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(http://imageshack.us/photo/my-images/547/b1v7.jpg/)
Tracklist:
01. Twentieth Century Fox Fanfare (0:13) (by Alfred Newman)
02. Prelude/Outerspace/Radar (3:50)
03. Danger (0:25)
04. Klaatu (2:17)
05. Gort/The Visor/The Telescope (2:26)
06. Escape (0:55)
07. Solar Diamonds (1:07)
08. Arlington (1:13)
09. Lincoln Memorial (1:32)
10. Nocturne/The Flashlight/The Robot/Space Control (6:02)
11. The Elevator/Magnetic Pull/The Study/The Conference/The Jewelry Store (4:33)
12. Panic (0:46)
13. The Glowing/Alone/Gort’s Rage/Nikto/The Captive/Terror (5:15)
14. The Prison (1:44)
15. Rebirth (1:42)
16. Departure (0:55)
17. Farewell (0:35)
18. Finale (0:31)
https://mega.co.nz/#!i8QCnR5L!ejBPtlAOUwL2_L65Ico9rin-8dshUSty2nsSyChjXNM
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[/COLOR]This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age’s obsession with flying saucers and giant robots, Bernard Herrmann’s score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it’s almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann’s most visionary and influential scores.
Review by Heidi MacDonald, Amazon.com
Amidst all the endless issues and reissues of the standard repertoire, there are still recordings released of the less-than-standard repertoire, of the masses of Ockeghem, of the symphonies of Krauss, and of the songs of Hahn. But of all the projects dedicated to the less-than-standard repertoire, perhaps the most needful and certainly the most interesting is Varese Sarabande’s series of recordings of the film scores of Bernard Herrmann. Herrmann’s scores are not only supremely effective as soundtracks, but extremely evocative and even deeply moving as pieces of music, and listening to the scores for Vertigo or Citizen Kane is as involving and exciting as listening to the Four Seasons or the 1812 Overture. But in most cases, Herrmann’s scores are either recorded only in parts or unrecorded altogether, and it was not until Varese Sarabande began its Herrmann series that many of his complete scores could be heard. This 2002 recording of the complete score of Herrmann’s The Day the Earth Stood Still conducted by Joel McNeely is the first recording of all the music for the score — even the original soundtrack only includes 18 of its 33 cues. And like the previous nine titles in the series, it is magnificent. McNeely and his 30-piece orchestra of brass, percussion, keyboards, and Theremin perform as well and often better than Herrmann’s own recording and producer Robert Townson’s superlative sound that is far, far better than the sound of the original 1951 recording. The score itself is wonderful: vivid, colorful, terrifying, awe-inspiring, and always and everywhere gripping. For anyone who likes film scores in general, or Herrmann’s scores in particular, this disc is mandatory. And for anyone who simply likes great music, this disc will be a welcome relief from the standard repertoire.
Review by James Leonard, Allmusic.com
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This 1951 stereo recording is so good that it’s great to have in in FLAC. A very nice set of scans included. Many thanks,Alex.