Tremors

Tremors

(Original Motion Picture Score)

Music Composed and Conducted by

Ernest Troost

Additional Music by

Robert Folk

For this year’s Spook-tober festivities, Renovatio Records digs deep (literally) to bring back the subterranean thrills of Tremors, the beloved 1990 creature feature that turned desert sand into deadly ground. Directed by Ron Underwood and starring Kevin Bacon, Fred Ward, Finn Carter, Michael Gross, and Reba McEntire, Tremors blended horror, humor, and good old-fashioned monster-movie thrills into a perfectly balanced cocktail of entertainment. Its mix of scares, laughs, and small-town charm spawned an entire franchise, but it’s the original film that remains a fan favorite. Its practical effects, masterfully crafted by Amalgamated Dynamics, continue to impress more than three decades later and remind us why audiences still thrill at the sight of a Graboid bursting through the earth.

Set in the dusty, isolated town of Perfection, Nevada, Tremors follows two handymen, Valentine McKee (Bacon) and Earl Bassett (Ward), whose dreams of escaping their dead-end life are interrupted when mysterious underground creatures (soon dubbed “Graboids”) begin devouring anything that moves. With a clever script that constantly walks the line between comedy and tension, and a host of colorful characters, from seismologist Rhonda LeBeck (Carter) to survivalist Burt Gummer (Gross), the film became a cult phenomenon upon home video release, spawning multiple sequels and a TV series.

For the film’s music, director Ron Underwood first turned to Ernest Troost, whose background in folk and Americana was ideal for capturing the quirky spirit of Perfection and its eccentric inhabitants. Troost’s score begins with a lively, rustic flavor; harmonica, guitar, and light percussion evoke both humor and warmth, painting the town’s dusty landscape with a friendly, down-home touch. In the folksy country cue “Val & Earl,” Troost introduces his main theme for the protagonist duo: a relaxed descending piano figure that perfectly mirrors their easygoing camaraderie. This motif soon evolves into a distinctive seven-note melody that recurs throughout the score in various guises, from subtle hints to more dynamic statements underscoring their determination. Its most striking transformation comes in “The Plan,” where Troost crafts an Americana-tinged, heroic rendition meant to accompany the dozer rescue sequence, a cue ultimately replaced by Robert Folk’s more forceful orchestral counterpart in the final film.

Troost’s early cues establish the film’s identity with warmth and personality, effortlessly blending small-town charm with the promise of adventure. But as the film’s horror elements emerge, Troost’s writing evolves. The score gradually introduces eerie textures, percussive pulses, and atmospheric motifs that signal growing danger, with cues such as the first half of “On the Road to Bixby,” “Something’s Wrong,” “UZI4U,” and “Goin’ Fishin’” emphasizing mystery and mounting fear. Amid this tension, Troost also weaves in a delicate love theme for Val and Rhonda: a gentle, unassuming melody that adds warmth and humanity to the unfolding chaos. The theme first appears in “On the Rock (Love Theme)” and later returns in the film’s epilogue during “Finale,” where it reaches its emotional resolution.

However, when it came to the film’s full-scale action moments, Troost’s material, while rhythmically inventive and thematically cohesive in cues like “Barbed Wire” and “Rec Room,” was ultimately deemed too restrained for the intensity the filmmakers desired. The producers sought a more forceful, dynamic approach to drive the larger set pieces and amplify the film’s energy.

Enter Robert Folk, known for his robust symphonic style, who was brought in to write new music for the action and climax sequences, giving Tremors the adrenaline and heroic power the producers sought. His contribution (roughly twenty minutes of music) is a masterclass in rhythmic propulsion and orchestral energy. Tracks such as “Run!”, “Graboids in Town,” and “Val’s Run” deliver relentless momentum, propelled by muscular brass, racing strings, and dynamic percussion that elevate the tension to blockbuster levels.

Yet Folk’s approach wasn’t purely orchestral. To maintain cohesion with Troost’s soundscape, he subtly incorporated country-flavored elements, like harmonica and twangy guitar lines, particularly evident in “Vibrations in the Ground” and moments of “Run!”, where these textures are cleverly repurposed to evoke suspense rather than humor. Folk also introduced a distinctive Graboid motif, built around a repetitive clanging, metallic synth-cymbal effect that punctuates their attacks and reinforces the sense of subterranean menace.

Most notably, Folk created a heroic fanfare motif in an Americana style, featuring bold brass and lush strings, which makes a striking appearance in “Dozer Rescue” (a cue used twice in the film). This fanfare underscores the heroism of the characters while evoking the sweeping Nevada desert landscapes. The heroic motif later shines during the thrilling “Stampede” sequence at the end, driving the action forward to its climatic resolution as the last of the Graboids bursts through the cliff wall and meets its demise, punctuated by a triumphant statement of the theme signaling the creatures’ defeat. This combination of heroic brass, expansive strings, and rhythmic drive gives Folk’s music its unforgettable cinematic punch, perfectly complementing Troost’s earlier cues.

Together, Troost and Folk create a fascinating hybrid: Americana-infused small-town charm colliding with muscular symphonic terror. The result is a score that mirrors Tremors itself — part creature feature, part character comedy, all heart and excitement.

The music of Tremors has had a long journey to an official release. Ernest Troost’s score was first issued in a limited promotional edition in 1999, offering a strong but incomplete selection of his work. Robert Folk’s contributions remained largely unavailable, aside from a privately commissioned suite the composer released himself in his 1993 promotional "Selected Suites" album. It wasn’t until La-La Land Records’ 2020 two-disc edition that fans finally received a comprehensive presentation of the film’s music: CD1 featuring Troost’s full score and CD2 devoted to Folk’s material. While this was a landmark for collectors, the separation of the two composers’ work (though complete) did not fully reflect the experience of the music as heard in the film.

This new Renovatio Records edition approaches the score differently, respecting the chronological order of the film as much as possible to preserve its narrative and emotional flow. Troost’s thematic warmth and character-driven cues naturally give way to Folk’s dynamic action sequences, allowing the score to unfold exactly as it does on screen. To enhance the listening experience, several tracks combine multiple cues, creating fluid, extended movements; a welcome adjustment, given that much of the original score, by both composers, consists of short pieces, many under a minute. This careful assembly ensures that the music is both coherent for home listening and faithful to the film’s dramatic arc.

All in all, thirty-five years after its premiere, Tremors remains a rare cinematic gem: witty, thrilling, and endlessly rewatchable. The same can be said for its score: a unique collaboration between two composers whose differing sensibilities ultimately complemented one another. With this new presentation, Renovatio Records invites fans to rediscover Tremors not just as a cult classic, but as a showcase of musical ingenuity, tonal balance, and raw creature-feature fun.

Hold on tight… the ground’s about to shake again.

Track listing:

1. Main Title (0:29)*

2. Val & Earl (2:46)*

3. On the Road to Bixby (2:16)*

4. Vibrations in the Ground (1:04)+

5. Something's Wrong (2:48)*

6. Best Horsemen (1:10)*

7. Run! (2:54)+

8. On the Rock (Love Theme) (2:37)*

9. Pole Vaulting (1:10)*

10. Barbed Wire (2:34)*

11. Graboids in Town (1:59)+

12. UZI4U (2:46)*

13. Rec Room (2:47)*

14. The Plan (3:41)*

15. Val's Run (3:35)+

16. Dozer Rescue (1:36)+

17. Goin' Fishin' (3:50)*

18. Stampede (2:54)+

19. Finale (2:11)*

*Composed by Ernest Troost

+Composed by Robert Folk

Total Running Time: 45:09

Download Link

Size: 291.4 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:

Size: 291.4 MB

Credits:

Music Composed and Conducted by Ernest Troost

Additional Music by Robert Folk

Music Produced by Ernest Troost and Louise Hatem

Executive Producer for Renovatio Records: John M. Angier

Orchestrations by Barb Luby and Ernest Troost

Music Recorded at Carriage House Studios and Castle Oak Studios

Music Recorded by Phil Magnotti, Johnny Montagnese and Michael Aarvold

Music Editing by Triad Music

Supervising Music Editor: Kathy Durning

Music Editor: Patricia Carlin

Special Thanks: Ron Underwood, Brent Maddock, Steve Wilson, Ginny Nugent, Gale Anne Hurd, Ellen Collett, Sandy Fox, and Jeff Kaufman.

Additional Music:

Composed and Conducted by Robert Folk

Produced by Robert Folk

Music Scoring Mixer: Michael Aarvold

Music Preparation: Tom Brown

Orchestrations by: Brad Dechter, Randy Miller and William Ross

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

Featured Instrumental Soloists:

Bass: Norman Ludwin

Trumpets: Malcolm McNab, Roy Poper

Clarinet: John Moses

French Horn: James Thatcher

Flute: Louise Di Tullio

Cue Assembly:

Track Title	Cue Title
1. Main Title	Titles (Troost)
2. Val & Earl	Val & Earl (Troost) Drive to Rhonda (Troost)
3. On the Road to Bixby	Rhonda with Graboid (Troost) On the Road (Troost) Into Perfection (Troost)
4. Vibrations in the Ground	Fred Dies (Folk)
5. Something’s Wrong	Finding Fred (Troost) Finding Fred (Folk) Road Attack (Troost) Roadblock (Troost)
6. Best Horsemen	Best Horseman (Troost) Rhonda (Troost) Riding (Troost)
7. Run!	Horses Stop (Folk) Graboid Revealed (Folk) Chang Dies (Folk) (Edited)
8. On the Rock (Love Theme)	Rock (Troost) Love Theme (Troost) (Edited) Night (Troost) Val and Rhonda (Alternate) (Troost) Love Theme (Troost) (Edited)
9. Pole Vaulting	Pole Vaulting (Troost)
10. Barbed Wire	Someone Will Come (Troost) Mindy (Troost) (Edited) Barde Wire (Troost) (Edited)
11. Graboids in Town	Barbed Wire Part I (Folk) Barbed Wire Part II (Folk)
12. UZI4U	UZI4U (Troost) Going After Burt (Troost)
13. Rec Room	Horses Stop (Troost) (Edited) Rec Room (Troost) (Edited)
14. The Plan	All Cheer (Troost) (Edited) Truck Alarm (Troost) Tractor (Troost) (Edited) Don’t Move (Troost) (Edited) The Dozer Rescue (Troost)
15. Val’s Run	Tractor (Folk) (Edited) Val Drives Dozer (Folk) (Edited) Graboids After Val (Folk)
16. Dozer Rescue	Dozer Crashes (Folk)
17. Goin’ Fishin’	Run for the Rocks (Troost) (Edited) Goin' Fishin' (Troost) (Edited) Graboid Guts (Troost) (Edited)
18. Stampede	Away from the Rocks (Folk) (Edited) Val Drives Dozer (Folk) (Edited) Final Confrontation (Folk)
19. Finale	Feel Like Making Noise (Troost) (Edited) Val and Rhonda (Alternate) (Troost) (Edited) Val and Rhonda (Troost) (Edited)

Motion picture artwork, logos and photography © 1990 Universal City Studios LLC. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19111]

Jumanji

 

Jumanji

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

James Horner

Following our recent presentation of James Horner’s Casper, Renovatio Records is proud to unveil another beloved entry from the composer’s extraordinary 1995 output: Jumanji. In a year that saw Horner scale the historical grandeur of Braveheart and the emotional heights of Apollo 13, Jumanji offered him the chance to explore a world of fantasy, danger, and childlike wonder. The result is a score that bridges large-scale adventure writing with moments of intimacy, embodying both the peril unleashed by a mysterious board game and the rediscovery of family at the story’s core. Three decades later, Horner’s music remains a thrilling and heartfelt companion to the film, and arguably one of the most imaginative works of his mid-1990s career.

Directed by Joe Johnston and based on Chris Van Allsburg’s beloved children’s book, Jumanji follows Alan Parrish (Robin Williams), a man who, after being trapped for decades inside a magical board game, is released into the modern world alongside new players Judy (Kirsten Dunst) and Peter (Bradley Pierce). Joined by his childhood friend Sarah (Bonnie Hunt), all must finish the game as each roll of the dice unleashes new threats — wild animals, natural disasters, and the relentless hunter Van Pelt (Jonathan Hyde). Remembered for its groundbreaking visual effects, and mixing comedy, adventure, and moments of real peril, the film struck a chord with audiences, becoming a box-office hit and later a staple of ’90s family cinema.

By 1995, having already collaborated successfully on films like Honey, I Shrunk the Kids and The Rocketeer, Horner had become Johnston’s trusted musical partner, capable of matching the director’s blend of spectacle, adventure, and heart. With his trademark sincerity, Horner combined large-scale symphonic writing with ethnic color and delicate thematic storytelling. In many ways, Jumanji bridges the two poles of his mid-1990s output: the heartfelt intimacy of his family/fantasy scores (Casper, Balto) and the muscular adventure writing that would define later works (The Mask of Zorro, Mighty Joe Young).

From the very beginning, in the “Prologue,” Horner sets the stage with a deep and foreboding theme for the game itself. Initially presented in low range brass with ominous weight, it proves remarkably versatile: sometimes mysterious (“Prologue,” “It’s Sarah’s Move,” “Faster Than Bamboo”), sometimes playful (“Rampage Through Town”), and in moments like “Stampede!” and “The Monsoon” even rising to rumbling orchestral grandeur. Throughout the score, it adapts seamlessly to the shifting moods of the film, embodying both the danger and the allure of the game.

Balancing this is the family theme, also introduced in “Prologue,” carried by piano and quena. Gentle and lyrical, it underscores many of the scenes involving Alan’s bond with Sarah and the surrogate family formed with Judy and Peter. It receives poignant development throughout the score, with one of its most stirring adaptations in “A New World,” as the adult Alan copes with the altered reality that has come to be while he was trapped, and a luminous reprise in the “End Titles.” A related, lighter idea for Alan himself appears in cues like “Alan is Back” and the latter half of “Finale,” emphasizing his journey from boy to adult. With warm strings, this poignant yet delicate motif reflects the innocence of a child forced to spend decades yearning for parents he would never see again.

Adding to this tapestry is a supernatural motif for the game itself, a delicate figure voiced by celesta and harp, first heard in “Alan and Sarah Start Playing,” and reappearing during “Mosquitoes, Monkeys and A Lion,” developing into a grand statement at the beginning of “Finale”, when the game is finished. Complementing it is a dice motif, a descending piano figure that recurs whenever the dice are rolled, providing subtle narrative punctuation.

For menace, Horner crafts a threatening theme for Van Pelt, the relentless hunter conjured by the game, introduced in “Van Pelt” with ominous shakuhachi lines and prowling brass. Horner also sprinkles in grotesque humor, such as the carnivalesque motif for the monkeys, scored with circus-like trumpet figures, comic bass lines, and even synthesized klaxon horns, underscoring the chaos they cause.

Horner’s orchestration is as colorful as the game itself. He makes striking use of exotic woodwinds — the shakuhachi for danger and mystery, the quena for tenderness and warmth — while percussion drives the action with energy. The score’s action set pieces rank among Horner’s most thrilling of the period. “Rampage Through Town,” “The Monsoon,” and “Jumanji” bristle with pounding rhythms, soaring brass, and furious string writing, evoking both the chaos unleashed by the game and the high stakes of the players’ quest. These passages demonstrate Horner’s ability to blend intensity with harmony, making the music as exhilarating on album as it is in the film. 

The original 1995 Epic Soundtrax album offered 51 minutes of music arranged in Horner’s customary album style. In 2022, Intrada Records issued a complete two-disc edition, expanding the score in full for collectors, though its sheer comprehensiveness could prove daunting for casual listeners. Renovatio Records’ new 55-minute edition provides the perfect balance: a remastered, tightly assembled single-disc program presented in chronological order. It restores essential material missing from the original album while maintaining a concise flow, offering both newcomers and longtime fans the most accessible way to experience Horner’s score.

With Jumanji, James Horner created a score that is at once adventurous, playful, and deeply moving — a work that has stood the test of time and continues to enchant listeners three decades later. This new Renovatio Records edition invites audiences to rediscover Horner’s thrilling jungle adventure and the warmth at its heart, in a presentation that honors one of the composer’s most distinctive children’s fantasy scores of the mid-1990s.

Track listing:

1. Prologue (3:41)

2. Alan and Sarah Start Playing (2:20)

3. Mosquitoes, Monkeys and A Lion (4:04)

4. Alan Is Back (2:38)

5. A New World (3:37)

6. It's Sarah's Move (2:33)

7. Faster Than Bamboo (2:33)

8. Van Pelt (1:54)

9. Stampede! (2:11)

10. Peter Retrieves the Game (1:39)

11. Rampage Through Town (6:26)

12. The Monsoon (5:35)

13. Jumanji (6:15)

14. Finale (4:48)

15. End Titles (5:18)

Total Running Time: 55:32

Download Link

Size: 309.4 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 James Horner

Produced by James Horner

Executive Producer for Renovatio Records: John M. Angier

Orchestrations by Steve Bramson

Orchestra Contractor: Nathan Kaproff

Music Preparation: Bob Bornstein

Music Editor: Jim Henrikson

Assistant Music Editors: Christine Cholvin, Joe E. Rand

Recorded and Mixed by Shawn Murphy at Todd-AO Scoring Stage, Studio City, CA

Todd-AO Scoring Staff: Andy Bass, Marc Gebauer, David Marquette, Jay Selvester, Kirsten Smith

Mastered by Patricia Sullivan at A&M Mastering, Hollywood, CA

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

Featured Instrumental Soloists: Michael Fisher, Ralph Grierson, Tony Hinnegan, James Horner, Randy Kerber, Qu-Chao Liu, Kazu Matsui, Mike Taylor, Ian Underwood

Published by TSP Music, Inc. (admin. by Sony Tunes Inc.)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Prologue	1m1 Prologue / Main Title
2. Alan and Sarah Start Playing	2m4 First Move
3. Mosquitoes, Monkeys and a Lion	3m10/4m1 Monkey Mayhem (Edited)
4. Alan Is Back	4M2/3 A New World
5. A New World	4m4/5m1 Alan Parrish (Edited)
6. It's Sarah's Move	6m1 It's Sarah's Move
7. Faster Than Bamboo	1m3 Alan Finds The Game (Edited) 6m2 Plant Almost Eats Peter
8. Van Pelt	7m1 The Hunter
9. Stampede!	7m2 Stampede!
10. Peter Retrieves the Game	7m3 A Pelican Steals The Game
11. Rampage Through Town	4m4/5m1 Alan Parrish (Edited) 8m4 Rampage Through Town (Edited) 8m5/6 Store Mayhem (Edited) 8m7/9m1 Car Crash (Edited)
12. The Monsoon	9m2 Peter's Tail / Van Pelt's Hand (Edited) 10m1 The Monsoon (Edited)
13. Jumanji	11m1 Jumanji (Edited)
14. Finale	11m1 Jumanji (Edited)
15. End Titles	12m3 End Titles (Edited)

Motion picture artwork and photography © 1995 TriStar Pictures Inc. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19080]

Casper

 

Casper

(Music From The Motion Picture Soundtrack)

Music Composed and Conducted by

James Horner

Few composers could balance whimsy, warmth, and heartbreak as gracefully as James Horner, and his music for Casper (1995) remains one of the finest examples of his gift for scoring family fantasy. Combining mischievous comedy, orchestral playfulness, and one of the most tender lullabies of his career, Horner elevated this Steven Spielberg-produced film far beyond its ghostly hijinks. Now, Renovatio Records is proud to present a newly remastered 70-minute edition of this beloved score, restored and presented in nearly complete chronological order for the first time in a single-disc release.

Directed by Brad Silberling and produced by Universal Pictures and Amblin Entertainment, Casper brought the iconic Harvey Comics character “Casper the Friendly Ghost” to the big screen with groundbreaking visual effects from Industrial Light & Magic. Bill Pullman stars as a paranormal therapist who moves into the crumbling Whipstaff Manor with his daughter Kat (Christina Ricci), hired by the greedy Carrigan Crittenden (Cathy Moriarty) to rid the mansion of its ghostly inhabitants. While Kat befriends Casper—a lonely spirit of a young boy who died a century earlier—his three mischievous uncles, the Ghostly Trio, provide manic comic relief. Mixing slapstick humor, supernatural spectacle, surprising cameos (including Dan Aykroyd’s sly Ghostbusters nod), and a bittersweet story of love, loss, and acceptance, the film became a mid-1990s family cinema staple.

Horner approached Casper with the same sincerity he brought to his most epic dramas, weaving playful orchestration, comical pastiche, and a devastatingly beautiful central theme. The score reflects both the film’s cartoonish energy and its unexpectedly poignant emotional core.

At the heart of the music is “Casper’s Lullaby,” one of Horner’s most touching creations. A lyrical melody for piano and strings, later joined by ethereal choir, it embodies Casper’s loneliness and his memories of his former life, as well as his longing to be alive again and his fleeting connection with Kat. First hinted at in cues like “No Sign of Ghosts” and “Casper Makes Breakfast,” the theme blossoms in “The Lighthouse – Casper & Kat” and reaches its most radiant form in “One Last Wish,” when Casper is briefly restored to human form. The lullaby stands among Horner’s most cherished melodies, later inspiring material in works such as The Spiderwick Chronicles (2008).

Balancing this tenderness is a colorful palette of comic and jazzy motifs. For Carrigan and her hapless accomplice Dibs (Eric Idle), Horner employs harpsichord, saxophone, and even a wink of theremin, parodying haunted-house tradition. “March of the Exorcists” lampoons heroic bravado with flamboyant orchestrations, while “Dying to Be a Ghost” plays their scheming with tongue firmly in cheek.

Equally distinctive is the Ghostly Trio’s material: swaggering, saxophone-driven swing motifs that inject brassy irreverence whenever Stretch, Stinkie, and Fatso wreak havoc. Introduced in “No Sign of Ghosts,” the theme gets rowdy development in “First Haunting/The Swordfight” (with nods to Danny Elfman’s carnivalesque gothic style and Erich Wolfgang Korngold’s swashbuckling flair), resurfaces in “Dad Returns,” and bursts out triumphantly in “The Uncles’ Swing/End Credits.” This jazz-inflected writing adds a vaudevillian edge, contrasting sharply with the heartfelt lullaby, and shows Horner reveling in an unusually comic register.

The score also showcases Horner’s flair for fantasy textures and orchestral color. Percussion-driven set pieces like “Descent to Lazarus” anticipate his later rhythmic innovations in Bicentennial Man, while woodwinds and choir add spectral shimmer. An Americana-tinged theme surfaces in “On to Whipstaff,” underscoring the film’s more domestic, father-daughter moments.

Taken together, these elements form one of Horner’s most diverse and thematically rich works of the decade—at once as heartfelt as Legends of the Fall, as magical as The Land Before Time, and as playful as anything Danny Elfman was writing at the time.

The original 1995 MCA album ran over 70 minutes, combining Horner’s cues into long suites and including two songs. While generous, it often prioritized album flow over film chronology and omitted certain highlights. In 2020, La-La Land Records issued a lavish two-disc expansion with the complete score, alternates, and source cues. While exhaustive and invaluable to completists, its sheer length and repetition could be overwhelming for casual listeners.

Renovatio Records’ new 70-minute edition offers the ideal middle ground. Presented in a largely chronological sequence, it restores key unreleased cues, highlights the score's narrative arc, and features newly remastered sound in a cohesive single-disc program. 

From the mischievous antics of the Ghostly Trio to the tear-stained beauty of “Casper’s Lullaby,” James Horner’s Casper captures both the comic spirit and haunting heart of this beloved story. Rich in orchestral color, thematic depth, and emotional sincerity, it remains one of Horner’s standout works of the mid-1990s—a hidden gem overshadowed at the time by Legends of the Fall, Braveheart, and Apollo 13. A must-have for collectors and newcomers alike, this new edition celebrates the magic, mischief, and melancholy that only James Horner could conjure.

Track listing:

1. Prologue (1:44)*

2. Casper's Lullaby (5:36)

3. March of the Exorcists (1:43)

4. On to Whipstaff (1:38)

5. No Sign of Ghosts (7:28)

6. First Haunting/The Swordfight (5:22)

7. Casper Makes Breakfast (3:39)

8. The Lighthouse - Casper & Kat (4:53)

9. Kat in the Attic (3:57)

10. Descent to Lazarus (10:17)

11. 'Dying' to be a Ghost (5:35)

12. Carrigan Crosses Over (2:30)

13. Dad Returns (2:30)

14. One Last Wish (6:13)

15. The Uncles Swing/End Credits (6:25)

*Contains "Casper The Friendly Ghost" Written by Mack David and Jerry Livingston

Total Running Time: 70:13

Download Link

Size: 379.5 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 and Conducted by James Horner

Produced by James Horner and Shawn Murphy

Executive In Charge of Music for Universal Pictures: Harry Garfield

Executive Producer for Renovatio Records: John M. Angier

Orchestrations: Greig McRitchie, Art Kempel, Don Davis and James Horner

Concertmaster: Clayton Haslop

Orchestra Contractor: Sandy De Crescent

Vocal Contractor: Ron Hicklin, Killer Music

Music Copying: JoAnn Kane Music Service

Supervising Music Editor: Jim Henrikson

Music Editor: Joe E. Rand

Recorded and Mixed by Shawn Murphy 

Recorded and Mixed at Todd AO, Los Angeles, CA 

Scoring Crew: Andy Bass, Dave Marquette and Jay Selvester

Mastered by Dave Collins and Patricia Sullivan at A&M Mastering, Hollywood, CA

Album Sequencing: John M. Angier

Art Direction: Mira Ellis

All James Horner compositions Published by USI A Music Publishing (ASCAP), © 1995.

Cue Assembly:

Track Title	Cue Title
1. Prologue	Kids with Camera (Alternate) (Edited) Kids with Camera (Edited)
2. March of the Exorcists	March of the Exorcists (Edited)
3. On to Whipstaff	On to Whipstaff
4. No Sign of Ghosts	No Sign of Ghosts
5. First Haunting / The Swordfight	First Haunting (Edited) Kat Walks to School (Edited) The Swordfight (Edited)
6. Casper Makes Breakfast	Casper Makes Breakfast
7. The Lighthouse - Casper & Cat	The Lighthouse Casper & Cat
8. Kat in the Attic	Kat in the Attic Fond Memories Costume for Kat
9. Descent to Lazarus	Descent to Lazarus
10. ‘Dying’ to be a Ghost	Carrigan & Dibs (Edited) ‘Dying’ to be a Ghost
11. Carrigan Crosses Over	Carrigan Crosses Over
12. Dad Returns	Dad Returns
13. One Last Wish	Casper Gets His Wish Fatso As Amelia (Edited) One Last Wish
14. The Uncles Swing/End Credits	The Uncles Swing End Credits

Motion picture artwork and artwork title © 1995 Universal City Studios, Inc. & Amblin Entertainment Inc. "Casper" and "The Ghostly Trio" © Harvey Comics, Inc. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.