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The latest release from Intrada pairs two scores originally released on LP on the Mainstream label.

was William Wyler's 1965 film version of the John Fowles novel about a woman (Samantha Eggar) kidnapped by an introverted young man (Terence Stamp). The film received three Oscar nomiations, for Wyler, Eggar and the screenplay, and the original score was composed by Maurice Jarre. Intrada's CD features the same tracks as the LP but from the original stereo master tapes.

Director Frank Perry and screenwriter Eleanor Perry received Oscar nominations for 1962's DAVID AND LISA, a drama about the romance between two young people (played by Keir Dullea and Janet Margolin) suffering from mental illness. The only film scored by Mark Lawrence, the CD features the 15 minutes of original score tracks featured on the LP plus three cues of "Jazz Impressions of David and Lisa with the Victor Feldman All-Stars," all from the original stereo masters.

The recently released UK drama ORDINARY LOVE, starring Lesley Manville and Liam Neeson as a long-married couple struggling to cope with the wife's cancer diagnosis, not only has a score co-composed by David Holmes (with Brian Irvine) -- Holmes is one of the film's producers. One of the people the film is dedicated to is Holmes' sister Maggy, who passed away in June 2017.

LAST AND FIRST MEN, scored and directed by the late Johann Johansson, just screened at this year's Berlin Film Festival to rave reviews. Deutsche Grammophon will release the score next month on CD and vinyl.


Apocalypse Domani
 - Alessandro Blonksteiner - CSC 
The Collector/David and Lisa
- Maurice Jarre/Mark Lawrence - Intrada Special Collection


Blood on Her Name - Brooke Blair, Will Blair
Burden - Dickon Hinchliffe
Corpus Christi - Evgueni Galperine, Sacha Galperine
Disappearance at Clifton Hill - Alex Sowinski, Leland Whitty 
The Flood - Billy Jupp
Greed - Harry Escott
Guns Akimbo - Enis Rotthoff
I Was at Home But... - no original score
The Invisible Man - Benjamin Wallfisch
The Jesus Rolls - Emilie Simon
Lost in America - Tammy Hyler
Tread: The True Story of Marvin Heemeyer - Austin Wintory
Wendy - Dan Romer, Benh Zeitlin


March 13
Charles Gerhardt Conducts Classic Film Scores [12-disc set] - various - Sony 
El Cuento de la Comadrejas - Emilio Kauderer - Sony (import)  
The Matrix Symphony 
- Don Davis - Perseverance 
Radioactive - Evgueni Galperine, Sacha Galperine - Milan [import]
Wings over Everest - Kenji Kawai - Milan [import]  
March 20
The Witcher - Sonya Belousova, Giona Ostinelli - Sony [import]
March 27
His Dark Materials
- Lorne Balfe - Silva
Last and First Men - Johann Johannsson - Deutsche Grammophon
No Time to Die - Hans Zimmer - Decca
Whiplash: The Deluxe Edition
- Justin Hurwitz, Tim Simonec - Varese Sarabande
Date Unknown
Agatha [unused score]
 - Howard Blake - Dragon's Domain
The Conrad Pope Collection, vol. 1
 - Conrad Pope - Dragon's Domain

Le Dolci Signore
 - Armando Trovajoli - Digitmovies 
Lo Strano Vizio Della Signora Wardh
- Nora Orlandi - Quartet 
- Carlo Savina - Quartet 
Sbirro, La Tua Legge E Lenta...La Mia...No!
 - Stelvio Cipriani - Digitmovies
 - Barry Gray - Silva 


February 28 - Albert Elms born (1920)
February 28 - Pierre Jansen born (1930)
February 28 - Charles Bernstein born (1943)
February 28 - Loek Dikker born (1944)
February 28 - Mike Figgis born (1948)
February 28 - David Raksin begins recording his score for The Next Voice You Hear (1950)
February 28 - Edward Shearmur born (1966)
February 28 - Murray Gold born (1969)
February 28 - Jerry Goldsmith records his score to the Twilight Zone: The Movie segment "It's a Good Life" (1983)
February 28 - Armando Trovajoli died (2013)
February 28 - Ennio Morricone wins his first “competitive” Oscar for The Hateful Eight score (2016)
February 29 - Herbert Stothart wins Original Score Oscar for The Wizard of Oz (1940)
February 29 - Mervyn Warren born (1964)
March 1 - Leo Brouwer born (1939)
March 1 - Jose Nieto born (1942)
March 1 - Bernard Herrmann begins recording his score for The Man in the Grey Flannel Suit (1956)
March 1 - Nino Oliviero died (1980)
March 1 - David Newman begins recording his score for Talent for the Game (1991)
March 1 - John Barry begins recording his score for Indecent Proposal (1993)
March 1 - Laurence Rosenthal begins recording his score for Inherit the Wind (1999)
March 1 - Lucio Dalla died (2012)
March 2 - Marc Blitzstein born (1905)
March 2 - Richard Hazard born (1921)
March 2 - Lost Horizon premieres in San Francisco (1937)
March 2 - Andrzej Korzynski born (1940)
March 2 - Alfred Newman wins Oscar for The Song of Bernadette score (1944)
March 2 - Larry Carlton born (1948)
March 2 - Basil Poledouris begins recording his score to Big Wednesday (1978)
March 2 - Antoni Komasa-Lazarkiewicz born (1980)
March 2 - Jerry Goldsmith records his score to the Twilight Zone: The Movie segment "A Nightmare at 20,000 Feet" (1983)
March 2 - Serge Gainsbourg died (1991)
March 2 - Recording sessions begin on Toru Takemitsu’s score for Rising Sun (1993)
March 2 - John Debney records his score for the Star Trek: Deep Space Nine episode “The Nagus” (1993)
March 2 - Goffredo Petrassi died (2003)
March 2 - Malcolm Williamson died (2003)
March 2 - Steven Price wins Oscar for Gravity score (2014)
March 3 - Lee Holdridge born (1944)
March 3 - Jeff Rona born (1957)
March 3 - John Williams begins recording his score for Jaws (1975)
March 3 - Leonard Rosenman begins recording his unused score for The Last Hard Men (1976)
March 3 - Peter Ivers died (1983)
March 3 - Jerry Goldsmith records his score to the Twilight Zone: The Movie segment "Time Out" (1983)
March 3 - Basil Poledouris records his score for the Twilight Zone episode “Profile in Silver” (1986)
March 3 - Arthur Kempel died (2004)
March 4 - Erich Wolfgang Korngold's score for Anthony Adverse wins the Oscar; however, as per Academy policy, the score is awarded to the head of the studio's music department, Leo Forbstein (1937)
March 4 - Lucio Dalla born (1943)
March 4 - Max Steiner wins score Oscar for Now, Voyager (1943)
March 4 - Leonard Rosenman died (2008)
March 4 - Alexandre Desplat wins his second Oscar, for The Shape of Water (2018)
March 5 - Heitor Villa-Lobos born (1887)
March 5 - Harry Lubin born (1906)
March 5 - Max Steiner's score for The Informer wins the Oscar; Academy policy at the time awards to the score to the head of the studio's music branch -- who, in this case, is Max Steiner (1936)
March 5 - Bruce Smeaton born (1938)
March 5 - Robert Folk born (1949)
March 5 - Michael Gore born (1951)
March 5 - Sergei Prokofiev died (1953)
March 5 - Graham Reynolds born (1971)
March 5 - John Williams begins recording his score to Star Wars (1977)
March 5 - Bruce Broughton records his Emmy-winning score for the Buck Rogers in the 25th Century episode “The Satyr” (1981)
March 5 - Maurice Jarre begins recording his score for A Walk in the Clouds (1995)
March 5 - Theodore Shapiro begins recording his score for Idiocracy (2005)
March 5 - Gustavo Santaolalla wins his first Oscar, for the Brokeback Mountain score (2006)


THE BOOKSHOP - Alfonso de Vilallonga

"Elsewhere, however, the wildly uneven contributions of the supporting ensemble -- including the plummily villainous Clarkson, unusually off-key in her third Coixet collaboration -- make it hard to gauge the character of the community, with its odd, unsorted array of accents, backgrounds and uniformly laundered-looking outfits. The film’s aesthetic is equally hard to pin down, with cinematographer Jean-Claude Larrieu alternating between pastoral naturalism and ominously theatrical exterior lighting, while Alfonso de Vilallonga’s thick, string-heavy score doesn’t have quite as much faith in the expressive power of words as Coixet’s screenplay does. A loving, ambitious stab at a well-chosen text that it nonetheless can’t fully lift from the page, 'The Bookshop' perhaps makes the case for printed matter in more ways than it intends."
Guy Lodge, Variety 
"In a wonderfully apt touch, the voiceover is delivered by Julie Christie, who starred in Truffaut’s version of 'Fahrenheit 451.' Often drawn directly from Fitzgerald’s novel, it does adds shade and context to some scenes, but is sometimes unnecessary. The same can be said of Alfonso de Vilallonga’s score, which is better during the melancholy sequences, but cliched when it’s striving to be perky. Some nuances are missing: Christine is probably too frightfully well spoken for the daughter of a working-class 1950s woman in an eastern English county, and indeed regional accents are lacking entirely. But visually, the attention to period detail from Marc Pou seems faultless."
Jonathan Holland, The Hollywood Reporter 
"Is it further overthinking 'The Night Clerk' to ascribe purpose to its generic lensing and cheap production design? Bert’s supposed to work at a budget hotel chain along the lines of a Holiday Inn or Best Western, so maybe the complete lack of visual interest is intentional. But the music is embarrassingly generic as well, and the film flops around like a dying fish every time it attempts comedy or suspense, pointing toward a simple lack of vision on Cristofer’s part. That leads to the biggest question posed by 'The Night Clerk:' Is this a director whose skills have dropped off after a nearly two-decade gap -- Christofer’s last movie, 'Original Sin,' was released in 2001 -- or was the skill never really there to begin with? Again, the simpler answer is usually the correct one."
Katie Rife, The Onion AV Club 

THE NUN - Abel Korzeniowski

"Where the screenplay waters down the terror with comic asides, director Corin Hardy pumps it up with bloody, blasphemous, in-your-face horror imagery that’s as likely to produce stifled chortles as involuntary gasps. (Exhibit A: The crucifix that turns itself upside down and bursts into flames within the first five minutes.) This isn’t necessarily a bad thing: While some of Hardy’s aesthetic choices are cheesy enough for a carnival funhouse -- the lighting is harsh and stagey throughout, and the music comically portentous -- funhouses are, well, fun. And Hardy obliges with frequent jump scares, loud sound effects, and outrageous dolly zooms, using every tool in the modern horror toolbox to enhance the giddiness of scenes like the one early on in the film where Father Burke is lured into a cemetery (blanketed in fog, of course), then buried alive by an invisible adversary."
Katie Rife, The Onion AV Club 
"Once the three cross the castle’s threshold, cinematographer Maxime Alexandre earns his keep with one jump-inducing whip pan after another, underlined by the cavernous, vocals-heavy score from Abel Korzeniowski -- an old hand at this sort of thing after three seasons of Showtime’s 'Penny Dreadful.' The tenebrous visuals are also aided by Jennifer Spence’s interiors, which consist of evocative variations on a dank, dark, cobwebbed theme."
Harry Windsor, The Hollywood Reporter 
OPERATION FINALE - Alexandre Desplat

"Both Weitz and Orton are keenly aware of the parallels between Eichmann’s era and our own, and though they don’t hit them too hard, their intent is powerfully clear. This urgency (aptly accentuated by Alexandre Desplat’s score), and the sincere commitment of all involved, gives the movie a greater weight than its labored pacing and bland visuals otherwise might."
Elizabeth Weitzman, The Wrap 
"The director of 'Operation Finale' is Chris Weitz, who did beautifully with the comedy 'About a Boy' (which was also deftly narrated) and then inexplicably moved on to movies like 'The Golden Compass' (a nonstarter) and the second 'Twilight' dirge. Here, working with Matthew Orton’s muddy script, he never finds a pulse -- amazing given this particular story as well as Alexandre Desplat’s score, which is thunderous with the odd plink for texture. Orton likely cribbed the idea from 'Argo' of adding a chase to the runway and last-second takeoff, but there’s no snap to it. Weitz doesn’t have Ben Affleck’s shamelessness -- or his talent for ratcheting up the stakes."
David Edelstein, New York 

"So begins an uneven thriller that starts like 'Munich,' grows into 'Ex Machina' (across the series of theatrical hostage scenes in which Malkin probes Eichmann’s humanity), and is always glazed with the slick banality of network TV. Despite the pluckiness of Alexandre Desplat’s score, and the playful severity that Nick Kroll and Mélanie Laurent bring to their roles as Malkin’s fellow spies, the first act of 'Operation Finale' is too obvious to be suspenseful. For all of the moral ambiguity that it eventually hopes to entertain, Matthew Orton’s screenplay telegraphs most of its beats in large blinking lights, and spells out all of the emotions you’re supposed to feel along the way -- even for a work of historical nonfiction, 'Operation Finale' often feels like bowling with bumpers."
David Ehrlich, IndieWire 

"Indeed, only the A-list cast distinguishes 'Operation Finale' from your run-of-the-mill TV movie, for which it could otherwise be easily mistaken. Kingsley has been here before, having played a similar (but fictional) role in Roman Polanski’s 'Death And The Maiden' (1994), which at least has some real juice to it; as Eichmann, he relies heavily on the bland self-possession with which the man conducted himself during his televised trial, achieving accuracy at the expense of drama. Isaac, playing the film’s ostensible protagonist, has been handed so many generic lines and situations (including a tepid semi-romance with a fellow agent played by Mélanie Laurent) that he often comes across like a glorified extra -- if you caught a minute or two of his performance on cable, you’d assume it must be a tiny role from his pre-stardom period, before filmmakers began tapping his natural charisma. Hell, this is a movie that somehow manages to make Nick Kroll boring. Alexandre Desplat contributes an urgent, aggressively stylized score that would be terrific in another context but sounds all wrong for this sober material, and director Chris Weitz -- yes, the 'American Pie' guy -- is just out of his depth. 'Operation Finale' means to embody the banality of evil, but it’s mostly mired in plain old banality."
Mike D'Angelo, The Onion AV Club 
PAPILLON - David Buckley

"Even if Noer and Guzikowski had completed an identical redo -- shot for shot, and line by line -- the results still wouldn’t have measured up. The sweat-soaked, grimy, widescreen spectacle Schaffer employed is rendered with almost television like slickness here. There is little sense of the vastness of the prison compound and operations or the swampy sensation of being in the West Indies; the sets here are remarkably dull, the atmosphere non-existent. And try as he might, composer David Buckley’s bland score hardly has a chance against the terrific work of Jerry Goldsmith."
Kevin Jagernauth, The Playlist 
"There’s more graphic violence this time around, as well as more dialogue, sometimes of a cruder nature than necessary. (Neither speech or casting bother much to foster an atmosphere of retro Gallic culture in this English-language production, shot on Malta as well as in former Yugoslavian territories.) The physical production is aptly both gritty and handsome in Hagen Bogdanski’s cinematography, with strong contributions from production designer Tom Meyer and other principal collaborators. David Buckley contributes a low-key but effective score."
Dennis Harvey, Variety 

"Give or take the extraterrestrial addition, these antics turn out to be par for the course in this franchise: hungry havoc-wreaking in a village supermarket, a joyride in a hijacked tractor, and so on. Every such setpiece is staged with lickety-split comic timing, as well as Aardman’s usual wealth of witty incidentals. Throwaway film parodies check off the likes of 'Alien' and '2001: A Space Odyssey,' sight gags merge with groansome wordplay -- including one two-part joke featuring an actual bull in a china shop -- and there’s a winking appreciation for quintessentially British banalities, right down to one visual punchline centered on municipal recycling rules that falls strictly under the 'one for the parents' column. Only a soundtrack heavy on pop tracks from British artists ranging from Jorja Smith to the Chemical Brothers sounds out of place, their slick wordiness more disruptive to the film’s unworldly Play-Doh Chaplin spirit than Tom Howe’s infectiously buoyant score."
Guy Lodge, Variety 

"Ratner appears to have absorbed the same less-is-more wisdom, and if 'Standing Up' consistently feels familiar, it nevertheless resists emphasizing the more broadly comedic or maudlin elements you might expect. Its smooth craftsmanship extends to all packaging elements, with an above-average attention to creating an inviting warmth from the visual contributors, while David Schwartz provides an appropriately low-key, acoustic-guitar-based score."
Dennis Harvey, Variety 
VFW - Steve Moore
"In his 2014 debut, 'Almost Human,' Begos showed both art house horror and splatterpunk sensibilities. His recent vampire explosion, 'Bliss,' leaned hard into the former: now 'VFW' goes full 'Street Trash' as a cadre of of Vietnam War aging veterans taking on wave after wave of zombified addicts, hooked on a new drug called Hype. Yeah, it may say in the brief intro card that the background is the opioid epidemic, but between the grizzled old war dogs and a vision of addiction and street gangs that fell straight out of some unpublished D.A.R.E./Chick Tract crossover, this is pure mid-80s hyperviolence set to a soundtrack by Steve Moore that evokes the best of the era's synthscore masters without ever sounding derivative, pulling as much from deep cuts by Carl Zittrer and Klaus Schulze as it does from headliners like Fabio Frizzi and John Carpenter."
Richard Whittaker, The Austin Chronicle 

"The nostalgia is strong in this effort that resembles a senior citizen version of John Carpenter's 'Assault on Precinct 13.' From its synth-heavy soundtrack to its premise of a group of macho men fighting off a horde of violent invaders, the pic clearly pays homage to Carpenter's classic (itself an homage to Howard Hawks' 'Rio Bravo'), except that the leading performers in this film are mostly well past Social Security-eligibility age."
Frank Scheck, The Hollywood Reporter
WAITING FOR ANYA - James Seymour Brett
"Those already familiar with the basics of history may find it adds nothing new to see this film’s opening moments with terrified Jews wearing yellow stars herded into trains, a baby crying, a woman screaming, and a sad violin on the soundtrack. For middle schoolers, who may never have been exposed to these images, the film may be educational about such horrors. But 'Waiting for Anya' remains thin, sugary, and over-simplified."
Neil Minow,

YOU GO TO MY HEAD - Hacène Larbi
"There’s nothing wrong with a movie that follows its own, insistently deliberate pace. If there is no satisfying end goal, however, an iconoclastic approach quickly shifts from artistic depth to empty posing. The same is true for Hacène Larbi’s sinister score, which leads us in the direction of a thriller that never fully unfolds. Indeed, the more impactful moments are the ones that rely on diegetic noise: the wind rustling, an unexpected jeep arriving. Again, though, these are hints at another movie altogether. For the audience, the loudest sound may eventually become that of a very slowly ticking clock."
Elizabeth Weitzman, The Wrap


Screenings of older films, at the following L.A. movie theaters: AMPASAlamo DrafthouseAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena CineloungeFairfax Cinema, LaemmleNew Beverly, Nuart, UCLA and Vista.  

February 28
BATMAN (Danny Elfman) [Vista]
CANDYMAN (Philip Glass) [New Beverly]
CRUISING (Jack Nitzsche) [Nuart]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Fairfax Cinema]
PASSION FISH (Mason Daring) [UCLA]
TOUCH OF EVIL (Henry Mancini) [Fairfax Cinema]
THE TOWN THAT DREADED SUNDOWN (Jaime Mendoza-Nava) [Fairfax Cinema]
TRUE ROMANCE (Hans Zimmer) [New Beverly]

February 29
EIGHT MEN OUT (Mason Daring) [UCLA]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Fairfax Cinema]
THE HOSPITAL (Morris Surdin) [New Beverly]
KILLER'S KISS (Gerald Fried), THE KILLING (Gerald Fried) [Vista]
LEAP YEAR (Randy Edelman) [Alamo Drafthouse]
NORTE, THE END OF HISTORY [Cinematheque: Aero]
PANDORA'S BOX [Cinematheque: Egyptian]
TOUCH OF EVIL (Henry Mancini) [Fairfax Cinema]
THE TOWN THAT DREADED SUNDOWN (Jaime Mendoza-Nava) [Fairfax Cinema]

March 1
BATANG WEST SIDE (Joey Ayala) [Cinematheque: Egyptian]
BATMAN RETURNS (Danny Elfman) [Vista]
THE BLUE LAGOON (Basil Poledouris), SUMMER LOVERS (Basil Poledouris) [New Beverly]
THE CLOCK (George Bassman) [Cinematheque: Egyptian]
HAPPINESS (Robbie Kondor) [Fairfax Cinema]
MY SUMMER OF LOVE (Alison Goldfrapp, Will Gregory) [Alamo Drafthouse]
SHORT TERM 12 (Joel P. West) [Alamo Drafthouse]
TOUCH OF EVIL (Henry Mancini) [Fairfax Cinema]
THE TOWN THAT DREADED SUNDOWN (Jaime Mendoza-Nava) [Fairfax Cinema]
UGETSU (Fumio Hayasaka), LITTLE BY LITTLE [Cinematheque: Aero]

March 2
THE BLUE LAGOON (Basil Poledouris), SUMMER LOVERS (Basil Poledouris) [New Beverly]
PASSENGER 57 (Stanley Clarke) [New Beverly]
XANADU (John Farrar, Jeff Lynne, Barry DeVorzon) [Alamo Drafthouse]

March 3
SOCIETY (Phil Davies, Mark Ryder) [Alamo Drafthouse]
SQUIRM (Robert Prince), TENDER FLESH (Tony Camillo) [New Beverly]

March 4
HIGH PLAINS DRIFTER (Dee Barton) [New Beverly]
THE MAN WHO WOULD BE KING (Maurice Jarre), ZULU DAWN (Elmer Bernstein) [New Beverly]
SCHINDLER'S LIST (John Williams) [Vista]
WILD IN THE STREETS (Les Baxter) [Alamo Drafthouse]

March 5
THE MAN WHO WOULD BE KING (Maurice Jarre), ZULU DAWN (Elmer Bernstein) [New Beverly]
THE NUTTY PROFESSOR (David Newman) [Alamo Drafthouse]

March 6
THE BEAST MUST DIE (Silvio Vernazza), GILDA (Morris Stoloff, Marlin Skiles) [Cinematheque: Egyptian]
HEAVEN (Howard Shore) [Arena Cinelounge]
MANNEQUIN (Sylvester Levay) [Arena Cinelounge]
STARSHIP TROOPERS (Basil Poledouris) [New Beverly]

March 7
BETTER LUCK TOMORROW (Michael Gonzales, Tobin Mori) [UCLA]
HAROLD AND MAUDE (Cat Stevens) [New Beverly]
HEAVEN (Howard Shore) [Arena Cinelounge]
M, M (Michel Michelet), EL VAMPIRO NEGRO (Juan Ehlert) [Cinematheque: Egyptian]
MANNEQUIN (Sylvester Levay) [Arena Cinelounge]
SHAUN THE SHEEP MOVIE (Ilan Eshkeri) [Alamo Drafthouse]

March 8
THE BRADY BUNCH MOVIE (Guy Moon) [Alamo Drafthouse]
THE DEVIL STRIKES AT NIGHT (Seigfried Franz), FLY-BY-NIGHT [Cinematheque: Egyptian]
THE GREAT RACE (Henry Mancini) [New Beverly]
HEAVEN (Howard Shore) [Arena Cinelounge]
THE HOUSEMAID (Sang-gi Han), MY NAME IS JULIA ROSS (Mischa Bakaleinikoff) [Cinematheque: Egyptian]
MANNEQUIN (Sylvester Levay) [Arena Cinelounge]
THE SHOCKING MISS PILGRIM (George Gershwin, Alfred Newman, David Raksin) [UCLA]


Heard: The X-Files: The Event Series (Snow), Harmonium (Adams)

Read: Naked Came the Stranger, by "Penelope Ashe"

Seen: The Hot Rock; Cops and Robbers; The Hunger; Brahms: The Boy II; Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn); Downhill; The Photograph; Ordinary Love; Zombi Child; 10 Things We Should Do Before We Break Up; A Man for All Seasons; The Mission

Watched: Columbo ("Lady in Waiting")

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Comments (5):Log in or register to post your own comments
The Collector may be a decent film,but it's pretty much forgotten today.Would you believe William Wyler passed on The Sound Of Music to direct it?Great choice,Willy!

Correction: only The Collector was a Mainstream album. Intrada paired it with an Ava album (David & Lisa). I'm not sure but the two catalogues may now be overseen by the same people, allowing the pairing. Either that or they just licensed from two different sources. If you look at the back cover of the release you can see that two different record labels are mentioned in the copyright info at the bottom:


Hey Scott, do you have any additional information about the below release you list in "Coming Soon"?

March 20
The Witcher - Sonya Belousova, Giona Ostinelli - Sony [import]

The digital album is over 3 hours long.

Do you know if this will be a multi-disc set or a single disc highlights album?

Thanks for another great column!

Thank you for the Mainstream/Ava note -- I tend to mentally merge those two labels, especially since I didn't buy any of their LPs until at least a decade after they came out, probably longer. I'll try to remember to fix the Friday item on Monday.

The only info I have about the Witcher CD is coming across it on Amazon UK.

I'm looking forward to hearing this reissue - I never had the original Jarre album. But I have to say, though I am normally a huge Jarre fan, his score for THE COLLECTOR almost ruined the movie for me. Maybe I'll feel differently hearing the Intrada reissue ...

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