RoboCop: Original MGM Motion Picture Soundtrack

~ Release by Basil Poledouris (see all versions of this release, 8 available)

Annotation

RoboCop complete score re-mixed and remastered for the Intrada Special Collections.
This volume is limited to 3000 copies

Annotation last modified on 2013-02-07 12:14 UTC.

Tracklist

▼ CD 1
#TitleRatingLength
1Main Title
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Main Title
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
40:48
2Have a Heart
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Have a Heart
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
30:34
3O.C.P. Monitors
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
O.C.P. Monitors
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:44
4Twirl
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Twirl
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
30:28
5Van Chase
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Van Chase
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
44:59
6Murphy Dies in O.R.
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Murphy Dies in O.R.
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
42:38
7Robo Lives
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Robo Lives
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:07
8Drive Montage
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Drive Montage
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:07
9Helpless Woman
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Helpless Woman
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:19
10Nukem
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Nukem
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
30:29
11Murphy’s Dream
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Murphy’s Dream
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
43:08
12Gas Station Blow‐Up
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Gas Station Blow‐Up
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:46
13Murphy Goes Home
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Murphy Goes Home
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
44:17
14Clarence Frags Bob
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Clarence Frags Bob
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
31:47
15Rock Shop
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Rock Shop
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
3.53:45
16Robo Drives to Jones
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Robo Drives to Jones
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:49
17Directive 4
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Directive 4
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
41:06
18Robo & Ed 209 Fight
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Robo & Ed 209 Fight
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
42:12
19Force Shoots Robo
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Force Shoots Robo
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
42:46
20Big Is Better
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Big Is Better
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
32:36
21Care Package
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Care Package
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
43:00
22Looking for Me
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Looking for Me
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
45:16
23Across the Board (End Credits)
engineer:
Eric Tomlinson (British recording engineer)
producer and editor:
Douglass Fake
orchestra:
Sinfonia of London (John Wilson’s session orchestra) and Sinfonia of London (Peter Williston and Howard Blake incarnation)
conductor:
Howard Blake and Tony Britton (British composer and conductor)
phonographic copyright (℗) by:
Metro–Goldwyn–Mayer Music Inc. (licensing of music of which MGM owns the rights and focuses on releasing soundtrack releases)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
engineered at:
Joe Tarantino Mastering in Berkeley, California, United States
edited at:
Intrada in Oakland, California, United States
recording of:
Across the Board (End Credits)
orchestrator:
Steven Scott Smalley
composer:
Basil Poledouris (American score composer)
47:35