VC / VX Series

Starting in 1978, Varèse Sarabande released both classical works and motion picture soundtracks on vinyl (LP) using the same label numbering series (VC or VX being the prefix). Some of these titles would later see a CD release in the 47000 series.

* VC 81028 The First Nudie Musical – Bruce Kimmel

* VC 81040 Classical: Piano Improvisations, Duet From Act. I – Korngold

* VC 81051 Classical: Milhaud, Joys Of Life / Globetrotter Suite – Milhaud

* VC 81053 Rózsa Conducts Rózsa Vol. 1 – Miklós Rózsa

* VC 81056 Classical: William Dawson: Negro Folk Symphony – Stokowski

* VC 81058 Classical: Rozsa: Lust For Life & Background Of Violence Suites – Comp

* VX 81060 Classical: Orchestral Space – Seiji Ozawa

* VX 81061 Classical: Ohki: Night Meditation / Fukai: 4 Movements / Kiyose: Japanese Festival Dances / Yamada: Mandara no hana – Yamaoka

* VX 81062 Classical: Saburo Moroi: Symphony #2 – Yamaoka/Yomiuri Nippon Orchestra

* VC 81070 Master Of The World – Les Baxter

* VC 81071 36 Hours – Dimitri Tiomkin

* VC 81072 Silent Running – Peter Schickele

* VC 81073 The Quiet Man – Victor Young

* VC 81073 Samson And Delilah -

* VC 81074 Written On The Wind – Frank Skinner, Victor Young / Four Girls In Town – Alex North

* VC 81075 A Time to Love and a Time to Die – Miklós Rózsa

* VC 81076 This Earth Is Mine – Hugo Friedhofe

* VC 81077 Themes From Classic Science Fiction, Fantasy And Horror Films – Various Artists

* VC 81078 Goliath And The Barbarians – Les Baxter

* VC 81081 Hit! – Lalo Schifrin

* VC 81082 Brass Target – Laurence Rosenthal

* VC 81083 Stages – Bruce Kimmel

* VC 81084 Yatsu Haka-mura – Yasushi Akutagawa

* VC 81085 Classical: Roy Harris: Concerto for Amplified Piano, Brass & Percussion, etc. – Harris/UCLA Brass

* VC 81090 Classical: Respighi: Concerto Gregoriano / de Beriot: Scene de Ballet – Borsamsky / Kegel

* VC 81091 Classical: Prokofiev: Gypsy Fantasial Sym Suite of Waltzes / Balakirev: Overture on Russian Themes – Schwleger

* VC 81092 Classical: Felix Draeseke: Symphony No. 3 in C major “Symphonia tragica,” Op. 40 – Berlin Symphony Orchestra, Hermann Desser (Heinz Drewes) *[http://www.draeseke.org/discs/varese.htm Reissue of Urania LP-7162]

* VC 81097 Classical: Milhaud, Le Train Bleu, Auric, Les Facheux / Satie – Markevitch

* VC 81101 Two World Premiere Works From An American Master – Jerome Moross – Jerome Moross

* VC 81102 Tourist Trap – Pino Donaggio

* VC 81103 The Dunwich Horror – Les Baxter

* VC 81104 King Of Kings – Miklós Rózsa

* VC 81105 Phantasm – Fred Myrow, Malcolm Seagrave

* VC 81106 Dawn Of The Dead – Goblin

* VC 81107 Patrick – Brian May

* VC 81123 Classical: Roy Harris: Quintet for Piano and Strings, String Quartet No. 3

* VC 81127 Martin – Donald Rubinstein

STV / CTV Series

Beginning in 1979, Varèse moved TV and motion picture soundtracks to their own lettering prefix, STV. Many, but not all of these titles have also seen a CD release (refer to the 47000 series and the CD Club release lists below). CD and LP version were both made for most titles between 1985 and 1988, when LPs were abadoned in favor of the more popular media as the label adjusted for working with MCA (see below). Many of these titles were also available in cassette form, designated by CTV.

* STV 81108 Fedora – Miklós Rózsa

* STV 81109 A Little Romance – Georges Delerue

* STV 81115 The Young Lions – Hugo Friedhofer

* STV 81116 Island In The Sky – Alfred Newman / The Song Of Bernadette – Hugo Friedhofer, Emil Newman, Herbert W. Spencer

* STV 81117 Blood And Sand – Alfred Newman / Blood for Dracula – Claudio Gizzi / Golden Earrings – Victor Young

* STV 81118 Magnificent Obsession – Frank Skinner

* STV 81119 Boy On A Dolphin – Hugo Friedhofer

* STV 81120 Alcoa Presents – Harry Lubin

* STV 81121 Man Of A Thousand Faces – Frank Skinner

* STV 81122 It Started In Naples – Alessandro Cicognini, Carlo Savina

* STV 81124 Rio Grande – Victor Young

* STV 81125 Anastasia – Alfred Newman

* STV 81126 Piranha – Pino Donaggio

* STV 81127 Martin – Donald Rubinstein

* STV 81128 Knights Of The Round Table – Miklós Rózsa

* STV 81129 Meetings With Remarkable Men – Thomas de Hartmann

* STV 81130 Destination Moon – Leith Stevens

* STV 81131 Bloodline – Ennio Morricone

* STV 81132 An Almost Perfect Affair – Georges Delerue

* STV 81133 Eye Of The Needle – Miklós Rózsa

* STV 81134 Escape From New York – John Carpenter, Alan Howarth

* STV 81135 The 7th Voyage Of Sinbad – Bernard Hermann

* STV 81136 The Devil At 4 O’Clock – George Duning

* STV 81137 Prince Of The City – Paul Chihara

* STV 81138 1001 Arabian Nights – George Duning

* STV 81139 Home Movies – Pino Donaggio

* STV 81140 The Day Time Ended – Richard Band

* STV 81141 True Confessions – Georges Delerue

* STV 81142 Rashomon – Fumio Hayasaka / Shichinin No Samurai – Fumio Hayasaka

* STV 81143 Maniac – Jay Chattaway

* STV 81144 Mad Max – Brian May

* STV 81145 The Wild Bunch – Jerry Fielding

* STV 81146 John Paul Jones – Max Steiner

* STV 81147 Island, The – Ennio Morricone

* STV 81148 Dressed To Kill – Pino Donaggio

* STV 81149 Enola Gay: The Men, The Mission, The Atomic Bomb – Maurice Jarre

* STV 81150 The Howling – Pino Donaggio

* STV 81151 Night Of The Living Dead – Library Music

* STV 81152 Halloween II – John Carpenter, Alan Howarth

* STV 81153 The Formula – Bill Conti

* STV 81154 Swamp Thing – Harry Manfredini

* STV 81155 Mad Max 2: The Road Warrior – Brian May

* STV 81156 Blood for Dracula – Claudio Gizzi

* STV 81157 Flesh For Frankenstein – Claudio Gizzi

* STV 81158 The Sword And The Sorcerer – David Whitaker

* STV 81159 The Twelve Chairs – John Morris

* STV 81160 Creepshow – John Harrison

* STV 81162 The Burning – Rick Wakeman

* STV 81163 Slapstick (Of Another Kind) – Morton Stevens, Michel Legrand

* STV 81164 Eating Raoul – Arlon Ober

* STV 81165 Friendly Persuasion – Dimitri Tiomkin

* STV 81166 Last Embrace – Miklós Rózsa / Lydia – Miklós Rózsa

* STV 81167 The Man From Snowy River – Bruce Rowland

* STV 81169 The Secret Of NIMH – Jerry Goldsmith

* STV 81170 Forbidden Zone – Danny Elfman

* STV 81171 The Twilight Zone – Various Artists

* STV 81172 10 To Midnight – Robert O. Ragland

* STV 81173 Videodrome – Howard Shore

* STV 81174 The Beastmaster – Lee Holdridge

* STV 81175 La Notte Di San Lorenzo – Nicola Piovani

* STV 81176 Halloween – John Carpenter

* STV 81178 The Twilight Zone Volume Two – Various Artists

* STV 81179 Magic Fire – Erich Wolfgang Korngold

* STV 81180 The Winds Of War – Robert Cobert

* STV 81181 Liquid Sky – Slava Tsukerman

* STV 81182 The Year Of Living Dangerously – Maurice Jarre

* STV 81184 The Hunger – Michel Rubini, Denny Jaeger

* STV 81185 The Twilight Zone Volume Three – Various Artists

* STV 81186 Young Warriors – Robert J. Walsh

* STV 81187 Hercules – Pino Donaggio

* STV 81187 The Twilight Zone Volume Four – Various Artists

* STV 81188 Who Dares Wins – Roy Budd

* STV 81189 Invitation au Voyage – Gabriel Yared

* STV 81190 Il Gattopardo – Nino Rota

* STV 81191 The Fog – John Carpenter

* STV 81192 The Twilight Zone Volume Five – Various Artists

* STV 81193 A Minor Miracle – Rick Patterson

* STV 81194 Heat And Dust – Richard Robbins, Zakir Hussan

* STV 81195 Revenge Of The Ninja – Robert J. Walsh, W. Michael Lewis, Laurin Rinder

* STV 81197 Brainstorm – James Horner

* STV 81198 The Osterman Weekend – Lalo Schifrin

* STV 81199 The Evil Dead – Joseph Loduca

* STV 81202 Blind Date – Stanley Myers

* STV 81203 Children Of The Corn – Jonathan Elias

* STV 81204 Making The Grade – Basil Poledouris

* STV 81205 The Twilight Zone Volume Six – Various Artists

* STV 81206 Gorky Park – James Horner

* STV 81207 Wavelength – Tangerine Dream

* STV 81208 Lassiter – Ken Thorne

* STV 81209 Mutant – Richard Band

* STV 81210 Blame It On Rio – Kenneth Wannberg

* STV 81211 Sahara – Ennio Morricone

* STV 81212 Roy Rogers And The Sons Of The Pioneers – Various Artists

* STV 81213 Oltre La Porta – Pino Donaggio

* STV 81217 Berlin Alexanderplatz – Peer Raben

* STV 81219 Top Secret! – Maurice Jarre

* STV 81220 Cousteau – Amazon Part 1 The River – John Scott

* STV 81221 Careful, He Might Hear You – Ray Cook

* STV 81222 The Fourth Man – Loek Dikker

* STV 81224 Swann In Love – Hans Werner Henze / Verlorene Ehre Der Katharina Blum Oder: Wie Gewalt Entstehen Und Wohin Sie Führen Kann, Die -

* STV 81225 Sheena – Richard Hartley

* STV 81226 Until September – John Barry

* STV 81227 La Pirate – Philippe Sarde / Dimanche à La Campagne, Un – Louis Ducreux, Marc Perrone

* STV 81228 Bolero – Peter Bernstein

* STV 81229 Places In The Heart – John Kander

* STV 81230 Phar Lap – Bruce Rowland

* STV 81231 Supergirl – Jerry Goldsmith

* STV 81232 The Flamingo Kid – Curt Sobel

* STV 81233 Starman – Jack Nitzsche

* STV 81234 Runaway – Jerry Goldsmith

* STV 81235 The Shooting Party – John Scott

* STV 81236 A Nightmare On Elm Street – Charles Bernstein

* STV 81237 Witness – Maurice Jarre

* STV 81239 Certain Fury – George Masenburg, Russell Kunkel, Bill Payne

* STV 81240 The Aviator – Dominic Frontiere

* STV 81241 Cat’s Eye – Alan Silvestri

* STV 81242 The Company Of Wolves – George Fenton

* STV 81243 The Gods Must Be Crazy – John Bosshoff

* STV 81244 The Emerald Forest – Brian Gascoigne, Junior Homrich

* STV 81245 Christopher Columbus – Riz Ortolani

* STV 81246 Rambo: First Blood Part II – Jerry Goldsmith

* STV 81247 Just The Way You Are – Vladimir Cosma / Wetherby – Nick Bicât

* STV 81248 Red Sonja – Ennio Morricone

* STV 81249 Lifeforce – Henry Macini

* STV 81250 Music of the Republic Studios – William Lava, Cy Feuer, Paul Sawtell

* STV 81251 Dance With A Stranger – Richard Hartley

* STV 81252 Jagged Edge – John Barry

* STV 81253 The Black Cauldron – Elmer Bernstein

* STV 81254 The Bride – Maurice Jarre

* STV 81255 Ediths Tagebuch – Jürgen Knieper

* STV 81256 Flesh+Blood – Basil Poledouris

* STV 81257 Agnes Of God – Georges Delerue

* STV 81258 Paroles Et Musique – Michel Legrand

* STV 81259 The Red Pony – Aaron Copland

* STV 81260 Return To Eden – Brian May

* STV 81261 Re-Animator – Richard Band

* STV 81262 Zone Troopers – Richard Band / The Alchemist – Richard Band

* STV 81263 Invasion U.S.A. – Jay Chattaway

* STV 81264 Silver Bullet – Jay Chattaway

* STV 81265 Marie – Francis Lai

* STV 81266 Year Of The Dragon – David Mansfield

* STV 81267 Transylvania 6-5000 – Lee Holdridge

* STV 81268 Marie Ward – Elmer Bernstein

* STV 81269 Subway – Eric Serra

* STV 81270 Spies Like Us – Elmer Bernstein

* STV 81271 Enemy Mine – Maurice Jarre

* STV 81272 The Final Conflict – Jerry Goldsmith

* STV 81273 Lord Mountbatten: The Last Viceroy – John Scott

* STV 81274 The Clan Of The Cave Bear – Alan Silvestri

* STV 81275 A Nightmare On Elm Street Part 2: Freddy’s Revenge – Christopher Young

* STV 81276 F/X – Bill Conti

* STV 81277 Ginger E Fred – Nicola Piovani

* STV 81278 April Fool’s Day – Charles Bernstein

* STV 81279 Crawlspace – Pino Donaggio

* STV 81281 The Ewok Adventure – Peter Bernstein

* STV 81281 Ewoks: The Battle For Endor -

* STV 81282 The Manhattan Project – Philippe Sarde

* STV 81283 Aliens – James Horner

* STV 81284 Apology – Maurice Jarre

* STV 81285 Jake Speed – Mark Snow

* STV 81286 Raw Deal – Various Artists

* STV 81287 Pirates – Philippe Sarde

* STV 81288 Vamp – Jonathan Elias

* STV 81289 The Fly – Howard Shore

* STV 81290 Where The River Runs Black – James Horner

* STV 81291 Deadly Friend – Charles Bernstein

* STV 81292 Blue Velvet – Angelo Badalamenti

* STV 81293 Tai-pan – Maurice Jarre

* STV 81294 Link – Jerry Goldsmith

* STV 81295 Peggy Sue Got Married – John Barry

* STV 81296 Crocodile Dundee – Peter Best

* STV 81297 Sky Bandits – Alfi Kabiljo

* STV 81298 Crimes Of The Heart – Georges Delerue

* STV 81299 The Boy Who Could Fly – Bruce Broughton

* STV 81300 52 Pick-Up – Gary Chang

* STV 81301 Let’s Get Harry – Brad Fiedel

* STV 81303 Firewalker – Gary Chang

* STV 81304 Lionheart – Jerry Goldsmith

* STV 81305 Down Twisted – Eric Allaman

* STV 81306 84 Charing Cross Road – George Fenton

* STV 81307 The Bedroom Window – Michael Shrieve, Patrick Gleeson

* STV 81308 The Kindred – David Newman

* STV 81309 From The Hip – Paul Zaza

* STV 81310 Death Before Dishonor – Brian May

* STV 81311 Lionheart Volume Two – Jerry Goldsmith

* STV 81312 Amazing Grace And Chuck – Elmer Bernstein

* STV 81313 Evil Dead II – Joseph Loduca

* STV 81314 A Nightmare On Elm Street 3: Dream Warriors – Angelo Badalamenti

* STV 81315 The Whistle Blower – John Scott

* STV 81317 Good Morning, Babylon – Nicola Piovani

* STV 81318 Raising Arizona – Carter Burwell / Blood Simple – Carter Burwell

* STV 81319 Three For The Road – Barry Goldberg

* STV 81320 Making Mr. Right – Chaz Jankel / Desperately Seeking Susan – Thomas Newman

* STV 81321 Capriccio – Riz Ortolani

* STV 81322 My Demon Lover – David Newman

* STV 81324 House – Harry Manfredini / House II: The Second Story – Harry Manfredini

* STV 81327 Giulia E Giulia – Maurice Jarre

* STV 81328 The Believers – J. Peter Robinson

* STV 81329 Hope And Glory – Peter Martin

* STV 81330 RoboCop – Basil Poledouris

* STV 81331 The Penitent – Alex North

* STV 81333 Masters Of The Universe – Bill Conti

* STV 81334 No Way Out – Maurice Jarre

* STV 81335 Russkies – James Newton Howard

* STV 81336 Nowhere To Hide – Brad Fiedel

* STV 81338 Housekeeping – Michael Gibbs

* STV 81339 Three O’clock High – Tangerine Dream

* STV 81340 Prince Of Darkness – John Carpenter, Alan Howarth

* STV 81341 Journey Into Fear – Alex North / The Dead – Alex North

* STV 81343 Man On Fire – John Scott

* STV 81344 Nightflyers – Doug Timm

* STV 81345 Near Dark – Tangerine Dream

* STV 81346 Tough Guys Don’t Dance – Angelo Badalamenti

* STV 81347 The Whales Of August – Alan Price

* STV 81348 Surrender – Michel Colombier

* STV 81349 The Hidden – Michael Convertino

* STV 81350 Weeds – Angelo Badalamenti

* STV 81352 No Man’s Land – Basil Poledouris

* STV 81353 Anna – Greg Hawkes

* STV 81354 Five Corners – James Newton Howard

* STV 81355 Sister, Sister – Richard Einhorn

* STV 81356 The Running Man – Harold Faltermeyer

* STV 81357 Shy People – Tangerine Dream

* STV 81358 Flowers In The Attic – Christopher Young

* STV 81359 In A Shallow Grave – Jonathan Sheffer

* STV 81360 Noble House – Paul Chihara

* STV 81361 Prison – Richard Band, Christopher L. Stone

* STV 81362 The Serpent And The Rainbow – Brad Fiedel

47000 Series

Varèse first began producing CDs in 1985 and their initial releases in this series are most prized by collectors, especially those without a bar code. This CD line remained in production until 1988 under the supervision of executive producers Richard Kraft and Tom Null.

* VSD47105 Phantasm (1989 European exclusive release) – Fred Myrow / Malcolm Seagrave

* VCD47106 Dawn Of The Dead – Goblin

* VCD47144 Mad Max – Brian May

* VCD47148 Dressed To Kill – Pino Donaggio

* VCD47152 Halloween II – John Carpenter / Alan Howarth

* VCD47180 The Winds Of War – Robert Cobert

* VCD47181 Liquid Sky – Slava Tsukerman / Brenda I. Hutchinson / Clive Smith

* VCD47201 Star Wars Trilogy – John Williams / Varujan Kojian conducts

* VCD47202 The Adventures Of Robin Hood – Erich Wolfgang Korngold / Varujan Kojian conducts

* VCD47203 King’s Row – Erich Wolfgang Korngold / Charles Gerhardt conducts

* VCD47204 The Empire Strikes Back – John Williams / Charles Gerhardt conducts

* VCD47205 North By Northwest – Bernard Herrmann / Laurie Johnson conducts

* VCD47206 Camelot (1982 OCR starring Richard Harris) – Alan Jay Lerner & Frederick Loewe

* VCD47207 Franz Liszt: Symphony No.2 “Dante” – The Utah Symphony Orchestra, Varujan Kojian

* VCD47208 Scheherazade / Russian & Ludmilla Overture – Nikolai Rimsky-Korsakov / Mikhail Glinka

* VCD47209 Works by Ravel, Shostakovich, Weinberger, Granados, Turina & Ginastera – Morton Gould conducts

* VCD47210 Manuel de Falla: Nights in the Gardens of Spain / The Three Cornered Hat (complete ballet) – Eva Maria Zuk (piano), Maria Luisa Salinas (soprano), Orquestra Sinfonica del Estado de Mexico, Enrique Batiz

* VCD47211 Aaron Copland: Saga Of The Prairies, An Outdoor Overture / Samuel Barber: Capricorn Concerto, First Essay for Orchestra / Charles Ives: Overture from the Third Orchestral Set – The Pacific Symphony Orchestra, Keith Clark (also available as Andante ACD 85705)

* VCD47212 The Four Seasons – Antonio Vivaldi / Patrick Gleeson conducts

* VCD47213 Toru Takemitsu: In An Autumn Garden for Gagaku Orchestra – The Tokyo Gakuso Orchestra under the composer’s supervision

* VCD47214 Sinfonietta For Large Orchestra Opus 5 – Erich Wolfgang Korngold / Gerd Albrecht conducts

* VCD47215 Brainstorm – James Horner

* VCD47216 Symphony No. 9 Carnival Overture – Antonín Dvořák

* VCD47217 The Man From Snowy River – Bruce Rowland

* VCD47218 Supergirl – Jerry Goldsmith

* VCD47219 El Amour Brujo / Fantasia Para Un Gentilhombre; Concerto Andaluz – Manuel de Falla / Joaquin Rodrigo

* VCD47220 Starman – Jack Nitzsche

* VCD47221 Runaway – Jerry Goldsmith

* VCD47222 The Year Of Living Dangerously – Maurice Jarre

* VCD47223 Wavelength – Tangerine Dream

* VCD47224 Escape From New York – John Carpenter / Alan Howarth

* VCD47225 Alfred Hitchcock Collection – John Williams / Dimitri Tiomkin / Franz Waxman / Roy Webb

* VCD47226 Spellbound / The World, The Flesh & The Devil / Because Of Him – Miklos Rozsa

* VCD47227 Witness – Maurice Jarre

* VCD47228 Gustav Mahler: Symphony No. 4 – Irmgard Seefried (soprano), The Vienna Philharmonic, Bruno Walter (recorded live at the Salzburg Festival, 24 August 1950)

* VCD47229 Digital Space – Morton Gould conducts

* VCD47230 Halloween – John Carpenter

* VCD47231 The Secret Of N. I. M. H. – Jerry Goldsmith

* VCD47232 Symphony No. 3 in C Minor – Marie Saint-Saens

* VCD47233 The Twilight Zone Volume One – Various Artists

* VCD47234 Rambo: First Blood Part II – Jerry Goldsmith

* VCD47235 Star Trek Volume One – Fred Steiner conducts

* VCD47236 John Wayne Westerns Volume One: Comancheros & True Grit – Elmer Bernstein

* VCD47237 Morton Gould conducts his Latin American Symphonette, Philharmonic Waltzes, Quickstep, Festive Music, Cotillion, Windjammer, Fanfare for Freedom – The London Symphony Orchestra

* VCD47238 The Blue Max – Jerry Goldsmith

* VCD47239 Menotti / Barber Violin Concertos – Ruggiero Ricci, The Pacific Symphony Orchestra, Keith Clark

* VCD47240 Star Trek Volume Two – Fred Steiner conducts

* VCD47241 The Black Cauldron – Elmer Bernstein

* VCD47242 The Final Conflict – Jerry Goldsmith

* VCD47243 Toru Takemitsu: Winter. Marginalia. Gitimalya. Tokyo Metropolitan Symphony Orchestra, Hiroyuki Iwaki

* VCD47244 The Film Music Of… – Lee Holdridge

* VCD47245 Roy Harris: Symphony No. 6 “Gettysburg” / Aaron Copland The Emily Dickinson Songs – Marni Nixon, The Pacific Symphony Orchestra, Keith Clark

* VCD47246 Spies Like Us – Elmer Bernstein

* VCD47247 The Twilight Zone Volume Two – Various Artists

* VCD47248 Ralph Vaughan Williams: Toward The Unknown Region, Fantasia on a Theme by Tallis, Five Variants on “Dives and Lazarus”, Norfolk Rhapsody No. 1 – The City of Birmingham Symphony Orchestra & Chorus, Normal del Mar

* VCD47249 Enemy Mine – Maurice Jarre

* VCD47250 The Right Stuff / North And South – Bill Conti

* VCD47251 The Emerald Forest – Junior Homrich / Brian Gascoigne

* VCD47252 The Clan Of The Cave Bear – Alan Silvestri

* VCD47253 Orchestral Space – Seiji Ozawa

* VCD47254 The Ghost And Mrs. Muir – Bernard Herrmann / Elmer Bernstein conducts

* VCD47255 A Nightmare On Elm Street 1 & 2 – Charles Bernstein / Christopher Young

* VCD47256 The 7th Voyage Of Sinbad – Bernard Herrmann

* VCD47257 Bacmianas Brasileiras – Heitor Villa-Lobos

* VCD47258 The Jungle Book / Thief Of Baghdad – Miklos Rozsa

* VCD47259 Stone Flower – Sergei Prokofiev

* VCD47260 Gorky Park – James Horner

* VCD47261 The Hunger – Michel Rubini & Denny Jaeger

* VCD47262 Mad Max 2: The Road Warrior – Brian May

* VCD47263 Aliens – James Horner

* VCD47264 John Wayne Westerns Volume Two: Big Jake, Cahill & The Shootist – Elmer Bernstein

* VCD47265 Pirates – Philippe Sarde

* VCD47266 Poltergeist II: The Other Side (Colosseum Europe only pressing) – Jerry Goldsmith

* VCD47267 The Fog – John Carpenter

* VCD47268 Ben-Hur / El Cid / King Of Kings – Miklos Rozsa / Richard Mullen-Lampertz conducts

* VCD47269 Knights Of The Round Table / Lydia – Miklos Rozsa

* VCD47270 The Avengers: The Television And Movie Music Of… – Laurie Johnson

* VCD47271 The Seven Samurai / Rashomon – Fumio Hayazaka

* VCD47272 The Fly – Howard Shore

* VCD47273 Where The River Runs Black – James Horner

* VCD47274 Tai-Pan – Maurice Jarre

* VCD47275 Peggy Sue Got Married – John Barry

* VCD47276 Link – Jerry Goldsmith

* VCD47277 Blue Velvet – Angelo Badalamenti

* VCD47278 Crimes Of The Heart – Georges Delerue

* VCD47279 The Boy Who Could Fly – Bruce Broughton

* VCD47280

* VCD47281 Pee-Wee’s Big Adventure / Back To School – Danny Elfman

* VCD47282 Lionheart Volume One – Jerry Goldsmith

* VCD47283 Crocodile Dundee – Peter Best

* VCD47284 Raising Arizona / Blood Simple – Carter Burwell

* VCD47285 Amazing Grace And Chuck – Elmer Bernstein

* VSD47286 Raw Deal (1992 Colosseum Europe only pressing) – Cinemascore

* VCD47287

* VCD47288 Lionheart Volume Two – Jerry Goldsmith

* VCD47290 Hope And Glory – Peter Martin

* VCD47291 Desperately Seeking Susan / Making Mr. Right – Thomas Newman / Chaz Jankel

* VCD47293 A Nightmare On Elm Street 3: Dream Warriors – Angelo Badalamenti

* VCD47295 House / House II: The Second Story – Harry Manfredini

* VCD47298 Robocop – Basil Poledouris

* VCD47299 The Penitent (canceled) – Alex North

* VCD47300 Masters Of The Universe – Bill Conti

* VCD47301 No Way Out – Maurice Jarre

* VCD47304 The Sea Hawk – Erich Wolfgang Korngold / Varujan Kojian conducts

* VCD47307 Three O’Clock High – Tangerine Dream / Sylvester Levay

* VCD47308 Housekeeping – Michael Gibbs

* VCD47309 Near Dark – Tangerine Dream

* VCD47310 Prince Of Darkness – John Carpenter / Alan Howarth

* VCD47311 The Whales Of August – Alan Price

* VCD47312 Surrender – Michel Colombier

* VCD47313 Weeds – Angelo Badalamenti

* VCD47314 Man On Fire – John Scott

* VCD47315 Suspect – Michael Kamen

* VCD47327 Julia And Julia – Maurice Jarre

* VCD47341 The Dead / Journey Into Fear – Alex North

* VCD47349 The Hidden – Michael Convertino

* VCD47352 No Man’s Land – Basil Poledouris

* VCD47354 5 Corners – James Newton Howard

* VCD47356 The Running Man – Harold Faltermeyer

* VCD47357 Shy People – Tangerine Dream

* VCD47360 Noble House – Paul Chihara

* VCD47362 The Serpent And The Rainbow – Brad Fiedel

70400 Series

The enigmatic gap between the 47000 series and the mainline series 5200+ which still runs today. It is unclear as to why the European inspired numbering took place (which was especially evident on all LP releases during this period) and also could be seen as 470 rearranged as 704. This sheds some light on the mysterious 47100 releases, pressed during 70400 series run, which appeared shortly before the mainline series began production.

*VCD70440 Wall Street / Salvador – Stewart Copeland / Georges Delerue

*VCD70442 Zelly And Me – Pino Donaggio

*VCD70443 Au Revoir Les Enfants – Franz Schubert / Jean-Francois Heisser

*VCD70445 Off Limits – James Newton Howard

*VCD70446 Symphony No. 31 & 36 – Wolfgang Amadeus Mozart

*VCD70447 White Mischief – George Fenton

*VCD70451 Return To Snowy River – Bruce Rowland

*VCD70454 Dominick And Eugene – Trevor Jones

*VCD70456 Bad Dreams (canceled) – Jay Ferguson

*VCD70459 Stand And Deliver – Craig Safan

*VCD70460 Eight Men Out – Mason Daring

*VCD70461 D. O. A. – Chaz Jankel

*VCD70462 Poltergeist III – Joe Renzetti

*VCD70470 Betrayed – Bill Conti

The main series

When Varèse began its partnership with MCA Distribution in 1988, the benefits of this deal were nationwide availability of Varèse CDs and access to re-issue long-out-of-print MCA catalogue soundtrack LPs onto CD. The label adopted the MCA catalog numbering system with the prefix VSD and a subsequent number to denote multiple-disc sets (VSD2, VSD3, etc.) or a video release (VHV) as that was required for all labels in the MCA distribution system. When Universal Music Group later acquired PolyGram, it adopted PolyGram’s catalog numbering system, which used the main 10 digits of the UPC bar code as the basis for the catalog number and since the original MCA numbering was already based on part of the bar code number (specifically digits 6 through 9) the number sequence has not changed.

Also as Varèse grew, it branched into other musical venues and imprints including ”Varèse Spotlight” which focused on original cast recordings, ”Varèse Vintage” which re-issues all genres of oldies and ”Wildcat” which focused on various rock recordings. All divisions share the same catalog numbering system, but only the Varèse, Spotlight and Vintage imprints share the same number sequence.

In June 2009, Varèse began a new series that would feature scores to smaller, limited release or direct-to-DVD films that merit a proper release for collectors. Each album would have a limited disc pressing and be available as a digital download. This new line of CDs appear no different than their regular releases, but a new numbering system of 4200 differentiates them from their non-limited counterparts.

*VSD-4201 The Stoning Of Soraya M. – John Debney

*VSD-4202 In The Electric Mist – Marco Beltrami

*VSD-4203 Jesse Stone: Stone Cold – Jeff Beal

*VSD-4204 The Killing Room – Brian Tyler

*VSD-4205 Oscar: The Color of Destiny – Diego Navarro

*VSD-4206 Passchendaele – Jan A.P. Kaczmarek

*VSD-5201 Crossing Delancey – Paul Chihara / The Roches

*VSD-5202 Bat-21 – Christopher Young

*VSD-5203 A Nightmare On Elm Street 4: The Dream Master – Craig Safan

*VSD-5204 Madame Sousatzka – Various Artists

*VSD-5205 Halloween 4: The Return Of Michael Myers – Alan Howarth

*VSD-5206 Miklos Rozsa: Hollywood Legend – Elmer Bernstein conducts

*VSD-5207 The Prince And The Pauper and other themes – Charles Gerhardt conducts

*VSD-5208 Screen Themes – John Scott conducts

*VSD-5209 Wisdom – Danny Elfman

*VSD-5210 Criminal Law – Jerry Goldsmith

*VSD-5211 Cocoon: The Return – James Horner

*VSD-5212 The Spirit Of St. Louis – Franz Waxman

*VSD-5213 The Bridge On The River Kwai – Malcolm Arnold

*VSD-5214 The Buccaneer – Elmer Bernstein

*VSD-5215 Talk Radio / Wall Street – Stewart Copeland

*VSD-5216 Farewell To The King – Basil Poledouris

*VSD-5217 The Lion In Winter – John Barry

*VSD-5218 The Quiller Memorandum – John Barry

*VSD-5219 Three Fugitives – David McHugh

*VSD-5220 The Fly II – Christopher Young

*VSD-5221 Sherlock Holmes – Patrick Gowers

*VSD-5222 Is Paris Burning? – Maurice Jarre

*VSD-5223 Heathers – David Newman

*VSD-5224 The Alamo – Dimitri Tiomkin

*VSD-5225 War And Peace – Nino Rota

*VSD-5226 Leviathan – Jerry Goldsmith

*VSD-5227 Pet Sematary – Elliot Goldenthal

*VSD-5228 The Fall Of The Roman Empire – Dimitri Tiomkin

*VSD-5229 The Chase – John Barry

*VSD-5230 Red Scorpion – Jay Chattaway

*VSD-5231 Cold Feet – Tom Bahler

*VSD-5232 The Old Man And The Sea – Dimitri Tiomkin

*VSD-5233 55 Days At Peking – Dimitri Tiomkin

*VSD-5234 Ginger Ale Afternoon – Willie Dixon

*VSD-5235 The Abyss – Alan Silvestri

*VSD-5236 The Guns Of Navarone – Dimitri Tiomkin

*VSD-5237 Wired – Michael Chiklis & The Wired Band / Basil Poledouris

*VSD-5238 A Nightmare On Elm Street 5: The Dream Child – Jay Ferguson

*VSD-5239 Halloween 5: The Revenge Of Michael Myers – Alan Howarth

*VSD-5240 Christine – John Carpenter / Alan Howarth

*VSD-5241 London Sessions Volume One – Georges Delerue

*VSD-5242 Franz Waxman: Legends Of Hollywood Volume 1 – Richard Mills conducts

*VSD-5243 Halloween III: Season Of The Witch – John Carpenter / Alan Howarth

*VSD-5244 My Left Foot / Da – Elmer Bernstein

*VSD-5245 London Sessions Volume Two – Georges Delerue

*VSD-5246 Driving Miss Daisy – Hans Zimmer

*VSD-5247 Shocker – William Goldstein

*VSD-5248 Music Box – Philippe Sarde

*VSD-5249 Masada – Jerry Goldsmith

*VSD-5250 Dracula – John Williams

*VSD-5251 Firestarter – Tangerine Dream

*VSD-5252 Psycho II – Jerry Goldsmith

*VSD-5253 Enemies, A Love Story – Maurice Jarre

*VSD-5254 Triumph Of The Spirit – Cliff Eidelman

*VSD-5255 Stanley & Iris – John Williams

*VSD-5256 London Sessions Volume Three – Georges Delerue

*VSD-5257 Franz Waxman: Legends Of Hollywood Volume 2 – Richard Mills conducts

*VSD-5258 The Egyptian – Alfred Newman / Bernard Herrmann

*VSD-5259 Ghost Story – Philippe Sarde

*VSD-5260 MacArthur – Jerry Goldsmith

*VSD-5261 Explorers – Jerry Goldsmith

*VSD-5262 Earthquake – John Williams

*VSD-5263 Lawrence Of Arabia – Maurice Jarre

*VSD-5264 The Fury – John Williams

*VSD-5265 Casino Royale – Burt Bacharach

*VSD-5266 Greatest Hits Volume 1 (Colosseum only release) – John Carpenter

*VSD-5267 Total Recall – Jerry Goldsmith

*VSD-5268 Forbidden Zone – Danny Elfman

*VSD-5269 Gremlins 2: The New Batch – Jerry Goldsmith

*VSD-5270 Dead Poets Society plus suites from other Peter Weir films – Maurice Jarre

*VSD-5271 Robocop 2 – Leonard Rosenman

*VSD-5272 Back To The Future Part III – Alan Silvestri

*VSD-5273 Die Hard 2: Die Harder – Michael Kamen

*VSD-5274 After Dark, My Sweet – Maurice Jarre

*VSD-5275 Close Encounters Of The Third Kind – John Williams

*VSD-5276 Ghost – Maurice Jarre

*VSD-5277 The Eiger Sanction – John Williams

*VSD-5278 The Thing – Ennio Morricone

*VSD-5279 Taxi Driver – Bernard Herrmann

*VSD-5280 Presumed Innocent – John Williams

*VSD-5281 The Omen – Jerry Goldsmith

*VSD-5282 The Final Conflict – Jerry Goldsmith

*VSD-5283 Hardware – Simon Boswell

*VSD-5284 Desperate Hours – David Mansfield

*VSD-5285 Anthony Adverse – Erich Wolfgang Korngold / John Scott conducts

*VSD-5286 Pacific Heights – Hans Zimmer

*VSD-5287 The Last Butterfly – Alex North / Milan Svoboda

*VSD-5288 Miller’s Crossing – Carter Burwell

*VSD-5289 White Palace – George Fenton

*VSD-5290 The Grifters – Elmer Bernstein

*VSD-5291 Jacob’s Ladder – Maurice Jarre

*VSD-5292 The Field – Elmer Bernstein

*VSD-5293 Memphis Belle – George Fenton

*VSD-5294 Henry & June – Various Artists

*VSD-5295 The Robe – Alfred Newman

*VSD-5296 Torn Curtain – John Addison

*VSD-5297 The Sound And The Fury – Alex North

*VSD-5298 The River – John Williams

*VSD-5299 Mr. Destiny – David Newman

*VSD-5300 Welcome Home, Roxy Carmichael – Thomas Newman

*VSD-5301 Hollywood Soundstage: Big Movie Hits Volume One – Various Artists

*VSD-5302 Predator 2 – Alan Silvestri

*VSD-5303 Class Action – James Horner

*VSD-5304 The Long Walk Home – George Fenton

*VSD-5305 Kindergarten Cop – Randy Edelman

*VSD-5306 Come See The Paradise – Randy Edelman

*VSD-5307 Almost An Angel – Maurice Jarre

*VSD-5308 Once Around – James Horner

*VSD-5309 Green Card – Hans Zimmer

*VSD-5310 Guilty By Suspicion – James Newton Howard

*VSD-5311 Sinfonietta for Large Orchestra Opus 5 – Erich Wolfgang Korngold / Gerd Albrecht conducts

*VSD-5312 Switch – Henry Mancini

*VSD-5313 Oscar – Elmer Bernstein

*VSD-5314 La Femme Nikita – Eric Serra

*VSD-5315 The Hard Way – Arthur B. Rubinstein

*VSD-5316 Love Field – Jerry Goldsmith

*VSD-5317 Out For Justice – David Michael Frank

*VSD-5318 Omen IV: The Awakening – Jonathan Sheffer

*VSD2-5319 Seville Film Music Concerts – Maurice Jarre / Jose Nieto

*VSD-5320 Lifeforce – Henry Mancini

*VSD-5321 City Slickers – Marc Shaiman

*VSD-5322 Soapdish – Alan Silvestri

*VSD-5323 Hudson Hawk – Michael Kamen / Robert Kraft

*VSD-5324 Only The Lonely – Maurice Jarre

*VSD-5325 A Rage In Harlem – Elmer Bernstein

*VSD-5326 Crossing The Line (The Big Man) – Ennio Morricone

*VSD-5327 Dark Star (Colosseum only release) – John Carpenter

*VSD-5328 Jaws 2 – John Williams

*VSD-5329 Symphonic Hollywood – Lee Holdridge / Miklos Rozsa / Richard Kaufman conducts

*VSD-5330 Pure Luck – Jonathan Sheffer / Danny Elfman

*VSD-5331 The Naked Gun / The Naked Gun 2½ : The Smell Of Fear – Ira Newborn

*VSD-5332 Doc Hollywood – Carter Burwell

*VSD-5333 Freddy’s Dead: The Final Nightmare – Brian May

*VSD-5334 Mobsters – Michael Small

*VSD-5335 Terminator 2: Judgment Day – Brad Fiedel

*VSD-5336 Greatest Hits Volume 2 (Colosseum only release) – John Carpenter

*VSD-5337 Body Parts – Loek Dikker

*VSD-5338 Hot Shots! – Sylvester Levay

*VSD-5339 Dead Again – Patrick Doyle

*VSD-5340 The Dark Half – Christopher Young

*VSD-5341 Highway To Hollywood: Big Movie Hits Volume Two – Various Artists

*VSD-5342

*VSD-5343 Little Man Tate – Mark Isham

*VSD-5344 Ricochet – Alan Silvestri

*VSD-5345 Violin Concerto & Flute Concerto – John Williams / Leonard Slatkin conducts

*VSD-5346 Symphony In F-sharp Opus 40 – Erich Wolfgang Korngold / Rudolf Kempe conducts

*VSD-5347 Storyville – Carter Burwell

*VSD-5348 Father Of The Bride – Alan Silvestri

*VSD-5349 Black Robe – Georges Delerue

*VSD-5350 Medicine Man – Jerry Goldsmith

*VSD-5351 Hollywood Chronicle: Great Movie Classics Volume One – Various Artists

*VSD-5352 Article 99 – Danny Elfman

*VSD-5353 The Empire Strikes Back (reissue) – John Williams / Charles Gerhardt conducts

*VSD-5354 K2 – Hans Zimmer

*VSD-5355 Memoirs Of An Invisible Man – Shirley Walker

*VSD-5356 Final Analysis – George Fenton

*VSD-5357 Death In Venice – Various Artists

*VSD-5358

*VSD-5359 The Great Mouse Detective – Henry Mancini

*VSD-5360 Basic Instinct – Jerry Goldsmith

*VSD-5361 Hollywood Backlot: Big Movie Hits Volume Three – Various Artists

*VSD-5362 Evil Dead (Colosseum only release) – Joseph Lo Duca

*VSD-5363 Nightmare Cafe – J. Peter Robinson

*VSD-5364 My Cousin Vinny – Randy Edelman

*VSD-5365 Year Of The Comet – Hummie Mann

*VSD-5366 The Player – Thomas Newman

*VSD-5367 A Little Romance – Georges Delerue

*VSD-5368 Agnes Of God – Georges Delerue

*VSD-5369 Man Trouble – Georges Delerue

*VSD-5370 Rich In Love – Georges Delerue

*VSD-5371 Of Mice And Men – Mark Isham

*VSD-5372 The Linguini Incident – Thomas Newman

*VSD-5373 Universal Soldier – Christopher Franke

*VSD-5374 The Public Eye – Mark Isham

*VSD-5375 Death Becomes Her – Alan Silvestri

*VSD-5376 Sketch Artist – Mark Isham

*VSD-5377 Johnny Guitar – Victor Young

*VSD-5378 Rio Grande – Victor Young / Sons Of The Pioneers

*VSD-5379 Diggstown – James Newton Howard

*VSD-5380 Unforgiven – Lennie Niehaus / Clint Eastwood

*VSD-5381 The Young Indiana Jones Chronicles Volume One – Laurence Rosenthal / Joel McNeely

*VSD-5382 Cool World – Mark Isham

*VSD-5383 Mr. Baseball – Jerry Goldsmith

*VSD-5384 Nails – Bill Conti

*VSD-5385 Mom And Dad Save The World – Jerry Goldsmith

*VSD-5386 Breaking The Rules – Hidden Faces

*VSD-5387 Film Classics (Colosseum only release) – Various Artists

*VSD-5388 Rapid Fire – Christopher Young

*VSD-5389 Christopher Columbus: The Discovery – Cliff Eidelman

*VSD-5390 Conan The Barbarian – Basil Poledouris

*VSD-5391 The Young Indiana Jones Chronicles Volume Two – Laurence Rosenthal / Joel McNeely

*VSD-5392 Conan The Destroyer – Basil Poledouris

*VSD-5393 New Music For Films Volume One – Christopher Franke

*VSD-5394 The Lover – Gabriel Yared

*VSD-5395 Dust Devil (Colosseum only release) – Simon Boswell

*VSD-5396 Blood In, Blood Out (Bound By Honor) (canceled, though a limited quantity was released) – Bill Conti

*VSD-5397 Indochine – Patrick Doyle

*VSD-5398 Arnold: Great Music From His Films – Various Artists

*VSD-5399 The London Concert – Christopher Franke

*VSD-5400 2001: A Space Odyssey – Alex North / Jerry Goldsmith conducts

*VSD-5401 The Young Indiana Jones Chronicles Volume Three – Laurence Rosenthal / Joel McNeely

*VSD-5402 The Distinguished Gentleman – Randy Edelman

*VSD2-5403 The Young Lions / This Earth Is Mine – Hugo Friedhofer

*VSD-5404 Untamed Heart – Cliff Eidelman

*VSD-5405 Lust For Life / Background To Violence Suite: The Killers, Brute Force, Naked City – Miklos Rozsa

*VSD-5406 Damage – Zbigniew Preisner

*VSD-5407 Themes From Classic Sci-Fi, Fantasy & Horror Films – Dick Jacobs conducts

*VSD-5408 Matinee – Jerry Goldsmith

*VSD-5409 Under Siege – Gary Chang

*VSD-5410 The Temp – Frederic Talgorn

*VSD-5411 Army Of Darkness – Joseph Lo Duca / Danny Elfman

*VSD-5412 The Cemetery Club – Elmer Bernstein

*VSD-5413 Orlando – David Motion / Sally Potter

*VSD-5414 Touch Of Evil – Henry Mancini

*VSD-5415 Mad Dog And Glory – Elmer Bernstein

*VSD-5416 Robocop 3 – Basil Poledouris

*VSD-5417 Fire In The Sky – Mark Isham

*VSD-5418 The Adventures Of Huck Finn – Bill Conti

*VSD-5419 Lost In Yonkers – Elmer Bernstein

*VSD-5420 Othello – Francesco Lavagnino / Alberto Bargeris

*VSD-5421 The Young Indiana Jones Chronicles Volume Four – Laurence Rosenthal / Joel McNeely

*VSD-5422 Anastasia – Alfred Newman

*VSD-5423 Rich Man, Poor Man – Alex North

*VSD-5424 Equinox – Various Artists

*VSD-5425 King Of The Hill – Cliff Martinez

*VSD-5426 Hot Shots! Part Deux – Basil Poledouris

*VSD-5427 Freddy’s Favorites: The Best of A Nightmare on Elm Street – Bernstein / Young / Badalamenti / Safan / Ferguson / May

*VSD-5428

*VSD-5429

*VSD-5430

*VSD-5431

*VSD-5432 Josh And S. A. M. – Thomas Newman

*VSD-5433 Unsung Sondheim – Stephen Sondheim

*VSD-5434 Anywhere I Wander…(Singing Frank Loesser) – Liz Callaway

*VSD-5435 M. Butterfly – Howard Shore

*VSD-5436 Airport – Alfred Newman

*VSD-5437 Toonful – Michelle Nicastro

*VSD-5438 Needful Things – Patrick Doyle

*VSD-5439 Prettybelle (1993 Original Cast starring Angela Lansbury) – Bob Merrill & Jule Styne

*VSD-5440 Bring Back Birdie (1993 Original Cast) – Charles Strouse & Lee Adams

*VSD-5441 A Norman Rockwell Christmas – Pacific Chorale / All American Boys Choir

*VSD-5442 Malice – Jerry Goldsmith

*VSD-5443 The Secret Garden – Zbigniew Preisner

*VSD-5444 The Saint Of Fort Washington – James Newton Howard

*VSD-5445 Hard Target – Graeme Revell

*VSD-5446 Rudy – Jerry Goldsmith

*VSD-5447 Demolition Man – Elliot Goldenthal

*VSD-5448 Body Bags – John Carpenter / Jim Lang

*VSD-5449 And The Band Played On – Carter Burwell

*VSD-5450 The Real McCoy – Brad Fiedel

*VSD-5451 The Secret Garden (1993 World Premiere Cast Recording) – Alfred Shaughnessy & Sharon Burgess

*VSD-5452 Part Of Your World…(Singing Alan Menken) – Debbie Shapiro Gravitte

*VSD-5453 Sugar Babies (1993 OCR starring Mickey Rooney & Ann Miller) – Jimmy McHugh & Dorothy Fields

*VSD-5454 Farewell, My Concubine – Zhao Jiping

*VSD-5455 Once Upon A Time In China Volume One – Various Artists

*VSD-5456 Younger & Younger – Hans Zimmer

*VSD-5457 The Wedding Banquet – Mader

*VSD-5458 20 All-Time Movie Hits Video Hit Collection ’93 – Various Artists

*VSD-5459 Wall Street / Talk Radio (reissue) – Stewart Copeland

*VSD-5460 Flesh And BoneThomas Newman

*VSD-5461 Lucky Stiff (1993 OCR) – Stephen Flaherty & Lynn Ahrens

*VSD-5462 Unsung Musicals – Various Artists

*VSD-5463 Carlito’s Way – Patrick Doyle

*VSD-5464 She Loves Me (1993 OCR) – Jerry Bock & Sheldon Harnick

*VSD-5465 Addams Family Values – Marc Shaiman

*VSD-5466 Timon Of Athens (1963 Original Theatrical Score) – Duke Ellington / Stanley Silverman conducts

*VSD-5467 Iron Will – Joel McNeely

*VSD-5468 On Deadly Ground – Basil Poledouris

*VSD-5469 Angie – Jerry Goldsmith

*VSD-5470 Golden Gate – Elliot Goldenthal

*VSD-5471 Mrs. Parker And The Vicious Circle – Mark Isham

*VSD-5472 Just In Time…(Singing Jule Styne) – Judy Kuhn

*VSD-5473 Collette Collage: 2 Musicals About Collette (1993 OCR) – Harvey Schmidt & Tom Jones

*VSD-5474 I’ll Do Anything – Hans Zimmer

*VSD-5475 Lost In Boston (Rejected songs from major musicals) – Various Artists

*VSD-5476 Ruthless The Musical (1993 OCR) – Joel Paley & Marvin Laird

*VSD-5477 The Hudsucker Proxy – Carter Burwell

*VSD-5478 Wipe Out: The Best Of… – The Surfaris

*VSD-5479 Being Human – Michael Gibbs

*VSD-5480 Franz Waxman: Legends Of Hollywood Volume 3 – Richard Mills conducts

*VSD-5481 The Surfing Songbook – Rincon Surfside Band

*VSD-5482 This Heart Of Mine – Mary Cleere Haran

*VSD-5483 No Escape – Graeme Revell

*VSD-5484 Lionheart (single disc reissue) – Jerry Goldsmith

*VSD-5485 Lost In Boston II (More rejected songs from major musicals) – Various Artists

*VSD-5486 A Celebration Of Soul Volume One – Various Artists

*VSD-5487 Widow’s Peak – Carl Davis

*VSD-5488 Kinky Friedman – Kinky Friedman

*VSD-5489 A Group Called Smith – Smith

*VSD-5490 From A Girl’s Point Of View – Love Unlimited

*VSD-5491 Pipeline – The Chantays

*VSD-5492 I Love You – Eddie Holman

*VSD-5493 Bend Me, Shape Me: The Best Of… – The American Breed

*VSD-5494 A Celebration Of Soul Volume Two – Various Artists

*VSD-5495 Leprechaun 2 – Jonathan Elias

*VSD-5496 The Stand – W. G. Snuffy Walden

*VSD-5497 Samson And Delilah / The Quiet Man – Victor Young

*VSD-5498 Hans Christian Andersen / The Court Jester – Danny Kaye

*VSD-5499 The Crow – Graeme Revell

*VSD-5500 A Streetcar Named Desire – Alex North / Jerry Goldsmith conducts

*VSD-5501 The Avengers: The Television And Movie Music Of… (reissue) – Laurie Johnson

*VSD-5502 Renaissance Man – Hans Zimmer

*VSD-5503 All Rock ‘N’ Roll Oldies Volume One – L. A. Version (KCBS) – Various Artists

*VSD-5504

*VSD-5505 All Rock ‘N’ Roll Oldies Volume One – L. A. Version (WARW) – Various Artists

*VSD-5506 All Rock ‘N’ Roll Oldies Volume One – L. A. Version (KRRW) – Various Artists

*VSD-5507

*VSD-5508

*VSD-5509

*VSD-5510 I Love Trouble – David Newman

*VSD-5511 Where Were You When I Needed You? – The Grass Roots

*VSD-5512 The Road To Wellville – Rachel Portman

*VSD-5513

*VSD-5514 Ain’t It The Truth 1964-1982: The Best Of… – Mary Wells

*VSD-5515 Nothing Can Stop Me: The Best Of… – Gene Chandler

*VSD-5516 A Grand Night For Singing (1994 OCR) – Richard Rodgers & Oscar Hammerstein II

*VSD-5517 A Broadway Christmas – Various Artists

*VSD-5518 Two Moon Junction – Jonathan Elias

*VSD-5519 Raw Deal – Cinemascore

*VSD-5520 The Epoch Collection Rupert Holmes

*VSD-5521 Beyond The Blue Horizon: More Of The Best Of… – Lou Christie

*VSD-5522 More Greatest Hits – Pat Boone

*VSD-5523 Dark Moon: The Best Of… – Gale Storm

*VSD-5524 P. S. I Love You: The Best Of… – The Hilltoppers featuring Jimmy Sacca

*VSD-5525 Melody Of Love: The Best Of… – Billy Vaughn

*VSD-5526 Hearts Of Stone: The Best Of… – The Fontane Sisters

*VSD-5527 Heartbeats (1994 OCR) – Amanda McBroom

*VSD-5528 Eat Drink Man Woman – Mader

*VSD-5529 Our Private World…(Singing Betty Comden & Adolf Green) – Sally Mays

*VSD-5530 Days Of Wine & Roses: The Classic Songs Of Henry Mancini – Michael Lang

*VSD-5531 Hollywood ’94 – Joel McNeely conducts

*VSD-5532 Timecop – Mark Isham

*VSD-5533 Wagon’s East! – Michael Small

*VSD-5534 Rhythm Of The Rain – Various Artists

*VSD-5535 Bubblegum Classics Volume One – Various Artists

*VSD-5536 The War Lord – Jerome Moross

*VSD-5537 Reel Imagination – Michelle Nicastro

*VSD-5538 A Simple Twist Of Fate – Cliff Eidelman

*VSD-5539 Laughter In The Rain: The Best Of… – Neil Sedaka

*VSD-5540 The Cowboys – John Williams

*VSD-5541 The Secret Of N. I. M. H. (reissue) – Jerry Goldsmith

*VSD-5542 The Best Little Whorehouse Goes Public (1994 OCR) – Carol Hall

*VSD-5543 Exotica – Mychael Danna

*VSD-5544 Princess Caraboo – Richard Hartley

*VSD-5545 Widescreen – Rupert Holmes

*VSD-5546 Terminal Velocity – Joel McNeely

*VSD-5547 I Never Told You: The Songs Of Johnny Mandel – Fred Hersch

*VSD-5548 Merrily We Roll Along (1994 OCR) – Stephen Sondheim

*VSD-5549 Tuneweaver – Neil Sedaka

*VSD-5550 The Christmas Touch – Johnny Tillotson

*VSD-5551 Fahrenheit 451 – Bernard Herrmann / Joel McNeely conducts

*VSD-5552 Slow, Hot Wind – Fred Hersch / Janis Siegel

*VSD-5553 Exit To Eden Patrick – Doyle

*VSD-5554 War Of The Buttons (Colosseum only release) – Rachel Portman

*VSD-5555 Trapped In Paradise – Robert Folk

*VSD-5556 Passion… In Jazz – Stephen Sondheim / The Trotter Trio

*VSD-5557 Hello, Dolly! (1994 30th Anniversary OCR starring Carol Channing) – Jerry Herman

*VSD-5558 Junior – James Newton Howard

*VSD-5559 Souvenirs de Voyage / Echoes – Bernard Herrmann

*VSD-5560 Street Fighter – Graeme Revell

*VSD-5561 Blood & Thunder: Hollywood’s Most Famous Epics – Cliff Eidelman conducts

*VSD-5562 Sax And Violence: Music From The Dark Side Of The Screen – Various Artists

*VSD-5563 Lost In Boston III (Even more rejected songs from major musicals) – Various Artists

*VSD-5564 Unsung Musicals II – Various Artists

*VSD-5565 SeaQuest DSV – John Debney

*VSD-5566 The Best Of… – Ed Bruce

*VSD-5567 The Best Of… – Donna Fargo

*VSD-5568 The Best Of… – Joe Stampley

*VSD-5569 More Greatest Hits – Gene Pitney

*VSD-5570 Poetry In Motion: The Best Of… – Johnny Tillotson

*VSD-5571

*VSD-5572 So You’re The Star: The Best Of… – The Hudson Brothers

*VSD-5573 Lone Wolf McQuade – Francesco De Masi

*VSD-5574 Help Me Make It Through The Night: The Best Of… – Sammi Smith

*VSD-5575 Bubblegum Classics Volume Two – Various Artists

*VSD-5576 The Best Of Dick & Dee Dee – Dick St. John & Dee Dee Sperling

*VSD-5577 The Best Of… – Fabian

*VSD-5578 The History Of Cadence Records Volume One – Various Artists

*VSD-5579 The History Of Cadence Records Volume Two – Various Artists

*VSD-5580 Last Boogie In Paris – Johnny Rivers & His L. A. Boogie Band

*VSD-5581 Drop Zone – Hans Zimmer

*VSD-5582 Richie Rich – Alan Silvestri

*VSD-5583 The Andrew Lloyd Webber Album – Laurie Beechman

*VSD-5584 This Funny World…(Singing Richard Rogers & Lorenz Hart) – Mary Cleere Haran

*VSD-5585 The Story Goes On: On & Off Broadway – Liz Callaway

*VSD-5586 Loving You…(Singing Jerry Herman) – Paige O’Hara

*VSD-5587 The Underneath – Cliff Martinez

*VSD-5588 Surfaris Stomp – The Surfaris

*VSD-5589 Diva By Diva: Legendary Ladies Of Broadway – Judy Kaye

*VSD-5590 Teen Suite 1958-1962: The Best Of… – Jan & Dean

*VSD-5591 Listen Listen: The Best Of… – Emitt Rhodes

*VSD-5592 Sweet And Lovely: The Best Of… – Nino Tempo & April Stevens

*VSD-5593 Das Barbecü (1995 Original Cast) – Scott Warrender / Jim Luigs

*VSD-5594 The Best Of… – Frankie Avalon

*VSD-5595 The Quick And The Dead – Alan Silvestri

*VSD-5596 Just Cause – James Newton Howard

*VSD-5597 The Mystery Of Edwin Drood (1995 OCR) – Rupert Holmes

*VSD-5598 Sentimental Me: The Best Of… – The Ames Brothers

*VSD-5599 Outbreak – James Newton Howard

*VSD-5600 Vertigo – Bernard Herrmann / Joel McNeely conducts

*VSD-5601 Citizen X – Randy Edelman

*VSD-5602 Dolores Claiborne – Danny Elfman

*VSD-5603 Sweeny Todd… In Jazz – Stephen Sondheim / The Trotter Trio

*VSD-5604 Radio Gals (1995 OCR) – Mike Craver & Mark Hardwick

*VSD-5605 Country Hits Through The Years: The 50′s – Various Artists

*VSD-5606 Country Hits Through The Years: The 60′s – Various Artists

*VSD-5607 Country Hits Through The Years: The 70′s – Various Artists

*VSD-5608 Greatest Hits – Roy Clark

*VSD-5609 More Greatest Hits – B. J. Thomas

*VSD-5610 Blue Lady: The Nashville Sessions – Petula Clark

*VSD-5611 Jealous Kind Of Fella – Garland Breen

*VSD-5612 Drums! Drums! A-Go-Go! – Hal Blaine

*VSD-5613 Mr. Spock’s Music From Outer Space – Leonard Nimoy

*VSD-5614 The Transformed Man – William Shatner

*VSD-5615 The Best Of… – Terri Gibbs

*VSD-5616 Music! Music! Music!: The Best Of… – Teresa Brewer

*VSD-5617 More Greatest Hits – The Four Aces

*VSD-5618 Treat Her Right: The Best Of… – Roy Head

*VSD-5619 There’ll Come A Time – Betty Everett

*VSD-5620 A Pyromaniac’s Love Story / Great Moments In Aviation / Smoke / Ethan Frome – Rachel Portman

*VSD-5621 A Hollywood Christmas – Various Artists

*VSD-5622 Shakespeare On Broadway – Various Artists

*VSD-5623 No One Is Alone: Songs Of Inspiration And Hope From Broadway – Laurie Beechman

*VSD-5624 Cinemotions – Various Artists

*VSD-5625 1976 Concert In Japan – Mickey Dolenz, Davy Jones, Tommy Boyce & Bobby Hart

*VSD-5626 Love Me With All Your Heart – Ray Charles with The Ray Charles Singers

*VSD-5627 While You Were Sleeping – Randy Edelman

*VSD-5628 A Little Princess – Patrick Doyle

*VSD-5629 Village Of The Damned – John Carpenter / Dave Davies

*VSD-5630 Once Upon A Time In The Cinema – Ennio Morricone / Lanny Meyers conducts

*VSD-5631 Henry, Sweet Henry (1967 OCR starring Don Ameche) – Bob Merill

*VSD2-5632 Unsung Irving Berlin – Various Artists

*VSD-5633 Gold Diggers: The Secret Of Bear Mountain – Joel McNeely

*VSD-5634 Not Of This Earth! The Film Music Of… – Ronald Stein

*VSD-5635

*VSD-5636 Persuasive Percussion – Terry Snyder And His All-Stars / Enoch Light

*VSD-5637 Provocative Percussion – The Command All-Stars / Enoch Light

*VSD-5638 On The Waterfront (1995 OCR) – David Amram

*VSD-5639 Jazz Goes To Hollywood: The 60′s – Fred Karlin conducts

*VSD-5640 Toonful, Too – Michelle Nicastro

*VSD-5641 Voyages: The Film Music Journeys Of… – Alan Silvestri

*VSD-5642 Chapter 8 – Chapter 8 featuring Anita Baker

*VSD-5643 Whispering Bill: The Greatest Hits Of… – Bill Anderson

*VSD-5644 I Like Your Kind Of Love: The Cadence Sessions – Andy Williams

*VSD-5645 Legend – Tangerine Dream

*VSD-5646 To Die For – Danny Elfman

*VSD-5647 Anything Goes…(Singing Cole Porter) – Rebecca Luker

*VSD-5648 Under Siege 2: Dark Territory – Basil Poledouris

*VSD-5649 Jeffery – Stephen Endelman

*VSD-5650 Time/Life: Lost Civilizations – Joe Delia

*VSD-5651 Picture Bride – Cliff Eidelman

*VSD-5652 Doing Something Right… (Singing Cy Coleman) – Randy Graff

*VSD-5653 ARROW 95.7 Rock & Roll Classics – Various Artists

*VSD-5654

*VSD-5655

*VSD-5656

*VSD-5657

*VSD-5658 Cliffhangers! Music From Republic Films – James King conducts

*VSD-5659 Magic In The Water – David Schwartz

*VSD-5660 Hercules: The Legendary Journeys – Joseph LoDuca

*VSD-5661 Babe – Nigel Westlake

*VSD-5662 The Net – Mark Isham

*VSD-5663 Sudden Death – John Debney

*VSD-5664 Something To Talk About – Hans Zimmer / Graham Preskett

*VSD-5665 Ethel Merman’s Broadway (1995 OCR starring Rita McKenzie) – Various Artists

*VSD-5666 Shoot’em Ups! Music From Republic Serials – James King conducts

*VSD-5667 The Stars Fell On Henrietta – David Benoit

*VSD-5668 Spirit In The Sky: The Best Of… – Norman Greenbaum

*VSD-5669 Forbidden Hollywood (1995 Original Cast) Gerard Alessandrini

*VSD-5670 Words And Music: The Best Of… – Tommy Boyce & Bobby Hart

*VSD-5671 Hollywood ’95 – Joel McNeely conducts

*VSD-5672 Mighty Morphin Power Rangers: The Movie – Graeme Revell

*VSD-5673 Company… In Jazz – Stephen Sondheim / The Trotter Trio

*VSD-5674 The Adjuster / Speaking Parts / Family Viewing – Mychael Danna

*VSD-5675 Now And Then – Cliff Eidelman

*VSD-5676 Broadway Bound: New Writers For Musical Theatre – Various Artists

*VSD-5677 Chinatown – Jerry Goldsmith

*VSD-5678 Halloween: The Curse Of Michael Myers – Alan Howarth

*VSD-5679 Frankie Starlight – Elmer Bernstein

*VSD-5680 You’re The One: The Best Of… – The Vogues

*VSD-5681

*VSD-5682 John Travolta Sings – John Travolta

*VSD-5683 When I Dream – Helen Reddy

*VSD-5684 Even Stevens – Ray Stevens

*VSD-5685 Guitarzan – Ray Stevens

*VSD-5686 History Of Dot Records Volume One: Young Love – Various Artists

*VSD-5687 History Of Dot Records Volume Two: Come Go With Me – Various Artists

*VSD-5688 John & Jen (1996 OCR) – Andrew Lippa & Tom Greenwald

*VSD-5689 Othello – Charlie Mole

*VSD-5690 The Best Of The Beatles Songbook – The Hollyride Strings

*VSD-5691 The Jean Claude Van Damme Action Collection – Various Artists

*VSD-5692 Sherlock Holmes: Classic Themes From 221 B Baker Street – Lanny Meyers conducts

*VSD-5693 Hi-Fi Music For Influentials – Steve Allen

*VSD-5694 Nice Work If You Can Get It: The Best Of… – The Hi-Lo’s

*VSD-5695 The Sun Sessions – Charlie Rich

*VSD-5696 The Private Lives Of Elizabeth And Essex – Erich Wolfgang Korngold / Carl Davis conducts

*VSD-5697 Sugar Shack: The Best Of… – Jimmy Gilmer And The Fireballs

*VSD-5698 Lawnmowerman 2: Beyond Cyberspace (Jobe’s War) – Robert Folk

*VSD-5699 City Hall – Jerry Goldsmith

*VSDE-5700 Shadows Of The Empire – Joel McNeely / John Williams

*VSD-5701 It’s My Party – Basil Poledouris

*VSD-5702 Dark Shadows: 30th Anniversary Collection – Robert Colbert

*VSD-5703 On The Air: The Classic Comedy Of… – Steve Allen

*VSD-5704 History Of Challenge Records – Various Artists

*VSD-5705 Dick Bartley Presents Collector’s Essentials Volume One: The 60′s – Various Artists

*VSD-5706 Dick Bartley Presents Collector’s Essentials Volume Two: The 70′s – Various Artists

*VSD-5707 A Funny Thing Happened On The Way To The Forum… In Jazz – Stephen Sondheim / The Trotter Trio

*VSD-5708 99.5 FM The Hawk: All Rock & Roll Hits – Various Artists

*VSD-5709 Cinema Soundtrack Hits – Various Artists

*VSD-5710 Cinema Soundtrack Classics – Various Artists

*VSD-5711 You’re Never Fully Dressed Without A Smile…(Singing Charles Strouse) – Jason Graae

*VSD-5712 Thornbirds II: The Missing Years – Henry Mancini / Garry McDonald / Laurie Stone

*VSD-5713 Franz Waxman: Legends Of Hollywood Volume 4 – Richard Mills conducts

*VSD-5714 Executive Decision – Jerry Goldsmith

*VSD-5715 London Pride: Songs Of The London Stage – Twiggy

*VSD-5716 The Quest – Randy Edelman

*VSD-5717 Magic Moments: The Classic Songs Of… – Gerry And The Pacemakers

*VSD-5718 Soulful Pop – Various Artists

*VSD-5719 Bubblegum Classics Volume Three – Various Artists

*VSD-5720 Mrs. Winterbourne – Patrick Doyle

*VSD-5721 Drat The Cat (1997 OCR) – Ira Levin & Milton Schafer

*VSD-5722 The Musical Adventures Of Peter Pan – Various Artists

*VSD-5723 Cool & Classic: Great Film Themes Of The 60′s – Fred Karlin conducts

*VSD-5724 The Best Of… – Bo Donaldson And The Heywoods

*VSD-5725 Love Grows (Where My Rosemary Goes): The Voice Of… – Tony Burrows

*VSD-5726 Wax, Board & Woodie: Surf & Hot Rod – Various Artists

*VSD-5727 Golden Summer Days: The Legendary Masked Surfers – Jan & Dean

*VSD-5728 Bordello Of Blood – Chris Boardman

*VSD-5729 Bed & Sofa (1996 OCR) – Polly Pen & Laurence Klavan

*VSD-5730 I Do! I Do! (1996 OCR) – Tom Jones & Harvey Schmidt

*VSD-5731 The Beast – Don Davis

*VSD-5732 The Craft – Graeme Revell

*VSD-5733 That’s The Way Love Goes: The Final Recordings Of… – Lefty Frizzell

*VSD-5734 Momma, Gimme A Drink Of Water – Didi Conn / Milton Schafer

*VSD-5735 The Michel Legrand Album – The Trotter Trio

*VSD-5736 The Songs Of Steven Allen – Various Artists

*VSD-5737 One More Tomorrow: The Best Of… – Henry Gross featuring Shannon

*VSD-5738 The Seattle Years 1978-1984 – Iain Matthews

*VSD-5739 Midnight Mission – Carla Olson & The Textones

*VSD-5740 Cowgirls (1996 OCR) – Mary Murfitt

*VSD-5741 The Alan Menken Album – Debbie Shapiro Gravitte

*VSD-5742 The Metro Goldwyn Meyer Album – Debbie Shapiro Gravitte

*VSD-5743 Under Paris Skies – Andy Williams

*VSD-5744 Maybe… Maybe Not – Torsten Breuer / Max Raabe

*VSD-5745

*VSD-5746 Chain Reaction – Jerry Goldsmith

*VSD-5747 1966-1979: The Best Of.. – Hank Thompson

*VSD-5748 The Harper Valley P. T. A.: The Best Of… – Jeannie C. Riley

*VSD-5749 Collection – The Chad Mitchell Trio

*VSD-5750 Xena: Warrior Princess – Joseph Lo Duca

*VSD-5751 American Buffalo / Threesome – Thomas Newman

*VSD-5752 Romeo & Juliet: Shakespearian Classics From Stage And Screen – Cliff Eidelman conducts

*VSD-5753 The Alien Trilogy – Cliff Eidelman conducts

*VSD-5754 To Kill A Mockingbird – Elmer Bernstein

*VSD-5755 Last Man Standing – Elmer Bernstein

*VSD-5756 Maximum Risk – Robert Folk

*VSD-5757 Bulletproof – Elmer Bernstein

*VSD-5758 The Chamber – Carter Burwell

*VSD-5759 Vertigo – Bernard Herrmann / Muir Mathieson conducts

*VSD-5760 Cool & Classic: Great Film Themes Of The 70′s – Fred Karlin conducts

*VSD-5761 Thinner – Daniel Licht

*VSD2-5762 Star Trek: 30th Birthday Edition – Fred Steiner conducts

*VSD-5763 The King And I (1996 OCR starring Lou Diamond Phillips) – Richard Rodgers & Oscar Hammerstein II

*VSD-5764 Hollywood ’96 – Joel McNeely conducts

*VSD-5765 Psycho – Bernard Herrmann / Joel McNeely conducts

*VSD-5766 The Batman Trilogy – Joel McNeely conducts

*VSD-5767 Extreme Measures – Danny Elfman

*VSD-5768 Lost In Boston IV (Additional songs rejected from major musicals) – Various Artists

*VSD-5769 Unsung Musicals III – Various Artists

*VSD-5770 Highlights From Unsung Irving Berlin – Various Artists

*VSD-5771 I Love You, You’re Perfect, Now Change! (1996 Original Cast) – Joe Di Pietro & Jimmy Roberts

*VSD-5772 Hey, Love: The Songs Of Mary Rodgers (1997 original cast starring Faith Prince) – Various Artists

*VSD-5773 The Best Of Halloween 1-6 – John Carpenter / Alan Howarth

*VSD-5774 The Very Best Of… – The Platters

*VSD-5775 ”Down To Earth” – Jimmy Buffett

*VSD-5776 ”High Cumberland Jubilee” – Jimmy Buffett

*VSD-5777 The Very Best Of… – Chuck Jackson

*VSD-5778 Johns – Danny Caron / Charles Brown

*VSD-5779 Set It Off – Christopher Young

*VSD-5780 Mother Night – Michael Convertino

*VSD-5781 First Wives Club – Marc Shaiman

*VSD-5782 The Fifties Remembered: Male Vocalist Era – Haymes / Dale / Desmond / Cherry

*VSD-5783 The Fifties Remembered: Female Vocalist Era – Arden / Kallen / Morgan / Sims

*VSD-5784 La Paloma – Billy Vaughn

*VSD-5785 Vintage Rock – Bill Deal & The Rhondells

*VSD-5786 Then You Can Tell Me Goodbye: The Best Of… – The Casinos

*VSD-5787 Let’s All Chant: The Michael Zager Dance Collection – Michael Zager

*VSD-5788 Moog: The Electric Eclectics Of… – Dick Hyman

*VSD-5789 The Ernie Kovacs Record Collection – Ernie Kovacs

*VSD-5790 Cugie A-Go-Go – Xavier Cugat

*VSD-5791 Blast Off – Ferrane & Teicher

*VSD-5792 Fierce Creatures – Jerry Goldsmith

*VSD-5793 Dante’s Peak – John Frizzell

*VSD-5794 Sketches On Star Wars – John Williams / The Trotter Trio

*VSD-5795 The Sand Pebbles – Jerry Goldsmith

*VSD-5796 Patton / Tora Tora Tora – Jerry Goldsmith

*VSD-5797 The Charming Miss Edie Adams – Edie Adams

*VSD-5798 Chicago… And All That Jazz – The Brad Ellis Group

*VSD-5799

*VSD-5800 Who’s Afraid Of Virginia Woolf – Alex North / Jerry Goldsmith conducts

*VSD-5801 Sunshine Days Pop 60′s Classics Volume One – Various Artists

*VSD-5802 Sunshine Days Pop 60′s Classics Volume Two – Various Artists

*VSD-5803 Sunshine Days Pop 60′s Classics Volume Three – Various Artists

*VSD-5804 You Gotta Have Heart…(Singing Richard Adler) – Marlene VerPlanck

*VSD-5805 Sondheim At The Movies – Various Artists

*VSD-5806 Citizen Kane – Bernard Herrmann / Joel McNeely conducts

*VSD-5807 The Towering Inferno: Great Disaster Classics – Joel McNeely & John Debney conduct

*VSD-5808 Absolute Power – Lennie Niehaus / Clint Eastwood

*VSD-5809

*VSD-5810 On My Own: Michelle Nicastro On Broadway – Michelle Nicastro

*VSD-5811 Unique Original RKO Masters – The Vagabonds

*VSD-5812 Unique Original RKO Masters – The Harmonicats

*VSD-5813 The Very Best Of… – B. J. Thomas

*VSD-5814

*VSD-5815 No Way To Treat A Lady (1997 OCR) – Douglas J. Cohen

*VSD-5816 Out Of Africa – John Barry / Joel McNeely conducts

*VSD-5817 Torn Curtain – Bernard Herrmann / Joel McNeely conducts

*VSD-5818 Surrender (remix single) – Helen Reddy

*VSD-5819 A Little Night Music – Stephen Sondheim / Terry Trotter performs

*VSD2-5820 Sondheim, A Celebration – Various Artists

*VSD-5821 Batmania: Songs Inspired By Batman – Various Artists

*VSD-5822 The Jane Morgan Collection – Jane Morgan

*VSD-5823 The Caterina Valente Collection – Caterina Valente

*VSD-5824 Golden Age Of Lounge – Ian Whitcomb

*VSD-5825 Air Force One – Jerry Goldsmith

*VSD2-5826 Cole Porter: A Musical Toast – Various Artists

*VSD-5827 As Time Goes By – Rudy Vallee

*VSD-5828 Friendly Persuasion – Dimitri Tiomkin

*VSD-5829 Buddy – Elmer Bernstein

*VSD-5830 Free Willy 3: The Rescue – Cliff Eidelman

*VSD-5831 Because Of You: The 50′s Gold Of… – Jeff Harnar

*VSD-5832 1941 – John Williams

*VSD-5833 Volcano – Alan Silvestri

*VSD-5834 Donnie Brasco – Patrick Doyle

*VSD-5835 8 Heads In A Duffle Bag – Andrew Gross

*VSD-5836 Bliss – Jan A. P. Kaczmarek

*VSD-5837 Play On (1997 OCR) – Duke Ellington

*VSD-5838 Leave It To Beaver – Randy Edelman

*VSD-5839 Pledging My Love – Lou Christie

*VSD-5840 The Legendary Singing Cowboy: Chapter One – Gene Autry

*VSD-5841 Gene Autry With The Legendary Singing Groups Of The West – Gene Autry

*VSD-5842 Greatest Hits Volume Two – Roy Clark

*VSD-5843 Whispering Bill: Greatest Hits Volume Two – Bill Anderson

*VSD-5844 The Country Hits Collection – Ray Stevens

*VSD-5845 The Country Hits Collection – Johnny Tillotson

*VSD-5846 On The Radio: Dick Bartley Presents Collector’s Essentials Volume One – Various Artists

*VSD-5847 On The Radio: Dick Bartley Presents Collector’s Essentials Volume Two – Various Artists

*VSD-5848 Planet Of The Apes / Escape From The Planet Of The Apes – Jerry Goldsmith

*VSD-5849 Journey To The Center Of The Earth – Bernard Herrmann

*VSD-5850 The Ghost And Mrs. Muir – Bernard Herrmann

*VSD-5851 The Mephisto Waltz / The Other – Jerry Goldsmith

*VHV-5852 Jerry Herman’s Broadway At The Hollywood Bowl – Various Artists

*VSD-5853 Wedding Bell Blues – Various Artists

*VSD-5854 The Best Of Cabaret – Various Artists

*VSD-5855 The Best Of The Broadway Divas – Various Artists

*VSD-5856 The Best Of Off-Broadway – Various Artists

*VSD-5857 Forever Amber – David Raksin / Alfred Newman conducts

*VSD-5858 Prime Time Musicals – Various Artists

*VSD-5859 Tales From A Parallel Universe – Marty Simon

*VSD-5860 This World, Then The Fireworks – Pete Rugulo

*VSD-5861 Terminator 2: Judgment Day – The Special Edition – Brad Fiedel

*VSD-5862 Kull The Conqueror – Joel Goldsmith

*VSD-5863 Mimic – Marco Beltrami

*VSD-5864

*VSD-5865 Science Fiction & Fantasy: TV Sound Treks – Various Artists

*VSD-5866 Singin’ And Swingin’ – The Modernaires

*VSD-5867 The Gay 90′s Musical (1997 OCR) – Various Artists

*VSD-5868 Lilies – Mychael Danna

*VSD-5869 Washington Square – Jan A. P. Kaczmarek

*VSD-5870 A Thousand Acres – Richard Hartley

*VSD-5871 Frontiers – Jerry Goldsmith

*VSD-5872 Live At The Village Gate – Flip Wilson

*VSD-5873 The Burt Bacharach Songbook – Burt Bacharach

*VSD-5874 The Very Best Of… – Johnny Bond

*VSD-5875 Cinderella: Songs From The Classic Fairy Tale – Various Artists

*VSD-5876 Night Of The Hunter (1998 OCR) – Claibe Richardson & Stephen Cole

*VSD-5877 Starship Troopers – Basil Poledouris

*VSD-5878 Erock For Kids: Songs You Can’t Get Out Of Your Head – Erock

*VSD-5879 Erock For Kids: Songs You Can’t Get Out Of Your Head (Blister Pack) – Erock

*VSD-5880 Ragtime (1998 OCR) – Various Artists

*VSD-5881 Classic TV Game Show Themes – Various Artists

*VSD-5882 It Came From Outer Space: Alien Songbook – Various Artists

*VSD-5883 Xena: Warrior Princess Volume 2 – Joseph LoDuca

*VSD-5884 Hercules: The Legenadary Journeys Volume 2 – Joseph LoDuca

*VSD-5885 L. A. Confidential – Jerry Goldsmith

*VSD-5886 The Man Who Knew Too Little – Christopher Young

*VSD-5887 Mad City – Thomas Newman

*VSD-5888 The Paul Simon Album – Various Artists

*VSD-5889 The Burt Bacharach Album – Various Artists

*VSD-5890 Bubblegum Classics Volume 4: Soulful Pop – Various Artists

*VSD-5891 For Richer Or Poorer – Randy Edelman

*VSD-5892 Mouse Hunt – Alan Silvestri

*VSD-5893 Shiloh – Joel Goldsmith

*VSD-5894 Songs From The Silver Screen – Judy Kaye

*VSD-5895 The Winter Guest – Michael Kamen

*VSD-5896 Bubblegum Classics Volume 5: The Voice Of Tony Burrows – Various Artists

*VSD-5897 You Turn Me On: The Best Of… – Ian Whitcomb

*VSD-5898 Live At Caesars Palace – Tom Jones

*VSD-5899 Live At The Riviera, Las Vegas – Engelbert Humperdinck

*VSD-5900 Viva Zapata! – Alex North / Jerry Goldsmith conducts

*VSD-5901 The Agony And The Ecstasy – Alex North / Jerry Goldsmith conducts

*VSD-5902 Sedaka’s Back – Neil Sedaka

*VSD-5903 The Inspirational Collection – Pat Boone

*VSD-5904 The Inspirational Collection – B. J. Thomas

*VSD-5905 Louie, Louie: The Very Best Of… – The Kingsmen

*VSD-5906 God, Love And Rock & Roll – Various Artists

*VSD-5907 The Della Reese Collection – Della Reese

*VSD-5908 The Roger Williams Collection – Roger Williams

*VSD-5909 The Singing Cowboy: Chapter Two – Gene Autry

*VSD-5910 Gene Autry And His Little Darlin’ Mary Lee – Gene Autry & Mary Lee

*VSD-5911 Somewhere In Time – John Barry / John Debney conducts

*VSD-5912 There’s No Business Like Show Business – Irving Berlin / Alfred Newman

*VSD-5913 Sphere – Elliot Goldenthal

*VSD-5914 U. S. Marshals – Jerry Goldsmith

*VSD-5915 The Replacement Killers – Harry Gregson-Williams

*VSD-5916 The Irish… And How They Got That Way (1998 Original Cast) – Various Artists

*VSD2-5917 Lerner, Loewe, Lane & Friends: 14th Annual S. T. A. G. E. Benefit – Various Artists

*VSD-5918 Xena: Warrior Princess Volume 3: The Bitter Suite – Joseph LoDuca

*VSD-5919 The Ferrante & Teicher Collection – Ferrante & Teicher

*VSD-5920 Godzilla: 50 Years Of Themes – Randy Miller conducts

*VSD-5921 Moby Dick – Christopher Gordon

*VSD-5922 Kissing A Fool – Joseph Vitarelli

*VSD-5923 Broadway’s Biggest ’97-’98 – Various Artists

*VSD-5924 Wild Things – George S. Clinton

*VSD-5925 Mercury Rising – John Barry

*VSD-5926 Titanic: The Ultimate Collection – Randy Miller conducts

*VSD-5927 Drop Down And Get Me – Del Shannon

*VSD-5928 The Very Best Of… – Jimmy Wakely

*VSD-5929 Merlin – Trevor Jones

*VSD-5930 The Best Of… – Al Hibbler

*VSD-5931 The Les Brown Songbook – Less Brown

*VSD-5932 Sunshine Days: Pop 60′s Classics Volume 4 – Various Artists

*VSD-5933 Sunshine Days: Pop 60′s Classics Volume 5 – Various Artists

*VSD-5934 Follies: Themes From The Legendary Musical – The Trotter Trio

*VSD-5935 In Like Flint / Our Man Flint – Jerry Goldsmith

*VSD-5936 Paulie – John Debney

*VSD-5937 Music From The Golden Age: Classic 20th Century Fox Films – Various Artists

*VSD-5938 The Very Best Of… – Gary U. S. Bonds

*VSD-5939 Color, Rhythm & Magic: Classic Disney Instrumentals – Earl Rose

*VSD-5940 Midway – John Williams / Richard Wentworth conducts

*VSD-5941 Amazing Stories – John Williams / Georges Delerue / John Debney conducts

*VSD-5942 Othello (1998 Ballet Score) – Elliot Goldenthal

*VSD-5943 Titanic: The Classic Film Scores Of… – James Horner

*VSD-5944 Alone Together – Linda Purl

*VSD-5945 Cabaret: Themes From The Hit Musical – Jeff Kander & Fred Ebb / The Brad Ellis Little Big Band

*VSD-5946 A Perfect Murder – James Newton Howard

*VSD-5947 Beyond The Blue Horizon – Lou Christie

*VHV-5947 Rock ‘N’ Roll Legends Live – Various Artists

*VSD-5948 The Hungry Years – Neil Sedaka

*VSD-5949 Battlestar Galactica – Stu Phillips

*VSD-5950 Back To The Future Trilogy – Alan Silvestri / John Debney conducts

*VSD-5951 Body Heat – John Barry / Joel McNeely conducts

*VSD-5952 Steppin’ Out – Neil Sedaka

*VSD-5953 The Clique – The Clique

*VSD-5954 Kites Are Fun: The Best Of… – The Free Design

*VSD-5955 Barry Scott Presents Lost 45s of the 70′s & 80′s – Various Artists

*VSD-5956 A Broadway Love Story – Christiane Noll

*VSD-5957 Hit TV: Television’s Top Themes – Various Artists

*VSD-5958 Duets – Emily Skinner & Alice Ripley

*VSD-5959 Scream / Scream 2 – Marco Beltrami

*VSD-5960

*VSD-5961 The 7th Voyage Of Sinbad – Bernard Herrmann / John Debney conducts

*VSD-5962 Center Stage – Helen Reddy

*VSD-5963 Small Soldiers – Jerry Goldsmith

*VSD-5964 Return To Paradise – Mark Mancina

*VSD-5965 Titanic Tunes: A Sing-A-Long In Steerage – Ian Whitcomb & The Musical Murrays

*VSD-5966 Songs From The Titanic Era – Ian Whitcomb & The New White Star Orchestra

*VSD-5967 Satin Sheets: The Greatest Hits Of… – Jeanne Pruett

*VSD-5968 The Very Best Of… – Tommy Overstreet

*VSD-5969 Monster Mania: The Classic Music From Godzilla Movies – Randy Miller conducts

*VSD-5970 Halloween: 20th Anniversary Edition – John Carpenter

*VSD-5971 The Trouble With Harry – Bernard Herrmann / Joel McNeely conducts

*VSD-5972 One True Thing – Cliff Eidelman

*VSD-5973 On The Radio: Dick Bartley Presents Collector’s Essentials Volume Three – Various Artists

*VSD-5974 On The Radio: Dick Bartley Presents Collector’s Essentials Volume Four – Various Artists

*VSD-5975 Videodrome – Howard Shore

*VSD-5976 Blade – Mark Isham

*VSD-5977 Ronin – Elia Cmeral

*VSD-5978 Here For You – Petula Clark

*VSD-5979 It Don’t Mean A Thing If It Ain’t Got That Swing – The Buddy Bregman Band

*VSD-5980 Rounders – Christopher Young

*VSD2-5981 Superman – John Williams / John Debney conducts

*VSD2-5982 The English Patient And Other Arthouse classics – Lydia Cochrane / John Debney conducts

*VSD-5983 Young Hercules – Joseph LoDuca

*VSD-5984 Softly As I Leave You – Roger Williams

*VSD-5985 Soldier – Joel McNeely

*VSD-5986 Halloween H20: A Portrait Of Terror – John Ottman

*VSD-5987 More Songs From The Burt Bacharach Songbook – Various Artists

*VSD-5988 Pleasantville – Randy Newman

*VSD-5989 The Siege – Graeme Revell

*VSD-5990 20 Greatest Movie Hit – Gene Autry

*VSD-5991 Love Songs – Gene Autry

*VSD-5992 Dick Bartley Presents Rock & Roll’s Greatest Love Songs – Various Artists

*VSD-5993

*VSD-5994 Lasso From El Paso – Kinky Friedman

*VSD-5995 Live At The Hotel Seville – The Lovin’ Spoonful

*VSD-5996 The Magic Circle – The Mamas & The Papas

*VSD-5997 The Very Best Of… – Johnny Tillotson

*VSD-5998 Superman: The Ultimate Collection – Various Artists

*VSD-5999 As Thousands Cheer (1999 Original Cast Recording) – Irving Berlin

*VSD-6000

*VSD-6001 In Dreams – Elliot Goldenthal

*VSD-6002 25 All Time Greatest Hits – Gene Pitney

*VSD-6003 Payback – Christopher Boardman

*VSD-6004 Swingin’ The Standards – Bobby Darin

*VSD-6005 Regeneration – Mychael Danna

*VSD-6006 The Very Best Of the Wooden Nickel Years (1971–1973) – The Siegel-Schwall Band

*VSD-6007 If I Were A Carpenter: 1966-1969 The Very Best Of… – Bobby Darin

*VSD-6008 Discoveries Presents Stereo Oldies – Various Artists

*VSD-6009 Discoveries Presents Classic Instrumental Oldies – Various Artists

*VSD-6010 The Grass Harp (1999 OCR) – Claibe Richardson & Kenward Elmslie

*VSD-6011 Little Me (1999 OCR) – Cy Coleman & Carolyn Leigh

*VSD-6012 The Sondheim Collection – Various Artists

*VSD-6013 Jawbreaker – Stephen Endelman

*VSD-6014 The Corruptor – Carter Burwell

*VSD-6015 You’ve Got Mail – George Fenton

*VSD-6016 Analyse This (canceled) – Howard Shore

*VSD-6017 The West Coast East Side Sound Volume One – Various Artists

*VSD-6018 The West Coast East Side Sound Volume Two – Various Artists

*VSD-6019 The West Coast East Side Sound Volume Three – Various Artists

*VSD-6020 The West Coast East Side Sound Volume Four – Various Artists

*VSD-6021 Alice In Wonderland – Richard Hartley

*VSD-6022 Good Stuff – Jerry McCain

*VSD-6023 I Believe In Music – Wayne Newton

*VSD-6024 Little By Little (1999 OCR) – Brad Ross, Ellen Greenfield & Hall Hackady

*VSD2-6025 The Song Of Bernadette – Alfred Newman

*VSD-6026 The Matrix – Don Davis

*VSD-6027 Noah’s Ark – Paul Grabowsky

*VSD-6028 16 Greatest Hits – Susan Raye

*VSD-6029 25 All Time Greatest Hits – The Shirelles

*VSD-6030 Trojan Songs: The Very Best Of… – Tom Fogerty

*VSD-6031 Xena: Warrior Princess Volume 4 – Joseph LoDuca

*VSD-6032 Hercules: The Legendary Journeys Volume 3 – Joseph LoDuca

*VSD-6033 Cinema Romance – Omoté-Sando

*VSD-6034 Here Comes Santa Claus – Gene Autry

*VSD-6035 Happy Together: The Very Best Of White Whale Records – Various Artists

*VSD-6036 All Strung Out – Nino Tempo & April Stevens

*VSD-6037 The Best Of… – The Blues Band

*VSD-6038 The 13th Warrior – Jerry Goldsmith

*VSD-6039 I Paralyze – Cher

*VSD-6040 Bowfinger – David Newman

*VSD-6041 Instinct – Danny Elfman

*VSD-6042 Wild Wild West – Elmer Bernstein

*VSD-6043 The Minus Man – Marco Beltrami

*VSD-6044 The Kander & Ebb Album – Brent Barrett

*VSD-6045 The Stephen Schwartz Album – Various Artists

*VSD-6046 Out At The Movies – Various Artists

*VSD-6047 Great Composers – John Williams

*VSD-6048 Sun Records Presents 25 All Time Greatest Hits – Various Artists

*VSD-6049 Piano Quintet / String Quartet #2 – Erich Wolfgang Korngold

*VSD-6050 Lo Mucho Que Te Quiero – Rene & Rene

*VSD-6051 The Ellington Legacy – Duke Ellington

*VSD-6052 Tender Is The Night / A Hatful Of Rain / The Man In The Grey Flannel Suit – Bernard Herrmann

*VSD-6053 Garden Of Evil / Prince Of Players / King Of The Khyber Rifles – Bernard Herrmann

*VSD-6054 The Haunting – Jerry Goldsmith

*VSD-6055 Lake Placid – John Ottman

*VSD-6056 The Complete Original Sun Singles – Johnny Cash

*VSD-6057 The First Time Live, A Long Time Ago At Washington University, Missouri 1962 – The Dillards

*VSD-6058 Matters Of The Heart – Patti LuPone

*VSD-6059 You Go-Go Girl – Nancy Sinatra

*VSD-6060 Muppets From Space – Jamsheid Sharifi

*VSD-6061 The Sixth Sense – James Newton Howard

*VSD-6062 The Iron Giant – Michael Kamen

*VSD-6063 Deep Blue Sea – Trevor Rabin

*VSD-6064 Teaching Mrs. Tingle – John Frizzell

*VSD-6065 Frank Guida Presents If You Wanna Be Happy: The Best Of The Norfolk Sound – Various Artists

*VSD-6066 Dark Shadows – Robert Cobert

*VSD-6067 Live In Concert – Freda Payne

*VSD-6068 Universal Soldier: The Return – Don Davis

*VSD-6069 Journey To The Center Of The Earth – Bruce Rowland

*VSD-6070 Peyton Place – Franz Waxman / Frederic Talgorn conducts

*VSD-6071 A Christmas Carol – Stephen Warbeck

*VSD-6072 In Too Deep – Christopher Young

*VSD-6073 Bacharach: The Instrumental Side – Various Artists

*VSD-6074 Unsuspecting Hearts – Emily Skinner & Alice Ripley

*VSD-6075 After The Fair (1999 OCR) – Matthew Ward & Stephen Cole

*VSD-6076 The Story Hour – Sally Mayes

*VSD-6077 Great Composers – Elmer Bernstein

*VSD-6078 Jaws – John Williams / Joel McNeely conducts

*VSD-6079 16 Greatest Hits – The Kendalls

*VSD-6080 Kimberly – Basil Poledouris

*VSD-6081

*VSD-6082 Animal Farm – Richard Hartley

*VSD-6083 If Love Were All (1999 OCR) – Twiggy & Harry Groewer / Noel Coward

*VSD-6084 Born Free – John Barry / Frederic Talgorn conducts

*VSD-6085 Surfin’ – The Beach Boys

*VSD-6086 The Phantom Menace And Other Movie Hits – Various Artists

*VSD2-6087 The Twilight Zone – Bernard Herrmann / Joel McNeely conducts

*VSD-6088 The House On Haunted Hill – Don Davis

*VSD-6089 Rose Of Washington Square – Al Jolson & Alice Faye

*VSD-6090 State Fair (1945 & 1962) – Richard Rodgers & Oscar Hammerstein II / Alfred Newman conducts

*VSD-6091 Anna And The King Of Siam – Bernard Herrmann

*VSD-6092 For The Love Of The Game – Basil Poledouris

*VSD-6093 The Adventures Of Superman: Music From The 50′s TV Series – Various Artists

*VSD-6094 Marnie – Bernard Herrmann / Joel McNeely conducts

*VSD-6095 Saturday Night Fever (1999 OCR) – Barry, Robin & Maurice Gibb

*VSD-6096 Devoted To You… Love Songs – Everly Brothers

*VSD-6097 25 All-Time Greatest Recordings – The Chordettes

*VSD-6098 The Very Best Of… – Chad & Jeremy

*VSD-6099 End Of Days – John Debney

*VSD-6100

*VSD-6101 25 All-Time Greatest Hits – Joe Tex

*VSD-6102 The Best Of The 50′s Masters (1957–1959) – Billy Ward & His Dominoes

*VSD-6103 Shake It Up, Baby – The Isley Brothers

*VSD-6104 Greatesr Hits Volume One – B. J. Thomas

*VSD-6105 Tighter, Tighter – Tommy James

*VSD-6106 My Dog Skip – William Ross

*VSD-6107 Diamonds – Joel Goldsmith

*VSD-6108 This Is El Chicano – El Chicano

*VSD-6109 Reheated – Canned Heat

*VSD-6110 Dick Bartley Presents: The Greatest All-Girl Groups – Various Artists

*VSD-6111 Palisades Park: The Best Of The Swan Recordings – Freddy Cannon

*VSD-6112 Barry Scott Presents: Lost 45s Of The 70′s & 80′s Volume 2 – Various Artists

*VSD-6113 25 All-Time Greatest Hits – The Champs

*VSD-6114 The Whole Nine Yards – Randy Edelman

*VSD-6115 The 10th Kingdom – Anne Dudley

*VSD-6116 Scream 3 – Marco Beltrami

*VSD-6117 Warmth Of The Sun: Music Inspired By The Beach Boys – Various Artists

*VSD-6118 The Very Best Of… – Claudine Longet

*VSD-6119 Lonely Street – Andy Williams

*VSD-6120 Hanging Up – David Hirschfelder

*VSD-6121 & The Strawberry Point 4th Grade Class – Miss Abrams

*VSD-6122 Swinging With The Duke – Duke Ellington

*VSD-6123 Blues And Ballads – Duke Ellington

*VSD-6124 Movie Memories: A Golden Age Revisited – Richard Kaufman conducts

*VSD-6125 Hamlet – Carter Burwell

*VSD-6126 Wonderboys (canceled) – Christopher Young

*VSD-6127

*VSD-6128 Up At The Villa – Pino Donaggio

*VSD-6129 25 All-Time Greatest Sun Records Hits – Jerry Lee Lewis

*VSD-6130 The Complete Sun Singles – Carl Perkins

*VSD-6131 The Very Best Of… – Bobby Sherman

*VSD-6132 25 All-Time Greatest Bubblegum Hits – Various Artists

*VSD-6133 Paleophonic – Rubinoos

*VSD-6134 The Very Best Of… – Jimmy Wakely

*VSD-6135 The Very Best Of… – Tex Ritter

*VSD-6136 The Very Best Of… – Eddie Dean

*VSD-6137 The Very Best Of… – Tex Williams

*VSD-6138 The Very Best Of… – Noel Boggs

*VSD-6139 Christmas Collection – Jimmy Wakely

*VSD-6140 The Big Kahuna – Christopher Young

*VSD-6141 Arabian Nights – Richard Harvey

*VSD-6142 Don Quixote – Richard Hartley

*VSD-6143 I Dreamed Of Africa – Maurice Jarre

*VSD-6144 Battlefield Earth – Elia Cmiral

*VSD-6145 Xena: Warrior Princess Volume 5: Lyre, Lyre, Hearts On Fire – Joseph LoDuca

*VSD-6146 Screen Magic: Themes From Animated Classics – Various Artists

*VSD-6147 Rockin’ – The Crickets

*VSD-6148 25-All Time Greatest Summer Songs – Various Artists

*VSD-6149 Sons Of The Beaches – Flash Cadillac And The Continental Kids

*VSD-6150 Last Kiss: Songs Of Teen Tragedy – Various Artists

*VSD-6151 28 Days – Richard Gibbs

*VSD-6152 Running Free – Nicola Piovani

*VSD-6153 On The Beach – Christopher Gordon

*VSD-6154 Shanghai Noon – Randy Edelman

*VSD-6155 First Blood – Jerry Goldsmith

*VSD-6156 The Night Stalker & Other Classic Themes – Robert Cobert

*VSD-6157 Child Of Our Times: The Trousdale Demo Sessions – P. F. Sloan

*VSD-6158 The Sound Of Music – Ferrante & Teicher

*VSD-6159 The Best of TV Quiz & Game Show Themes – Various Artists

*VSD-6160 Rebecca – Franz Waxman / Joel McNeely conducts

*VSD-6161 Last Of The Mohicans – Trevor Jones / Randy Edelman / Joel McNeely conducts

*VSD-6162 The 3 Worlds Of Gulliver – Bernard Herrmann / Joel McNeely conducts

*VSD-6163 The Ultimate Star Trek – Various Artists

*VSD-6164 20 Number One Hits – Merle Haggard

*VSD-6165 25 All-Time Greatest 4-Star Recordings – Patsy Cline

*VSD-6166 The Gene Autry Show Volume 1 – Gene Autry

*VSD-6167 The Gene Autry Show Volume 2 – Gene Autry

*VSD-6168 The Gene Autry Show Volume 3 – Gene Autry

*VSD-6169 You Know Me – Jackie DeShannon

*VSD-6170 DragonHeart: A New Beginning – Mark McKenzie

*VSD-6171 Hollow Man – Jerry Goldsmith

*VSD-6172 What Lies Beneath – Alan Silvestri

*VSD-6173 Lover’s Prayer – Joel McNeely

*VSD-6174 The Doo-Wop Sound: Street Corner Harmony Volume 1 – Various Artists

*VSD-6175 The Doo-Wop Sound: Street Corner Harmony Volume 2 – Various Artists

*VSD-6176 Bali – Wondermints

*VSD-6177 Steal This Movie – Mader

*VSD-6178 Live At The Kalidescope 1969 – Canned Heat

*VSD-6179 Urban Legends: Final Cut – John Ottman

*VSD-6180 The Replacements – John Debney

*VSD-6181 The Watcher – Marco Beltrami

*VSD-6182 Gone In 60 Seconds – Trevor Rabin

*VSD-6183 Hercules: The Legendary Journeys Volume 4 – Joseph LoDuca

*VSD-6184 Nurse Betty – Rolfe Kent

*VSD-6185 On The Radio: Collectors Essentials Volume 5 – Dick Bartley presents

*VSD-6186 On The Radio: Collectors Essentials Volume 6 – Dick Bartley presents

*VSD-6187 All The Love – Fran Jeffries

*VSD-6188 Latin Broadway – Various Artists

*VSD-6189 Rita Moreno – Rita Moreno

*VSD-6190 The Gene Autry Show – Gene Autry

*VSD-6191 Lost Souls – Jan A. P. Kaczmarek

*VSD-6192 Ban This! Live From Cavestomp – The Standells

*VSD-6193 Let’s Start A Beat! Live From Cavestomp – The Monks

*VSD-6194 Bounce – Mychael Danna

*VSD-6195 Pay It Forward – Thomas Newan

*VSD-6196 The 6th Day – Trevor Rabin

*VSD-6197 Total Recall – The Deluxe Edition – Jerry Goldsmith

*VSD-6198 Love Decides – Jane Oliver

*VSD-6199 The Home Recordings – Johnny Bond

*VSD-6200 Cruel Intentions and Selected Suites & Themes – John Ottman

*VSD-6201 MechWarrior 4: Vengeance – Duane Decker

*VSD-6202 An Everlasting Piece – Hans Zimmer

*VSD-6203 Legend – The Deluxe Edition (canceled) – Jerry Goldsmith

*VSD-6204 20 Greatest Songs – Roy Acuff

*VSD-6205 20 Greatest Songs – Don Gibson

*VSD-6206 There Goes The Neighborhood – The Dillard/Haynes Band

*VSD-6207 Vertical Limit – James Newton Howard

*VSD-6208 Proof Of Life – Danny Elfman

*VSD-6209 Have A Heart: The Love Songs Collection – B. J. Thomas

*VSD-6210 25-All Time Greatest Hits – Johnny Tillotson

*VSD-6211 All Time Greatest Hits – Ray Stevens

*VSD-6212 Philadelphia USA – Various Artists

*VSD-6213 Cast Away: The Films Of Robert Zemeckis – Alan Silvestri

*VSD-6214 Roads Less Travelled – Johnny Cash & The Tennessee Two

*VSD-6215 Echoes Of The Stanley Brothers – Ralph Stanley & The Clinch Mountain Boys

*VSD-6216 This Love Is For Real – Brenton Wood

*VSD-6217 The Complete Cadence Recordings (1957–1960) – The Everly Brothers

*VSD-6218 Beatles Classics – Enoch Light

*VSD-6219 Then: Totally Oldies Volume One – Various Artists

*VSD-6220 One Night – Susan Anton

*VSD-6221 Best Foot Forward (1963 Original Cast Recording) – Hugh Martin & Ralph Blant

*VSD-6222 Live At Symphony Hall, Boston, Massechusettes – Tom Rush

*VSD2-6223 Great Composers – Georges Delerue

*VSD2-6224 Cleopatra – Alex North

*VSD2-6225 In Sessions: A Film Music Celebration – Various Artists

*VSD-6226 The Dish – Edmund Choi

*VSD-6227 Monkeybone – Anne Dudley

*VSD-6228 You Were On My Mind: The Very Best Of… – Sylvia Tyson

*VSD-6229 Spirit In The Sky – Norman Greenbaum

*VSD-6230 Waiting For A Song – Denny Doherty

*VSD-6231 1958-1962: The Very Best Of… – Wynn Stewart

*VSD-6232 The Sun Sessions – Ike Turner & The Kings Of Rhythm

*VSD-6233 The Complete Sun Sessions – Roy Orbison

*VSD-6234 Then: Totally Oldies Volume Two – Various Artists

*VSD-6235 Best Of The Boston Sound – Various Artists

*VSD-6236 The Very Best Of… – Orpheus

*VSD-6237 The Very Best Of… – Ultimate Spinach

*VSD-6238 Along Came A Spider – Jerry Goldsmith

*VSD-6239 Just Visiting – John Powell

*VSD-6240 Boy Singer – Peter Marshall

*VSD-6241 Aliens – The Deluxe Edition – James Horner

*VSD-6242 The Very Best Of… – Johnny And The Hurricanes

*VSD-6243 The Tailor Of Panama – Shaun Davey

*VSD-6244 O – Jeff Danna

*VSD-6245 Pavilion Of Women – Conrad Pope

*VSD-6246 The Girl Group Sound: 25 All-Time Greatest From Red Bird Records – Various Artists

*VSD-6247 Downhearted Blues: Live At The Cookery – Alberta Hunter

*VSD-6248 20 All-Time Greatest Hits – Johnny Maestro & Ther Crests

*VSD-6249 The Best Of… – Bobby Day

*VSD-6250 Never My Love: The Lost Album Sessions – The Addrisi Brothers

*VSD-6251 Wow & Flutter – Kyle Vincent

*VSD-6252 20 Classics – Conway Twitty

*VSD-6253 To You Sweetheart, Aloha – Andy Williams

*VSD-6254 Sun Records: 25 Blues Classics – Various Artists

*VSD2-6255 Xena: Warrior Princess Volume 6 – Joseph LoDuca

*VSD-6256 Evolution – John Powell

*VSD-6257 Sordid Lives – George S. Clinton / Olivia Newton-John

*VSD-6258 Meisner, Swan & Rich Jr. – Meisner, Swan & Rich Jr.

*VSD-6259 Greatest Hits Live – Vancouver 1986 – Donovan

*VSD-6260 Live Anthology 1965-1968 – The Spencer Davis Group

*VSD-6261 Denizens Of The Deep – Ferrante & Teicher

*VSD-6262 A Lot Of Things Different – Bill Anderson

*VSD-6263 96 Tears: The Very Best Of… – Question Mark & The Mysterians

*VSD-6264 Out Of This World – Live At The Bitter End – Kenny Vance & The Planotones

*VSD-6265 Remember Pearl Harbor: Songs That Won Pearl Harbor – Various Artists

*VSD-6266 The Mists Of Avalon – Lee Holdridge

*VSD-6267 The Score – Howard Shore

*VSD-6268 Sister Mary Explains It All / Lovesick / The Manhattan Project – Philippe Sarde

*VSD-6269 The Rockets The Rockets

*VSD-6270 25 All-Time Greatest Hits – Del Shannon

*VSD-6271 The Western Collection: 25 Cowboy Classics – Gene Autry

*VSD-6272 Goin’ Back To Texas: 25 Texas Classics – Gene Autry

*VSD-6273 Greatest Hits – Dorothy Moore

*VSD-6274 All-Time Greatest Hits – Kris Kristofferson

*VSD-6275 The Ventures Play The Greatest Surf Hits Of All Time – The Ventures

*VSD-6276 American Outlaws – Trevor Rabin

*VSD-6277 Jay And Silent Bob Strike Back – James L. Venable

*VSD-6278 Cats & Dogs – John Debney

*VSD-6279 Rush Hour 2 – Lalo Schifrin

*VSD-6280 Baby Boy – David Arnold

*VSD-6281 When Good Ghouls Go Bad – Christopher Gordon

*VSD-6282 The Glass House – Christopher Young

*VSD-6283 Bubble Boy – John Ottman

*VSD-6284 Incurably Romantic – Toni Tennille

*VSD-6285 Songs Of The Season – Jane Olivor

*VSD-6286 Ghosts Of Mars – John Carpenter

*VSD-6287 The Mole – David Michael Frank

*VSD-6288 The Omen – The Deluxe Edition – Jerry Goldsmith

*VSD-6289 The Final Conflict – The Deluxe Edition – Jerry Goldsmith

*VSD-6290 Joy Ride – Marco Beltrami

*VSD-6291 Don’t Say A Word – Mark Isham

*VSD-6292 Collateral Damage – Graeme Revell

*VSD-6293 I’ll Be Home For Christmas – Various Artists

*VSD-6294 Christmas Jump & Jive – Various Artists

*VSD-6295 Alleluia – Benedictine Monks Of St. Michael’s

*VSD-6296 From Hell – Trevor Jones

*VSD-6297 Life As A House – Mark Isham

*VSD-6298 Thirteen Ghosts – John Frizzell

*VSD-6299 Heart & Soul – Dusty Springfield

*VSD-6300 Love Songs – Patsy Cline

*VSD-6301 Heart & Soul Guitar – Tony Mottola

*VSD-6302 You Belong To My Heart – Engelbert Humperdinck

*VSD-6303 25 All-Time Greatest Hits: 1956-1961 The Cadence Years – Andy Williams

*VSD-6304 25 All-Time Greatest Hits – Frankie Avalon

*VSD-6305 A Sign Of The Times – Petula Clark

*VSD-6306 The Diamond Collection – Marilyn Monroe

*VSD-6307 Black Knight – Randy Edelman

*VSD-6308 Shrek – Harry Gregson-Williams / John Powell

*VSD-6309 Damien: Omen II – The Deluxe Edition – Jerry Goldsmith

*VSD-6310 The One – Trevor Rabin

*VSD-6311 Come To My Garden – Minnie Riperton

*VSD-6312 America Forever – Ferrante & Teicher

*VSD-6313 Domestic Disturbance – Mark Mancina

*VSD-6314 The Day The Earth Stood Still – Bernard Herrmann / Joel Mcneely conducts

*VSD-6315 The Billy Vaughn Collection – Billy Vaughn

*VSD-6316 Sunset Boulevard – Franz Waxman / Joel McNeely conducts

*VSD-6317 I Am Sam – John Powell

*VSD-6318 The Affair Of The Necklace – David Newman

*VSD-6319 In The Bedroom – Thomas Newman

*VSD-6320 Jimmy Neutron, Boy Genius (canceled) – John Debney

*VSD-6321 Mountain Breakdown: The Bluegrass Collection – Various Artists

*VSD-6322 The Best Of… – The McCormick Brothers

*VSD-6323 The Very Best Of… – Wilma Lee Cooper & Stoney

*VSD-6324 Then: Totally Oldies Volume Three – Various Artists

*VSD-6325

*VSD-6326 The Very Best Of… – Arthur Lyman

*VSD-6327 Her Very Best – Gogi Grant

*VSD-6328 Live In Las Vegas – Paul Anka

*VSD-6329 25 All-Time Greatest Novelty Hits – Various Artists

*VSD-6330 Last Orders – Paul Grabowsky

*VSD-6331 Harrison’s Flowers – Cliff Eidelman

*VSD-6332 Essential Sun Singles – Johnny Cash & The Tennessee Two

*VSD-6333 25 Hits From The British Invasion – Various Artists

*VSD-6334 American Roots Of The British Invasion – Various Artists

*VSD-6335 Original Hit Recordings: The Very Best Of… – The Bachelors

*VSD-6336 Green Dragon – Mychael & Jeff Danna

*VSD-6337 The Time Machine – Klaus Badelt

*VSD-6338 Dragonfly (Calling) – John Debmey

*VSD-6339 25 All-Time Greatest Doo-Wop Hits – Various Artists

*VSD-6340 At This Moment – Billy Vera & The Beaters

*VSD-6341 Where The Action Is (1964–1981): The Very Best Of… – Freddy Cannon

*VSD-6342 Roger Miller Classics – Roger Miller

*VSD-6343 The Very Best Of… – Jeannie C. Riley

*VSD-6344 Live In San Francisco 1966 – Big Brother & The Holding Company

*VSD-6345 Don’t Forget To Boogie: Vintage Heat – Canned Heat

*VSD-6346 Panic Room – Howard Shore

*VSD-6347 Greatest Hits – Doug & Rusty Kershaw

*VSD-6348 Gail Davies – Gail Davies

*VSD-6349 Legendary Masked Surfer: The Dean Torrence Anthology – Dean Torrence

*VSD-6350 Andy & David – The Williams Brothers

*VSD-6351 The Salton Sea – Thomas Newman

*VSD-6352 Dinotopia (canceled) – Trevor Jones

*VSD-6353 Changing Lanes – David Arnold

*VSD-6354 Rollerball – Andre Previn

*VSD-6355 Jason X – Harry Manfredini

*VSD-6356 Unfaithful – Jan A. P. Kaczmarek

*VSD-6357 Insomnia – David Julyan

*VSD-6358 Ice Age – David Newman

*VSD-6359 Anthology 1953-1961 – Little Milton

*VSD-6360

*VSD-6361 All-Time Greatest Hits – The Duprees

*VSD-6362 The Very Best Of… – Olympics

*VSD-6363 A Tribute To The King – Ronnie McDowell

*VSD-6364 Totally Classic Country – Various Artists

*VSD-6365 Blade II – Marco Beltrami

*VSD-6366 Enough – David Arnold

*VSD-6367 The Bourne Identity – John Powell

*VSD-6368 The Scorpion King – John Debney

*VSD-6369 Johnny Cash With His Hot And Blue Guitar – Johnny Cash

*VSD-6370 The Very Best Of… – Merle Travis

*VSD-6371 The Singing Cowboy – Jimmy Wakely

*VSD-6372 Country Pioneer – Rusty Richards

*VSD-6373 The Singing Cowboys Collection – Various Artists

*VSD-6374 Reign Of Fire – Edward Shearmur

*VSD-6375 The Complete Red Bird Recordings – The Dixie Cups

*VSD-6376 Tracey Takes On The Hits – Tracey Ullman

*VSD-6377 Collection – The Irish Rovers

*VSD-6378 25 All-Time Greatest Hits – Maxine Brown

*VSD-6379 Halloween: Resurrection – Danny Lux

*VSD-6380 Eight Legged Freaks – John Ottman

*VSD-6381 Sun Records: 25 Red-Hot Rockabilly Classics – Various Artists

*VSD-6382 The Sun Songbook – Various Artists

*VSD-6383 Sun Records: 25 More Blues Classics – Various Artists

*VSD-6384 The Rockin’ Blues: 25 Great Sun Recordings – Jerry Lee Lewis

*VSD-6385 I’m Gonna Shake It: The Sun Recordings – Rosco Gordon

*VSD3-6386 Sun Records: 50th Anniversary Box – Various Artists

*VSD-6387 Simone – Carter Burwell

*VSD-6388 Fear Dot Com – Nicholas Pike

*VSD-6389 All Time Greatest Hits Live… – Tommy James & The Shondells

*VSD-6390 Play The Instrumental Hits – The Ventures

*VSD-6391 12 Classics – Bill Anderson

*VSD-6392 12 Classlcs – Duke Ellington

*VSD-6393 12 Hits – The Everly Brothers

*VSD-6394 12 Hits – The Kendalls

*VSD-6395 12 Hits – Ray Stevens

*VSD-6396 12 Hits – Joe Tex

*VSD-6397 12 Hits Of The 60′s Volume 1 – Various Artists

*VSD-6398 12 Hits Of The 60′s Volume 2 – Various Artists

*VSD-6399 Great Science Fiction Blockbusters – Various Artists

*VSD-6400 Great Movie Love Themes – Various Artists

*VSD-6401 Christmas Joy – The Ventures

*VSD-6402 City By The Sea – John Murphy

*VSD-6403 An Irish Christmas – The Irish Rovers

*VSD-6404 Winter Wonderland – Various Artists

*VSD-6405 Santa’s Greatest Hits – Various Artists

*VSD-6406 Holiday Magic – Beautiful Music For Christmas – Various Artists

*VSD-6407 Then: Totally Oldies Volume Four – Various Artists

*VSD-6408 The Cowboy Is A Patriot – Gene Autry

*VSD-6409 Casino Royale (reissue) – Burt Bacharach

*VSD-6410 No Place Like Home On Christmas – Bill Anderson

*VSD-6411 Trapped – John Ottman

*VSD-6412 Star Trek: Nemesis – Jerry Goldsmith

*VSD-6413 Ballistic: Ecks Vs. Sever – Various Artists

*VSD-6414 The Tuxedo – John Debney / Christophe Beck

*VSD-6415 Swept Away – Michel Colombier

*VSD-6416 Below – Graeme Revell

*VSD-6417 White Oleander – Thomas Newman

*VSD-6418 The Man From The Elysian Fields – Anthony Marinelli

*VSD-6419 Ghost Ship – John Frizzell

*VSD-6420 Ballistic: Ecks Vs. Sever – Don Davis

*VSD-6421 Far From Heaven – Elmer Bernstein

*VSD-6422 The Boys Of Belfast: A Collection Of Irish Favorites – The Irish Rovers

*VSD-6423 XXX – Randy Edelman

*VSD-6424 The Emperor’s Club – James Newton Howard

*VSD-6425 First Offering – The Peasall Sisters

*VSD-6426 The Quiet American – Craig Armstrong

*VSD-6427 In The Wind: The Folk Music Collection – Various Artists

*VSD-6428

*VSD-6429 Robocop (Expanded) – Basil Poledouris

*VSD-6430 Star Trek: Nemesis (SACD) – Jerry Goldsmith

*VSD-6431

*VSD-6432 Rock & Roll’s Classic Love Songs – Various Artists

*VSD-6433 The Recruit – Klaus Badelt

*VSD-6434 Two Weeks Notice – John Powell

*VSD-6435 Nicholas Nickelby – Rachel Portman

*VSD-6436 The Zombies – The Zombies

*VSD-6437 The Very Best Of… – The Easybeats

*VSD-6438 First Sessions – Warren Zevon

*VSD2-6439 Essential Sons Of The Pioneers – Sons Of The Pioneers

*VSD-6440 Frank Yankovic & His Yanks – Frankie Yankovic

*VSD-6441 Sings The Songs That Made Him Famous – Johnny Cash

*VSD-6442 The Greatest – Johnny Cash

*VSD-6443 Play The Greatest Instrumental Hits Of All-Time Volume 2 – The Ventures

*VSD-6444 Then: Totally Oldies 1980s – Various Artists

*VSD-6445 Play The Country Classics – The Bluegrass All-Stars

*VSD-6446 The Essential Cadence Singles – Everly Brothers

*VSD-6447 The Lost ’60s Recordings – Rick Nelson / Jerry Fuller / Glen Campbell / Dave Burgess

*VSD-6448 Daredevil – Graeme Revell

*VSD-6449 Darkness Falls – Brian Tyler

*VSD-6450 The Hunted – Brian Tyler

*VSD-6451 12 Classics – Ed Bruce

*VSD-6452 12 Country Classics Volume 1 – Various Artists

*VSD-6453 12 Country Classics Volume 2 – Various Artists

*VSD-6454 Children Of Dune – Brian Tyler

*VSD-6455 Love Is A Long Hard Road – The Kendalls

*VSD-6456 Dreamcatcher – James Newton Howard

*VSD-6457 Tears Of The Sun – Hans Zimmer

*VSD-6458 25 More All-Time Doo-Wop Hits – Various Artists

*VSD-6459 Identity – Alan Silvestri

*VSD4-6460 Varese Sarabande 25th Anniversary Collection – Various Artists

*VSD-6461 The Hank Williams Songbook – Hank Williams

*VSD-6462 Hal Lifson’s 1966 – Various Artists

*VSD-6463 Classics – Bill Anderson

*VSD-6464 Sings Hank Williams And Other Favorites – Johnny Cash

*VSD-6465 20 Disco Classics: The 30th Anniversary Collection – Various Artists

*VSD-6466 Invitation Only – Mickey Gilley

*VSD-6467 25 Beach Music Classics – Various Artists

*VSD-6468 Now Here’s Johnny Cash – Johnny Cash

*VSD-6469 Something Wild – Aaron Copland

*VSD-6470 Get Down Tonight: Greatest Hits Live – K. C. & The Sunshine Band

*VSD-6471 Hemispheres – Dan Siegel

*VSD-6472 Garden Of Earthly Delights: The Best Of… – Mark Winkler

*VSD-6473 Sun Records 25 Rare Blues Classics – Various Artists

*VSD-6474 Wrong Turn – Elia Cmiral

*VSD-6475 Bruce Almighty – John Debney

*VSD-6476 Classic Country Volume 2: 16 Original Hits – Various Artists

*VSD-6477 Girls! Girls! Girls! 25 All-Time Classics – Various Artists

*VSD3-6478 Sun Records Ultimate Blues Collection – Various Artists

*VSD-6479 The Fabulous Jimmy Dorsey – The Jimmy Dorsey Orchestra

*VSD-6480 Essential Western Swing – Cooley Spade

*VSD-6481 Terminator 3: Rise Of The Machines – Marco Beltrami

*VSD-6482 The Italian Job – John Powell

*VSD-6483 The Very Best Of… – Sue Thompson

*VSD-6484 25 Rockin’ Instrumentals – Various Artists

*VSD-6485 The Best Of The Gap Band 1984-1988 – The Gap Band

*VSD-6486 Guilty – Yarbrough & Peoples

*VSD-6487 All Aboard The Blue Train – Johnny Cash

*VSD-6488 The Original Sun Sound Of… – Johnny Cash

*VSD-6489 Classics Volume One – Ernest Tubb

*VSD-6490 Louisiana Man: Best Of Live – Doug Kershaw

*VSD-6491 Along The Blues Highway – Chris Thomas King & Blind Mississippi Morris

*VSD-6492 The League Of Extraordinary Gentlemen (Europe only release) – Trevor Jones

*VSD-6493 Then: Totally Oldies Volume Six: The Seventies – Various Artists

*VSD-6494 The Very Best Of (1987–1989)… – Charley Pride

*VSD-6495 The Very Best Of… – The Newbeats

*VSD-6496 Jeepers Creepers 2 – Bennett Salvay

*VSD-6497 Passionada – Harry Gregson-Williams

*VSD-6498 Freddy Vs. Jason – Graeme Revell

*VSD-6499 Gigli – John Powell

*VSD-6500 The Great Train Robbery – The Deluxe Edition (SACD) – Jerry Goldsmith

*VSD-6501 S. W. A. T. – Elliot Goldenthal

*VSD-6502 Lara Croft-Tomb Raider: The Cradle Of life – Alan Silvestri

*VSD-6503 Life Is Large – The Kennedys

*VSD-6504 River Of Fallen Stars – The Kennedys

*VSD-6505 Complete UK Recordings 1972-1974 – 10cc

*VSD-6506 Complete Singles Plus: 1958-1963 The Sun Years – Charlie Rich

*VSD-6507 More Than You Know – Toni Tennille

*VSD-6508 Lost Cabin Sessions – Ozark Mountain Daredevils

*VSD-6509 Five-A-Side: The Best Of… – Ace featuring Paul Carrack

*VSD-6510 Along The Blues Highway – Rockin’ Tabby Thomas / Annette Taborn

*VSD-6511

*VSD-6512 All-Time Greatest Hits – Bobby Vinton

*VSD-6513 The Event – Christophe Beck

*VSD-6514 Out Of Time – Graeme Revell

*VSD-6515 Matchstick Men – Hans Zimmer

*VSD-6516 The Rundown (King Of The Jungle) – Harry Gregson-Williams

*VSD-6517 Live At McCabe’s – Townes Van Zandt

*VSD-6518 Poltergeist II: The Other Side – The Deluxe Edition – Jerry Goldsmith

*VSD-6519 Lost Treasures: Sentimental Journey – Doris Day / Les Brown

*VSD-6520 Gothika – John Ottman

*VSD-6521 Alias: Season 1 – Michael Giacchino

*VSD-6522 Taken – Laura Karpman

*VSD-6523 Looney Tunes: Back In Action – Jerry Goldsmith

*VSD-6524 Runaway Jury – Christopher Young

*VSD-6525 Elf – John Debney

*VSD-6526 Sylvia – Gabriel Yared

*VSD-6527 21 Grams – Gustavo Santaolalla

*VSD-6528 Dreamkeeper – Stephen Warbeck

*VSD-6529 Beyond Borders – James Horner

*VSD-6530 The Gospel Of John – Jeff Danna

*VSD-6531 Timeline – Brian Tyler

*VSD-6532 House Of Sand And Fog – James Horner

*VSD-6533 Scary Movie 3 – James L. Venable

*VSD-6534 Peter Pan – James Newton Howard

*VSD-6535 Paycheck – John Powell

*VSD-6536 Surfin’ To Baja – The Ventures

*VSD-6537 Cash Sings Cash – Johnny Cash

*VSD-6538 Romantic Standards: The Great American Love Songs Collection – Various Artists

*VSD-6539 The Statement – Normand Corbell

*VSD-6540 Heartache – Wanda Jackson

*VSD2-6541 British Invasion Box – Various Artists

*VSD-6542 Chitty Chitty Bang Bang – Richard M. & Robert B. Sherman

*VSD-6543 Twisted – Mark Isham

*VSD-6544 Traffic: The Miniseries – Jeff Rona

*VSD2-6545 The Blues Is Alright – Little Milton with Sam McClain & Reverend Raven

*VSD-6546 Then: Totally Oldies Volume 7: The 80s Again – Various Artists

*VSD-6547 The B. T. Puppy Years 1964-1967: The Very Best Of… – The Tokens

*VSD-6548 The Best Of… – Zydeco Party Band

*VSD-6549 The Best Of (1951–1954)… – Bill Haley And His Comets

*VSD-6550 Dance Album – Carl Perkins

*VSD-6551 The Essential King Masters – Billy Ward & The Dominoes

*VSD-6552 The Big Bounce – George S. Clinton

*VSD-6553 Essential Masters – Jackie Wilson / Billy Ward & His Dominoes

*VSD-6554 Rock & Roll: The First 50 Years: The 50s – Various Artists

*VSD-6555 25 Classic Do-Wap Ballads – Various Artists

*VSD-6556 1963-1965, The Very Best Of… – Fats Domino

*VSD-6557 Rock & Roll: The First 50 Years: The Early 60s – Various Artists

*VSD-6558 The Inspirational Collection – The Oak Ridge Boys

*VSD-6559 The Magnificent Seven – Elmer Bernstein

*VSD-6560 The Thomas Crown Affair – Michel Legrand

*VSD-6561 The Complete Plantation Recordings – The Flatlanders

*VSD-6562 Hellboy – Marco Beltrami

*VSD-6563 Godsend – Brian Tyler

*VSD2-6564 The Thorn Birds – Henry Mancini

*VSD-6565 Garage Rock Classics – Various Artists

*VSD-6566 Big Sur – Bobby Darin

*VSD-6567 Best Gospel – Various Artists

*VSD-6568 ”I Love You” – The Zombies

*VSD-6569 ”Essential First Recordings” – Patsy Cline

*VSD-6570 Last Tango In Paris – Gato Barbieri

*VSD-6571 The Lion In Winter – Richard Hartley

*VSD-6572 The Day After Tomorrow – Harald Kloser

*VSD-6573 ”Rancho Deluxe” – Jimmy Buffett

*VSD-6574 Greatest Hits: Live At The Bottom Line – Lou Christie

*VSD-6575 Wynn Stewart & Joan Howard – Wynn Stewart & Joan Howard

*VSD-6576 Command Performance – Patti Page

*VSD-6577 Bobby Jones: Stroke Of Genius – James Horner

*VSD-6578 The Battle Of Britain – Ron Goodwin / Sir William Walton

*VSD-6579 The Very Best Of… – Peggy Scott & Jo Jo Benson

*VSD-6580 The Chronicles Of Riddick – Graeme Revell

*VSD-6581 Starship Troopers 2: Hero Of The Federation – John Morgan & William Stromberg

*VSD-6582 The Great Escape – Elmer Bernstein

*VSD-6583 Man On Fire – Harry Gregson-Williams

*VSD-6584 The Intimate Mel Tormé: Isn’t It Romantic – Mel Tormé

*VSD-6585 The Clearing – Craig Armstrong

*VSD-6586 Salem’s Lot – Christopher Gordon

*VSD-6587 The Missouri Breaks – John Williams

*VSD-6588 Monk – Jeff Beal

*VSD-6589 Drift Away And Other Classics – Dobie Gray

*VSD-6590 Good Rockin’ Tonight: 25 Essential Rock & Rhythm Classics – Various Artists

*VSD-6591 I, Robot – Marco Beltrami

*VSD-6592 The Bourne Supremacy – John Powell

*VSD-6593 Complete Columbia Christmas Recordings – Gene Autry

*VSD-6594 Have Yourself A Merry Little Christmas – Rosemary Clooney

*VSD-6595 Some Like It Hot – Adolph Deutch

*VSD-6596 The Misfits – Alex North

*VSD-6597 I’m A Boogie Man: The Essential Masters (1948–1953) – John Lee Hooker

*VSD-6598 Dealing With The Devil: 25 Essential Blues Masters – Various Artists

*VSD-6599 Shining Through The Rain – Percy Sledge

*VSD-6600 Timeline: The Unused Score (SACD) – Jerry Goldsmith

*VSD-6601 Tom Sawyer / Huckleberry Finn – Richard M. & Robert B. Sherman

*VSD-6602 Jerry Lee Lewis – Jerry Lee Lewis

*VSD-6603 The Manchurian Candidate – Rachel Portman / David Amram

*VSD3-6604 The Greatest Story Ever Told – Alfred Newman

*VSD-6605 Alien Vs. Predator – Harald Kloser

*VSD-6606 Paparazzi – Brian Tyler

*VSD-6607 Anacondas: The Hunt For The Blood Orchid – Nerida Tyson-Chew

*VSD-6608 Rear View Mirror: Volume 2 – Townes Van Sant

*VSD-6609 The Essential Masters – The Stanley Brothers

*VSD-6610 A Private Concert – Townes Van Zandt

*VSD-6611 Space Guitar: The Essential Early Masters – Johnny Watson

*VSD-6612 Sex And The ’60s – Various Artists

*VSD-6613 Sun Records: 25 Rock & Roll Classics – Various Artists

*VSD-6614 Rock & Roll: The First 50 Years: The Mid 60s – Various Artists

*VSD-6615 The Final Cut – Brian Tyler

*VSD-6616 Resident Evil: Apocalypse – Jeff Danna

*VSD-6617 The Cutting Edge – The Deluxe Edition – Patrick Williams

*VSD-6618 Carrie – Pino Donaggio

*VSD-6619 The Forgotten – James Horner

*VSD-6620 Surviving Christmas – Randy Edelman

*VSD-6621 Being Julia – Mychael Danna

*VSD-6622 Alias: Season 2 – Michael Giacchino

*VSD-6623 The Grudge – Christopher Young

*VSD-6624 A Tribute To… – Brian Wilson

*VSD-6625 Legend Of Earthsea – Jeff Rona

*VSD-6626 24: Seasons 1, 2 & 3 – Sean Callery

*VSD-6627 Carnivalé – Jeff Beal

*VSD-6628 Flight Of The Phoenix – Marco Beltrami

*VSD-6629 Shrek 2 – Harry Gregson-Williams

*VSD-6630 Meet The Fockers – Randy Newman

*VSD-6631 Racing Stripes – Mark Isham

*VSD-6632 Spanglish – Hans Zimmer

*VSD-6633 Elektra – Christophe Beck

*VSD-6634 Assault On Precinct 13 – Graeme Revell

*VSD-6635 Days Of Our Lives: Love Songs – Various Artists

*VSD-6636 Constantine – Brian Tyler / Klaus Badelt

*VSD-6637 Rock & Roll: The First 50 Years: The Late 60s – Various Artists

*VHV-6638 In Dublin: A Little Bit Of Irish – Bing Crosby

*VSD-6639 Million Dollar Baby – Clint Eastwood

*VSD-6640 Robots – John Powell

*VSD-6641 Too Good To be True – Everly Brothers

*VSD-6642 Complete 60s Duets – George Jones & Gene Pitney with The Jordanaires

*VSD-6643 Dust To Glory – Nathan Furst

*VSD-6644 Sin City – Robert Rodriguez, John Debney & Graeme Revell

*VSD-6645 Kung Fu Hustle – Raymond Wong

*VSD-6646 Country Comes To Carnage Hall – Roy Clark, Freddy Fender, Hank Thompson & Don Williams

*VSD-6647 Promises, Promises (1968 OCR) – Burt Bacharach & Hal David

*VSD-6648 Man Of La Mancha – Mitch Leigh & Joe Darion / Laurence Rosenthal conducts

*VSD-6649 Scattered, Smothered & Covered – Webb Wilder

*VSD-6650 Champagne Favorites – Lawrence Welk

*VSD-6651 The Interpreter – James Newton Howard

*VSD-6652 House Of Wax – John Ottman

*VSD-6653 Under Western Skies – Sons Of The Pioneers

*VSD-6654 Hour Of The Gun – Jerry Goldsmith

*VSD7-6655 Original Albums: Complete Collection – Johnny Cash

*VSD-6656 Then: Totally Oldies Volume 8: Classic Rock – Various Artists

*VSD-6657 Greatest Hits – Red Sorvine

*VSD-6658 The Adventures Of Shark Boy And Lava Girl – Robert Rodriguez, John Debney & Graeme Revell

*VSD-6659 Guys And Dolls: Solo Piano – Earl Rose

*VSD-6660 The Way I Feel – Bill Anderson

*VSD-6661 All My Love Belongs To You – Steve Lawrence

*VSD-6662 All Night Long (Live!) – Muddy Waters

*VSD-6663 Stripes – Elmer Bernstein

*VSD-6664 Alive Five-O: Greatest Hits Live – The Ventures

*VSD-6665 The Sisterhood Of The Travelling Pants – Cliff Eidelman

*VSD-6666 Land Of The Dead – Reinhold Heil & Johnny Klimek

*VSD-6667 Fantastic Four – John Ottman

*VSD-6668 Power Pops – Various Artists

*VSD-6669 Essential Gospel Masters – The Stanley Brothers

*VSD-6670 The Skeleton Key – Edward Shearmur

*VSD-6671 Live At The Ice House 1978 – Modern Folk Quartet

*VSD-6672 Crazy Rhythm – Les Paul & His Trio

*VSD-6673 The Great Raid – Trevor Rabin

*VSD-6674 East L.A.: Rockin’ The Bario – Various Artists

*VSD-6675 Land of a Thousand Dances – Cannibal & The Headhunters

*VSD-6676 Stealth – Brian Transeau

*VSD-6677 Back To Back Bacharach – Casino Royale

*VSD-6678 Proof – Steven Warbeck

*VSD-6679 Four Brothers – David Arnold

*VSD-6680 It’s About Time, It’s About Me – Roy Clark

*VSD-6681 Give Me A Future – Everly Brothers

*VSD-6682 Serenity – David Newman

*VSD-6683 An Unfinished Life – Deborah Lurie

*VSD-6684 Greatest Hits – The Wilburn Brothers

*VSD-6685 Country Legend – Johnny Horton

*VSD-6686 Wallace And Gromit: Curse Of The Were-Rabbit – Julian Nott

*VSD3-6687 The Omen Trilogy – Jerry Goldsmith

*VSD2-6688 The Fly I & II – Howard Shore / Christopher Young

*VSD-6689 A Nightmare On Elm Street – Charles Bernstein

*VSD-6690 Nanny McPhee Patrick Doyle

*VSD-6691 All-Time Greatest Hits Live On Stage – Ferrante & Teicher

*VSD-6692 Lovers Island – Kenny Vance & The Planotones

*VSD-6693 Stay – Thad Spencer & Mark Asche

*VSD-6694 Prime – Ryan Shore

*VSD-6695 Water – Mychael Danna

*VSD-6696 Where The Truth Lies – Mychael Danna

*VSD-6697 The Fog – Graeme Revell

*VSD-6698 A Private Concert – Townes Van Sant

*VSD-6699 Firefly – Greg Edmonson

*VSD-6700 Stargate: Atlantis – Joel Goldsmith

*VSD-6701 Duma – John Debney / George Acogny

*VSD-6702 Doom – Clint Mansell

*VSD-6703 Music To Watch Girls By: The Best Of… – The Bob Crewe Generaton

*VSD-6704 The High And The Mighty – Richard Kaufman conducts

*VSD-6705 Zathura – John Debney

*VSD-6706

*VSD-6707 Aeon Flux – Graeme Revell

*VSD-6708 Take Another Piece Of My Heart – Betty Lavette

*VSD-6709 Annapolis – Brian Tyler

*VSD-6710 Hostel – Nathan Barr

*VSD-6711 Fun With Dick And Jane – Theodore Shapiro

*VSD-6712 The Family Stone – Michael Giacchino

*VSD-6713 Tristan & Isolde – Anne Dudley

*VSD-6714 The Ten Commandments – Randy Edelman

*VSD-6715 Firewall – Axelandre Desplat

*VSD-6716 Early Recordings 1959 – The Dillards

*VSD-6717 Freedomland – James Newton Howard

*VHV-6718 40 Years Of Classic Country – Bill Anderson

*VSD-6719 Echoes Of The Louvin Brothers – Charlie Louvin

*VSD-6720 Running Scared – Mark Isham

*VSD-6721 Lost: Season 1 – Michael Giacchino

*VSD-6722 Inside Man – Terence Blanchard

*VSD-6723 The Pink Panther – Christophe Beck

*VSD-6724 Beach Music Sound: Sand In My Shoes – Various Artists

*VSD-6725 Ice Age: The Meltdown – John Powell

*VSD-6726 True Grit: The Classic Westerns Of John Wayne – Elmer Bernstein

*VSD-6727 Retrospective – Tish Hinojosa

*VSD-6728 Because Of You: The Love Songs Collection – Bobby Vinton

*VSD-6729 The Sentinel – Christophe Beck

*VSD-6730 Great Train Songs: An American Legend – Roy Acuff

*VSD-6731 Punk Rock! 20 Classics From The World Of Mystic Records – Various Artists

*VSD-6732 X-Men: The Last Stand – John Powell

*VSD-6733 Mission: Impossible III – Michael Giacchino

*VSD-6734 The Best Of… – The Vogues

*VSD-6735 Scary Movie 4 – James L. Venable

*VSD-6736 The Omen – Marco Beltrami

*VSD-6737 Classic Cowboy Songs – Sons Of The Pioneers

*VSD-6738 Year-Round Cowboy Songs For The Whole Year – Gene Autry

*VSD-6739 Stardust: The Bette Davis Story – Earl Rose

*VSD-6740 United 93 – John Powell

*VHV-6741 Sings His All-Time Greatest Hits – Johnny Tillotson

*VSD-6742 Summer Beach Party Various Artists

*VSD-6743 Stargate – The Deluxe Edition David Arnold

*VSD-6744 The Philadelphia Years – Hall & Oates

*VSD-6745 The Fast And The Furious: Tokyo Drift – Brian Tyler

*VSD-6746 Monster House – Douglas Pipes

*VSD-6747 1980 Reunion Concert – Ozark Mountain Daredevils

*VSD-6748 The Ant Bully – John Debney

*VSD-6749 Winners – Tommy Cash

*VSD-6750 Country Heart – John Conlee

*VSD-6751 Idlewild (canceled) – John Debney

*VSD-6752 John The Wolfking Of L. A. – John Phillips

*VSD-6753 The Republic Years – Sons Of The Pioneers with Roy Rogers

*VSD-6754 Hollywoodland – Marcelo Zarvos

*VSD-6755 Gridiron Gang – Trevor Rabin

*VSD-6756 All The King’s Men – James Horner

*VSD-6757 Complete Phil Specter Sessions – Paris Sisters

*VSD-6758 Rudolph The Red Nosed Reindeer And Other Christmas Favorites – Gene Autry

*VSD-6759 Lost: Season 2 – Michael Giacchino

*VSD-6760 The Texas Chainsaw Massacre: The Beginning – Steve Jablonsky

*VSD-6761 Open Window – Cliff Eidelman

*VSD-6762 36 Unreleased Recordings From The Late 50′s & Early 60′s – Everly Brothers

*VSD-6763 Flyboys – Trevor Rabin

*VSD-6764 Texas Legend – Don Walser & The Pure Texas Band

*VSD-6765 Retrospective – The Derailers

*VSD-6766 Killer Rock ‘N’ Roll – Jerry Lee Lewis

*VSD-6767 Bluest Eyes – Storyville

*VHV-6768 A Night At The Ozarks: An Audiograph – The Dillards

*VSD-6769 Children Of Men – John Tavener

*VSD-6770 The Malford Milligan Band Rides Again – Malford Milligan

*VSD-6771 The Grudge 2 – Christopher Young

*VSD-6772 24: Seasons 4 & 5 – Sean Callery

*VSD-6773

*VSD-6774

*VSD-6775 Wah-Wah – Patrick Doyle

*VSD-6776 Flicka – Aaron Zigman

*VSD3-6777 Franz Waxman: A Centenary Celebration – Joel McNeely & Frederick Talgorn conduct

*VSD-6778 Night At The Museum – Alan Silvestri

*VSD-6779 We Are Marshall – Christophe Beck

*VSD-6780 Blood Diamond – James Newton Howard

*VSD-6781 The Good German – Thomas Newman

*VSD-6782 The Good Shepard – Marcelo Zarvos / Bruce Fowler

*VSD-6783 The Pursuit Of Happyness – Andrea Guerra

*VSD-6784 The Holiday – Hans Zimmer

*VSD-6785 Code Name: The Cleaner – George S. Clinton

*VSD-6786 Partition – Brian Tyler

*VSD-6787 Beat The Drum – Klaus Badelt / Ramin Djanadi

*VSD3-6788 His Final Recordings – Jerry Goldsmith

*VSD-6789 Ghost Rider – Christopher Young

*VSD-6790 The Astronaut Farmer – Stewart Matthewman

*VSD-6791 Duets – Petula Clark

*VSD-6792 Robotech: The Shadow Chronicles – Scott Glasgow

*VSD-6793 Catch & Release – Brian Transeau / Tommy Stinton

*VHV-6794 Petula! – Petula Clark

*VSD-6795 Breach – Mychael Danna

*VSD-6796 Nomad: The Warrior – Carlo Siliotto

*VSD-6797 Couldn’t Have Come At A Better Time: The Best Of… – The Fenians

*VSD-6798 Snakes On A Plane – Trevor Rabin

*VSD-6799 Zodiac – David Shire

*VSD-6800 His Best – Tex Ritter

*VSD-6801 His Best – Johnny Bond

*VSD-6802 The Reaping – John Frizzell

*VHV-6803 1980 Reunion Concert: Rhythm & Joy – Ozark Mountain Daredevils

*VSD-6804 Tumbling Tumbleweeds – Foy Willing & The Riders Of The Purple Sage

*VSD-6805 I Fall To Pieces: Ten Timeless Country Songs – Various Artists

*VSD-6806 Pathfinder: Legend Of The Ghost Warrior – Jonathan Elias

*VSD-6807 Grindhouse: Planet Terror – Robert Rodriguez

*VSD-6808 Premonition – Klaus Badelt

*VSD-6809 The Ultimate Gift – Mark McKenzie

*VSD3-6810 Miklós Rózsa: A Centenary Celebration – Elmer Bernstein, Joel McNeely & Cliff Eidelman conduct

*VSD-6811 Goodbye, Bafana – Dario Marianelli

*VSD-6812 Live At The Improv – Shelley Berman

*VSD2-6813 ”Down To Earth” and ”High Cumberland Gap” – Jimmy Buffett

*VSD-6814 Sings Hank Williams – Roy Acuff

*VSD-6815 Collection (reissue) – The Chad Mitchell Trio

*VSD-6816 Then: Ultimate Rock Mix – Various Artists

*VSD-6817

*VSD-6818 The Lives Of Others – Gabriel Yared / Stéphane Moucha

*VSD-6819 Jack Of Diamonds – John Philips

*VSD-6820 The Last Legion – Patrick Doyle

*VSD-6821 The Music Of The Wild West – John McEuen

*VSD-6822 Lucky You (canceled) – Christopher Young

*VSD-6823 The Classic Songs Of… – Ray Price

*VSD-6824 Live Free Or Die Hard – Marco Beltrami

*VSD-6825 Evan Almighty – John Debney

*VSD-6826 Shrek The Third – Harry Gregson-Williams

*VSD-6827 The Other Conquest – Samuel Zigman / Jorge Reyes

*VSD-6828 1408 – Gabriel Yared

*VSD-6829 Babylon 5: The Lost Tales – Christopher Franke

*VSD-6830 As You Like It – Patrick Doyle

*VSD-6831 Hostel Part II – Nathan Barr

*VSD-6832 Toussaint – Allen Toussaint

*VSD-6833 I Know Who Killed Me – Joel McNeely

*VSD-6834 Rush Hour 3 – Lalo Schifrin

*VSD-6835 Side By Side – Faron Young & Ray Price

*VSD-6836 Night Of Fear: A Collection Of Spooky Novelty Songs – Various Artists

*VSD-6837 The Invasion – John Ottman

*VSD-6838 Balls Of Fury – Randy Edelman

*VSD-6839 Prison Break – Ramin Djawadi

*VSD-6840 Shoot ‘Em Up – Paul Haslinger

*VSD-6841 The Brave One – Dario Marianelli

*VSD-6842 The Kingdom – Danny Elfman

*VSD-6843 The Essential Masters – Ralph Stanley & The Clinch Mountain Boys

*VSD-6844 Down Home – The Coasters

*VSD-6845 Seven Miles Out Of Town – Bob Willis & The Texas Playboys featuring Tommy Duncan

*VSD-6846 The Classic Songs Of… – Spike Jones And His City Slickers

*VSD-6847 The Folk Hits Collection – The Highwaymen

*VSD-6848 A Crosby Christmas – Bing Crosby

*VSD-6849 Sea Of Dreams – Luis Bacalov

*VSD-6850 Michael Clayton – James Newton Howard

*VSD-6851 The Bronze Age Of Radio – The Credibility Gap

*VSD-6852 Rhapsodies For Young Lovers – The Midnight Strings Quartet

*VSD-6853 In The Valley Of Elah – Mark Isham

*VSD-6854 Sleuth – Patrick Doyle

*VSD-6855 Return To House On Haunted Hill – Frederik Wiedmann

*VSD-6856 The Jane Austen Book Club – Aaron Zigman

*VSD-6857 The Best Of… – Jerry Wallace

*VSD-6858 30 Days Of Night (canceled) – Brian Reitzell

*VSD-6859 Take My Album Please – Henny Youngman

*VSD-6860 Peace In The Valley: Country Gospel Favorites Volume 1 – Various Artists

*VSD-6861 How Great Thou Art: Country Gospel Favorites Volume 2 – Various Artists

*VSD-6862 Lions For Lambs – Mark Isham

*VSD-6863

*VSD-6864 Mr Magorium’s Wonder Emporium – Alexandre Desplat / Aaron Zigman

*VSD-6865 Alien Vs. Predator: Requiem – Brian Tyler

*VSD-6866 Tin Man – Simon Boswell

*VSD-6867 The Tudors: Season 1 – Trevor Morris

*VSD-6868 Bury My Heart At Wounded Knee – George S. Clinton

*VSD-6869 The Great Debaters – James Newton Howard / Peter Golub

*VSD-6870 Charlie Wilson’s War – James Newton Howard

*VSD-6871

*VSD-6872 Hand-Clapping Gospel Songs – Roy Acuff

*VSD-6873 The Mist – Mark Isham

*VSD-6874 American Gangster – Marc Streitenfeld

*VSD-6875 Water Of Life: A Celtic Collection – The Highwaymen

*VSD-6876 When Irish Eyes Are Smiling – Bing Crosby

*VSD-6877 The Bucket List – Marc Shaiman

*VSD-6878 I Am Legend – James Newton Howard

*VSD-6879 The Ventures Play Their Greatest Hits – The Ventures

*VSD-6880 Greatest: The Singles Collection – Argent

*VSD-6881 27 Dresses – Randy Edelman

*VSD-6882 Miss Pettigrew Lives For A Day – Paul Englishby

*VSD-6883 Vantage Point – Atli Örvarsson

*VSD-6884 The Other Boleyn Girl – Paul Cantelon

*VSD-6885 Fool’s Gold – George Fenton

*VSD-6886 Stop-Loss – John Powell

*VSD-6887 Leatherheads – Randy Newman

*VSD-6888 Horton Hears A Who! – John Powell

*VSD-6889 Nim’s Island – Patrick Doyle

*VSD-6890 The Visitor – Jan A.P. Kaczmarek

*VSD-6891 P. S. I Love You – John Powell

*VSD2-6892 Lost: Season 3 – Michael Giacchino

*VSD-6893 John Adams – Rob Lane / Joseph Vitarelli

*VSD-6894 Cowboy Hymns And Songs Of Inspiration – Gene Autry

*VSD-6895 From Genesis To Revelation – Genesis

*VSD-6896 The Best Of… – Julius LaRosa

*VSD-6897 Standard Operating Procedure – Danny Elfman

*VSD-6898 Speed Racer – Michael Giacchino

*VSD-6899 Western Hymns And Spirituals – The Sons Of The Pioneers

*VSD4-6900 A 30th Anniversary Celebration – Various Artists

*VSD-6901 The Happening – James Newton Howard

*VSD-6902 Mongol – Tuomas Kantelinen

*VSD-6903 Pussycat – John Phillips

*VSD-6904 Get Smart – Trevor Rabin

*VSD-6905 Songs From His Famous Radio Broadcasts – Bing Crosby

*VSD-6906 Meet Dave – John Debney

*VSD-6907 20 Classic Songs Of… – Tommy Overstreet

*VSD-6908 Hancock – John Powell

*VSD-6909 Timeless: The Classic Concert Performances – Roy Clark

*VSD-6910 Hellboy 2: The Golden Army – Danny Elfman

*VSD-6911

*VSD-6912

*VSD-6913

*VSD-6914

*VSD-6915 She’s About A Mover: Complete Singles 1964-1967 – Sir Douglas Quintet

*VSD-6916 The Mummy: Tomb Of The Dragon Emperor – Randy Edelman

*VSD-6917 Just You Wait – Walter Scott

*VSD-6918 The Sisterhood Of The Traveling Pants 2 – Rachel Portman

*VSD-6919 The Girl From U.N.C.L.E. – Dave Grusin / Jerry Goldsmith

*VSD-6920 Greatest Hits 1973-1985 – Gladys Knight & The Pips

*VSD-6921 Traitor – Mark Kilian

*VSD-6922 Fly Me To The Moon – Ramin Djawadi

*VSD-6923 Body Of Lies – Marc Streitenfeld

*VSD-6924 Nights In Rodanthe – Jeanie Tesori

*VSD-6925 Babylon A.D. – Alti Örvarsson

*VSD-6926 Igor – Patrick Doyle

*VSD-6927 Eagle Eye – Brian Tyler

*VSD-6928 Plant And See – Plant And See

*VSD-6929 Ché – Alberto Iglesias

*VSD-6930 Passengers – Edward Shearmur

*VSD-6931 Pride And Glory – Mark Isham

*VSD-6932 Pushing Daisies – James Dooley

*VSD-6933 Flash Of Genius – Aaron Zigman

*VSD-6934 Changeling – Clint Eastwood

*VSD-6935 Righteous Kill (canceled) – Edward Shearmur

*VSD-6936 24: Redemption – Sean Callery

*VSD-6937 Valkyrie – John Ottman

*VSD-6938 The Day The Earth Stood Still – Tyler Bates

*VSD-6939 Live At The Blues Warehouse – Foghat

*VSD-6940 Keith Emerson Band – Keith Emerson Band featuring Marc Bonilla

*VSD-6941 Seven Pounds – Angelo Milli

*VSD-6942 Frost/Nixon – Hans Zimmer

*VSD-6943 Largo Winch – Alexandre Desplat

*VSD-6944

*VSD-6945

*VSD-6946 The International – Tom Tykwer / Reinhold Heil / Johnny Klimek

*VSD-6947 Taking Chance – Marcelo Zarvos

*VSD-6948 The Lazarus Project – Brian Tyler

*VSD-6949 Their Very Best – The Amazing Rhythm Aces

*VSD-6950 Myrtle Beach Days: The Classic Sound Of Beach Music – Various Artists

*VSD-6951 The Gene Generation – Scott Glasgow

*VSD-6952 Phoebe In Wonderland – Christophe Beck

*VSD-6953

*VSD-6954 Dragonball: Evolution – Brian Tyler

*VSD-6955 Duplicity – James Newton Howard

*VSD-6956 Knowing – Marco Beltrami

*VSD-6957 Vande Mataram – AR Rahman

*VSD-6958 Crossing Over – Mark Isham

*VSD-6959 The Tudors: Season 2 – Trevor Morris

*VSD-6960 Fast & Furious – Brian Tyler

*VSD-6961 Chéri – Alexandre Desplat

*VSD-6962 Our Little Planet – Tish Hinojosa

*VSD-6963 Grey Gardens – Rachel Portman

*VSD-6964 Lost: Season 4 – Michael Giacchino

*VSD-6965 Andy Warhol Presents Man On The Moon – John Phillips

*VSD-6966 Star Trek – Michael Giacchino

*VSD-6967 X-Men Origins: Wolverine – Harry Gregson-Williams

*VSD-6968 Coco Avant Chanel – Alexandre Desplat

*VSD-6969 Night At The Museum: Battle Of The Smithsonian – Alan Silvestri

*VSD-6970 The Very Best Of – David Frizzell & Shelley West

*VSD-6973 Prison Break: Seasons 3 & 4 – Ramin Djawadi

*VSD-6975 Land Of The Lost – Michael Giacchnio

*VSD-6977 My Sister’s Keeper – Aaron Zigman

*VSD-6978 Ice Age: Dawn Of The Dinosaurs – John Powell

*VSD-6980 G.I. Joe: The Rise Of Cobra – Alan Silvestri

*VSD-6981 Orphan – John Ottman

*VSD-6982 Aliens In The Attic – John Debney

*VSD-6983 The Final Destination – Brian Tyler

*VSD-6984 True Blood – Nathan Barr

*VSD-6985 The Hills Run Red – Frederik Wiedmann

*VSD-6986 Whiteout – John Frizzell

*VSD-6989 Astroboy – John Ottman

*VSD-6990 The Vampire’s Assistant – Stephen Trask

*VSD-6991 Children of the Corn (2009) – Jonathan Elias

*VSD-6992 44 Inch Chest – Angelo Badalamenti

*VSD-6993 Cracks – Javier Navarrete

*VSD-6994 Amelia – Gabriel Yared

*VSD-6995 The Fourth Kind – Atli Örvarsson

*VSD-6996 The Prisoner – Rupert Gregson-Williams

*VSD-6997 Alice – Ben Mink

*VSD-6998 The Last Station – Sergey Yevtushenko

*VSD-6999 Everybody’s Fine – Dario Marianelli

*VSD-7000 Revolution – John Corigliano

*VSD-7001

*VSD-7002 Leap Year – Randy Edelman

*VSD-7003 Tooth Fairy – George S. Clinton

*VSD-7007 The Ghost Writer – Alexandre Desplat

*VSD-7009 The Crazies – Mark Isham

*VSD-7010 The Wolfman – Danny Elfman

*VSD-7011 Green Zone – John Powell

*VSD-7012 How To Train Your Dragon – John Powell

*VSD-7013 Fringe – Michael Giacchino, Chris Tilton, Chad Seiter

*VSD-7014 Brooklyn’s Finest – Marcelo Zarvos

*VSD-7015 Nanny McPhee & The Big Bang – James Newton Howard

*VSD-7016

*VSD-7017

*VSD-7018 Tripping The Velvet – Annie Minogue Band (digital only)

*VSD-7020 Robin Hood – Marc Streitenfeld

*VSD-7021 Mother And Child – Edward Shearmur

*VSD-7022

*VSD-7023

*VSD-7024 Shrek Forever After – Harry Gregson-Williams

*VSD-7025 Lost: Season 5 – Michael Giacchino

*VSD-7026

*VSD-7027

*VSD-7028

*VSD-7029

*VSD-7030

*VSD-7031

*VSD-7032 The A-Team – Alan Silvestri

*VSD-7033 Marmaduke – Christopher Lennertz

*VSD-7034 Knight And Day – John Powell

*VSD-7035 The Special Relationship – Alexandre Desplat

*VSD-7036

*VSD-7037 Charlie St. Cloud – Rolfe Kent

Catalogue numbers without a title are usually assigned to a release that is not ready to be officially announced by the label.

In some cases, older unassigned numbers are the result of a production delay, but usually it is because they have been canceled.

For collectors, the curiosity of knowing what a number has been assigned to, is part of the demand for a complete discography.

CD Club

In the aftermath of Varèse’s new association with the MCA Distribution Corp., the long advertised CD Club debuted in March 1989 as mail order exclusives. Those who mailed contact information to the label, as advertised in many Varèse CD inlay cards, received a yearly flyer announcing the limited edition discs. This first incarnation of the club ran from 1989–1992 and clearly took advantage of the MCA partnership as several of the titles came directly from their vault. This was also a venue for Varèse to issue scores from their own catalogue that were deemed unworthy of a more mainstream release. All releases were hand numbered and limited to runs of 1000, 1200, 1500 or 2500 and sold for $19.98 each. The assigned catalogue numbers correspond to year then month of release with the volume number following the decimal. All first generation club titles were produced by Robert Townson and Tom Null.

*VCL 8903.1 Cherry 2000 – Basil Poledouris

*VCL 8903.2 Fedora / Crisis – Miklos Rozsa

*VCL 8903.3 Symphonic Suites – Pino Donaggio

*VCL 9001.4 Vibes – James Horner

*VCL 9001.5 The Rose Tattoo – Alex North

*VCL 9001.6 Red Sonja / Bloodline – Ennio Morricone

*VCL 9101.7 Raggedy Man – Jerry Goldsmith

*VCL 9101.8 Stars And Bars – Elmer Bernstein

*VCL 9101.9 Eye Of The Needle / Last Embrace – Miklos Rozsa

*VCL 9201.10 The ‘Burbs – Jerry Goldsmith

*VCL 9201.11 The Film Music Of… – Alfred Newman

*VCL 9201.12 We’re No Angels – George Fenton

The idea of the special budget release appeared in 1992 for the final club year with the following two albums selling for the unbelievable price of $10.98 apiece.

*BCL 6001 Jagged Edge – John Barry

*BCL 6002 Flesh+Blood – Basil Poledouris

After an over nine year hiatus, the club returned, thanks to a change in re-use fee policies (plus cooperative studio licensing) and the rise of the internet. In light of Film Score Monthly’s success in marketing limited edition scores from the archives of major studios (beginning with 20th Century Fox), Varèse responded by relaunching their club in equal fashion. This time, however, the club would release titles at a quarterly interval, but has since changed to a tri-annual schedule. A new numbering system was devised consisting of the month then year followed by the volume number (1000).

*VCL 1101-1001 Heartbeeps – John Williams

*VCL 1101-1002 Project X – James Horner

*VCL 1101-1003 Marie Ward – Elmer Bernstein

*VCL 0202-1004 Die Hard – Michael Kamen

*VCL 0202-1005 The Long, Hot Summer / Sanctuary – Alex North

*VCL 0202-1006 Love Is A Many-Splendored Thing – Alfred Newman

*VCL 0502-1007 The Ballad Of Cable Hogue – Jerry Goldsmith

*VCL 0502-1008 Cast A Giant Shadow – Elmer Bernstein

*VCL 0502-1009 The Virgin Queen – Franz Waxman

*VCL 0702-1010 The Sand Pebbles – The Deluxe Edition – Jerry Goldsmith

*VCL 0702-1011 The Fury – The Deluxe Edition – John Williams

*VCL 0702-1012 Romancing The Stone – Alan Silvestri

*VCL 0702-1013 The Bride – Maurice Jarre

*VCL 1102-1014 Home Alone 2: Lost In New York – The Deluxe Edition – John Williams

*VCL 1102-1015 Big – Howard Shore

*VCL 1102-1016 Studs Lonigan – Jerry Goldsmith

*VCL 0403-1017 Hawaii – The Deluxe Edition – Elmer Bernstein

*VCL 0403-1018 Magic – Jerry Goldsmith

*VCL 0403-1019 Beloved Infidel – Franz Waxman

*VCL 0403-1020 The Return Of A Man Called Horse – The Deluxe Edition – Laurence Rosenthal

*VCL 0703-1021 Varese Sarabande 25th Anniversary Collection Volume Two – Various Artists

*VCL 0803-1022 Predator – Alan Silvestri

*VCL 0803-1023 Justine – The Deluxe Edition – Jerry Goldsmith

*VCL 0803-1024 The Story Of Ruth – Franz Waxman

*VCL 1103-1025 The Robe – The Deluxe Edition – Alfred Newman

*VCL 1103-1026 Commando – James Horner

*VCL 1103-1027 The Island – Ennio Morricone

*VCL 0204-1028 Jerry Goldsmith At 20th Century Fox – Jerry Goldsmith

*VCL 0804-1029 The Great Escape – The Deluxe Edition – Elmer Bernstein

*VCL 0804-1030 Fitzwilly / The Long Goodbye – John Williams

*VCL 0804-1031 Piranha – Pino Donaggio

*VCL 1104-1032 The Agony And The Ecstacy – The Deluxe Edition – Alex North / Jerry Goldsmith

*VCL 1104-1033 Three Coins In The Fountain – Victor Young

*VCL 1104-1034 Sheena – Richard Hartley

*VCL 0505-1035 Alien Nation – Jerry Goldsmith

*VCL 0505-1036 Desireé – Alex North / Alfred Newman

*VCL 0505-1037 Making The Grade – Basil Poledouris

*VCL 0805-1038 Spacehunter: Adventures In The Forbidden Zone – Elmer Bernstein

*VCL 0805-1039 F.I.S.T. / Slow Dancing In The Big City – Bill Conti

*VCL 0805-1040 True Confessions – Geroges Delerue

*VCL 0805-1041 The Kindred – David Newman

*VCL 1105-1042 Broadcast News – Bill Conti

*VCL 1105-1043 The Scalphunters – Elmer Bernstein

*VCL 1105-1044 The Left Hand Of God – Victor Young

*VCL 1105-1045 Top Secret! – Maurice Jarre

*VCL 0306-1046 Ghostbusters – Elmer Bernstein

*VCL 0306-1047 Rookie Of The Year / A Night In The Life Of Jimmy Reardon / Bushwacked – Bill Conti

*VCL 0306-1048 Return To Peyton Place – Franz Waxman

*VCL 0306-1049 An Almost Perfect Affair – Georges Delerue

*VCL 0706-1050 Gloria – Bill Conti

*VCL 0706-1051 The War Of The Roses / The Sandlot – David Newman

*VCL 0706-1052 An Unfinished Life – Christopher Young

*VCL 0706-1053 Sky Bandits – Alfi Kabiljo

*VCL 1106-1054 Birdman Of Alcatraz – Elmer Bernstein

*VCL 1106-1055 Runaway – The Deluxe Edition – Jerry Goldsmith

*VCL 1106-1056 Lucas – Dave Grusin

*VCL 1106-1057 Seven Cities Of Gold / The Rains Of Ranchipur – Hugo Friedhofer

*VCL 1106-1058 Careful, He Might Hear You – Ray Cook

*VCL 0307-1059 The Karate Kid – The Complete Quadrilogy – Bill Conti

*VCL 0307-1060 The Vanishing – Jerry Goldsmith

*VCL 0307-1061 Author! Author! – Dave Grusin / Johnny Mandel

*VCL 0307-1062 84 Charing Cross Road – George Fenton

*VCL 0707-1063 The ‘Burbs – The Deluxe Edition – Jerry Goldsmith

*VCL 0707-1064 F/X – The Deluxe Edition – Bill Conti

*VCL 0707-1065 Les Misérables – Alex North

*VCL 0707-1066 Anne Of The Indies / Man On A Tightrope – Franz Waxman

*VCL 1107-1067 North By Northwest – Bernard Herrmann / Joel McNeely conducts

*VCL 1107-1068 Neighbors – Bill Conti / Tom Scott

*VCL 1107-1069 By Love Possessed – Elmer Bernstein

*VCL 1107-1070 The Tall Men – Victor Young

*VCL 1107-1071 Magic Fire – Richard Wagner arranged by Erich Wolfgang Korngold

*VCL 0208-1072 North And South – Bill Conti

*VCL 0208-1073 The Caretakers / The Young Doctors – Elmer Bernstein

*VCL 0208-1074 Viva Zapata! / The 13th Letter – Alex North

*VCL 0208-1075 Matilda – David Newman

*VCL 0608-1076 Gangs Of New York / The Journey Of Natty Gann / The Scarlet Letter – Elmer Bernstein

*VCL 0608-1077 Iron Eagle – Basil Poledouris

*VCL 0608-1078 My Cousin Rachel – Franz Waxman

*VCL 0608-1079 The Man Who Loved Women – Henry Mancini

*VCL 0608-1080 In A Shallow Grave – Jonathan Sheffer

*VCL 0908-1081 The Matrix – The Deluxe Edition – Don Davis

*VCL 0908-1082 North And South: Book II – Bill Conti

*VCL 0908-1083 Anna Lucasta – Elmer Bernstein

*VCL 0908-1084 Pony Soldier – Alex North

*VCL 0908-1085 Vamp – Jonathan Elias

*VCL 1108-1086 Short Circuit – David Shire

*VCL 1108-1087 Report To The Commissioner – Elmer Bernstein

*VCL 1108-1088 The President’s Lady – Alfred Newman

*VCL 1108-1089 Silver Bullet – Jay Chattaway

*VCL 0309-1090 Hanover Street – John Barry

*VCL 0309-1091 Nightwing – Henry Mancini

*VCL 0309-1092 Lure Of The Wilderness – Franz Waxman

*VCL 0309-1093 Russkies – James Newton Howard

*VCL 0609-1094 Lonely Are The Brave – Jerry Goldsmith

*VCL 0609-1095 The Right Stuff – Bill Conti

*VCL 0609-1096 Norma Rae – David Shire

*VCL 0609-1097 Hard Contract – Alex North

*VCL 0909-1098 Escape From The Planet Of The Apes – Jerry Goldsmith

*VCL 0909-1099 Crime In The Streets – Franz Waxman

*VCL 0909-1100 A Walk In The Spring Rain – Elmer Bernstein

*VCL 0909-1101 Children Of The Corn – Jonathan Elias

*VCL 1209-1102 Freud: The Deluxe Edition – Jerry Goldsmith

*VCL 1209-1103 Bird Of Paradise – Daniele Amfitheatrof / Lydia Bailey – Hugo Friedhofer

*VCL 0310-1104 The Goonies – Dave Grusin

*VCL 0310-1105 The Spiral Road – Jerry Goldsmith

*VCL 0310-1106 The Scout / Dreamer – Bill Conti

*VCL 0310-1107 The Manhattan Project – Philippe Sarde

*VCL 0410-1108 Star Trek: The Deluxe Edition – Michael Giacchino

Masters Film Music

A moniker that first appeared on the original release of The Final Conflict which became a full fledged series of CDs when the club launched in 1989. These albums represent the finest film scores ever composed by the greatest composers of our era. This sub-division was spearheaded by Robert Townson long before he became executive producer of Varèse. The CDs are limited editions sold in tandem with Varèse Club releases and, unlike the second generation of club volumes, did not change its numbering system when the club resumed production in 2001. SRS, by the way, stands for special release series. This series also includes the first box set Varèse Sarabande ever produced: Bernard Herrmann – The Concert Suites.

*SRS 2001 The Boys From Brazil – Jerry Goldsmith

*SRS 2002 The Wild Geese – Roy Budd

*SRS 2003 Suites And Themes – Jerry Goldsmith

*SRS 2004 Obsession – Bernard Herrmann

*SRS 2005 The Concert Suites Volume 1: The Early Classics – Bernard Herrmann

*SRS 2006 The Concert Suites Volume 2: Science Fiction – Bernard Herrmann

*SRS 2007 The Concert Suites Volume 3: Alfred Hitchcock – Bernard Herrmann

*SRS 2008 The Concert Suites Volume 4: The Fantasy Films – Bernard Herrmann

*SRS 2009 The Reivers – John Williams

*SRS 2011 Under The Volcano – Alex North

*SRS 2013 Those Secrets – Thomas Newman

*SRS 2014 Joe Versus The Volcano – Georges Delerue

*SRS 2015 The Racers / Daddy Long Legs (ballet) – Alex North

*SRS 2016 The Wonderful Country / The King And Four Queens – Alex North

*SRS 2017 Viva Maria! / King Of Hearts – Georges Delerue

*SRS 2018 The Hallelujah Trail – Elmer Bernstein

*SRS 2019 Cannon For Cordoba / From Noon Until Three – Elmer Bernstein

Colossal Records

This peculiar off-shoot of Varèse with a name inspired by their German counterpart, Colosseum Schallplatten, was a short lived (1989–1992) series that made available scores that were not worthy of the Varèse Sarabande name yet were produced like one. Oddly enough, Bed And Breakfast retains Varèse markings but uses a Colossal catalogue number.

*XCD-1001 Tiger Warsaw – Ernest Troost

*XCD-1002 The Film & Stage Music Of… – Bruce Kimmel

*XCD-1003 Till We Meet Again – Vladimr Cosma

*XCD-1004 The Phantom Of The Opera – John Addison

*XCD-1005 A Show Of Force – Georges Delerue

*XCD-1006 Eve Of Destruction – Philippe Sarde

*XCD-1007

*XCD-1008 Bed And Breakfast – David Shire

*XCD-1009 Frozen Assets – Michael Tavera / Billy Martin

Colosseum Schallplatten

This German record label (based in Nuremberg) is Varèse Sarabande’s European equivalent which markets most Varèse titles overseas and has done so since the inception of the 47000 CD series. Speaking of which, the initial Varèse CDs sold in Europe were either imported from Varèse or pressed by Colosseum using JVC disc technology. Varèse pressed CDs featured a solid black design while the Colosseum pressings had the same designs printed in outline red. Thus each label could print titles independently and many Varèse titles that went out-of-print in the US were sometimes available from Colosseum.

After 1989, Colosseum made several CD pressings that were exclusive to Europe and, because of their connection to Varèse, were given a VSD catalogue number. Presently, Colosseum has expanded their output with their own series of releases apart from the Varèse line with CVS replacing VSD on specific European pressings of new Varèse titles. Some VSD listings are occasionally visible on certain reissues and exclusive digital downloads.

The label is also the exclusive distributor of Varèse Club titles in Europe and occasionally has titles available long after they sell out in America.

Adapted from the Wikipedia article Varèse Sarabande, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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Due to his treachery and personality, Starscream has had many future characters within the franchise to bear his name, most of which share his desire to become leader of the Decepticons. Starscream has, at some points, had control over the Decepticons, but his actions usually lead him to being defeated, or overruled by the more powerful Megatron. Starscream makes no secret of his ambition to overthrow Megatron as leader of the Decepticons. He is more intelligent than the average Decepticon, ruthless, and cruel, but he is also unlikely to directly act on his ultimate ambition without assurance of conditions favorable to his ascension. He considers himself vastly superior to other Decepticons, and looks down on Megatron for being antiquated in his military strategy and tactics. Starscream believes that the Decepticons should rely more on guile and speed rather than brute destructive force to defeat the Autobots, although when he is given the chance to strike out on his own, he is often less successful than Megatron. Megatron frequently overlooks the potential threat that Starscream represents, though it is occasionally suggested Megatron tolerates his presence for various reasons, such as a grudging respect for his scheming nature or a mere safety precaution to keep an eye on him. However, Starscream often exhausts Megatron’s patience quickly; violent-yet-brief verbal and/or physical conflicts are not uncommon between the two.

Abilities

Starscream transforms into a McDonnell Douglas F-15 Eagle and serves as the Decepticon Air Commander, leading the other Decepticon Seeker

Marvel Comics

Note: Events specific to the Marvel U.K. comic appear in ”italics”.

Again serving as one of Megatron’s elite troops in the attack on the Ark, the Marvel Comics incarnation of Starscream possessed the desire to take leadership of the Decepticons, but in the early days of the war on Earth, he limited his actions to making snide remarks about Megatron’s capabilities, and did not accomplish any notable acts apart from nearly getting scrapped by Megatron after one snide comment too many. When he participated in an attack on the Ark with several of his fellow Decepticons, Starscream was deactivated by Omega Supreme, and sealed in a stasis pod in the ”Ark” for a prolonged period of time.

”At the same time, the U.K. offices of Marvel Comics were producing their own storylines which were interspliced throughout the U.S. material. Here, writer Simon Furman portrayed the character’s scheming and ambition with more subtlety than the animated series, making Starscream more intelligent and cunning than clownish. He was often the focus of his own stories, including a Christmas special based around Starscream’s misery at being stranded on Earth. In this story and in many others penned by Furman, Starscream often came across as wry and sarcastic. He was one of the most formidable warriors in the Decepticon army and adversaries were often shown to be visibly intimidated by him before he had even begun to fight. At different points in the series, he bests fellow high ranking Decepticons Ravage and Soundwave in combat, as well as the Autobot Brawn.”

‘In the U.K. tales, Starscream was briefly revived from his stasis prison to participate in the events of the ”Target: 2006” mega-serial, where he teamed up with future Decepticon leader Galvatron. Galvatron tolerated his service with amusement, aware of the irony in the situation — Starscream thought that working with Galvatron would ensure his future, but thanks to Galvatron, Starscream had no future, since he was destined to die at his hands in 2006 (in the comic’s alternate-future rendition of ”The Transformers: The Movie”). When Autobots from the future duped Galvatron into turning against Starscream, a repainted Skywarp stood in for Starscream, who Galvatron then blasted. Believing that he had altered his timeline by killing “Starscream”, Galvatron returned to his future, while the future Autobots returned the true Starscream to stasis.”

In the U.S. stories, Starscream was liberated from his imprisonment by the new Decepticon leader, Ratbat, who appointed him second-in-command of his operations. Starscream would immediately return to form, learning of Ratbat’s plan to acquire the power of the Underbase, and orchestrating a massive battle between the Autobot and Decepticon forces that allowed him to seize the colossal information bank’s energy. Now imbued with incredible amounts of power, Starscream turned his attention to Earth, and deactivated scores of Transformers who attempted to stand against him. As he steadily mutated into a gigantic being, Starscream was stopped by Optimus Prime, who tricked him into absorbing more of the Underbase’s energy — more than his body could handle, destroying him.

”At this point, Simon Furman began penning the U.S comic book as well as its U.K. counterpart, and quickly returned Starscream to the fold. In the U.K. comics, Megatron had Dreadwind and Darkwing locate Starscream’s shattered body, only to find that it still possessed some of the Underbase’s power, and drained it away using their Powermaster partners, leaving the body lifeless.”

Megatron then had Autobot surgeon Ratchet reconstruct Starscream as a Pretender, and had him attack Optimus Prime and Scorponok’s forces on Earth. Ratchet disobeyed Megatron’s request to reprogram his mind, however, and Starscream’s original cowardly personality soon re-emerged.

”Issue #248 of the Marvel U.K. Transformers comic featured a story called “Fallen Star”, where Starscream began to doubt himself, despite being among the most powerful Transformers. Soundwave, Mindwipe and Weirdwolf feared Starscream would attack, but Starscream thought they were laughing at him behind his back. Leaving, Starscream came across the Autobots Chainclaw, Cloudburst and Getaway, who were assigned by Optimus Prime to spy on him. Starscream soundly defeated all three Autobots and regained his self-confidence.”

”The U.K. comics then began a breakaway storyline that diverged the continuities, centering around the exploits of the Earthforce, the Earth-based Autobot sub-team. Through a team-up with Soundwave, Starscream succeeded in deposing Megatron and Shockwave briefly, before they returned seeking vengeance. Starscream, however, had some unlikely protectors — the Autobots needed him alive so that his compatible systems could boost those of the Dinobot Snarl, who was dying from the rusting disease, Corrodia Gravis.”

”Issue #279 of the Marvel U.K. Transformers comic featured a story called “Divide and Conquer!” where Soundwave led the bulk of the Decepticon forces on Earth against the Autobot Earthforce headquarters while Starscream attacked an oil tanker. Sent into battle by Prowl, the Dinobots routed the main Decepticon forces while Springer led the Autobot Survivors, Broadside, Inferno, Skids, and Carnivac to defeat Starscream.”

In the U.S. comics, Starscream went on from his rebirth as a Pretender to join up with Shockwave in instigating the Decepticon Civil War, and was transported to Cybertron along with all the other Transformers in preparation for the battle against Unicron. Following the Transformers’ victory, Starscream and Shockwave fled the planet in a restored ”Ark”. On the way the two discovered some unlikely company — Megatron and Ratchet, both restored by Nucleon. Starscream found Ratchet and prepared to kill him. However, in a fit of rage at Starscream’s casual attitude to murder, Ratchet defeated the Decepticon. In order to prevent Megatron and Galvatron escaping to threaten the universe once more, Ratchet crashed the ”Ark” on Earth.

In ”Generation 2” Starscream had been deactivated in the crash of the ”Ark”, but Megatron, who had also been on board, was the only survivor and over the next few years restored the Ark, entering into a deal with the human terrorist organization, Cobra, which helped him obtain a new body and weapons. Desperate for troops and in spite of his own misgivings about doing so, Megatron then reactivated Starscream (considering his only other choice was Shockwave, Megatron still felt he had made a good decision). Starscream served Megatron with at least a semblance of loyalty, ferrying him to his showdown with Bludgeon, but when he realized Megatron was going to eliminate him after his new Matrix-created army was functional, he betrayed him by alerting the forces of the Cybertronian general Jhiaxus to the location of the joint Autobot/Decepticon base.

Starscream made an appearance in the Decepticon forces under the command of Megatron in issue #7 of the Marvel ”Generation 2” comic series, in a story called “New Dawn.” Megatron led his Decepticons against Jhiaxus’ second generation Cybertronians near the moon of Tykos. The Decepticons were defeated and Megatron left injured, presumed dead, but swearing revenge.

Starscream was subsequently able to acquire the Creation Matrix (previously stolen from Optimus Prime by Megatron), and used it merge himself with the Decepticon craft, the Warworld, turning himself into a living weapon. However, Starscream found his mind affected by the innate goodness of the Matrix, and rejected it in order to preserve his own personality.

”Starscream appeared in his ”Generation 2” form in the short lived U.K. ”Generation 2” comic series. This series also printed a bio for Starscream where he had the new motto “I have a code of conduct — victory at all costs!””

Animated series, first two seasons

Starscream was formerly a scientist and explorer, working with the Autobot Skyfire (Jetfire), during the Golden Age of Cybertron, shortly before the Autobot/Decepticon war re-erupted. Following the disappearance of Skyfire when the two were exploring a prehistoric Earth, Starscream returned to Cybertron and soon abandoned his scientific pursuits, becoming a warrior in Megatron’s Decepticon army as the civil war exploded, considering it “far more exciting”.

Starscream attended the Cybertron War Academy, mentioned in the episode “A Prime Problem.”

Acting as second-in-command of the elite troops Megatron took with him aboard the ”Nemesis”, Starscream was among the Transformers trapped in stasis on Earth for four million years after the Decepticons attacked the Autobot craft, ”Ark”, causing it to crash on the planet. When the ship’s computer, Teletraan I, was reactivated by a volcanic explosion in 1984, the Decepticons were the first to be reactivated and were restored with new Earthly alternate modes. Before departing, Starscream shot at the Ark as a petty parting gesture, causing a small tremor that knocked Optimus Prime into the path of the reconstruction beam, allowing the Autobots to be restored, and the war to continue on Earth.

As the war continued, Starscream’s old friend Skyfire was discovered frozen in the Arctic Circle, and Megatron noted how concerned Starscream was to see Skyfire rescued; Starscream even took control of the revival process and successfully re-awakened his old friend. It was this friendship that initially led Skyfire to join the Decepticons, but when the latter refused to hurt humans, both Megatron and Starscream voiced their disgust. Not long after, several Autobots came to investigate the Decepticon activity and were subsequently captured; Starscream prepared to execute them and Starscream offered to forgive Skyfire if the latter would accept the first shot. Skyfire, disillusioned by his old friend’s new warlike ways, joined the Autobots instead, and Starscream no longer gave him a second thought.

During the cataclysmic events that ensued when Megatron transported Cybertron into Earth’s orbit, Starscream attempted to use the Decepticons’ human ally, Doctor Arkeville, for his own purposes. Starscream forced him to take him to his secret lab, where he destabilized Arkeville’s exponential generator, which, when it reached critical mass, would destroy the Earth. Starscream then fled with Arkeville to Cybertron, where Starscream intended to collect the energy released in Earth’s destruction. When Optimus Prime and Megatron were forced to work together to stop Starscream’s plan, Starscream returned to Earth to investigate why the generator had not exploded. Meanwhile, to remove the threat of the generator, Prime loaded it into Megatron’s gun barrel and fired it into space — blasting Starscream out of the air in the process, causing him to fall to Earth and into a vengeful Megatron’s clutches.

Starscream was a prominent figure in most of Megatron’s schemes over the next year, but also made several further plays for power — teaming up with the Triple Changers Blitzwing and Astrotrain to betray Megatron, only to be double-crossed himself; duping the paranoiac Autobot, Red Alert into allowing him to acquire the Autobots’ Negavator weapon; incapacitating Megatron’s Nightbird robot to maintain his own position of power; getting drunk on energon, and more. Ironically, given his invariably treacherous nature, he was the first to sniff out Nurgill’s treachery when the Decepticons united with the underwater residents of Sub-Atlantica to take over the world, even going as far as saving Megatron from being shot by Nurgill. Generally, almost every time that (the virtually indestructible) Megatron sustained even the slightest damage in a battle, Starscream would claim that Megatron had “fallen”, and frantically urge the Decepticons to immediately follow himself as their new leader.

Starscream would make use of his old scientist profession in the future, particularly when he and several other Decepticons were temporarily displaced in time to medieval England. When the weapons of the time-displaced transformers ceased functioning, Starscream knew how to use available materials to create gunpowder as a substitute for himself and the other Decepticons. He was also able create an electric dynamo to replenish their depleted energy.

In 1985, Starscream was responsible for the creation of the Combaticons by liberating their imprisoned personality components from a detention center on Cybertron and installing them into five World War II vehicles left over from the Battle of Guadalcanal. He changed them into more modern vehicular forms (for example, he made Vortex the helicopter out of a crashed World War II fixed-wing aircraft). He intended them to be his own private army after he was exiled from the Decepticons for attempting to betray Megatron one too many times. Although the Combaticons had defeated Devastator and had Megatron relinquish control of the Decepticons to Starscream using their combined form, Bruticus, they were defeated by an intervening Menasor.

Megatron subsequently had Astrotrain relocate Starscream and his giant ally Bruticus to an asteroid in deep space. Finding himself once again in exile, Starscream vowed revenge.

Despite the promises of revenge on Megatron from his creations, Starscream abandoned the Combaticons, blaming them for his failure to take over the Decepticons (where in reality they had helped him succeed). In a mix of cabin fever and boredom, he took his chances venturing into outer space. Ironically, the Combaticons ended up taking control of Cybertron and altered the space bridge to push the Earth into then sun, achieving revenge on Megatron, the Autobots, the Decepticons, and the Earth. Starscream arrived on Cybertron and tried to reclaim his leadership over his creations, but was imprisoned by the Combaticons along with Shockwave.

The Combaticon take over forced another uneasy alliance between the Autobots and Decepticons, who fought Bruticus and ultimately defeated him thanks to a weak spot revealed by Starscream in exchange for Megatron not killing him on the spot.

Starscream appears in the following books:

*The 1984 sticker and story book ”Return to Cybertron” written by Suzanne Weyn and published by Marvel Books.

*The 1984 sticker and story book ”The Revenge of the Decepticons” written by Suzanne Weyn and published by Marvel Books.

*The 1985 Find Your Fate Junior book called ”Battle Drive” by Barbara Siegel and Scott Siegel.

*The 1985 Transformers audio books ”Autobots’ Lightning Strike”, ”Megatron’s Fight For Power”, ”Autobots Fight Back” and ”Laserbeak’s Fury”, as well as ”Galvatron’s Air Attack” from the 1986 series. In the books, he is depicted as having a yellow visor.

*The 1985 audio book ”Sun Raid”.

*The 1986 story and coloring book ”The Lost Treasure of Cybertron” by Marvel Books.

Fun Publications

Based on the Transformers Classics toy line, the Timelines 2007 story is set 15 years after the end of the Marvel Comics story (ignoring all events of the Marvel U.K. and Generation 2 comics). Megatron survived the crash of the Ark on Earth. He is joined by Starscream, who realized he needed a leader.

In Transformers: Timelines volume 2 #2, “Games of Deception” Megatron detects the arrival of Bugbite’s ship on Earth and sends Starscream, Skywarp and Ramjet to investigate. The three Seekers are then taken over by Bugbite’s cerebro shells (with Starscream swearing to painfully dismember Bugbite for it). When the Autobots eventually jam the shells to facilitate their own rescue of Mirage, Starscream is freed and battles Bugbite’s faction. Whether he survived the battle is unknown. He seems to retain his usual second-in-command status in this story.

Beast Wars

As the 1990s Transformers series, ”Beast Wars,” officially occurred in a universe/continuity that contained aspects of both of the otiginal animated series ”and” Marvel comic, the show most commonly displayed its lineage with references to the animated series. To that end, Starscream’s ghost made a brief but memorable appearance in the first season episode, “Possession”. His spark, once again without a body through unknown means, wandered to prehistoric Earth and ended up in the ”Darksides computer console. Taking control of Waspinator’s body with Terrorsaur watching, Starscream went about his standard backstabbing ways, acquiring the trust of Predacon leader Megatron, telling him that he was defending Galvatron against Unicron and was destroyed, with his spark enduring. In reality, he was planning to overthrow Megatron. When his true intent was discovered by Blackarachnia, who knew he was really scrapped by Galvatron for betraying him, Starscream took her under his wing to teach her the ways of treachery —inevitably resulting in her betraying him. Caught in an energon explosion engineered by Optimus Primal, Starscream’s spark was forced out of Waspinator’s body and set adrift in space once more, vowing vengeance on both sides. In the episode, Starscream was voiced by Doug Parker.

In the second season of ”Beast Wars”, the reason for Starscream’s ability to survive beyond death was revealed — a mutation in his spark had rendered it indestructible. Maximal experiments to replicate this effect resulted in the creation of the insane monster Protoform X, later called Rampage.

Starscream’s original body was seen, lying in stasis lock, in the last episode of season two when Megatron entered the ”Ark”.

Image Comics

”Genesis: The Art of Transformers,” while by no means a primary source of story information, does contain several illustrations of Starscream. One of them is perhaps the only official illustration of his Machine Wars form besides the toy’s box-art. Machine Wars Starscream is seen standing on a dais, wearing a purple cape and holding Galvatron’s torn-off cannon. The artist, Matt Kuphaldt, based the setting on the coronation scene from “The Transformers: The Movie,” only golden to indicate a post-”Rebirth” timeframe. Kuphaldt intended the illustration to be a sequel to his fan-art of Starscream’s ghost possessing the body of a fallen Decepticon and becoming his Machine Wars self on a similarly-golden battlefield.

Dreamwave Productions

In the 21st century reimagining of the Generation One universe by the comics company Dreamwave Productions, Starscream remained his treacherous, power-hungry self. In the early days of the war on Cybertron, he devastated Iacon with a terraforming process, and went on to form his own faction called the Predacons when Megatron vanished in a spacebridge experiment. When the other splinter factions attempted to reconcile their differences, Starscream’s Predacons attacked the ceremony, although their bombing occurred concurrently with the return of Megatron, who immediately subjected Starscream to physical torture for stealing his glory.

Winding up in stasis aboard the Autobot spacecraft, the ”Ark”, along with the other Decepticons when it crashed on prehistoric Earth, Starscream was reactivated in 1984 with the other Transformers. When the Autobots succeeded in defeating the Decepticons in 1999 and they all attempted to return to Cybertron aboard the ”Ark II”, the ship exploded as it exited Earth’s atmosphere, and the Transformers were believed destroyed. In actuality, many of their bodies were appropriated by the terrorist, Lazarus, including Starscream’s. Bumblebee, Frenzy, Grimlock, Laserbeak, Prowl, Ravage, Soundwave and Starscream were forced to attack the Smitco oil refinery in the Arctic to display their power for sale to the highest bidder.

When Megatron liberated himself from Lazarus’s control in 2002, the other Decepticons were soon freed, and Starscream and the other Decepticon jets passed some time by dismembering the Autobot Mini-Bots before joining in an attack on San Francisco, during which they attacked Superion, forcing him to separate.

The following year, Starscream was offered the opportunity to return to type when Shockwave — who had unified Cybertron in their absence — arrived on Earth to arrest Prime and Megatron as war criminals. Seizing an opportunity to remove his main obstacle to power, Starscream blasted open the cargo hold of the ship taking them back to Cybertron, setting Megatron’s damaged body adrift in space.

With the aid of Soundwave, he subsequently liberated the Combaticons from imprisonment, and returned with them to Earth, where they attacked the ”Ark” in an attempt to acquire parts to make the Decepticons’ space cruiser flight-worthy. With Bruticus defeated by the arrival of Starscream’s Shockwave-spawned, super-powered clone, Sunstorm, Starscream fled and brought online Jetfire, who the Decepticons had previously uncovered frozen in ice. Operating together, they deduced Sunstorm’s clone nature, and fashioned a power siphon to drain his energy; but Starscream turned the tables on everyone by freeing Sunstorm, who then took him to a mysterious Cybertronian seal beneath the ocean’s surface. Sunstorm claimed that only Starscream could open the seal, which he proceeded to do, unlocking an underground reservoir of a powerful, energy-rich liquid, which Sunstorm planned to use to empower his “brother,” so that they could achieve his goals together. Starscream turned on Sunstorm, who fell into the liquid, which reacted with his own powers and destroyed both him and Jetfire.

Starscream escaped the conflagration and returned to the Decepticon base, only to discover that Megatron and Shockwave had returned in his absence, and to receive the beating he had earned from his former leader. Starscream hinted that he had discovered some of the secrets in the Transformers’ history that Megatron and Shockwave had learned in the past, but unfortunately, Dreamwave went bankrupt and closed its doors before resolution to this storyline could be offered.

Transformers/G.I. Joe

Starscream also appeared in Dreamwave’s Transformers/G.I. Joe miniseries, set during World War II, plotting with Destro to overthrow Megatron and Cobra Commander using a fusion of Cobra and Decepticon technology called Bruticus. However, he was himself betrayed and destroyed by Destro and the Baroness. In this series, Starscream and the other seekers had alternate modes based on P-51 Mustangs. He reappeared in a second G.I. Joe/Transformers crossover set in continuity with the first, but over 40 years later. Here, he had his familiar alternate mode of an F-15 Eagle. His ultimate purpose was left unknown, as Dreamwave’s closure meant the series was left unfinished after just one issue.

Devil’s Due Publishing

Adapted from the Wikipedia article Starscream (Transformers), under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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* Martin Michlmayr has started working on a Debian specific port.

* David Anselmi is working on Debian installation issues at

* Mark Gillespie has created scripts to build and install Debian Lenny and Squeeze onto either the internal NAND or SDCard

* There is an ARM port of Fedora which can be installed on the SheevaPlug

* Raúl Porcel has managed to run Gentoo on the plug and published an instruction on how to do so.

* Stuart Winter has a working Slackware port. This is the official port of Slackware version 13.1 to ARM.

* Inferno boots on the SheevaPlug.

* Plan 9 supports SheevaPlug (and other kirkwood-based systems) in its official distribution.

* SheevaPlug is supported on FreeBSD 8.0 and 9-CURRENT.

* NixOS (svn trunk) supports the SheevaPlug since the last quarter of 2009.

* PlugBox Is an Arch Linux port for SheevaPlug and other plug devices.

* Amahi is a home file server which has recently been ported to the SheevaPlug and other plug computing devices.

Adapted from the Wikipedia article SheevaPlug, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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Grimlock is the most fearsome and powerful member of the Dinobots. Grimlock can be cold, merciless and contemptuous of those he considers beneath him, such as human beings, and at times, even Autobot leader Optimus Prime himself, who Grimlock would gladly supplant as Autobot leader if he were able to, giving him a superiority complex as indicated by his Generation 1 tech specs. Nevertheless, he is a valiant warrior whose actions command respect from all who are witness to them, both friend and foe. One of his most distinguishing features is his famous speech impediment, resembling cliched caveman speech, which leads him to shorten sentences and refer to himself constantly as “Me Grimlock”, never “I” (i.e. “Me Grimlock no bozo! Me KING!”) – the reason for this varies from depiction to depiction, with some making it the result of true mental limitations, and others vocal processor damage or a ruse Grimlock perpetrates to allow others to think of him as less intelligent than he actually is.

Grimlock is among the strongest of the Transformers, possibly an equal to, or even superior of, Optimus Prime and Megatron in certain continuities. In ”Tyrannosaurus rex” mode, his powerful jaws can snap virtually anything that comes between them – from steel cables to a Decepticon limb. He also can shoot an energy ray from his mouth. In robot mode, Grimlock wields an energo-sword, whose blade is sheathed in crackling energon and can slice a two-foot thick concrete wall in one slash. He also uses a double-barreled, self-propelled rocket launcher

Marvel Comics

Since Marvel Comics’ ”Transformers” series were primarily written by Bob Budiansky in its early years, the writer was able to present his origin for the Dinobots as he had originally conceived it. Hence, when the Ark crashed on Earth four million years ago, it was followed down to the planet by the Decepticon Shockwave, who touched down in the prehistoric region of Antarctica known as the Savage Land. The Ark’s computer detected his presence on the planet, and its scans of the Savage Land led it to believe that dinosaurs were the dominant life form. Thus, it reconstructed Grimlock and his troops into dinosaur forms, in order to battle Shockwave. Unfortunately, he slyly outmaneuvered them and managed to pick them off at a distance with his superior fire power; knocking them into a tar pit one by one. With their final strike the battle ended in a stalemate as the Dinobots made him fall in the pit along with them, buried under a rock slide for several million years.

In 1984, when Shockwave was accidentally reactivated by an Autobot probe and took command of the Decepticons from Megatron, Autobot medic Ratchet entered into an uneasy alliance with the deposed Decepticon leader, agreeing to recover the Dinobots so that they might defeat Shockwave again. Ratchet pulled a double-cross, however, and had the Dinobots attack Megatron instead, resulting in a battle that ended with Megatron’s disappearance.

Grimlock steadily grew more and more displeased with Optimus Prime’s leadership, and eventually broke his Dinobots away from the main Autobot faction. After a prolonged period living in self-imposed exile, the news of Optimus Prime’s death brought Grimlock back to the Autobots. After proving his worth by defeating the Decepticon Trypticon, Grimlock was elected leader of the Autobots.

It soon proved that absolute power corrupts absolutely. Grimlock developed into a tyrannical ruler who led the Autobots with an iron fist. His policy towards Earth and its inhabitants were vastly different from Optimus Prime’s – instead of viewing them as objects of protection, Grimlock expressed a disdain for humanity, viewing them as an inferior species unworthy of their protection. Under Grimlock’s leadership, the Ark was repaired and made space-worthy again.

In issue #32, titled “Used Autobots”, Wheeljack completed work on his Geothermal Generator, which used the heat from the volcano the Ark had crashed in to generate energon cubes. Although Wheeljack thought this would impress Grimlock by reducing their dependence on human help, Grimlock seemed to think the Autobots should just take what they need from the humans.

Blaster and Goldbug could not endure Grimlock’s leadership any more, and set out on their own, only to have Grimlock mark them as traitors. Blaster was hunted down by the Protectobots and later the Dinobots themselves, and placed under imprisonment and torture.

When the Autobot Headmasters and Targetmasters arrived from Nebulos, Grimlock refused to recognize the authority of Fortress Maximus and failed to establish an allegiance with his group. This proved to be the last straw for the Autobots under Grimlock’s command, who collectively conspired to overthrow him, arranging for Blaster to challenge Grimlock for leadership. During their battle on the moon, the Decepticons took advantage of this weakness in the Autobot ranks and interrupted the duel with an all-out assault. With all Autobots now under attack from their mortal enemies, Grimlock and Blaster put their differences aside and fought alongside each other against the Decepticon horde. Subsequently, Fortress Maximus orchestrated the recreation of Optimus Prime as a Powermaster, and Grimlock stepped down as leader.

Grimlock and the Dinobots were destroyed during the battle against Starscream while the villain was super-powered by the Underbase.

Grimlock was seen among the Autobots being repaired on the Ark when Optimus Prime sent Landmine and Cloudburst on their mission to obtain computer chips to repair fellow Autobots in issue #52, “Guess Who The Mechannibals Are Having For Dinner?”

Grimlock’s body was seen among the deactivated Autobots Ratchet was doing his best to revive in Transformers #56, “Back from the Dead”.

After a short time, Grimlock (along with Jazz and Bumblebee) was rebuilt by Ratchet as a Pretender. Ratchet shortly after was lost in a transport incident while taking out Megatron, and was thus unable to continue his work restoring other Autobots in stasis lock (Ratchet later returned, physically merged with Megatron). Grimlock swore to one day find a way to revive his Dinobots.

Under the leadership of Powermaster Optimus Prime, Grimlock proved to be a loyal and powerful Autobot, daring even to battle the Matrix-powered Decepticon Thunderwing during the Matrix Quest. However, he was still obsessed with quickly reviving the Dinobots, a goal which put him at odds with Optimus Prime, who advocated patience in the search for a way to rebuild the fallen Autobots. Grimlock finally lost patience, stole the bodies of the Dinobots and a shuttle from the Ark, and piloted it to the planet Hydrus Four, where scientists had developed a new fuel called nucleon. It was more powerful than energon and capable of bringing dead Transformers back to life, but it was unstable and could have unforeseen consequences. Grimlock was unwilling to subject his Dinobots to anything he would not go through himself, and thus decided to test the fuel on himself first. When no ill effects were apparent, he used it to revive the Dinobots, and brought enough back to revive the remaining fallen Autobots.

The Dinobots returned to Cybertron with the nucleon, and arrived in time for the battle with Unicron. Their arrival, and their reviving the fallen Autobots with Nucleon, was an important part of Transformer victory that day, but Optimus Prime once again lost his life, sacrificing himself to destroy Unicron, and once again naming Grimlock as his successor with his dying breath.

Before Grimlock could celebrate his new position, however, the Nucleon’s effect on Transformers became apparent. Grimlock began to experience brief bursts of immobility, his joints locking, which reached a peak when he became completely paralyzed in Cybertron’s wastelands while he and the Dinobots were under attack by monstrous creatures from beneath Cybertron’s surface. Realizing that Grimlock had become trapped in a “chrysalis” stage, Prime’s Powermaster partner, Hi-Q, tapped into and accelerated the process, completing Grimlock’s evolution into a more powerful “Actionmaster” – but the enhanced power came with a price: Grimlock was now no longer able to transform into dinosaur mode.

At that point, Cybertron was believed to be dying as a result of the battle with Unicron, and the Autobots and Decepticons were co-operating to evacuate. However, the Decepticons had a hidden motive: to escape, and leave the Autobots marooned on the dying planet. Grimlock and the Dinobots were the only ones among the Autobots who saw through the Decepticons’ false pretense of peaceful co-existence and suspected the plan of mass betrayal. When the Decepticons sabotaged the Autobots’ ships and fled the planet, Grimlock saved the Autobots. He revealed that he had captured Decepticon ships after a strike against them before the voyage to Earth, and had hidden them away. Thanks to those ships, the Autobots were able to flee Cybertron and follow the Decepticons to the planet Klo for a final showdown. Unfortunately Decepticon leader Bludgeon had discovered the Autobot homing beacon and laid a trap for them. Grimlock’s stubbornness meant the Autobots walked right into it, decimating them. Grimlock was one of the few survivors, and when Optimus Prime returned, recreated by the Last Autobot, Grimlock participated in the rout of the Decepticons.

While the monthly ”Transformers” comic was published in the United States, its sister title in the United Kingdom reprinted its stories, and included many of its own original tales, interspliced with the running American narrative. The author of these stories, Simon Furman, was particularly fond of Grimlock, often using him for his original stories, and even using the character for responses on the readers’ letters page. Furman truly transformed Grimlock, from the brutish tyrant of the early American comics into a noble anti-hero.

Set in and around the U.S. stories, Grimlock and the Dinobots were the stars of several stories while self-exiled from the other Autobots, including ”In The National Interest” where they tried to help expose the Robo-Master hoax. When leader of the Autobots, Grimlock was involved in assisting Action Force battle Megatron in London and attempted to kill the Predacon Divebomb in order to silence embarrassing facts about Swoop’s past.

Towards the end of the series, the UK comics began a break-away storyline that branched off from the continuity of the American stories, beginning with Grimlock’s decision to once again break his Dinobots away from the main Autobot force. Tired of Prime’s pacifistic approach to protecting Earth, Grimlock was joined by several older Autobots like Prowl and Wheeljack, who had just recently been reactivated, and longed for the older, simpler days. Under Grimlock’s command, they formed the Earthforce, a pro-active Autobot group based in Canada who regularly battled the two Decepticon forces under the commands of Megatron and Shockwave.

Issue #279 of the Marvel U.K. Transformers comic featured a story called “Divide and Conquer!” where Soundwave lead the bulk of the Decepticon forces on Earth against the Autobot Earthforce headquarters while Starscream attacked an oil tanker. Sent into battle by Prowl, the Dinobots routed the main Decepticon forces while Springer lead the Autobot Survivors, Broadside, Inferno, Skids, and Carnivac to defeat Starscream.

There was no specific ending for the Earthforce crew, but the issue of nucleon was resolved in a one-shot text story contained in the final ”Transformers” annual (a hardback book containing new material released each year). Of the Dinobots, only Slag retained the ability to transform, until the discovery of new nucleon allowed all the Transformers previously empowered by it to regain their transforming abilities. The place in continuity of this tale is hard to determine. It followed on from the events at the conclusion of the American series, yet cannot fit in with American continuity as it puts Megatron in a situation he cannot possibly be in.

A few years after the conclusion of the original ”Transformers” comic, the line was given a shot in the arm with the release of the new ”Transformers: Generation 2” toyline and an accompanying comic. Grimlock’s toy was re-released for the ”G2” toyline in several colors including blue, but he continued to appear in his original grey color scheme for most of his appearances in the ”G2” comic.

With his transformation capabilities restored (the explanation for which was not offered in the American series), Grimlock was Optimus Prime’s second in command in the so called ”Generation 2” series, aiding in the Autobots’ war against the “second generation” of Cybertronians led by Jhiaxus. However, he remained as rebellious and aggressive as ever, though it proved to be a mixed blessing – at one point his urge to combat Jhiaxus’s forces led him and his troops right into a trap, while at another time, his willingness to defy Optimus Prime’s orders and launch an all-out attack saved Prime from certain death at the hands of Megatron. When the Autobots and Decepticons united against Jhiaxus and the threat of the Swarm – a destructive by-product of Transformer reproduction – Grimlock was the joint leader of the ground troops as Prime and Megatron fought on other fronts, and survived the brutal conflict.

Grimlock appeared in his blue Generation 2 form in the short lived UK. Generation 2 comic series.

Years later, writer Simon Furman offered an “unofficial” conclusion to the ”Generation 2” storyline with “Alignment”, a text story available exclusively through the British Transformers convention, Transforce, in 2001 and 2002. In the story, Grimlock is killed while trying to distract the Leige Maximo.

Animated series

The original character profiles (and the tech specs derived from them) written by Bob Budiansky and Dan Bobro indicate that Grimlock and the Dinobots were intended to come from Cybertron to Earth like the vast majority of other Transformers. However, the cartoon would diverge wildly from this when it introduced the reptilian robots.

The discovery of fossilized dinosaur bones in a cavern in their volcano base set the Earthbound Autobots on the track to creating the Dinobots. Intrigued by the creatures, and with additional knowledge supplied by Spike, Wheeljack and Ratchet created three “Dinobots” – Grimlock, Slag and Sludge. It has not been explained why he or the other Dinobots were able to be fitted with personalities which can only be found on Cybertron from Vector Sigma. Apparently there is a difference between the brain and personalities in Transformers. Their brains are simple, yet still it is the personalities that make them sentient. It is evident that addition of personalities or “sparks” and its origin was after the fact, and was hoped that this inconsistency would be overlooked.

Unfortunately, their design specs proved to be a little ”too” accurate to the creatures they were modeled on, as their primitive brains went out of control, and Grimlock almost destroyed Teletraan I, before the trio was stopped. Optimus Prime deemed them too dangerous to use again, and had them sealed back up in the cavern, but when the majority of the Autobot force was captured by the Decepticons, Wheeljack freed them to go to their rescue. Equipped with new devices that enhanced their brainpower to functional, yet still impaired, levels (resulting in slow thought processes and simple, clipped speech), the three Dinobots successfully rescued their Autobot comrades, and Optimus Prime admitted his error.

In his private thoughts, however, Grimlock considered Optimus Prime too weak to lead, seeking the position for himself. When Soundwave read his mind and learned of this animosity, Megatron was able to trick Grimlock and the Dinobots into switching sides, attacking and capturing Optimus Prime. To stop the turncoat Dinobots, two new ones were created: Snarl and Swoop. Ultimately, it was when Optimus Prime threw himself into harm’s way to save Grimlock from an explosion that he accepted his mistake and rejoined the Autobots. In a rare display of modesty and humility, Grimlock emotionally apologised to Prime, admitted his jealousy of the leader, and accepted fault for the battle. The two subsequently patched up their differences.

Although content for the moment to remain a soldier, rather than a leader, Grimlock still had trouble accepting orders, only agreeing to help stem the tide of natural disasters ravaging Earth due to Cybertron being pulled into its orbit when he realised he would die if he did not. Grimlock and the Dinobots were semi-regularly called into action when the Autobots were faced with challenges that required extra strength, such as the Sub-Atlantican invasion of Washington, D.C., or the Decepticons’ control of the TORQ III supercomputer; with every piece of help he and his troops gave, Grimlock was never slow to add a scathing remark about the inabilities of the Autobots. That said, he was not unwilling to admit the failings of his own troops, either, and willingly took them to the time-displaced “Dinobot Island,” where they trained in the wilderness and helped stop a Decepticon raid on the prehistoric paradise.

The final straw for Grimlock came when he and the Dinobots were injured in a Decepticon trap at an airfield. Enraged, Grimlock refused to take orders from Optimus Prime any more, and led the Dinobots away from the Ark. When the Autobots began to suffer from Cybertonium deficiency, Spike Witwicky and his girlfriend Carly attempted to persuade the Dinobots – who continued to function perfectly, as they had been built on Earth without Cybertonium – to steal some of the mineral from a Decepticon shipment coming in from Cybertron. Grimlock instead opted to lead the Dinobots to Cybertron itself, where they were captured by Shockwave and put to work in the Cybertonium mines, until Spike and Carly rescued them. Brought back to Earth, the Dinobots agreed to follow Prime’s order again – until such time as Grimlock did not feel like it.

By the Earth year 2005, it seemed apparent that Grimlock had undergone some degree of a personality change, becoming more childish and petulant, rather than brutish and stubborn. Also of note, it seemed that, along with the other Dinobots, Grimlock remained in his Dinosaur mode almost exclusively, rarely changing back to his Robot form. Throughout 2006, he regularly participated in missions with his fellow Autobots rather than the other Dinobots, battling on the planets of Chaar, Goo, Dredd and Eurythma.

In episode 78, “Madman’s Paradise”, Spike and Carly hosted a banquet for a visiting ambassador. Daniel got bored and wandered off. Grimlock followed him, and they fell into a lost chamber where Quintessons banished their criminals to other dimensions. They slipped through to the other-dimensional realm of Menonia, and were tricked into fighting on the Red Wizard’s side, only to find out that he was the Quintesson criminal, who overthrew the Golden One. Ultra Magnus, Blaster, Eject, Rewind, Ramhorn, and Steeljaw followed, and using Blaster’s amplification, they help the Golden One defeat the Red Wizard. With the help of Perceptor, the Autobots and Daniel are returned to Cybertron.

Grimlock helped to sniff out the “dinosaur transform static” that implicated Trypticon in the theft of world monuments. Later in the year, when Decepticon leader Galvatron had Cybertron infused with function-inverting anti-electrons, a dose of the particles gave Grimlock super-intelligence. For the first time Grimlock identified himself as “I, Grimlock”. During a mission to Unicron’s disembodied head, where the Autobots were outmatched by the new Decepticon Terrorcons, Grimlock used components of Unicron’s head to construct the Technobots to battle them. Combined as Computron, the Technobots felt they could not match the Terrorcons, until Grimlock transferred his super-intelligence into Computron, reverting to his old self and allowing the Technobots to claim victory.

Grimlock’s greatest victory came when he and a large number of other Transformers with animal transformations were summoned to a world at the centre of the galaxy by the ex-assistant of the ancient genius, Primacron, creator of Unicron. The assistant had assembled these “Primitive” Transformers in the hope that their simple instincts could defeat Primacron’s newest creation, Tornedron, but one by one they fell to him, with Grimlock apparently crushed under Trypticon. Grimlock survived, however, and followed Tornedron back to Primacron’s lab. When Tornedron turned on his master, like his predecessor, Primacron’s complicated plans and equations could not find a way to stop him; Grimlock, on the other hand, randomly flicked a switch which reversed Tornedron’s energy polarity, undoing the damage he and done and dissipating. Dancing around over his successful saving of the universe, Grimlock decimated Primacron’s lab, dubbing it the smartest thing he’d ever done.

After the animated series ended in the U.S. Grimlock appeared in animated form in the commercial for the Classic Pretenders.

In a comic story found in the ”Transformers” DVD boxset for season 2, a special comic was donated by ”Darren Jamieson” and ”Dylan Gibson” that explored what happened when the Dinobots combined. Unleashed as a last ditch effort by Grimlock to stop an Autobot massacre, “The Beast” was a huge mindless combiner that destroyed warriors on both sides.

Grimlock appeared briefly in the Japanese-only 4th season of the Transformers animated series.

In the year 2011, the Decepticons invaded Cybertron in full force. Grimlock was deployed by Wreck-Gar to fend off the invaders. He was seen fighting alongside his fellow Dinobots as well as the Throttlebots against the invading Decepticons, however, they didn’t fare too well against the Decepticon Headmasters, as they are all quickly put to sleep by Mindwipe’s hypnosis attack. In the second episode, Grimlock was again in action, trying to protect Vector Sigma alongside with two fellow Dinobots and Jazz.

Grimlock’s stasis pod was among those who were launched into orbit around prehistoric Earth in the ”Beast Wars” series pilot.

Books

Grimlock was featured in the 1985 Find Your Fate Junior book called ”Dinobots Strike Back” by Casey Todd.

Grimlock appeared in the 1986 story and coloring book ”The Lost Treasure of Cybertron” by Marvel Books.

Manga

In the Japanese manga “Big War” #2 the Autobots Rodimus Prime, Grimlock, Kup and Wheelie, along with their human allies Spike Witwicky and Daniel Witwicky send Computron into battle against Galvatron’s new warrior combiner Abominus. The Terrorcons spit “corrosive control liquid” against Computron, taking control of him and turning him into a Decepticon. Luckily Spike uses his new Exosuit to free Computron with “defense spray”. Defeated Galvatron retreats.

Fun Publications

Based on the Transformers Classics toy line, the Timelines 2007 story is set 15 years after the end of the Marvel Comics story (ignoring all events of the Marvel U.K. and ”Generation 2” comics).

When Bludgeon and his Decepticons were banished after the battle of Klo Grimlock refitted his Decepticon battleship, the Graviton, with weapons and recruited his several Dinobots and Autobots to hunt them down. The crew included Ultra Magnus, Springer, Huffer, Elita One, Snarl, Terranotron and the Mini-Cons Swoop and Strongarm. After getting word from Optimus Prime that Megatron was alive on Earth Grimlock left Ultra Magnus in charge of the Graviton and took a shuttle to Earth.

In the story ”Crossing Over” by Fun Publications Grimlock was among Autobot troops of Optimus Prime who responded to the sighting of Megatron and arrived in time to save the dimensional traveling Autobot Skyfall from Megatron’s wraith.

In ”Games of Deception” the Graviton follows Bludgeon’s agent Bugbite and several Decepticons to Earth where the Autobots join up with Grimlock. After a brief encounter with the Decepticons the Graviton leaves with Grimlock joining them.

Classic Grimlock’s biography was featured in 13 of the Transformers Collectors Club magazine.

Grimlock was one of the characters featured in the ”Transformers: Timelines” story “Wings of Honor” by Fun Publications. The Dinobots have Kup tell them a story of the earliest days of the Autobot Elite Guard after fleeing the Decepticons.

Video games

The Classic line appeared in a simple Flash-based video game on the Hasbro web site called ”Transformers Battle Circuit”. In this one-on-one fighting game you press the right and left arrow keys to try to overpower your opponent. In the game you can play Rodimus, Bumblebee, Grimlock, Jetfire, Starscream, Astrotrain, Trypticon or Menasor. Optimus Prime and Megatron each appear as the boss you must defeat to win the game.

Grimlock is set to appear in the DS version of ”Transformers: War for Cybertron”. He transforms into a Cybertronian tank.

Dreamwave Productions

The 21st century re-imagining of the original universe by Dreamwave Productions chose to depict Grimlock in a manner similar to Marvel Comics – a powerful, cunning warrior who values strength of body and character. Through ”Transformers: The War Within”, the company shaped a background on Cybertron for Grimlock which showed that he had participated in the planet’s underground gladiatorial game in order to unleash the rage and anger he had always overflowed with. When Megatron began using the games to identify suitable soldiers for his burgeoning Decepticon army, Grimlock was recruited by him and initially fought on his side, befriending Starscream and perhaps the scientist, Jetfire, before defecting to the Autobots – not out of any particular fondness for them and their ideals, but rather out of sheer hatred of Megatron and his ideals. He still bears a particularly fierce grudge against Jetfire over an unspecified incident with a cerebro-shell.

Grimlock was an established, respected member of the Autobots (perhaps most remembered for his quote “”Me Grimlock, badass!!!””) at the time Autobot leader Sentinel Prime was killed, but was suitably unimpressed by the new leader, Optimus Prime, questioning his strength and resenting his opening decision to depart Cybertron and leave it for the Decepticons. Witnessing and aiding him in battle with Megatron deep beneath Cybertron, however, Grimlock came to respect Prime as time passed. When Prime and Megatron disappeared in an early test of the experimental spacebridge transport system, disarray struck the Autobot and Decepticon ranks and they splintered off into numerous smaller factions – Grimlock founded the Lightning Strike Coalition to fight the battles he considered the most important.

As the “Dark Ages” came to an end, Ultra Magnus reunified the various Autobot factions, with Grimlock becoming something of his right-hand man. Starscream’s Predacon faction attacked an attempted peace treaty between the Autobots, the Decepticons and Ratbat’s Ultracons. As Grimlock leapt to Ultra Magnus’s defence, he apparently perished – naturally, we know he later returned to life, but unfortunately, due to Dreamwave’s closure, this story was never resolved, and Grimlock’s restoration to life was left unexplained.

What is known of the remainder of his time on Cybertron, however, is that he, Slag, Sludge, Snarl and Swoop formed a team known as the “Dynobots” (they are referred to as such in the first issue of “The Age of Wrath). The Dynobots remained on Cybertron when Optimus Prime left on The Ark, pursued by Megatron. When Optimus Prime and Megatron’s troops vanished four million years ago, they pursued the Decepticons known as the Insecticons, who had set off in search of the missing leaders. The two teams battled on prehistoric Earth, and the battle ended with both sides trapped in stasis. The eventual awakening of Prime and Megatron’s forces in 1984 was followed by the Autobots’ discovery and reactivation of the Dynobots, now rechristened the “Dinobots” for their new dinosaur alternate modes.

When the Transformers were all believed destroyed in the explosion of the ship that was taking them back to Cybertron, several of them, including Grimlock, were recovered by a rogue military faction and reprogrammed so that they could be operating as killing machines. Bumblebee, Frenzy, Grimlock, Laserbeak, Prowl, Ravage, Soundwave and Starscream were forced to attack the Smitco oil refinery in the Arctic to display their power for sale to the highest bidder (Transformer: Generation One #2).

When Megatron liberated himself and several others from this control, Grimlock, tired of risking his life for the humans, joined him, ripping off his insignia and joining in the Decepticon attack on San Francisco, during which he was dispatched from behind by Trailbreaker. Left behind by the fleeing Decepticons, he subsequently located and liberated the other Dinobots, and headed for Cybertron. In the four-million-year interim, the planet had been unified by Shockwave for his own sinister ends, but once there, Grimlock led an assault on Iacon, providing enough chaos and unrest for Optimus Prime’s Autobot underground to overthrow Shockwave’s rule of Cybertron. Grimlock successfully hauled Optimus Prime and Ultra Magnus to safety when Shockwave’s citadel exploded.

Grimlock’s Pretender form is given an entry in the seventh issue of the More Than Meets the Eyes profile series, indictaing there may have been plans to make him a Pretender at some point in the Dreamwave universe.

Dreamwave’s closure meant that they would tell no further stories of their Grimlock, although his “War Within”-era design did appear in the ”Transformers: Universe” comic book exclusive to BotCon.

Transformers/G.I. Joe

Grimlock also appeared in the Dreamwave ”Transformers/G.I. Joe” comic. Although not one of the Dinobots in this continuity, transforming into a Sherman Tank, this Grimlock shared the rebellious attitude and speech mannerisms of other incarnations of the G1 character, although he had a softer attitude towards humans. Reactivated by G.I. Joe to fight the Decepticons and Cobra, Grimlock battled Cobra forces and Rumble alongside Roadblock, although the Decepticon’s piledriver arms nearly defeated them, with Grimlock telling Roadblock to leave him, until Bumblebee and Scarlett intervened. When Snake-Eyes opened the Matrix on Prime’s command, Grimlock was presumably deactivated.

Devil’s Due Publishing

Grimlock also appeared in several of the G.I. Joe vs the Transformers series from Devil’s Due Publishing. In 2004 Grimlock was among the Autobots under the leadership Optimus Prime who attempted to take back the planet Cybertron from the Decepticon tyrant Shockwave. After an accident with the teleportational systems of the supercomputer Teletran-3, Grimlock found himself sent back in time and on the planet Earth. He was reformatted in the form of an Earth dinosaur with several other Autobots. A group of humans were able to bring the new Dinobots back to Cybertron and they helped overcome Shockwave.

Grimlock returned in the third series as a main character. Grimlock, Arcee, Bumblebee and Perceptor were sent to Earth to aid G.I. Joe in removing the influence of Cybertronian technology on the planet. When Cobra attacked the base, the Autobots helped repel the Cobra Battle Android Trooper armies. This was simply a distraction, however, to allow Cobra Commander access to the real prize – Serpent O.R., a technorganic android created from the DNA of many great warleaders and parts from Megatron. Predictably the Megatron aspects took control and Serpent O.R. escaped, taking over the G.I. Joe battlesuits and forcing Grimlock and the other Autobots to battle them while he made his escape. The Autobots and Joes pursued him to Cybertron, where they were captured by Serpentor, the Predacons, the Seacons and the Stunticons. While Serpentor captured Optimus Prime, Snake-Eyes led a jailbreak, with Grimlock flattening Rampage in the process. He would then form part of the combined Autobot/G.I. Joe strike force to rescue Optimus Prime, at one point ripping a Decepticon prisoner’s arm off to gain Prime’s location. At the end, after Serpentor’s defeat and Prime’s rescue, Grimlock admitted he was wrong about the Joes, and that they were great heroes, warriors and friends.

There is a notable disparity in Grimlock’s speech patterns between the second and third series. In the second series he is seen to speak normally, referring to himself as “I”. However in the third series he speaks in his more normal “Me Grimlock” speech.

IDW Publishing

In a flashback in ”Maximum Dinobots” #1 Grimlock lead the Dinobots in taking a Decepticon energon silo in Sub-Sector Nine on Cybertron.

In the Transformers Spotlight issue on Shockwave, Grimlock and the ‘Dinobots’ (sporting Cybertronian designs much like their War Within designs) appear in a story that partially pays homage to their Marvel G1 origin. Seeking payback for a humiliating defeat by Shockwave, Grimlock pursued him to prehistoric Earth (which Shockwave was seeding with Energon). In order to protect themselves against Energon surges, the Dinobots required alternate modes covered by a layer of synthetic flesh. Refusing to pick dying and thus weak Ice Age mammals for an alternate form, Grimlock chose to utilise more ferocious dinosaruian beast modes which were much more impressive. The Dinobots got the initial jump on Shockwave, as their attack was too illogical for him to understand, but he quickly recovered and dispatched the entire team, destroying their synthetic skins and sending them into stasis lock. Grimlock got the final laugh, as the Dinobot ship fired a pre-programmed blast into the surrounding volcanoes to unleash a flow of lava that engulfs all six Transformers until they were uncovered by human paleontologists in 2006.

Following this Skywatch, a government agency who knew about Transformers, took over the site. Later, following escalating Transformer activity on Earth (as seen in ”The Transformers: Devastation”), and losing control of their other captive Transformers Ravage and Laserbeak, Skywatch reactivated Grimlock as a response. The reawakening was sabotaged by the Machination, and Grimlock escaped. He met Scorponok, who proposed an alliance as they were both now fugitives. Grimlock refused, but lost the subsequent battle, teleporting himself to the Dinobot ship. Vowing to bring down Scorponok, he was unaware the Machination were manipulating Skywatch into reactivating the other Dinobots, with the aim of having them dispose of Grimlock (”Spotlight Grimlock”).

3H Enterprises

Although no Grimlock toy was made in the Transformers: Universe toy line, both Grimlock and his Transformers: Robots in Disguise counterpart appeared in the storyline.

The Autobots returning to Cybertron along with Blackarachnia and Silverbolt were then abducted via teleportation beams and taken to Unicron. Tap-Out, Transformers: Armada Megatron, Brawn, War Within Grimlock and Snarl were also abducted from various timelines (Transformers: Universe #1).

”War Within” Grimlock, ”Armada” Megatron and ”Universe” Optimus Primal are each transported to the Unicron world, where they eventually team up and fight Striker and Reptilion. Note, there is a small continuity error in that this story ends with Grimlock, Megatron and Primal standing over Reptilion, but issue #2 of the comic starts with them standing over Striker (2003 Botcon Voice Actor Play).

After the events of the Botcon 2003 voice actor play, Optimus Primal is able to use his spark telepathy to free Striker from Unicron’s influence. Optimus Primal, Megatron and Grimlock help break free the slaves from various timelines which are held there and gets them to Cybertron (Transformers: Universe #2).

Beast Wars

In 1997, the second year of the ”Beast Wars” storyline, a black and white redeco of the Dinobot figure named Grimlock was released. While it was perfectly common for ”Beast Wars” toys to share names with characters from the original cartoon series, but bear no other relation to them, Grimlock was one of few exceptions, as his toy’s bio card presented him to be the original Grimlock in a new form. Now able to transform into a ”Megaraptor”, Grimlock still enters battle with a blade in his hand, concealed within his tail in beast mode.

IDW Publishing

Following their acquisition of the Transformers licence in 2005 IDW Publishing released a comic book series which takes place during the ”Beast Wars” animated series, but features the toys and characters who did not appear in the show itself. The ”Beast Wars” incarnation of Grimlock appeared, as a gigantic white ”Velociraptor”-type dinosaur, and it was revealed that Grimlock was among those in protoform stasis on the Axalon, and like the others was launched into space in the series pilot. He fought against Predacon leader Magmatron in a one-on-one battle but lost the upper hand when Magmatron split into three separate beast forms, which attacked him simulataneously; in the long run however, he provided the necessary distraction for the Maximals to steal Magmatron’s Chronal Phase armband, leading to his ultimate defeat. Grimlock has since joined Razorbeast’s Maximal team. After the defeat of Magmatron’s Predacons the united group of Maximals awaited rescue from Cybertron.

He appears among the Maximals on the cover of the first issue of the sequel story ”Beast Wars: The Ascending”. In the beginning of ”Beast Wars The Ascending” Razorbeast speaks to Prowl and Wolfang about how he feels there is no rescue mission coming for them from Cybertron as Grimlock hunts in the nearby woods. In ”Beast Wars: The Ascending” #4 Grimlock was among the Maximals and Predacons returned to Cybertron to battle Shokaract.

Grimlock had a biography printed in the ”Beast Wars Sourcebook” by IDW Publishing.

Other media

* Grimlock is also featured in the webcomic Twisted Kaiju Theater.

*Recently, Grimlock appears as a play on the word gridlock in the popular webcomic Least I Could Do.

Toys

*”Generation 1” Dinobot Grimlock (1985)

:Grimlock’s toy was originally part of Takara’s ”Diaclone” Dinosaur Robo series. When Hasbro imported the toy in 1985 for the Transformers line, the blue crotch was changed to red and the Diaclone driver mini-figure was dropped.

:The original Grimlock changes from a robot into a robotic ”T. rex” and comes with a red sword, a black double-barreled rifle, and a rocket launcher with three silver rockets.

:Grimlock was later reissued in the European/Australian-exclusive Classics series (not to be confused with the 2006 Classics line).

:A variery of knockoff toys of Grimlock have been produced, including those with gold chrome, large horns on the head, and those remolded to look like Mechagodzilla.

*”Generation 1” Decoy Grimlock (1986)

:A small rubber version of Grimlock holding his rifle in robot mode given away as a bonus item with Transformers in 1986.

*”Generation 1” Pretender Grimlock (1989)

:A small Grimlock toy which could be stored inside a human-like shell.

*”Generation 1” Legends Grimlock (1989)

:Basically Pretender Grimlock without the shell, helmet and with only his tail gun. A Kmart store exclusive. Knockoffs of this toy in bright orange and red colors have been produced.

*”Generation 1” Action Master Grimlock (1990)

:A non-transforming Action Master toy with an anti-tank cannon which turns into a long-range mortar launcher.

*”Generation 2” Grimlock (1993)

:Based on the original Grimlock without his missile launcher. This figure was available in blue, gray or turquoise.

*”Beast Wars” Grimlock (1997)

:A recolor of the original Dinobot. Comes with sword and rotating blade. The Dinobot mold was changed slightly for this release. The chest area underneath the ”Velociraptor” head in robot mode was made up of bone-like detailing on Dinobot. However, in the center of all this detail, Grimlock has a square section that was molded to accommodate the Maximal heat sensitive rub sticker. Slightly smaller knockoffs of this toy have been sold under the Animism Defenders toy line.

:”Beast Wars” Grimlock (himself a recolor of ”Beast Wars” Dinobot) was remolded in silver and orange to appear more cybernetic as Thrustor for the Japanese-exclusive ”Beast Wars Second” line. Later, for ”Beast Wars Neo”, the toy was remolded to become Hardhead, a blue and purple ”Pachycephalosaurus”, and this version of the figure was redecoed in yellow, black and green and released in the ”Beast Machines” Dinobots subline as Dinotron. After being released under the Grimlock name again in 2003, the original version of the mold returned to its roots when it was redecoed into the 10th Anniversary edition figure of ”Beast Wars” Dinobot.

*”World Smallest Dinorobots” Commander (2004)

:A smaller reproduction of the ”Generation 1” figure made by an unlicensed third party.

*”Dinobots” Grimlock (2003)

:A Walmart exclusive redeco of ”Beast Wars” Grimlock that came packaged with a Terrorsaur redeco named both Swoop and Terranotron.

*”Alternators” Grimlock (2005)

:Grimlock staged a comeback in 2005 as part of the Transformers: Alternators toyline, known in Japan as “Binaltech”. Although the American toys offer no supporting fiction, the ”Binaltech” series tells the story of how Grimlock was reborn in his new form.

:While the Autobots on Earth were decimated by Cosmic Rust and restored in new “Binaltech” bodies through a joint partnership with human automotive corporations, Grimlock and the Dinobots were a part of the larger war raging in space. Unfortunately, Megatron struck at their primitive minds with telepathic alien lifeforms known as “Unleashers,” which drove them to attack their fellow Autobots; with no other options, the Autobots were forced to counter attack, taking the Dinobots out of commission. Grimlock regained consciousness and vowed to do anything to return to the battle, and was consequently transported to Earth. His spark was implanted into the Autobots’ newest Binaltech body, which combined all the aspects of the previous bodies. Now able to transform into a Ford Mustang GT, Grimlock immediately resented his new, non-traditional body, but came to make the best of it. He remains armed with his energo-sword, and also wields a stun laser.

:The figure was also redecoed in white and blue with a different head as Wheeljack.

*”Titanium” 3-inch Grimlock (2006)

:Grimlock was released as a 3 inch tall non-transforming toy in the Transformers: Titanium line.

:Mightiest among the Dinobots, Grimlock masked a surprising intelligence behind simplistic speech patterns. His contempt for the weak kept him often at odds with Optimus Prime, but his hatred for all those who exploited their strength at the expense of others kept him always firmly on the side of right. Though he could bring a huge array of weapons to any fight, he preferred to close with his enemies, wielding his Energo sword in robot mode, or simply crushing his enemies’ limbs with his powerful jaw as a ”Tyrannosaurus”.

*”Classics” Grimlock (2006)

:The original Grimlock returned to his original ”T. rex” Beast mode in the Transformers Classics line, released in December 2006. He returns as leader of the Dinobots, in a toy that is a homage to his original and pretender releases, but with a totally new mold and for the first time, a flexible articulated tail. His fiction seems more in-tune with his ”The War Within” persona, faking his impediment to trick his enemies, as well as collecting pieces of his opponents left over after battles to add to an ever-growing collection. Classics Grimlock represents modern research regarding the ”T. rex”, with a horizontal back and tail carried high, rather than the classic sloped back and a ground-dragging tail.

:Initially sold separately, Classic Jetfire and Grimlock were later packaged in a 2-pack box set.

:This toy was redecoed into BotCon exclusive Overkill (2007) and ”Shattered Glass” Grimlock (2008).

:This toy was voted the 73rd top toy released in the last 10 years by Toyfare Magazine.

*”Attacktix” Grimlock (2007)

:Series 2 of the Transformers Attacktix figures included a Generation 1 Grimlock figure in beast mode.

*Transformers 3D Battle-Card Game Grimlock (2007)

roduced by Wizards of the Coast, wave 2 of their ”Transformers” 3D Battle-Card Game included a Grimlock card.

*”Titanium” 6-inch War Within Grimlock (2007)

:At BotCon 2006, Hasbro announced that a figure based on Grimlock from his “War Within” comic book appearance is “”on the rollout line”” for the 6 inch metal Cybertron Heroes lineup. No further details have been revealed about this newest Grimlock yet (released as a Toys “R” Us (2008) exclusive along with War Within Prowl).

*”Henkei! Henkei!” C-03 Deluxe Grimlock (2008)

:The Japanese version of the ”Classics” Deluxe figure by Takara Tomy sports chrome silver and gold parts in place of the metallic paint applications of the Hasbro version.

*”Masterpiece” MP-08 12-inch Grimlock (2009)

:In March 2009, Takara released a Masterpiece-series Grimlock in his robotic and dinosaur form. The figure is highly articulated, comparable to the other masterpiece transformers. This figure also has eyes that can be switched between red (the original toy color) and blue (the animated series color) in both robot and T. Rex modes. It makes no sounds, but does have a light-up blaster and sword. Other accessories include an attachable brain transfer device (as seen in the episode “Grimlock’s New Brain”, where he transferred his newly-acquired intelligence to his creation, Computron), a bowtie, an apron and a cocktail tray (used by Grimlock in “Madman’s Paradise” as a waiter during an alien ambassador’s meeting on Cybertron). This figure is a breath of fresh air for the Masterpiece line, in the sense that the transformation is not as complicated as the other Masterpieces, which is almost similar to that of the original G1 figure.

*”Masterpiece” MP08X King Grimlock (2009)

:A Toy Hobby (Japan) exclusive that includes the crown, sword, and gun. The box packaging features the cover of the Marvel Comics issue where Grimlock was proclaimed king.

*”Device Label” Grimlock (2009)

:An optical mouse that transforms into Grimlock’s dinosaur mode.

:Also available in a purple redeco as Dinosaurer/Trypticon.

*”Masterpiece” Grimlock (2010)

:The Toys “R” Us U.S. exclusive release of Masterpiece Grimlock differs slightly from the Japanese version. More colors have been added on some parts of the figure. The teeth and claws on dinosaur mode are not as sharp as those on the Japanese version. Only the sword (which is molded in clear white instead of clear orange), gun and crown come as accessories.

Other merchandise

Optimus Prime, Ironhide and Grimlock are the three Autobot figures available to play in the Monopoly Transformers Collectors Edition game.

Adapted from the Wikipedia article Grimlock, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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Development

In the immediate post-World War II era the US Army introduced the M41 Walker Bulldog into service to fill their light tank role. The lifetime of this system was fairly short; the 25-ton tank was considered too heavy to be a true light tank, and had a rather short cruising range. Plans started to build an even lighter replacement mounting the same gun, resulting in the T-71 and T-92 test designs. Two prototypes of the 19 ton T-92 were later ordered. However, as the prototypes were entering testing, information about the new Soviet PT-76 tank became available. The PT-76 was amphibious, and soon there were demands that any U.S. light tank be able to swim as well. The T-92 was already in the prototype stage and could not be easily refitted for this role, so the design of an entirely new system started as the XM551.

The vehicle designed to mount the gun had a steel turret and aluminum hull. Unfortunately, the armor was thin enough that it could be penetrated even by heavy machine gun rounds and when hit by an RPG the vehicle would “brew up”, caused by the main gun propellant being stored in cardboard tubes, thus trapping the crew in an inferno they were unlikely to escape. Like the M113, it was also highly vulnerable to mines, which were better sustained by heavier tanks like the M48, though like all tanks it was also subject to considerable damage.

Swimming capability was provided by a flotation screen, similar to that used by the World War 2, amphibious DD Tanks. The front armor was overlain by a wooden “surfboard”, actually three folded

In the Vietnam War, firing the gun would often adversely affect the delicate electronics, which were at the early stages of transitioning to solid state, so the missile and guidance system was omitted from vehicles deployed to Vietnam. Indeed, this expensive missile would end up almost never being fired in anger, despite a production run of 88,000.

Production history

Production started on July 29, 1966, and entered service in June 1967 with 1st Battalion, 63rd Armor Regiment at Fort Riley. 1,662 M551s were built between 1966 and November 2, 1970. Total cost of the M551 program was $1.3 billion. The M81 gun had problems with cracks developing near the breech after repeated firing, a problem that was later tracked to the “key” on the missiles that ran in a slot cut into the barrel. Most field units were modified to help address the problem, but later the modified M81E1 was introduced with a shallower slot, along with a matching modification to the missile, that cured the problem. The gun also has been criticized for having too much recoil for the vehicle weight, the second and even third road wheels coming clear off the ground when the main gun fired. Some were experimentally fitted with conventional 76mm guns, but these never entered service.

Vietnam War

The New Aluminum Tank

The US Army staff in Washington had been recommending to the commander of US Forces in South Vietnam, General Westmoreland, to utilize the Sheridan in Vietnam since 1966. However, since no main gun rounds were available for the M551, he argued it was simply a $300,000 machine gun platform. By 1968, the new, or soon to be, US commander in South Vietnam, General Creighton Abrams had been notified that ”152mm” tank shells were now available for the Sheridan. However, as General Abrams began to make preparations for the equipping of US Cavalry squadrons for the vehicle, the affected squadrons expressed their concerns that the new aluminum tanks were not only highly vulnerable to mines and anti-tank rocket fire, but they would not be as capable of “jungle busting” as the ”M48A3” medium tanks.

In late 1968, General Abrams met with Colonel George S. Patton IV (son of WWII General Patton), who was the regimental commander of the 11th Armored Cavalry Regiment (”11th ACR” Blackhorse), the only full regiment of cavalry in Vietnam. When General Abrams mentioned the cavalry’s concerns over the new vehicle, Patton recommended that the Sheridan’s be combat tested by a divisional cavalry squadron and a squadron from his own regiment; both of which had completely different missions.

First Deployment

The first Sheridans arriving in country in January 1969, were accompanied by their factory representatives, instructors, and evaluators as the new vehicles were issued to the ”3rd Squadron, 4th Armored Cavalry”, and the ”1st Squadron, 11th ACR”. By the end of 1970 there would be more than 200 Sheridans in Vietnam, and they would stay in the field until the last US Armored Cavalry unit, the ”1st Squadron, 1st Armored Cavalry” prepared for re-deployment back to the United States on 10 April 1972. At the end of its combat debut in 1972, the Sheridan would see extensive action in the Vietnam War, being assigned to nearly all armored cavalry squadrons in country. In 1969, armored cavalry units (minus the 11th ACR which retained its M48 Patton tank companies) began replacing their M48 Patton tanks, which in turn were normally transferred to the South Vietnamese military. Like the M50 Ontos anti-tank vehicle, the battle reports from the troops were sometimes glowing, while the reports higher up the chain of command were often negative. This was largely due to the high casualty rate of both Sheridans and their crews as mines and rocket-propelled grenades (RPGs) that would only damage an M48 Patton tank, would destroy the Sheridan and kill or wound most if not all of its crew.

A 1969 evaluation of the vehicles found the M551 was employed in reconnaissance, night patrol and road clearing, accumulating 39,455 road miles and 520 combat missions, with a ready rate of 81.3 percent. Despite vulnerability to rockets and mines, it was judged worth applying modifications and equip all cavalry squadrons with the Sheridan.

First Combat/First Losses

Like the M113, which also was built of aluminum, and suffered from the same weapons and their effects, the Sheridan had one glaring negative side effect that no other armored vehicle possessed; it fired caseless 152mm main gun rounds. These rounds were “fixed” meaning that unlike the artillery, the warhead was factory attached to the propellant, and if the warhead separated from the propellant during loading, which was not uncommon, the crewmen were instructed not to load the round. Sometimes these unspent propellant charges remained on the turret floor due to the emergencies at the time, and in either case, all of the remaining serviceable 152mm shells still remained caseless, albeit attached to their warheads, and sleeved into a re-usable white nine-ply nylon bag which was form-fitted to hold the propellant portion of the shell. The white/silver-colored bag had a strap attached to the bottom which the loader would grab and pull off prior to gently inserting the shell into the breech. Once a mine or RPG type weapon created the spark, smoke and fire became imminent, and it became a matter of Standing Operating Procedure (SOP) to abandon the tank immediately. On 15 February 1969, just one month after the Sheridan’s arrival to South Vietnam, an M551 from the ”3rd Squadron 4th Armored Cavalry” detonated a 25 pound pressure triggered land mine which ruptured it’s hull, ignited the 152mm shells, which resulted in a secondary explosion, destroying the tank. In late 1969, nine Sheridans from the ”4th Squadron 12th Armored Cavalry” were wading across a river near the DMZ, when three of their nine M551s detonated mines, completely destroying 3 Sheridans. In March 1971, five Sheridans from the 11th ACR were lost in one day to RPG fire, all five vehicles burst into flames and were totally destroyed. It became a common scene to observe melted Sheridan hulls with their sunken steel turrets sitting at odd angles with their gun tubes pointing towards the sky in various parts of the country, either awaiting final disposition, or simply forgotten.

However, the Sheridan did not get stuck in the mud as often as the 52 ton M-48 Patton tank did, nor did it throw its track off as often as the Patton. This alone was enough to win the tank crewmen’s favor. The light weight and high mobility proved their worth, and the gun proved an able anti-personnel weapon when used with either the M657 HE shell or the M625 canister round, which used thousands of flechettes as projectiles. Although an average M48 Patton tank crew could fire as many as seventeen 90mm shells during a “mad minute” (sixty seconds with all guns firing-on command), the Sheridan was known to put out only two 152mm shells during the same time frame. This was because the M48 Patton’s 90mm cannon fired fixed shells encased in metal, the same as with a standard rifle cartridge. Whereas, as stated above, the 152mm was caseless, requiring air vents to clear the gun tube and breech prior to loading another round, contrasting with the Patton’s breech block, which opened instantly as the shell ejected and instantly closed as the new shell was shoved in. In effect, the stronger the loader, the faster the Patton’s gun could be fired. For the Sheridan, a strong loader (to lift and shove heavy shells) would still be required to wait for the ready lights to come on inside the turret before the Tank Commander could fire. After firing, the loader, waiting with the 152mm shell in his hands, would have to wait, as he watched the breech slowly open rearward then turn downward. After another instrument indicated that all turret systems were still operational, the loader would gently push his 152mm fixed round into the breech and watch the breech block slowly rotate upward, then forward into the breech, then again, wait for the lights.

But firepower is still firepower, and the Sheridan was much appreciated by the infantry who were desperate for direct-fire support, which generally served in combination with ACAVs (M113s) as armored cavalry units consisted of both M113s and M551s as part of their TO&E. Armor units consisted solely of tanks (minus headquarters company) and Mechanized Infantry units consisted solely of M113s. In this role the real problem with the Sheridan was its limited ammunition load of only 20 rounds and 8 missiles (though M551s in Vietnam service were not equipped with missiles or their guidance equipment, increasing the basic load of conventional rounds). Sheridan losses were heavy during normal operations, largely due to land mines and anti-armor weapons, but were especially heavy after President Richard Nixon ordered US forces into Cambodia on May 1, 1970 in which, among other cavalry squadrons, the full might of the 11th Armored Cavalry Regiment (Blackhorse) was thrown into the fight. The second heaviest losses were during the U.S. Army’s final offensive of the war, operation Dewey Canyon II (Dewey Canyon II was an operation in support of the ARVN Lam San 719 Operation, in which the code 719 meant the year 1971 along Route 9), when the cavalry’s remaining Sheridan Squadrons met near disaster on the Lao border during the early months of 1971, in particular the ”1st Squadron of the 1st Cavalry Regt”.

Combat Field Modifications

A common field-modification was to mount a large steel shield, known as an “ACAV set” (Armored Cavalry Assault Vehicle), around the commander’s 50-cal. (12.7& mm) gun, allowing it to be fired with some level of protection. The driver has an unusual rotating hatch which has vision blocks when rotated forward. Included with the set was an extra layer of steel belly armor which was bolted onto the vehicle’s bottom, although only covering from the front to half way to the end, possibly due to weight reasons.

A standard modification made during the mid-70′s was the addition of the “Cereal Bowl” commander’s copula. This mod came about due to the broken rib effect that occurred when the Sheridan fired conventional rounds, the recoil would pitch the TC against the armor plating resulting in cracked ribs.

Post-Vietnam service

The Army began to phase out the Sheridan in 1978, although at the time there was no real replacement. Nevertheless the 82nd Airborne were able to keep them on until 1996. The Sheridan was the only air-deployable tank in the inventory, and as an elite force they had considerably more “pull” than general infantry and armor units who were forced to get rid of them. Their units were later upgraded to the M551A1 model, including a thermal sighting system for the commander and gunner.

The Sheridan’s only air drop in combat occurred during Operation Just Cause in Panama in 1989, when fourteen M551′s were deployed; four were transported by C-5 Galaxies and ten were dropped by air, but two Sheridans were destroyed upon landing. The four M551s transported by the C-5 were secretly deployed to Panama in November 1989, where they were attached to TF Bayonet (193rd SIB), and attached down further to TF Gator. These Sheridans took part in the attack on the Commandancia, initially supported by fire from Quarry Heights, and later displacing forward into the city. As part of Team Armor, these Sheridans later provided support to JSOC elements as they secured high value targets throughout Panama City. The remaining eight Sheridans were delivered to Torrijos-Tocumen Airport some hours after H-hour by Low-Velocity Airdrop (LVAD) technique from C-130 transports. The Sheridans’ performance received mixed reviews. They were lauded by their operators and some commanders as providing firepower in needed situations to destroy hard targets. However, the Sheridans’ employment of only HEAT rounds limited their effectiveness against reinforced concrete construction.

In the early 1980s the M551A1 was fitted with a visual modification kit to resemble Warsaw Pact vehicles at the National Training Center at Fort Irwin, California. These modified vehicles no longer fulfill that role, having been retired at the end of 2003 and subsequently scrapped or made available as “hard targets” or, in a few cases, as museum pieces. Many were dumped to create artificial reefs.

51 Sheridans were deployed by the 82nd Airborne Division during Operations Desert Shield and Desert Storm as some of the first tanks sent. Though the pictures published appeared to show rows of Sheridans ready to defend against Iraqi tanks, they would not have been very effective against the Russian-built T-72s which comprised the bulk of the Iraqi Republican Guard. Their role was limited to reconnaissance due to their age and light armor. It is likely 6 or less Shillelagh missiles were fired at Iraqi bunkers, with these missiles being the only time that the Shillelagh had been fired in a combat environment, from the inventory of the aforementioned 88,000 missiles produced.

Several attempts to upgun or replace the Sheridan have been made over the years since it was introduced, but none have yet been successful. Several experimental versions of the Sheridan mounting a new turret carrying the NATO-standard 105mm gun were made, but the resulting recoil was so great as to make the vehicle almost unusable. Several possible replacements for the M551 were tested as a part of the XM8 Armored Gun System effort of the 1980s, but none of these entered service. The new Stryker Mobile Gun System, which has been controversial in its own right, is in line to fill a similar role in the current US Army force structure.

Adapted from the Wikipedia article M551 Sheridan, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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Roots of the B movie: 1920s

In the 1940s, RKO stood out among the industry’s Big Five for its focus on B pictures. From a latter-day perspective, the most famous of the major studios’ Golden Age B units is Val Lewton’s horror unit at RKO. Lewton produced such moody, mysterious films as ”Cat People” (1942), ”I Walked with a Zombie” (1943), and ”The Body Snatcher” (1945), directed by Jacques Tourneur, Robert Wise, and others who would become renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir—”Stranger on the Third Floor” (1940), a 64-minute B—was produced at RKO, which would release many additional melodramatic thrillers in a similarly stylish vein. The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood’s Golden Age.

In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: ”Desperate” and ”The Devil Thumbs a Ride”. Ten B noirs that year came from Poverty Row’s big three—Republic, Monogram, and PRC/Eagle-Lion—and one came from tiny Screen G

Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram “exploitation pictures” like juvenile delinquency exposé ”Where Are Your Children?” (1943) and the prison film ”Women in Bondage” (1943). In 1947, PRC’s ”The Devil on Wheels” brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as “the Capra of PRC”. Ulmer made films of every generic stripe: His ”Girls in Chains” was released in May 1943, six months before ”Women in Bondage”; by the end of the year, Ulmer had also made the teen-themed musical ”Jive Junction” as well as ”Isle of Forgotten Sins”, a South Seas adventure set around a brothel.

Transition I/The B movie in the television age: 1950s

In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films. With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching by the turn of the decade—a 93 percent rise after adjusting for inflation.

The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood’s last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade’s end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958. RKO, weakened by years of mismanagement, exited the movie industry in 1957. Hollywood’s A product was getting longer—the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955′s top ten was 123.4. In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age–style second feature was dying, ”B movie” was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as ”B actors”). The term retained its earlier suggestion that such movies relied on formulaic plots, “stock” character types, and simplistic action or unsophisticated comedy. At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish.

Ida Lupino, well known as an actress, established herself as Hollywood’s sole female director of the era. In short, low-budget pictures made for her production company, The Filmakers, Lupino explored virtually taboo subjects such as rape in 1950′s ”Outrage” and 1953′s self-explanatory ”The Bigamist”. Her most famous directorial effort, ”The Hitch-Hiker”, a 1953 RKO release, is the only example of film noir’s classic period directed by a woman. That year, RKO put out another historically notable film made at low cost: ”Split Second”, which concludes in a nuclear test range, is perhaps the first “atomic noir”. The most famous such movie, the independently produced ”Kiss Me Deadly” (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a “programmer capable of occupying either half of a neighbourhood theatre’s double-bill, [it was] budgeted at approximately $400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $100,000 and $400,000 in 1955.” The film’s length, 106 minutes, is A level, but its star, Ralph Meeker, had previously appeared in only one major film. Its source is pure pulp, one of Mickey Spillane’s Mike Hammer novels, but Robert Aldrich’s direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.

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The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America’s own atomic tests, energized many of the era’s genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (e.g., ”Creature from the Black Lagoon” [1954]) and Sam Katzman at Columbia (e.g., ”It Came from Beneath the Sea” [1955])—provided little more than thrills, though their special effects could be impressive. But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel’s ”Invasion of the Body Snatchers” (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion. ”The Amazing Colossal Man” (1957), directed by Bert I. Gordon, is both a monster movie that happens to depict the horrific effects of radiation exposure and “a ferocious cold-war fable [that] spins Korea, the army’s obsessive secrecy, and America’s post-war growth into one fantastic whole.”

”The Amazing Colossal Man” was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a flat rate, they were rented out on a percentage basis, like A films. The success of ”I Was a Teenage Werewolf” (1957) thus brought AIP a large return—made for about $100,000, it grossed more than . As the film’s title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When ”Hot Rod Gang” (1958) turned a profit, hot rod horror was given a try: ”Ghost of Dragstrip Hollow” (1959). David Cook credits AIP with leading the way “in demographic exploitation, target marketing, and saturation booking, all of which would become standard procedure for the majors in planning and releasing their mass-market ‘event’ films” by the late 1970s. In terms of content, the majors were already there, with “J.D.” movies such as Warner Bros.’ ”Untamed Youth” (1957) and MGM’s ”High School Confidential” (1958), both starring Mamie Van Doren.

In 1954, a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists’ ”Highway Dragnet”. Corman soon independently produced his first movie, ”Monster from the Ocean Floor”, on a $12,000 budget and a six-day shooting schedule. Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, ”Apache Woman”, and ”Day the World Ended”, half of Arkoff and Nicholson’s first twin-bill package. Corman would go on to direct over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the “King of the Bs”, Corman has said that “to my way of thinking, I never made a ‘B’ movie in my life”, as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as “low-budget exploitation films”. In later years Corman, both with AIP and as head of his own companies, would help launch the careers of Francis Ford Coppola, Jonathan Demme, Robert Towne, and Robert De Niro, among many others.

In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of ”Macabre” (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature ”The Tingler” featured Castle’s most famous gimmick, Percepto: at the film’s climax, buzzers attached to select theater seats would unexpectedly rattle a few audience members, prompting either appropriate screams or even more appropriate laughter. With such films, Castle “combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor.”

The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700. Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.

Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film ”Godzilla”. The British Hammer Film Productions made the successful ”The Curse of Frankenstein” (1957) and ”Dracula” (1958), major influences on future horror film style. In 1959, Levine’s Embassy Pictures bought the worldwide rights to ”Hercules”, a cheaply made Italian movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent on advertising and publicity, a virtually unprecedented amount. ”The New York Times” was nonplussed, claiming that the movie would have drawn “little more than yawns in the film market& … had it not been [launched] throughout the country with a deafening barrage of publicity.” Levine counted on first-weekend box office for his profits, booking the film “into as many cinemas as he could for a week’s run, then withdrawing it before poor word-of-mouth withdrew it for him.” ”Hercules” opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas. Within a few decades, Hollywood would be dominated by both movies and an exploitation philosophy very like Levine’s.

Golden age of exploitation: 1960s

Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only —after adjusting for inflation, less than 10 percent more than it had been in 1950. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, ”Hercules Unchained”, opened at neighborhood theaters in New York. A suspense film, ”Terror Is a Man”, ran as a “co-feature” with a now familiar sort of exploitation gimmick: “The dénouement helpfully includes a ‘warning bell’ so the sensitive can ‘close their eyes.’” That year, Roger Corman took AIP down a new road: “When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color.” The resulting ”House of Usher” typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $200,000 (one-tenth the industry average), and its 85-minute running time close to an old thumbnail definition of the B: “Any movie that runs less than 80 minutes.”

With the loosening of industry censorship constraints, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as ”exploitation films”. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades—the term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly “sexual hygiene”. Audiences might see explicit footage of anything from a live birth to a ritual circumcision. Such films were not generally booked as part of movie theaters’ regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for “grindhouses”, which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb, was in the vanguard of marketing low-budget, sensationalistic films with a “100% saturation campaign”, inundating the target audience with ads in almost any imaginable medium. In the era of the traditional double feature, no one would have characterized these graphic exploitation films as “B movies”. With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, “exploitation” became a way to refer to the entire field of low-budget genre films. The 1960s would see exploitation-style themes and imagery become increasingly central to the realm of the B.

In 1970, a low-budget crime drama shot in 16& mm by first-time American director Barbara Loden won the international critics’ prize at the Venice Film Festival. ”Wanda” is both a seminal event in the independent film movement and a classic B picture. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir. The $115,000 production, for which Loden spent six years raising money, was praised by Vincent Canby for “the absolute accuracy of its effects, the decency of its point of view and& … purity of technique.” Like Romero and Van Peebles, other filmmakers of the era made pictures that combined the gut-level entertainment of exploitation with biting social commentary. The first three features directed by Larry Cohen, ”Bone” (1972), ”Black Caesar” (1973), and ”Hell Up in Harlem” (1973), were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism. The gory horror film ”Deathdream” (1974), directed by Bob Clark, is also an agonized protest of the war in Vietnam. Canadian filmmaker David Cronenberg made serious-minded low-budget horror films whose implications are not so much ideological as psychological and existential: ”Shivers” (1975), ”Rabid” (1977), ”The Brood” (1979). An ”Easy Rider” with conceptual rigor, the movie that most clearly presaged the way in which exploitation content and artistic treatment would be combined in modestly budgeted films of later years was United Artists’ biker-themed ”Electra Glide in Blue” (1973), directed by James William Guercio. ”The New York Times” reviewer thought little of it: “Under different intentions, it might have made a decent grade-C Roger Corman bike movie—though Corman has generally used more interesting directors than Guercio.”

In the early 1970s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a cult film audience, brought the midnight movie concept home to the cinema, now in a countercultural setting—something like a drive-in movie for the hip. One of the first films adopted by the new circuit in 1971 was the three-year-old ”Night of the Living Dead”. The midnight movie success of low-budget pictures made entirely outside of the studio system, like John Waters’s ”Pink Flamingos” (1972), with its campy spin on exploitation, spurred the development of the independent film movement. ”The Rocky Horror Picture Show” (1975), an inexpensive film from 20th Century-Fox that spoofed all manner of classic B picture clichés, became an unparalleled hit when it was relaunched as a late show feature the year after its initial, unprofitable release. Even as ”Rocky Horror” generated its own subcultural phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.

Asian martial arts films began appearing as imports regularly during the 1970s. These “kung fu” films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong–produced movies of Bruce Lee and marketed to the same audience targeted by AIP and New World. Horror continued to attract young, independent American directors. As Roger Ebert explained in one 1974 review, “Horror and exploitation films almost always turn a profit if they’re brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can’t get more conventional projects off the ground.” The movie under consideration was ”The Texas Chain Saw Massacre”. Made by Tobe Hooper for no more than $250,000, it became one of the most influential horror films of the 1970s. John Carpenter’s ”Halloween” (1978), produced on a $320,000 budget, grossed over worldwide and effectively established the slasher flick as horror’s primary mode for the next decade. Just as Hooper had learned from Romero’s work, ”Halloween”, in turn, largely followed the model of ”Black Christmas” (1974), directed by ”Deathdreams Bob Clark.

On television, the parallels between the weekly series that became the mainstay of prime-time programming and the Hollywood series films of an earlier day had long been clear. In the 1970s, original feature-length programming increasingly began to echo the B movie as well. As production of TV movies expanded with the introduction of the ”ABC Movie of the Week” in 1969, soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory. Television films inspired by recent scandals—such as ”The Ordeal of Patty Hearst”, which premiered a month after her release from prison in 1979—harkened all the way back to the 1920s and such movies as ”Human Wreckage” and ”When Love Grows Cold”, FBO pictures made swiftly in the wake of celebrity misfortunes. Many 1970s TV films—such as ”The California Kid” (1974), starring Martin Sheen—were action-oriented genre pictures of a type familiar from contemporary cinematic B production. ”Nightmare in Badham County” (1976) headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation.

The reverberations of ”Easy Rider” could be felt in such pictures, as well as in a host of theatrical exploitation films. But its greatest influence on the fate of the B movie was less direct—by 1973, the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement. ”Rosemary’s Baby” had been a big hit, but it had little in common with the exploitation style. Warner Bros.’ ”The Exorcist” demonstrated that a heavily promoted horror film could be an absolute blockbuster: it was the biggest movie of the year and by far the highest-earning horror movie yet made. In William Paul’s description, it is also “the film that really established gross-out as a mode of expression for mainstream cinema.& … [P]ast exploitation films managed to exploit their cruelties by virtue of their marginality. ”The Exorcist” made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice.” Writer-director George Lucas’s ”American Graffiti”, a Universal production, did something similar. Described by Paul as “essentially an American-International teenybopper pic with a lot more spit and polish”, it was 1973′s third biggest film and, likewise, by far the highest-earning teen-themed movie yet made. Even more historically significant movies with B themes and A-level financial backing would follow in their wake.

Decline of the B: 1980s

Most of the B movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field’s financial situation changed in the early 1980s. Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects. Intimations of the trend were evident as early as ”Airport” (1969) and especially in the mega-schlock of ”The Poseidon Adventure” (1972), ”Earthquake” (1973), and ”The Towering Inferno” (1974). Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas. ”The Exorcist” had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors’ focus owed largely to the enormous success of three films: Steven Spielberg’s creature feature ”Jaws” (1975) and George Lucas’s space opera ”Star Wars” (1977) had each, in turn, become the highest-grossing film in motion picture history. ”Superman”, released in December 1978, had proved that a studio could spend on a movie about a children’s comic book character and turn a big profit—it was the top box-office hit of 1979. Blockbuster fantasy spectacles like the original 1933 ”King Kong” had once been exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates, they would rule.

It had taken a decade and half, from 1961 to 1976, for the production cost of the average Hollywood feature to double from $2 million to $4 million—a decline if adjusted for inflation. In just four years it more than doubled again, hitting $8.5 million in 1980 (a constant-dollar increase of about 25 percent). Even as the U.S. inflation rate eased, the average expense of moviemaking would continue to soar. With the majors now routinely saturation booking in over a thousand theaters, it was becoming increasingly difficult for smaller outfits to secure the exhibition commitments needed to turn a profit. Double features were now literally history—almost impossible to find except at revival houses. One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April 1979. In the late 1970s, AIP had turned to producing relatively expensive films like the very successful ”Amityville Horror” and the disastrous ”Meteor” in 1979. The studio was sold off and dissolved as a moviemaking concern by the end of 1980.

Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters. Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with ”The Slumber Party Massacre” (1982), written by feminist author Rita Mae Brown. The film was produced for New World on a budget of $250,000. At the beginning of 1983, Corman sold New World; New Horizons, later Concorde–New Horizons, became his primary company. In 1984, New Horizons released a critically applauded movie set amid the punk scene written and directed by Penelope Spheeris. ”The New York Times” review concluded: “”Suburbia” is a good genre film.”

Larry Cohen continued to twist genre conventions in pictures such as ”Q” (aka ”Q: The Winged Serpent”; 1982), described by critic Chris Petit as “the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it.” In 1981, New Line put out ”Polyester”, a John Waters movie with a small budget and an old-school exploitation gimmick: Odorama. That October ”The Book of the Dead”, a gore-filled yet stylish horror movie made for less than $400,000, debuted in Detroit. Its writer, director, and co-executive producer, Sam Raimi, was a week shy of his twenty-second birthday; star and co-executive producer Bruce Campbell was twenty-three. It was picked up for distribution by New Line, retitled ”The Evil Dead”, and became a hit. In the words of one newspaper critic, it was a “shoestring ”tour de force”.”

One of the most successful 1980s B studios was a survivor from the heyday of the exploitation era, Troma Pictures, founded in 1974. Troma’s most characteristic productions, including ”Class of Nuke ‘Em High” (1986), ”Redneck Zombies” (1986), and ”Surf Nazis Must Die” (1987), take exploitation for an absurdist spin. Troma’s best-known production is ”The Toxic Avenger” (1985); its hideous hero, affectionately known as Toxie, was featured in several sequels and a TV cartoon series. One of the few successful B studio startups of the decade was Rome-based Empire Pictures, whose first production, ”Ghoulies”, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire’s financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store. A number of Concorde–New Horizon releases went this route as well, appearing only briefly in theaters, if at all. The growth of the cable television industry also helped support the low-budget film industry, as many B movies quickly wound up as “filler” material for 24-hour cable channels or were made expressly for that purpose.

Decline of the B: 1990s

By 1990, the cost of the average U.S. film had passed . Of the nine films released that year to gross more than at the U.S. box office, two would have been strictly B movie material before the late 1970s: ”Teenage Mutant Ninja Turtles” and ”Dick Tracy”. Three more—the science-fiction thriller ”Total Recall”, the action-filled detective thriller ”Die Hard 2”, and the year’s biggest hit, the slapstick kiddie comedy ”Home Alone”—were also far closer to the traditional arena of the Bs than to classic A-list subject matter. The growing popularity of home video and access to unedited movies on cable and satellite television along with real estate pressures were making survival more difficult for the sort of small or non-chain theaters that were the primary home of independently produced genre films. Drive-in screens were rapidly disappearing from the American landscape.

Surviving B movie operations adapted in different ways. Releases from Troma now frequently went straight to video. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures. With the smash success of exploitation veteran Wes Craven’s original ”Nightmare on Elm Street” (1984), whose nearly cost it had directly backed, the company began moving steadily into higher-budget genre productions. In 1994, New Line was sold to the Turner Broadcasting System; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros. within the Time Warner conglomerate. The following year, Showtime launched ”Roger Corman Presents”, a series of thirteen straight-to-cable movies produced by Concorde–New Horizons. A ”New York Times” reviewer found that the initial installment qualified as “vintage Corman& … spiked with everything from bared female breasts to a mind-blowing quote from Thomas Mann’s ”Death in Venice”.”

At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the “sophisticated” arthouse picture. Director Abel Ferrara, who built a reputation with violent B movies such as ”The Driller Killer” (1979) and ”Ms. 45” (1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: ”King of New York” (1990) was backed by a group of mostly small production companies and the cost of ”Bad Lieutenant” (1992), , was financed totally independently. Larry Fessenden’s micro-budget monster movies, such as ”No Telling” (1991) and ”Habit” (1997), reframe classic genre subjects—Frankenstein and vampirism, respectively—to explore issues of contemporary relevance. The budget of David Cronenberg’s ”Crash” (1996), , was not comfortably A-grade, but it was hardly B-level either. The film’s imagery was another matter: “On its scandalizing surface, David Cronenberg’s ”Crash” suggests exploitation at its most disturbingly sick”, wrote critic Janet Maslin. Financed, like ”King of New York”, by a consortium of production companies, it was picked up for U.S. distribution by Fine Line Features. This result mirrored the film’s scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor’s arthouse division. ”Pulp Fiction” (1994), directed by Quentin Tarantino on a budget, became a hugely influential hit by crossing multiple lines, as James Mottram describes: “With its art house narrative structure, B-movie subject matter and Hollywood cast, the film is the axis for three distinct cinematic traditions to intersect.”

Transition II/The B movie in the digital age: 2000s

By the turn of the millennium, the average production cost of an American feature had already spent three years above the mark. In 2005, the top ten movies at the U.S. box office included three adaptations of children’s fantasy novels (including one extending and another initiating a series), a child-targeted cartoon, a comic book adaptation, a sci-fi series installment, a sci-fi remake, and a ”King Kong” remake. It was a slow year for Corman: he produced just one movie, which had no American theatrical release, true of most of the pictures he had been involved in over the preceding decade. As big-budget Hollywood movies further usurped traditional low-rent genres, the ongoing viability of the familiar brand of B movie was in grave doubt. ”New York Times” critic A. O. Scott warned of the impending “extinction” of “the cheesy, campy, guilty pleasures” of the B picture, as “the schlock of the past has evolved into star-driven, heavily publicized, expensive mediocrities”.

Adapted from the Wikipedia article B movie, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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It has been ten years since the war of the Mini-Cons and the apparent destruction of Unicron and Megatron/Galvatron, and the Autobots and Decepticons, working together, have entered into a secret alliance with humankind, building vast Cybertron Cities on Earth and in the solar system to mine for energon, the energy-rich mineral that Transformers need to survive. But ten years is a long time… and in the darkness of space, evil is beginning to rise again…

Summaries

Like many anime, ”Transformers: Energon” can be broken up into seasons.

*Season 1/Episodes 1-13

Ten years after the war for the Mini-Cons and the apparent destruction of Unicron, the mysterious Alpha Q, operating out of the husk of the planet-eater’s body, releases energy-eating Terrorcons to attack the Autobots’ Cybertron Cities in the Solar system, gathering Energon for Alpha Q’s plan. As the Autobots mobilize against the new threat alongside their human allies, including the teenager, Kicker, Alpha Q creates Scorponok to lead the Terrorcons, and forges a sword from the Spark of former Decepticon leader Megatron (whose own corpse lies within Unicron), in order to turn the other Decepticons on Earth to his side. Megatron engineers his own resurrection, however, taking control of Unicron’s body and forcing Alpha Q to flee inside unicrons head, then attacking Ocean City on Earth. Alpha Q recreates Starscream to assassinate Optimus Prime, but Starscream is brainwashed into Megatron’s service, all along Scorponok continues to act as Alpha Q’s mole w

*Season 2/Episodes 14-26

With the activation of Earth’s new Energon Grid, shielding it from attack by the Decepticons, the Autobots turn their attention to Unicron. Leaving Earth in the ship, the Miranda II, they locate Unicron’s body. Megatron mobilizes the chaos-bringer, and pursues the Autobots through their space bridge, emerging in the vicinity of Cybertron. The Transformers’ homeworld riddled with Energon towers, fired, leaving Unicron badly damaged. The Autobots form an alliance with Alpha Q, who is already working with Rodimus and his crew, and learn his origin and his motives for stealing Energon – he seeks to use it to recreate that which Unicron has destroyed. Meanwhile, Megatron’s forces attack Cybertron, and the Decepticon criminal Shockblast is inducted into their ranks. In the course of Shockblast’s escape from prison, guard Wing Dagger swears revenge for the death of his partner, Padlock, and when an Energon tower collapses on him and Tidal Wave, Megatron reconstructs his minion as Mirage, while Primus recreates Wing Dagger as the mighty Wing Saber, who joins the battle alongside Optimus Prime within Unicron. As the battle rages, Kicker arranges to channel all of Earth’s Energon into Unicron’s head, which Alpha Q then rams into Unicron’s body. The resultant reaction with the negatively-charged Energon within the body causes a fissure in reality, through which all the combatants are sucked…

*Season 3/Episodes 27-38

In the new region of space on the other side of the fissure, Alpha Q has successfully recreated all the worlds destroyed by Unicron, sustaining them from within Unicron’s head, which has now become an Energon sun. The Autobots set about establishing Energon Towers on the new planets to protect them, while Megatron sees the new worlds as a source of more Energon to reactivate Unicron. Having brainwashed Scorponok to become fully loyal to him, Megatron attempts to do the same to Inferno, but he fights the process. A rescue team consisting of Cliffjumper, Downshift and Bulkhead is dispatched from Cybertron and Earth and teams up with the Autobots to protect the new worlds, but Inferno is then destroyed when he falls into the Energon sun, defeating the Decepticon influence of Megatron. Thankfully, his Spark is saved and he is reborn as Roadblock, just as the ancient Autobot, Omega Supreme, is awakened on Cybertron and joins the Autobots. Megatron succeeds in animating Unicron, who reclaims his head, killing Alpha Q in the process, but then Shockblast attempts to seize control of Unicron, only to have his own mind taken over by the “demi-god”, ultimately destroying him. Megatron then resumes control, but falls prey to Unicron’s influence as well, as the two minds battle for control as they struggle with Optimus Supreme, the combined form of Optimus Prime and Omega Supreme, Optimus Supreme, enlarged to giant size with a power boost from Primus which also energises several of the other Autobots. In a veritable battle of the titans, Optimus Supreme destroys Unicron, but his mind lives on within Megatron…

*Season 4/Episodes 39-52

Although many of the Decepticons are captured and imprisoned on Cybertron, Megatron and his remaining forces soon attack the planet and free them. Another fugitive is Shockblast’s younger brother, Sixshot, who joins Megatron’s team to get revenge on Optimus Prime for his brother’s death. Guided by Unicron’s consciousness, Megatron is led to a subterranean reservoir of Super Energon, which transforms him into Galvatron. Two of the Super Energon’s guardians – Bruticus Maximus and Constructicon Maximus – awake from stasis and side with him, but the third, Superion Maximus, sides with the Autobots. In the ensuing battle, the rupture of several Energon Towers sees a blanket of damaging Energon gas coat Cybertron’s surface, keeping the Autobots trapped off the planet, forcing them to send in Kicker and the Omnicons to stop the gas flow while Galvatron seizes control of the planet and directs its movement back to Alpha Q’s region of space. In a multi-pronged attack, the Autobots turn the tables, but Galvatron then immerses himself in the Super Energon again, growing to a colossal size, as Unicron’s mind once again takes over his own and directs him into space to merge with his Spark, still intact in the void. Optimus Prime grows to gigantic size also and forces Galvatron into a battle, bringing his consciousness back to the surface, at which point Prime drains Unicron’s essence from his body. Galvatron then seeks to destroy Unicron’s spark, but is possessed by it, while all of the Autobots combine their Sparks of Combination with Optimus Prime, reviving him and leading into the final battle with Unicron – which is promptly aborted when Galvatron takes control of his body again and plunges himself into the foundling sun created by Primus from the Super Energon, preferring to die than to be manipulated. With this action, the sun ignites, breathing new life into Alpha Q’s worlds, lighting the way to a brighter tomorrow.

==Homages

”Energon” acted as a way of commemorating the 20th anniversary of the Transformers franchise in the United States and Japan. Many of the Transformers and events within the series are homages to previous franchises:

* Megatron/Galvatron’s body style closely resembles of the original G1 Galvatron. However, his color scheme as Megatron is gray instead of purple.

* Rodimus’s design is based on Autobot leader Hot Rod/Rodimus Prime. However, his character only loosely resembles that of the original Rodimus Prime.

* ”Energon” Scorponok is a homage to the original Headmaster villain of the same name.

* Ironhide’s powered-up form of “Energon Ironhide” is a visual homage to G1 Autobot Hound, right down to the large white ‘Army’ star on his hood.

* Wing Saber is based on the Japanese-exclusive Autobot Brainmaster and Leader “Star Saber” from ”Transformers: Victory”.

* Downshift is a homage to G1 Wheeljack, as well as the mini-con Downshift.

* Arcee is based on the original Autobot heroine “Arcee”.

* Cliffjumper’s vehicle-mode is a Dune Buggy, a homage to G1 Beachcomber.

* Bulkhead’s design is based on the Autobot Triple Changer Springer.

* The body design of Prowl closely resembles that of G1 Mirage. Prowl also used the F1 racer as his alt mode in Machine Wars.

* The idea of Unicron’s head being torn away from his body was inspired by the same situation from ”The Transformers: The Movie”.

* The “god” known as Primus was based on the mysterious comic book entity and the Beast Wars deity of the same name. It was revealed in its robot mode in the sequel, Transformers: Cybertron.

* Alpha Q is based on the “Quintessons”, the sinister race which created the Transformers in the original show.

* Shockblast’s physical design is a homage to the G1 Decepticon Shockwave.

* Bruticus Maximus, Constructicon Maximus & Superion Maximus are homages to Bruticus, Devastator & Superion, respectively.

* Starscream appearing as a ghost at the start of the show is a reference to his G1 namesake, who also appeared as a ghost in G1 and Beast Wars.

* The concept of the Powerlinx combination is similar to the concept of Multiforce from Transformers: Victory.

* Skyblast greatly resembles G1 Skyfire/Jetfire.

* Optimus Prime’s super mode, a combination with four smaller multi-colored vehicles, is most likely a homage to traditional Japanese Super Sentai super robot formations (Power Ranger Zord formations in English markets). Hasbro’s Lead Designer, Aaron Archer stated at SDCC 2004 that Energon Super Optimus Prime is actually an homage to the head designer of the Voltron, who died prior to the creation of Transformers: Energon.

* Terrorcon Battle Ravage refers to the G1 cassette minion that ejects from Soundwave. Also,its cannon on the right side resembles the G1 Megatron fusion cannon.

* Terrorcon Divebomb was a member of the G1 Predacon combiner team.

* Terrorcon Insecticon broadly refers to the team of robotic insects from G1, particularly either Bombshell or Barrage. The Insecticons were also known to clone themselves in the original cartoon series, similar to Insecticon’s generic minion status.

* Omega Supreme is a homage to the G1 Omega Supreme. Similarities include a primarily yellow colour scheme, a clawed hand, and a red transparent faceplate.

* Omega Supreme’s transforming head is a reference to the Headmasters.

* Starscream’s power of teleportation after he rejoins Megatron’s forces is similar the power of G1 Skywarp.

Adapted from the Wikipedia article Transformers: Energon, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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The department was created in 1912 as a volunteer department after a large conflagration destroyed a large portion of what is now the downtown core of Fort Lauderdale. The fire which destroyed all but 3 buildings in the previously bustling downtown business district prompted the city to purchase its first fire equipment consisting of a chemical extinguisher mounted on carriage wheels, and a hand operated pump. Unique to Fort Lauderdale was that the fire department never had horse drawn apparatus. The chemical extinguisher was pulled to fires by an International Harvester truck, and the pump was pulled to the fire scene by the firefighters themselves. The pump also carried of fire hose, which at times was not sufficient to reach fires in the city, due to inadequate roads.

The first fire station, the second in Broward County, was built in January 1913 on Andrews Avenue & SW 2nd Street and was part of the first City Hall building. The police station, jail, and all other city offices were also part of this building. Prior to this time, all firefighting equipment was housed at a private citizen’s warehouse. In 1913, the department and its equipment would be put to use at the first major fire since the great fire of 1912, when the Osceola Hotel burned down. After this fire, the department received its first fire truck, consisting of a used car sold to the town.

When Dr. R. S. Lowry was appointed chief in 1914, he divided the town into four districts. When a fire occurred, each district had a unique whistle that was blown to direct the firefighters to the fire’s location.

When Milo Sherman was hired as the first paid fire chief in 1917, he was given the blessing of the city to purchase the first formal piece of fire apparatus. At the time, the department was still using the used automobile as a fire truck, and Chief Sherman then purchased an American LaFrance fire engine. Shortly after buying this first engine, Chief Sherman was able to purchase a Brockway truck for $7,500 which carried hundreds of gallons of water, used to fight the numerous brush fires, which at the time were a threat to the city. Chief Sherman also built the department’s second station with his own money at 700 S Andrews Avenue. He did this because he felt the city needed a fire station on each side of the New River. This fire station still stands today, and operated until it was sold in 1985 to a private citizen, where it is currently used as a law office.

In 1926 Chief Dooley requested the department build its third fire station at 1022 W. Las Olas Blvd at a cost just over $21,000. This west side fire station, later renamed as station 8, would serve the department until 2004, when it would be closed and its crews moved to the new station 2. It currently is being renovated as the [http://www.fortlauderdalefiremuseum.com/ Fort Lauderdale Fire Museum]. Also in 1926 as part of Chief Dooley’s improvements to the fire department was the purchase of the department’s first ladder truck, a 1926 Seagrave Fire Apparatus ladder truck with chemical equipment, at a cost of $9,500. The final improvement Chief Dooley implemented was the installation of a Gamewell fire alarm system with a central monitoring station, and 40 call boxes to be installed at locations throughout the city. By 1932, the number of fire alarm boxes had increased to over 60, and was further increased in 1937 to 71 fire alarm boxes, with 15 more added to the growing city in 1941.

In 1929, the fire department was affected by the Great Depression, resulting in the closing of two of the department’s stations, and the laying-off of firefighters such that only 7 remained with the department. This lack of staffing was partly blamed for the catastrophic fire that occurred at Pilkington Yacht Basin in 1935, and after that fire seven additional firefighters were hired.

On December 7, 1940, the fire department experienced its first Line of Duty Death, when Firefighter Robert Knight was killed when he stepped in a puddle contacted by an energized high-voltage wire. Firefighter Knight was killed instantly, and another firefighter was severely injured by the electrical current as well.

In 1948 the department opened its fourth fire station at 2871 E Sunrise Blvd near the beach, later renamed to fire station 13. The fire station was originally staffed with one engine and one ladder. Also in 1948, the department established its first pension plan for retirees.

On November 28, 1961, the fire department experienced its second Line of Duty Death when firefighter Norman Hastings suffered a heart attack while training near the fire station. He reportedly collapsed face first into the running board of the pumper after complaining of chest pains. He was 45 years old, and a 13 year veteran of the department.

In 1964, the fire department employed 178 firefighters and had a budget of over 1 million dollars. The department purchased its first fireboat, which would be placed out of service due to corrosion only six months later. Also in this year, the fire department opened two new identical fire stations, at 1121 NW 9th Avenue, and 1000 SW 27th Avenue. These two fire stations would later be renamed to station 46, and station 47 respectively.

In 1969, the fire department answered 1,951 emergency calls, and made over 21,000 fire inspections. Eight people were killed in fires, and over 70 were injured that year, with about half of the injuries belonging to firefighters. The fire department was named the best fire preventing department in its class in the entire State of Florida, after being evaluated on fire inspections, fire education talks, and fire prevention methods used in the hoods of restaurant ranges.

In 1970, the department assisted the Fort Lauderdale Police Department in suppressing riots occurring throughout the city. Firefighters had to combat numerous arson fires as well as assist with crowd control. Numerous bullet holes were later found on fire apparatus, and crews used trash can lids to deflect rocks and bottles thrown at them while responding.

Numerous changes occurred in the department in the 1970s, with several improving the health & safety of firefighters. On September 20, 1970, the city hired its first black firefighter, Bobby Glenn, who later retired after serving the department for over 21 years. The city purchased its first set of MSA SCBA breathing apparatus, replacing old canister masks that were rarely worn. Also, firefighters stopped riding to emergencies on the tailboard of fire apparatus and were contained in cabs of apparatus, protecting them from various hazards including falling off the apparatus. Also, in 1971 International Association of Fire Fighters Local 1545 was created, becoming the city’s first recognized labor union. In 1975 the first firefighter was hired who was also certified as a paramedic. In 1978, the city hired it’s first female firefighters, a group of 5, many who would serve the department for decades. Also in 1979, the department created the Hazardous material team to deal with chemical emergencies, the first created in Broward County.

In 1977, the department began to change the color scheme of its fire apparatus. Keeping with national trends citing a study in improved safety and visibility of fire apparatus, the department began purchasing all new fire apparatus in lime green. In 1987, the department began replacing its fleet with fire apparatus made by E-One, using the new lime color scheme. The department continued using lime green apparatus until 1998, when the last remaining units were shifted to reserve pieces. These apparatus, served as spare fire engines until they were sold at auction in 2005.

In 1985, the department entered into a mutual-aid agreement with 22 other fire-rescue departments in Broward County. The agreement was the first official document that guaranteed responses by other fire departments for assistance to major emergencies in cities. The document also set minimum standards on staffing, and response requirements for mutual aid responses and this mutual aid agreement was paramount in establishing future relationships between fire departments, such as the one that established the Broward County Uniform Station Numbering system.

In 1988, the fire department began using the Incident Command System as part of its operation at emergency scenes. Also part of this change was the use of RIT teams, which would be dispatched along with a second battalion chief to any working fire in the city.

Chief Jim Sparr is credited with creating the department’s first responder system in 1989. Under this system, a Fort Lauderdale Fire-Rescue unit would respond to any medical emergency in the city under a three-tiered system, with Broward County EMS providing patient care, and private ambulance companies providing patient transport to the local hospitals. Chief Sparr also required firefighters to conduct station repairs and other errands including mowing the lawns of fire stations.

In December 1992, the department formed the Technical Rescue Team to respond to dive rescue, and high-angle emergencies throughout the city. Originally named the SHARC team, for Special Hazards and Rescues Company, the team of 27 members were specially trained to handle unusual rescue emergencies that would occur in the city.

In 1995, under the leadership of Chief Donald Harkins, Fort Lauderdale Fire-Rescue placed its first advanced life support (ALS) Engine Company in service, and began providing EMS under a two-tiered system with Fort Lauderdale Fire Rescue providing patient care, and Broward County Fire Rescue providing transport services to the hospital.

In 1997, the Village of Sea Ranch Lakes contracted with the Fort Lauderdale Fire-Rescue Department to provide fire suppression services to the approximately 600 residents of the village. Sea Ranch Lakes was designated as Zone 54C, and had a response of E35, E54, E13, L35, R54, and BC35. In 2001, the contract expired between Sea Ranch Lakes and FLFR, and the village chose to award the new contract to the Broward Sheriff’s Office, who were already providing EMS services to the village of Sea Ranch Lakes. No major fire incidents occurred in Sea Ranch Lakes in the four years they were served by Fort Lauderdale Fire-Rescue.

Also, in 1997, the city hired its first African-American Fire Chief, Otis J. Latin. Chief Latin came to the department after heading the District of Columbia Fire Department, and rising to the rank of assistant chief of the Houston Fire Department.

In 1998, the department transitioned to provide Emergency Medical Services under a single-tier system. This meant that the department would now be the first responder on all medical calls, provide all ALS treatments, and provide all patient transports to local hospitals. This was a large transition for the department, and resulted in the purchasing of 6 new rescue trucks, and the largest hiring class ever of 64 state certified firefighter/paramedics. Several of the Broward County Fire-Rescue employees that had been working in Fort Lauderdale stations were included in this group, with the remainder of Broward County Fire Rescue’s employees and all of its equipment being returned to BCFR.

Also in 1998 was the modernization of the fire department fleet. From 1998-2000, all fire apparatus would be replaced with new Quantum fire apparatus made by Pierce Manufacturing. Also purchased were new rescue units as part of the transition to providing ALS transport services.

On November 21, 1999, at 1100 hours Fort Lauderdale Fire-Rescue began dispatching themselves to emergency incidents. Prior to this time, Broward Sheriff’s Office dispatchers were responsible for all dispatch & radio communications for fire department units. Following criticism arising after an extremely long response time to a tragic boat accident in the late 1990s, the department began to establish their own dispatch & communications system.

On December 20, 1999, the Wilton Manors Volunteer Fire Department was closed, and Fort Lauderdale Fire-Rescue began proving both Fire & EMS services to the cities of Wilton Manors and Lazy Lake from fire station 16. Wilton Manors still retained its fire prevention staff who are responsible for all fire prevention & investigation activities in the municipal limits.

In May, 2007, the department underwent a reorganization of its bureaus, divisions, and units. The Communications Coordinator and Communications section were transferred along with Ocean Rescue to the Operations Division of the department. This was done due to the involvement of these two sectors into the overall emergency operations of the department . A third Assistant Chief position was also created who was now responsible for all special projects, recruiting, information technology, human resources, and internal investigations within the department. Assistant Chief Robert Edgar currently holds this position. An updated organization chart can be found [http://www.fortlauderdale.gov/fire-rescue/org_chart.pdf here].

In October 2007, the department underwent another slight reorganization. Support Services became an entirely civilian group of the fire department, replacing positions previously held by sworn fire officers. Also, four positions from the Fire Prevention Bureau were eliminated as well as one Training Captain Position. No layoffs occurred, but all employees were transferred to Operations Division duties. This move was done for both budget savings reasons, as well as staffing shortages within the Operations Division.

In summer of 2008, the department opened up two new fire stations to replace outdated and outgrown facilities. Station 47 was replaced at its existing location after a three year construction project. Station 88 was closed and combined with a new Station 53 on the north side of the Fort Lauderdale Executive Airport. The new station 53 also houses the department’s training bureau, as well as the city’s Emergency Operations Center and Emergency Management Office. Also moved to the new station 53 was Battalion Chief 35 as part of the opening.

In 2008, Fort Lauderdale Fire station 2 was noted as the busiest fire station in the country as per Firehouse Magazine’s national run survey. Station 2 is combined with station 8, housing a total of 8 units at the time and credited with having ran 20,311 calls in 2008. Engine 46 the “Sistrunk Express” was also listed as the 9th Busiest Engine company in this survey.

Today the department has over 450 personnel and provides fire prevention, fire suppression, fire investigation, rescue, EMS, and ocean rescue services to the people of Fort Lauderdale, & provides contract fire, rescue & EMS services to the citizens of Wilton Manors and Lazy Lake.

Department chiefs

Historic fires and emergencies

*June 2, 1912, a large fire destroys the majority of newly incorporated Fort Lauderdale, destroying everything north of the New River up to Wall Street, and everything east & west of Brickell Avenue (now SW 1 Ave). Only three structures remained in the business district after the fire, which burned for over an hour before firefighters from Miami and West Palm Beach arrived to extinguish the blaze. The total loss was over $150,000 in 1912 figures. This major conflagration prompted the formation of the city’s first volunteer fire department, and the city purchasing its first pieces of fire equipment.

*July 13, 1913, a fire destroys the woodframe Osceola Hotel, and manages to destroy the fire departments only pumper in the process. Luckily there was no wind to spread the blaze to neighboring structures, as had occurred in the 1912 fire.

*September 18, 1926, the 1926 Miami Hurricane hits the South Florida region causing catastrophic damage to the city. Firefighters are assigned to search for & collect the bodies of the many killed throughout the city.

*March 3, 1932, a fire occurred at Mack’s Store on S Andrews Ave and burned out of control for over two hours, prompting the evacuation of nearby businesses and the Tropical Hotel.

*March 6, 1932, two simultaneous fires caused the department’s resources to be split. A fire in a houseboat was quickly controlled with minimal damage, while a grocery store at Broward Blvd & NW 5th Avenue burned to the ground.

*June 24, 1935, the largest fire in the city’s history to date occurs at Pilkington Yacht Basin, which would later be renamed to Broward Marine. The fire occurred on board a boat, and rapidly spread to consume 77 of the 80 boats that were at the facility. The fire caused over $1 million worth of damage, in 1935 figures, and as a result of the fire, staffing levels within the department are increased.

*1958, one of only two multiple-alarm fires for the year occurs at the Luau Hut located at 3306 S Federal Hwy, and causes over $45,000 in damage.

*August 13, 1962, a thief starts a fire at Mangurian furniture at 3700 N Federal Hwy, in order to cover up his crime. The fire completely destroys the building and causes over $315,000 in damage, and as a result leads to more stringent fire codes to be implemented in the city.

*November 18, 1966, a disregarded cigarette left aboard a mega yacht leads to a multiple alarm fire at Broward Marine at 1601 SW 20th Street. The blaze spread to several adjacent yachts causing over $2 million damage, resulting in the one of the several major fires the marine corporation would experience in its long history.

*January 13, 1969, a large fire occurred at the Everglades Fertilizer Plant at 2000 W Broward Blvd. Reports indicated colored smoke being produced as a result of the tons of toxic chemicals housed and produced at the plant. The intense fire burned for over three days as more than 100 firefighters worked to extinguish the blaze, all the while toxic chemicals were being dispersed around the scene. As a result, of the 100 firefighters that responded to the blaze, over 29 cases of cancer have been found, with 19 deaths due to cancer. As a result of these events, the National Institutes of Occupational Safety and Health (NIOSH) has initiated an epidemiological study of firefighters involved in the Everglades fire.

*May 14, 1973, a highrise fire occurs on the 15th floor of the Marine Tower Condominium. The fire resulted in five firefighters being injured.

*October 15, 1974, an arsonist sets two buildings on fire at Lincoln Park Elementary School, causing over $250,000 damage to the school. 23 firefighters worked to extinguish the blaze, and two were injured.

*August 7, 1980, a high-rise fire occurs at the Ocean Manor Resort Hotel, stranding a girl on the 10th floor just out of reach of the department’s aerial ladder truck. A fire department captain carried a roof ladder and tied it to the tip of the department’s aerial ladder, allowing him to save the little girl. 33 residents and 12 firefighters were treated for smoke inhalation from the blaze.

*September 29, 1980, a smoldering fire occurred near the printing presses at ”Fort Lauderdale News” resulting in the death of one employee. More than 900 employees were evacuated from the building, and the fire quickly grew to three alarms.

*October 27, 1980, a three-alarm fire occurred on the 13th floor of the Venetian Condominium at One Las Olas Circle. The fire resulted in two civilian fatalities, who were killed when they took the elevator back to the fire floor to search for their cat.

*September 5, 1986, a three alarm fire fueled by toxic chemicals occurred at a pool supply warehouse at 6822 NW 12th Ave. Several firefighters suffered chemical burns in the blaze, and environmental clean-up crews had to be called in to contain and control the run-off from the blaze.

*January 7, 1989, a grease fire occurred on the fourth floor of the Points of America II high-rise condominium building at 2200 S Ocean Lane, on Fort Lauderdale Beach. The multiple alarm fire was complicated in a delay of the fire department receiving the alarm, and rapidly spread through the unsprinklered building. The fire caused more than 2 million dollars damage to the building, and caused over 150 residents to be evacuated.

*June 27, 1990, a three-alarm fire occurred at the Florida Ordinance Corp, located at 4750 NW 15 Ave, which manufactured tank parts for the US military. A second alarm was requested shortly after arrival, with the third alarm thirty minutes later. The fire resulted in a large fire loss, and was fueled by multiple hazardous chemicals used in the manufacturing process of the military parts. Two firefighters were injured in fighting the blaze.

*August 2, 1991, a four-alarm fire occurred at 4800 NW 15 Ave, at Southern Electronics warehouse causing over 1 million dollars in damage to the structure. Due to the large amounts of plastics inside the structure, large quantities of toxic smoke was produced in the fire. One firefighter was sent to the hospital for a back injury.

*May 7, 1992, a multiple alarm fire required over 85 firefighters to control the blaze which destroyed five buildings belonging to Faith Farm Ministries and caused over $1.3 million in damage.

*October 17, 1992, a two-alarm fire caused over 1.3 million dollars in damage to a popular bar at 5600 N. Federal Highway, known as the Pierce Street Annex Saloon and Grill. The two alarm fire burned for hours as crews had to evacuate the structure due to a roof collapse. The cause of the fire was ultimately determined to be electrical in nature, starting in the attic of the structure.

*March 17, 1993, Engine 88 was the first unit to arrive at the deadliest fire in the city’s history at NW 62nd Street and the CSX Transportation tracks, just west of Andrews Avenue. An Amtrak passenger train collided with a loaded Hess gasoline that was on the tracks. The truck was unable to move due to heavy rush hour traffic. The collision and fire killed the truck driver and as well as five motorists that were stopped at the crossing. No serious injuries occurred to any people on the train. Firefighters from Oakland Park, Pompano Beach, and Broward County Fire-Rescue assisted with combating the intense gasoline fueled blaze. This incident single-handedly made 1993 the deadliest year in fire deaths in the city’s history, as the tanker crash jumped the city’s total to 9 fire fatalities in a single year.

*July 23, 1994, a three-alarm fire occurred at Stranahan High School, at 1800 SW 5th Place, in the Southern area of the city in a section of the school that was undergoing renovations for asbestos removal. Vinyl tarps being used by asbestos crews fueled the spread of the fire, and hampered firefighting efforts resulting in 10 classrooms being damaged by fire. Fire crews from Plantation, Sunrise, Oakland Park, and Lauderhill assisted in fighting the blaze, which required a total of 16 Engine companies, 7 ladder companies, and 8 support trucks.

*September 5, 1996 the Broward Marine Fire occurred in the heart of Fort Lauderdale, resulting in a second alarm being transmitted before any unit had even arrived. The six-alarm fire consumed a large yacht manufacturing & storage facility, along with several neighboring buildings, for a total fire loss exceeding $15 million, making it one of the largest fires in the city’s history. In addition, the fire presented a large exposure problem, as embers from the main fire building began to spread through the air and ignite nearby trees, vehicles, and structures. The fire was ruled accidental due to a faulty electrical system. The United States Fire Administration conducted a thorough investigation of the fire, and published this [http://www.interfire.org/res_file/pdf/Tr-101.pdf report].

*November 24, 1997, the Fort Lauderdale Fire-Rescue department responded to the deadliest boating accident in the city’s history in the Intracoastal Waterway just south of Sunrise Blvd. The accident occurred when an intoxicated subject driving a speedboat crashed into a cabin cruiser. The speed boat driver survived and was subsequently found guilty of manslaughter but 5 occupants of the cabin cruiser were killed, with three victims found trapped in the cabin cruiser under water. The incident generated criticism to the Broward County Fire-Rescue Dispatch operation, as it took nearly 8 minutes for fire crews to reach the scene.

*May 23, 1998, Engine 29 is first to arrive on a three-alarm fire at a warehouse north of Sunrise Blvd at the railroad tracks. Crews worked for hours in the defensive fire, and managed to control the fire to where it caused only minimal damage to neighboring structures. .

*August 14, 2000 a historic vehicle extrication and technical rescue took place on Interstate 595. 83 year old [http://archives.cnn.com/2000/US/08/18/woman.found/index.html Tillie Tooter] was rescued after surviving three days in the Florida summer heat when her car crashed over the sidewall of I-595, and plummeted to land and be held up by the tree tops of a local swamp. Crews had to rappel down and lower extrication equipment to rescue the woman, who was in remarkable condition, and had no major injuries. Her accident had been initially reported the evening on which it occurred, but due to the vehicle’s location below the roadway, neither FLFR crews, nor Florida Highway Patrol units ever located the accident until three days later.

*February 8, 2001, a four-alarm fire occurred at an art framing warehouse structure at 1336 McNab Road, on the city’s northernmost border, and units from Pompano Beach assisted in fighting the blaze. The fire resulted in more than 2 million dollars damage, and two firefighters were treated for minor injuries.

*April 25, 2004 a four-alarm fire occurred inside the Newfoundland Explorer, a research yacht at the 1900 block of SE 17th Street, being docked just south of the 17th Street Causeway Bridge. The fire had started in the engine room. Ten firefighters nearly perished after the fire suddenly came up through a stairway and trapped the firefighters in the cabin hallway. The conditions became so extreme that several Mayday calls were made over the radio by several of the firefighters. The firefighters had to fight the flames back twice which was almost at floor level and extremely close to becoming a flashover. All 10 were able to finally evacuate the vessel. The fire then became a defensive operation lasting for several hours. At approximately 4am the next morning, the fire rekindled and was initially combated by Fireboat 49. Soon after, a two-alarm fire response was iniitated and lasted several hours. The estimated loss was in excess of $3 million.

*June 13, 2005 a DC-3 cargo aircraft, [http://aviation-safety.net/database/record.php?id=20050613-0&lang=en tail number N3906J], crashed in the middle of a residential neighborhood on the 1600 block of NE 56th Street shortly after taking off from Fort Lauderdale Executive Airport. No serious injuries occurred, and all passengers & crew of the plane escaped before the conflagration resulted. However, unsolicited assistance by the Broward Sheriff’s Office resulted in the foam blanket surrounding the aircraft to be broken. This resulted in a flash fire of the fuel vapors, causing severe fire damage to ARFF Truck 53 which was operating at the scene and three firefighters to be engulfed in the invisible flames for a short period of time luckily resulting in no injuries.

*On August 26, 2005 a three-alarm fire occurred at Lauderdale Storage, 540 SW 27 Ave, shortly after Hurricane Katrina passed over Florida. The fire started in the afternoon after a downed utility wire ignited an adjacent roofing storage shed housing tar and propane cylinders. The attached shed then ignited the public storage facility resulting in a several hour defensive fire operation with a loss exceeding $5 million, making the Lauderdale Storage Fire one of the costliest in the entire city’s history. For a short video of the incident click [http://youtube.com/watch?v=MQLCHKKiKeE here]

*On March 10, 2008 the department responded to what became a five-alarm fire at 1800 SW 1st Ave, requiring the assistance of several neighboring agencies. The fire was in an apartment on the fourth floor of a public housing building filled with elderly residents. Two firefighters were injured in the blaze, and many residents had to be rescued from their apartments, 13 civilians were transported to local hospitals. The cause of the fire is still under investigation

Major responses outside the city

Fort Lauderdale Fire-Rescue routinely provides assistance to cities in Broward County through mutual aid and automatic aid service agreements. Throughout the history of the department, Fort Lauderdale Fire-Rescue units have also responded to several major emergencies outside the city limits as part of these mutual and automatic aid agreements.

*May 16, 1954, an explosion and fire rocks the Trumball Asphalt plant located inside Port Everglades. The blast could be felt by residents miles away, and completely destroyed several of the concrete pillars at the plant. Firefighters from Port Everglades and Fort Lauderdale Fire Department worked for over 45 minutes to control the blaze.

*April 16, 1962, a fire occurred on the freighter ”Andrea Gritti” docked at Port Everglades. Fort Lauderdale firefighters were on scene for two days assisting Port Everglades Fire Department as they struggled to extinguish the fire.

*June 27, 1988, a three-alarm fire occurred at GLS Fiberglass, 940 Eller Drive inside Port Everglades and consumed a warehouse stocked with hundreds of tons of hazardous chemicals. The inferno sent five firefighters to the hospital, and required the assistance of several fire departments and hazardous materials teams. The blaze was the largest chemical fire ever to occur in the county, consuming the entire structure, and requiring the assistance of six fire departments. Several nearby occupancies were evacuated due to hazardous chemicals and risk of further explosions, and air traffic at the Fort Lauderdale-Hollywood International Airport was rerouted. This fire eventually lead to the creation of the Broward County Uniform Station Numbering system.

*October 11, 1988, Fort Lauderdale Fire Department joined four other agencies in assisting Davie Fire Department with a large marina fire at 3051 State Road 84 that consumed several yachts. The blaze burned for several hours, and caused over 2.5 million dollars in damage.

*December 14, 1991, a four alarm fire occurred in 17th floor penthouse of the Fountainhead Condominium in Lauderdale-by-the-Sea directly across the street from the city boundary at 3900 N Ocean Drive. Over 150 occupants were evacuated, and several firefighters were injured in fighting the blaze, including one Fort Lauderdale Fire Department Lieutenant who suffered a broken elbow.

*May 7, 1992 Fort Lauderdale Fire-Rescue responded to assist firefighters from Port Everglades with a fire onboard the day-cruise ship ”Discovery” forcing the evacuation of over 100 passengers & crew members.

* September 6, 1996, a day after the catastrophic Broward Marine Fire, FLFR responded as mutual aid to a multiple alarm fire that consumed the Plantation Towne Mall at 6900 W Broward Blvd in Plantation, FL. Over 120 firefighters from multiple departments worked to fight the blaze that totally destroyed the entire building.

*December 18, 1997, a fire spread rapidly through the attic of the Kings Park Condominium complex in Oakland Park destroying all 50 units inside building B. The fire was allowed to spread so rapidly due to a lack of sprinkler system, and water supply issues throughout the blaze.

*June and July, 1998. Several firefighters from Fort Lauderdale Fire-Rescue were deployed as part of a regional task-force to assist with the large firestorms that were occurring in Northern Florida due to an unusually dry summer.

*September 18, 1999, a two alarm fire occurred at Uniweld Inc. on State Rd 84, and was one of the most dangerous in recent history as the building was full of acetylene, oxygen, and propane cylinders. The fire quickly became a defensive operation, and local areas were evacuated as over 20,000 cylinders ruptured and were launched into the sky during the blaze. Crews from Fort Lauderdale assisted those from Dania Beach & Broward County

*September 11, 2001, six members of Fort Lauderdale Fire-Rescue were deployed to New York City in response to the terrorist attacks as members of the Federal Emergency Management Agency (FEMA) South Florida Urban Search & Rescue Florida Task Force 2 (FL-TF2). These firefighters assisted with the search & rescue operations occurring at Ground Zero.

*August 9–14, 2004, Hurricane Charley impacted the Gulf Coast of Florida, causing major damage. Several members of Fort Lauderdale Fire-Rescue, and several pieces of fire apparatus were sent as part of a regional task force to provide disaster assistance, and fire suppression coverage to the storm damaged area.

*August 28, 2005, Members from Fort Lauderdale Fire-Rescue were deployed to assist as part of the FEMA task force to assist with disaster search & rescue operations in Mississippi and Louisiana after Hurricane Katrina

*March 3, 2006, Fort Lauderdale Engine 88 was dispatched to a reported fire near the city’s northernmost boundary. The fire was ultimately in the City of Pompano Beach at 1000 SW 12 Ave, and Fort Lauderdale had a full first alarm assignment, plus an additional engine and rescue respond to the fire as mutual aid. The fire involved a wooden pallet manufacturing & storage facility, and ultimately grew to five alarms bringing in many other mutual aid resources & departments, and was responsible for over 15 million dollars in damage. [http://www.pompanobeachfirefighters.com/GetPictures1.asp?Fol=4.%20Pallet%20warehouse%20fire Photos of the scene can be found here]

*May 11, 2007, Fort Lauderdale Fire-Rescue participated as part of a regional strike team to assist with the state’s battling of over 200 wildfires. FLFR sent one engine with four crew members as part of the strike team, and were deployed for 8 days to the Lake City area of the state.

*November 3, 2008, Multiple units from Fort Lauderdale Fire-Rescue assisted with a three-alarm warehouse fire in Pompano Beach at SW 28 Ave & SW 14 St. Similar to the fire in March 2006, initially multiple calls were received with several indicating it was in the city limits of Fort Lauderdale. Luckily there were no firefighter or civilian injuries.

Local 765 Firefighters of the Year

Adapted from the Wikipedia article Fort Lauderdale Fire-Rescue, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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The Stanley opened on December 15, 1930. Originally envisioned as a vaudeville venue, it was built by Frederick Guest, owner of a chain of theatres in Ontario, who reportedly fell in love with Vancouver and decided to build his dream theatre there. He hired Henry Holdsby Simmonds as the architect, who designed it with a neoclassical interior and an Art Deco exterior, with seating for 1,216 people. In order to make as high quality a theatre as possible, Simmonds used only the best materials he could find, including tindle stone from Winnipeg and tiles from Italy, along with chandaliers, carpets and furnishings from local merchants. Like the Stanley Cup and Stanley Park, the theatre was named after Governor General of Canada Lord Stanley.

The first film shown at the Stanley was ”One Romantic Night”, starring Lillian Gish. Admission was originally between 10 and 40 cents. The vertical Stanley sign was added in 1940 and the stylized Stanley script came in 1957. The cinema, which had been part of the Granville Theatre Company, was bought by Famous Players in 1941 for $268,000.

The Stanley was originally built as a neighbourhood theatre, but gradually became more popular and attracted moviegoers from throughout the Vancouver region. From the 1950s onwards, progressively improved sound and projection systems along with refurbished seating added to the theatre’s appeal. On July 8, 1954 the Stanley began showing films in stereophonic CinemaScope for the first time. By November 1958, the theatre had a DP70 70mm projector, which at the time was advertised as “the only

The Stanley often showed blockbusters. Some movies shown at the theatre through the years included ”Duel in the Sun”, ”Knock on Any Door”, ”Ben-Hur”, ”Mutiny on the Bounty”, ”Doctor Zhivago”, ”2001: A Space Odyssey”, ”The Exorcist”, ”The Towering Inferno”, ”The Muppet Movie”, ”Apocalypse Now”, ”The Empire Strikes Back”, ”The Elephant Man”, ”Poltergeist”, ”The Right Stuff”, ”Indiana Jones and the Temple of Doom”, ”Top Gun”, ”The Untouchables”, ”Stakeout”, ”Empire of the Sun”, ”Indiana Jones and the Last Crusade”, and ”Goodfellas”.

Revenues declined during the late 20th century, and Famous Players closed the Stanley, which was by then the oldest operating movie theatre in Vancouver, on September 25, 1991 after a final showing of the Stanley regular ”Fantasia” (the theatre had previously shown ”Fantasia” at least four times, in 1977, 1979, 1980–1981 and 1990). Its closure was part of a long trend: The number of Famous Players theatres had dropped from 419 in 1954 to 196 in 1969, and would fall to eighty, some in partnership with other companies, by the time it was taken over by Cineplex Galaxy Entertainment in 2005. Other Vancouver-area Famous Players movie theatres closed, sold or torn down in this period included the Regent (1958), the Strand (1973), the original Capitol (1974), the Orpheum (1974), the Fine Arts (1989), Denman Place (1989), Park Royal (1993), the Park (2005), and the Capitol 6 (2005).

Adapted from the Wikipedia article Stanley Industrial Alliance Stage, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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The creators of ”Emergency!” made significant efforts to accurately portray the Los Angeles County Fire Department (LACoFD) by utilizing current apparatus and equipment in the series. Although a few key items were fictionalized, such as the identification of Station 51 and its equipment, many of the locations and apparatus reflected the operating reality of locations used in some filming. The extensive cooperation of the LACoFD is repeatedly apparent in the program.

Apparatus =

Squad 51

The vehicle which portrayed Squad 51 was produced by Universal crews as an accurate replica of the units built in-house on stock truck chassis by LACoFD at the time. The LACoFD shops were unable to fulfill a request from Universal to build a unit for the show within the short deadline the studio asked, but did provide the blueprints to Universal crews so the studio could build its own unit on a 1972 Dodge D300 “”dualie”” (four rear tires, two per side on one axle) chassis (this conversion was subsequently completed on a 1973 and 1974 Dodge D300 chassis as well). The replica’s accuracy is evident in that after the filming of the show, the studio donated the unit to LACoFD in 1978, which pressed it into occasional service as a reserve unit before it was eventually retired from service.

In 1999, LACoFD donated the Universal-built squad to the County of Los Angeles Fire Museum Association [http://www.clafma.org/squad51.html], and it has been restored by the museum and is housed in their South Gate warehouse at 8635 Otis St, South Gate, Cal

Engine 51

The original Engine 51 was a 1965 open cab Crown Firecoach, and was portrayed by LACoFD Engine 127′s 1965 Crown in stock footage at the fire station (in reality LACoFD Station 127), and by LACoFD Engine 60′s 1965 Crown (the unit assigned to Universal Studios) for filming on the grounds of the studio. In a few isolated instances from the first and second seasons, the regular apparatus borrowed from LACoFD and used for filming appear to have been unavailable as some scenes show a slightly different vintage Crown Firecoach pumper, most evident by the different style of emergency lights on the cab’s roof. The mixing of stock station and response footage with footage filmed for specific storylines created continuity errors by mixing these apparatus.

Beginning early in the third season and through the end of the series, Engine 51 was portrayed by a 1973 Ward LaFrance P80 Ambassador triple-combination pumper. LACoFD was purchasing numerous P80s at the time, and Ward LaFrance donated a P80 unit to Universal Studios specifically for use in the show. The Ward LaFrance Engine 51 was thus not a disguised unit and did not require the use of LACoFD resources for filming.

Engine 127′s 1965 Crown, one of the two originally used for the show, was later refitted with a closed cab. Eventually it was placed into reserve status when Station 127 received a new engine. In its reserve capacity, it was serving temporarily as Engine 95 when it was involved in a serious collision. Beyond repair, it was salvaged for parts and sold as scrap. The County of Los Angeles Fire Museum Association now owns and has restored the 1965 Crown which formerly served as Engine 60 at Universal Studios and appeared most often as the Crown version of Engine 51.

The Ward LaFrance P80 Ambassador that portrayed Engine 51, owned by the studio outright, made its final ”Emergency!” appearance in the movie ”The Steel Inferno”, but was marked as Engine 110. The Ward remained at Universal Studios as a prop following the conclusion of the show, and made brief appearances such as in the 1979 film The China Syndrome and a short educational film produced by the National Fire Protection Association in 1984. Eventually, the Ward was pressed into active duty at Yosemite National Park, as Universal was also under contract to provide certain services at the park at the time, and it remained with YNP Fire after Universal’s involvement at the Park ended. It served continuously as YNP Fire’s Engine 7 until finally being retired and replaced in July 2008. Per terms of a previous agreement between the Park and the County of Los Angeles Fire Museum Association, the museum assumed ownership of the Ward and added it to the museum collection. As of October 2008, the Ward is undergoing complete restoration to its original appearance in the show and upon completion, will be placed into the collection as Engine 51.

Locations =

Station 51

Station 51 was portrayed by LACoFD Fire station 127, located at 2049 East 223rd Street (between Wilmington and Alameda Streets) in Carson, California ( – [http://maps.google.com/maps?f=q&hl=en&geocode=&q=2049+East+223rd+Street&sll=33.831068,-118.238082&sspn=0.02442,0.033817&g=carson,+ca&layer=c&ie=UTF8&ll=33.82884,-118.237846&spn=0.01221,0.016909&z=16&cbll=33.824265,-118.238368&panoid=B-DWKLjk7xR_iGY5q_n_Gw&cbp=1,354.2753834993099,,0,0.12433240775227414|Google Maps Street View]), and it is still in use today. Universal was permitted to use the station number of “51″ for the program because at that time there was no existing Station 51 since the closing of LACoFD Station 51, located near the intersection of Arlington Ave and Atlantic Ave, in the late 1960s due to the area being annexed by the city of Lynwood.

Station 127 was chosen for its natural lighting by series co-creator Robert A. Cinader, and the station was eventually named in his honor. A plaque honoring Robert A. Cinader is now mounted on the station next to the office front door. At the time of filming Station 127 housed Engine 127 and Truck 127 but it has never actually fielded its own paramedic unit.

For filming on location, Truck 127 was moved off-site and replaced with Universal’s Squad 51, while Engine 127 was disguised as Engine 51. After Universal obtained the 1972 Ward LaFrance for Engine 51, both of Station 127′s companies would be replaced by Universal’s Engine 51 and Squad 51 for filming on location. While some filming of scenes set at Station 51 were done on sets at the studio, these sets accurately recreated the interior of Station 127.

Despite being “kicked out” of their own station for filming, Truck 127 still appeared in numerous episodes under its own callsign. The Carson location of Station 127 was directly referenced in one episode where a phone call was traced to a house “in Carson” that Engine 51 and Squad 51 eventually responded to.

“KMG365″, which is said by the crewmember acknowledging a call for a unit at Station 51, is a real FCC call sign used by LACoFD, and it appears on the Station Patch for Station 127, which today still houses Engine 127 and Truck 127 (now known as Light Force 127) as well as Foam 127.

In a nod to the lasting cultural impact of the show, LACoFD officially changed the designation of the fire station located on the grounds of Universal Studios from Station 60 to Station 51 in 1994, over twenty years after the debut of ”Emergency!”. The companies at Station 60 were also changed so that this station is now indeed the home of Engine 51 and Squad 51 as well as Patrol 51.

Rampart General Hospital

At the time of filming, Rampart General Hospital was portrayed by Harbor General Hospital, located in Torrance, California at 1000 West Carson Street, the intersection of Vermont Avenue and Carson Street ( – [http://maps.google.com/maps?f=q&hl=en&q=1000+W+Carson+St,+Torrance,+Los+Angeles,+California+90502&sll=33.910226,-118.192785&sspn=0.012198,0.016909&g=1000+W+Carson+St,+Torrance,+Los+Angeles,+California+90502&ie=UTF8&cd=1&geocode=FY86BAId2P3y-A&layer=c&cbll=33.830219,-118.292647&panoid=wvYeLBKvVMTkiI5liWCI8w&cbp=1,80.92007263164413,,0,-9.79512924544138&ll=33.83449,-118.292499&spn=0.012209,0.016909&z=16|Google Maps Street View]. The pairing of Station 127 and Harbor General as “Station 51″ and “Rampart” was accurate, since if a squad had actually been quartered at Station 127, it would likely have operated from Harbor General Hospital, since they are only 2.1& miles (3.4& km) apart. Truck 127 appeared in one episode where a rescue event occurred at Rampart (Harbor General), as the hospital really is in Truck 127′s “first-due” district.

In an episode near the end of the series, one character, an aged jazz musician, hearing the name Rampart General, says, “My grandaddy used to play on Rampart Street in New Orleans!” The name Rampart actually comes from the show Adam-12 and is the real name of a division of the LAPD.

In 1978, by the approval of the Los Angeles County Board of Supervisors, Harbor General Hospital was renamed as Harbor-UCLA Medical Center [http://www.humc.edu/calendar/ca6070.html].

Los Angeles County Fire Dispatch

Footage of a dispatcher used during the show appears to have been filmed at the LACoFD dispatch center in East Los Angeles. The screen he looked at to see the street maps is a rear projection from a Kodak Carousel projector built into the console. The man was actual LACoFD dispatcher Sam Lanier, who also lent his voice as the dispatcher for the show’s entire run.

Personnel

During a portion of the first season, real-life LACoFD Captain Dick Hammer portrayed himself as a Station 51 captain. Hammer died from cancer in 1999.

Another real-life LACoFD firefighter, Mike Stoker, portrayed himself throughout the entire run of the series as a driver/engineer of Engine 51. Since Stoker possessed a Screen Actors Guild card, it was helpful to Universal to have an actor who was also fully trained and qualified to actually drive and operate Engine 51. Stoker retired from the LACoFD as a Captain in 1996.

LACoFD Dispatcher Sam Lanier, although rarely seen on camera, portrayed himself as a dispatcher in virtually every episode. Despite being the recognizable voice over the radio sending Station 51 and other LACoFD crews to all sorts of emergencies, he was never listed in the show’s credits. Lanier retired shortly after the show ended in 1977. Lanier died of a massive heart attack in 1997, while trying to help people in an automobile crash outside his home.

Numerous uncredited LACoFD personnel were used throughout the course of the series when other actual LACoFD units were utilized during filming.

* The character “John Gage” was named for James O. Page, a LACoFD battalion chief in charge of development of the paramedic rescue squads who was a technical advisor to Webb and Cinader. Page went on to become a lawyer and publisher of the Journal of Emergency Medical Services. Originally, Cinader requested that Randolph Mantooth’s character be named after Page, but he turned it down.

Equipment

The tones heard before the station alarm is activated are actual Motorola “Quik Call I” codes, which were used by LACoFD until the 1990s. At the time of filming, an LACoFD station’s main base station radio was usually in “quiet” mode, so the crew on duty wouldn’t have to hear every transmission over the fire channel at all hours. Although only two tones could be heard for each station dispatched to an alarm, the Quik Call system actually used two sets of tones (four total) to activate station alarms, and each of these tones was actually two frequencies sent together, similar to the DTMF ”Touch-Tone” signals used in telephone electronic dial systems. When a dispatcher selected one or more stations to be “toned out”, the Quik Call system would transmit the first set of tones which would unsquelch the radio at one or more stations and turn on their loudspeakers, closely followed by a second set of tones for each individual station which could be heard and which activated the intended station’s alarm klaxon, generated by a Federal Signal “Vibratone” alarm horn. The second set of Quik Call tones which was specifically for station 51 were LZPZ-HZKZ, also known as 1& second of 794.3& Hz + 1084.0& Hz followed by 3& seconds of 582.1& Hz + 716.7& Hz (the third tone was the klaxon which was set off by Quick Call). The opening of the bay door and lights coming on with the klaxon was through a Motorola “Intrac” system, known as automatic switch control. As we never saw the bay door close as they left, the Intrac probably had a timed relay which would automatically close the door a pre-programmed time after dispatch.

The electrocardiograph (ECG or EKG) machine used in the show was a Datascope Model 850 Dual Trace Physiological Monitor. This model came out in 1971 and was the first portable, battery rechargeable unit of its time. Its original price was $2000.00. The paramedics also carried some medical equipment in a black model “PF-3300″ Old Pal tackle box, which was commonly used by LACoFD at the time. The other medical gear terminology and jargon, and emergency medical practices at the time were usually represented as faithfully and accurately as possible, although the results of some rescue efforts were frequently dramatized to the point of the occasional unlikely outcome. Because of the attention to detail, there were times when the actors had some difficulty pronouncing the “medical” words in the show convincingly, so some scenes show the characters from the back or behind a mask, which allowed them to dub in the correct pronunciations at a later time. Many items of the equipment were donated to the Smithsonian’s National Museum of American History in May 2000.

The protective clothing that the firefighters wore, including the MSA Topgard helmets, as well as nearly all other equipment such as insignia, were standard LACoFD issue at the time.

The Badges used in the series were actual LACoFD badges of the time, and were brought to the set every morning by actor, and firefighter/engineer Mike Stoker. At the end of each days shooting, badges belonging to actors and/or extras were taken back to the LACoFD headquarters, where they were locked away in a safe.

Adapted from the Wikipedia article Emergency!, under the G. N. U. Free Documentation License. Please also see http://en.wikipedia.org/wiki

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