![[woo-it's+cosy-front+copy.JPG]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNFKtxB5TS0sMk12b7nX6xfM7RVVhjZMcRzyZRF9BZyTkC9ZhHSrb_3oKlQdV8Uzih4P_QwAPXnr2cKXryifKGRinzkWfAM-RdCw2sWkzneH0bkXRolakklqixFM4dFCtpxP9/s1600/woo-it's+cosy-front+copy.JPG)
![[woo-it's+cosy-rear+copy.JPG]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGh7NDVm4GSBpMgFWEh_vPlEVTw68r3e86DYbTQ89oLY1Kf2UekcLf8T_ScRRb2cb4nvVwpv2WL4J2EGKxEYcp-dDHaalFV6QQx5HlhdAwtRLrZdNgKYxHS8ynJzRoMVjKhlL/s1600/woo-it's+cosy-rear+copy.JPG)
mr. sweet is the man.
the gift of vinyl woo has accelerated the home stereo turntable fixin'.
those with a lacking home entertainment center, i command you.....
(if ya don't know bout woo, we are sad for you)
8/31/11
8/30/11
Homewood Sessions
Emily bakes a cake! Meanwhile, Tulsa meets Hollywood. Hollywood is never the same again! Okies rock the house and mayhem ensues.
From the video,
Leon Russell & Friends - "Homewood Sessions"
Live at Vine Street Theater, Hollywood, California, USA.
-or-
"Vine Street Theater presents Homewood"
Originally aired in 1971 on PBS, actually KCET in Los Angeles at the Vine Street Theater on Hollywood and Vine, a theater with a little studio in the back part of the building, which is not there anymore. They shot 6 hours, but only broadcast 1 hour, unscripted and unrehearsed.
It was the first national "stereo" rock-and-roll TV broadcast - that's why Leon agreed to do it.
Many other clips loaded see uploader...
Billed as "Session - Leon Russell with a Few of His Friends":
Don Nix
Chuck Blackwell
Joey Cooper
Don Preston
Carl Radle
Kathi McDonald
Claudia Linnear
John Gallie
Jim Horn
Furry Lewis
and, of course, Sweet Emily
lost found
Lost & Found Official Trailer from Corduroy Films on Vimeo.
In 2007 Doug Walker goes to the Rose Bowl Swap Meet in Pasadena, California, an hour from the beach in East Los Angeles. There he would stumble across a large box filled with over 30,000 black and white negatives. After purchasing the box and doing some research he would learn that they originally belonged to Surfing Magazine in the 60's and 70's, and many of them would be the iconic original images that shaped our sport, taken by the men who invented surf photography.
Doug decided to track down the original photographers and document their stories. this is them.
8/29/11
The Gears – Rockin’ at Ground Zero Deluxe Edition
The Gears were a surf punk band from the Los Angeles area who were around during the first wave of punk rock to emerge out of Southern California. They put out a 7″ and an album and then broke up. Their records went out of print quickly back then so for years they weren’t available anywhere until the LP was reissued for a short period of time over a decade ago.
Well this legendary but rather overlooked by the masses punk band as finally had the entirety of its recorded works reissued in one convenient package. Rockin’ At Ground Zero contains the full length album of the same name along with the original three song Let’s Go to the Beach 7″ EP. On top of that, this disc contains five never before released demo songs from a tape that was recently found, four of which later ended up being recorded for the LP and one that has never been heard before this release!
The music of The Gears is 1970s mid-tempo punk rock with some surf and even a little bit of rockabilly bits in some songs. The songs are punchy but you can sing along to them and the choruses, especially in songs like “Let’s Go to the Beach,” are infectious and you’ll be singing along to them by the second time around in any particular song. Their songs are short and to the point and every single one of them is a good listen, they didn’t stick around long enough to have any filler and certainly didn’t waste any space on their only two releases.
| A1 | Baby Runaround | |||
| A2 | Let's Go To The Beach (LP Version) | |||
| A3 | Don't Be Afraid To Pogo (LP Version) | |||
| A4 | Elk's Lodge Blues | |||
| A5 | Teenage Brain | |||
| A6 | Wasting Time | |||
| A7 | Darlin' Baby | |||
| A8 | Trudie Trudie | |||
| B1 | High School Girls | |||
| B2 | The Last Chord | |||
| B3 | Heartbeat Baby | |||
| B4 | Rockin' At Ground Zero | |||
| B5 | I Smoke Dope | |||
| B6 | Keep Movin'Backing Vocals – | |||
| B7 | Last Chance | |||
| B8 | Let's Go To The Beach (Original EP Version) | |||
| B9 | Hard Rock | |||
| B10 | Don't Be Afraid To Pogo (Original EP Version) |
Credits
- Bass –
- Drums –
- Engineer – (tracks: B8 to B10), (tracks: A1 to B7)
- Guitar –
- Producer – (tracks: A1 to B7), (tracks: A1 to B7)
- Vocals –
8/27/11
Cowboy Artists of America- Donald Teague/ Edwin Dawes
Born in Brooklyn, New York on Nov. 27, 1897, Donald Teague studied at the Art Students League in NYC under George Bridgman, Dean Cornwell, and Frank DuMond and, after serving in WWI, with Norman Wilkinson in England.
He moved to California in 1938 and lived in Encino until 1949 when he settled in Carmel. Teague was elected to the National Academy in 1948 and soon gained national renown.
http://www.caamuseum.com/members/donald_teague/deceased/index.html
Many Western artists first achieved success during the golden era of magazine and book illustration. To find work, they often had to move from the West to the East. Donald Teague moved in the opposite direction. Unlike many of his contemporaries in the Cowboy Artists of America, Teague became an artist first and a Westerner later. He grew up in New York; decided at an early age to become an artist, and followed an educational track to pursue that career. He studied at the New York Art Students League, and later in London, England.
Yet, both the history and geography of the West exerted a strong pull on Teague. While he was in his early forties, with a successful illustration career already begun, Teague moved to California. It seemed that now that he was closer to the subject matter, art directors for such magazines as the Saturday Evening Post and Collier's began to assign him the illustrations for Western stories. Teague worked as a top Western illustrator for more than thirty years. In 1958, he decided to devote himself to easel painting on a full-time basis.
Over the course of his fifty-year career, Teague developed into one of the country's most accomplished watercolorists; a technique he devoted himself to almost exclusively. From the later 1950's, Teague spent much of his career depicting the historic West, but he continued to paint in locations throughout the world. His subject matter included still-life, interior scenes, landscapes, and seascapes.
Teague was a member of the CAA, the National Academy of Design, the National Academy of Western Art, and the National Watercolor Society. Frequently recognized by his peers, he also won many awards from these organizations. His work is now in the permanent collections of the Eiteljorg Museum in Indianapolis, Indiana; the National Cowboy and Western Heritage Museum in Oklahoma City, Oklahoma; and the Gilcrease Museum in Tulsa, Oklahoma.
Collections:
Favell Museum of Western Art and Indian Artifacts; National Center for American Western Art; National Cowboy and Western Heritage Museum; Phoenix Art Museum
8/26/11
open the gate
whole movie loaded in HQ.
"Straight Time" (1978): Dustin Hoffman plays a life-long robber fresh out of jail. has the best 'heist' sequence ever, but it's not about action -- it's about desperation
Straight Time is an amazing film directed by Ulu Grosbard and starring Dustin Hoffman as Max Dembo, a lifelong thief recently released from prison. The film is based on Edward Bunker's semi-autobiographical novel, No Beast So Fierce. Bunker, best known for his role as Mr. Blue, in Quentin Tarantino's Reservoir Dogs (1992), is featured as Dembo's longtime confidant, Mickey. The film also features M. Emmet Walsh, Gary Busey, Harry Dean Stanton, Kathy Bates and touching performance by Theresa Russell as Jenny Mercer. Originally intended to be directed by Hoffman, the film's screenplay was written by Jeffery Boam, Alvin Sargent and Bunker. It's also the film debut of actor Jake Busey (age 6). Straight Time is one of my all time favorites. I know I always say that, but I mean it with all my heart. I know it's already been posted, but here it is in it's original theatrical aspect ratio.
"No beast so fierce but knows some touch of pity. But I know none, and therefore am no beast."
-William Shakespeare (The Tragedy of King Richard III)
part 2>>>>
thanks to uploader who has good taste. many other movies.
8/25/11
Blind Faith - 1969-08-16 - Santa Barbara
Earl Warren Showgrounds
Santa Barbara, CA
Mid Valley
01. Stage Announcement
02. Well All Right
03. Can't Find My Way Home
04. Had To Cry Today
05. Sleeping In The Ground
06. Crossroads
07. Presence Of The Lond
08. Means To An End
09. Do What You Like
Eric Clapton - guitar
Steve Winwood - piano, organ
Ginger Baker - drums
Rick Grech - bass, violin
Mid Valley
01. Stage Announcement
02. Well All Right
03. Can't Find My Way Home
04. Had To Cry Today
05. Sleeping In The Ground
06. Crossroads
07. Presence Of The Lond
08. Means To An End
09. Do What You Like
Eric Clapton - guitar
Steve Winwood - piano, organ
Ginger Baker - drums
Rick Grech - bass, violin
live 1st show
Blind Faith perform at London's Hyde Park, 1969
Only live concert video of this group and their first gig.
more online.
UBuPopLand
 | Partita Rare Polish Girl group – Freakbeat pop soul groover EP | 35€ | ||
Jeszcze dzis przyjedz do mnie / Po co martwic sie na zapas +2 Original 1970 EP issue on Polish Muza Polish Girl group. A1=Swinging pop; A2= Soulish mod with a fantastic groove + drum break and sexy Vocal W/brass links in mid tempo Mod DJing; B1=Beat pop B2=Pop-sike magic hammony sound w/Vibraphone back & brass.
Listen/ Enjoy
http://ubupopland.com/records_garage-&-60s_beat_5.htm
|
little yellow seeds
By JIM AUCHMUTEY
The Atlanta Journal-Constitution
There are no waffles at the original Waffle House— at least none you can eat.
When Unit 1 reopens this week near Avondale Estates, the only food on hand will be fake. The little restaurant that started the big chain has become a museum, a faithful re-creation of the morning when hash browns first hit the griddle on Labor Day 1955.
The 13-stool diner and a next-door storefront have been restored with vintage equipment, displays of old uniforms, exhibits of memorabilia and place settings with plastic eggs and shellacked waffles. The jukebox is stocked with oldies and a selection of homespun Waffle House songs, one of which, “Waffle House Family — Part One,” talks about the company’s humble beginnings:
Long ago, Tom and Joe
Planted little yellow seeds
And watched ‘em grow.
One day last week, a van pulled up in front of the restaurant on East College Avenue near the Avondale MARTA station, and two elderly men climbed out a bit slowly and stiffly. It was the little yellow seed-planters themselves — Tom Forkner and Joe Rogers Sr. — stopping by to check on their baby.
Rogers — “call me Joe” — is 88 and almost as bald as an uncracked egg. He grinned as he took in the modest structure that spawned more than 1,550 Waffle Houses in 25 states.
“This was the cheapest building we could build,” he said. “We just put a shoebox around our equipment. Cost us $14,000. We didn’t want it to look expensive because we wanted it to look like you could come right in and be comfortable.”
Forkner — “Tom” — is 90 and still has some wavy white hair on top. He walked inside the museum half of the building and paused in front of an enlarged photo showing him pouring coffee for his partner.
Rogers couldn’t resist a jab. “I think that’s the only time I’ve ever saw him pour coffee.”
‘We need a restaurant’
Unlike the museum dedication on Wednesday, when there will be speeches and a ceremony, there was no hoopla when the first Waffle House opened in 1955. That made planning the exhibits a challenge.
“They didn’t save much of anything,” said Waffle House communications director Pat Warner. “When we had our 50th anniversary, I was like: ‘Didn’t you take any pictures? Didn’t you have a ribbon-cutting? Work with me here.’ “
It just didn’t seem like that big a deal at the time. The two founders figured they’d open a few restaurants and then go fishing.
Rogers had come from Tennessee, where he was a regional manager for Toddle House, a chain of diners based in Memphis. When the company moved him to Atlanta in 1949, he bought a house from Forkner, a real estate man whose father had helped develop Avondale Estates. They lived two doors apart and became close friends.
“What started all this is that I tried to get Joe to build a Toddle House in Avondale,” Forkner recalled. “He said Avondale wasn’t right for Toddle House, and I said, ‘Well, we still need a restaurant.’ And he said, ‘You build it and I’ll show you how to run it.’ “
Within a week, Forkner had found a location on College Avenue — U.S. 278 — the main route east out of Atlanta before I-20. The new partners had a house moved and erected their cheap building where it had stood.
David Skinner, a banker who later helped finance the company’s expansion, was there when the first Waffle House opened. He had stopped by this morning to see his friends and their shrine.
“People were just so anxious to get a restaurant,” he said. “Once it opened, there was seldom an empty stool.”
Rogers laughed and quoted the opening day’s take: $142. “Maybe we weren’t charging enough.”
Creative borrowing
Restaurant companies these days like to talk about dining concepts. If the waffle fathers had one, they wouldn’t admit it.
“We didn’t have an idea, really,” Rogers said. “I just copied everything I’d been doing for years at Toddle House. I even brought the recipes with me. I couldn’t see fooling with something that was successful.”
Fair enough. But why waffles?
Rogers again: “That was the year McDonald’s and all the hamburger chains started doing takeout. We wanted to do sit-down, and we knew you couldn’t take out a waffle or it’d become flimsy.”
What about those signs? The first Waffle House sign used those familiar school bus colors — black on yellow — but the reproduction in front of Unit 1 looks different from the Scrabble board design that has become such a feature of the Southern roadscape. For one thing, it has an arrow.
Another case of creative borrowing, Rogers explained. “All we did was turn the old Holiday Inn sign upside down. Their arrow went over the top. Ours went under the bottom.”
“We had one sign that was a flop,” Forkner chimed in. “It looked like syrup was dripping over the letters. Kind of kerflooey.”
Rogers ambled over to the window. “This one’s kind of like that.” He squinted. “Yeah, it’s drippin’.”
Mayo and Aunt Maggie
After a while, the two wandered next door for a closer look at the restaurant itself. Unit 1 remained open until 1973, when the company sold it to a manager who ran it as an independent grill. For most of the past 20 years, it was a Chinese restaurant operated by an immigrant couple.
“I’d stop by every now and then and take a look,” Rogers said, taking a seat on one of the stools.
On the counter was a stack of replica menus with 1955 prices: pecan waffle (50 cents), cheese omelet (65 cents), chopped sirloin ($1). Against the wall was a cardboard stand-up of Waffle House servers, circa 1960, with the faces cut out so visitors can pose for pictures.
Forkner headed to the back of the restaurant and peeked into the 6-by-8-foot room he once used as an office. It had just enough room for a desk, a box and an orange crate.
“They’d call me at all hours,” he said. “They called one night: ‘Tom, we need some help. The cook ran off with the waitress and I’m the only man in here.’ “
Rogers stepped into the commissary at the rear of the eatery, where sacks of potatoes, Dixie Crystals sugar and White Lily flour were slumped on the floor.
“We made everything ourselves in the beginning, even mayonnaise,” he said. “Aunt Maggie ran our commissary. She always had that cigarette hanging out of her mouth.”
Another early employee at the first Waffle House was Rogers’ son, Joe Rogers Jr., who started out washing dishes as a teenager in this back room. He eventually became CEO and presided over the company’s great period of expansion from a new headquarters in Norcross, where the founders have considerably larger offices.
From No. 1 to 1,000
It was lunchtime, and the little yellow seed-planters were getting hungry. So they climbed back into the van and rode a few hundred yards up the road to Unit 1,000, a newer, roomier Waffle House that replaced the original after it closed. It may lack the retro charm of Unit 1, but it has one distinct advantage: real, edible waffles.
Forkner and Rogers — pardon: Tom and Joe — settled into a back booth like they had done it a few thousand times. They didn’t need a menu.
There are no waffles at the original Waffle House— at least none you can eat.
When Unit 1 reopens this week near Avondale Estates, the only food on hand will be fake. The little restaurant that started the big chain has become a museum, a faithful re-creation of the morning when hash browns first hit the griddle on Labor Day 1955.
The 13-stool diner and a next-door storefront have been restored with vintage equipment, displays of old uniforms, exhibits of memorabilia and place settings with plastic eggs and shellacked waffles. The jukebox is stocked with oldies and a selection of homespun Waffle House songs, one of which, “Waffle House Family — Part One,” talks about the company’s humble beginnings:
Long ago, Tom and Joe
Planted little yellow seeds
And watched ‘em grow.
One day last week, a van pulled up in front of the restaurant on East College Avenue near the Avondale MARTA station, and two elderly men climbed out a bit slowly and stiffly. It was the little yellow seed-planters themselves — Tom Forkner and Joe Rogers Sr. — stopping by to check on their baby.
Rogers — “call me Joe” — is 88 and almost as bald as an uncracked egg. He grinned as he took in the modest structure that spawned more than 1,550 Waffle Houses in 25 states.
“This was the cheapest building we could build,” he said. “We just put a shoebox around our equipment. Cost us $14,000. We didn’t want it to look expensive because we wanted it to look like you could come right in and be comfortable.”
Forkner — “Tom” — is 90 and still has some wavy white hair on top. He walked inside the museum half of the building and paused in front of an enlarged photo showing him pouring coffee for his partner.
Rogers couldn’t resist a jab. “I think that’s the only time I’ve ever saw him pour coffee.”
‘We need a restaurant’
Unlike the museum dedication on Wednesday, when there will be speeches and a ceremony, there was no hoopla when the first Waffle House opened in 1955. That made planning the exhibits a challenge.
“They didn’t save much of anything,” said Waffle House communications director Pat Warner. “When we had our 50th anniversary, I was like: ‘Didn’t you take any pictures? Didn’t you have a ribbon-cutting? Work with me here.’ “
It just didn’t seem like that big a deal at the time. The two founders figured they’d open a few restaurants and then go fishing.
Rogers had come from Tennessee, where he was a regional manager for Toddle House, a chain of diners based in Memphis. When the company moved him to Atlanta in 1949, he bought a house from Forkner, a real estate man whose father had helped develop Avondale Estates. They lived two doors apart and became close friends.
“What started all this is that I tried to get Joe to build a Toddle House in Avondale,” Forkner recalled. “He said Avondale wasn’t right for Toddle House, and I said, ‘Well, we still need a restaurant.’ And he said, ‘You build it and I’ll show you how to run it.’ “
Within a week, Forkner had found a location on College Avenue — U.S. 278 — the main route east out of Atlanta before I-20. The new partners had a house moved and erected their cheap building where it had stood.
David Skinner, a banker who later helped finance the company’s expansion, was there when the first Waffle House opened. He had stopped by this morning to see his friends and their shrine.
“People were just so anxious to get a restaurant,” he said. “Once it opened, there was seldom an empty stool.”
Rogers laughed and quoted the opening day’s take: $142. “Maybe we weren’t charging enough.”
Creative borrowing
Restaurant companies these days like to talk about dining concepts. If the waffle fathers had one, they wouldn’t admit it.
“We didn’t have an idea, really,” Rogers said. “I just copied everything I’d been doing for years at Toddle House. I even brought the recipes with me. I couldn’t see fooling with something that was successful.”
Fair enough. But why waffles?
Rogers again: “That was the year McDonald’s and all the hamburger chains started doing takeout. We wanted to do sit-down, and we knew you couldn’t take out a waffle or it’d become flimsy.”
What about those signs? The first Waffle House sign used those familiar school bus colors — black on yellow — but the reproduction in front of Unit 1 looks different from the Scrabble board design that has become such a feature of the Southern roadscape. For one thing, it has an arrow.
Another case of creative borrowing, Rogers explained. “All we did was turn the old Holiday Inn sign upside down. Their arrow went over the top. Ours went under the bottom.”
“We had one sign that was a flop,” Forkner chimed in. “It looked like syrup was dripping over the letters. Kind of kerflooey.”
Rogers ambled over to the window. “This one’s kind of like that.” He squinted. “Yeah, it’s drippin’.”
Mayo and Aunt Maggie
After a while, the two wandered next door for a closer look at the restaurant itself. Unit 1 remained open until 1973, when the company sold it to a manager who ran it as an independent grill. For most of the past 20 years, it was a Chinese restaurant operated by an immigrant couple.
“I’d stop by every now and then and take a look,” Rogers said, taking a seat on one of the stools.
On the counter was a stack of replica menus with 1955 prices: pecan waffle (50 cents), cheese omelet (65 cents), chopped sirloin ($1). Against the wall was a cardboard stand-up of Waffle House servers, circa 1960, with the faces cut out so visitors can pose for pictures.
Forkner headed to the back of the restaurant and peeked into the 6-by-8-foot room he once used as an office. It had just enough room for a desk, a box and an orange crate.
“They’d call me at all hours,” he said. “They called one night: ‘Tom, we need some help. The cook ran off with the waitress and I’m the only man in here.’ “
Rogers stepped into the commissary at the rear of the eatery, where sacks of potatoes, Dixie Crystals sugar and White Lily flour were slumped on the floor.
“We made everything ourselves in the beginning, even mayonnaise,” he said. “Aunt Maggie ran our commissary. She always had that cigarette hanging out of her mouth.”
Another early employee at the first Waffle House was Rogers’ son, Joe Rogers Jr., who started out washing dishes as a teenager in this back room. He eventually became CEO and presided over the company’s great period of expansion from a new headquarters in Norcross, where the founders have considerably larger offices.
From No. 1 to 1,000
It was lunchtime, and the little yellow seed-planters were getting hungry. So they climbed back into the van and rode a few hundred yards up the road to Unit 1,000, a newer, roomier Waffle House that replaced the original after it closed. It may lack the retro charm of Unit 1, but it has one distinct advantage: real, edible waffles.
Forkner and Rogers — pardon: Tom and Joe — settled into a back booth like they had done it a few thousand times. They didn’t need a menu.
closest Waffle House to L.A.?
8/24/11
Like Clockwork Glossy and Yellow ....
you can always count on seeing amazing photographs in a hard copy magazine of high Quality.
always a treat to get in the mail.
since 1888 and still going strong.
...like tears in the rain
1-01. Prologue And Main Titles
1-02. Leon's Voight Kampff Test/Sushi Bar
1-03. Damask Rose
1-04. Spinner Ascent (Los Angeles November 2019)
1-05. Blush Response
1-06. Wait For Me
1-07. Deckard Meets Rachel (Rachel's Voight Kampff Test)
1-08. Rachel's Song
1-09. Tales Of The Future (On The Trail Of Nexus 6)
1-10. Bicycle Riders (Harps Of The Ancient Temples)
1-11. Chew's Eye Lab
1-12. Memories Of Green
1-13. Blade Runner Blues [Extended Version]
1-14. Pris Meets J.R. Sebastian
1-15. One More Kiss, Dear
2-01. Deckard's Dream
2-02. Thinking Of Rachel [Love Theme Different Take]
2-03. Esper Analysis (Animoid Row, Pt. 1)
2-04. Animoid Row, Pt. 2
2-05. Taffey Lewis' Night Club
2-06. Salome's Dance
2-07. Zhora's Retirement
2-08. I Am The Business
2-09. Love Theme [Extended Version]
2-10. I Dreamt Music [Alternate Love Theme]
2-11. Morning At The Bradbury
2-12. The Prodigal Son Brings Death
2-13. Deckard Enters The Bradbury
2-14. Dangerous Days
2-15. Wounded Animals
2-16. Tears In Rain
2-17. Rachel Sleeps
2-18. End Titles [Extended Version]
Ridley Scott's 1982 sci-fi masterpiece Blade Runner (adapted from Philip K. Dick's novella Do Androids Dream Of Electric Sheep?) is widely considered to be one of the premier films of the genre. Despite this, the drama that unfolded over the actual production and release of the film seems to often precede the film itself, as Scott's vision was butchered and bastardized by the studio until Blade Runner: Final Cut was released in 2007, in which Scott's definitive version of his existential rumination on humanity was truly realised. Unsurprisingly, composer Vangelis' soundtrack to the film suffered has suffered a similar fate, though is still without an official Final Cut-esque release.
It is all very surprising to me, really, as the soundtrack is actually as good as the film itself and is certainly one of the best scores ever created. For the film, Vangelis created cold, foreboding soundscapes mostly from synthesizers, matching the aural terrain of the film perfectly. In the original release of the soundtrack in 1994, most of the music of the film was noticeable absent. Two more official releases later, the same can be said. This is where we (finally) get to the Esper Edition of Blade Runner OST.
The bootleg Esper Edition purportedly claims to be the most complete of any version of the soundtracks and it is clear to me that this is completely true. Combining songs from various sources (the official soundtracks, other boots, the film itself), this is the quintessentialBlade Runner soundtrack. All of the classics are included: the iconic opening theme "Prologue And Main Titles," the melancholic, saxophone-driven "Love Theme," and many more. My two personal favorites are the extended version of "Blade Runner Blues" and the stunning "Tears In Rain," which is perfectly prefaced by Roy Batty's (played by Rutger Hauer) jaw-dropping final lamentation.
As previously mentioned, the two hours of music collected here comprise one of the best scores ever created. If you are a fan of the film, you NEED to have this. If not, I still recommend you check this out, as it stands on its on as a musical piece, not just a serviceable accompaniment. And my god, those samples. The clips of the film's dialogue no only don't fail, they truly punctuate the sentiment of both the film and the score. As Edward James Olmos' Gaff states at the end of the film "It's too bad she won't live. But then again, who does?"
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