Blade Runner (Music From the Original Soundtrack) [VINYL]

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The Blade Runner soundtrack was composed by Vangelis for Ridley Scott's 1982 film Blade Runner. It is mostly a dark, melodic combination of classical composition and synthesizers which mirrors the futuristic film noir envisioned by Scott. Since the premiere of the film, two official albums have been released containing music omitted from the film and also new compositions featuring a similar style. An orchestral rendition of part of the soundtrack was released in 1982 by the New American Orchestra. However, the original soundtrack album (1994) features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on "Love Theme" (In the credits on page 3 of the 1994 Atlantic CD, Dick's last name is misspelled as "Morrisey"). The track "Memories of Green" from Vangelis' 1980 album See You Later was also included. A new release made in 2007 includes a disc of new music inspired by the film. The film also features "Ogi No Mato" ("The Folding Fan as a Target" on Traditional Vocal and Instrumental Music from Nonesuch Records) by the Japanese group Ensemble Nipponia, and harpist Gail Laughton's "Pompeii 76 A.D." (from Harps of the Ancient Temples). Two songs used prominently in the workprint, "If I Didn't Care" by The Ink Spots and "Quran" by Brian Eno & David Byrne, were omitted from the Theatrical release of Blade Runner. The original soundtrack release was delayed for over a decade, until 1994, despite the music being well-received by fans and critically accled-nominated in 1983 for a BAFTA and Golden Globe as best original score. Also, there was the promise of a soundtrack album from Polydor Records in the film's end titles. The 1989 compilation Themes included some tracks from the film, but it was not until two years after the 1992 Director's Cut of the film that the score saw an official release. The soundtrack is regarded as a historically important piece in the genre of electronic music, and has been variously described as, 'influential and mythical', 'incredible and pristine', 'evocative', and 'the pinnacle of synthesizer soundtracks.'