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Blade Runner - Music From The Original Soundtrack
 
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Blade Runner - Music From The Original Soundtrack

6 Jun. 1994 | Format: MP3

£6.59 (VAT included if applicable)
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Song Title
Time
Popularity  
30
1
3:42
30
2
5:46
30
3
5:27
30
4
4:48
30
5
4:55
30
6
3:59
30
7
8:54
30
8
5:05
30
9
4:46
30
10
2:32
30
11
4:39
30
12
3:00
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Product details

  • Original Release Date: 6 Jun. 1994
  • Release Date: 6 Jun. 1994
  • Label: EastWest U.K.
  • Copyright: 1994 Warner Music UK Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 57:33
  • Genres:
  • ASIN: B001LBT4G8
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (108 customer reviews)
  • Amazon Bestsellers Rank: 5,696 in Albums (See Top 100 in Albums)

Customer Reviews

4.3 out of 5 stars

Most Helpful Customer Reviews

11 of 11 people found the following review helpful By Kraftwerker on 10 Aug. 2013
Format: Audio CD
I've discovered this 3CD set rather late in the day but love it. CD1 is the previously released Vangelis Blade Runner "soundtrack" - not a soundtrack album in the strictest sense, of course, more a collection of themes and riffs used in the film supplemented by some extraneous material sung by the likes of Demis Roussos and Mary Hopkin. It's an album I always liked because it conjures up the feel of Ridley Scott's epic film so well, aided by the inclusion of some choice bits of dialogue at the start and end, even though I would not count myself a fan of much of Vangelis' musical output. I'm surprised how much I like CD2 though. It's a sort of ambient take of the first album, comprised solely of instrumentals with no added dialogue. As other reviewers have pointed out, you can hear some of these throughout the film and it notably contains the music to Dr Tyrells death scene and the following scene where Batty takes the lift back down the Tyrells building, plus music from the ensuing chase and fight between Deckard and Batty, and an instrumental version of Tears In Rain, minus Batty's final lines of dialogue (here it's called Fading Away). What makes it for me is the atmospherics - there's lots of tinkling bells and such, plus street noises, clicks and bleeps from the film which evoke perfectly images from the film for me, such as on Empty Streets and Leon's Room - and the two tracks that are listed as bonus tracks (One alone and Desolation Path) which add some melodic structure to the whole CD. The third CD is a bit of a curate's egg though. It's a Vangelis album of new music inspired by the film and his original (i.e. CD1) release and works well overall, but is a bit bland and featureless at times.Read more ›
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80 of 84 people found the following review helpful By Mr Ghostface VINE VOICE on 27 Dec. 2007
Format: Audio CD
I'm getting a little annoyed by some people giving negative reviews of this 3CD set when they simply don't appreciate what they have here. Now, don't get me wrong, this is NOT the complete Blade Runner score. For some reason, they've never seen fit to release it. But taking a balanced look at what IS in this release, here is a break down of the tracks on CD 2, which is the disc containing previously unreleased pieces of the score.

1) LONGING. This track does not appear in the movie as far as I'm aware, although it isn't listed as a bonus track. Instead, it offers a fairly short introductory piece which leads nicely into Track 2. Yes, these tracks are abridged, as Vangelis did with the 1994 soundtrack release (CD 1 in this album set).

2) UNVEILED TWINKLING SPACE: This cue is the last piece heard in the film, when Deckard 'rescues' Rachael and they flee his apartment. It includes the beautiful, haunting tones where Deckard is looking at the origami unicorn.

3) DR.TYRELL'S OWL: This cue is mixed quite low in the movie but plays all through Rachael's Voight-Kampff test at The Tyrell Corporation. It begins with Deckard's line "It's too bright in here."

4) AT MR.CHEW'S: all this music corresponds to the scene in the freezer where Roy and Leon ask Chew questions about Tyrell. In the movie this cue is around 3 minutes whereas here it is 4:47, which suggests that Vangelis may have scored a longer cut of this scene.

5) LEON'S ROOM: (erroneously called LEO'S ROOM on the back of the CD). This music is actually the music covering Deckard's Esper analysis of Leon's photo in his appartment. You can hear it quite clearly in the movie, although occasionally it's mixed low and those lovely Esper bleeps get more of your attention.
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4 of 4 people found the following review helpful By Mr. R. C. Thewlis on 7 April 2011
Format: Audio CD
Blade Runner * * * *
Music Composed by Vangelis
Universal Music 060075305147(4)
RT Disc 1 57:40 Disc 2 44:02 Disc 3 48:20

This Blade Runner album has taken a long time in coming and it took until 1992 to get any semblance of the score on CD. This was the single disc edition and is the first disc contained on this special 3CD pack released from Universal. Disc 1 contains 12 tracks with the marvellous opening 1: Main Title, the melodic 8-note melody of 3: Wait for me, the eclectic 9-note theme of 4: Rachael's Song, the soulful saxophone of 5: Love Theme, the driving 4-note melody of 11: End Credits and the (complete with Hauer's voiceover) emotional 12: Tears in the Rain. It was a superb experience back then and still is a great album now, though the voice backings do annoy now and again. This is, of course, except for the song 6: One More Kiss Dear which frankly I could have done without. It works well within the film but not here on a listening experience.

Disc 2 is what fans of the film have been praying for for years. However, if you are not used to Vangelis's style you may find this a hard listen. The disc opens with moody synth and repeating chimes over the first few tracks. The eclectic chimes in 5: Leo's Room make for in interesting atmosphere, though 6: One Alone, featuring dreamy synth including a repeating 4 note melody. is quite a delight to listen to, with Vangelis adding backing levels in so many subtle ways.

8: Dr Tyrell's Death features Vangelis introducing voices over a synth maelstrom with a 3 note pain motif, and it works so well in the film and on here too, though quite grisly in the film!
Read more ›
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