Monday, November 11, 2024

Interview with the Vampire

 

Interview with the Vampire
(Original Motion Picture Soundtrack)

Music Composed by
Elliot Goldenthal

Renovatio Records presents a reissue of Elliot Goldenthal’s haunting score for Interview with the Vampire (1994), Neil Jordan’s gothic horror classic starring Brad Pitt, Tom Cruise, Kirsten Dunst, Christian Slater, Antonio Banderas, and Stephen Rea. Based on Anne Rice’s novel of the same title, the film follows Louis, a vampire recounting a life steeped in passion, loss, and moral conflict to a modern-day journalist. Interview with the Vampire arrived at a time when vampire films were undergoing a renaissance, as audiences were drawn to the genre’s dark allure and gothic aesthetics, brought to life in Coppola’s recent Bram Stoker’s Dracula. However, Jordan’s film, with its mix of seductive horror and existential sorrow, needed a sound that delved into deeper psychological territory than its predecessors. Initially, George Fenton was hired for this task, but after his music was deemed too restrained, the producers turned to Goldenthal, whose avant-garde leanings and swift adaptability made him the ideal candidate to create a daring and complex score. Completed in a few intense weeks, Goldenthal’s work earned Academy Award and Golden Globe nominations, its gothic classicism and rich instrumentation capturing the haunting intricacies of Rice’s immortal characters.

Goldenthal’s approach draws on both classical and experimental techniques, crafting a musical landscape that captures the tragic beauty of Louis, the film’s conflicted narrator, while also exploring the violent, chaotic nature of vampires, represented mostly by Lestat, his ruthless counterpart. This duality is evident in the track “Born to Darkness,” where a sorrowful string melody builds slowly, evoking Louis’s tragic past before exploding in a dissonant orchestral crescendo as Lestat transforms him. Goldenthal’s true vision for Lestat, however, comes through in cues like “Lestat’s Tarantella” and “Lestat’s Recitative.” The former introduces a grotesque carnival theme with a jarring, frenetic energy that starkly contrasts the score’s gothic undertones, while the latter, through the use of a harpsichord motif, creates a haunting yet playful portrait of Lestat’s unpredictable nature. These thematic and instrumental choices lend a macabre humor to the score, demonstrating Goldenthal’s resistance to conventional romanticism in favor of tonal shifts that defy traditional continuity.

The score also introduces a motif for Claudia, the young girl trapped forever in a child’s body after being turned into a vampire. Goldenthal created a delicate piano melody that recalls an ancient lullaby, perfectly capturing her tragic nature. This theme is introduced in “Claudia’s Transformation” and is revisited in “Abduction and Cistern,” this time played on a glass harmonica to reflect her fragile, doll-like innocence. “Claudia’s Transformation” also features an intense agitato for violin and piano, showcasing Goldenthal’s classical sensibilities.

Goldenthal’s fascination with brass and woodwind experimentation finds ample expression here, where his use of quivering brass and eerie woodwind effects evokes the supernatural, otherworldly quality of vampirism. This is especially apparent in cues like “Plantation Pyre,” “Escape to Paris,” and “Theatre des Vampires,” where brass tones oscillate between harmony and discord, mirroring the characters’ detachment from humanity. Further similar brass performances can be heard during the relentless action portions of “Abduction and Cistern” and “Louis’ Revenge”, where the tarantella motif is revisited more menacingly than ever. Additionally, the score’s two transformation cues incorporate inventive “breathing” voices and heartbeats, further demonstrating Goldenthal’s extraordinary creativity.

The score’s emotional high points emerge in pieces like “Libera Me,” “Induction and Lament,” and “Finale,” where Goldenthal’s romantic and tragic themes shine. These cues are marked by a sense of reverence, capturing the sorrow of lives bound to darkness and the unending desire for redemption. Here, Goldenthal’s melodic restraint contrasts powerfully with the chaotic intensity elsewhere in the score, offering brief moments of reflection and beauty amidst the underlying madness. These cues likely contributed to Goldenthal’s critical acclaim, demonstrating his skill in creating an emotionally resonant, nuanced soundtrack.

While widely praised, the score for Interview with the Vampire has polarized listeners due to its unconventional structure and tonal diversity. Some may find the lack of a cohesive melody and the sudden shifts in tone unsettling compared to the more traditional melodic scores of its era. Yet others admire Goldenthal’s daring originality, recognizing his score as transcending horror, moving toward an operatic, avant-garde expression of emotional complexity. Furthermore, the score’s analog recording quality, uncommon by the mid-1990s, lends it a slightly raw, unpolished edge, reinforcing the sense of timelessness and decay that permeates the story.

The original 1994 release by Geffen Records offered a condensed album with highlights from Goldenthal’s score, alongside Guns N' Roses’ cover of “Sympathy for the Devil” used in the end credits. However, this release omitted several key pieces, and many cues were trimmed, rearranged, or mixed to balance the album’s runtime, compromising some of the score’s narrative power. This new release by Renovatio Records addresses these issues by presenting unreleased cues in their original chronological order, offering fans and newcomers alike a fuller experience of Goldenthal’s extraordinary work. Whether polarizing or beloved, Interview with the Vampire remains a distinctive musical interpretation of the gothic horror genre—one that continues to captivate, disturb, and haunt listeners.


Track listing:

1. Libera Me (2:48)
2. Born to Darkness (2:32)
3. Louis' Transformation (5:02)
4. Plantation Pyre (2:37)
5. Lestat's Recitative (4:55)
6. Lestat's Tarantella (0:47)
7. Claudia's Transformation (6:34)
8. Lestat Deceived (3:15)
9. Escape to Paris (3:10)
10. Théâtre des Vampires (2:01)
11. Armand's Seduction (3:06)
12. Induction and Lament (3:19)
13. Abduction and Cistern (5:14)
14. Louis' Revenge (5:17)
15. Finale (2:10)

Total Running Time: 53:47



Size: 319.5 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:






Credits:

Music Composed by Elliot Goldenthal

Music Produced by Matthias Gohl
Executive in Charge of Music for Warner Bros. Gary LeMel

Orchestrations by Robert Elhai and Elliot Goldenthal
Conducted by Jonathan Sheffer
Recorded and Mixed by Steve McLaughlin and Joel Iwataki
Electronic Music Produced by Richard Martinez
Orchestra Contracted by Emile Charlap
Recorded and Mixed at Manhattan Center Studios, NY
Music Editors: Michael Connell and Chris Brooks
Mastered by Vlado Meller at Sony Music, NY

"Libera Me" Vocals by The American Boychoir
Solo Violin: Glenn Dicterow, Ray Gniewek
Solo Piano: Bill Mays
Viola da Gamba: Louise Schulman
Harpsichord: Wendy Young
Glass Harmonica: Cecilian Brauer

All songs written by Elliot Goldenthal and published by WB Music Corp./Safe Space Music adm. by MCA Music Publishing, a division of MCA, Inc. ASCAP
The American Boychoir appears courtesy of Angel Records


Cue Assembly:

Track Title

Slate and Cue Title

1. Libera Me

1m1 Main Title - Libera Me

2. Born to Darkness

1m3b 1791 - The Plantation - Longing For Death (Edited)

1m4 Up The Mast

3. Louis’ Transformation

2m1 Bedroom Scene – Sunrise (Edited)

 

2m1b Prelude and Bite – Transformation (Edited)

4. Plantation Pyre

3m2a Lestat On Horse

3m3a Louis Burns House Part A (Edited)

3m3b Louis Burns House Part B

5. Lestat’s Recitative

4m1a Lestat Baits Louis

4m1a Insert Lestat Baits Louis tk 2

4m1bAlt We Are Predators (Edited)

6. Lestat’s Tarantella

4m3 Tarantella and Flight

7. Claudia’s Transformation

4m2 Louis Meets Claudia (Edited)

6m2 Claudia Freaks Out

5m1 Claudia Joins The Club (Edited)

8. Lestat Deceived

7m1 Claudia Deceives Lestat (Edited)

7m1a Collapses Time

9. Escape to Paris

7m6 Escape to Paris

10. Théâtre des Vampires

8m3a Santiago's Waltz

8m5 The Vampire Banquet (Edited)

11. Armand’s Seduction

9m1alt The Universe Is Empty (Edited)

9m3 Armand’s Seduction (Edited)

12. Induction and Lament

9m2 Beyond Words (Edited)

6m4 Time To Leave (Edited)

10m1 Induction and Lament

9m2alt Beyond Words (Edited)

13. Abduction and Cistern

10m2 Abduction And Cistern (Edited)

12m2 False Ending Part III (Edited)

10m2a Armand Rescues Louis (Edited)

10m2b Glass Harmonica Coda

Claudia's Theme For Glass Harmonica v1 (Edited)

Claudia's Theme For Glass Harmonica v2 (Edited)

14. Louis’ Revenge

10m3 Loss and Revenge

10m2c Absolution

15. Finale

12m2 Fake Ending (Edited)

2m1 Bedroom Scene – Sunrise (Edited)

2m2b Commedia dell'arte Part B (Edited)



Motion picture artwork and photos © 1994 Geffen Records, Inc. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19071]

Friday, October 4, 2024

Spectre

 


Spectre
(Original Motion Picture Soundtrack)

Original Music by
Thomas Newman

In celebration of this year's Bond Day, Renovatio Records proudly presents a new album release of Thomas Newman's haunting score for Spectre, the 24th official James Bond film and the second directed by Sam Mendes. Daniel Craig reprises his role as agent 007, joined by Christoph Waltz, Léa Seydoux, Ben Whishaw, Naomie Harris, Dave Bautista, Monica Bellucci, and Ralph Fiennes. Spectre follows Bond on a globe-spanning mission to uncover a shadowy criminal organization known as SPECTRE. As he unravels the mystery, Bond is forced to confront figures from his past, all while questioning his future as a secret agent. While the film earned praise for its action sequences and performances, it faced criticism for its pacing, length, and reliance on formulaic narrative decisions. Still, it grossed an impressive $880 million worldwide, becoming the second-highest grossing Bond film after Skyfall.

One of the film's most lauded elements was the score by Thomas Newman, who came back after his acclaimed work on Skyfall. For Spectre, Newman crafted a score that further integrates his signature style while pushing the Bond franchise’s music in new directions. He skillfully weaves the iconic James Bond theme into the score in subtle and inventive ways, while also exploring a more introspective tone. With his use of delicate strings, haunting woodwinds, and layered electronic textures, Newman creates a sonic landscape that mirrors Bond’s internal struggles and the looming menace of the SPECTRE organization. Additionally, Newman uses location-specific cues to enhance the film’s international scope. Tracks like “Los Muertos Vivos Están” incorporate percussion, flutes, and guitars with Mexican flavor, while “Funeral in Rome” features an angelic choir to evoke the grandeur of Rome, giving each setting its own unique soundscape.

A distinctive action motif appears throughout key moments in the score, including the car chase in the cue “Rome Pursuit” and the high-octane sequences like “Snow Plane” and “Westminster Bridge.” However, much of Spectre’s score leans towards atmospheric, ambient textures, reflecting the film’s darker, more personal narrative as Bond faces off against his greatest nemesis, Ernst Stavro Blofeld. Tracks such as “CNS”, “The Pale King,” “Hoffler Klinik,” “Secret Room in L’Américain,” and “Oberhauser’s Base” feature subtle electronic pulses and abstract flute lines that evoke the shadowy presence of the SPECTRE organization, adding layers of tension and intrigue.

Newman's romantic themes are also a standout feature of the score, showcasing his ability to craft lush, emotionally resonant melodies. “Donna Lucia,” which accompanies Bond’s seduction of Lucia Sciarra, features delicate woodwinds and sweeping strings, while “Madeleine” develops a bittersweet, introspective yet romantic theme for Bond's evolving relationship with Dr. Madeleine Swann. The gentle woodwinds and soft strings of this theme are quintessential Newman, known for his ability to convey deep emotion through his music.

While some critics have argued that Newman's score lacks the classic Bond swagger of earlier entries, his work on Spectre offers a more mature and reflective take on the franchise’s music. It may not have the instantly recognizable, recurring themes of past Bond scores, but it compensates with intricate textures, atmospheric moods, creative use of location-specific sounds, and evocative romantic music. By stepping away from the more flamboyant jazz and rock influences that defined earlier Bond music, Newman allows the score to evolve in exciting new directions.

Originally released by Decca/Universal Music in 2015, the Spectre soundtrack contained most of Newman’s score but was criticized for being too lengthy, with extended ambient sections that challenged listeners. This new release from Renovatio Records trims the duration by almost 20 minutes, while still offering the score’s highlights, arranged in a chronological program that follows the film’s narrative arc that flows smoothly. Additionally, Sam Smith’s Academy Award-winning song “Writing’s on the Wall,” previously absent from the Decca release, is now included. Celebrate Bond Day by revisiting Spectre’s score and appreciating how Newman masterfully blends his style with subtle nods to the Bond musical legacy.


Track listing:

1. Los Muertos Vivos Están (2:45) - featuring Tambuco
2. CNS (2:17)
3. Funeral in Rome (3:43)
4. Donna Lucia (2:02)
5. Rome Pursuit (5:01)
6. The Pale King (2:35)
7. Hoffler Klinik (1:41)
8. Snow Plane (3:55)
9. Secret Room in L'Américain (6:21)
10. Madeleine (4:29)
11. Oberhauser's Base (3:33)
12. It's Good to Have You Back, 007 (3:40)
13. A Man Hard to Kill (5:21)
14. MI6 Demolition (3:32)
15. Westminster Bridge (4:20)
16. Out of Bullets (1:51)
17. Writing's on the Wall (4:38) - Performed by Sam Smith

Total Running Time: 61:44



Size: 329.2 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Original Music Composed by Thomas Newman

Score contains interpolations of the "James Bond Theme" written by Monty Norman

Produced by Thomas Newman and Bill Bernstein

Music Recorded and Mixed by Simon Rhodes at Abbey Road Studios, London
Additional Recording by Shinnosuke Miyazawa
Assistant Engineering: Lewis Jones, Gordon Davison, Matt Jones
Orchestrations by J.A.C. Redford
Orchestration of "Writing's on the Wall" by Simon Hale
Additional Arrangements and Programming: Simon Franglen
Music Editors: Bill Bernstein, Yann McCullough, Peter Clarke
Audio Coordination: George Doering
Digital Coordination: Shinnosuke Miyazawa
Music Preparation: Jill Streater, Global Music Services
Orchestra Contractor: Isobel Griffiths
Assistant Orchestra Contractor: Lucy Whalley
Concertmaster: Thomas Bowes
Choir: London Voices; co-directors: Terry Edwards and Ben Parry
Album Mastered by Simon Rhodes at Abbey Road Studios, London

Instrumental Soloists:
Guitars, dulcimers: George Doering
Synthesizers, drum programming:  John Beasley
Percussion: Paul Clarvis, Frank Ricotti
Electric violin: Sonia Slany
Alto flute, bass flute: Phill Todd
Piano: Thomas Newman

Tambuco: Ricardo Gallardo, Alfredo Bringas, Raúl Tudón, Miguel González
Percussion Arrangements by Yamil Recz

"Writing's on the Wall"
Written by Sam Smith and James Napier
Performed by Sam Smith
Produced by Jimmy Napes and Steve Fitzmaurice
Sam Smith appears courtesy of Capitol Records
A division of Universal Music Operations Limited

Score Published by United Lion Music, Inc.
"James Bond Theme" Published by EMI Unart Catalog Inc. (BMI)
"Writing's on the Wall" Published by Naughty Words Ltd. (PRS), Stellar Songs Ltd. (PRS), Sony/ATV Music Published (PRS), Salli Isaak Songs Limited (PRS), Universal Music Publishing Limited (PRS), United Lion Music, Inc. (BMI), U/A Music, Inc. (ASCAP)


Cue Assembly:

Track Title

Cue Title

1. Los Muertos Vivos Están

Los Muertos Vivos Están (Edited)

2. CNS

Vauxhall Bridge

3. Funeral in Rome

The Eternal City (Edited)

4. Donna Lucia

Donna Lucia

5. Rome Pursuit

Hinx

Backfire (Edited)

6. The Pale King

The Pale King (Edited)

Kite in a Hurricane (Edited)

7. Hoffler Klinik

Crows-Klinik

8. Snow Plane

Snow Plane (Edited)

9. Secret Room in L’Américain

L’Américain (Edited)

Secret Room (Edited)

10. Madeleine

Madeleine (Edited)

End Title (Edited)

11. Oberhauser's Base

Silver Wraith (Edited)

End Title (Edited)

A Reunion (Edited)

12. It’s Good to Have You Back, 007

Safe House (Edited)

13. A Man Hard to Kill

Blindfold

Careless (Edited)

14. MI6 Demolition

Detonation (Edited)

15. Westminster Bridge

Westminster Bridge (Edited)

16. Out of Bullets

Out of Bullets

17. Writing’s on the Wall – Sam Smith

Writing’s on the Wall – Sam Smith


SPECTRE (P) & © 2015 Danjaq, LLC, Metro-Goldwyn-Mayer Studios Inc., Columbia Pictures Industries, Inc. SPECTRE, 007 Gun Logo and related James Bond Trademarks © 1962-2015 Danjaq, LLC and United Artists Corporation. SPECTRE, 007 Gun Logo and related James Bond Trademarks are trademarks of Danjaq, LLC. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19097]

Wednesday, September 11, 2024

Batman Returns

 

Batman Returns
(Original Motion Picture Soundtrack)

Music Composed by
Danny Elfman

This year marks the 85th anniversary of Batman's first appearance in comic book history, and to celebrate, Renovatio Records presents a new release of Danny Elfman’s acclaimed score for the 1992 sequel Batman Returns. Directed by Tim Burton and starring Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, and Pat Hingle, the film follows Batman as he confronts the power-hungry crime lord known as the Penguin, who schemes to control Gotham City alongside the corrupt businessman Max Shreck. At the same time, Catwoman emerges as a volatile, morally ambiguous figure with her own agenda for revenge. As the dark underworld of Gotham comes to life, Batman is caught in a battle not only to protect the city but also to navigate a tangled web of allies and enemies who blur the line between heroism and villainy. While the film received mixed reviews from critics, it was a box office success, grossing over $266 million worldwide and cementing its place in pop culture.

For the score, Burton once again turned to his longtime creative partner, Danny Elfman, marking their fifth collaboration. Elfman’s music for Batman Returns is a triumph of creativity, perfectly capturing the film’s darker and more eccentric tone. Departing from the more straightforward superhero sound of his original Batman score, Elfman crafted a richly complex and surreal composition. One of the most impressive aspects of the score is how Elfman tailored it to the film’s expanded roster of villains. While the iconic gothic theme for Batman, established in the 1989 film, returns, it is the two new themes for the villains that steal the spotlight.

The Penguin’s theme is an intricate blend of tragic operatic lyricism and circus-like whimsy, employing twisted woodwinds, low harp, and a haunting female choir. This mix of tragedy and carnival-style menace perfectly mirrors the character, sympathetically presenting him as both villain and victim. The development of the theme is nothing short of masterful. Cues like "The Penguin’s Lair" and the beginning of "Batman Vs. The Circus" introduce the theme in darker, more sinister tones, while tracks such as "Birth of a Penguin", "The Cemetery" and "Finale" offer solemn and tragic yet lovely renditions of the theme.

Equally brilliant is Catwoman’s theme, introduced in "Selina’s Transformation". With high-pitched strings mimicking a cat’s meow, the theme perfectly encapsulates her feral yet alluring nature. Elfman cleverly intertwines the themes for Batman and Catwoman, both beginning with the same three notes but diverging in opposite directions, with Batman’s line ascending and Catwoman’s descending. This adds complexity to their relationship, reinforcing the tension between them. Their themes clash and weave in tracks like "Sore Spots", "Rooftop Encounter" and "Final Confrontation", creating a musical narrative that speaks to their intricate dynamic. Similarly, the Penguin’s theme often finds itself in direct combat with Batman’s, particularly in action cues like “Batman Vs. The Circus” and “The Penguin’s Master Plan,” where the two themes battle for musical dominance.

Elfman’s score also blends in Christmas-like tones, maintaining a delicate balance between eerie whimsy and darker, more tragic elements. Some may argue that Batman Returns lacks the heroic grandeur of Elfman’s original Batman score, but it’s clear that Elfman was more focused on exploring new emotional and thematic depths. The score’s richness and complexity make it a fascinating, immersive listening experience, especially for those drawn to Elfman’s unique style.

In addition to the score, Elfman co-authored the song "Face to Face" with the alternative rock group Siouxsie and the Banshees. The song plays during the pivotal masquerade ball scene where Bruce Wayne and Selina Kyle (Batman and Catwoman's alter egos) confront their identities, adding an additional layer to their romantic yet doomed connection. The song seamlessly blends orchestral elements from Elfman’s score, weaving in elements of all three of the major character themes, making it a standout piece in the film’s musical landscape.

Over the years, Elfman’s Batman Returns score has seen multiple releases, each offering different content and sound quality for fans and collectors. The original 1992 release from Warner Bros. Records offered a 54-minute selection of highlights, featuring the major thematic cues and action pieces, but presented them out of chronological order and omitted some of the more intricate transitions. Additionally, the sound quality of this release was a point of discussion, with its mix often described as flat and lacking in depth, causing many elements of the rich orchestral recording to be muted or lost in the background. In 2010, La-La Land Records released a 2-CD edition (reissued in 2014) that presented the complete score, including previously unreleased cues and alternate takes. This edition allowed listeners to dive deeper into the thematic richness and character motifs that Elfman carefully developed. However, for casual listeners, the expanded edition may feel overwhelming, as its extended length and intricate details can be too dense for those looking for a more streamlined experience.

Renovatio Records’ new release strikes a middle ground, offering a more concise, yet still comprehensive, version of the score. Presented in chronological order, it allows for a more cohesive listening experience while preserving the key musical highlights and thematic progression. Batman Returns remains one of Elfman’s most inventive and memorable film scores, a perfect companion to Burton’s dark, fantastical vision of the Caped Crusader, and a testament to Elfman’s unparalleled ability to create mood and character through music.


Track listing:

1. Birth of a Penguin (2:26)
2. Main Title (3:12)
3. Batman Vs. The Circus (4:11)
4. The Penguin's Lair (4:40)
5. Selina's Transformation (5:30)
6. The Cemetery (3:12)
7. Cat Chase (5:22)
8. Sore Spots (3:15)
9. Rooftop Encounter (4:10)
10. Batman's Wild Ride (3:41)
11. The Fall from Grace (3:42)
12. The Penguin's Master Plan (6:48)
13. Final Confrontation (4:47)
14. Finale (2:41)
15. A Shadow of Doubt (2:18)
16. End Credits (4:47)
17. Face to Face (4:18) - Performed by Siouxsie and The Banshees

Total Running Time: 69:00



Size: 391.5 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:






Credits:

Music Composed by Danny Elfman

Produced by Danny Elfman and Steve Bartek
Executive in Charge of Music for Warner Bros. Inc.: Gary LeMel
Business Affairs: Keith Kajic

Orchestrations by Steve Bartek
Additional Orchestrations by Mark McKenzie
Conducted by Jonathan Sheffer
Contractor: Patti Zimmitti
Adult Vocal Contractor: Bobbi Page
Recorded by Shawn Murphy at Sony Music Scoring, Culver City, CA
Mixed by Shawn Murphy at CBS Television City, Hollywood, CA
Music Editors: Bob Badami and Bill Bernstein
Assistant Engineers: Sue McLean and Sharon Rice
Digital Editing and Mastering: Dave Collins at A&M Studios, Hollywood, CA
Copyist: Joel Franklin
Danny Elfman's Filmmusic Representation: Richard Kraft and Lyn Benjamin, The Kraft Agency, Inc.
Danny Elfman's Management: Mike Gormley and Laura Engel, LA Personal Development
Personal Assistant to Danny Elfman: Lisette Joselynn

"Face to Face"
Words and Music by Danny Elfman and Siouxsie and The Banshees
Produced by Stephen Hague
Record Engineered by Mike "Spike" Drake
Film Mix by Bill Jackson
Performed by Siouxsie and The Banshees
Courtesy of Polydor Limited and Geffen Records
Published by Warner-Tarmerlan Pub. Corp./Little Maestro Music BMI/Dreamhouse Music PRS.

Score Published by Warner-Tamerlane Pub. Corp. BMI

Cue Assembly:

Track Title

Cue Title

1. Birth of a Penguin

Birth of a Penguin

2. Main Title

Main Title

3. Batman vs. The Circus

Penguin Spies (Edited)

Shadow of Doom (Edited)

Batman vs. The Circus (Edited)

Introducing the Bat (Edited)

4. The Penguin’s Lair

Intro

The Zoo

The Lair (Edited)

5. Selina’s Transformation

Kitty Party

Selina Transforms

6. The Cemetery

The List Begins

The Cemetery (Edited)

7. Cat Chase

Selina’s Shopping Spree

Cat Chase (Edited)

8. Sore Spots

Sore Spots

Batman’s Closet (Edited)

9. Rooftop Encounter

Roof Top Encounters (Edited)

10. Batman’s Wild Ride

Batman’s Wild Ride (Edited)

11. The Fall from Grace

Fall from Grace (Edited)

12. The Penguin’s Master Plan

Umbrella Source

The Children’s Hour

War (Edited)

13. Final Confrontation

Final Confrontation (Edited)

14. Finale

Finale

15. A Shadow of Doubt

A Shadow of Doubt

16. End Credits

End Credits (Alternate)

17. Face to Face – Siouxsie and the Banshees

Face to Face – Siouxsie and the Banshees


Batman is a trademark of © DC Comics Inc. Motion picture artwork and photos © 1992 Warner Bros. Entertainment Inc. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19070]