80 Day Obsession

One Shot 80: Da oltre di 10 anni è la collana più completa dedicata ai successi Pop e Dance della decade che va dal 1980 al 1989. Dopo il successo ottenuto con la prima serie arrivata al 20° volume, anche grazie agli innumerevoli Fans che con e-mail e cartoline contenute all'interno del CD hanno collaborato alla riuscita con le loro segnalazioni, ecco che la Universal Music Italia, propone quello che viene considerato il completamento dell'opera. La Nuova One Shot, come forse avete già capito, oltre ad essere rinnovata nel look, è rinnovata anche nei contenuti, 2 CD per volume che raccolgono anno per anno tutto quello che gli anni 80 hanno offerto.

This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age's obsession with flying saucers and giant robots, Bernard Herrmann's score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it's almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann's most visionary and influential scores.

In collaboration with Litto Enterprises Inc., Music Box Records is very proud to present one of its most ambitious releases yet - a classic Bernard Herrmann score from one of his last efforts and an important milestone in his immense career for Brian De Palma´s classic melodrama Obsession (1976) written by Paul Schrader and starring Geneviève Bujold, Cliff Robertson and John Lithgow. In a career often spent paying tribute to Alfred Hitchcock with the likes of Dressed to Kill, Blow Out and Body Double, Obsession even today stands as De Palma’s ultimate fever dream homage to the director who’d made Bernard Herrmann a household name as the romantic master of musical suspense during an eight film collaboration, no more so than with 1958s Vertigo. Yet Obsession’s reincarnation of that masterpiece showed just how devious De Palma always was in his admiration, cloaking a truly seditious plot twist that would’ve given even Hitchcock pause within sleek, star-filtered visuals. Obsession remains his most fervently romantic, and dare one say innocent attempt to recreate the studio gloss of a time when outright violence and sex were left to the mind’s eye, its rage and sensuality truly made explicit in its music. It’s a powerful, stylistic subtlety that increasingly made Obsession into the filmmaker’s most discerning cult film.