Episode Records

Residents

The Census Taker

wikipedia:
The Census Taker is the soundtrack to the 1984 movie of the same name, released in 1985. The only truly notable thing about the movie is this soundtrack, composed entirely by The Residents, which includes some new tracks ("Hellno" and "Where Is She" are standouts) as well as some older songs reworked. Black and
red vinyl (450 copies).

A1 Creeping Dread
A2 The Census Taker
A3 Talk
A4 End Of Home
A5 Emotional Music
A6 Secret Seed
A7 Easter Woman / Simple Song
A8 Hellno
B1 Where Is She
B2 Innocence Decayed
B3 Romanian / Nice Old Man
B4 Margaret Freeman
B5 Lights Out / Where Is She
B6 Passing The Bottle
B7 The Census Taker Returns

This is the cd rip. 320
This is being shown on MGM HD soon so i hope it can be redistributed by some generous person
very soon after?



Club Foot Orchestra

The Cabinet Of Dr. Caligari

The Cabinet of Dr. Caligari (1919) is generally considered the first completely realized German Expressionist film. The screenplay, written by Carl Meyer and Hans Janowitz, combined dream imagery with a STRONG anti-authoritarian message, an outgrowth of their experiences during WWI. Their screenplay had the movie end with Caligari in a straitjacket and raving mad. Fritz Lang, who had been brought in to fix the movie, is responsible for framing the screenplay with footage which suggests that the whole story is a nightmare invented by the patient, who had just been saved by the good doctor. But the fact that the sets remain distorted to the very end, suggest that despite his antiseptic appearance, all is not right with the world.

The Club Foot Orchestra premiered Richard Marriott's score for this film at the Mill Valley Film Festival October 17, 1987. The film sold out San Francisco's Roxie Theatre for seven shows in February 1988 and was subsequently performed at New Music America '89. In 1991 Orchestra performed the score during the Smithsonian Institution's "Exhibit of Degenerate Art", a re-enactment of the 1937 Berlin exhibit of art deemed degenerate by the Nazis. In 1996 the Orchestra performed the score at Lincoln Center.





Michael Perilstein


Hollywood Chainsaw Hookers & Other Film Scores (1993)

1 First Time I Ever Saw Your Face
2 Private Dick On The Prowl
3 Whore Today, Gone Tomorrow
4 Voted Most Likely To Suck Seed
5 Sex Minutes To Death
6 Hollywood And Bust
7 Honk-Tonk Hooker Blues
8 Chainsaw Out Of Gas
9 Ritual In Oil And Chainsaws
10 Afternoon Of A Spawn
11 Creeping Right Along
12 Spawn Lake
13 Let's Spawn
14 Spawn Who Came In From The Cold
15 Spawn With The Wind
16 Mentality Of Punching People For A Living
17 Clowning Around With Muhammad
18 Into Africa
19 Bum's Rush
20 Insanity, Anyone?
21 Failure Of Society To Recognise Its Obligation To The Very Underclass Which It Has Created
22 Today Is The Best Day Of The Rest Of Your Life
23 Attack Of The Willies
24 Willie's Theme

tracks 1-9 from "Hollywood Chainsaw Hookers" film.
tracks 10-15 from "Deadly Spawn" film.
tracks 16-18 from TV Documentary of Muhammad Ali.
tracks 19-22 from "Vent Man" film.
tracks 23,24 from "Willies" film.




Excerpt from the Book: Chapter 15 Michael J. West
Location: Washington, D.C., United States
Although Tom Timony also had plenty to do in preparing a tour—a lot of it involving the signing of checks—he also now had Ralph Records to run, and he was keeping quite busy with it. He’d even made a deal to release an album by another artist, a Los Angeles film composer by the name of Michael Perilstein.

Perilstein had actually begun his career as a radio and newspaper journalist in New Jersey in the 1970s and early ‘80s, writing interviews and features on celebrities who worked in the area, primarily on films, but he had long been a musician, playing the piano since he was a child. He got his first opportunity to combine the two talents, he recalls, when

Someone told me about a couple who were making a feature film in the area, so I interviewed them.During the course of the interview, I asked them whether or not they had a theme song for their film. They said no, so I asked if I could write one that they liked, would they use it? They said, of course. So I wrote the theme to the film Satisfaction Guaranteed and they liked it and asked me to score the whole film, which I did.

Satisfaction Guaranteed, “an outrageous movie about defective products and services” (so says online music vendor CDBaby), was never actually released, but writing its theme song was still enough to give Perilstein a foot in the door. He retained ownership of the song and soon licensed as the theme to a locally produced TV show. That raised his profile enough that he was offered a job, this time a full score, on another film project – a feature-length documentary then entitled Muhammad Ali: A Twilight Portrait. His synthesizer score, influenced by film-music luminaries such as John Barry, Jerry Goldsmith, and Bernard Hermann as well as Prokofiev and Grieg, helped the filmmakers sell the documentary to NBC television (who, says Perilstein, changed its title, “But I forgot what it is, and, frankly, don't really care”).

This score led to another, one that would define much of Perilstein’s career: A New York stage designer named Douglas McKeown had written a horror screenplay called The Deadly Spawn and was now filming the movie on a tiny budget—less than $20,000—in his hometown of Metuchen, New Jersey. Its very conception was B-grade and it was never, by accident or design, going to be anything more than that, but it was still a feature film in need of a score, and Perilstein was just making a name for himself and willing to work for cheap.

The Deadly Spawn was released with Perilstein’s cues, and while it was universally panned by those critics who bothered to even see it, it did spectacularly well for its makers: the $20,000 movie made $320,000 on its opening weekend, a 1500% profit. While the most mainstream theaters wouldn’t touch it with a 1,500-foot pole, it did very well in drive-ins and midnight movie showings; The Deadly Spawn actually turned out to be one of the sleeper hits of 1983 and a cult classic. Based on that weird, insular buzz, Perilstein began to suspect he could get his score released on record.

The first record company expressing an interest in releasing it called itself Traq Records,” Perilstein recalls, “and I signed a six-month option with them, during which time they were to look for funding which they never found.” Traq was a tiny label that specialized in very low-budget, low profile releases; their few releases included the fifth album by Latin funk group Malo; “To the Beat Y’all” by Sangria, a single in the new genre of rap; and another B horror soundtrack, to the 1982 film Midnight. One year later Traq was on its last legs—hence its trouble financing Perilstein’s record. The label asked for an extension on the expired option, but Perilstein demurred: “if they couldn't come up with the money in the first six-month period,” he explains, “I had no reason to assume they'd be able to in any other six month period. So I started looking around for another label.”

An acquaintance then told Perilstein about Ralph Records, the strange little label in San Francisco that released the Residents and other weird music on the periphery. It sounded right up Perilstein’s alley, and he promptly send a tape of The Deadly Spawn to Ralph. Tom Timony liked the record, but this was still the New Ralph era, when money was almost as tight as it had been for Traq; he was slow in answering Perilstein, because he was slow in having an answer to give him. The composer gave up and made a deal with a label that released Broadway musical soundtracks; to prevent being associated with a film soundtrack, they even created a special imprint, Deadly Records, just for Deadly Spawn.

Then, in a moment of unfortunate timing, Timony finally contacted Perilstein and acknowledged that Ralph wanted to work with him. “But it was too late,” Perilstein says. “So I said, ‘How about releasing my next film score?’ And Tom said that if they liked the music, they would.”

As it turned out, his next score was just around the corner. Lloyd Kaufman and Michael Herz of Troma Films, who were about to have a massive underground hit with their low-budget horror-comedy The Toxic Avenger, were already waist-deep in their follow-up—a combination horror, comedy, and teenage sex romp called Nuke ’Em High. Like Deadly Spawn and Toxic Avenger, this production was based in northern New Jersey, and, once again, Kaufman and Herz wanted a local composer who would work for cheap. They signed Perilstein, of course.

But all was not well. “They were delaying paying me, and putting off getting me a final cut TO score,” says Perilstein—who had already sent Troma 90 minutes of original, usable music based on early edits of the film. “So I told them they would have two weeks to [either] pay me what they owed me or not use my music….Two weeks went by without payment, and I sent them a letter saying “Do not use any of my music in anything you ever do. I will never work with you again.”

What Perilstein didn’t know, and indeed wouldn’t find out for years, was that there was no final cut of the film. Kaufman and Herz disliked their own cut of Nuke ‘Em High so much that they actually hired a new director and editor, Richard W. Haines, to reshoot and recut. The postproduction took over a year to complete, and then the film was finally released as Class of Nuke ‘Em High in late 1986.

Meantime, says Perilstein, “there I was, stuck with a perfectly good (but very odd) music score, which fit very well with the film.”

Ralph Records knew I was scoring that picture, and had been sent samples of the music all along, which they liked. So when I told Tom what happened, I suggested we release the score anyway – either as The Original Unused Score To “Nuke 'em High” (which I really didn't want to do, since it would have given Troma free publicity), or else as a concept album, for which I had two different titles: Godzilla Vs. Your Mother or The Lizard Of Roz.

Timony preferred Godzilla Vs. Your Mother, despite Perilstein’s caveat that he hadn’t cleared use of the “Godzilla” trademark with its owner, Toho Studios in Japan. Perilstein designed an absurd sleeve for the album, complete with an acrylic painting by his friend Monica Watson of a small lizard and a huge skirted leg facing off against the backdrop of a flaming city. The concept was described above the title: “Original Film Score (from the as-yet-to-be-made).” Catalogued as RR-8600, it was slated as the first Ralph release of 1986.