2014 August 27 • Wednesday

A while back I wrote about how I was pleasantly surprised by The Collector, a recent horror movie that was more or less of the "torture porn" genre but with more wit, a better story and characters with plausible motivations. I've just been pleasantly surprised by another recent American horror movie, You're Next.

Apparently it was finished in 2011 but only released in 2013. (There's probably a story there.) I remember seeing previews for it last summer. In the preview, Lou Reed's song "Perfect Day" is featured as something playing on CD in the movie. I've always liked that song but it's not actually in the movie. The movie instead uses "Looking for the Magic" by the Dwight Twilley Band.

The photography is very nice, smooth with subdued lighting and muted color tones, similar to Gordon Willis's interior shots in the Godfather movies. More relevant, I suppose, is that it shares this look with the 2008 movie The Strangers.

You're Next looked like basically a rip-off of The Strangers, which itself was very, very, very similar to a superior French movie from 2006 called Ils (Them). Sure enough, it starts out that way and doesn't seem to have anything interesting to offer other than a slightly different gathering of murder victims in an isolated house. The occasion is a family reunion, as sons and daughter come to visit their parents with signifcant others and long-standing resentments in tow.

Barbara Crampton is the mother and while it's great to see her again, the movie really belongs to Australian actress Sharni Vinson. See, when this family gathering comes under attack from murderous psychos wearing creepy animal masks, she seems to be the only one who knows what to do. And this is what makes You're Next so much fun, that it combines the slasher story with the "you messed with the wrong person this time" story.

This unexpected bonus is enhanced by an additional twist, a less surprising but still satisfying one, that comes later. Give the people who made this film credit for working harder to make a better horror movie.

2014 August 25 • Monday

Quincy Jones's score for The Italian Job is the 333rd Soundtrack of the Week.

It starts with the lounge pop masterpiece "On Days Like These", sung by Matt Munro, familiar from many a movie theme song (From Russia with Love, for example). There's an instrumental bossa version with tenor sax later on.

There's some pseudo classical underscore type stuff which occasionally quote "On Days Like These" also. It's nice how Jones uses the harpsichord.

"Something's Cookin'" is a laid back and slinky instrumental that could almost be an out-take from a later Booker T. & The M.G.'s record.

"It's Caper Time" is a wild shake shouter which is reprised in a slower, jerkier version as "Smell That Gold!".

The harpsichord really shines on "Greensleeves and All That Jazz", whose title should tell you most of what you need to know. It's very bluesy and has a great sound, just harpsichord, upright bass and drums, with flute joining in the second half.

The main theme song returns again in a wordless vocal version, a wonderfully dreamy cut.

Finally there's a group vocal number called "Getta Bloomin' Move On!", kind of like a pub singalong, with Michael Caine himself among the voices!

2014 August 22 • Friday

I picked up Tuff Saxes and Twangy Guitars ("Hot Rod Jazz") from the same guy at Comic-con who was selling It's Monster Surfing Time. It had a $20 sticker on it but he took off 20%. It was a deal, in my opinion.

Who's on this record? There isn't a complete list but the musicians include Bobby Scott on organ, Jerome Richardson on flute, Billy Mitchell and Joe Farrell on saxophones, Joe Newman on trumpet and Jimmy Raney on guitar.

"Big Deuce" starts with the roar of engines and then the twangy guitar introduces a swinging stomp with organ and hefty soloing from horns.

Next is "Theme from 'Who Do You Kill'", which is further identified as being from the TV show East Side/West Side, our 318th Soundtrack of the Week. It's a more gently swinging number with a flute solo. (I have to go back the soundtrack album to see if this tune is on it.)

Next is another soundtrack piece, "Magda's Song" from The Victors. This starts with an eastern European sound, similar to Maurice Jarre's theme for The Mackintosh Man. Then it goes into a boss organ jazz blow-out.

"Little Red Rod" starts with a blast of triumphant-sounding music and gets rockin' while maintaining the dramatic atmosphere. This sounds more like soundtrack music than the last two tracks did. It veer unexpectedly into a groovy shake with hand percussion. This track would be ideal listening for fast driving.

Things get a bit mellower after that, with a folksy and Manciniesque tune called "Loddy Lo". This one is a bit goofy for my taste, approaching novelty song territory.

The last tune on Side A is "The Nitty Gritty", a pretty deep soul groover with a tasty organ intro and some choice sax playing. This is the first number swith a guitar solo, too, and it's a decent one, short and sweet.

Side B starts with "Jet Propelled", introduced by the sound of jet engines and some suspenseful use of vibes. Then it goes into a cheery and energetic bit followed by some straight fast jazz with great soloing from the saxes and guitar, who for the first time sounds like Jimmy Raney and plays a pretty awesome solo, taking some risks and bringing a sharp edge to the music. After that there's an organ solo and then back to the top.

"Dominique" is a "Saints Come Marching In" type of song and sounds very restrained after the blasting off of the previous track.

Then there's the "Draggin' Lady", announcing itself with the roar of an engine and the squealing of brakes. Surprisingly, it's a lilting 12/8 tune, rather mysterious in atmosphere.

Next up is "Hobo Flats", kind of a slow, greasy blues and another one with a great Jimmy Raney guitar solo. Nice blowing from organ and other instruments, too.

"Tunga" is a pretty cool name for a song. Does it mean something? Can I use it for a band name? The tune itself features percussion and flute and sounds like a samba to me. Raney is on acoustic 12-string and contributes a choice solo. Either he overdubbed his solo or somebody else is playing rhythm.

The record comes to a close with "Organ Grinder's Swing", a bluesy number with a children's song element to it.

This record was really quite a find. Not only is the music great but the sound quality is also impressive.

2014 August 20 • Wednesday

Here's a record I saw at the Comic-con. The asking price was $75 so I opted to get a CD reissue when I got home.

The idea, I guess, was to have a surf instrumental record equivalent to the Monster Mash album. There was never a band called The Deadly Ones, as far as I know. What we have here is a gathering of studio musicians enlisted to help Vee-Jay Records make a quick buck.

Some of the songs have goofy spoken intros or break-ins, heavily reverbed and camp. The music itself is quite good but lacks the charm and sincerity of many of surf records made by teenage bands with more ambition than acumen.

"The Mad Drummer" has an appealing wistfulness to it that's almost buried by the cheery arrangement. "The Moonlight Surfer" has an almost "Telstar"-like grandeur. "The Lone Surfer" is an appealing "Baja"-like tune with some cool sound effects.

"Raunchy" and "Rebel Rouser" don't fit in with the monster theme but were perhaps added to snare some Duane Eddy fans.

2014 August 18 • Monday

Les Felins (a.k.a. Joy House), one of Lalo Schifrin's first soundtracks, is the 332nd Soundtrack of the Week. This is a great score for a satisfyingly twisted French thriller starring Alain Delon, Jane Fonda and Lola Albright; directed by René Clément with photography by the great Henri Decäe.

The main title music announces its intentions right away, with the eerie sound of the ondes Martenot, and a slinky and menacing electric bass line. After the orchestra comes in, things get very modern-sounding. This theme, which anticipates Schifrin's music for Mission: Impossible and Enter the Dragon, come back several times.

"Searching and Detecting" starts out with a West Coast jazz feel before flipping into a groovy shake. Schifrin can go from impudently blithe to desperate to survive without blinking, as he does in "Mediterranean Chase".

"Funeral Blues" holds back for a while before busting into full New Orleans style. "Marc Has Company" is extremely tense and features Schifrin's trademark attacking piano lines.

And there's one really spectacular freak-out type of tune, "Melinda", for the big climax at the end of the movie.

2014 August 15 • Friday

This is the original Gold Medal printing of Charles Williams's Hell Hath No Fury, later to be reprinted by Black Lizard as The Hot Spot, which name it shares with a 1990 movie adaptation.

I frequently buy Gold Medal books when I see them but I don't think I have this one. I picked up the Black Lizard edition at Mast Books on Avenue A.

This is a pretty great novel about a tough and angry guy who gets involved in equal amounts of good and bad things in a small southwestern town. The plot involves bank robbery, murder, sexual assault, black mail, embezzlement, adultery and arson. There's also a lesbian character, which is unusual for this kind of book, I think.

Here's how it begins: "The first morning when I showed up on the lot he called me into the office and wanted me to go out in the country somewhere and repossess a car".

There are many, many great lines, such as this description of the woman on the cover, who causes a lot of problems for the narrator: "The teenage dress didn't do anything for that over-ripe figure except to wander on to the track and get run over, and she looked like a burlesque queen in bobby socks".

There are many others I'd quote but I already gave the book to a friend. In addition to hardboiled pulpy writing, Williams also does great descriptions, scene-setting and characterizations. I remember at one point the narrator describing a starry night sky as being like "silver dust across a mirror".

The plotting and pacing are swift, logical and consistent. You could accurately describe this book as lean and mean. It's one of the best of this sort that I've ever read.

2014 August 13 • Wednesday

My friend and colleague Ben Gallina gave me this book, which I read during my San Diego trip.

That's not the cover of the edition I read but I like this cover better. But this is probably the cover of the first edition and should be avoided, according to an author's note to the revised edition that I read. This was Barth's first novel and his publisher insisted that he change the ending and some other parts. The revised edition is apparently the real thing.

I wasn't exactly desperate to read it. I was unmoved by the front cover, the back cover matter and the excerpt up front. I thought the first line was okay but not great. It goes like this: "To someone like myself, whose literary activities have been confined since 1920 mainly to legal briefs and Inquiry-writing, the hardest thing about the task at hand—viz., the explanation of a day in 1937 when I changed my mind—is getting into it".

So it's to be a first novel about a man writing his first novel. Heard that one before.

Two things drove me forward. The first was that it came highly recommended from Ben. The second was that "viz.". You don't see that sort of thing anymore.

It didn't take long for me to become completely absorbed in this brilliant and highly unusual work. The back cover claims that it is "Crafted in what has been called the most literate, controlled prose since Joyce" and while anybody can call anything anything, this seems like a fair judgement to me (though I hardly know anything about Joyce).

The Floating Opera is a compelling and digressive account of, I think it's safe to say, an existentialist character such as the narrator of Camus's The Stranger. This is the American version though: not lean, not laconic, not ambiguous. It's not bursting at the seams or anything. It's got everything it needs in it and no excess. It's a delight and left me thoroughly satisfied, especiall with the ending.

I did worry about the ending. The main point is that Todd Andrews, our narrator, many years ago, decided to kill himself but changed his mind. The changing of his mind is part of a chain of thought that was familiar to me, but the suicide plan took me completely off guard. (This is the part that I suspect was altered for first publication. I'll have to check a first edition.)

Barth knew what he was doing. I found myself noting some rather obvious symbolism in the first paragraph of a chapter, only to be brought up short by the second paragraph.

I smiled and walked on. Nature, coincidence, can be a heavy-handed symbolizer. She seems at times fairly to club one over the head with significances such as this clumsy "life-in-the-face-of-death" scenario, so obvious that it was embarrassing. One is constantly being confronted with a sun that bursts from behind the clouds just as the home team takes the ball; ominous rumblings of thunder when one is brooding desultorily at home; magnificent dawns on days when one has resolved to mend one's ways; hurricanes that demolish a bad man's house and leave his good neighbor's untouched, or vice-versa; Race Streets marked SLOW; Cemetery Avenues marked ONE WAY. The man whose perceptions are not so rudimentary, whose palate is attuned to subtler dishes, can only smile uncomfortably and walk away, reminding himself that good taste is a human invention.

There are many wonderful passages, some good aphorisms and even a foreshadowing of what I expect from J. G. Ballard when Andrews muses enthusiastically on "the attractiveness of desolation, the charm of the abyss". In short, it's one of the best books I've ever read. Thanks, Ben!

2014 August 11 • Monday

The 331st Soundtrack of the Week is Ketteiban!: TV Anime Main Theme Original Soundtracks 1963–1968.

There's a lot of variety in these songs, and a lot more swing than I expected. While there are some gratingly childish themes and too many clunky choruses, as well as many militaristic or anthemic songs, there's also a gratifying amount of music that borrows from surf, mambo, exotica and slinky soundtrack music. And even the squarer numbers tend to have unexpected and unusual things going on in them.

The theme from Wolf Boy Ken combines pounding percussion with a children's choir, a scatting male bass voice, wolf howls a curious piano chord and some blaring horn lines.

The Space Ace theme is notable mostly for its weird and mysterious intro, though the melody, sung by children's chorus, is agreeably catchy. Planet Boy Papi's theme also has a really interesting beginning before going the conventional route with the song itself.

"Leo's Song", has a driving twangy guitar and cool flute melody before the song proper gets started.

"Mambo Magic", the theme from Sally the Witch, combines an operatic baritone with loungey jungle rhythms and some haunting horn lines.

Mach Go Go Go is some kind of mini-masterpiece with its rocking rhythm, sound effects and energetic chorus.

A rocking drum beat and occasional blasts of machine gun fire and frantic surf guitar make "Skaiyaz 5" a memorable tune.

Perhaps the loveliest and most haunting is the theme to a show called "Sabu and Ichi's Detective Memoirs", wonderfully pensive and atmospheric.

But those are just some of the highlights. This double CD has over seventy songs on it!

2014 August 08 • Friday

San Diego Comic-con, Friday, July 25, 2014: Lord Business was there.

I was admiring this vintage Smog Monster vinyl and somebody pointed out to me that you could see Godzilla reflected in its eyes.

I went to a panel but found it boring and left quickly. Lunch time! My feet didn't feel like doing much walking, so I took a taxi to Tiger! Tiger!, another favorite place. (After that I took the number 2 bus to get between North Park and downtown.)

I was hoping for the same amazing BLT I'd had last time, but I had to make do with garlic soup, roasted padron peppers and a pork belly banh mi with chicken liver pate.

Then I took a bus downtown, saw Lucy and enjoyed it, tried and failed to get into the Archer panel, checked out the exhibition hall and said goodbye to the convention. (Saturday is too crowded for my taste. Thursday and Friday seem to be enough for me, anyway.)

But it's not goodbye to San Diego just yet! I stopped in Modern Times Brewing's tasting room, one of the most nicely designed interiors I can remember seeing.

Then it was back to the hotel. I noticed a few of these Bart Club things around town.

Early the next morning I tagged the Stone Brewing spot in the San Diego Airport but, honestly, I'd had enough beer to last me for a long time by then.

See you in 2015!

2014 August 06 • Wednesday

2014 San Diego Comic-con day two: the actual con!

Perhaps you recall that my first day was spent in North Park, drinking a lot of beer and buying a bunch of records. (More on the records later.)

Thursday I wandered down to the con—literally walked the three or four miles from my hotel, through Balboa Park, stopping at a place called Lucy's for huevos rancheros before heading to the convention center.

One of the best costumes I saw was on this truck.

There was a Gotham City zipline and a Godzilla exhibit on the pier behind the convention center.

I tried to go to a Godzilla panel but it was canceled. Later I went to a Jules Feiffer panel but Jules Feiffer wasn't there and the people who were there didn't seem prepared to do much without him so I left.

Inside the exhibition hall I was impressed, as I am every year, by the original pulp art and illustration that can be yours for thousands of dollars. I might have bought the Reefer Girl painting if I'd had the money.

I did get this foam Sharknado 2 chainsaw for free, though.

Large groups of people—and just about everything else, now that I think of it—make me want a beer, so I started walkig northeast toward Hamilton's Tavern, one of my favorite San Diego spots. On the way, though, I ran into Monkey Paw Brewing, which is now probably my favorite San Diego spot! (And I think that Hamilton's is their sister bar or something.)

They had the best beer selection of all the places I went to, which is really saying something. The food was quite good as well. I had an awesome cheesesteak there. And they have these amazing chocolate truffles.

These are handmade by a local woman who uses Monkey Paw beer in the recipe. Every week they give her a different beer to incorporate and you can pair the truffles with the beer at the bar. They were incredible.

The brewery itself is literally on the other side of the wall of the bar.

At this point I'd probably had enough to eat and drink but my route back to the hotel—another three or four mile walk—took me past Hamilton's, so in I went.

I wasn't exactly hungry but I didn't regret ordering this amazing sausage sandwich.

Then it was time to call it a night—after stopping at the Stone Company Store for a couple of small glasses and a t-shirt.

2014 August 04 • Monday

Here's our old friend Nico Fidenco again with the score for Zombi Holocaust, the 330th Soundtrack of the Week.

As is often the case, the soundtrack consists of different arrangements of a handful of cues.

"Fascinating Horror" is a textural synth piece, primarily a vehicle for a sense of dread. Then there's "Make Love on the Wing", a lovely, stirring piece which Fidenco has brought over from his Emanuelle film scores.

"From the Beyond" is kind of a disco funk tune that has a bit of "Fascinating Horror dropped into it. "A Dive into the Past" reverses this, dropping bits of "From the Beyond" into a textural synth dread cue. (Other versions of this cue are much more rhythmic and powerful.)

"Living in the Past" is a groovy, laidback tune with a flute melody and some cool electronic sounds. And "Living in the Future" sounds like the futuristic version of it.

Things continue in a mellow kind of disco vein with "The Magic Is in Progress" but get back to synth dread at the end. "Dee Doom Bee Boom" is as cheery as it sounds, with great percussion playing. It's reprised in "Resurrection", which begins with scary synth sounds.

"From Another World" has a slinky groove for mellow but menacing line on top. Finally there's the tribal-sounding "Zombie Parade", mostly percussion, wood flute and voice with a little synth in there.

2014 August 01 • Friday

Ah, the San Diego Comic-con! It's an interesting combination of relaxing and strenuous.

The first day was Wednesday, preview night, to which I did not have a ticket. That was no accident. I divide my time between the con and the city and Wednesday was dedicated to San Diego.

For the second year in a row I went from the airport directly to the Toronado, with some pork belly skewers, a burger and a pint of Pliny the Elder.

After checking in at the hotel, I visited Nickelodeon Records, a real record shop, run by two cool women who were teenagers in San Diego in the '50s and '60s.

After that I only had to cross the street to pay my respects to Bine & Vine, one of the best places in the country to buy bottles of beer. They have wine and sake also.

All this walking around in the sun made me thirsty. Lucky for everybody, the Blind Lady Ale House is only about a block away.

I can't remember what happened after that. There were still several hours left in the day. I should have taken notes.

Rob Price
Gutbrain Records
rob + gutbrain.com = email


2014 September 14
Branded Saloon
603 Vanderbilt Avenue
All Region Player:
Rob Price (guitar)
Ben Gallina (bass)
Andy O'Neill (drums)

2014 October 01
Silence Sounds
46 Essex Street
Guelph, Ontario

Chris Cawthray (drums)
Jim Sexton (bass)
Rob Price (guitar)


Neighborhood Changed Fast

Mantic Trio:
Lee Feldman
Rob Price
Chris Moore

Submarine Pictures

Rob Price
Reuben Radding
Matt Moran

I Really Do Not See The Signal

Rob Price
Ellery Eskelin
Trevor Dunn
Jim Black

Get Lost

Rob Price
David Grollman

At Sunset
Rob Price
Ellery Eskelin
Trevor Dunn
Joey Baron


Mr. Dorgon
Laura Cromwell

Blue Punctilios

Combination No. 10:
Rob Price
Victor Rice
Ara Babajian


Chris Cawthray
Rob Price
Ed Zankowski

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New Tax Bill May Be Needed,
Limited Farm Bill Favored

Soundtracks of the Week
Quincy Jones:
The Italian Job

Lalo Schifrin:
Les Felins

Ketteiban!: TV Anime Main Theme Original Soundtracks 1963–1968

Nico Fidenco:
Zombi Holocaust

Eddie Sauter & Stan Getz:
Mickey One

Piero Umiliani:
Agente X1-7: Operazione Oceano

John Barry:
Raise the Titanic

Takayuki Hattori:

Come Spy With Us

Hideakira Sakurai:
The Best of "Lone Wolf and Cub"

John Harrison:
Day of the Dead

John Corigliano:
Altered States

Stu Phillips:
Knight Rider

Run Lola Run

My Rifle, My Pony and Me

Kenyon Hopkins:
East Side/West Side

Henry Mancini:
Mr. Hobbs Takes a Vacation

Bruno Nicolai:

Sol Kaplan:
The Spy Who Came in from the Cold

Kenny Graham:
The Small World of Sammy Lee

Jerry Goldsmith:
Psycho II

Franz Waxman:
Crime in the Streets
Gerald Fried:

Leith Stevens
Stu Phillips:
The Interns
Leith Stevens:
Hell to Eternity

Dean Elliott:
College Confidential
Neal Hefti:

Alexander Courage:
Hot Rod Rumble
George Weiss and Frank De Vol:
Murder Inc.

David Shire:
The Godchild

Donald Fagen & Walter Becker:
You've Got To Walk It Like You Talk It or You'll Lose That Beat

Herbie Hancock:

Deutsch Krimi-Musik Vol. 1

Nelson Riddle:
The Rogues

Charles Bernstein:

Jerry Fielding:
The Gambler

Dimitri Tiomkin:
Gunfight at the O.K. Corral

Bernard Herrmann:
The Ghost and Mrs. Muir

Piero Piccioni:
7 cadaveri per Scotland Yard

Masahiko Sato and Toshiyuki Miyama & New Herd:
Jaga wa hashitta

John Lewis:
Odds Against Tomorrow

Peter Thomas:
The Big Boss

Henry Mancini:
Breakfast at Tiffany's

David Whitaker:

L'Apocalypse des animaux

Georges Delerue:
L'Aine des Ferchaux
Michel Colombier:
Un flic

Henry Mancini:

Carlo Rustichelli:
L'isola di Arturo

Howard Blake:
The Avengers: Original Tara King Season Score

Laurie Johnson:
The Avengers: Original Soundtrack Recordings

Jerry Goldsmith:

Toru Takemitsu:
Car Thieves

Gianni Ferrio:
Gringo, getta il fucile!

Cliff Martinez:
Only God Forgives

Five Summer Stories

Henry Mancini:
The Days of Wine and Roses

Ennio Morricone:
Arabian Nights

Gino Marinuzzi, Jr.:
Planet of the Vampires

Bud Shank:
Slippery When Wet

Maurice Jarre:

Kazuyoshi Saito:
Fish Story

Carlo Savina:
Ombre roventi

James William Guercio:
Electra Glide in Blue

Neal Hefti:
Duel at Diablo

Kenyon Hopkins:
The Fugitive Kind

Jo Hisaishi:
Kiki's Delivery Service

Elmer Bernstein:
The Rat Race

David Raksin:
Too Late Blues

Georges Delerue:
The Conformist
Little Girl in Blue Velvet

The Secret Agents:
Mission: Impossible and Other Action Themes

Franz Waxman:

Monstrous Movie Music

The Hellcats

Dimitri Tiomkin:
55 Days at Peking

Armando Trovaioli:
Rapporto Fuller, base Stoccolma

262) John Barry:
Ruby Cairo

Ennio Morricone:
Agent 505—Todesfalle Beirut
Il Successo

John Carpenter & Alan Howarth:
Escape from New York

Jan Hammer:
Miami Vice


Carlo Rustichelli:
Milano Rovente

Franco Micalizzi:
Napoli Violenta

Albert Verrecchia:
Roma drogata: la polizia non può intervenire

Basil Kirchin:
Primitive London
The Freelance

Duke Ellington:
Paris Blues

Phillip Lambro:
Los Angeles, 1937

Jerry Goldsmith:

Paul Motian:
Punishment Park

Maurice Jarre:
El Condor
Villa Rides!

Star Trek: The Original Series

That Thing You Do!

Blade Runner

Kunihiko Murai:
Akuma no temari-uta

Maurice Jarre:

Franco De Gemini:
From Beat to Beat

Jerry Goldsmith:
Warning Shot

Stelvio Cipriani:
L'assassino e' al telefono

Bernard Herrmann:
It's Alive

Craig Safan:

James Horner:

Kunio Miyauchi:
The Human Vapor

Masaru Sato:
The H-Man

Sei Ikeno:
The Secret of Telegian

Victor Young:
Johnny Guitar

Henry Mancini et al.:
Rock, Pretty Baby

Delerue: Rapture

David Shire:
The Taking of Pelham One Two Three

Michael Kamen:
Road House

Nino Rota:
Giulietta degli spiriti

Kenyon Hopkins:
The Hustler

Duke Ellington:
Anatomy of a Murder

Basil Poledouris:

Alex North:

Huang Zhan & Lui Tsung-tak:
Green Snake

Ennio Morricone:
Il serpente

Augusto Martelli:
Il dio serpente

Vladimir Ussachevsky:
Film Music

Angelo Badalamenti:
Twin Peaks Music: Season Two and More

Nico Fidenco:
I Miei Primi 50 Anni da Cantante e Compositore

Fred Karlin:

80's Television's Hits

70's Television's Hits Vol. 2

215) Various:
70's Television's Hits

60's Television's Hits Vol. 2

60's Television's Hits

Kanno Yugo:
SP (Security Police)

Michiru Oshima:

Jerry Fielding:
Straw Dogs

Carlo Savina:
Malenka, la nipote del vampiro
I diabolici convegni

Waldo De Los Rios:
A Town Called Hell
Savage Pampas

Van Cleave:
Robinson Crusoe on Mars

Percy Faith:
The Oscar

Sally Kubota:
The Toyota 2000GT Documentary 1965–1970

The Back-Wash Rhythm Band:
The Golden Breed


Ennio Morricone:

Akihiko Matsumoto:
Bayside Shakedown: The Movie

Bernard Herrmann:
White Witch Doctor

Jerry Goldsmith:
The Swarm

Nico Fidenco:
Agente Logan Missione Ypotron

Henry Mancini:
99 & 44/100% Dead!

Michael J. Lewis:
Theater of Blood

The Reds & Michel Rubini:

Elmer Bernstein:

John Williams:
Family Plot

Bernard Purdie:


Kunio Miyauchi:
Ultra Q

Giuliano Sorgini:
The Living Dead at the Manchester Morgue
John Cacavas:
Horror Express

Angelo Francesco Lavagnino:
Il castello dei morti vivi (Castle of the Living Dead)


De Wolfe Music Library:
Dawn of the Dead

Capitol Hi-"Q" Production Music Library:
Night of the Living Dead

Nico Fidenco:
2+5 Missione Hydra

Stu Phillips:
A Time to Every Purpose, The Name of the Game Is … Kill and The Meal

Laurence Rosenthal:
Requiem for a Heavyweight & A Raisin in the Sun

Nora Orlandi:
The Strange Vice of Mrs. Wardh

Frank Cordell:
Khartoum & Mosquito Squadron

Popol Vuh:
Heart of Glass

John Cameron:

Don Gere:
Werewolves on Wheels

Les Baxter:
Hell's Belles

Max Steiner:
A Summer Place

Luis Bacalov:
Summertime Killer

Basil Poledouris:
Big Wednesday

Les Baxter:
Beach Blanket Bingo

Bernard Herrmann:
The Day the Earth Stood Still

Bernard Herrmann:
The Alfred Hitchcock Hour: Volume 1

Bernard Herrmann:
Beneath the 12-Mile Reef

Bernard Herrmann:
On Dangerous Ground

Chuji Kinoshita:
Mito Koumon

Fukuda Yasuhiko:
Bakuhatsu! Sukeban Hunters: Sokatsu Nagurikomi Sakusen

Yamamoto Naozumi et al.:
All Star Show: Atsumi Kiyoshi

Isao Tomita and The Helpful Soul:
A Thousand & One Nights

Takeo Yamashita:
Playgirl & Playgirl Q

Hawaiian Eye

Morton Stevens:
Hawaii Five-0

Henry Mancini:
The Hawaiians

Elmer Bernstein:

Shunsuke Kikuchi:
Zero Woman: Red Handcuffs

Jerry Goldsmith and Morton Stevens:
Cain's Hundred

Howard Shore:

Henry Mancini:
Experiment in Terror

Daniele Amfitheatrof:
Bird of Paradise

Hugo Friedhofer:
Lydia Bailey

Francis Lai:
Jeune fille libre le soir (The Babysitter)

Igo Kantor, Bert Shefter and Paul Sawtell: Faster, Pussycat! Kill! Kill!
James Griffith and Hal Hopper: Lorna
Igo Kantor: Vixen

151) John Barry:
The Quiller Memorandum

John Williams:
Black Sunday

Gianni Ferrio:
Black Box Affair: Il Mondo Trema

James Brown:
Black Caesar

Jerry Fielding:
The Black Bird

Gene Page:

Vasco Vassil Kojucharov:
Dio Perdoni La Mia Pistola & Anche per Django Le Carogne Hanno Un Prezzo

144) Joe Harnell:
The Bionic Woman: "Once a Thief", "Deadly Ringer: Part 1" & "Bionic Beauty
143) James Horner:
Star Trek III: The Search for Spock

142) Nico Fidenco:
La Via Della Prostituzione (Emanuelle and the White Slave Trade)

141) Nico Fidenco:
Emanuelle e gli ultimi cannibali

140) Nico Fidenco:
Emanuelle Around the World

Nico Fidenco:
Emanuelle in America

Nico Fidenco:
Black Emanuelle Goes East

Nico Fidenco:
Black Emanuelle

Stelvio Cipriani:
Il triangolo delle Bermude, Bermude: La fossa maledetta & Uragano … Bermude l'ultimo S.O.S

Taku Izumi:
Giant Space Monster Girara (a.k.a. The X from Outer Space)

Kikuchi Shunsuke:
Edogawa Rampo Series: Akechi Kogoro

Waldo De Los Rios: ¿Quien puede matar a un niño? (Who Can Kill a Child?) & La Residencia (The House That Screamed)
132) Il Reale Impero Brittanico:
Perché si uccidono

131) Patrick Williams:

130) Yuji Koseki:

129) Marcello Giombini:
Return of Sabata

128) Jerry Fielding:
The Big Sleep

127) Bronislau Kaper:
Home from the Hill

126) Lalo Schifrin:
The Wrath of God

125) Shelly Manne:
Young Billy Young

124) Bernard Herrmann:
Cape Fear

Akira Ifukube:
The Three Treasures
122) Maurice Jarre:
Ma Période Française

Chappell Recorded Music Library:
The Prisoner: The Complete Chappell Recorded Music Library Cues

120) Les Baxter:
Panic in Year Zero!

119) Charles Bernstein:
White Lightning

Ravi Shankar and Ustad Vilayat Khan:
Film India

117) Toru Takemitsu:
Kawaita hana (Pale Flower)

116) Mario Migliardi:
A Come Andromeda

115) Elmer Bernstein:
114) Antonio Carlos Jobim & Vinicius de Moraes:
Orfeu da Conceição

113) Sadao Bekku:

112) Mikis Theodorakis:

111) Shelly Manne:
The Proper Time

110) Ennio Morricone:

109) Henry Mancini:
The Pink Panther

108) Nino Rota:
Il gattopardo

107) Piero Piccioni:
Il bell'Antonio

106) Earle Hagen:
I Spy

105) Akira Ifukube, Isao Tomita, Kunihiko Murai, Shigeru Ikeno:
Zato Ichi: The Best Cuts

104) Ennio Morricone:
The Five Man Army

103) Joe Harnell:
The Bionic Woman: "Doomsday Is Tomorrow Part 2"
and "The Martians Are Coming, The Martians Are Coming"

102) Gil Mellé:
The Andromeda Strain

101) Kenyon Hopkins:
The Reporter

100) Quincy Jones:
The Deadly Affair

99) The Sandals:
Endless Summer

98) Shelly Manne:
Jazz Gunn

97) Bruno Nicolai:
La Battaglia del Deserto

96) Seitaro Omori:
Arashi o yobu otoko

95) Max Steiner:

94) Maurice Jarre:
Lawrence of Arabia

93) Gian Piero Reverberi and Gian Franco Reverberi:
Le Malizie di Venere

Carlo Savina:
Hypnos: Follia di Massacro

Piero Umiliani:
28 Minuti per 3 Millioni di Dollari

92) Yasushi Akutagawa:

91) Barry Gray:

90) James Horner:
Star Trek II: The Wrath of Khan

89) Jerry Fielding:
The Mechanic

88) Elmer Bernstein:
Cannon for Cordoba and From Noon Till Three

87) Ennio Morricone:
Città Violenta (Violent City)

86) Charles Bernstein:
Mr. Majestyk

85) John Barry:
The White Buffalo

84) Berto Pisano:
La Morte Ha Sorrsio all'Assassino
Stefano Liberati & Elio Maestosi:
La Mano Che Nutre La Morte & Le Amanti del Mostro

83) Eric Demarsan:
L'Armée des Ombres (Army of Shadows)

82) Alex North:
Hard Contract

81) Jerry Fielding:
Bring Me the Head of Alfredo Garcia

80) Ernest Gold:

79) Andre Previn:
Two for the Seesaw

78) Masao Yagi and Shunsuke Kikuchi:
Kensyu Takakura Shuen Sakuhin Best Selection

77) Marcello Giombini:

76) Masaru Sato:
The Film Music of Masaru Satoh Vol. 11

75) Booker T and the MGs:
Up Tight!

74) Ennio Morricone:
The Good, the Bad and the Ugly

73) R. D. Burman:
The Train

72) Bernard Herrmann:
North by Northwest

71) Hajime Kubaragi:
Doberman Cop

70) Nico Fidenco & Gianni Dell'Orso:
Sharaz and Ragan

69) Erich Wolfgang Korngold:
The Prince and the Pauper

68) Roy Budd:
Get Carter

67) Laurence Rosenthal:
Who'll Stop the Rain

66) David Grusin:
The Heart Is a Lonely Hunter

65) Bernard Herrmann:
The 7th Voyage of Sinbad

64) Angela Morley:
Captain Nemo and the Underwater City

63) Yugo Kanno:
Suspect X no Kenshin

62) Chuji Kinoshita, Takeo Watanabe and Taichiro Kosugi:
Junko Fuji Best Collection Volume Two

61) Piero Umiliani:
La Morte Bussa Due Volte

60) Barry Gray:
"Stand By for Action!"

59) Maury Laws & Jules Bass:
Mad Monster Party

58) Angelo Francesco Lavagnino:
L'Impero del Sole

57) Jerry Goldsmith, Harry Sukman et al.:
Dr. Kildare

56) Davie Allan & The Arrows:
Cycle Breed

55) Roberto Pregadio & Romano Mussolini:

54) various:
Ein Wigwam Steht in Babelsberg

53) Piero Umiliani:
Due Mafiosi Contro Goldginger and Due Mafiosi Contro Al Capone

52) Frankie Chan:
Ashes of Time

51) Mario Migliardi:

50) David Shire:
The Conversation

49) various:
Go! Cinemania Reel 4: Screaming A Go Go

48) Georges Delerue:
Day of the Dolphin

47) Goblin:
La Via Della Droga

46) Alfred Newman:
The Best of Everything

45) Akira Ifukube:
The Tale of Osaka Castle

44) Philip Green:
All Night Long

43) John Barry:

42) Bronislau Kaper and Heitor Villa-Lobos:
Green Mansions

41) De Wolfe Music Library:
Kung Fu Super Sounds

40) Dimitri Tiomkin:
The Thing from Another World
Take the High Ground

39) Nora Orlandi:
Il dolce corpo di Deborah

38) Peter Thomas:
Chariots of the Gods

37) Henry Mancini:
Silver Streak

36) R. D. Burman:

35) Jim O'Rourke:
United Red Army

34) Ennio Morricone:
…e per tutto un cielo di stelle

33) Ron Grainer:
The Omega Man

32) Isao Tomita & Kunio Miyauchi:
Mighty Jack

31) Miklós Rózsa:
El Cid

30) Robby Poitevin:
Little Rita nel West

29) Hugo Friedhofer:
Boy on a Dolphin

28) David Shire: Farewell, My Lovely and Monkey Shines
27) Yukihiro Sawada:
Yukihiro Sawada's World

26) Bernard Herrmann:
The Kentuckian and Williamsburg: The Story of a Patriot

25) Gladys Knight & The Pips:
Claudine and Pipe Dreams

24) Franz Waxman:
My Cousin Rachel

23) Edwin Astley:
Department S

22) Mikis Theodorakis:
Five Miles to Midnight

21) Bronislau Kaper, Daniele Amfitheatrof and Jeff Alexander:
The Naked Spur: Classic Western Scores from M-G-M

20) Trevor Dunn:
Four Films

19) Les Baxter:
The Dunwich Horror

18) Masaru Sato & Koji Izumi:
Jikiru to Haido

17) Elmer Bernstein:
Gangs of New York, The Journey of Natty Gann and The Scarlet Letter

16) Dominic Frontiere:
The Outer Limits

15) Bernard Herrmann:
Mysterious Island

14) Lalo Schifrin:
Kelly's Heroes

13) Masao Yagi:
Hiko Shojo Yoko (Delinquent Girl Yoko)

12) Albert Elms & Ron Grainer:
Man in a Suitcase

11) Ennio Morricone:
Giornata Nera per l'Ariete

10) Max Steiner:

9) José Sola:
Jazz en el Cien Negro Español

8) Bruno Maderna:
La Morte Ha Fatto l'Uovo

7) Mina Aoe & Masahiko Sato:
Onna no Keisatsu

6) various:
Kosmos: Soundtracks of Eastern Germany's Adventures in Space

5) Jerry Goldsmith:

4) Jacques Loussier:
Dark of the Sun

3) Keiichiro Akagi:
Nikkatsu Collection

2) Delia Derbyshire, Brian Hodgson, David Vorhaus and Dudley Simpson:
The Tomorrow People

1) Luboš Fišer:
Valerie and Her Week of Wonders

Movies of the Year


Curtis Hasselbring
Rob Price
Ches Smith
Trevor Dunn
Shelley Burgon

(photo by Alice Bierhorst
Rob Price
Jim Black
Trevor Dunn
Ellery Eskelin
(photo by Scott Friedlander)

Rob Price
Chris Cawthray
Ed Zankowski
(photo by
by Seven Stock)

Rob Price
David Grollman

(photo by Alice Bierhorst)

Rob Price is on other CDs:

Dexter Price
Alice Bierhorst

The Magic Lantern
Alice Bierhorst

Alice Bierhorst

Sonic Demons
Lucio Menegon

Smell the Glove
Mr. Dorgon

Da Whole Thing

Dim Sum Clip Job
Harmolodic Jeopardy

Game of Death