Label Threads The Official Kritzerland Release Thread.

[Ollie 1,059]

Tomorrow's release, June 20th:

KINGS GO FORTH (1958) / THE PRIDE AND THE PASSION (1957)

Elmer Bernstein, George Antheil

[Jay 37,369]

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

http://www.filmscoremonthly.com/board/posts.cfm?threadID=80396

[indy4 155]

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 2,251]

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 155]

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).

[Jay 37,369]

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 2,251]

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

[Joe Brausam 214]

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.

[Ollie 1,059]

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 214]

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.

[Ollie 1,059]

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.

[Jay 37,369]

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.

[TownerFan 4,983]

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 2,251]

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

[Ollie 1,059]

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 155]

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

[Trent B 337]

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.

[Ollie 1,059]

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.

[Ollie 1,059]

New Kritzerland:

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

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

[Jay 37,369]

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 2,453]

I thought Pirates was sold out weeks ago?

[fommes 153]

I fully agree with Jason on this one.

[Jay 37,369]

Today's Kritzerland release is:

Adventures Of Casanova - Hugo Friedhofer(1000)

[Jay 37,369]

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

[Jay 37,369]

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

[Frank Vincent 234]

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 7,512]

Kritzerland just announced:

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

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

[fommes 153]

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 7,538]

[Jay 37,369]

Gold star for you!

[Thor 7,512]

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.

You see, I'm totally unreasonable. Even I thought the single "Thunderbird" track on the original release didn't represent the whole score properly. An expansion was definitely warranted, and from listening to the clips this really sounds like it can hold up pretty well despite being C&C, much like ROCKY IV. We'll see when I get it. It's really more a series of individual setpieces that could have been instrumental outtakes from a David Gilmour album or something.

[fommes 153]

You see, I'm totally unreasonable.

I cracked Thor!

An expansion was definitely warranted, and from listening to the clips this really sounds like it can hold up pretty well despite being C&C

It's only a small step from here to say it holds up pretty well because it's C&C. You can do it - we all believe in you!

(Seriously though, because it's an extreme case, I think it makes for a good argument to what I believe, that C&C vs OST needs to be decided on a case-by-case basis.)

[Thor 7,512]

You see, I'm totally unreasonable.

I cracked Thor!

Oops....forgot a crucial NOT in there. LOL!

[Jay 37,369]

Kritzerland's October 10th release, their 100th, will be a Bernstein title

As noted, both Thelma AND Louise will be shipping really early - this Wednesday. We'll also be announcing our 99th CD release at that time - it won't be of much interest to those here, but it's in conjunction with our first Blu-ray release, so that's just the way it worked out. That, of course, will be followed by our 100th release two weeks from today. It's ever so amusing that another release by the same composer from the same era is being rushed out the week before, but as far as I'm concerned that's good news, not bad news. If we can have a Goldsmith Glut I suppose we can have an Bernstein Bonanza.

Source: http://www.filmscore...?threadID=82870

[Jay 37,369]

Kritzerland is proud to present its first Blu-Ray release, along with a new soundtrack CD – the 35th Anniversary Edition of

THE FIRST NUDIE MUSICAL

The “bright, bawdy, gleefully naughty” (Kathleen Carroll, New York Daily News) The First Nudie Musical comes to Blu-ray in a brand new restored transfer in honor of its 35th anniversary. In this outrageously hilarious spoof that has become a cult classic, a desperate young filmmaker tries to rescue his studio by making a porno musical. You’ve never seen anything quite like this as the elaborate style of a 30s musical is mixed with contemporary tackiness, producing riotously risqué showstoppers.

“CHOCKFUL OF YOUTHFUL TALENT, SPICED BY OUTRAGEOUSNESS AND SPARKED BY INVENTION. THE THREE STARS ARE SIMPLY IRRESISTIBLE. CINDY WILLIAMS IS ENCHANTING. KIMMEL IS THE ULTIMATE APPEALING SCHNOOK. FRESH AND FUNNY AND FUNKY. MADE FOR ABOUT 1 PERCENT OF THE BUDGET FOR ‘NEW YORK, NEW YORK,’ AND A HUNDRED TIMES FUNNIER AND MORE PERCEPTIVE. IT’S THE ‘STAR WARS’ OF NUDIE MUSICALS!” Judith Crist, New York Post

Filled with toe-tapping musical numbers, such as “Lesbian, Butch, Dyke,” “Orgasm,” and the classic “Dancing Dildos,” and more nudity than you can shake a stick at, The First Nudie Musical has it all – a hotshot producer (Stephen Nathan), his wisecracking secretary (Cindy Williams), a bumbling director (Bruce Kimmel), scheming investors, a prima donna leading lady (Alexandra Morgan), a Cuban spitfire (Diana Canova), and a group of aspiring actors struggling to make a movie musical against all odds.

“ONE OF THE MOST MEMORABLE MOVIES OF THE YEAR!” Joseph Gelmis, Newsday

Originally released by Paramount Pictures in 1976, the film garnered excellent reviews but in a bit of unfortunate timing, Cindy Williams’ series, Laverne and Shirley (also produced by Paramount) went on the air and became a family-hour smash. After a year, the film was purchased by another distributor in New York and, in 1977, The First Nudie Musical re-opened and was reborn, again garnering mostly rave reviews, playing exclusively in one theater for over three months, and, in its first week of wide release, becoming the fourth highest grossing film in the United States (right under Star Wars and The Spy Who Loved Me). The film became one of the first cable hits, playing on various pay cable stations all throughout the 1980s, and during that time the video was released and also became a best-seller, making the Billboard chart.

“A BAWDY BONANZA OF LAUGHS… A TUNEFUL, COMIC SLEEPER!” After Dark Magazine

“SIDE SPLITTING. CINDY WILLIAMS IS PERFECT.” WABC TV

The First Nudie Musical was released on DVD in 2002. That release was cobbled together from the then-best elements available – three 35mm prints that had retained about 60% of their color. That transfer was the best it could be given the technology back then, but there were the inevitable splices and scratches, and color that was okay but not great. Between then and now, the low-budget film’s CRI (internegative) was found (the camera negative is lost). Fortunately, it was in excellent condition and only one generation away from the camera negative. It yielded a wonderful image and the color is now wholly accurate to the way the film was originally shot.

The 35th anniversary edition of The First Nudie Musical is loaded with extras – a retrospective documentary co-directed by Academy Award-nominee Nick Redman, three commentary tracks – two for the film (one with Cindy Williams, Stephen Nathan, and Bruce Kimmel, and one with Nick Redman and Bruce Kimmel), and one for the documentary (Nick Redman, Michael Rosendale, and Bruce Kimmel). Additionally, there’s a deleted scene, two deleted musical numbers (one with sound and picture, one with audio only), two theatrical trailers, a radio spot, costume tests, and a stills gallery.

The separate CD release is expanded and remastered – it includes the soundtrack recording, the soundtrack for the documentary From Dollars To Donuts: An Undressing Of The First Nudie Musical, which consists of instrumentals of the film’s songs, arranged and performed by Grant Geissman (composer of Two-And-A-Half Men and Mike and Molly). Additionally there are five backing tracks from the film, for those who like to sing-a-long. Twelve-page full color booklet with liner notes, lyrics, and photographs.

The First Nudie Musical stars Stephen Nathan, Cindy Williams, Bruce Kimmel, Diana Canova, Alexandra Morgan, Leslie Ackerman, and Alan Abelew. Screenplay, Music, and Lyrics by Bruce Kimmel. Directed by Mark Haggard and Bruce Kimmel.

NOTE: The Blu-ray disc is all-region and will play on any Blu-ray player.

The price is $29.98 for the Blu-ray and $19.98 for the CD, plus shipping. We have a special combo price of $39.98 for the two items, a ten-dollar savings. The street date is November 5 but preorders placed directly through Kritzerland usually ship a few weeks early. To place an order, just visit www.kritzerland.com.

THE FIRST ONE HUNDRED COPIES OF THE BLU-RAY ORDERED AT KRITZERLAND WILL BE SIGNED BY CINDY WILLIAMS AND BRUCE KIMMEL.

THE FIRST ONE HUNDRED COPIES OF THE CD ORDERED AT KRITZERLAND WILL BE SIGNED BY COMPOSER/LYRICIST BRUCE KIMMEL.

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

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

[fommes 153]

Now THIS he can limit to 10 copies.

[Hlao-roo 389]

I can't believe Kritzerland would release this crap.

[Jay 37,369]

You're on a roll today!

[Koray Savas 2,251]

Wait, isn't Bruce Kimmel founder of Kritzerland?

[Jay 37,369]

Yes. That's the entire point of Alan's joke.

[Koray Savas 2,251]

Pretentious much?

[Jay 37,369]

Kritzerland is very proud to present its 100th CD release: A limited edition soundtrack and the world premiere release of the complete score to:

SUMMER AND SMOKE

Music Composed and Conducted by Elmer Bernstein

Tennessee Williams was already a legend when Summer and Smoke premiered on Broadway on October 6, 1948, thanks to the huge success of his play The Glass Menagerie and, more importantly, A Streetcar Named Desire, which had opened the year before Summer and Smoke and become a sensation with critics and audiences and catapulted Williams into the playwriting firmament. Summer and Smoke failed to ignite the same kind of heat as Streetcar and closed after only 102 performances at the Music Box Theatre. However, the play was revived a mere four years later, this time off-Broadway at the then-new Circle In The Square Theater, directed by Jose Quintero and starring Geraldine Page. That production was a big success for Page and Quintero and the play. Nine years later, Summer and Smoke was brought to the screen by Paramount Pictures, with Geraldine Page recreating her stage success as the spinster Alma Winemiller. Peter Glenville directed the film from a screenplay by James Poe and Meade Roberts. Starring opposite Page was Laurence Harvey, along with a wonderful supporting cast that included Rita Moreno, Una Merkel, John McIntire, Thomas Gomez, Pamela Tiffin, and Earl Holliman.

The film received excellent reviews and Page’s brilliant performance was universally praised – she was nominated for an Oscar in the Best Actress category. Una Merkel received a Best Supporting Actress nomination for her performance as Page’s dotty mother, and the film also picked up nominations for Best Art Direction – Best Set Decoration, and another for Elmer Bernstein’s incredible score.

Summer and Smoke is one of Bernstein’s greatest scores in a career that is jam-packed with great scores like To Kill a Mockingbird, The Magnificent Seven, Birdman of Alcatraz, Walk on the Wild Side, The Great Escape, Love With the Proper Stranger, Airplane!, Ghostbusters, and so many others. Bernstein captures every emotion, every subtext, every character – the loneliness, the longing, the yearning, the repression – it’s a textbook example of what great film scoring is all about. His main theme is one of his most haunting and beautiful – a swirling, sinuous, delirious melody that recurs throughout the score. His score brilliantly evokes a different time, place, and world, much like his score to To Kill A Mockingbird, which would follow a year later – a world belonging to one of the great poets of American drama – Tennessee Williams. And a world perfectly captured by Elmer Bernstein’s timeless music.

Summer and Smoke was originally released on an RCA Victor soundtrack LP. That LP contained approximately thirty-six minutes of music, including some heavily edited versions of cues. For this first-ever release of the complete score, we had access to two rolls of 1/2' three-track masters that were sent by Paramount to RCA Victor at the time of the film’s release. Those masters were used to assemble the LP, but happily contained all of the cues that were not used on the album. In those days, to assemble the LP they simply edited the three-track masters – thankfully, all the edited out bits were kept and put at the end of the reels. It was simply a matter of putting them all back where they belonged to make the cues once again complete. For reference, we also had the complete scoring sessions archived from 35mm scoring mag on 2' tape in the Paramount vaults. The LP program was released on CD by RCA Spain, taken from a sub-master that simply did not sound very good, so this is not only the first release of the complete Summer and Smoke, it is the first time it is being released from those original, superb-sounding three-track tapes.

We have put the score in film order, which is how it plays best. Because all the Glorious Hill band music is used in short versions throughout one sequence in the film, we decided to include those other tracks in the bonus section, as it did not make for a good listening experience to have them all lumped together in a row. Additionally, we have included a source cue and the original LP edited cues in the bonus section. The CD contains over seventy-seven minutes of one of Bernstein’s most ravishingly beautiful scores.

This release is limited to 1500 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 November – 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.

1 Prologue

2 Prelude

3 Glorious Hill Waltz

4 Rosa Enters

5 John Comes Home/Changed Decision/Hat Snatcher

6 Two Lonely Women

7 Alma’s Dilemma

8 A Stranger in the House

9 John’s Patient

10 The Cockfight

11 Summer Thoughts

12 The Greased Pig

13 Trouble With Papa/Doctor’s Dilemma/Dr. John’s Demise

14 Alma’s Secret/Dr. John’s Triumph

15 Johnny Is Not Welcome

16 Alma’s Stone Angel

17 The Tables Have Turned/Finale

Bonus Tracks

The Band Music

18 The Phyllis Gavotte

19 To Be or Not

20 Alma’s Flareup

21 Southern Comfort Waltz

The Album Versions (Including Source Cues)

22 John Comes Home/Changed Decision (previously unreleased album edit)

23 Degeneration (The Greased Pig)

24 Moon-Lake Casino (Rosa’s Dance)

25 The Father’s Murder (Trouble With Papa/

26 Doctor’s Dilemma/Dr. John’s Demise)

27 The Final Irony and Finale (The Tables Have Turned/Finale)

[Jay 37,369]

FANTASMAGORICAL!

Kritzerland is very proud to present a new limited edition CD soundtrack in a Very Very Special Special Edition:

CHITTY CHITTY BANG BANG

Music and Lyrics by Richard M. Sherman and Robert B. Sherman

Music Supervised and Conducted by Irwin Kostal

What’s really fantasmagorical is that the man who gave the world its most well known spy, the one and only James Bond, also gave the world its most delightful magical car, Chitty Chitty Bang Bang (a classic Ian Fleming title if ever there was one). In 1968, Albert R. Broccoli, co-producer of the Bond films, produced a lavish musical film version, starring Dick Van Dyke as inventor Caractacus Potts, Sally Ann Howes as Truly Scrumptious, and a host of fine character actors – Lionel Jeffries, Benny Hill, Gert Frobe (Goldfinger himself), Robert Helpmann, Anna Quayle, Desmond Llewelyn (another Bond regular, Q), along with Adrian Hall and Heather Ripley as Caractacus’ children, Jeremy and Jemima. The screenplay was by another wonderful, fanciful author, Roald Dahl (Charlie and the Chocolate Factory, James and the Giant Peach), along with Ken Hughes, with additional dialogue by Richard Maibaum. Hughes also directed the film. Along for the ride were cameraman Christopher Challis, production designer and Bond regular Ken Adam, choreographers Marc Breaux and Dee Dee Wood (Mary Poppins) – and for the film’s most important element, its score, the tuneful, incredibly catchy songs by the team of Richard M. Sherman and Robert B. Sherman, also of Mary Poppins fame, with all the musical elements brought together by the brilliant Irwin Kostal.

While Chitty Chitty Bang Bang is a most magical car, the most magical thing in the film is, in fact, not the car but the songs by the Sherman Brothers. Richard M. and Robert B. had been writing for years at Disney, where they’d given the world one delightfully catchy song after another and then delivered their brilliant song score for Mary Poppins. They had a habit of being able to write a tune that was instantly hummable, tunes you simply could not get out of your head. And so it was with their songs for Chitty Chitty Bang Bang. The title song is one of those can’t get it out of your head things that they did so effortlessly, but the film is awash in great, tuneful songs, including “Truly Scrumptious,” “Toot Sweets,” “Me Ol’ Bamboo,” and the haunting “Hushabye Mountain” one of their most stunningly beautiful creations.

The Sherman Brothers have done it all – from iconic rock-and-roll (“You’re Sixteen, You’re Beautiful, and You’re Mine”), to their iconic “It’s A Small World,” and their song scores for Mary Poppins, The Jungle Book, The Happiest Millionaire and others, as well as Broadway with Over Here. And, of course, Mary Poppins is still playing on Broadway at the time of this writing. In fact, I’m quite certain there is a Sherman Brothers song being played or sung somewhere in the world at just about any given moment.

Chitty Chitty Bang Bang was originally released on LP on United Artists Records (the film was distributed by UA). As was usual back then, songs were truncated, the mixes were occasionally weird, and no underscore was used. There have been two previous CD releases – one on Ryko, who added dialogue snippets throughout the album, and then on Varese Sarabande (who omitted the dialogue snippets but basically used the Ryko master). For our Very Very Special Special edition, we went back to the first generation album master – there was, of course, no way to change the mix or the generous amount of reverb used, but our masterful mastering engineer, James Nelson, has worked as much magic as humanly possible to optimize the sound present on those original album masters, and we feel it’s the best it’s ever been. We’ve also included the film’s “Entr’Acte,” the original “Main Title” (much longer than the album version – presented here with sound effects, which are actually fun and sort of go with the music), and the film mix of the “Exit Music.” Following that, we give you the complete song and picture book album tracks, released concurrently with the soundtrack, and which features Richard M. Sherman himself singing, along with other vocalists, all conducted by Leroy Holmes. On CD 2, we’re very pleased to present all the film’s demo recordings by Richard Sherman. Finally, we had access to all of the playback tracks used during filming. These were all in mono and not that great sounding, but we’ve included several of them because they were material not included on the original album. These include another version of the title song (with quite a long instrumental), an instrumental called “The Vulgarian Anthem,” an instrumental of the “Chu-Chi Face” waltz, and a bit of the “Doll On A Music Box” not included on the original LP. Again, the sound on the playback tapes had distortion and not optimal sound, and mixes that were prepared specifically to be lip-synched to on set. But we thought they were of enough historical importance to include them.

This release is limited to 1200 copies only. The special special price is $19.98, plus shipping. Go to the item page and click on the link to find out about it. SPECIAL NOTE: THE FIRST ONE HUNDRED ORDERS PLACED AT KRITZERLAND WILL BE SIGNED BY RICHARD M. SHERMAN.

CD will ship the first week of December – 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.

Disc 1

01 Main Title

02 You Two

03 Toot Sweets

04 Hushabye Mountain

05 Me Ol’ Bamboo

06 Chitty Chitty Bang Bang

07 Truly Scrumptious

08 Chitty Chitty Bang Bang (reprise)

09 Entr’Acte

10 Lovely, Lonely Man

11 Posh

12 Hushabye Mountain (reprise)

13 The Roses Of Success

14 Chu-Chi Face

15 Doll On A Music Box & Truly Scrumptious

16 Chitty Chitty Bang Bang Finale

17 Exit Music

Bonus Tracks

18 Main Title (Film Version with sound effects)

19 Chitty Chitty Bang Bang Finale (Film Mix)

20 Exit Music (Film Mix)

The Song and Picture Book Album

21 Chitty Chitty Bang Bang

22 You Two

23 Toot Sweets

24 Hushabye Mountain

25 Me Ol’ Bamboo

26 Lovely, Lonely Man

27 Posh

28 Doll On A Music Box & Truly Scrumptious

29 Chu-Chi Face

30 The Roses Of Success

Disc 2

The Richard Sherman Demos

01 You Two

02 Toot Sweets

03 Chitty Chitty Bang Bang

04 Truly Scrumptious

05 Chitty Chitty Bang Bang 2

06 Lovely, Lonely Man

07 Posh

08 Hushabye Mountain

09 The Vulgarian Anthem

10 The Roses Of Success

11 Chitty Chitty Bang Bang (children’s reprise)

12 Hushabye Mountain (Grandfather’s reprise)

13 Fun Fair

14 Lovely, Lonely Man/ Chitty Chitty Bang Bang Finale

The Playback Tracks

15 Chitty Chitty Bang Bang 1

16 Chitty Chitty Bang Bang 2

17 Chitty Chitty Bang Bang 3

18 The Vulgarian Anthem

19 Chu-Chi Face Waltz

20 Doll On A Music Box Parts 1-3

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

[indy4 155]

Damn, I should read this thread more often...I've been wanting to buy a CCBB release, and to have it be autographed by one of the Sherman brothers...wow.

[Jay 37,369]

ADDICTED TO COOL – HEFTI AND JONES

Kritzerland presents a new limited edition CD soundtrack – two great scores on one great CD:

SYNANON

Music Composed and Conducted by Neal Hefti

and

ENTER LAUGHING

Music Composed and Conducted by Quincy Jones

In 1965, director Richard Quine made a film about Synanon, a real-life drug rehabilitation center, called, not surprisingly, Synanon. The film starred Edmond O’Brien as Charles E. “Chuck” Dederich, founder of Synanon, and the denizens of Synanon were played by Alex Cord, Chuck Connors, Stella Stevens, Richard Conte, Richard Evans, and Eartha Kitt. Shot on location in Santa Monica at Synanon, the film is filled with the usual soul-searching, bad withdrawal, falling off the drug wagon, romantic entanglements, more bad withdrawal, really bad withdrawal, more soul-searching, and, of course, some more bad withdrawal – and music. Lots and lots of very cool music composed by the very cool Neal Hefti.

Hefti, who began in big band and jazz with Woody Herman and then Count Basie, wrote his first film score in 1964 for Richard Quine’s comedy, Sex and the Single Girl. It was classic Hefti right out of the gate and introduced a fresh, melodic, and, yes, cool voice into film scoring. He followed that with How To Murder Your Wife (released by Kritzerland), which was followed by Synanon. Some of his most famous work lay ahead – the following year he’d work on TV’s Batman, do brilliant scores for two Neil Simon comedy films, Barefoot In The Park and then his iconic music for The Odd Couple, whose theme was also used in the TV series based on the play and film. Hefti’s score for Synanon opens with a moody and evocative main title, and the rest of the score consists of variations on that main theme, along with some swingin’ ups, bluesy ballads, and even a couple of vocals – all in the unique Hefti style and loaded with his usual melodic invention. There was no one like him.

WELL, HELLO WORLD, COME IN AND ENTER LAUGHING

Enter Laughing began life as a semi-autobiographical novel by Carl Reiner, about a young man longing to break into show business. It was adapted for Broadway by playwright Joseph Stein and opened in 1963 to excellent reviews. In 1967, Enter Laughing was brought to the screen, this time written and directed by Reiner himself. The film version starred Reni Santoni, Janet Margolin, Jose Ferrer, Elaine May, Jack Gilford, Don Rickles, Shelly Winters, David Opatashu, and, repeating his stage role, Michael J. Pollard. Enter Laughing is a frequently hilarious movie filled with expert turns by expert actors, especially Ferrer and May, who are both brilliant in the film. Capturing all the fun and spirit of the movie was its score by the great Quincy Jones, another of the cool set of composers from the 1960s.

Jones, like Hefti, started out in big band and jazz as an arranger and composer. And, like Hefti, Jones wrote his first Hollywood film score in 1964, for Sidney Lumet’s The Pawnbroker. He instantly became a sought-after and very prolific film composer, scoring such 1960s films as Mirage, Walk, Don’t Run, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Mackenna’s Gold, The Italian Job, Bob and Mary and Ted and Alice, Cactus Flower and many others, as well as his great theme for the TV series Ironside. The 70s were no less fruitful, producing such great scores as The Anderson Tapes, $, The Hot Rock, The New Centurions, The Getaway, Roots, and, in 1985, The Color Purple. Jones was a completely fresh voice in film scoring – he combined the best of all worlds – big band, jazz, and classic film scoring, into his own unique sound. While his score for Enter Laughing is on the more traditional side, it is infectiously tuneful, fresh as a daisy, and fits the film like a glove. It’s the kind of score no one really knows how to write anymore.

Both Synanon and Enter Laughing were originally released on Liberty Records and this is the first CD release for both. They are mastered from the original two-track album masters housed in the Capitol vaults – they were in pristine condition and both have that spectacular 1960s stereo sound.

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 third week of December – 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.kritzerla...om/enterSyn.htm

[Charlie Brigden 7]

Ol' Bruce is really, really, really, really, really, really, really, really, really, really, unhappy about that Intrada thing, isn't he.

[Jay 37,369]

What?

[tharpdevenport 4]

That was his trademark at FSM for about a year, anytime another label announced the same day, or a day before/after, he'd get really, really pissed and act like it was a conspiracy.

Does he still do that? I haven't seen it recently.

[Charlie Brigden 7]

What?

In the Varese thread, he made a disparaging comment about Intrada's new edition policy. I know he also kicked off heavily when they started it, but it seems he's still bitter.

[Jay 37,369]

ha! You're right

One of Intrada won't be limited? I think all of Intrada isn't limited - oh, wait - it is and it isn't, depending on the wind. Well, whatever, it's not limited at the announcement phase.