Danny Elfman – Dick Tracy (Original Score) (LP) – Transparent Blue Vinyl

Album Info Hide Show Artist: Danny Elfman Album: Dick Tracy (Original Score) Released: Europe, 2020 Tracklist: A1 Main Titles 3:36 A2 After The “Kid” 1:45 A3 Crime Spree 1:54 A4 Breathless’ Theme 2:12 A5 Big Boy / Bad Boys 2:10 A6 Tess’ Theme 1:09 A7 Slimy D.A. 1:41 A8 Breathless Comes On 2:54 A9 Meet The Blank 1:43 B1 The Story Unfolds 1:59 B2 Blank Gets The Goods 2:25 B3 Rooftops 2:01 B4 Tess’ Theme – Reprise 1:17 B5 The Chase 2:57 B6 Showdown / Reunited 4:07 B7 Finale 1:00 Info About Buying Vinyl From Our Record Store We are a small independent record store located at 211 High St, Preston in Melbourne, Australia (North of Northcote, between Thornbury & Reservoir) We buy and sell new and used vinyl records – if you have a collection you’d like to sell please click here . We ship Australia wide for a flat rate of $10 for standard shipping or $15 for express post. Free Shipping for orders $150 and over. You can also pick up your order in store, just select Local Pickup at the checkout. We also ship internationally – prices vary depending on weight and location. We ship vinyls in thick, rigid carboard mailers with a crushable zone on either side, and for extra safety we bubble wrap the records. In stock vinyl is usally shipped next business day, please check the availability field at the top of the product page to see whether the record is currently in stock or if it is available from the supplier as well as estimated shipping times. If you order an in stock item together with a pre order or back order (listed as available from supplier rather than in stock) then the order will be shipped together when all items arrive. If you would like the in stock items shipped first please place two separate orders or contact us to arrange shipping items separately. We are strongly committed to customer satisfaction. If you experience any problems with your order contact us so we can rectify the situation. If the record arrives damaged or doesn’t arrive we will cover the cost of replacing or returning the record. If you change your mind you have 30 days to return your record but you must cover the cost of returning it to the store. You can contact our Melbourne record shop at (03) 9939 3807 or at [email protected] Happy Listening! Description Hide Show Danny Elfmans Dick Tracy score is one of those 1990 curios that ends up sounding more timeless than the word tie-in suggests. The film landed in 1990 with Warren Beatty painting the comic-strip world in primary colors, and Elfman met it with a brass-heavy soundtrack that tilts toward noir while still feeling like a pop-era blockbuster. The album doesnt chase the torch-song glitz of Madonnas Sondheim numbers, it wraps the city in swagger and shadow, a gumshoes walk set to trumpet and snare. Coming right after Batman, Elfman could have stayed in brooding gothic mode. He keeps some of that DNA, but here he trades cathedral gloom for nightclub smoke. The main motif struts. Brass pops in tight punches, saxes curl around the low end, and the strings stab and surge like a brawl breaking out down a narrow alley. You hear classic Hollywood crime scoring in the bones, yet the harmonic turns are Elfmans, those slightly crooked intervals that make a simple chase feel unstable and alive. It plays like pulp fiction inked with an orchestrators fountain pen. One of the pleasures of this album is how cleanly it sketches character without leaning on the films dialogue or songs. Al Pacinos Big Boy Caprice gets music that huffs and puffs but never quite shakes its comic shape, with busy inner lines and a kind of puffed-up rhythm that fits the performance. Breathless Mahoney belongs to the songs in the film, yet the score still leaves her a trail of midnight perfume, clarinet and brushed cymbals cutting the neon. For the city itself, Elfman builds stacked brass chords that bloom like a billboard lighting up. He knows when to keep the band small too. A muted trumpet here, a lonely bass clarinet there, and the cartoon panels start to feel like streets you could walk. The album also shows off Elfmans knack for pacing. Even outside the movie, it moves like a night on the job, quick steps and sudden corners, then a quiet watch from a rooftop before the action returns. The chase cues are clipped and percussive, all snare tattoos and trombone rips. The suspense material sits low and wide, with timpani tolls and strings that shiver on the bow. It is confidently cinematic but not overstuffed. You can drop the needle while cooking, and within a minute you might be stirring to a brisk, syncopated rhythm like a short-order cook in a pulp diner. Context helps, and this record has plenty. The film won three Oscars, including Best Original Song for Stephen Sondheims Sooner or Later, sung by Madonna, and it came out in a year when studio soundtracks were trying to be everything at once. Dick Tracy split the difference smartly. The songs handle the cabaret sheen. The Danny Elfman score album gives you the spine of the story, a throughline of grit and pageantry that holds the world together. That separation makes the listening better, especially on vinyl where the brass and low winds feel more physical. If you are hunting for Danny Elfman vinyl, this one earns its shelf space next to Batman and Edward Scissorhands. Audiophiles will care about how it plays. The mix favors bold brass, tight woodwinds, and a rhythm section that snaps. The recordings of the era can run hot on top, so a modest treble trim can make the trumpets sit just right. On a good setup, the room fills with that comic-book chiaroscuro, bright splashes over a dark bed. It is the kind of record that makes you want to buy Danny Elfman records online, then lose an afternoon comparing pressings. I have found Dick Tracy vinyl in big-box bins and in tucked-away corners of a Melbourne record store, which says something about how it crosses collector tribes. Film-score folks, jazz heads, even pop fans who came for Madonna often leave with this under their arm. If you are building a small run of Danny Elfman albums on vinyl, consider this the hinge between the looming Gothic of 1989 and the barbed whimsy that followed. Thirty-odd years on, the album still plays like a celebration of style with real musical muscle under the paint. It respects the strips simplicity and the films splash, and it gives listeners a soundtrack you can live with outside the theater. That is the trick. Make the city feel like a place, then let the horns talk. 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