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"Doug's Corner"


I'm sitting here with a large family meal about to happen and a trip in my newly acquired time machine to follow. The meal is, of course, our traditional Thanksgiving gathering. The time machine, however, is a bit less traditional. The former allows my family to take respite from all of the unrest in the world, both here and abroad. The time machine just lets me go backwards. Since the family gathering pretty much needs no further explanation, I'll just hop over to the time machine and clarify.

After having launched Intrada with its first LP in 1985, nurturing the label through the demise of vinyl, the rise of CDs, the introduction of downloads and more recently the cloud, I find my label now launching... well, vinyl. Again.

With fans of the record album very much in evidence lately, we're stepping up to the plate as well. In fact, I always kept my LPs anyway. Why not make some more? So our store is now dipping into the "new" format with a few titles from various labels and we'll carry them as well as CDs. You'll see a new store "tab" on our home page dedicated exclusively to vinyl. The selection is really small right now but it's a start. Or is that, another start? Something like that, anyway.

Our own label has no less than five upcoming 180 gram premium vinyl releases in pre-production now, including at least one title that will probably be exclusive on vinyl and another one that will be greatly expanded from what it once was. Watch for news on these and more in the coming year! For CD fans, of course, we'll keep the flow happening, too. In fact, this coming Tuesday, December 2, we'll be offering two more new CDs. One simply brings an oft-requested classic back again. It's something that should always be available rather than just a now-you-see-it, now-you-don't release. The other is, in my humble opinion, a world premiere that truly defines importance. If you love really great movies and especially really great movies that have really great music, this one's for you. Watch for the artwork, track listings and sound samples to go up on our site this coming Monday evening. The CDs are in stock and will go out to you starting on Tuesday. I hope you enjoy them!


Watching movies is now something of a luxury for me. Not a complaint, though. Between editing and mastering our soundtracks and breaks for quality time with my family and friends, I'm getting a taste of the "good life". Anyway, so a couple of the movies I caught this last week were Man Of The West and Planet Of The Vampires. Beyond both being movies from a few decades ago, they didn't have much else in common. Both were good, though, albeit in different ways.

The western was made by Anthony Mann, who has a reputation for making good ones, especially with James Stewart. This one had Gary Cooper. Lee J. Cobb was in it, Julie London, several others. Jack Lord was particularly compelling to watch. Leigh Harline did the music. The beginning of the main title had an Alex North vibe, then settled into a Leigh Harline vibe. Expansive melody trades with brittle, tense action material. Both are Harline western trademarks. This one deserves more attention than it's gotten. The sci-fi movie stood out because director Mario Bava drenched it non-stop in myriad colors and let the horror elements stand out in graphic detail. Well, for 1965 anyway. Barry Sullivan plays the lead astronaut that brings a crew to a distant planet after receiving distress signals (yep, sort of like Alien) and finds his crew getting picked off one by one by an unspeakable horror (yeah, more Alien). The sets are cool, with a couple of key ones seemingly right of Giger - still more Alien. I assume other people have noticed all these similarities. Whatever. It's a pretty neat movie whether it inspired the later classic or not. The score's by Gino Marinuzzi Jr., who followed in his dad's footsteps as a composer. Unlike Harline's above western effort, though, I found this sci-fi/horror score - an admittedly innovational meld of experimental electronic textures and orchestral colors - both dated and uninteresting. The dating is forgivable, of course, but the lack of interest only made me think about how incredibly memorable Jerry Goldsmith's score was for... well, okay, you guessed it.