The Ghost and the Darkness

 

The Ghost and the Darkness

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

Jerry Goldsmith

Renovatio Records presents a newly remastered and re-edited presentation of Jerry Goldsmith's acclaimed score for The Ghost and the Darkness (1996), one of the composer's most distinctive and atmospheric works of the decade. Carefully assembled to follow the narrative progression of the film, this new program restores noteworthy musical passages omitted from the original soundtrack album while offering a more cohesive listening experience that highlights the dramatic architecture of Goldsmith's score.

Directed by Stephen Hopkins and based on true events, The Ghost and the Darkness dramatizes the infamous story of the Tsavo man-eating lions that terrorized railway workers in British East Africa at the end of the nineteenth century. The film follows engineer Lt. Colonel John Henry Patterson (Val Kilmer), who is tasked with overseeing the construction of a vital railway bridge across the Tsavo River, Kenya. Upon his arrival, however, a series of brutal attacks by two unusually aggressive lions threatens not only the project itself, but also the lives of the hundreds of workers under his supervision. As the death toll rises, Patterson joins forces with legendary hunter Charles Remington (Michael Douglas) in a desperate effort to stop the predators before the entire enterprise collapses.

While the film received mixed reviews upon its initial release, critics and audiences alike praised several aspects of the production. Among its most celebrated elements were the stunning cinematography of Academy Award-winning photographer Vilmos Zsigmond, whose sweeping images of the African landscape lend the film a remarkable sense of scale and atmosphere, and the immersive sound design that earned the production the Academy Award for Best Sound Editing. The film performed respectably at the worldwide box office and has since developed a loyal following among fans of historical adventure cinema, survival thrillers, and creature features alike.

Today, The Ghost and the Darkness is remembered not only for its gripping premise and striking visual presentation, but also for Jerry Goldsmith's extraordinary musical contribution. Faced with the challenge of depicting both the majesty of Africa and the primal terror represented by the lions, Goldsmith crafted a richly thematic score that combines sweeping orchestral writing, ethnic percussion, evocative vocal textures, and some of the most inventive suspense music of his later career. The result is a score that seamlessly balances adventure, drama, tragedy, and horror, standing as one of the composer's finest achievements of the 1990s and a favorite among collectors and film music enthusiasts.

At the heart of the score lies John Patterson's main theme, introduced in its most complete form in "Theme from The Ghost and the Darkness". Built around a rhythmic flute-led motif inspired by the traditional Irish tune "The Irish Washerwoman", the theme combines Patterson's Irish heritage with his deep affection for Africa. Goldsmith surrounds the melody with African percussion and vocal chants performed by both adults and children, creating a vibrant musical identity that perfectly encapsulates Patterson's character: an outsider who has come to embrace the continent and dedicate himself to the monumental task of building the Tsavo bridge. As the theme unfolds, this Irish-inspired melody serves as the thematic foundation for a broader musical construct, including a bold brass fanfare that represents both Patterson's determination and the monumental undertaking of constructing the railway. Beneath the theme and its several appearances in the film, the percussion often mimics the rhythmic pulse of a steam locomotive, a subtle but effective nod to the railway project that drives the story forward. Goldsmith further reinforces this association through the use of distinctive metallic slapping effects, suggestive of hammers striking steel and the constant clangor of construction work, integrating the very sound of the railway's creation into the fabric of the score. 

Goldsmith also introduces a heavier, more muscular arrangement of the brass fanfare, as heard during the tracks “One Shot” and “The Bridge”, representing both the railway construction effort and Patterson’s unwavering determination to see the project through. A more intimate variation of this arrangement is associated with Patterson in his role as a hunter. Often presented by woodwinds, particularly flute and bassoon, the motif takes on an almost whistle-like quality, conveying patience, vigilance, and quiet determination. This subdued treatment appears during several of the film's nocturnal hunting sequences, including the opening portion of "One Shot", as Patterson waits in a tree stand for the lions to reveal themselves. The idea returns at the conclusion of "The Bridge" and becomes increasingly prominent in "You've Been Hit", where the theme adopts a more reflective and melancholy character following Patterson's failed confrontation with the lions. By the end of "Lions Attack", Goldsmith transforms the motif once again, allowing the subdued woodwind writing to express Patterson's growing exhaustion and sense of defeat as the human cost of the attacks continues to mount.

An even more intimate side of Patterson emerges in the score's lyrical love theme, first heard in "Train to Catch". As Patterson bids farewell to his pregnant wife before departing for Africa, Goldsmith introduces a warm, expansive melody carried by lush strings and woodwinds. Significantly, fragments of Patterson's rhythmic Irish motif continue underneath the romantic writing, illustrating the character's internal conflict: his heart remains with his family, yet duty compels him to leave. The intertwining of both themes allows Goldsmith to express this emotional tension with remarkable elegance. The love theme later reaches its fullest and most emotional statement during "Welcome to Tsavo", accompanying Patterson's reunion with his wife and newborn son.

The score's second major heroic idea belongs to Remington. Introduced prominently in "Prepare for Battle", Remington's theme reflects the hunter's confidence, charisma, and larger-than-life personality. Goldsmith writes it with an unmistakable sense of swagger and authority. As the score progresses, the theme grows increasingly prominent. "You've Been Hit" contains one of its more optimistic statements during the unused hospital-trap preparation sequence, while "Remington's Death" delivers the theme's emotional culmination. Beginning as a solemn lament upon the discovery of Remington's fate, the theme gradually expands into one of the score's most moving passages as Patterson and Kenyan foreman Samuel (John Kani) prepare the funeral pyre, transforming a heroic motif into a poignant musical farewell.

Goldsmith also devotes considerable attention to the railway workers whose lives are disrupted by the lions' reign of terror. Most prominently heard during the latter portion of "Lions Attack", this material takes the form of a mournful minor-mode brass theme accompanied by insistent percussion and anguished male vocalizations. As the surviving workers abandon the construction site, convinced that remaining in Tsavo means certain death, the music becomes less about suspense and more about collective grief. The motif returns at the beginning of "Remington's Death", where it serves as a reminder of the toll exacted by the lions before the cue transitions into the elegiac statements of Remington's theme. In this way, Goldsmith ensures that the score never loses sight of the broader tragedy unfolding around the principal characters.

Opposing all of these themes is the music written for the two man-eating lions, among the most inventive material in the entire score. Rather than assigning them a conventional melody, Goldsmith develops a collection of motifs and textures that emphasize their unnatural presence. The earliest appearances introduce a simple but highly effective two-note figure in the low brass, heard during the suspense sequences of "One Shot". This motif immediately establishes the predators as a lurking threat.

As the lions become increasingly active, Goldsmith expands their musical identity. The opening of "The Bridge" introduces a remarkable combination of sound design and orchestration. Soft percussive effects evoke claws and teeth, rhythmic breathing sounds suggest the predators' presence just beyond sight, and ominous tribal chanting creates a sense of mounting dread. These elements combine to produce some of the most chilling passages in the score.

The action cues develop this material even further. "Starling's Death", "Lions Attack", and “Final Attack" feature aggressive percussion, low brass outbursts, vocal effects resembling screams, and relentless rhythmic figures that drive the attacks forward with terrifying momentum. Goldsmith once explained that he wanted the music to evoke the jungle itself reacting in fear to the lions' presence. Throughout these sequences, brass calls resemble the cries of elephants and other animals, while vocal effects and percussion create the impression of an entire ecosystem descending into panic. The result is a unique sonic landscape in which the lions seem to disturb the natural order itself.

A final dimension of the lion material appears in "The Den". Here Goldsmith introduces an eerie, almost supernatural string figure performed by violins and cellos separated by two octaves. The melody deliberately characterizes the predators as something alien and unknowable. By this point in the story, the hunters have realized these creatures do not behave like ordinary lions, and Goldsmith's music reinforces that unsettling realization.

Taken together, these thematic ideas form an exceptionally rich and multifaceted musical narrative. From Patterson's heroic determination and longing for home, to Remington's confidence, the workers' suffering, and the lions' terrifying presence, Goldsmith continuously adapts and develops his material to reflect the evolving drama on screen. The result is a score that functions not merely as accompaniment, but as a vital storytelling element in its own right, enhancing the film's adventure, suspense, tragedy, and triumph in equal measure.

The enduring popularity of The Ghost and the Darkness has resulted in two official soundtrack releases over the years. The first appeared in 1996 through Hollywood Records, offering audiences their initial opportunity to experience Goldsmith's music away from the film. While highly enjoyable and featuring many of the score's most recognizable moments, the album presented a relatively brief selection of music, omitted several noteworthy cues, and arranged much of the material out of chronological order. The inclusion of several source songs at the end of the program further disrupted the dramatic flow established by Goldsmith's score. Nearly two decades later, Intrada Records revisited the soundtrack with a comprehensive two-disc edition. This release presented the complete score as recorded for the film, alongside the original soundtrack album, allowing listeners to explore Goldsmith's work in its entirety for the first time. For collectors and enthusiasts, the Intrada set remains an invaluable archival document and an essential reference for studying the composer's creative process. The present Renovatio Records edition seeks to complement these previous releases by offering a newly assembled listening experience focused on musical and dramatic cohesion. Drawing upon the complete score, this presentation restores several noteworthy passages absent from the original album while carefully restructuring the program to follow the narrative progression of the film. The result is a concise 49-minute journey that highlights the score's principal themes, major action sequences, emotional turning points, and atmospheric suspense writing without sacrificing momentum or dramatic clarity.

More than twenty-five years after its debut, Jerry Goldsmith's music for The Ghost and the Darkness continues to stand among the composer's most distinctive works of the 1990s. Combining adventurous thematic writing, inventive orchestration, ethnic influences, and some of his most imaginative suspense material, the score remains a masterclass in musical storytelling. Whether accompanying the majesty of the African landscape, the determination of those building the railway, or the terror inspired by the legendary Tsavo lions, Goldsmith's music elevates every aspect of the film and stands as one of the most compelling achievements of his later career.

Track listing:

1. Theme from 'The Ghost and the Darkness' (2:12)

2. Train to Catch (2:02)

3. First Time (1:56)

4. One Shot (1:28)

5. The Bridge (3:57)

6. Starling's Death (5:51)

7. Prepare for Battle (7:05)

8. You've Been Hit (2:51)

9. Lions Attack (6:15)

10. The Den (3:31)

11. Remington's Death (2:33)

12. Final Attack (4:07)

13. Welcome to Tsavo (5:14)

Total Running Time: 49:00

Download Link

Size: 277 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 and Conducted by Jerry Goldsmith

Executive Producer for Renovatio Records: John M. Angier

Music Produced by Jerry Goldsmith

Performed by The National Philharmonic Orchestra

Orchestrations by Alexander Courage

Music Recorded and Mixed by Bruce Botnick

Music Recorded and Mixed at Air Studios, London, England, and Signet Sound, Hollywood, California

Music Editor: Ken Hall

Music Copyist: Vic Fraser

Orchestral Contractor: Sydney Sax

Computer Programming: Nick Vidar

Assistant to Mr. Goldsmith: Lois Carruth

Album Sequencing: John M. Angier

Music Edited and Re-Mastered by April Faust

Re-Mastered at RR Studios

Album Art Direction: Mira B. Ellis

Music Published by Warner-Tamerlane Publishing Corp. (BMI)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Theme from 'The Ghost and The Darkness'	12m3 End Credits
2. Train to Catch	1m1 Train to Catch
3. First Time	1m2 First Time (Edited)
4. One Shot	2m2 One Shot (Edited) 2m1 Over There
5. The Bridge	3m1Remix Tall Grass (Alternate) 3m2R Remix The Claws - Revised (Alternate) (Edited) 3m2R The Claws - Revised (Edited)
6. Starling's Death	4m2 Starling's Death (Original) (Edited) 4m2Remix Starling's Death (Alternate) (Edited)
7. Prepare for Battle	4m1 The Wall 6m3 Prepare For Battle 7m1/8m1R The Thicket - Revised Start 7m1/8m1 Remix The Thicket (Alternate) 8m1ARemix Stand Off (Alternate) (Edited) 8m1AX (Overlay) Zebra
8. You’ve Been Hit	8m2 You’ve Been Hit 8m3 Preparations (Original)
9. Lions Attack	6m1Remix The Box Car (Alternate) 8m5/9m1 Insert Tk61 Lions Attack - Insert 8m5/9m1 Tk60 Lions Attack (Edited)
10. The Cave	8m4 The Trap (Original) (Edited) 9m2/10m1 The Cave (Edited)
11. Remington's Death	11m2 Remington's Death
12. Final Attack	10m4 First Kill (Alternate) (Edited) 11m3/12m1 Final Attack - Revised (Edited)
13. Welcome to Tsavo	12m1AR Welcome to Tsavo #2 - Revised 12m3 End Credits

Motion picture artwork, logos and photography © 1996 Paramount Pictures. This compilation and cover artwork © 2026 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19074]

Twister

 

Twister

(Original Motion Picture Score)

Music Composed by

Mark Mancina

Renovatio Records returns to the eye of the storm with a new, expanded and thoughtfully restructured edition of Twister (1996), featuring Mark Mancina’s exhilarating music for one of the defining disaster films of the 1990s.

Released during the height of the decade’s blockbuster spectacle era, Twister arrived as a landmark event in modern visual effects filmmaking. Directed by Jan de Bont and produced by Steven Spielberg’s Amblin Entertainment, the film fused large-scale practical destruction effects, cutting-edge CGI, and relentless pacing into a visceral cinematic experience that captured audiences worldwide. Yet beneath its tornado-chasing premise and adrenaline-fueled spectacle, Twister carried a surprisingly strong emotional core centered on obsession, grief, reconciliation, and humanity’s uneasy relationship with nature.

The story follows storm chasers Dr. Jo Harding (Helen Hunt) and Bill Harding (Bill Paxton), estranged former partners brought back together during an unprecedented tornado outbreak across Oklahoma. Joined by an eccentric but deeply committed team of researchers, they race to deploy “Dorothy,” a revolutionary data-gathering device designed to study tornadoes from within and improve future warning systems.

Complicating matters is the presence of a rival corporate-backed storm chasing team led by the opportunistic Dr. Jonas Miller (Cary Elwes), whose sleek equipment and profit-driven approach stand in direct contrast to Jo and Bill’s more passionate, humanitarian mission. As both groups pursue the same storms across the plains, the film gradually transforms into a race not only against nature, but also against time, ego, and scientific rivalry. Amid escalating tornado activity, unresolved emotional tensions and the sheer unpredictability of the environment collide in increasingly dangerous ways.

With supporting performances from Jami Gertz, Philip Seymour Hoffman, Alan Ruck, Lois Smith, and a memorable ensemble of storm chasers, Twister balances spectacle with camaraderie and personality, giving the film an energy that extends beyond its groundbreaking effects work. Upon release, the film became a massive commercial success and one of the highest-grossing productions of 1996. While some critics questioned its thin narrative and emphasis on spectacle, audiences embraced its intensity, humor, and technical ambition, helping cement Twister as one of the quintessential summer blockbusters of its generation.

Behind the camera, Jan de Bont assembled a formidable creative team. The screenplay was written by bestselling Jurassic Park author Michael Crichton and Anne-Marie Martin. Cinematographer Jack N. Green captured the vast Midwestern landscapes with sweeping scale, while Industrial Light & Magic and hundreds of visual effects artists pushed digital effects technology into new territory. Just as crucially, the film reunited de Bont with composer Mark Mancina, following their collaboration on Speed (1994). For Twister, Mancina would deliver one of the most energetic, thematic, and sonically aggressive scores of his career: a fusion of massive orchestral and choral writing, driving percussion, electric guitar, and Americana influences that perfectly embodied both the chaos of the storms and the restless momentum of the characters chasing them.

For the music, Mark Mancina worked from two key directives given by Jan de Bont: the tornadoes needed a choral presence, and the music had to incorporate electric guitar. The latter request stemmed partly from the film’s close association with rock music, particularly the involvement of Van Halen, who contributed the original songs “Humans Being” and “Respect the Wind,” both included in this release. Yet rather than leaning fully into a straightforward rock-and-roll sound, Mancina pursued something more distinctive: a large-scale orchestral action score infused with rock energy, Americana sensibilities, and contemporary rhythms. Much of the music is built around a persistent trap-set backbeat, layered beneath aggressive orchestral writing, propulsive percussion, and flashes of electric guitar. The guitar work, often performed by Trevor Rabin of Yes fame, rarely dominates the music outright; instead, it emerges as a textural accent or emotional release. Its characteristic wailing sound can be heard throughout cues such as “The Hunt Begins,” “Waterspouts,” and “Leaving Wakita,” where the instrument amplifies both the thrill and danger of the chase.

At the same time, Mancina’s background as a classical guitarist allows the score to shift naturally into more intimate territory. In cues like “Futility,” acoustic guitar writing introduces a softer, reflective tone that contrasts sharply with the score’s relentless action material. These quieter moments prevent the music from becoming one-dimensional, grounding the spectacle in human vulnerability and emotional exhaustion.

Equally central to the score’s identity is the use of chorus, performed by the Los Angeles Master Chorale. Rather than functioning in a traditional epic or heroic capacity, the chorus is tied directly to the tornadoes themselves. Mancina frequently employs a slowly shifting two-note motif to represent the storms, first heard prominently in “The Sky.” Initially, the effect evokes wonder and awe: the terrifying beauty of nature observed from a distance. But as the film progresses, this same material evolves into something increasingly ominous and overwhelming. In cues such as “Drive-In,” the motif swells into massive choral statements that transform the tornadoes into almost mythic, apocalyptic forces.

Balancing this destructive power is Mancina’s superb main theme, one of the defining musical ideas of his career. Strongly indebted to the Americana tradition of Aaron Copland, the theme is built around broad melodic intervals, major-key harmonies, and an infectious sense of movement. Introduced early in “Wheatfield,” accompanied by the score’s rhythmic backbeat, it captures the excitement, optimism, and open-sky exhilaration of storm chasing before the true danger fully emerges. There is something unmistakably American about the music: adventurous, expansive, and driven by restless energy.

“Wheatfield” also introduces a secondary motif more closely associated with Jo and Bill’s relationship. While adventurous in spirit, this idea carries a warmer emotional core, evolving into something far more intimate and romantic in cues like “Futility.” Throughout the film, Mancina continuously reshapes these two main ideas, allowing them to migrate between emotional states and gradually reappear in darker harmonic variations for suspense or tragedy, such as the low, mournful treatment heard in “Wakita Devastated.” By the final stretch of the film, however, the music rises again into triumphant territory during “F5,” “The Finger of God,” and “End Title,” where the themes finally achieve full heroic release, carrying with them a sense of survival, relief, and hard-earned catharsis.

Another recurring idea is the “chase” motif: a rhythmic figure first introduced in “The Hunt Begins” and developed extensively throughout “Sidewinder”, “Waterspouts”, and “F5”. More than a traditional melody, this motif functions as pure momentum, constantly pushing the music forward. It receives perhaps its grandest statement in “Sculptures,” where the storm chasers head toward the climactic F5 tornado with absolute determination. Here, Mancina combines pounding percussion, soaring orchestral writing, chorus, and electric guitar into one of the score’s most exhilarating sequences, fully capturing the sense that the characters are charging toward something simultaneously terrifying and transcendent.

What ultimately makes Twister so compelling as a listening experience is the sheer momentum of its musical architecture. The action writing is relentless, but never repetitive. Each tornado sequence pushes the score into new territory, introducing fresh combinations of rhythm, orchestration, or thematic transformation. As a result, the music generates the same adrenaline-driven anticipation felt by the storm chasers themselves: each new cue promises another escalation, another encounter with nature’s fury, another rush into the unknown.

Twister has had an unusual release history on album. In 1996, the film first received a commercially successful soundtrack release built primarily around its song selections, heavily emphasizing the rock-oriented identity that surrounded the film at the time. Featuring artists such as Van Halen, Shania Twain, Mark Knopfler, Rusted Root, Tori Amos and even Red Hot Chili Peppers, among others, the album became closely associated with the film’s marketing and cultural presence, but contained none of Mark Mancina’s original music. Later that same year, Atlantic Records released a dedicated score album through its Atlantic Classics line, finally showcasing Mancina’s music independently. That release captured many of the score’s most memorable highlights and successfully distilled its energy into a highly entertaining standalone listening experience. However, much of the material was reorganized away from film order, with several cues merged into extended suites designed for album flow rather than narrative continuity. While effective in isolation, the presentation inevitably softened the score’s dramatic architecture, making it harder to fully appreciate the careful escalation Mancina and de Bont constructed across the film.

More than two decades later, La-La Land Records issued a substantially expanded edition that restored a far greater amount of material. For longtime fans, it represented an important archival release, offering many previously unavailable cues and a more complete overview of the score. Yet the presentation could also feel somewhat fragmented as a listening experience, with numerous very short cues placed back-to-back in strict film order. While comprehensive, the structure occasionally produces a stop-and-start rhythm that can interrupt the score’s natural momentum when experienced away from the picture.

This new Renovatio Records presentation seeks a different balance. Expanded with previously unreleased material and carefully assembled in as much chronological order as possible, the presentation prioritizes musical flow and dramatic progression while still preserving the score’s narrative structure. Rather than functioning simply as a complete archival assembly, the score unfolds here with a greater sense of continuity, allowing Mancina’s thematic development, escalating action writing, and emotional transitions to emerge more organically.

The result more clearly reflects the dramatic intention behind the music itself: a work steadily expands in scope, intensity, and emotional weight alongside the storms on screen. From the first distant signs of turbulence to the overwhelming force of the climactic F5 tornado, Twister re-emerges not simply as a collection of thrilling action cues, but as a carefully structured musical journey driven by wonder, danger, adrenaline, and ultimately, catharsis.

Track listing:

1. Humans Being (5:10) - Performed by Van Halen

2. Wheatfield (1:24)

3. The Sky (0:41)

4. The Hunt Begins (2:50)

5. Going Green (1:52)

6. Ditch Tornado (1:35)

7. Sidewinder (1:49)

8. Waterspouts (5:39)

9. Leaving Wakita* (2:11)

10. Bob's Road (2:10)

11. We're Almost There (2:52)

12. Futility (2:15)

13. Drive-in (2:52)

14. Wakita Devastated (5:08)

15. Sculptures (3:03)

16. F5 (4:43)

17. The Finger of God (1:48)

18. End Title/Respect the Wind (9:18)

("Respect the Wind" performed by Edward and Alex Van Halen)

*Contains interpolations of "Humans Being" by Van Halen

Total Running Time: 57:20

Download Link

Size: 358 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 Mark Mancina

Executive in Charge of Music for Warner Bros.: Gary LeMel

Executive Producer for Renovatio Records: John M. Angier

Album Business Affairs: Keith Zajic

Music Supervisor: Budd Carr

Assistant Music Supervisors: Marylou Eales and Amy Dunn

Original Score Written, Arranged and Produced by Mark Mancina

Music Editor: Zigmond Gron

Score Mixed by Steve Kempster

Assistant Engineer: Gregg Silk

Music Conducted by Don Harper

LA Master Chorale Conducted by Paul Salamunovich

Orchestrations by Bruce Fowler, Yvonne S. Moriarty, Ladd McIntosh, Don Harper and Mark Mancina

Concert Masters: Ralph Morrison, Sid Paige

Solo Guitarist: Trevor Rabin

Nylon Guitars: Doug Smith

Percussionist: Mike Fisher

Music Contractor: Sandy De Crescent

Vocal Contractor: Paul Salamunovich

Additional Arranging by Don Harper, John Van Tongeren

Mastered by Joe Gastwirt/Ocean Digital Mastering

Music Librarian: Robbie Boyd

Orhcestra and Choir Recorded by Shawn Murphy

Score Recorded at Todd AO Scoring Stage & Sony Scoring Stage

Album Sequencing: John M. Angier

Album Art Direction: Mira B. Ellis

"Humans Being"

Performed by Van Halen

Written by Edward Van Halen, Alex Van Halen, Sammy Hagar and Michael Anthony

Published by Yessup Music Co. admin. by WB Music Corp. (ASCAP)

Produced by Bruce Fairbairn

Engineered by Erwin Musper

Courtesy of Warner Bros. Records Inc.

"Respect the Wind"

Performed by Edward and Alex Van Halen

Written and Produced by Edward Van Halen and Alex Van Halen

Published by Van Halen Music, admin. by WB Music Corp. (ASCAP)

Engineered by Erwin Musper

Courtesy of Warner Bros. Records, Inc.

Special Thanks to: Trevor Rabin, Tony Dimitriades, Gary LeMel, Doug Frank, Kathleen Kennedy, Sam Schwartz, Michael Gorfaine, Glenn Salloum, Michael Kahn, Paul Salamunovich, Steven Spielberg, Ian Bryce, everybody who played and sang, and a very special thanks to Jan De Bont

Thanks: Val Azzoli, Arthur Moorhead, Kevin Copps, Phil Wild, Jeff Levy, Alexis Atlee, Ray Danniels, Pegi Cecconi, Stuart Rosenthal, Matthew Lesher, Phli Cohen, Jon Gumbert, Lisa Margolis, Bobby Thornburg, Joyce Ryan, Danny Gould, Ellen Schwartz, Paul Fry, Christina George, Steve Spira, Sandra Smokler, Jeremy Williams, Patti Connolly, Debi Streeter, Rebecca Aquilar, Joseph Billé, Marilyn Azzara, Linda Colianni and Gita Jackson.

Unless otherwise noted, score compositions are published by Warner-Tamerlane Publishing Corp. (BMI), (for the U.S. & Canada) / Music Corporation of America, Inc., (BMI) for the rest of the world.

Cue Assembly:

Track Title	Cue Title
1. Humans Being	Humans Being - Van Halen
2. Wheatfield	Wheatfield (Edited) Wheatfield (Alternate) (Edited)
3. The Sky	Sky I (Edited) Sky II
4. The Hunt Begins	The Hunt Begins (Edited)
5. Going Green	Going Green (Edited)
6. Ditch Tornado	In the Ditch (Edited)
7. Sidewinder	Waterspouts (Edited)
8. Waterspouts	Cow
9. Leaving Wakita	Walk in the Woods (Edited)
10. Bob’s Road	Bob’s Road
11. We’re Almost There	The First Twister (Edited) Hail No!
12. Futility	Futility
13. Drive-in	Drive-in Twister
14. Wakita	Wakita
15. Sculptures	Sculptures
16. F5	Home Visit
17. The Finger of God	The Big Suck (Alternate)
18. End Titles/Respect the Wind	End Titles Respect the Wind (Extended) - Edward and Alex Van Halen

Motion picture artwork and photography © 1996 Warner Bros Entertainment Inc. and Universal City Studios, Inc.. This compilation and cover artwork © 2026 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19114]