L’uomo Puma (The Pumaman) – music by Renato Serio

The PumamanKnown to the English-speaking world as the infamously cheesy, MST3K-mocked movie Puma Man, L’uomo Puma boasts a score that, heard in isolation, outclasses its accompanying movie in nearly every inportant way. Well, for the most part.

Let’s quantify the outclassing being done by the score here: this isn’t “the first Star Trek movie was okay, but Jerry Goldsmith’s groundbreaking score made it even better” territory. Instead, the orchestral portions of L’uomo Puma‘s score class up the adventures of Tony (the hapless nerd who receives “the powers of a puma”) and Vadinho just enough to give the perhaps mistaken impression that money was spent on the movie as a whole (spoiler: it really wasn’t).

This long, long overdue CD release – this score’s first release on any format – was issued by Italy’s Beat Records in late 2017 in a ridiculously small pressing of 500 units, and to be quite honest, its track titles are opaque and unhelpful at best, managing to completely obscure where that track falls in the movie unless you’re a Puma Man scholar who has memorized the movie (a status which your reviewer is slightly embarrassed to admit he may be approaching).

There are three primary themes in the Puma Man score: a noble-but-mysterious theme for the alien visitors who conferred “the powers of a puma” upon a selected member of the human race, an ominously menacing theme for the machinations of the character played by Donald Pleasence (whose sole instruction from the movie’s director must have been “that’s nice, but can you do it more like Blofeld?”), and of course, the goofily late-’70s-supermarket-commercial-jingle feel of Puma Man’s theme.

The former two categories of music are where the most praise is deserved; they’re nicely composed, marvelously played, and well-engineered. The hollow echo treatment on the cellos lend them more menace than usual. Composer Renato Serio, known primarily to Italian audiences, wasn’t fooling around here; this music outclasses the movie it’s in easily.

If you’re even slightly enamoured of late ’70s scoring that tries to force an orchestra to play to a disco beat, then you’ll be a sucker for the Puma Man theme, a cheery recurring theme that seems oblivious to 3 out of 4the fact that its hero seems to have stumbled upon his superpowers and doesn’t really know how to use them. There’s something hilariously compelling about it – you’ll find yourself humming or whistling it for days afterward.

Earlier, the small pressing of 500 copies of L’uomo Puma was described as ridiculously small; maybe it is. Or maybe it’s just right, given how far underground this movie’s cult following must be. But for those who enjoy this slab of finest Italian-made cheese, it’s almost certain to earn a place of honor on the soundtrack shelf.

Order this CD

  1. L’Uomo Puma – Seq. 1 (2:14)
  2. L’Uomo Puma – Seq. 2 (2:13)
  3. Puma Man #1 (2:03)
  4. L’Uomo Puma – Seq. 3 (2:38)
  5. Puma Man #2 (2:07)
  6. Puma Man #3 (3:13)
  7. Puma Man #4 (1:43)
  8. L’Uomo Puma – Seq. 4 (2:04)
  9. Puma Man #5 (2:26)
  10. L’Uomo Puma – Seq. 5 (2:36)
  11. Puma Man #6 (2:28)
  12. L’Uomo Puma – Seq. 6 (2:07)
  13. Puma Man #7 (2:26)
  14. L’Uomo Puma – Seq. 7 (2:40)
  15. L’Uomo Puma – Seq. 8 (2:24)
  16. L’Uomo Puma – Seq. 9 (1:42)
  17. Puma Man #8 (1:57)
  18. L’Uomo Puma – Seq. 10 (2:15)
  19. L’Uomo Puma – Seq. 11 (2:22)
  20. L’Uomo Puma – Seq. 12 (2:14)
  21. L’Uomo Puma – Seq. 13 (1:35)
  22. L’Uomo Puma – Seq. 14 (2:03)
  23. Puma Man #9 (2:38)
  24. Puma Man #10 (1:49)
  25. L’Uomo Puma – Seq. 15 (2:46)
  26. Puma Man #11 (2:13)
  27. L’Uomo Puma – Seq. 16 (2:08)
  28. L’Uomo Puma – Seq. 17 (2:38)
  29. L’Uomo Puma – Seq. 18 (1:54)
  30. L’Uomo Puma – Seq. 19 (2:04)
  31. Puma Man #12 (3:14)
  32. Puma Man #13 (2:45)

Released by: Beat Records
Release date: October 20, 2017
Total running time: 75:12

Alan Parsons Project – The Turn Of A Friendly Card: 35th Anniversary Edition

The Turn Of A Friendly Card: 35th Anniversary EditionTime, as the hit single from this album croons, keeps flowing like a river, but the sight of a new 2-CD remaster of the Alan Parsons Project’s The Turn Of A Friendly Card makes me feel like time is bearing down on me like an oncoming flood. It can’t really have been 35 years, can it?

Indeed it can, and in that time The Turn Of A Friendly Card has already been remastered once, and deservedly so: while I Robot and Pyramid and the other early Project albums were nothing to sneeze at, there was some kind of harmonic convergence going on here, putting the right vocalists on the right songs at the right time to get massive radio airplay. “Time”, sung by the late, great Eric Woolfson, and “Games People Play”, sung by Lenny Zakatek, are immortal 1980s radio staples, and they’ve never sounded better. The remainder of the first disc is filled by the bonus material from the earlier remastered release.

The second disc, however, is completely new to this release, containing recently unearthed home demos – billed here as a “songwriting diary” – from the archives of the late Mr. Woolfson, who wrote all of the Project’s songs (despite what any shared credit on the album sleeves might state). There are basically cleaned-up transfers of garden-variety cassette tapes that Eric Woolfson kept rolling as he sat down to discover and shape his songs at the piano, long before any of them went into a studio. For those interested in the process of songwriting, this is fascinating stuff, as we hear Woolfson travel down various unexplored avenues, occasionally landing on gold…and occasionally putting it in reverse and backing up to his original idea.

But the highlight of the second disc, and the real reason to buy this whole album one more time, is down to a single track: the unaccompanied orchestral backing track from “Time”, which also includes backing harmony vocal overdubs performed by the late Chris Rainbow. This is, quite simply, one of the best orchestral backing arrangements that has ever graced a pop song, giving 4 out of 4what was already a gorgeous song incredible depth and power. I can listen to this one track over and over again (and I have done).

It’s rare that I recommend something on the basis of a single track of barely two minutes’ duration, but if you’re already a fan of the Alan Parsons Project and/or a student of how music is put together (by masters of the craft), that track, and indeed the whole second disc, is worth the upgrade.

Order this CD

    Disc One

  1. May Be A Price To Pay (5:01)
  2. Games People Play (4:23)
  3. Time (5:09)
  4. I Don’t Wanna Go Home (4:59)
  5. The Gold Bug (4:32)
  6. The Turn Of A Friendly Card (Part I) (2:43)
  7. Snake Eyes (3:17)
  8. The Ace Of Swords (2:58)
  9. Nothing Left To Lose (4:07)
  10. The Turn Of A Friendly Card (Part II) (3:31)
  11. May Be A Price To Pay (intro demo) (1:32)
  12. Nothing Left To Lose (instrumental backing track) (4:37)
  13. Nothing Left To Lose (Chris Rainbow vocal overdub compilation) (2:01)
  14. Nothing Left To Lose (early studio version with Eric’s guide vocal) (3:11)
  15. Time (early studio attempt – instrumental) (4:42)
  16. Games People Play (rough mix) (4:32)
  17. The Gold Bug (demo) (2:50)
    Disc Two

  1. May Be A Price to Pay (Eric’s Songwriting Diary) (3:26)
  2. Games People Play (Eric’s Songwriting Diary) (3:06)
  3. Time (Eric’s Songwriting Diary) (4:06)
  4. I Don’t Wanna Go Home (Eric’s Songwriting Diary) (2:12)
  5. The Turn of a Friendly Card (Eric’s Songwriting Diary) (3:19)
  6. Snake Eyes (Eric’s Songwriting Diary) (3:13)
  7. Nothing Left to Lose (Eric’s Songwriting Diary) (2:46)
  8. Turn Of A Friendly Card / Snake Eyes / I Don’t Wanna Go Home (Eric’s Songwriting Diary) (4:32)
  9. May Be A Price to Pay (Early Version – Eric Guide Vocal & Unused Guitar Solo) (5:03)
  10. Games People Play (Early version – Eric Guide Vocal) (4:32)
  11. Time (Orchestra & Chris Rainbow Backing Vocals) (4:19)
  12. The Gold Bug (Early Reference Version) (5:08)
  13. The Turn of a Friendly Card Part 1 (Early Backing Track) (2:18)
  14. Snake Eyes (Early Version – Eric Guide Vocal) (3:20)
  15. The Ace of Swords (Early Version with Synth “Orchestration”) (3:03)
  16. The Ace Of Swords (Early Version with Piano on Melody) (2:40)
  17. The Turn of a Friendly Card Part Two (Eric Guide Vocal and Extended Guitar Solo) (3:32)
  18. Games People Play (single edit) (3:35)
  19. The Turn of a Friendly Card (single edit) (3:44)
  20. Snake Eyes (single edit) (2:26)

Released by: Sony / Legacy
Release date: November 13, 2015
Disc one total running time: 64:05
Disc two total running time: 70:20

Saturn 3 – music by Elmer Bernstein

Saturn 3Ah, the ’80s. Hollywood – and indeed all points beyond – tried relentlessly to cash in on the post-Star Wars hunger for all things science fiction, and often failed. Case in point: Saturn 3, whose star power was invested primarily in the wildly unlikely combination of co-stars Kirk Douglas and Farrah Fawcett, both of whom stripped down for love scenes that were about as plausible as any of the movie’s sci-fi conceits. Left with the unenviable task of scoring Saturn 3 – which had already suffered a change of director mere weeks into production – was Elmer Bernstein, whose later forays in the genre (Heavy Metal, Ghostbusters, etc.) were usually accompanied by more palatable movies. With British financiers – recently stung by the sinking ticket sales of Raise The Titanic! – bankrolling the movie, by the time Saturn 3 came out, Bernstein’s score was just about guaranteed to be the best thing about it.

And yet, if you actually watched Saturn 3, you didn’t hear much of that music, since it was sliced, diced and edited to match the whims of the director. This 2006 CD release of the full, unedited score from Intrada contains much that didn’t make it into the movie itself. One of the first casualties was a surprising detour into disco (it was 1980…) in the whopping nine-minute opening theme; this concession to the popular musical flavors of tha time was left on the cutting room floor, echoed in only one other track (“Blue Dreamers”). Much of the score has a slow-boiling foreboding feel to it, punctuated by some boisterous action scenes; as the liner notes by Jeff Bond point out, a lot of the music wound up being used in parts of the movie other than the scenes for which it was composed.

Bond’s notes also seem to paint Saturn 3 as little more than a warm-up for Heavy Metal and Ghostbusters, but the only time I found myself instantly reminded of Bernstein’s later work was “The Run”, which does sound like a lost scene from Ghostbusters. This soundtrack employs some fairly unusual music by Bernstein standards – nothing really revolutionary, but not a sound we’re accustomed to from him.

3 out of 4In the end, Saturn 3 is up there with a contemporary, the Roger Corman wanna-be epic Battle Beyond The Stars: the score was far better than the movie, and you’re probably doing yourself a mercy (and getting a lot more enjoyment out of the deal) listening to the music alone. That Bernstein’s carefully constructed (if occasionally too prone to 1980 novelty) soundtrack was chopped up and treated like glorified library music was the final indignity that Saturn 3 had to suffer before bombing in theaters.

Order this CD

  1. Space Murder (9:18)
  2. The Lab (2:05)
  3. Meet Hector (4:44)
  4. The Brain (2:08)
  5. Blue Dreamers (2:42)
  6. Hector Mimics Benson (1:25)
  7. Peeping Toms (7:15)
  8. Adam’s Target (2:00)
  9. Benson Is Off (2:16)
  10. Training Hector (3:13)
  11. Adam Rescues Alex (2:39)
  12. Hector Loses It (6:52)
  13. The Run (1:48)
  14. A Head For Hector (3:31)
  15. Alex Alone (2:06)
  16. The Big Dive (4:37)
  17. End Credits (3:22)

Released by: Intrada
Release date: 2006
Total running time: 62:48

Airplane! – music by Elmer Bernstein

Airplane!In 1980, the majority of the movie-viewing public that had missed Kentucky Fried Movie got to know the Zucker-Abrahams-Zucker production team by way of their big-budget, big-screen debut, Airplane!. Like ZAZ’s later (criminally short-lived) TV spoof Police Squad!, Airplane! had the virtue of starring Leslie Nielsen, whose businesslike demeanor and unshakeable poker-faced deadpan sells the whole endeavour.

And then there’s an absolutely brilliant score by the late, great Elmer Bernstein, which alternates between being just as straight-faced dramatic as Nielsen, and delivering musical punchlines unashamedly. It’s hard to overemphasize how important Bernstein’s music is to Airplane! – it straddles the fine line between truly dramatic music and schmaltzy cheese, and more to the point, Bernstein seemed to have an unerring instinct for which extreme was needed in a given scene. Many cues on the long-overdue soundtrack release could come from just about any big-screen drama, but occasionally, the music gets away with the kind of clowning that the directors told the cast to carefully avoid.

A prime example of this is the love theme – it’s a nice enough piece of music, but it’s arranged almost like elevator music; any true passion inherent in the tune itself gets wrapped up in a gooey layer of cheese. Later in the movie, as the tension picks up, the music does things that would be unthinkable in a straightforward dramatic context, building up the melodrama and then coming to a dead stop to let the cast get a punchline in. But the beauty of it is that it’s all so deadly serious-sounding until those moments arrive.

How this translates to a listening experience sans dialogue is largely down to how much of an Airplane! fan you are. I’ve loved this movie since I was about 10 years old, so yeah, I love the soundtrack. I only have one real complaint with the score. What is it? (It’s the music in a movie that the audience can hear but the characters can’t, but that’s not important right now.*) My only beef is that I had to wait this long to get it (between this score’s overdue release and the recent complete-score release of Star Trek II: The Wrath Of Khan, there’s clearly been a sea change at 4 out of 4Paramount’s music department regarding exploitation of the back catalogue). I’d never before given serious thought to the possibility of an Airplane! score album…but I’m glad that someone at La-La Land did. It’s a great listening experience altogether.

* Strictly speaking, this CD also contains source cues as well – i.e. music that the characters do hear, including folk songs that are worth having your IV tube yanked out.

Order this CD

  1. Main Title (contains theme from Jaws) (1:53)
  2. Kiss Off (0:48)
  3. Ambulance Arrives (0:32)
  4. Hari Krishna / Ticket / Nervous (2:44)
  5. Lisa / Farewell / Take Off / Another Meeting (3:17)
  6. Fighting Girls (0:47)
  7. Love Theme From Airplane! (1:07)
  8. From Here To There (2:08)
  9. Head / Memory (1:13)
  10. Shimmer / Molumbo (1:02)
  11. Zip / Eggs / Roger, Take Over (2:34)
  12. Wild Violins / Sickness / Idea (2:25)
  13. Thar She Blows / Flash / Panel (2:23)
  14. “Where The Hell Is Rex Kramer?” / Trouble (1:02)
  15. Mayday (0:56)
  16. Punch-Up / Kramer (1:14)
  17. Clumsy (0:55)
  18. Dog Fight / Failure / Pep Talk / Victory March (3:45)
  19. News (0:56)
  20. “Runway Is Niner” / “The Gear Is Down And We’re Ready To Land” (1:03)
  21. Crasher (4:02)
  22. Resolution / Tag (1:52)
  23. Notre Dame Victory March (2:01)
  24. Tavern (0:35)
  25. Everything’s Coming Up Roses (0:20)
  26. Instruments (0:13)
  27. Disco (0:30)
  28. Kiss Off (Alternate) (0:47)
  29. Fighting Girls (Alternate) (0:44)
  30. From Here To There (Instrumental) (2:08)
  31. Molumbo (Alternate) (0:52)
  32. Zip (Original Version) (0:31)
  33. News (Alternates) (1:48)
  34. Dog Fight (Alternate) (0:37)
  35. “Runway Is Niner” (Alternate) (0:30)
  36. “The Gear Is Down And We’re Ready To Land” (Alternate) (0:30)
  37. Tag (Instrumental) (1:44)

Released by: La-La Land Records
Release date: 2009
Total running time: 52:28

Alan Parsons Project – The Turn Of A Friendly Card (remastered)

Alan Parsons Project - The Turn Of A Friendly Card (remastered)Inspired by the thrills and occasional lose-it-all spills of gambling, The Turn Of A Friendly Card was a turning point for the Alan Parsons Project, turning the band from a strictly underground but well-respected prog rock act known for intricately produced concept albums to a group that actually made a dent on the mainstream charts. For whatever reason, “Time” and “Games People Play” both made an impact far beyond the Project’s usual fan base, creating the anticipation that helped to fuel the meteoric rise of Eye In The Sky (as both album and song).

As usual, the album we’re all accustomed to is remastered nicely, and Turn also boasts, hands-down, the best bonus tracks of this second wave of Project reissues. A lot of the attention on the bonus tracks is lavished on the song “Nothing Left To Lose”, which was, along with the hit single “Time”, one of the first two Project tunes with a lead vocal by Eric Woolfson. “Nothing” is heard in an early instrumental mix, a demo mix with Woolfson’s vocal and a rough synth attempt at the song’s accordian solo, and – the real treat – the multi-tracked backing vocal magic of Chris Rainbow with everything else mixed down. That selection is particularly impressive because the background vocals were literally all just one guy, and it’s beautiful stuff.

The other gem of the bonus material is an alternate take of “Games People Play”, with a slightly different take on the vocals by Lenny Zakatek and a slightly different approach to the percussion (the liner notes booklet even mentions the infamous Christopher Walken “more cowbell!” sketch from Saturday Night Live here). The song isn’t madly different, but it’s neat to hear a slightly altered version of it. “Time” is included as an instrumental, along with an early demo of “The Gold Bug” instrumental. Also rescued from the demo heap is the first attempt at the intro from “May Be A Price To Pay”, which is actually longer in this form and starts to approach the kind of complexity more listeners would associate to the echoplexed keyboards of “Mammagamma”. The bonus material on this album is great listening in and of itself, and though the entire series of Project remasters has promised to bring us rough mixes, alternate takes and other material to let you 3 out of 4hear the evolution of the songs, Friendly Card may be the remastered album that comes closest to fulfilling that promise.

Highly recommended for fans of the Alan Parsons Project, though there may even be some interest in the bonus material for more casual listeners as well.

Order this CD

  1. May Be A Price To Pay (5:01)
  2. Games People Play (4:23)
  3. Time (5:09)
  4. I Don’t Wanna Go Home (4:59)
  5. The Gold Bug (4:32)
  6. The Turn Of A Friendly Card (Part I) (2:43)
  7. Snake Eyes (3:17)
  8. The Ace Of Swords (2:58)
  9. Nothing Left To Lose (4:07)
  10. The Turn Of A Friendly Card (Part II) (3:31)
  11. May Be A Price To Pay (intro demo) (1:32)
  12. Nothing Left To Lose (instrumental backing track) (4:37)
  13. Nothing Left To Lose (Chris Rainbow vocal overdub compilation) (2:01)
  14. Nothing Left To Lose (early studio version with Eric’s guide vocal) (3:11)
  15. Time (early studio attempt – instrumental) (4:42)
  16. Games People Play (rough mix) (4:32)
  17. The Gold Bug (demo) (2:50)

Released by: Sony / Legacy
Release date: 2008 (original album released in 1980)
Total running time: 64:05

Star Wars: Christmas In The Stars

Star Wars: Christmas In The StarsWhile just about every Star Wars fan knows about Meco and his classic Music Inspired by Star Wars and Other Galactic Funk album, most are unaware that he produced this holiday-themed Star Wars album after writing directly to George Lucas for permission to do so. Apparently, Lucas did not feel disillusioned enough following The Star Wars Holiday Special and gave the project the go ahead.

What resulted is exactly what you’d expect; a bunch of super-sugary sweet Christams-y songs that refer to elements of the Star Wars universe. For the most part, it’s the droids that get the attention, as Anthony Daniels as C-2PO and the sounds of R2-D2 introduce all the songs and Daniels sings (or speaks) a few himself.

The only original song that really stands out and deserves any kind of long-term re-play is “What Can You Get A Wookiee for Christmas (When He Already Owns a Comb)?”, which fulfills all the promise that preposterous title indicates. The rest are worth a chuckle or two, but mostly produce groans from all but the youngest Star Wars fans. The non-original tracks (“Sleigh Ride” and “A Christmas Sighting”) work better, as they are solid novelty versions of classic well-worn material.

I should make note of this album’s other claim to fame: the fact that it features the first recorded material by Jon Bon Jovi. Credited under his birth name, John Bongiovi, he sings lead on “R2-D2 We Wish You A Merry
Christmas” four years before Bon Jovi’s debut album. He’s virtually unrecognizable, not only because he was younger, but his voice is slightly altered (as all the voices are – to sound like elves, I guess). Still, if you’re a fan, you should get ahold of this little piece of Bon Jovi history.

Ultimately, Christmas In The Stars proves to be less than it could have been. It is neither a 3 out of 4timeless work (like Meco’s Galactic Funk) nor a monumental, so-bad-it’s-fantastic disaster like the Holiday Special. It’s a wacky novelty album that kids will love and adults can chuckle over. Star Wars fans will want it for completeness, but playing it at Christmastime is a tradition more likely to be honored in the breach than in the observance.

Order this CD

  1. Christmas In The Stars (3:17)
  2. Bells, Bells, Bells (3:15)
  3. The Odds Against Christmas (3:04)
  4. What Can You Get A Wookiee For Christmas (When He Already Owns A Comb)? (3:24)
  5. R2-D2 We Wish You A Merry Christmas (3:16)
  6. Sleigh Ride (3:36)
  7. Merry, Merry Christmas (2:09)
  8. A Christmas Sighting (‘Twas The Night Before…) (3:43)
  9. The Meaning Of Christmas (8:08)

Released by: RSO
Release date: 1980
Total running time: 33:52

Battle Beyond The Stars / Humanoids From The Deep

Battle Beyond The Stars / Humanoids From The DeepThough the movies themselves have faded into that special pocket of semi-obscure hell reserved for stuff produced by Roger Corman, Battle Beyond The Stars and Humanoids From The Deep hold a special place in the hearts of soundtrack fans as the big-screen debut of a promising new young talent, James Horner. Hired with a mandate to try to duplicate the sound of – ironically – Jerry Goldsmith’s Star Trek: The Motion Picture score, Battle is basically the calling card that brought Horner into the Trek fold proper. I know I’ve jumped all over Horner in the past where originality is concerned, but let’s give credit where it’s due and give the guy a break: for this first movie scoring project, he was told to mimic Goldsmith. Say it with me again: Goldsmith. No pressure, eh? And then, on the strength of Battle, Horner was hired by Nicholas Meyer and asked to emulate himself. It’s no wonder Horner used and reused this basic material throughout the 1980s.

The nautical woodwind motifs that Horner refined in Star Trek II: The Wrath Of Khan can be heard here in a slightly more primitive form, and his rapid-fire bursts of heroic brass can be heard here too, though with a rhythm that’s almost jazzy. What you will hear a lot of is the Blaster Beam, that unearthly electric stringed instrument that Goldsmith put on the musical map with Star Trek: The Motion Picture. Its appearance here doesn’t sound quite as graceful as it did in that first movie, but with marching orders to copy Goldsmith’s style, Horner makes abundant use of it. In that respect, if you’re a fan of that rarely-used instrument, this soundtrack is a treat.

To be completely fair, while there is indeed blatant copying of such Goldsmith cues as “Spock Walk”, there’s enough originality within this score’s context that one can hear where Horner would have been labeled an up-and-coming young composer to keep an ear out for. Unfortunately, in later years, Horner would seem to have taken the instruction “Make it sound kind of like the music from…” a little too literally, and a few times too many.

Humanoids, though commissioned, composed and recorded at around the same time (and it actually hit the theaters before Battle), sounds altogether more assured and mature, with Horner developing some if his more “scary” motifs in their earliest form – much of Trek II‘s Mutara Nebula music can be traced back to this score. For his first major horror scoring assignment, Horner isn’t shy about borrowing from the masters, with plenty of Hermann-esque “stabbing” strings on display.

Put together, Battle Beyond The Stars and Humanoids From The Deep are a debut that, even despite the rough edges, would’ve done any Hollywood 3 out of 4newcomer proud. And even if I’m not Horner’s biggest fan in the world, I’m even less of a Corman fan – his greatest contributions have really been in the area of bringing top-notch talent into Hollywood that eventually turns out better material than he himself could ever manage – and these may be among the very finest scores ever to grace a Roger Corman movie (or two).

Order this CD

    Battle Beyond The Stars

  1. Main Title (2:00)
  2. Malmori Read Guard (3:52)
  3. The Battle Begins (4:33)
  4. Nanella And Shad (1:27)
  5. Cowboy And The Jackers (3:36)
  6. Nanella’s Capture (1:29)
  7. The Maze Battle (3:11)
  8. Shad’s Pursuit (3:23)
  9. Cowboy’s Attack (1:46)
  10. Love Theme (3:52)
  11. The Hunter (1:40)
  12. Gelt’s Death (1:30)
  13. Nanella (1:32)
  14. Heading For Sador (1:00)
  15. Destruction Of Hammerhead (2:36)
  16. Epilogue And End Title (5:02)

    Humanoids From The Deep

  17. Main Title (2:27)
  18. The Buck (3:45)
  19. Unwelcome Visitor (2:03)
  20. Night Swim (1:48)
  21. Jerry & Peggy (0:57)
  22. Trip Upriver (1:59)
  23. The Humanoids Attack (2:54)
  24. Jerry’s Death (2:04)
  25. Search For Clues (1:55)
  26. Strange Catch (1:07)
  27. The Grotto (3:22)
  28. Night Prowlers (2:08)
  29. Final Confrontation (3:05)
  30. Aftermath & New Birth (2:22)
  31. End Titles (2:10)

Released by: GNP Crescendo
Release date: 2001
Total running time: 76:35