ROBOCOP (COMPLETE)

Label: Intrada Special Collection Volume ISC 129
Date: 1987
Time: 0:56:16
Tracks: 23
World premiere of complete ROBOCOP score on CD at last! Special Collection release limited to 3000 copies! SOLD OUT!

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  • More Info
  • Track List
  • Doug's Tech Talk
  • Musicians List
  • 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!
  • Play All Play all clips Play All

    01. Main Title 0:45
    02. Have A Heart 0:33
    03. O.C.P. Monitors 1:41 Hear This Track
    04. Twirl 0:25
    05. Van Chase 4:56 Hear This Track
    06. Murphy Dies In O.R. 2:35
    07. Robo Lives 1:05
    08. Drive Montage 1:04 Hear This Track
    09. Helpless Woman 1:16
    10. Nukem 0:26
    11. Murphy's Dream 3:05
    12. Gas Station Blow-Up 1:44

    13. Murphy Goes Home 4:15 Hear This Track
    14. Clarence Frags Bob 1:45
    15. Rock Shop 3:42
    16. Robo Drives To Jones 1:47
    17. Directive 4 1:04
    18. Robo & Ed 209 Fight 2:10 Hear This Track
    19. Force Shoots Robo 2:43
    20. Big Is Better 2:33
    21. Care Package 2:58 Hear This Track
    22. Looking For Me 5:13
    23. Across The Board (End Credits) 7:32 Hear This Track

  • Tech Talk From The Producer…

    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!

    —Douglass Fake