BUYSOUNDTRAX Records presents the soundtrack for WARRIORS OF VIRTUE, featuring music composed by Don Davis (BOUND, The MATRIX trilogy, HOUSE ON HAUNTED HILL, JURASSIC PARK III) for the 1997 fantasy film directed by Ronny Yu (THE BRIDE WITH WHITE HAIR), written by Michael Vickerman, Hugh Kelley and the Law brothers, starring Mario Yedidia, Marley Shelton, Chao Li Chi, Dale Wilson, Kathleen Barr, Doug Parker, Scott McNeil, Doug Jones, Lee Arenberg, Dennis Dun and Angus MacFadyen as Komodo.

WARRIORS OF VIRTUE tells the story of Ryan Jeffers (Yedidia), a disabled middle school student who spends most of his time reading comic books and imagining other worlds where he might have great adventures. One day, he stops at his favorite Chinese restaurant and visits with Ming (Dun), the owner. Ming gives Ryan a manuscript of Tao, which is a representation of the five elements that make up the Tao mythology. Ming suggests that Ryan should read the manuscript and it might lead to his ‘true enlightenment’. During school, Ryan is the waterboy for the football team. One afternoon, Ryan is caught staring at the quarterback’s girlfriend and the team starts picking on Ryan and his friend, Chucky. After the girl stands up for Ryan, the quarterback invites Ryan and Chucky to a water treatment plant for an initiation ritual that involves them going across a flimsy pipe to graffiti their names on a wall. Ignoring Chucky’s warnings and feeling ashamed about his disability, Ryan tries to go across the pipe but is blasted into a water tank.

Awakening in the land of Tao, Ryan discovers his disability is gone and he has the use of his legs. Shortly thereafter, he is attacked by soldiers and in the process of escaping, he loses his backpack, which contains the Tao manuscript. Ryan encounters the dwarf-like Mudlap who brings him to Elysia (Shelton), a beautiful girl in white robes. Elysia takes him to Master Chung (Chi). Master Chung leads the Warriors Of Virtue, five anthropomorphic kangaroos who wield the power of the elements. The Warriors are in search of the Manuscript of Legend. They are opposed by the evil warlord Komodo (MacFadyen), who leads an army that has been terrorizing the Land of Tao while Komodo is on a quest to destroy all the lifesprings, the sources of balance and harmony in Tao. Ryan learns that Ming’s gift is in actuality the Manuscript Of Legend and the secrets contained within its pages will decide the outcome in the battle between the forces of good and evil. With the Manuscript now in Komodo’s hands, Ryan must unite the Warriors Of Virtue and recover the Manuscript so that he can decipher its secrets and save Tao.

Released in 1997, WARRIORS OF VIRTUE is a fantasy film filled with lofty ambitions that failed to find its audience. The film is the product of four wealthy brothers, transplanted from Hong Kong to settle in Colorado, the Law brothers. Surgeons by trade but with a creative and financial interest in cinema, they decided to make a Hollywood blockbuster. The brothers invested $35 million of their combined fortunes into developing and producing the film, a science fiction fantasy best described as a variation on THE WIZARD OF OZ meets KUNG-FU PANDA with a pouch-full of STAR WARS’ Force-full mysticism added for good measure. The brothers went on to personally finance another $20 million in marketing costs, with an eye on lucrative toy and other merchandise tie-ins. When the Law brothers were finished shooting the film, they were convinced their film deserved a fully orchestral, swashbuckling score to bring life to the world of Tao and assist its journey to acclaim and fortune. The brothers hoped to hire John Williams to score the film but his agent referred them to another composer by the name of Don Davis. He began work on scoring the film in 1995, two years prior to the film’s release. The producers told him they wanted a broad symphonic score, with a separate theme for each of the five Warriors and as one of the brothers was involved with the Colorado Opera Company, he wanted to commission a piece of concert music that involved these five themes, representing the virtues in the manner of an oratorio. This oratorio, called ‘Of The Illuminated’, received its premiere at the Breckenridge Music Festival in the summer of 1995. This unique (and lengthy) affiliation with the project allowed the composer to be a part of the creative team from the beginning of the project. The WARRIORS OF VIRTUE score was recorded with the Colorado Symphony Orchestra and mixed by Armin Steiner.

Emmy winning composer Don Davis began playing trumpet and piano at the age of nine, and started writing music at twelve. As his affinity for music grew, so did his aspirations, and soon he was composing and arranging orchestral charts for local jazz ensembles that he also performed with. After graduation from high school, Davis furthered his study of music at UCLA, majoring in music theory and composition, playing trumpet in college jazz ensembles and orchestras. After graduation from UCLA, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced the young Davis to film and television composer Joe Harnell, best known for his work on TV shows such as V and THE INCREDIBLE HULK. He was immediately impressed by Davis' attention to orchestral detail, especially as evidenced by a chamber symphony Davis was writing at the time. Harnell became a mentor to Davis and introduced him to the professional world of film and television scoring. His early compositional work caught the attention of composer Lee Holdridge, who had penned the theme music for the television series BEAUTY AND THE BEAST and he helped Davis land the job composing weekly scores for the show. Davis' rich orchestral style meshed perfectly with the tone of the show and he went on to win an Emmy for his work and achieve great acclaim as one of television's most gifted young composers.

After BEAUTY AND THE BEAST, Davis found his career as a composer soaring and he was commissioned to compose scores for dozens of top television movies and series, including SEAQUEST DSV, HOUSE OF FRANKENSTEIN, Peter Benchley’s THE BEAST, TINY TOON ADVENTURES and STAR TREK: THE NEXT GENERATION. In 1997, Davis composed the score for Larry and Andy Wachowski's off-beat thriller BOUND, and the directing brothers immediately formed a close working relationship with Davis. The Wachowskis and Davis again collaborated on the MATRIX Trilogy. Davis' work for the three scores incorporated elements of popular music, electronic synthesizer effects, and even a touch of the avant-garde. His full length three act opera "Río de Sangre" premiered in October, 2010 at the Florentine Opera Company in Milwaukee, Wisconsin. The full production included 10 principals with a 40 voice choir and an 11-piece stage ensemble, accompanied by the Milwaukee Symphony Orchestra conducted by Joseph Rescigno.

WARRIORS OF VIRTUE was first released on compact disc by Kid Rhino with a short presentation of the score and nine songs at the time of the film’s release and later released again in a better presentation by Prometheus Records minus the songs and with more of Don Davis’ score restored. Buysoundtrax Records now presents a new release of WARRIORS OF VIRTUE, with liner notes written by author Randall Larson including new comments from the composer, along with new mastering from Digital Outland, allowing a new audience to discover Don Davis’ wonderful score.

WARRIORS OF VIRTUE is a limited edition release of 1000 units.


BUYSOUNDTRAX Records presents the original motion picture soundtrack for THE FOURTH PROTOCOL, featuring music composed by Lalo Schifrin (BULLITT, MISSION: IMPOSSIBLE, ENTER THE DRAGON) for the 1987 spy thriller directed by John Mackenzie (THE LONG GOOD FRIDAY), based on the novel written by Frederick Forsyth, starring Michael Caine, Pierce Brosnan, Ned Beatty, Joanna Cassidy, Michael Gough, Julian Glover, Ray McAnally, Ian Richardson, Anton Rodgers, Alan North, Betsy Brantley and Matt Frewer.

THE FOURTH PROTOCOL is a stylish cold war chiller based on Frederick Forsyth’s novel of the same name. The film was released in 1987, just as Soviet leader Mikhail Gorbachev began to introduce the liberalizing reforms of perestroika and glasnost that would result in the collapse of the Soviet Union. In Forsyth’s 1984 cold war thriller, renegade parties within the Soviet Union, led by KGB Chairman Govorshin and British defector Kim Philby enact a plan to set off a nuclear bomb near an American airbase in England, intending to destabilize NATO and bring about an anti-NATO, anti-American and pro-Soviet government to the UK. The title refers to a fictional element of the 1968 Nuclear Non-Proliferation Treaty, which in the world of the novel contained four secret protocols, the last one a prohibition on non-conventional means of delivering nuclear weapons. In violation of that protocol, Govorshin and Philby mean to detonate an atomic bomb by shipping parts in secret to England where a Soviet spy will secretly assemble and activate the device nearby the target airbase. KGB agent Major Valeri Petrofsky (Brosnan) is singled out by KGB Chairman Govorshin (North) as the undercover operative who will receive the parts in England and, after assembly, activate the bomb. Enter MI-5 agent John Preston (Caine), a no-nonsense British spy whose intuitive success puts him at odds with his superior, acting MI-5 director Brian Harcourt-Smith (Glover), whose overt dislike of Preston gets his subordinate transferred to MI-5’s equivalent to Siberia – the Airports & Ports division. As luck would have it, this is exactly where Preston will find his first clue, which sets him onto the nature of the Soviet plot. This discovery will point him toward Petrofsky and his collection of bomb parts. The two trails eventually merge in the climax as Preston confronts Petrofsky and learns the truth about THE FOURTH PROTOCOL.

To score THE FOURTH PROTOCOL, the producers hired Lalo Schifrin. His music for the film is a rare example of the composer scoring an action film orchestrally. While his musical roots in jazz have found their way into his best-known scores, Schifrin has always shown himself proficient with orchestral scores, although the majority of his modern action scores have largely embodied a modern jazz musical milieu. As a result, THE FOURTH PROTOCOL is a kind of cousin to his orchestral score for TELEFON, in which Charles Bronson played a Soviet agent sent on a covert mission into the US. Like that earlier score, the music for THE FOURTH PROTOCOL is played mostly in the dark registers – lots of cello, bass clarinet, and bassoon evoking the dark possibilities inherent within the film’s title. Schifrin’s music for THE FOURTH PROTOCOL is not generally a character-driven score. With few exceptions, he uses the music to drive the story’s action rather than evoke personalities and perceptions.

As a pianist, composer and conductor, Lalo Schifrin is equally at home conducting a symphony orchestra, performing at an international jazz festival, scoring a film or television show, or creating works for the Los Angeles Chamber Orchestra, the London Philharmonic and even The Sultan of Oman. As a young man in his native Argentina, Lalo Schifrin received classical training in music, and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Lalo Schifrin continued his formal music education at the Paris Conservatory during the early 1950s. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career.


Among Schifrin’s conducting credits are the London Symphony Orchestra, the London Philharmonic Orchestra, the Vienna Symphony Orchestra, the Los Angeles Philharmonic, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra, the Mexico City Philharmonic, the Atlanta Symphony Orchestra, the Orchestra of Saint Luke (New York City), the National Symphony Orchestra of Argentina, the Sydney Symphony Orchestra, and the Lincoln Center Chamber Orchestra.

Originally released in 1987 on vinyl by DRG and on compact disc the same year by England’s Filmtracks label, THE FOURTH PROTOCOL was one of the first soundtracks to be released on compact disc, and one of the most elusive. The original CD release had some sonic issues and fans of the composer have been waiting a long time for that to be addressed. Buysoundtrax is excited to present a new compact disc release of THE FOURTH PROTOCOL, with liner notes written by author Randall Larson and new mastering from Digital Outland, making it possible to completely enjoy all the details of Lalo Schifrin’s music for the film.

THE FOURTH PROTOCOL is a limited edition release of 1000 units.





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