Georges Delerue (1925-1992) wrote some of the most beautiful music ever heard in the movies, both in his native France and in Hollywood productions. His career spanned the French new wave (and most of François Truffaut's most significant projects) and international productions for filmmakers such as Bernardo Bertolucci, Norman Jewison, Oliver Stone and others. Throughout all his assignments, his gift for simplicity and melody made him a cinematic treasure, and he was beloved by professionals and fans alike. IMDB

Adolph Deutsch (1897-1980) was an English composer who came to the U.S. to work in dance bands and on Broadway, moving to Hollywood in 1937 on a contract with Warner Bros.; he later was part of the M-G-M music department under Johnny Green. Overall, he worked on numerous projects during Hollywood's Golden Age, including such screen classics as The Maltese Falcon, Seven Brides for Seven Brothers and The Apartment. IMDB

George Duning (1908-2000) was a longtime contract composer at Columbia Pictures (From Here to Eternity, Picnic) who later did feature films as a freelancer (including several of the titles released by FSM) as well as a great amount of television (including Star Trek). A former bandleader for Kay Kyser, he was comfortable in jazz idioms and had a sensitive and melodic touch as a symphonic dramatist. FSM is one of the only labels to showcase his work, from action-adventure (The Devil at 4 O'Clock) to magical comedy (Bell, Book and Candle) to bluesy and lyrical (Toys in the Attic). IMDB

Don Ellis (1934-1978) was a visionary West Coast jazz trumpetist, drummer, composer and arranger whose Don Ellis Band broke new ground in adventuresome time signatures and orchestration; it was said the only piece that the band played in 4/4 was "Take Five." Ellis broke his avant garde jazz sensibilities to The French Connection and French Connection II as well as other film and TV projects before his untimely death as a result of a heart ailment. IMDB

Jerry Fielding (1922-1980) was one of cinema's most distinctive voices in the 1960s and especially '70s, the perfect musical complement to the films of Sam Peckinpah, Michael Winner, Clint Eastwood and others. His scores are marked by modernism and intricate orchestrations but also a poetic beauty and intensity—an appropriate accompaniment to the decade's strange and often sad (but never sentimental) criminals and antiheroes, be they in westerns (The Wild Bunch) or crime films. He was, however, capable of numerous styles (he was a former Vegas bandleader), and wrote a great number of scores (from sticoms to dramas to sci-fi) for television. IMDB

Robert Franklyn (1918-1980) orchestrated almost all of the scores Bronislau Kaper composed for M-G-M from the mid-‘40s until the early ‘60s. He also worked on the orchestration team for several of the studio’s musicals, including Meet Me in St. Louis and Annie Get Your Gun. His composition credits are limited to a few short subjects but he also contributed cues to various “staff scores” such as Son of Lassie. IMDB

Gerald Fried (b. 1928) contributed scores to some of the most famous 1960s TV series including Star Trek ("Amok Time"), Gilligan's Island, The Man From U.N.C.L.E. and Lost in Space. His career began in the 1950s with several features for his Bronx friend Stanley Kubrick (The Killing, Paths of Glory) and has also encompassed classic '50s horror like The Return of Dracula and, into the '70s and '80s, landmark longform television such as Roots. His scores are distinguished by his distinctive rhythms and also colorful writing for woodwinds (he is an oboe player).

Hugo Friedhofer (1901-1981) started his Hollywood career as an arranger and orchestrator (working for Erich Wolfgang Korngold and Max Steiner, among others) before becoming one of the most admired—if still underappreciated—composers of the 1940s and ’50s, with television work extending into the 1960s. He won an Oscar for his score for The Best Years of Our Lives. FSM is proud to have released several scores by this thoughtful and accomplished musician; sample the main titles from Above and Beyond and Soldier for Fortune for their exquisite melodies. IMDB

Dominic Frontiere (b. 1931) started working in Hollywood in the early 1950s as an arranger and orchestrator at 20th Century Fox. He was also a familiar figure on the West Coast jazz scene, eventually forming his own sextet. He began composing music for movies and television in the early '60s, making his first mark with the science fiction anthology series The Outer Limits. Frontiere became a mainstay of the United Artists music department during the mid-'60s and a familiar name in the composer credits for such ABC-TV series as The Rat Patrol and Twelve O’Clock High. Feature film credits include Billie, Popi, Hang 'Em High and Cleopatra Jones and the Casino of Gold. He was the head of Paramount's music department during the 1970s. IMDB

Russell Garcia (b. 1916) had an extensive career as a trumpeter, composer, arranger, songwriter and bandleader prior to his film and work primarily in the 1950s (much of it uncredited at Universal) and 1960s (including TV). His concept album for Capitol Records, Fantastica, led him to his two assignments for George Pal, both released by FSM: The Time Machine and Atlantis: The Lost Continent.IMDB