My first introduction to John Mackey in the work Strange Humors is part of a new Naxos #8572529 release in their Wind Band Classics Series. The works are performed by the Rutgers Wind Ensemble conducted by William Berz and also feature compositions of Michael Daugherty (Metropolis… )  and James Syler as well as this unique 2006 piece orchestrated by Mackey for wind ensemble from the original string quartet work from 1998. After listening to this several times it is hard for this reviewer to imagine it not having the brass and wind instruments. Perhaps I’m mistaken but as a string quartet piece it would have lost so much of its impact.


Mackey has combined the percussion of Africa with the oriental mystery of the Middle East with a solo from first the English horn and then a saxophone. It ends in big band fashion featuring sliding trombones and dissonant brass riffs in a 5 plus minute opus. This work is a true example of blending three or four styles in one relatively easy to listen to work. Well done!


Raise the Roof, from Michael Daugherty, a work for wind ensemble and timpani was written in 2007 and performed by the University of Michigan band. It was originally commissioned and performed by the Detroit Symphony in 2003. The timpani part is  huge in  this work as it is allowed to explore melody as well as rhythm in this homage to buildings in New York. The piece begins with a melody from the tuba followed by a second melody from the woodwinds and the timpani. The wind melody is somewhat mysterious, a bit oriental, and more time is devoted to it than the first melody. The brass melody is somewhat somber from the tuba but as it evolves the brass especially the trombones take over and make it majestic. The work ends with the two melodies being blended into one. Todd Quinlan, the timpani soloist, does a fine job of melding the two sections of the orchestra as well as providing his own interpretation of the woodwind melody.


Brooklyn Bridge, also a work of Michael Daugherty, is a four movement clarinet concerto nicely performed by Maureen Hurd. Each movement is a view from different sides of the bridge with the final “North” movement being a nice jazz riff written with Artie Shaw a swing clarinetist supreme of the thirties, forties, and fifties in mind. This work premiered in 2005 by the Michigan band. The work in addition to the flavor of buildings has a South American flavor.


The Hound of Heaven is from 1988 and is based on a symbolic poem of the same name by Francis Thompson. The six movement work is religious in nature with many somber and dissonant passages. Beginning the work is a reference to the famous Holst work The Planets, a movement of war. The second movement switches to a quiet religious cue with some beautiful brass chords not unlike something you might hear in a Star Trek film or a Gil Evans arrangement. Throughout the third and fourth movement there is marvelous playing with an emphasis on brass chords. The conclusion is one of faith and hope. A solitary trumpet is the instrument that bridges one movement to another melding them together in a complete package.


This CD is a nice introduction to works you’ve likely not heard before and is well worth exploring further. Available as a download from Classics online.



Mackey, John

Strange Humors

1.                 Strange Humors 00:05:17

Daugherty, Michael

Raise the Roof (version for timpani and wind band)

2.                 Raise the Roof (version for timpani and wind band) 00:12:58

Brooklyn Bridge

3.                 I. East 00:08:06

4.                 II. South 00:08:43

5.                 III. West 00:03:23

6.                 IV. North 00:08:31

Syler, James

The Hound of Heaven

7.                 I. I Fled Him, Down the Nights 00:02:21

8.                 II. The Gold Gateway of the Stars 00:03:26

9.                 III. Within the Little Children’s Eyes 00:01:53

10.                IV. Nature’s – Share with Me 00:02:23

11.                V. And Smitten Me to My Knee 00:02:41

12.                VI. I am He Whom Thou Seekest! 00:05:41


Total Playing Time: 01:05:23






December 23, 2010

01 – 01 Main Title

The Closet

11 – 11 Born To Have It All

12 – 12 I Never Dreamed

Brian De Palma found himself with a huge hit when he decided to turn the Stephen King novel into a film for the silver screen. The 1.8 million dollar investment turned into nearly 50 million dollars as the audiences flocked to see this film. Spacek, Travolta, Irving, Laurie, and others turned this into a must see film with Cissy and Piper getting Oscar nominations. It isn’t often that a horror movie get’s any sort of Oscar consideration at all, but this was an exception to the rule.

Pino Donaggio, a veteran today of over 170 films, had only a couple under his belt at the time, and this film allowed his career to take off. He went on to do other films with De Palma such as Dressed to Kill, Home Movies and Body Double, as well as films Piranha, and The Howling for Joe Dante.

After seeing the film when it first came out in 1976 at the theater and falling in love with the main theme, I ordered the United Artist LP #LA716-H and promptly wore it out. The original album is CD2 on this limited edition 1200 copy release from Kritzerland #KR20017-5. The CD1 includes all of the soundtrack material in order with additional bonus cues. CD2 is out of order as far as the film goes but 30+ years is a habit hard to break so listening in order was really out of order as far as I was concerned. Now I have a choice and can listen either way, a good thing when it comes to our expanded releases.

On first listen “Main Title/Theme from Carrie,” “Someone Like Me,” and “Born To Have It All,” certainly doesn’t sound like anything remotely close to a horror movie. The main title is soft and slow moving with a long solo piano introduction followed by the “Born To Have It All” theme played eloquently on the flute. This is really quite relaxing and very easy on the ears. The two vocals sung by Katie Irving were tunes that hopefully would turn out to be pop hits with the younger teenage crowd and would enhance the film sales even further. “And God Made Eve,” as well as “Mother At The Top Of The Stairs” is a funeral tempo reality check letting the listener and the audience know there is a lot more to this story. Melodic but depressing. “School in Flames” offers the creepy horror side of the soundtrack with the use of a generated tone from a synthesizer or electronic test equipment along with wind sound effects and long single notes from the lower strings. Pino certainly made his point loud and clear with this track! This is a track to consider playing for Halloween when giving out the candy. The Closet: San Sebastian makes a reference to Psycho (clip included).

Remember that there are only 1200 available so it is important to act sooner rather than later. This is a fine score from Pino and one that shouldn’t be passed up. Give Bruce another ‘A’ for finding and releasing this little gem. Recommended.

Kritzerland KR20017-5

Track listing

Disc/Cassette 1

1.       Main Title (02:49)

2.       The Principal’s Office/The Ashtray (01:35)

3.       Margaret Comes Home/The Telephone Call (02:26)

4.       The Closet: St. Sebastian/The Mirror/The Reflection (01:24)

5.       Calisthenics (01:15)

6.       The Card Catalogue/Telekinesis (01:17)

7.       Carrie and Miss Collins (01:49)

8.       The Slaughter/The Storm/

Outside the Gym/Margaret Prays (01:33)

9.       The Tuxedo Shop (01:30)

10.     Waiting for Tommy/Tommy Arrives (00:55)

11.     Born to Have It All (03:02)

vocal by Kate Irving

12.     I Never Dreamed Someone Like You

Could Love Someone Like Me (04:07)

vocal by Kate Irving

13.     The Ballot/Carrie and Tommy/The Conspirators (02:12)

14.     The Coronation/The Blood (05:24)

15.     The Retribution (03:07)

16.     Carrie Returns Home (03:38)

17.     The Bath/Carrie and Margaret (01:04)

18.     The Crucifixion (02:47)

19.     The House (01:35)

20.     The Dream/The Nightmare/End Titles (05:04)

Bonus Tracks

21.     Born to Have It All (instrumental version) (03:02)

22.     I Never Dreamed Someone Like You

Could Love Someone Like Me (instrumental version) (05:37)

Total Disc Time: 58:22

Disc/Cassette 2

1.       Theme from Carrie (02:51)

2.       I Never Dreamed Someone Like You

Could Love Someone Like Me (03:09)

vocal by Kate Irving

3.       And God Made Eve (02:02)

4.       At the Prom (01:54)

5.       Contest Winners (02:45)

6.       Born to Have It All (03:02)

vocal by Kate Irving

7.       Bucket of Blood (02:42)

8.       School in Flames (03:08)

9.       Mother at the Top of the Stairs (03:40)

10.     For the Last Time We’ll Pray (02:41)

11.     Collapse of Carrie’s Home (01:36)

12.     Sue’s Dream (02:16)

13.     Theme from Carrie (01:00)

Total Disc Time: 33:19

Total Duration: 01:29:58

Sunset Blvd./Waxman

December 18, 2010

01 – The Paramount Don’t-Want-Me Blues

01 – Prelude

When this CD was first announced some of the buzz was why did they include a second CD with 2:24 and one track on it? Upon arrival the answer was loud and clear as it was its own separate entity, being a rejected cue from the filmSunset Blvd. but a 2009 recording of the Livingston/Evans “The Paramount-Don’t-Want-Me Blues” digitally recorded and performed by the duo of Kaufman and Kole, a most welcome addition to mine and hopefully your collection. It is a raucous barrel house recording that manages to get in the names of all the producer and directors of the day with great lyrics. This is wonderful material and it alone is worth purchasing to have in your collection.

So much has been said about Sunset Blvd. that there is little for me to say about it other than it is a film for the younger generation who perhaps might be reading this to see keeping in mind this was 1950 and the director writer Wilder was one of the finest Hollywood had ever seen as he wrote and filmed about the industry like no one had done before. Included in the purchase of this new CD release from Counterpoint/SAE #CPT1001 will give you enough material in the two booklets so you too can become an expert on the film and impress your friends as to your vast knowledge.

My first experience with any recorded material from this film was on a 1974 release from Charles Gerhardt (RCA ARL1-0708) LP offering music of Franz Waxman the composer. The main theme was a quirky unusual style jazzy number which certainly got my attention. It was really a style that I had never heard before and I became quite fascinated with it. The Gerhardt material became a staple in my collection and I can certainly recommend the entire series which has been remastered to CD provided you avoid the Dolby surround CD’s, which aren’t the best in sound quality. The Waxman CD includes a fine selection of his material.

In 2002 Varese Sarabande released a fine rerecording featuring Joel McNeely and the Royal Scottish National Orchestra. This 68 minute recording featured most of the music from the film as well as some previously never before released material. The huge advantage this recording has is its digital from start to finish so it has superior sound as well as being well arranged and performed extremely well. Again this is a recording that I can highly recommend you have in your collection.

The new Counterpoint release offers the original soundtrack material, unreleased source material, and the previously discussed “The Paramount-Don’t- Want- Me Blues” song (sound clip included) recently recorded. The OST is mono and there are spots which will annoy the perfectionist. It is over 50 years old and not in perfect condition but overall John Davis did a superb job of transferring the material. The sound is crisp and clear with nice biting treble and decent bass. Listen to the Prelude (sound clip included) especially the solo violin and you can fully appreciate this recording. The booklets fully explain the listening experience to you far better than I could attempt to discuss in a few words. It is unique and special! Listening to the violin fiddling, the harp, sax, and piano immediately bring back the movie to your memory if you’ve seen it before. If you haven’t viewed the film don’t hesitate in renting it. You’ll not be disappointed.

In conclusion this is one of the top 10 soundtracks of all time so it goes without saying that all three releases Gerhardt, McNeely, and this new Counterpoint need to be in your soundtrack collection. If you can only afford one always get the OST as you’ll seldom go wrong with the original material. After 35 years I still get goose bumps every time I listen to it. Highly recommended.

Track listing 

Disc/Cassette 1
1. Prelude (08:18)
2. Money Trouble/The Schwabadero (01:11)
3. Chase And Mansion/An Aging Actress (03:54)
4. The Organ Grinder (00:40)
5. A Curious Collaboration (00:38)
6. Norma’s Gallery (01:19)
7. Afternoon Outings/Sacrifice Of Self-Respect (04:47)
8. Dramatic Chord (01:04)
9. After Auld Lang Syne/The Pampered Prince (00:49)
10. Parading To Paramount (00:54)
11. Interview With Demille (01:49)
12. Demille’s Compassion (00:38)
13. The Studio Stroll (00:25)
14. Farewell/Joe Walks Out (06:41)
15. The Comeback (04:19)
16. Sunset Boulevard Cast (00:25)
17. Toccata And Fugue In D Minor (excerpts) (03:36)
Source Cue
18. La Cumparsita (03:32)
Source Cue
19. Diane (02:51)
Source Cue
20. Charmaine (02:20)
Source Cue
21. Auld Lang Syne (01:01)
Source Cue
22. Main Title (Film Version with Effects) (01:28)
Disc/Cassette 2
1. The Paramount-Don’t-Want-Me Blues (02:24)
Newly recorded by vocalist Whitney Claire Kaufman and pianist Nelson Kole


One of the nice things about Naxos is they never seem to be afraid to take a chance on someone who is not been very well recorded. Such is the case with Sergey Lyapunov a composer whose recordings premiered in the 1890’s and early 20th century, a time of unrest in the Soviet Union as well as the emergence of a young Rachmaninoff whose works have proven far more popular over the years.

Lyapunov attended the Moscow Conservatory where he was a pupil of Taneyev as well as Tchaikovsky in 1878. In 1885 he became associated with Mily Balakirev the leader of the mighty five and as a result of this relationship he became isolated from the newer up and coming composers. Perhaps this is why other composers of the time became more popular? In fact it was Sergey who completed the last movement of Balakirev’s Piano Concerto in E flat major in 1910. By that time he had achieved a high level of maturity and was able to take on this task both from a technical standpoint and a knowledge of Balakirev.

Written in 1907 and performed by Lyapunov in 1909 the work is a marvelous example of something truly special but virtually unknown to classical listeners. Research on my part found only two previous recordings of this work from Hamish on Hyperion and Ponti on Vox. The work begins with a rhapsody from the English Horn very serene with a bit of sadness, an answer from the flute, and then the piano takes over. Slowly at first it builds into something quite showy and powerful. A second theme begins with the piano and it is here where it is allowed to fully explore with a full attack and fury. A third theme follows quite Russian in nature, a dance where the orchestra and piano become one and while the piano is still featured the orchestra never takes a back seat. This work is one where the orchestra and piano complement one another and work together. There are not long periods of time where the piano is front and center and the orchestra is quiet. There is plenty of thematic material and that showy Lizst style yet the orchestra plays an important part in the work creating his sound with wonderful melodies. If you listen carefully you can hear a small Tchaikovsky influence in the work, particularly in a couple of phrases. The ending is very grand and allows us to know this is definitely a piano piece. This is a work that should bear further exploring on your part and would be a nice addition to your material. Recommended.

Piano Concerto No. 1 in E flat major, Op. 4

1.                 Piano Concerto No. 1 in E flat minor, Op. 4 00:22:16

Piano Concerto No. 2 in E major, Op. 38

2.                 Piano Concerto No. 2 in E major, Op. 38 00:19:27

Rhapsody on Ukrainian Themes, Op. 28

3.                 Rhapsody on Ukrainian Themes, Op. 28 00:16:35

Total Playing Time: 00:58:18

silent night seattle

Holiday CD’s are more than plentiful in the marketplace so why would one choose this release? The Seattle Symphony is a first rate orchestra with a first class conductor in Gerard Schwarz, Naxos is always a good value in the market place, and some of the arrangements are unique and well worth having in your collection. Yes you’ll hear five selections from Tchaikovsky’s Nutcracker Suite, including Overture Miniature, March, selections from Handel’s Water Music which includes the Allegro, Bouree, Air, and Hornpipe. These are all popular selections for a holiday release along with Pachelbel “Canon in D,” “Silent Night,” “Greensleeves,” “O Little Town of Bethlehem,” and “We Three Kings of Orient Are/We Wish You A Merry Christmas.”  One of the advantages of this CD lies in the arrangement Schwarz did of “Silent Night” featuring four French horns and Tuba, making this a truly tranquil unique orchestration. The digital recording brings out the individual horns can and the Tuba part enhances the material. The Ben Hausmann arrangement of “Coventry Carol” is so peaceful I found myself closing my eyes and losing my concentration on the first listen, the oboe and solo violin building to an orchestral crescendo before fading into nothing with the tuba quietly ending the piece. “Gesu Bambino,” an Italian version of O Come All Ye Faithful, also is an arrangement from the Principal Oboe Ben Hausmann and does have an Italian flavor without being loud in anyway. Both arrangements by Ben can be put into the plus category. “We Three Kings of Orient Are/We Wish You A Merry Christmas” ends the CD with another good arrangement from Schwarz featuring French Horns and a Bassoon, a nice way to end this CD.

I found this recording an excellent one to have on in the background while preparing for this festive time of the year. Nicely arranged it is a welcome addition to your collection. Recommended. Please note the film clip of Silent Night in the upper left hand corner.

Naxos CD# 8.572673

Tchaikovsky, Pyotr Il’yich

The Nutcracker Suite, Op. 71a: I. Miniature Overture

1.                 The Nutcracker Suite, Op. 71a: I. Miniature Overture 00:03:12

Gruber, Franz Xaver

Schwarz, Gerard, arranger(s)

Stille Nacht (Silent Night) (arr. G. Schwarz)

2.                 Stille Nacht (Silent Night) (arr. G. Schwarz) 00:06:21

Handel, George Frideric

Schwarz, Gerard, arranger(s)

Water Music: Suite No. 1 in F major, HWV 348: III. Allegro (edited G. Schwarz for orchestra)

3.                  Water Music: Suite No. 1 in F major, HWV 348: III. Allegro (edited G. Schwarz for orchestra) 00:02:36

Schwarz, Gerard

Variations on Greensleeves

4.                 Variations on Greensleeves 00:04:33

Tchaikovsky, Pyotr Il’yich

The Nutcracker Suite, Op. 71a: II. March

5.                 The Nutcracker Suite, Op. 71a: II. March 00:02:35

Pachelbel, Johann

Canon and Gigue in D major: Canon

6.                 Canon and Gigue in D major: Canon 00:05:11

Redner, Lewis H.

Jones, Samuel, arranger(s)

O Little Town of Bethlehem (arr. S. Jones for orchestra)

7.                 O Little Town of Bethlehem (arr. S. Jones for orchestra) 00:03:42

Handel, George Frideric

Schwarz, Gerard, arranger(s)

Water Music: Suite No. 1 in F major, HWV 348: VIII. Bourree (edited G. Schwarz for orchestra)

8.                 Water Music: Suite No. 1 in F major, HWV 348: VIII. Bourree (edited G. Schwarz for orchestra) 00:02:12

Tchaikovsky, Pyotr Il’yich

The Nutcracker Suite, Op. 71a (excerpts)

9.                 III. Dance of the Sugar – plum Fairy 00:01:45

10.                IV. Russian Dance, “Trepak” 00:01:07

Handel, George Frideric

Schwarz, Gerard, arranger(s)

Water Music: Suite No. 1 in F major, HWV 348: VI. Air (edited G. Schwarz for orchestra)

11.                Water Music: Suite No. 1 in F major, HWV 348: VI. Air (edited G. Schwarz for orchestra) 00:03:39

Yon, Pietro

Hausmann, Ben, arranger(s)

Gesu bambino (arr. B. Hausmann for orchestra)

12.                Gesu bambino (arr. B. Hausmann for orchestra) 00:05:21

Handel, George Frideric

Schwarz, Gerard, arranger(s)

Water Music: Suite No. 1 in F major, HWV 348: IX. Hornpipe (edited G. Schwarz for orchestra)

13.                Water Music: Suite No. 1 in F major, HWV 348: IX. Hornpipe (edited G. Schwarz for orchestra) 00:02:32


Hausmann, Ben, arranger(s)

Coventry Carol (arr. B. Hausmann for orchestra)

14.                Coventry Carol (arr. B. Hausmann for orchestra) 00:04:28

Tchaikovsky, Pyotr Il’yich

The Nutcracker Suite, Op. 71a: VIII. Waltz of the Flowers

15.                The Nutcracker Suite, Op. 71a: VIII. Waltz of the Flowers 00:07:21

Traditional / Hopkins, John Henry Jr.

Schwarz, Gerard, arranger(s)

We Three Kings of Orient Are – We Wish You a Merry Christmas (arr. G. Schwarz for orchestra)

16.                We Three Kings of Orient Are – We Wish You a Merry Christmas (arr. G. Schwarz for orchestra) 00:04:52

Total Playing Time: 01:01:27


Kitty Kat Club clip from A Raisin in the Sun

This release (1500 copies) which is coupled with Requiem for a Heavyweight is the 148th release from Intrada in their Special Collection Series and includes the first Hollywood film score for Laurence Rosenthal. Released by Columbia in 1961 after a run on Broadway this Daniel Petrie directed film starred Sidney Poiter and Ruby Dee and  dealt with racism as well as family life. This was the first of three David Susskind produced pictures Laurence would do as well as the Oscar awarded Miracle Worker (Intrada Special Collection 130 sold out) directed by Arthur Penn in 61-62, a productive time. Perhaps there will be another limited edition release or a box set of his material?

The recipe for this score is Negro spiritual, Gershwin Porgy and Bess, and Bernstein West Side Story with a smattering of source material to sweeten the score. My first listen made me instantly recall both Porgy and West Side as far as style is concerned. “Main Title/The Chauffeur” introduces the main theme  as well as the jazz side of the soundtrack featuring the alto sax. The main theme is a heartfelt one and it is used on several tracks. This reviewer could imagine rocking my daughter to sleep while this is going on in the background. “Kitty Kat Club,” included as a clip, is a good example of the raucous side of Rosenthal featuring the alto sax as well as piano. “The Phonograph” is an exotic dance hall track featuring trumpet and tenor sax which exchange  back and forth supplemented by percussion and guitar. A good track! “Flaming Spear,” features bongo drums with an African male solo chanting to the constant percussion. “Invitation to Nigeria/ On His Knees” offers an instrumental version featuring strings of “Flaming Spear,” the main theme, and underscore material.

This is a wonderful first effort from Rosenthal worthy of a lot more attention than it has ever received. This forty nine minute soundtrack offers a wide variety of material including spiritual, jazz, lullaby, and dark underscore. You’ll find the forty nine minutes have passed by far too quickly.

This is a mono recording which transferred quite nicely but please keep in mind that this material is 50 years old and you’ll not hear the dynamics you’re use to in newer recordings. It is well worth having in your collection as I’m sure some of you have little if any material by Rosenthal. Don’t hesitate to see the film as it offers a strong Poiter/Dee. Recommended.

Track listing:

8. Main Title/The Chauffeur (02:34)
9. Memories Of Big Walter/In My House There Is Still God (03:06)
10. Kitty Kat Club (00:59)
11. Meet Joseph Asagai/Asagai Departs (06:17)
12. $10,000.00 Check (02:02)
13. Stand Up, Walter Lee (04:19)
14. Flaming Spear (03:32)
15. How Bad Things Are/She Bought You A House (03:24)
16. Hurt And Pain/You Be The Head Of This Family (05:41)
17. The New House (04:33)
18. The Phonograph (02:13)
19. The Welcoming Committee (00:45)
20. Packing/Willie Is Gone! (03:48)
21. Invitation To Nigeria/On His Knees (02:34)
22. He Come Into His Manhood Today (Finale) (03:31)
Tracks 8-22 – from A RAISIN IN THE SUN 

Total Time=49:45



things are looking up (Love theme clip)

bad deal (dissonant theme clip)

Written by Rod Serling, who changed his Playhouse 90 story to better fit the silver screen, the film starred Julie Harris, Anthony Quinn, Jackie Gleason, and Mickey Rooney, all excellent in their roles in this black and white drama. Directed by Ralph Nelson and produced by David Susskind this gritty drama had no chance at any awards because of films like Miracle Worker, Lawrence of Arabia, To Kill A Mockingbird, The Days of Wine and Roses as the list goes on and on in 1962.

Rosenthal was at the top of his game in 61-62 having composed Miracle Worker, A Raisin in The Sun, along with this fine soundtrack. One of the underappreciated composers it is most welcome that Intrada has made available all three scores. Miracle Worker, Intrada Special Collection Volume 130 quickly sold out its 1000 copies but this 1500 limited edition Volume 148 is still available which also includes A Raisin In The Sun.

As explained in the liner notes by CD producer Douglass Fake the main title arrangement that was used in the film didn’t survive and this CD offers the original version. It is interesting to compare by listening to the beginning of the film on DVD and then this release. Both are excellent but the film version offers more brass and what I would call a swaggering version. The CD offers a biting dissonant version depicting the harsh reality of the fight game. “Night Threats,” which also appears on the Windemere 42345 release is a modern sounding dance track in the style of West Side Story, with sax, bongo, and brass in a dissonant cue. No melody on this one. “Bad Deal” is a short cue similar to “Night Threats” but at a mere 35 seconds it leads us to the “First Date” a love theme for Mountain and Grace, a wonderful waltz that does suffer from the older mono track transfer. This is a case where a modern digital recording would enhance the material. “Night Cap/Questionable Judgment” continues the love theme and then shifts back to the jazzy dissonant style again. “Things Are Looking Up” followed by “The Soft Side” are arrangements of the love theme once again.

Rosenthal fans should appreciate the material that is offered even though it is only a short 16 minutes. Other listeners will find the love theme well worth the investment especially given the fact it is also coupled with A Raisin in the Sun. This is a mono recording and it isn’t perfect having a small glitch here and there. Be grateful that the surviving material was able to be transferred. The film is also worth watching again and it is fun to compare the two different main titles. Recommended

Intrada Special Collection #148. Limited edition of 1500 units

Track listing

1. Main Title (01:48)
2. Night Threats (01:20)
3. Bad Deal (00:35)
4. First Date (04:02)
5. Night Cap/Questionable Judgment (02:54)
6. Things Are Looking Up (03:09)
7. The Soft Side (05:00)

Total time is 16:39