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Sky Fighter Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night
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Intrada plans to release one new CD next week.

Kritzerland's latest release is the first-ever CD of the score for the 1967 science-fiction comedy ROCKET TO THE MOON (aka Those Fantastic Flying Fools), starring Burl Ives and Terry-Thomas and loosely inspired by the books of Jules Verne. The score was composed by John Scott (back when he was billed as Patrick John Scott), and was originally released in England on an LP so rare that even I, who have been collecting soundtracks for more than 40 years, didn't even know of its existence until a few weeks ago.

This weekend I was listening to the soundtrack LP for writer-director S. Craig Zahler's terrific horror Western BONE TOMAHAWK, with its score composed by Jeff Herriott and Zahler himself. It's been nearly a year and a half since I saw the film, and it's low-key, somber music wasn't especially fresh in my memory, so it wasn't until the end title song played that I realized I was playing the album at the wrong speed -- because nowhere on the album label, the cover, the inserts, or even the sticker on the plastic wrap, did it mention that the album was meant to be played at 45 rpm (nor is it mentioned on the label's website, or on the album's Amazon listing). That's the kind of information that's handy to know when you put an album on the turntable.


The Boss Baby
 - Hans Zimmer, Steve Mazzaro - Backlot
A Boy Named Charlie Brown
 - Vince Guaraldi, Rod McKuen, John Scott Trotter - Kritzerland
Delitto Al Blue Gay
 - Fabio Frizzi - Beat
Die Hard (re-release) - Michael Kamen - La La Land
Fast Company
 - Fred Mollin - Dragon's Domain
Febbre Da Cavallo/La Commedia Musicale
 - Fabio Frizzi - Beat
Legend of the Lich Lord 
- Bruno Valenti - Howlin' Wolf
Logan - Marco Beltrami - Lakeshore
Panic/Fitzgerald (Last Call)
 - Brian Tyler - Howlin' Wolf
Prega Il Morto E Ammazza Il Vivo
 - Mario Migliardi - Beat
Ritratto Di Donna Velata
 - Riz Ortolani - Beat
- Rich Douglas - Howlin' Wolf
 - Harry Manfredini - Dragon's Domain


The Blackcoat’s Daughter - Elvis Perkins - Score LP due on Mondo
The Boss Baby - Hans Zimmer, Steve Mazzaro - Score CD on Backlot
Bwoy - Kenneth Lampl, Darren Tate
Carrie Pilby - Michael Penn
Despite the Falling Snow - Rachel Portman - Score CD on Cube (import)
The Discovery - Danny Bensi, Saunder Jurriaans
Ghost in the Shell - Clint Mansell, Lorne Balfe
Here Alone - Eric D. Johnson
The Levelling - Hutch Demouilpied
Pitching Tents - Zack Ryan
The Zookeeper’s Wife - Harry Gregson-Williams


April 7 
Better Call Saul - Dave Porter - Sony (CD-R)
The Comedian - Terence Blanchard - Blue Note
Music from the Films of Woody Allen
 - various - Triangle Music
Music of Game of Thrones - Ramin Djawadi - Silva
April 14
We're Going on a Bear Hunt - Stuart Hancock - Sony (import)
April 21
Power Rangers
 - Brian Tyler - Varese Sarabande
April 28
The Fate of the Furious - Brian Tyler - Backlot
On Golden Pond
 - Dave Grusin - Varese Sarabande
May 5
Juile's Greenroom - Ryan Shore, songs - Varese Sarabande
Life - Jon Ekstrand - Milan
May 19
King Arthur: Legend of the Sword - Daniel Pemberton - WaterTower
May 26
Emerald City - Trevor Morris - Lakeshore
June 2
Max & Me - Mark McKenzie - Sony (import)
Date Unknown
Monster from Green He
ll - Albert Glasser - Kritzerland
Rocket to the Moon
- John Scott - Kritzerland
Thriller (re-recording)
 - Jerry Goldsmith - Tadlow
Two for the Road - Henry Mancini - Kritzerland


March 31 - Arthur B. Rubinstein born (1938)
March 31 - Alejandro Amenabar born (1972)
March 31 - Michael Gore wins his first two Oscars for Fame's score and title song (1981)
March 31 - Cliff Eidelman begins recording his score for The Meteor Man (1993)
March 31 - Terry Plumeri died (2016)
April 1 - Winfried Zillig born (1905)
April 1 - Pete Carpenter born (1914)
April 1 - George Garvarentz born (1932)
April 1 - Matthew McCauley born (1954)
April 1 - David Raksin begins recording his score for Until They Sail (1957)
April 1 - Philip Lambro begins recording his unused score for Chinatown (1974)
April 1 - Marvin Gaye died (1984)
April 2 - Serge Gainsbourg born (1928)
April 2 - Marvin Gaye born (1939)
April 2 - Marvin Hamlisch wins Oscars in all three music categories, for adapting The Sting and for The Way We Were's score and title song (1974)
April 2 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Chase” (1993)
April 2 - Jerry Goldsmith begins recording his score for The Sum of All Fears (2002)
April 2 - Mark McKenzie records his score for the Enterprise episode “Horizon” (2003)
April 2 - Clifford "Bud" Shank died (2009)
April 2 - Gato Barbieri died (2016)
April 3 - Mario Castelnuovo-Tedesco born (1895)
April 3 - Edward Ward born (1900)
April 3 - Marvin Hatley born (1905)
April 3 - Francois de Roubaix born (1939)
April 3 - Jungle Book released in U.S. theaters (1942)
April 3 - Richard Bellis born (1946)
April 3 - Philippe Rombi born (1968)
April 3 - Ferde Grofe died (1972)
April 3 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Testimony of a Traitor” (1981)
April 3 - Lionel Bart died (1999)
April 3 - Dusan Radic died (2010)
April 4 - Elmer Bernstein born (1922)
April 4 - Monty Norman born (1928)
April 4 - Miklos Rozsa begins recording his score for Madame Bovary (1949)
April 4 - Michel Camilo born (1954)
April 4 - Miklos Rozsa wins his third and final Oscar, for his Ben-Hur score (1960)
April 4 - Brian May begins recoding his score for Cloak & Dagger (1984)
April 4 - Roberto Nicolosi died (1989)
April 5 - Bernhard Kaun born (1899)
April 5 - Michael Galasso born (1949)
April 5 - Leo Erdody died (1949)
April 5 - Bent Aserud born (1950)
April 5 - Robert B. & Richard M. Sherman win Oscars for Mary Poppins' score and song "Chim Chim Cher-ee" (1965)
April 5 - Dave Grusin begins recording his score for The Friends of Eddie Coyle (1973)
April 5 - Pharrell Williams born (1973)
April 5 - John Morris begins recording his score for Yellowbeard (1983)
April 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "Skin of Evil" (1988)
April 5 - James Horner begins recording his score for Patriot Games (1992)
April 5 - Jerry Goldsmith begins recording his score for First Knight (1995)
April 5 - Richard LaSalle died (2015)
April 6 - Gerry Mulligan born (1927)
April 6 - Andre Previn born (1929)
April 6 - Patrick Doyle born (1953)
April 6 - Christopher Franke born (1953)
April 6 - John Green begins recording Leonard Rosenman's score for The Cobweb (1955)
April 6 - Normand Corbeil born (1956)
April 6 - Dimitri Tiomkin wins his fourth and final Oscar, for the Old Man and the Sea score (1959)
April 6 - Johnny Mandel begins recording his score for The Sandpiper (1965) 
April 6 - Born Free opens in Los Angeles (1966)
April 6 - Fred Karlin begins recording his score to Inside the Third Reich (1982)
April 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Icarus Factor" (1989)
April 6 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Storyteller” (1993)

CONCUSSION - James Newton Howard
"Sometimes a good story is enough, and 'Concussion' is one of those cases. In many ways, it’s cliched in the telling, old-fashioned without being classic, with a sappy soundtrack and lead performances that are so intended to inspire that they almost backfire. But writer-director Peter Landesman has a fascinating and appalling story to tell here, and that cuts through the layers of corniness."
Mick LaSalle, San Francisco Chronicle

"The histrionic pitch that absolutely steamrolled Landesman’s first film, the Kennedy assassination drama 'Parkland,' has been toned down here (the soaring score by James Newton Howard, less so). The ensemble gel together with finesse, as Morse and Adewale Akinnuoye-Agbaje do great work as troubled NFL players, and Albert Brooks and Baldwin supply the few lighthearted moments of the film. Mbatha-Raw barely registers though in her supportive wife role, which is more a function of the screenplay than her acting. So keen is Landesman to accelerate past her scenes, there’s a boggling moment where she is waiting at home -- dressed and made up to go dancing -- in preparation for Omalu to enter and tell her they’re going dancing."
Charlie Schmidlin, IndieWire

"'Concussion' dry-wheezes out of the gate with a show of canned pathos. Before a crowded room of fans, Mike Webster (David Morse) reminisces about his time in the NFL. The speech is practically a state of the union address, and as the maudlin strings on the soundtrack make clear, his days are numbered. For a spell, the film does seem as if it's only interested in indirectly condemning the NFL. Webster is the first of many golden boys of the sport to fall throughout the film, and given the horror-movie music that scores their physical and mental despair and the serrated edge of the film's cutting, it's as if these men are succumbing less to a neurodegenerative disease, namely chronic traumatic encephalopathy (CTE), than to some kind of rage virus. The effect is almost perversely avant-garde: to convey the horrific effects of football on the human body as sensorial impressions."
Ed Gonzalez, Slant Magazine

"The film is sharply edited by William Goldenberg and well shot by d.p. Salvatore Totino, although James Newton Howard’s score starts with the dial tuned up to 11 and somehow keeps getting louder."
Andrew Barker, Variety

"As a piece of filmmaking, 'Concussion' is competent but not inspired. The brief flashes of violence on the football field make their point in a rather pro forma way; they don’t quite achieve the necessary impact. James Newton Howard’s score is sometimes effective and sometimes bombastic. On the other hand, Oscar winning editor William Goldenberg ('Argo') helps keep the film hurtling forward. In the end, this film is vital in uncovering a hazard that was kept hidden for far too long. At last the secret is out, and Landesman and his fine cast will help to keep the conversation going."
Stephen Farber, Hollywood Reporter

LEGEND - Carter Burwell

"'Legend' plays fast and loose -- often amusingly -- with the laddish mythology of the Krays. It imagines them as the American-style gangsters they aspired to be and shows how and why that dream failed. A final noirish shot of Reggie walking along a canal at night, as Carter Burwell’s mournful score kicks in, saves the boys the indignity of a trial but leaves us in no doubt that the party will be over when the sun comes up."
Dave Calhoun, Time Out New York
"The look is spot-on -- these cat-eyelined ladies with their bouffants, hunched gangsters in smoky barrooms -- yet Carter Burwell’s uncharacteristically plodding score is oddly out of time. For the film itself, the measuring of time -- how it unfolds onscreen, and what takes place offscreen -- is a problem. When Helgeland holds his concentration, he delivers a nifty, unbroken slink through a nightclub that spotlights every side of Reggie’s warring personalities -- the cool-headed club owner, the curling-fisted crime boss, and the sweet guy falling stupid in love. But that scene -- smooth as butter, the film’s best -- is the exception. Mostly 'Legend' just lurches."
Kimberley Jones, The Austin Chronicle

"If all that sounds a little like 'Goodfellas', 'Casino', 'Mean Streets'… well, it’s hard to deny the Martin Scorsese influence on 'Legend.' From Frances’ voice-over to the long scene of Reggie showing off for his best gal by taking her through one of his clubs, the movie at times crosses the line from homage to rip off. That said, Helgeland (best-known for his 'L.A. Confidential' and 'Mystic River' screenplays and for writing and directing 'Payback' and '42') does have some chops. And he’s ably supported by an elegiac Carter Burwell score, softly luminescent Dick Pope cinematography, and an all-star cast of character actors who pop up occasionally to bring some fresh energy. 'Legend' becomes more and more of a slog the longer it goes on -- and it goes on for a while -- but its individual scenes are often well-crafted and exciting, doing a more than credible imitation of classic crime pictures."
Noel Murray, The Onion AV Club

"If all this lacquered period veneer gives the film a faint air of dress-up -- right down to retro-inclined contemporary pop star Duffy turning up as a sultry lounge singer -- that’s at least somewhat appropriate to a downfall narrative in which surface prosperity is all too easily stripped away. (Less excusable is a rather literal-minded soundtrack of ’60s jukebox standards that smothers Carter Burwell’s ripe score.) Even viewers unfamiliar with the Krays’ story will swiftly deduce the genre-dictated direction of things, as the film routinely checks in with doggedly trailing police detective Leonard 'Nipper' Read (a grimacing Christopher Eccleston) between the boys’ increasingly grisly exploits. Similarly, the meet-cute initiation of Reggie’s relationship with Frances hardly makes the subsequent souring of their marriage (between sporadic jail stints) any less surprising: Hers is a cautionary tale structured along similar, albeit grimmer, lines to 'An Education.'"
Guy Lodge, Variety


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMANew BeverlyNuartSilent Movie Theater and UCLA.

March 31
APRIL FOOL'S DAY (Charles Bernstein) [Silent Movie Theater]
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
PAN'S LABYRINTH (Javier Navarrete) [Nuart]
PLUMP FICTION (Michael Muhlfriedel) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
WHERE THE SIDEWALK ENDS (Cyril Mockridge), THE KILLER THAT STALKED NEW YORK (Hans Salter) [Cinematheque: Egyptian]
WORLD ON A WIRE (Gottfried Hungsberg) [New Beverly]

April 1

DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
GOBOTS: BATTLE OF THE ROCK LORDS (Hoyt Curtin) [New Beverly]
THE MAN WHO CHEATED HIMSELF (Louis Forbes), IRON MAN (Joseph Gershenson) [Cinematheque: Egyptian]
PINK FLOYD THE WALL [Silent Movie Theater]

2001: A SPACE ODYSSEY [Cinematheque: Aero]
WHO'S CRAZY? (Ornette Coleman) [Silent Movie Theater]
WORLD ON A WIRE (Gottfried Hungsberg) [New Beverly]
ZACHARIAH (Jimmie Haskell) [New Beverly]

April 2
THE BIG HEAT (Mischa Bakaleinikoff), WICKED WOMAN (Buddy Baker) [Cinematheque: Egyptian]
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
GOBOTS: BATTLE OF THE ROCK LORDS (Hoyt Curtin) [New Beverly]
THE SEVENTH JUROR (Jean Yatove), THE PARIS EXPRESS (Benjamin Frankel) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

April 3
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
THE SEVENTH JUROR (Jean Yatove), THE PARIS EXPRESS (Benjamin Frankel) [New Beverly]

April 4
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth), BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [New Beverly]
1984 (Dominic Muldowney) [Silent Movie Theater]
1984 (Dominic Muldowney) [UCLA]

April 5
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
WHAT'S SO BAD ABOUT FEELING GOOD? (Frank DeVol), NEVER A DULL MOMENT (Robert F. Brunner) [New Beverly]

April 6
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
WHAT'S SO BAD ABOUT FEELING GOOD? (Frank DeVol), NEVER A DULL MOMENT (Robert F. Brunner) [New Beverly]

April 7
KILL BILL VOL. 1 (The RZA) [New Beverly]
PAPRIKA (Susumu Hirasawa) [Nuart]
RED BEARD (Masaru Sato) [New Beverly]
THE WARRIORS (Barry DeVorzon), STREETS OF FIRE (Ry Cooder) [Cinematheque: Aero]

April 8
THE DRIVER (Michael Small), HARD TIMES (Barry DeVorzon) [Cinematheque: Aero]
FIST OF THE NORTH STAR (Katsuhisa Hattori) [New Beverly]
MESSAGE FROM SPACE (Ken-Ichiro Morioka) [New Beverly]
RED BEARD (Masaru Sato) [New Beverly]

April 9
ADALEN 31 [Silent Movie Theater]
GERONIMO: AN AMERICAN LEGEND (Ry Cooder) [Cinematheque: Aero]
MESSAGE FROM SPACE (Ken-Ichiro Morioka) [New Beverly]
RESERVOIR DOGS, THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
SANS SOLEIL (Chris Marker) [Silent Movie Theater]

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Comments (3):Log in or register to post your own comments
Many years ago, I had that same speed problem with an LP of Herrmann's THE BRIDE WORE BLACK. I'm pretty sure that was a boot. I wonder what this BONE TOMAHAWK's excuse is.

I doubt that it's any kind of any error (other than in the lack of a notification to the purchaser). A number of classical LPs were mastered to be played at 45 rpm in order to improve the fidelity of the playback. For example, in 1979, Angel Records issued a number of such LPs in what they called their "45 RPM Sonic Series." Some, by necessity of the added time, had to be 2-LP sets.

Bone Tomahawk is a very brief score so I assume the 45 mastering was done for higher fidelity. (Stylotone's Twisted Nerve and Khartoum are both at 45).

It just would have been nice if they had mentioned it somewhere on the cover or label.

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