt, J. Larry Carroll and David Schmoeller, starring Jim Davis, Bentley Mitchum, Dorothy Malone, Marcy Lafferty, Natasha Ryan and Scott Kolden. Composer Richard Band emerged in the late 1970s as a horror music specialist. It was an appropriate legacy, being the son of prolific filmmaker Albert Band and the younger brother of Empire Pictures/Full Moon Entertainment’s genre specialist Charles Band. Richard began his association with film music in 1978 with the unique electronic score to LASERBLAST. The score was composed in collaboration with Joel Goldsmith, son of movie maestro Jerry Goldsmith. Band’s second score was for Charles’ production of THE DAY TIME ENDED, produced in 1978 but not released until 1980 by Compass International Pictures. The film’s small cast of just six people make up a kind of extended nuclear family whose escape from city life for the high desert becomes a struggle against the strange and bizarre situations they encounter. As their remote ranch home is invaded by a miniature gremlin, a compact, heat-ray-armed spaceship the size of a large toaster, buzzed by glowing flying saucers, and threatened by pudgy, battling monsters, they are finally transported through a space/time warp into another planet or perhaps dimension, gathering together to perhaps share a bright new future in a shining city of light. Because LASERBLAST had pleased both Compass International and Charles Band Productions, Richard was brought in to the production, but not initially as its composer. His function was more as a line producer. Having done LASERBLAST, Band’s compositional credit was good, even with a credit of just one score, and he got along well with director Bud Cardos. They would work together again a few years later on MUTANT. Cardos was willing to have him write the film’s music and to record it with an orchestra. Remarkably, Band was able to get a 35 piece orchestra in London to record the score. Band had worked with music producer Don Perry on several projects previously, and it was Perry who set up the session at the Music Center in Wembley, London. Perry brought in British music contractor John Watson, who put together the musicians and also conducted the orchestra for two three-hour recording sessions. Joel Goldsmith served as the score’s sound mixer. A challenge Band faced on this score was figuring out how to make a small orchestra sound big, knowing he was restricted to just 35 players. The answer was in the way he orchestrated the music. Band kept the orchestration relatively simple, mainly because he knew he had a lot of music to record in those two three-hour sessions, so it couldn’t be too complicated. He also orchestrated it in a way that the keys and instrumentations were a little bit thicker than they would be in certain other keys, making the sound a bit richer. Band took composing the music for the film very seriously, focusing on the emotional resonance of the characters and their situation to serve the storyline, such as it was. He creates a very structured score, essentially allowing his music to speak for what the final shooting script does not. Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER and Disney's SING ME A STORY series. Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich. In more recent years, Richard has also enjoyed scoring a variety of family and comedy films for Viacom and Paramount Pictures as well as hundreds of animated vignettes for the WB kid's network all of which were scored with orchestra. His musical talents can also be heard on several amusement park rides including ALIENS - THE RIDE as well as several Vegas venues. Among the many interactive games Richard has scored the music for STAR TREK, WATERWORLD, CASPER, STONEKEEP, DECENT UNDER MOUNTAIN, CLAYFIGHTER and INVICTUS: THE SHADOW OF OLYMPUS. For this new remix of Richard Band’s THE DAY TIME ENDED, Dragon’s Domain Records has gone back to the original 24-track master from CTS in London, offering for the first time the unparalleled depth of sound remixing the score from that original master could achieve, digitally remastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer. THE DAY TIME ENDED is a limited edition release of 500 units. THE DAY TIME ENDED is expected to begin shipping the week of June 26, 2020 and can be ordered at www.buysoundtrax.com . The first 50 copies ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge. 01. Nova and Main Title 4:59 02. The Family Arrives 1:20 03. Jenny In The Corral 1:26 04. The Pyramid 3:22 05. Anna And The Mirror 1:27 06. The Gremlin 4:29 07. Grant Checks The Barn 3:28 08. The Probe 5:32 09. The Wolf Lizard 1:36 10. Graveyard of Ships 2:00 11. The Vortex 1:34 12. The Horse 0:56 13. “I Left Hours Ago” 0:59 14. Three Suns 1:21 15. Arrivaderci, Earth 6:20 16. End Credits 3:55 17. Beyond the Time Warp 1:38 18. Into the Vortex (Outtake Suite) 4:52 Total Time: 52:01

http://buysoundtrax.stores.yahoo.net/hyorsobydond.html SRP: $17.95 HYPERSPACE is a limited edition release of 1000 units. FIRST 50 Copies will be autographed by composer Don Davis LISTEN TO A SOUND CLIP FROM the score for HYPERSPACE https://tinyurl.com/ybzl7437 Dragon’s Domain Records, distributed through buysoundtrax.com, presents the long out-of-print orchestral score to HYPERSPACE, composed by Don Davis. One of the first feature length STAR WARS parodies, HYPERSPACE came out in 1984. Known in England as GREMLOIDS and as GREMLORDS in France and Germany, HYPERSPACE was writer/director Todd Durham’s second and last film as director, working with ambitiously cost-conscious low-budget producer Earl Owensby. The movie was released in September 1984, but it wasn’t until 1988 that the film received a wider release on home video. Starring comedians Chris Elliott and Paula Poundstone and filmed in North Carolina, HYPERSPACE imitates STAR WARS in context and execution from its opening text crawl into infinity to its inscrutable helmeted monarch of menace, Lord Buckethead (played by Robert Bloodworth, but voiced by Barry Cooper). Lord Buckethead is hot on the trail of vital radio transmissions stolen from the corrupt Galactic Alliance by members of an allied resistance force. Buckethead intends to get them back, aided by diminutive, Jawa-robed minions known as gremloids. However, unbeknownst to him, he has made a serious navigational error, and rather than reaching his intended destination he lands instead upon the Earth, where he and his gremloid faction march into the closest small town and proceed with their mission. A purposefully STAR WARS-esque orchestral score was provided by newly-minted composer Don Davis, in his first feature film score. Performed by a live, 56-piece orchestra, Davis’s music provided the film with its missing gravitas; and it made enough of an impression among Hollywood film music folk that it led to a lasting and respectful career scoring films and television, including TV’s BEAUTY AND THE BEAST and SEAQUEST DSV and blockbuster films like THE MATRIX series and JURASSIC PARK III. “Obviously the movie was a parody of STAR WARS, so the only approach to music I could logically take was similarly a parody of John Williams’s work,” said Davis in an exclusive new interview for the album notes. “I got as close to STAR WARS as I could get without it being STAR WARS.” Davis provided the right kind of feeling to the music which gave the score a suitably grandiose dynamic and aided in the film’s parodist nature. The composer’s approach to supporting the film’s inherent humor was based on “not writing funny music,” but scoring the movie with absolute seriousness, thereby allowing the parody to exist within the film and among its characters in a world where even the most farcical of circumstances are treated with genuine integrity. “The concept of playing it straight, as if the show were not a comedy, was what we wanted to do with our movie,” said Davis. “We treated it as if it really was STAR WARS and everything was completely serious.” The film came and went without much ado or remembrance, but the music was noticed and that gave Davis an auspicious debut in this, his first opportunity to make the jump into… HYPERSPACE. The score was first released on an 11-track CD in 1993, paired with another Davis score. This expanded reissue from Dragon’s Domain Records includes eight previously-unreleased tracks. HYPERSPACE is a limited edition release of 1000 units and can be ordered at www.buysoundtrax.com. The first 50 units sold through the Buy Soundtrax website will include a booklet autographed by the composer. Ships the week of January 3rd. 01 HYPERSPACE Main Title/Pin Head 2:22 02 Meet The Mutants/Real Live Munchkins/ Dad’s Gland/ Basement Snoids 4:23 03 Alien Enzyme 2:00 04 Buckethead’s Promenade 2:01 05 Swamp Dog/Mister Ugly/ March of the Carrot People/Wild Bill Schwartz/Avoid the Droid/My Favorite Mutant 5:11 06 One Step Forward 0:56 07 Tree Trek 1:21 08 Old MacDonald Had a Farm Dirge 2:26 09 Neurotic Karen/Mutants in Bondage/Terminate The Princess/Zapping Aliens 2:01 10 Ship Witch/Life in Gland Land/Laser Trail 3:04 11 Just Browsing/After the Brain Drain 4:55 12 Max’s Coronary/Let’s Zap Ed/See You Laser 1:09 13 There She Is 0:45 14 Ding Dong Daddy 1:16 15 Max Incognito/Humanoids From Pacoima 4:27 16 Rugburn/Boiled Snoids 1:49 17 Imbeciles From Uranus 1:06 18 Droid McNoid/Buckethead’s Remorse 4:00 19 HYPERSPACE End Credits 3:24 Total Time: 48:31

BLADE RUNNER: A 30th ANNIVERSARY CELEBRATION Music from the Motion Picture by VangelisNewly Recording Produced, Arranged and Performed by Edgar Rothermich Limited Edition of 1500 UNITS $15.95 STARTS SHIPPING 9/06/2012 CLICK HERE to hear an Audio Sample from BLADE RUNNER: Main Title CLICK HERE to hear an Audio Sample from BLADE RUNNER: On The Trail of Nexus 6 IS IT REAL OR A REPLICANT? BUYSOUNDTRAX Records is proud to present the release of BLADE RUNNER: MUSIC FROM THE MOTION PICTURE – A 30TH ANNIVERSARY CELEBRATION, available for pre-order at www.buysoundtrax.com and digitally and via other soundtrack boutique retailers beginning September 19th, 2012. BLADE RUNNER: MUSIC FROM THE MOTION PICTURE – A 30TH ANNIVERSARY CELEBRATION is a new recording of the classic score composed by Vangelis (CHARIOTS OF FIRE, THE BOUNTY, 1492, ALEXANDER), produced and performed by composer Edgar Rothermich. Released in 1982, the dystopian BLADE RUNNER was directed by Ridley Scott (THE DUELLISTS, ALIEN) and featured Harrison Ford in his second starring role after RAIDERS OF THE LOST ARK. Celebrating its 30th Anniversary in 2012, BLADE RUNNER has become a cult film favorite the world over. Loosely based on a 1968 Philip K. Dick novel, Ford starred as Rick Deckard, a former police officer reluctantly assigned to terminate four replicants who have come to Earth to find their maker. The cast also included Sean Young, Rutger Hauer, Daryll Hannah, Brion James, Joanna Cassidy, James Hong, William Sanderson, Joe Turkel and M. Emmett Walsh. Over the years, multiple edits of the film have been created for the home video, DVD and Blu-Ray markets. Similarly Vangelis' score has been released in several different incarnations, but none of them are accurate representations of what was heard in the original 1982 film. "Largely because of a dispute between Vangelis and Scott over the director's use of his music in the film, a proper soundtrack of the music as it is heard in the film has never been commercially issued (despite the promise of a soundtrack album from Polydor Records given in the film's end titles)," described Randall D. Larson in the liner notes of the new BUYSOUNDTRAX recording. | BUYSOUNDTRAX Records seeks to correct this oversight, with a new recording faithfully recreating the original music from the film, which proved to be a difficult task. Vangelis' score was composed entirely by performing on keyboards and recording it directly, so no written transcriptions exist. Composer Edgar Rothermich was charged with reverse engineering the score – listening to the original music and a 1982 album mock-up and transcribing it by ear. He also had to recreate the sound of 1982 synthesizers and decipher if noise heard was due to recording on tape or stylistic choices by the composer. "BLADE RUNNER is the most difficult kind of score to deconstruct," said BSX producer Ford A. Thaxton. "Symphonic music can usually be determined because the instrumental palette is known. But the 1970s-era electronic technology and the improvisational style in which Vangelis created the score made it especially difficult. But we feel Edgar's made a very close replication of what the score sounded like in the film. He's true to the sound the original but he's brought it into today's world." "The objective from the very beginning was to be as close as possible to the original score as heard in the film," Rothermich said. "It was never a case of my interpreting the soundtrack. It was essentially a re-recording of the soundtrack music." Born in Germany, Edgar Rothermich studied music at the University of Arts in Berlin and graduated in 1989 with a Master's Degree in piano and sound engineering. He worked as a composer and music producer in Berlin and moved to Los Angeles in 1991 where he continued his work on numerous projects in the music and film industry (THE CELESTINE PROPHECY, THE OUTER LIMITS, BABYLON 5, WHAT THE BLEEP DO WE KNOW, FUEL, BIG MONEY RUSTLAS). For the past 20 years, Edgar has had a successful musical partnership with electronic music pioneer and founding Tangerine Dream member Christopher Franke. Recently, in addition to his collaboration with Christopher, Edgar has been working with other artists as well as on his own projects. December 2010 marked the release of his first two solo albums, 'Why Not Electronica' and 'Why Not Electronica Again' followed by 'Why Not Solo Piano', released in 2011 . BLADE RUNNER: MUSIC FROM THE MOTION PICTURE – A 30TH ANNIVERSARY CELEBRATION has been mastered by James Nelson at Digital Outland and includes exclusive liner notes written by Randall Larson, detailing the process of creating this new recording. BLADE RUNNER: MUSIC FROM THE MOTION PICTURE – A 30TH ANNIVERSARY CELEBRATION is limited to 1500 units 1.. Ladd Company Logo (0:25) Composed by John Williams french horn: Stephanie O'Keefe 2. Main Titles (Film Version) /Prologue (4:00) 3. Los Angeles, November 2019 (1:49) 4. Deckard Meets Rachael (1:32) 5. Bicycle Riders (2:13) (Pompeii 76 A.D.) Composed by Gail Laughton 6. Memories of Green (5:40) 7. Blade Runner Blues (10:20) 8. Deckard's Dream (1:16) 9. On the Trail of Nexus 6 (5:35) (Tales Of The Future) Vocal By Fella Oudane 10. One More Kiss Dear (4:01) Composed by Vangelis and Peter Skellern Produced and arranged by Dominik Hauser Vocal by Tom Schmid 11. Love Theme (5:07) saxophone: Paul Frederick 12. The Prodigal Son Brings Death (3:37) 13. Dangerous Days (1:05) 14. Wounded Animals (11:00) 15. Tears in Rain (2:44) 16. End Titles (7:25) BONUS TRACK 17. Main Titles (Album Version) (4:02) Total Time: 72:29

FOR IMMEDIATE RELEASE MOON 44 – ORIGINAL MOTION PICTURE SOUNDTRACK - FEATURING MUSIC COMPOSED BY JOEL GOLDSMITH - TO BE RELEASED ON APRIL 10, 2012 http://buysoundtrax....44orsobyjo.htm lSRP: $15.95 LISTEN TO A SOUNDCLIPS FROM the score for MOON 44 http://buysound.webjedi.net/Moon%2044_%20Audio/06%20-%20Drones,%20Drones,%20Drones.mp3 This is a Limited edition of 1500 Units BUYSOUNDTRAX Records presents the original soundtrack to MOON 44, featuring music composed by Joel Goldsmith (STARGATE franchise, HELEN OF TROY, WITCHBLADE, CALL OF DUTY 3) for the 1990 science fiction film directed by Roland Emmerich (STARGATE, INDEPENDENCE DAY, THE PATRIOT) and starring Michael Paré (STREETS OF FIRE, EDDIE AND THE CRUISERS, THE PHILADELPHIA EXPERIMENT), Malcolm McDowell (A CLOCKWORK ORANGE, TIME AFTER TIME, BLUE THUNDER), Lisa Eichorn, Dean Devlin, Brian Thompson, Stephen Geoffreys, Leon Rippy and Roscoe Lee Browne. MOON 44 takes place in 2038. Multinational companies have taken control of the universe, constantly fighting each other for control of distant planets where their robots mine the priceless minerals which are now the only source of fuel back on Earth. The Galactic Mining Corporation is locked in a bitter conflict with a rival corporation, Pyrite, who have begun supplying pirates to attack GMC mining facilities across the Outer Zone of the universe. Moon 44 is one of their most lucrative mining operations and is projected to be the next target of the pirates. The GMC is tipped off that Moon 44’s mining shuttles are being hijacked and their shipments diverted. Their response is to send Felix Stone (Michael Paré), an Internal Affairs investigator, to look into the matter. When he arrives on the old rundown mining station, he discovers that his old girlfriend, Terry (Lisa Eichorn) is also working there. Terry is coordinating an experimental helicopter defense program with the questionable cooperation of the station's commanding officer, Major Lee (Malcolm McDowell) and his brutal sergeant, Sykes (Leon Rippy). Stone goes undercover to conduct his investigation as part of a group of Company prisoners who have been sent to Moon 44 to participate in Terry's program as pilots. The prisoners, led by Jake (Brian Thompson), Moose (John March) and Scooter (Jochen Nickel), have volunteered for the program to shorten their sentences. The reason for Terry’s defense program is the external atmosphere on Moon 44, which is horrendous. Hurricane force winds constantly race through rain-swept canyons, across a foggy surface mostly devoid of daylight, making conventional flying impossible. The prisoners, unaware that most of the pilots who volunteered before them are dead or maimed, are introduced to their co-pilots, a group of station-bound navigators. For the program to succeed, the pilots must work together with the navigators to overcome the flight problems that come with the harsh weather on the surface. Of course, the prisoners and the brainy young navigators clash instantly. Convinced that the ongoing theft of the station's mining shuttles is an inside job, Stone sets a trap to try and uncover the identity of the collaborator and Staff Sergeant Sykes walks right into it. In the ensuing struggle, Major Lee intervenes to save Stone's life. His subsequent behavior, though, convinces Stone that Lee is the one ultimately responsible. Believing he has enough information to close his case, Stone is about to return to GMC Headquarters to file his report when the mining station is suddenly attacked. Unaware that Major Lee has been given orders to launch all the mining shuttles and save Moon 44’s precious cargo if the station is attacked, Stone finds himself fighting a war on two fronts. The station must be defended against Pyrite’s drone fighters and Stone must somehow stop Lee from launching all the mining shuttles or everyone will be trapped on the station. The score for MOON 44 was composed by Joel Goldsmith and was his first major orchestral score for a film, foreshadowing his later work on science fiction projects such as STARGATE SG-1, STARGATE: ATLANTIS and STARGATE UNIVERSE. The score was performed by the Graunke Symphony Orchestra, conducted by Christopher L. Stone, with orchestrations by Stone and Jack Smalley. Originally released on compact disc by Silva Screen Records at the time of the film’s release in 1990 and long out of print, BUYSOUNDTRAX Records now brings MOON 44 back to compact disc again, newly remastered by James Nelson of Digital Outland. 1. Main Title/Felix The Cop (3:04) 2. First Training Flight (5:14) 3. So Long, Felix (4:06) 4. Navigator's Hang Up (1:25) 5. Armed And Dangerous No. 1 (3:29) 6. Drones, Drones, Drones (But Not A Drop To Drink) (2:52) 7. Sykes Gets Caught (2:10) 8. Armed And Dangerous No. 2 (4:27) 9. So You Like It Fast (Hard And Rough) (1:47) 10. Jake To The Rescue/Joel's Outlandish Adventure (2:24) 11. Lee Bombs Out (3:00) 12. Welcome To Moon 44 (0:49) 13. Taxi Driver ("You Talkin' To Me?") (2:49) 14. The Cookie Crumbles/Bumpy Taxi Ride/The End Of Moon 44 (6:04) 15. Aftermath (1:13) 16. Heading For Earth (0:59) 17. Terry On The Moon/Finale (1:12) 18. Shut Out (1:33) (Lead Vocal on 'Shut Out' by Heather Forsyth, Backing Vocals by Heather, Sean and Joel) Total Time: 49:21