I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD)

The assigned catalog numbers correspond to the month and year of release with the volume number following the decimal. All first-generation club titles were produced by Robert Townson and Tom Null. The label did release soundtracks by these composers and sometimes, more than one at time. However, Conti's and Delerue's titles, without any definitive explanation, were never released at that time and it is assumed that the Conti title may possibly have been The Karate Kid [57] I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD) and the Delerue title may have been Joe Versus the Volcano.

This title has been reissued several times since that auction and greatly expanded. These sold out instantly and were the last of this batch of the club ever to be featured at this price point. The reactivation was in light of Film Score Monthly 's success in marketing limited edition scores from the archives of major studios that started with Twentieth Century Fox and Metro-Goldwyn-Mayer and expanding to Warner Bros.

This time, the club would release titles at a quarterly interval with as many as four releases per batch and as low as one i. Their record I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD) an announced batch is six titles which happened in December Unlike the original series, this version of the club also featured more box sets i.

A new numbering system was devised consisting of the month then year followed by the limited edition number of copies. This series also featured a popular staple to the club called the Encore Series, which were reissues of out-of-print catalog titles from the label's very beginning.

The first three releases of the reactivated club announced in November were Heartbeeps by John Williams which was originally intended to be a part of the original club as part of the Masters Film Music SeriesProject X by the late James Horner and a reissue of one of the LP catalog releases of Marie Ward [ de ] by Elmer Bernstein. The Limited Edition Series concentrates more on soundtrack titles for films that either have gone direct to digital, DVD or Blu-ray as well as some theatrical titles that received a very brief run, mini-series and television series such as Lost or Hemlock Grove.

Lost: The Last Episodes has the distinction of being the only title of more than copies produced with in this series. The label on occasion offered signed autographed booklets of these releases when available.

The first releases in its debut were The Stoning of Soraya M. This originally caused problems because many collectors did not want all of the titles that were being offered. The label then relented in the middle of the run and then offered the titles for sale individually for the same amount as the regular subscription. This started with Enola Gay by Maurice Jarre.

Many chose to complete the run of twelve titles, not wanting to miss out on the titles being offered randomly and others chose to stop at some point. Each title was strictly limited for that particular month of release and would go out of print after that month passed.

The label did not go back and reissue any the past titles that fans had missed. All the titles were announced randomly and not in the order of the number assigned to them. A few titles did come from master tapes that were available including Invitation au voyage. Magnificent Obsession was the final release of the subscription set released in May Fans wanted the series to go on, but the label did not want to continue it and there are no plans to bring it back.

The list reflects the assigned catalog number for each title and not the order in which the titles were released during the subscription. This version of the list reflects the release month for each I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD) that was sent randomly by the label and not the catalog number in which the titles were assigned for the subscription.

This label imprint founded by Robert Townson in Canada with a record store and a few partners, first appeared with the original release of The Final Conflict [71] in after agreeing to a distribution deal after securing the rights to release the soundtrack by Jerry Goldsmith through Twentieth Century Fox.

The sales of the album were an immediate success for both labels. Then the following year the soundtrack to Lionheart[72] was released in two separate albums with the cooperation of the composer and forming a positive relationship with Goldsmith that would help Townson and the label move forward in its eventual success.

Entrez Nous Cat Burglar Back In Business A Bareback Rider Other Ways Looking For A Snake Lovesick For Lilith; Here's Johnny Yodel Image supplied by David Strohmenger. Varese Sarabande VSD Members who have this label in their: Collection: 53 Wish list: 10 Things you can do: Update this label Enter a track listing. Members who have this label in their: Collection: 44 Wish list: 11 Things you can do: Update this label. Argonauts Barrel O'Monkeys Dance of the Demon Summoning Skeletons To Heros Wedding Gift Waiters and Serpents Monster Fight Cute Harpies The Enforcer Fight With Pyro I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD) Raiders of the Lost Tombs Festival of Ghouls That Was Perfect Hungarian Rhapsody No.

Impromptu op. Intermezzo Cavalleria Rusticana Mascagni P. Invitation to the dance Weber C. The Kerry Dance Molloy J. Largo Haendel G. Largo Smphony No. Liebestraum No. Lullaby Brahms J. Main Theme Symphony No. Marche Militaire Schubert F. Meditation Thais Massenet J. Melody in F Rubinstein A. Minuet in G Beethoven L. Ode to Joy Symphony No.

On Wings of Song Mendelssohn F. Opening Theme Piano Concerto no. Pizzizato Sylvia Ballet Delibes L. Plaisir d'Amour Martini G. Patrick Doyle. Randy Edelman. Cliff Eidelman. Danny Elfman. Elan Ishkeri. George Fenton. John Frizzell. Tingle Thir13en Ghosts Whiteout. Michael Giacchino. The Family Stone which has absolutely no Punny Names in the tracklisting, believe it or not. Eliot Goldenthal. Sphere S. Jerry Goldsmith.

Schaffner collaboration. It has the distinction of being released at the time as two separate albums - Lionheart: Volume One and Lionheart: Volume Two. Then in it was given the 2-CD Deluxe Edition treatment, presented remastered, complete two added cues and with I Get What I Want - Joseph LoDuca - Hercules: The Legendary Journeys Volume Four (CD) music in chronological order. The album released with the movie doesn't contain any of John Debney 's music - he completed the film when Goldsmith too ill to continue.

Damien: Omen II - this expansion includes the soundtrack album versions recorded in London, and the film versions which were recorded at 20th Century Fox. Planet of the Apes - This expanded release also included a suite from Goldsmith's score for Escape from the Planet of the Apes.

Intrada issued a 2-CD edition. Dave Grusin. And Justice for All Author! Bernard Herrmann. Bernard Herrmann at 20th Century Fox - a CD set note several titles were later issued as separate albums with James Horner.

The music was kind of making the same journey as he does, into the mind. How did you reflect the character, the time periods, and the world of movies he was involved with in your score? Because he played a toreroa bullfighter, and he was making fun of it, then we also had music that sounds in a bullfight environment. How did you reflect this character musically in your score, and how did the music develop across the sequel films that you have scored?

But we wanted the music to be very funny, and it made us laugh. The music was as if he was a hero, as if he was superman, sometimes! So even though if you see him doing something that was awkward or bad, the music would go over him! In his mind it was that way, so we always wanted to be with him, and what he feels and what he thinks and that is what makes it very funny. How are you approaching the score for the oft-filmed topic?

I created these atmospheric environments to create a dramatic theme to represent this Roman, to give the mysteriousness and all of this.

But I used a big theme, like in the old biblical movies, so there is a sweeping, dramatic melody that is reflecting the power of what the main character finds.

After absorbing the musical languages of the East to enhance his university studies in NYC, LoDuca began his film scoring career with the first EVIL DEAD film and made a career out of scoring fairly quirky and unique films and television with his uniquely textured and world-music enhanced musical approach. The score is like [the] films in its approach: The music plays the straight man.

That means the drama is dead serious; the action is intense; and the horror is treated with shock and dread. As a result, the humor lies in its juxtaposition to the music, and only on rare occasions does the music give in. With a creative sound palette, Khaskin mingles orchestra, a lyrical lullaby-like carol, and brash sound design to support the story in all its varied nuances.

The crashing dissonances tend to be quite jarring during listening apart from the film itself, but the overall effect is a likable mix of sinewy Holiday lyricism set against darker strains of something malevolent at foot.

However, each character helped shape the style of the overall theme. There are a couple of especially notable tracks that punctuate the journey: the I wanted my score to support this connection to Japanese culture incorporating Japanese music. Their schoolyard songs took on other-worldly qualities. Their gentle little breathy voices were genuinely frail and creepy, more effective than I could have ever dreamed. I used their songs throughout the film, as a cornerstone of the score.

The score ranges from the eerily creepy to the forcefully perilous, as percussion and drum-driven sonic assaults bring the forest spirits into aural clarity while ramping up the terror into a purely visceral force, with a concluding suite remixed into a provocative rock and rather elegant beat.

An excellent horror score that is also a compelling musical journey worth savoring. Perhaps alone, in the dark. Morricone is a composer of constant growth and forward progression.

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