At last! All-important cue underscoring first appearance of Robocop - with dynamic first statement of main theme, right down to clanking metal - makes it to CD! ROBOCOP has hit the market twice before, but both releases inexplicably deleted important cue plus subsequent variants as Robo first goes into action with hostage crisis. Paul Verhoeven sci-fi/actioner with Peter Weller inspires Basil Poledouris to create powerful music: otherworldly for creation of Robo, emotional for Robo's memories, riveting for explosive action set-pieces. Intrada also presents first-ever assembly of complete end credits on CD, as well as restoring cues to proper chronological order. Advertisement sequences (trademarks in numerous Verhoeven films) are scored by Poledouris and included in sequence as they comment on scenes outgoing or incoming. Intrada presents complete score in vibrant stereo, newly re-mixed and re-mastered from recently-discovered original 2" 24-track session masters plus 1" 8-track electronic session mixes, all stored in mint condition, courtesy MGM. Informative liner notes from Jeff Bond complete exciting package. Howard Blake, Tony Britton conduct Sinfonia of London. Intrada Special Collection limited to 3000 copies!
The original score for the Paul Verhoeven sci-fi tale
Robocop just gets better and better with age. Basil Poledouris wrote the music in 1987, following
up on his magnificent score for Verhoeven’s Flesh + Blood from two years earlier.
The soundtrack has been released on CD twice before. The first release was a solid
presentation from the Varese Sarabande label, offering some 41 minutes of music from the score
with dynamic audio. As a bonus, the second release (on the same label) added some of the very
brief original cues Poledouris scored for the
commercial sequences in the movie. Both
albums featured playing sequences designed
for particular listening experiences rather
than as recreations of the film sequencing.
But that’s where the assets stop and the liabilities
begin. Altering the intended sequence of
this particular score changes the architecture
of the music as composed and developed by
Poledouris. (Musical ideas are deliberately introduced
at key points and developed as the
score progresses.) In addition, both earlier CDs
omitted the all-important music underscoring
the initial appearance of Peter Weller, now resurrected
as Robocop. This is not only the very first statement of the main theme in the score, occurring
roughly one-fourth of the way into it, but it is the only version to include the striking, metallic sound
of a steel fire extinguisher, hammered at like an anvil, as the cue plays out. We are happy to present
this dramatic cue on our CD for the time ever, sequenced where it was originally intended.
To prepare this new CD, we were given access to all of the recently discovered 2” 24-track
masters as well as the 1” 8-track masters with their wide array of electronic sequences, all recorded
by the Sinfonia of London at Abbey Road with Eric Tomlinson as engineer. This allowed us to
completely remix every cue, which further allowed us to include all of the original cues Poledouris
wrote for the various commercial spots within the film, as well as several other sequences being
heard here for the first time.
On a creative note: the brief commercial spots are presented in the order they appear in the film, rather than just assigned to a “bonus” section at the end of the album, even though they are not
built from themes otherwise used in the score. This was done partly because they are, in fact, actual
scoring compositions recorded by Poledouris during the sessions and partly because we feel they
have a certain impact when positioned as such. For example, after the searing music for the “Force
Shoots Robo” sequence, the powerful 6000 SUX commercial music hits with dramatic impact. In
particular, the visionary commercial that plays on the “O.C.P. Monitors” during the senior personnel
meeting at O.C.P. headquarters is—in itself—a richly composed work complete with soaring trumpet
and a strong outdoor Western feel that plays in striking contrast to the grim, decaying images of Detroit
that appear as a backdrop in the film. It seems just too elegant to be assigned to the end of the
CD, as if it were a mere afterthought.
One last assembly note. The “End Credits” sequence for the film was prepared from three separate
cues, offering a nice medley of the primary themes from the score. The climactic cue (“Across
the Board”) that plays under the last scene, where
Ronny Cox gets his comeuppance, was written
to segue directly into this medley. We
have included the entire sequence here. But
viewers of the film will note that as soon as
the title “Robocop” bursts on screen, there
is an insertion for just a few seconds of the
main theme, taken from the cue “Drive
Montage.” This was a last-minute decision
to ensure the theme would appear right
over the titles. Though clever, viewers will
note the edit is both abrupt and decidedly
non-musical, and was not originally
scored by the composer in this manner. As
such, for our assembly, we elected not to
reproduce that particular edit.
So wrap yourself up in a protective suit a la Robocop, turn up the volume on your playback
system of choice and let Basil Poledouris knock you around with his own vibrant, pulsating vision
of… the future of law enforcement!