Blue Velvet
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Track listing
Show track credits
- A1 Main Title 1:27
- A2 Night Streets / Sandy and Jeffrey 3:42
- A3 Frank 3:34
- A4 Jeffrey's Dark Side 1:48
- A5 Mysteries of Love (French Horn Solo) 2:10
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- A6 Frank Returns 4:39
- A7 Mysteries of Love (Instrumental) 4:41
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- B1 Blue Velvet / Blue Star 3:14
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- B2 Lumberton U.S.A. / Going Down to Lincoln 2:13
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- B3 Akron Meets the Blues 2:40
- B4 Bill Doggett - Honky Tonk Part 1 3:09
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- B5 Roy Orbison - In Dreams 2:48
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- B6 Ketty Lester - Love Letters 2:36
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- B7 Mysteries of Love 4:22
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vocal
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- Total length: 43:03
Rate/Catalog
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Review
To rate, slide your finger across the stars from left to right.
15 Issues
- Release view [combined information for all issues]
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Blue Velvet [p] 33 rpm, Motion Picture Soundtrack
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Blue Velvet 45 rpm, Film Score, Motion Picture Soundtrack
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Blue Velvet 33 rpm, Motion Picture Soundtrack, Promo
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Blue Velvet Film Score, Motion Picture Soundtrack
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Blue Velvet 33 rpm
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Blue Velvet Film Score
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Blue Velvet Motion Picture Soundtrack
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1998 CD
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Blue Velvet Colored Vinyl, Limited Edition2015 Vinyl LP 302 068 292 5
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Blue Velvet 33 rpm
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Blue Velvet 33 rpm, Colored Vinyl, Limited Edition, Remastered
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Blue Velvet Digipak, Remastered
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Blue Velvet The Deluxe Edition Bonus Tracks, Deluxe Edition, Limited Edition
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Blue Velvet 33 rpm, Colored Vinyl, Deluxe Edition
10 Reviews
Lynch meets Badalamenti, both complement each other's universes perfectly and a fantastic soundtrack is born.
Published
The main theme to this is incredible, amazing use of woodwinds. I’m not as privy to this as the Twin Peaks soundtrack but this is still amazing. This is pretty conventional as oppose to the Twin Peaks soundtrack but it conveys the messages of the movie very well. I’m so happy I checked this out. Not to pigeon-hold him but Badalamenti seems born to work with Lynch.
Published
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A1
Main Title
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A2
Night Streets / Sandy and Jeffrey
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A3
Frank
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A4
Jeffrey's Dark Side
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A5
Mysteries of Love (French Horn Solo)
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A6
Frank Returns
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A7
Mysteries of Love (Instrumental)
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B1
Blue Velvet / Blue Star
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B2
Lumberton U.S.A. / Going Down to Lincoln
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B3
Akron Meets the Blues
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B7
Mysteries of Love
Angelo Badalamenti’s music for David Lynch’s 1986 film Blue Velvet is enchanting in a playful and subversive way, but thoroughly suspenseful and dark when necessary. The classic tracks that come into the second half are recontextualized by Badalamenti’s score and Lynch’s assemblance and mastery of mood. “Mysteries of Love” is truly a highlight — its like the perfect blend of all the elements, a truthful salve for the bittersweetness of life.
Published
Angelo Badalamenti's score here isn't quite up to the par of his Twin Peaks soundtrack but the other songs on the record elevate the album. "Blue Velvet" itself is probably my favorite version of the song, and I'm always happy to hear more Roy Orbison.
Published
the cries of the suburban underbelly as omniscient here as in Lynch's early masterwork itself. a stunner.
Published
I hate to say it, but the best parts of the Blue Velvet soundtrack aren't actually the parts Angelo Badalamenti had anything to do with. Turning in a fairly cliched orchestral score, Badalamenti had only just made the preliminary sketches towards the intriguing classical-jazz-rock-and-roll fusion he'd perfect on the soundtrack to Twin Peaks, the spiritual companion to this surreal movie about small town corruption. The album really only picks up towards the end, with tracks such as Roy Orbison's classic In Dreams and Ketty Lester's Love Letters adding some glitz from the golden age of rock and roll the film is set in. Plus Julee Cruise's ethereal work on Mysteries of Love sets the course for her later contributions to Twin Peaks too. In short, the Twin Peaks soundtrack is far superior to this album, but at the same time Blue Velvet does at least hold some interest as a blueprint for what was to come.
Published
Originally brought to Blue Velvet as Isabella Rossellini's singing coach, Angelo Badalamenti ended up scoring the film as well (he even makes an appearance as the jazz bar's piano player). This soundtrack began his harmonious working relationship with David Lynch, and Badalamenti has contributed music to every Lynch film since. It also marks the first work the two did with the angel-voiced Julee Cruise (she sings on one of three versions of "Mysteries Of Love"). The lush orchestration of "Night Streets" and "Jeffrey's Dark Side" are dreamlike, and Isabella's smokey performance of the title tune is also included.
This disc planted the seeds that would develop further into the jazz noir of the Twin Peaks and Lost Highway soundtracks. The non-Badalamenti tracks include Ketty Lester's haunting rendition of "Love Letters," and Roy Orbison's "In Dreams" (which is forever linked now with Dean Stockwell's lip-synching and Dennis Hopper's mania). As with all of Lynch's films, sound and music play integral roles in the delivery of mood, and this CD does a fine job of transporting you back to the dark corners of Lumberton.
This disc planted the seeds that would develop further into the jazz noir of the Twin Peaks and Lost Highway soundtracks. The non-Badalamenti tracks include Ketty Lester's haunting rendition of "Love Letters," and Roy Orbison's "In Dreams" (which is forever linked now with Dean Stockwell's lip-synching and Dennis Hopper's mania). As with all of Lynch's films, sound and music play integral roles in the delivery of mood, and this CD does a fine job of transporting you back to the dark corners of Lumberton.
Published
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Lynch’s greatest moment so far was made all the better by his first collaboration with Angelo Badalamenti (who apparently was only initially brought to work on the film as Isabella Rossolini’s singing coach).
This is a suitably offbeat and often creepy soundtrack but with a black humour running through it, capturing the films mood perfectly.
There are moments of smoky jazz cool that would become typical of Lynch/Badalamenti soundtracks to follow, which are peppered around themes like “Frank” which have a creeping and not at all subtle menace to them, just like the character himself so legendarily portrayed by Sir Dennis of Hopper. It builds from a slow threatening violin into Hermann/Hitchcock collaboration style stabbing strings and blaring horns, scary stuff!
A few old early 60’s classics are included about towards the end of the soundtrack, and because of the scenarios in which they were used within the film, they are also menacing and have an otherworldly feel to them rather than innocent songs they once were, will you ever hear Roy Orbison’s “In Dreams” in the same way again after this film? Unlikely!
The absolute highlight though is “Mysteries Of Love” the films main theme that holds the soundtrack together, appearing in three versions (French Horn Version, Standard Instrumental and a vocal version with fellow lynch regular Julee Cruise) this is a beautiful theme with Julee’s performance being every bit as good as “Falling” from Twin Peaks.
A fantastic companion piece to a fantastic slice of mainstream cinema colliding head on with surrealism, highly recommended!
This is a suitably offbeat and often creepy soundtrack but with a black humour running through it, capturing the films mood perfectly.
There are moments of smoky jazz cool that would become typical of Lynch/Badalamenti soundtracks to follow, which are peppered around themes like “Frank” which have a creeping and not at all subtle menace to them, just like the character himself so legendarily portrayed by Sir Dennis of Hopper. It builds from a slow threatening violin into Hermann/Hitchcock collaboration style stabbing strings and blaring horns, scary stuff!
A few old early 60’s classics are included about towards the end of the soundtrack, and because of the scenarios in which they were used within the film, they are also menacing and have an otherworldly feel to them rather than innocent songs they once were, will you ever hear Roy Orbison’s “In Dreams” in the same way again after this film? Unlikely!
The absolute highlight though is “Mysteries Of Love” the films main theme that holds the soundtrack together, appearing in three versions (French Horn Version, Standard Instrumental and a vocal version with fellow lynch regular Julee Cruise) this is a beautiful theme with Julee’s performance being every bit as good as “Falling” from Twin Peaks.
A fantastic companion piece to a fantastic slice of mainstream cinema colliding head on with surrealism, highly recommended!
Published
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