Collateral

 

Collateral

(Original Motion Picture Score)

Music Composed by

James Newton Howard

Renovatio Records’ next release celebrates the music of Collateral (2004), the acclaimed action thriller directed by Michael Mann and starring Jamie Foxx, Tom Cruise, Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill.

Widely regarded as one of the most compelling thrillers of its time, Collateral blends a gripping narrative with standout performances and the atmospheric allure of nighttime Los Angeles. Foxx plays Max, a Los Angeles cab driver, who is offered a high fare by Vincent (Cruise) to drive to several locations throughout the city. Max agrees but soon finds himself taken hostage by Vincent, who turns out to be a cold-blooded hitman hired to eliminate a number of targets. With Mann’s signature attention to detail, Collateral not only achieved critical acclaim but also performed strongly at the box office, earning $220 million worldwide. Its exploration of themes like morality, chance, and human connection struck a chord with audiences, while the visually striking cinematography and tightly woven narrative solidified its place as a modern classic.

Integral to the film’s immersive experience is its music—a compelling blend of original score and carefully curated songs that enhance its emotional and thematic depth. The music of Collateral exemplifies the challenges and artistry of scoring a Michael Mann film, marked by his unorthodox and collaborative approach. Although James Newton Howard is the primary credited composer, the score is a mosaic that also includes contributions from Antonio Pinto and Tom Rothrock, as well as various temp tracks Mann retained in the final cut. This fragmented methodology reflects the director’s penchant for experimenting with musical textures, sometimes at the expense of a unified score.

Howard, aware of Mann’s exacting standards, approached the project with tempered expectations, even humorously noting he would be pleased if half of his compositions were used. In the end, only 15 minutes of his 50-minute score made it into the film. Meanwhile, Mann simultaneously tasked Pinto and Rothrock with composing for overlapping scenes, creating a rich but eclectic musical landscape. Despite its patchwork nature, the resulting score captures the film's haunting and nocturnal ambiance, contributing significantly to its mood.

Pinto’s compositions bring an emotional resonance to Collateral, reflecting cab driver Max’s journey through trauma and catharsis. His standout tracks, such as "Night Shift" and "Requiem," blend noir-inspired string melodies with electronic and orchestral textures, encapsulating the film’s delicate interplay of tension and fleeting beauty. Rothrock, on the other hand, provides hard-edged rock cues for a few of the film’s more kinetic sequences, particularly those involving law enforcement, adding a raw, energetic layer to the score.

In contrast, Howard’s work emphasizes rhythmic suspense and introspection, skillfully blending orchestral and synthetic elements. Tracks like "Island Limos" introduce intriguing motifs, while "Felix" and "Surveillance" showcase Howard’s innovative use of layered guitar textures. The mournful vocal lament in "Daniel Is Killed" and the pulse-pounding brass and percussion of “Max Steals Briefcase”, "The Final Target", and "Metro" deliver thrilling intensity in the film’s climactic moments, and will surely satisfy the avid fans of the composer. Howard himself described the score as “less note-y, much less orchestral” than his typical work, reflecting the minimalist yet impactful tone Mann sought.

Over the years, Collateral has seen a number of soundtrack releases, each with its strengths and shortcomings. The original 2004 album by Hip-O Records featured a mix of songs and score, offering a broader overview of the film’s music but limiting the depth of its score presentation. In 2016, Intrada Records focused exclusively on Howard’s work, offering a comprehensive collection of the score, though it leaned heavily into its darker, more subdued elements, which proved to be overwhelming for casual listeners. Renovatio Records’ new release seeks to deliver the definitive listening experience, curating a balanced selection of tracks from Howard, Pinto, and Rothrock. This album captures the essence of the film’s musical identity while standing as an engaging standalone experience.

Track listing:

1. Briefcase - Tom Rothrock (2:06)

2. Night Shift - Antonio Pinto (1:47)

3. Stalk - James Newton Howard (3:10)

4. The Second Hit - James Newton Howard (2:09)

5. You Like Jazz? - James Newton Howard (2:51)

6. Daniel Is Killed - James Newton Howard (2:52)

7. Max Panics - Antonio Pinto (2:30)

8. Max Steals Briefcase - James Newton Howard (1:47)

9. Island Limos - James Newton Howard (1:32)

10. Crime Scene - Antonio Pinto (1:35)

11. Felix - James Newton Howard (1:52)

12. Surveillance - James Newton Howard (3:44)

13. Club Fever - Antonio Pinto (2:58)

14. Last Stop - Antonio Pinto (1:15)

15. The Final Target - James Newton Howard (6:53)

16. Metro - James Newton Howard (5:13)

17. Would Anyone Notice? - James Newton Howard (3:46)

18. Requiem - Antonio Pinto (2:01)

Total Running Time: 50:01

Download Link

Size: 243.8 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 James Newton Howard

Additional Music by Antonio Pinto

Music Produced by James Newton Howard

Additional Score Produced by Antonio Pinto

Executive in Charge of Music for Paramount Pictures: Randy Spendlove

Executive Music Supervisor: Kathy Nelson

Music Supervisor: Vicki Hiatt

Orchestra Conducted by Pete Anthony and Bruce Fowler

Orchestrations by Pete Anthony, Jeff Atmajian, Brad Dechter, Ed Cortês, Michael G. Fisher and Bruce Fowler

Orchestra Recorded at 20th Century Fox Newman Scoring Stage, Los Angeles, and Todd-AO, Studio City, CA

Orchestra Recorded and Mixed by Shawn Murphy

Additional Score Recorded by Michael Farrow

Scoring Crew: Jason Lloyd, Tom Steel

Stage Engineer: Bill Talbott

Electronic Score Recorded and Mixed by James T. Hill

Score Recordists: Tim Lauber, Mike Ging, Thomas Graham

Music Editors: Jim Weidman, Todd Kasow, Philip Tallman, James Flamberg

Additional Music Editors: Del Spiva, David Olson, Mike Boustead

Additional Programming by Charlie Clouser

Score Coordinators: Gui Amabis, Annica Ackerman

Music Contractor: Sandy De Crescent

Music Preparation: Jo Ann Kane Music Service

Soloists:

Oboe: Tom Boyd

French Horn: James Thatcher

Guitar: George Doering

Rabeca Violin, Tenor Violin, Hurdy-gurdy: Siba and Craig Eastman

"Briefcase"

Written by Tom Rothrock

Produced and Mixed by Tom Rothrock

Engineered and Edited by Mike Tarantino and John Paterno

Music Published by SKG Songs (ASCAP)

Cue Assembly:

Track Title	Slate & Cue Title
1. Briefcase - Tom Rothrock	Briefcase
2. Night Shift - Antonio Pinto	Night Shift
3. Stalk - James Newton Howard	1m2 Vincent Stalks Building 2m1 Vincent Reveals ID (Edited) 2m2 Vincent and Max Talk (Edited)
4. The Second Hit - James Newton Howard	2m1 Vincent Reveals ID (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 2m4 Sylvester Clarke
5. You Like Jazz? - James Newton Howard	3m1 You Like Jazz? Part 1 (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 3m3 Daniel
6. Daniel Is Killed - James Newton Howard	3m2 Fanning at Crime Scene 3m4 Daniel is Killed (with VOX)
7. Max Panics - Antonio Pinto	Max’s Panic
8. Max Steals Briefcase - James Newton Howard	3m8 Max Steals Briefcase
9. Island Limos - James Newton Howard	4m2 Island Limos
10. Crime Scene - Antonio Pinto	LAPD Crime Scene
11. Felix - James Newton Howard	4m5 Max Meets Felix
12. Surveillance - James Newton Howard	4m3A I’m Vincent 5m1 Cops Pursue 4m4 Surveillance at El Rodeo (Edited)
13. Club Fever - Antonio Pinto	Club Fever Untitled (Edited)
14. Last Stop - Antonio Pinto	Last Stop
15. The Final Target - James Newton Howard	6m3 Race to Annie (Edited) 6m4 Vincent Cuts Power
16. Metro - James Newton Howard	6m5 Cat and Mouse (Edited) 7m1 Race to the Metro (Edited) 7m2 Vincent Hops on Train (Edited)
17. Would Anyone Notice? - James Newton Howard	7m3 Finale
18. Requiem - Antonio Pinto	Requiem

Motion picture artwork, logos and photos © 2004 DW Studios L.L.C. 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 [0-01702-19069]

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

Download Link

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]

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

Download Link

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]