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Croydon Municipal, Saint Etienne Enter Christmas Land With “Songs For a London Winter”

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Songs for a London WinterAs Bob Stanley writes in his liner notes to the new collection Songs for a London Winter, “Christmas has always been a special time in Saint Etienne’s world. We’ve release singles, EPs, covered Cliff Richard songs, played at the Palladium, thrown a few parties and sunk a few whisky macs. We love it. But this is the first time we’ve had the opportunity to put together a Christmas compilation of other people’s songs.” Songs for a London Winter, on Stanley’s Croydon Municipal imprint of Cherry Red, features 24 recordings drawn from the 1950s and early 1960s. Every track is of British origin. “An American Christmas feels warm, with a golden brandy glow,” Stanley explains. “What do we have? Scrooge. Well, that’s a little harsh, but there’s certainly something more make-do-and-mend about a London Christmas.” On Songs for a London Winter, you’ll find jazz, rock and roll, instrumental pop, and novelty songs, and most excitingly, very few of these songs constitute typical fare for holiday compilations.

There are plenty of mood-setting instrumentals here, particularly from pianists. The “singalong piano” of Zack Laurence propels a jaunty (and punningly-titled) “Snowman’s Land,” while Joe “Mr. Piano” Henderson offers his own “Swingin’ Sleigh Ride.” Not to be outdone, Tony Osborne, His Piano and Orchestra bask in some “Winter Starlight” and Russ Conway drives a shimmering “Snow Coach.”

The “Heavenly Trumpet” of Kenny Baker conjures up “Winter Ice.” Bandleader Johnny Keating’s “We Three Kings” is a raucously uptempo instrumental take on the traditional song. Saxophonist Johnny Dankworth is heard on the smoky yet seasonal “Winter Wail,” while his wife Cleo Laine is also represented with her jazz-flavored vocal on the Shakespeare adaptation, “Blow Blou Thou Winter Wind.” The familiar lead guitar of Vic Flick enlivens “Get Lost Jack Frost,” a “When the Saints Go Marching In”-inspired melody from soon-to-be-film legend John Barry and his Seven.  The Ted Heath orchestra’s “Swinging Shepherd Blues” – first recorded in the U.S. by its composer Moe Koffman on flute – recasts the tune for soprano sax and clarinet to fine effect.

The vocal tracks, encompassing both straightforward pop tunes and novelty records, are equally enjoyable. Brother and sister duo Derek and Elaine (Thompson)’s sweet “It’s Christmas” and Lyn Cornell’s “Xmas Stocking” both bask in the nostalgic glow of a simpler time; The Beverley Sisters attain an ethereal sound on “Little Donkey.” Rock-and-rollers got into the holiday spirit, too. Adam Faith has the novelty-esque “Lonely Pup” (complete with children’s choir) while Billy Fury channels Elvis crossed with Gene Pitney on the melodramatic “My Christmas Prayer.” Composer-lyricist and Rolling Stones pal Lionel Bart went from rock and roll to Broadway with musicals including the international smash hit Oliver!; Songs from a London Winter features his charming and bouncy “Give Us a Kiss for Christmas.” Broadcaster, songwriter and musician Wally Whyton’s “Christmas Land” is another slice of low-key, enjoyable period pop.

There’s more after the jump, including the complete track listing with discography, and order links! Read the rest of this entry »

Written by Joe Marchese

December 22, 2014 at 11:20

Shaken, Not Stirred: Ace Mines “The Secret Agent Songbook” With “Come Spy with Us”

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Come Spy with UsFor many, the sound of John Barry epitomizes the sound of the spy thriller. It’s no surprise – with 12 James Bond films under his belt, the late, great British composer imbued his melodies with the right amount of adventure, humor, tension, sophistication, and well, sex. It’s fitting that Barry opens Ace Records’ superlatively entertaining new anthology Come Spy with Me: The Secret Agent Songbook, collecting 25 samples of swinging music from spies and secret agents (and even a handful of detectives!) released between 1962 and 1968, the heyday of the genre.

Come Spy with Me opens with “A Man Alone,” Barry’s 1965 instrumental theme to The Ipcress File. Perhaps his second-most recognizable spy theme after his arrangement of Monty Norman’s “The James Bond Theme,” it inventively utilizes the cimbalom, a type of hammered dulcimer, to achieve its singular sound. Matt Monro had sung the first-ever vocal James Bond theme with Lionel Bart’s “From Russia with Love” as heard in the second 007 film, the first for which Barry provided the score. “Wednesday’s Child,” from 1967’s The Quiller Memorandum, is all the evidence one needs of the rich-voiced crooner’s deep affinity with Barry’s absorbing melodies. The lyrics, incidentally, were written by Mack David; his younger brother Hal would later collaborate with Barry on songs including “We Have All the Time in the World” from the Bond adventure On His Majesty’s Secret Service.

It was Barry, serving in the capacity of arranger, who gave shape to Monty Norman’s composition “The James Bond Theme” for Bond’s screen debut in Dr. No. It set the template for all spy music to come. While the original of the track, with Vic Flick’s indelible guitar part, isn’t here, a fine stand-in is Johnny and the Hurricanes’ 1963 surf-inspired version with prominent tenor sax and organ adding new colors. The most famous artist associated with the music of James Bond is Shirley Bassey. While her showstopping “Goldfinger” might be the quintessential spy song, she’s instead featured belting Lalo Schifrin and Peter Callander’s theme to “The Liquidator” in her most divinely bombastic style. Bassey wasn’t the only one to mine the success of “Goldfinger,” however. Susan Maughan’s “Where the Bullets Fly,” from songwriters Ronald Bridges and Robert Kingston, hails from the 1966 film of the same name, and incorporates about as much of “The James Bond Theme” and John Barry sound as the law would allow! This rarely-heard nugget is a fantastic treat.

Scott Walker not only sings, but co-wrote The Walker Brothers’ Barry-inspired “Deadlier than the Male” from the 1967 film of the same name which starred Richard Johnson and Elke Sommer. Walker’s resonant, haunting baritone meshes beautifully with Reg Guest’s evocative arrangement. (Spy music connoisseurs take note: Walker made a rare return both to traditional melody and the spy genre with his understated performance of David Arnold and Don Black’s sad, achingly gorgeous “Only Myself to Blame” in 1999. The song was written and recorded for the Bond film The World Is Not Enough, but was sadly unused in the actual motion picture; it did, however, appear on the soundtrack album.

Keep reading after the jump! Read the rest of this entry »

Donna Summer and John Barry Go “Deep” On New Hot Shot Reissue

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The Deep OSTEverything about The Deep was big.  Jaws author Peter Benchley was guaranteed over half a million dollars by impresario Peter Guber for film rights to his unpublished follow-up in a deal which seemed justified when The Deep finally arrived and quickly became a bestseller.   For his big screen-ready underwater adventure, Guber had a big budget, big locations for shooting, and a big partner in Neil Bogart’s Casablanca Records.  Bogart wasn’t known for doing anything small, and as the inaugural production of Casablanca FilmWorks, The Deep didn’t disappoint.   The film starring Nick Nolte, Jacqueline Bisset, Eli Wallach and Jaws’ Robert Shaw also needed a big soundtrack.  Casablanca disco queen Donna Summer was tapped, as was one of the true deans of film scoring, multiple Academy Award winner John Barry.  Their collaboration was released on Casablanca Records in July 1977, and that original album has just been reissued for the first time as a standalone compact disc by Big Break Records’ Hot Shot imprint.

The Deep, directed by Peter Yates, centered on several people vying with one another to reclaim medical supplies from a sunken World War II ship as well as treasure from the remains of an eighteenth-century Spanish vessel.   Jaws’ John Williams was an early favorite to compose the score to this aquatic adventure, but the honors instead went to John Barry.  By 1977, three-time Academy Award winner Barry had proven his versatility over and over again.  Though still closely associated with the thrilling, swinging spy sound of the James Bond films – an oft-imitated, never-duplicated style largely of his own making – Barry was also a master at elegantly incorporating influences both classical and contemporary into his work.  His muse as a composer would eventually lead him to a sweeping, lush and grandly romantic style for such films as Out of Africa and Dances with Wolves, but his score to The Deep combines the excitement of the Bond films with the sprawling widescreen approach of those later pictures.  While Barry was occupied with The Deep, scoring duties for 1977’s Bond flick, The Spy Who Loved Me, went to another Oscar winner, Marvin Hamlisch.  It was only the second time Barry hadn’t wielded the baton for a 007 episode since taking over the series as composer with 1963’s From Russia with Love.  (Barry had, of course, been on the ground floor of the Bond series as arranger of Monty Norman’s “James Bond Theme” for Dr. No.)

After the jump, go Deep with us! Read the rest of this entry »

Written by Joe Marchese

March 19, 2014 at 13:32

In Memoriam: Phil Ramone (1934-2013)

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Phil Ramone 1Today, The Second Disc remembers Phil Ramone.

The multiple Grammy-winning producer, 79, died on Saturday, leaving behind a legacy of song from artists ranging from Barbra Streisand to Paul McCartney, Barry Manilow to The Band.  Yet unlike so many of his contemporaries, Phil Ramone didn’t have a signature style.  Instead of molding a band or singer to a preferred sonic specialty, he was a true architect of sound, tailoring each production to the individual artist.  Ramone was equally comfortable with pop, rock, jazz, R&B, and the worlds of Broadway and Hollywood, not to mention classical – the genre in which Ramone started his love affair with music, as a Juilliard-trained violin prodigy.

Phil Ramone modestly titled his 2007 memoir Making Records, because that’s precisely what he did, from the day he and partner Jack Arnold opened the doors of New York’s A&R Studios in 1959.  Prior to that, he had been mentored by Charles Leighton at JAC Recording.  At A&R, Ramone perfected the art of engineering.  He earned his first Grammy for Stan Getz and Joao Gilberto’s immortal Getz/Gilberto, and soon A&R was the preferred destination for producers Burt Bacharach and Hal David to craft their movies-in-miniature with Dionne Warwick.  Ramone’s eclectic C.V. as an engineer and later, producer, took in pop princesses (Lesley Gore), folkies (Peter, Paul and Mary), jazz legends (Tony Bennett), superstars (Barbra Streisand), Beatles (Paul McCartney), Geniuses (Ray Charles), and Chairmen (Frank Sinatra), as well as everyone in between.

Chicago, Phoebe Snow, Kenny Loggins, Carly Simon, B.J. Thomas, Liza Minnelli, Rod Stewart, and of course, Paul Simon and Billy Joel all logged studio time with Phil Ramone at the console.  With Simon, Ramone helmed such beloved albums as There Goes Rhymin’ Simon and Still Crazy After All These Years, still cornerstones of the singer-songwriter’s catalogue.  With Joel, Ramone embarked on a seven-album, nine-year partnership that remains one of the most successful in rock history.  The duo also hold a place in the history books, as Joel’s 52nd Street, produced by Ramone, became the first commercially released compact disc when it hit stores in Japan on October 1, 1982.

To every project, Ramone brought an understated, subtle touch of class that squarely put the emphasis on music and sound: making each musician and singer’s contribution heard, cleanly and resonantly.  Even a partial list of songs with Ramone’s involvement is staggering: “Times of Your Life,” “Raindrops Keep Falling on My Head,” “It Never Rains in Southern California,” “Uncle Albert/Admiral Halsey,” “Evergreen (Love Theme from A Star is Born),” “Loves Me Like a Rock,” “Just the Way You Are,” “Afternoon Delight,” “Poetry Man,” “If You Could Read My Mind,” “Leaving on a Jet Plane,” “Maniac.”

Phil Ramone could have ushered in 2013 basking in the glow of acclaimed recent albums from Dionne Warwick and Tony Bennett, but he remained active.  At the time of his death, he was working on a variety of characteristically diverse projects with artists such as George Michael and Glee star Matthew Morrison.  Bette Midler eulogized him as “kind beyond words,” echoing the sentiments of so many others.  Ben Folds called him “brilliant, generous, talented,” while Tony Bennett noted his “wonderful sense of humor and deep love of music.”  To celebrate the career of the legendary Phil Ramone, Mike and I have each contributed a playlist of ten favorite projects on which he worked.  These aren’t necessarily his most significant, or his most famous, though some might indeed be.  Taken together, they simply represent twenty slices of the versatility, dynamism and sheer hallmark of quality that made Phil Ramone an in-demand talent, and sympathetic collaborator of so many, for over fifty years.

If there’s a rock-and-roll heaven, you know they’ve got one helluva band, true.  But now there’s one helluva producer sitting at the desk.

Hit the jump for two interactive Phil Ramone Top 10s! Read the rest of this entry »

John Barry’s “First Love” Receives World Premiere Release from La-La Land

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First Love OSTThough John Barry crafted a lushly exquisite score for First Love in 1977 – the same year the film titan also lent his talent to The Deep and The White Buffalo – his name appeared nowhere in the credits to the romantic drama directed by Joan Darling.  The director had enlisted Barry when she thought twice about the initial concept of using songs written by Cat Stevens and Paul Williams, but in the end, brief fragments of Barry’s score remained, uncredited, alongside songs from Stevens and Williams and orchestral cues from other composers.  What happened?  The entire story is revealed in La-La Land’s first-ever issue of John Barry’s complete First Love, available now from the label.

Following in the footsteps of the campus-set romance Love Story, First Love was based on a story by Harold Brodkey.  The film, as written by Jane Stanton Hitchcock and David Freeman, concerned the ultimately ill-fated romance of Elgin (William Katt) and Caroline (Susan Dey).  The film poster begged the question, “Why doesn’t anyone tell you there’s a difference between making love and being in love?”  The Paramount production was initially accommodating to Barry, with the studio reportedly having even delayed the film in order to allow him more time to craft its score.  But all wasn’t well for long.  Jeff Bond’s detailed liner notes in La-La Land’s release quote a 1979 interview with Barry in which the composer recalled that one studio executive “liked the music, but thought it was too mature for the film.”  The famously frank Barry added, “That’s one of the strangest criticisms I’ve ever had.  So then they wanted to revert back to sticking some songs in the picture and use a little of my music.”  Some eight minutes of Barry’s approximately 40-minute score remained in the final cut, plus Cat Stevens’ “Child for a Day,” Paul Williams’ “That’s Enough for Me,” and additional music by Carmine Coppola and Jean Sibelius.

After the jump: more specs on this new release plus the full track listing and order link! Read the rest of this entry »

Written by Joe Marchese

February 4, 2013 at 14:50

Reissue Theory: “James Bond 007: The Ultimate Collection”

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Welcome to another installment of Reissue Theory, where we focus on classic music and the reissues they may someday see. With 50 years of on-screen action and a new film in theaters, the name is Bond…James Bond, and the music is plentiful!

What else is left to say about Ian Fleming’s blunt, British secret agent James Bond? Our 007, licensed to kill, is an international icon of print and, since Sean Connery suavely stepped into Bond’s tuxedo in 1962’s Dr. No, the big screen. Today, the 23rd Bond film, Skyfall – the third to star Daniel Craig as a rougher-hewn 007 and, by nearly all accounts, one of the greatest films in the series – opens in American theaters, guaranteeing the legacy that film producers Harry Saltzman and Albert R. Broccoli created a half-century ago remains as shaken (not stirred) as ever.

Bond soundtrack fans have had much to enjoy in that time period. From Monty Norman and His Orchestra’s brassy, immortal main theme (punctuated by session guitarist Vic Flick’s staccato electric guitar licks), to lush scores by John Barry, Marvin Hamlisch, Bill Conti, Michael Kamen, David Arnold and Thomas Newman, to name a few, to the 23 title themes of varying quality but with boundless cultural currency, music is as vital a part of the Bond experience as martinis, girls, cars and guns. And fans have been lucky: in the 1990s, Rykodisc acquired the rights to much of the Bond soundtrack catalogue (in most cases, controlled by Capitol/EMI). In the 2000s, Capitol itself expanded and/or remastered many of those albums anew. And compilations, from 1992’s rarity-packed double-disc The Best of James Bond 30th Anniversary Collection to this year’s Bond…James Bond: 50 Years, 50 Tracks, have been plentiful as well.

But short of another, even more comprehensive pass at expanding the soundtrack albums to completion (one that seems increasingly like a pipe dream, thanks to the climate of the industry and the varying physical and financial statuses of the scores themselves), one could certainly find worth in a multi-disc box set that would provide the definitive dossier on Bond music. With that in mind, Second Disc HQ’s latest mission file is just that – and you can expect us to talk after the jump!

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Nobody Does It Better: James Bond Turns 50, Capitol Celebrates with New CD Anthology

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When Sean Connery first uttered the immortal words “Bond…James Bond” fifty years ago in the film Dr. No, the template for the long-running movie series was already set.  That soon-to-be-signature phrase was joined in the film by a piece of music that would quickly rival those three words for familiarity.  John Barry’s arrangement of “The James Bond Theme” not only helped cement the silver screen icon of 007 but virtually became a genre unto itself, that of spy music.  The spy film craze may have hit its peak in the swinging sixties, but Ian Fleming’s immortal character of the debonair Bond has endured over some 23 “official” films (including this year’s upcoming Skyfall), plus a couple of unofficial ones.  He has been portrayed by six actors in those 23 films, from Connery to Daniel Craig.  Since Dr. No, James Bond and music have been closely intertwined, and the film franchise continues to attract the very best: it’s been all but confirmed that record-breaking artist Adele will mark her return to music with the recently-leaked Skyfall theme.  Now, 50 years of Bond music is being compiled by Capitol Records as Best of Bond…James Bond, set for an October 9 release in both standard and deluxe editions.  It joins the recent DVD/BD box set, Bond 50, which contains each and every official Bond film to date!

While similar (and similarly-titled!) compilations have arrived on a periodic basis in the CD era, the new set in its deluxe two-disc form is the most comprehensive collection of Bond-related music yet with 50 tracks.  Both versions stand as a tribute to John Barry, the late composer who will forever be associated with the film series.  The disc opens with his original arrangement of “The James Bond Theme.”  Though credited to Monty Norman, Barry long maintained in and out of the courtroom that the composition was, in fact, his own.  (The confusion stems from the fact that Barry was presented with Norman’s theme, and rearranged it in the style of his previous instrumental “Bea’s Knees,” almost wholly transforming the music along the way.  He was reportedly paid under $1,000.00 for his troubles!)  Barry went on to score eleven of the films between 1963’s From Russia with Love through 1987’s The Living Daylights, ceding movies along the way to George Martin, Marvin Hamlisch and Bill Conti.  Since Barry’s retirement from the Bond franchise, the longest-standing composer has been David Arnold, with five films under his belt between 1997’s Tomorrow Never Dies and 2008’s Quantum of Solace.  (The score to Skyfall has been crafted by director Sam Mendes’ frequent collaborator Thomas Newman.)  Either consciously or subconsciously, however, every composer has been influenced by the template set by John Barry.  Indeed, his famous arrangement of the Norman theme has been quoted in each film’s score.  Best of Bond also is a reminder of the gargantuan talents of two other contributors, both of whom passed away in 2012: Marvin Hamlisch (The Spy Who Loved Me) and Hal David (On Her Majesty’s Secret Service.)

The first CD (also available as a stand-alone disc) features 23 tracks: the theme to every one of the films from 1962’s Dr. No through 2008’s Quantum of Solace, plus the “secondary” theme to On Her Majesty’s Secret Service (1969), Louis Armstrong’s “We Have All the Time in the World.”  This CD includes Chris Cornell’s “You Know My Name” from Casino Royale (2006), the first main Bond theme to not appear on the movie’s soundtrack album.  Other highlights include the very first vocal Bond theme, Lionel Bart’s “From Russia with Love” as performed by Matt Monro; Leslie Bricusse, Anthony Newley and John Barry’s “Goldfinger” from the iconic Dame Shirley Bassey; Barry and Don Black’s booming “Thunderball” from Tom Jones; Paul and Linda McCartney’s Wings-performed “Live and Let Die;” Carole Bayer Sager and Marvin Hamlisch’s “Nobody Does It Better” (from The Spy Who Loved Me); Barry and Duran Duran’s “A View to a Kill;” and Barry and Pål Waaktaar’s “The Living Daylights,” performed by Waaktaar’s band a-ha.

What’s on Disc 2?  Hit the jump! Read the rest of this entry »

Written by Joe Marchese

September 27, 2012 at 09:49

Maybe Our Luck Has Changed: “Kong” Remake is Latest Deluxe Title from FSM

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It all began with a lie – a very impressive, very big one.

On November 30, 1975, New York Times readers were treated to a full-color advertisement for producer Dino de Laurentiis’ latest film project: a modern retelling of King Kong. “One year from today, Paramount Pictures and Dino de Laurentiis will bring to you the most exciting original motion picture event of all time,” trumpeted the ad copy, blissfully ignorant of the true original, stop-motion-animated ape that ascended the Empire State Building to the thrill of moviegoers in 1933.

Nevertheless, the multimillion-dollar production, this time set around an oil company rig discovering the towering gorilla on a distant island (and foolishly bringing him back to Manhattan!), was quite the event in the winter of 1976. The Oscar-winning special effects were rather extraordinary for their time, between Rick Baker’s surprisingly expressive performance in a custom ape suit and Carlo Rambaldi’s life-size mechanical beast. The film was an early starring role for Jeff Bridges and the first for Jessica Lange, years before her Oscar-winning turn in Tootsie. Add to that more than a few banana bunches worth of merchandising, including models, games, T-shirts, posters, glassware and other ephemera, and it’s easy to see why, modern critical drubbing aside, Kong-mania was a very real thing at the time.

And the score! Legendary composer John Barry created a score as big as the title character itself, alternating between urgent action cues during Kong’s rampage through the jungles of Skull Island and New York City and lush cues for tender moments between Lange and Bridges as well as Lange and her other hairy co-star.

That soundtrack was a strong seller in its day – longtime fans have fond memories of the Reprise LP with fold-out poster insert – but took nearly 20 years to come out on CD from Film Score Monthly. And even then, fans clamored for a more complete presentation of the beautiful soundtrack. Now, with just one more title left to release from the venerable FSM label, Lukas Kendall’s label has shone once again, issuing a two-disc set combining that original LP with the complete, 70-minute film score (newly mixed and mastered from the original tapes) and nearly a half-hour of unreleased alternate cues. Ace film score writer John Takis pens the liner notes in the 20-page booklet, augmented by many classic stills and advertisements for this cult classic.

Is there really “only one King Kong,” as that fateful Times poster proclaimed? Perhaps not – but for soundtrack enthusiasts, this might be the big one. Full specs and order details for this unlimited release are after the jump!

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Written by Mike Duquette

September 24, 2012 at 16:56

Soundtrack Round-Up: FSM “Heat”s Up, Intrada Uncovers More Disney, La-La Land is Super, Kritzerland Is Forever Young

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You know it’s a big week for soundtracks when multiple specialty labels announce projects in the same week; currently, we have six such titles on the horizon from four labels!

First off, Film Score Monthly has prepped their third-to-last soundtrack set, and it’s an oft-requested killer: an expanded edition of John Barry’s score to Body Heat (1981). A neo-noir classic, Body Heat – the directorial debut of legendary screenwriter Lawrence Kasdan (The Empire Strikes BackRaiders of the Lost ArkThe Bodyguard) – stars William Hurt and new starlet Kathleen Turner in a highly eroticized tale of an affair that turns to murder and deceit. The late John Barry turned in one of his most acclaimed scores, looking back to his early, improv-friendly jazz combo days while maintaining a modern, lush, orchestral edge to the score. FSM’s definitive presentation of Body Heat includes the full score with alternates and source music, as well as a bonus disc featuring an unreleased edit and mix of the score for album purposes, featuring composer-approved mixes by Dan Wallin, and ten demos of the seductive main theme.

And what’s on the way from Intrada, La-La Land and Kritzerland? Hit the jump to find out.

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Written by Mike Duquette

August 29, 2012 at 10:20

As the Globe Turns: Universal Adds Classic, Possibly Rare, Soundtrack Material to Blu-Ray Box Set

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In 1912, an ex-dry goods merchant and owner of the nascent Independent Moving Pictures (IMP) studio stood in a New York office with five other movie moguls and made history.

These six men, organized by IMP founder Carl Laemmle, were keen to merge their businesses with an eye toward the growing big business of moviemaking. As they struggled for a title for their venture, Laemmle allegedly saw a wagon zip by on the street below with a grandiose name: “Universal Pipe Fitters.” Turning back to the window, he announced the venture would be named Universal, an apt name for the magnitude of what they wanted to accomplish.

A century later, Universal is one of the biggest entertainment corporations in the world and the longest-running American film company. Dozens of their blockbuster films sit toward the top of the all-time box office lists, and their bi-coastal studio backlot/theme parks in Los Angeles and Orlando are prime vacation destinations. For film fans, Universal has been keen to celebrate their 100th anniversary this year, releasing not only stunning restorations of classic films on Blu-Ray (JAWS hit shops last week, with boxes devoted to Alfred Hitchcock and Universal Studios Monsters due in the next few months along with the hi-def debut of Second Disc favorite E.T. the Extra-Terrestrial) but at least one classic soundtrack in the form of the premiere release of Henry Mancini’s original film score to the classic Charade.

On November 6, the studio will release their biggest box set yet – a collection of 25 of their most classic films with value-added bonus content. But soundtrack enthusiasts will want to keep an eye on this package for the possibility of exceptionally rare film music. We explain all after the jump.

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