Giorgio Moroder – Scarface (Expanded Motion Picture Soundtrack)

All I have in this world are my score and songs…

Oftentimes in the film scoring profession, creative personalities from outside that prestigious clique such as rock musicians, jazzmen, and disco personalities are dismissed as not being pure classical composers. To cite a few examples that belie such a mindset, one only needs to assess the pedigree of lauded talents such as John Carpenter, Danny Elfman, Dave Grusin, Tangerine Dream, Vangelis, and Hans Zimmer, whose numerous successes and awards contradict this provincial mindset.

Much has changed in the industry since Giorgio Moroder won the Oscar for his melodic and austere score for 1978’s “Midnight Express.” He is most known as the “Godfather Of Disco” for his composition and groundbreaking production work with Donna Summer on the sensual hits such as “I Feel Love,” “Love To Love You Baby,” “On The Radio,” only a few of many.

In 1983, noted Hitchcock-inspired suspense auteur Brian DePalma secured the talents of Moroder to author the underscore and new songs for the much anticipated “Scarface” remake. Breaking temporarily from his long-standing partnership with composer Pino Donaggio, he recruited fellow Italian talent Giorgio Moroder to mirror the debauched-and often savagely existential-lives of soulless “yeyo” drug overlords and their minions. (Years later, the director exercised his contractually final clause mandate wisely declined lame cash grab offers to replace Moroder’s work with that of new millennium rap artists).

Whew! Disaster averted.

So distinct and engaging were his score and songs that he repurposed portions for the 2006 video game release, with the composer even aping his score’s instrumental design for the 2016 streaming series “Queen Of The South.”

Bolstered by a highly quotable Oliver Stone script and a towering performance by Al Pacino (who first proposed remaking the 1933 film to his agent, producer Martin Bergman) as the titular villain with a questionable conscience.

Contributing to the film’s realism are first rate ing performances from Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Paul Shenar as the wealthy, highly educated Bolivian drug kingpin Sosa-a wolf in sheep’s clothing.

As a character in the film itself, the questioned begged - for nearly four decades, why no release of all the film’s original music?

In 2022, merely one year shy of its 40th anniversary, LaLaLand Records made available the full 78 minute underscore on disc one, with the second CD devoted to the original album, complimented by a generous set alternates and source cues.

Essentially a 1980’s revamp of his “Munich Machine” ensemble, the performers include prolific session luminaries Sylvester Levay, who went on to score TV’s “Airwolf” and “Cobra,” synthesist Kristian Schultz, renowned bass guitarist and orchestrator Arthur Barrow, and lyricist and keyboardist Richie Zito. Additionally, frequent Moroder percussionist Keith Forsey was recruited to provide rhythms to the source pieces. (Like Levay, Forsey ventured into film scoring with his catchy electronic score for a film classic of a far different kind, 1984's "The Breakfast Club").

Employing the Fairlight CM II, the Serge modular system (a fantastic synthesizer created by Serge Franklin, a staple ingredient of the late 70s/early 80s “space music” movement), the minimoog, a Yamaha CS-80, the Roland Jupiter 8, and a Linn drum computer.

The original 1983 album (reissued-and extensively remixed-in a controversial 2003 revisionist project) only featured two score rerecordings -“Tony’s Theme,” and a concert arrangement of “Gina and Elvira’s Theme,” with the piano of Helen St. John. The 203 remix has not been ported over to this set, but is easily readily available elsewhere.

The first disc opens with the proper film mix of the Tony motif, “Main Title-Scarface,” a more layered rendition with tragic Fairlight voices lamenting “Tony, “Tony, Tony” that give way to a somewhat semi-breezy rhythmic tone underscoring newsreel footage of exiles fleeing Cuba by boats. In is refreshing to finally enjoy this piece sans dialog.

The score frequently quotes the timbres of this essential theme, yet includes equally brooding tones for “Rebenga,” “She’s Not For You,” “The Chase,” and “Attack Begins.” Fragments of the latter cue are reminiscent of Tangerine’s Dream’s instrumental “No Man’s Land,” in particular the relentless Eastern-tinged percussion loops. The gravity of the tension in these sequences are suffused with an almost operatic air of exigency, with low bass moans during the final battle proving most unsettling.

Speaking of tension, some of the most chilling music appears as John Alonzo’s photography focuses upon Tony’s explosive temper slowly rising to the surface.

Moroder’s score, easily his finest cinematic achievement for this crime thriller masterpiece unfurls like a high-tech, operatic powerhouse in the vein of Nino Rota’s seminal work for the first two “Godfather” classics, also available as deluxe Golden anniversary editions from LaLaLand.

Prominent songs include album and extended versions (both popular record store 12”s of the era) of Paul Engemann’s raucous “Push It To The Limit” (notable for the unique addition of a sampled sitar) and Debbie Harry’s “Rush, Rush.” They were also both staples of 80’s FM college and New Wave radio stations. (Purists please note the sequencer pulsations opening Engemann’s song as heard in the film are not present here).

Other enjoyable songs include Beth Anderson’s “Dance Dance Dance,” “Right Combination,” and “She’s On Fire” by Amy Holland. Cuban-flavored source tracks are also appear distantly, many complimenting Tony’s less than luxurious early days in America.

Strictly limited to 5,000 units, this highly recommended entry in LLLs Universal Pictures Film Music Classic Collection series will be a most welcome purchase to Moroder enthusiasts and devotees of the film. Suffice it to say Brian DePalma's "Scarface" cache-not to mention Moroder's astute sonic compliments to his work- has flourished immeasurably since its somewhat chilly critical reception in the Winter of 1983.

There is a limited edition vinyl release of this currently for pre-order on La-La Land's website.

Brian de Palma's crime-drama SCARFACE from 1983, based on a screenplay by Oliver Stone, starred Al Pacino as Cuban refugee/gangster Tony Montana, who came to Miami to experience the crime version of the American Dream. He eventually becomes a powerful and extremely homicidal drug lord. The film became quite a big success at the time, but it's in more recent times that the cult status of the movie has been cemented.

Director de Palma went to Italian composer, songwriter and producer Giorgio Moroder (born 1940) for the music for SCARFACE. In 1983 Moroder was extremely hot both in Hollywood and in the pop and disco music world, having won an Oscar for MIDNIGHT EXPRESS some years before and having also scored films like AMERICAN GIGOLO, CAT PEOPLE and FLASHDANCE. Moroder and his studio assistant/arranger Sylvester Levay sculpted a fitting score for the film, and they also churned out no less than 8 songs that would appear on the soundtrack album along with two selections from the instrumental score.

In 2018 La La Land Records started the work on getting all the music from the film out to collectors, and now, 4 years later, the job is done. A double-CD set with a 20-page booklet, with liner notes by Tim Grieving and a new interview with Sylvester Levay, limited to 5000 copies and running for 2 hours and 36 minutes is finally out, almost 40 years after the release of the film. High quality as usual from La La Land, but once more I can't help missing some photos by Moroder and the musicians in the booklet, working in the studio. Surely a thing like that must have been possible to track down? We have seen different pictures of the actors a thousand times, but this is a CD, not the film.

OK, now I have gotten that off my chest, let's concentrate on the music. Disc 1 of this set consists of the score, running for 77 minutes and 28 tracks. The three most important themes are those for Tony, Gina (Tony's sister) and Elvira (Tony's girlfriend). Those themes appear in different guises (maybe a little too much?) throughout the album, and they are of course also included on the original 1983 soundtrack. Tony's theme is a destiny-filled melody that has a peculiar feel of classical music in the arrangement and chords. It's mostly heard in the tracks "Just Paranoid" and "409 Citrus Drive". The tracks simply called "Elvira" and "Gina" showcase their themes splendidly, both of them being bittersweet and highly melodic pieces of electronic film music.

Personally, the piece of music that I most wanted was the "Main Title", a rhythmic and exciting theme that kind of reminds me of French disco-electro artist Cerrone. This theme hits the zeitgeist of 1983 right in the bulls-eye, and is a perfect opener both to the film and to the album. But other than these 4 themes, there really isn't too much in of new and exciting material on disc one. There are interesting snippets here and there though, like the AIRWOLF-like ending to "Tony Rescued", the haunting "Sosa/Talk To Frank", the MIAMI VICE-feel of the attack-parts of track 24 and the Harold Faltermeyer-like suspense of "Tony Escapes".

There is also "The Chase" which starts like Moroder has fallen asleep on his synthesizer, before it segues into a Sylvester Levay-like sequencer with Tony's theme incorporated. Clever. "Bolivia" is a short acoustic folk-music ditty, while tracks like "Bye Bernstein" and "Finale" are quite heavy-handed suspense cues that are not particularly easy on the ear. Disc 1 closes with the unused "Trailer Music", which is kind of an instrumental version of the song "Push It To The Limit."

Disc 2 contains the original 35-minute 1983 album, plus 43 minutes of additional music and source material. The original soundtrack included 10 tracks, all of them written by Moroder. Instrumentals "Tony's Theme" and "Gina And Elviras Theme" have already been discussed, while the 8 songs are of course mostly in the disco genre. Paul Engemann's "Push It To The Limit" is probably the most well-known song here, it's classic Moroder, including the sitar-like sound that should permeate 1984's "NeverEnding Story" by Limahl. Blondie's Deborah Harry sings "Rush, Rush" three years after having worked with Moroder on "Call Me" from AMERICAN GIGOLO, and actress Maria Conchita sings the all-Spanish "Vamos A Bailar". Singers Beth Andersen and Elizabeth Daily are also featured; they would continue to work at the Moroder-camp on movies like THIEF OF HEARTS, ELECTRIC DREAMS, NEVERENDING STORY, THE BREAKFAST CLUB and ANOTHER WAY. It must also be mentioned that Keith Forsey performs all the drums and percussion on this double-album.

The 13 tracks of additional music are a diverse mix of extended versions, unused songs and source material. Beth Andersen's "Right Combination" is better than a couple of songs on the original soundtrack, and that can also be said of Joe Esposito's "Success", which reminds me of a theme from CAT PEOPLE. An instrumental version of "Success" was used as the trailer music for SCARFACE. "Car Getaway Source" is an instrumental version of "Right Combination", while the three "Cuban" tracks are sleazy and simply annoying. The three "Muzak" cues are somewhat more interesting, with Moroder's style clearly coming through. And in the end, we have the two "Disco" cues, where one of them bears a weird similarity to Harold Faltermeyer's "Captain Freedom's Workout" from RUNNING MAN, no less.

156 minutes of music from SCARFACE is a real marathon, but this release shows just how right Giorgio Moroder was as composer for this film back in 1983. A cult classic has finally got the soundtrack release it deserves.

Jon Aanensen

I've been waiting for this score for many years... it was my dream release.
And I'm going to write a lot about release this here :)

Hearing this separately from the movie is a real treat! The guys from La La Land have done a fantastic job on the sound quality: the cues sound are crystal and clear. The synthesizer sounds fat, but it is not rough: it is pleasant for the ears.
It's hard to choose a favorite track(s) as all the tracks are very good, but still I really liked: 'Chainsaw / Tony Rescued', 'The World Is Yours', 'Gina Dead / Chi-Chi Wasted'. Lately I've been listening to these tracks. I would like to say that I really liked the way Moroder used the drums on the tracks "Tony Rescued" and "Tony Escapes". Very cool!! The track 'The World Is Yours' sounds powerful, conveying the character of Montana's. The track "Chainsaw" perfectly conveys suspense and strong tension. Damn cool!
In general, this score is quite varied and does not sound repetitive. Not only the main themes are great, but other themes as well. Those who love 80's synth soundtracks won't cry that it sounds cheesy and dated! :)

This soundtrack shows that the music in a film can sound very epic and powerful without the use of an orchestra. As for me, the synthesizer is able to create a powerful and catchy sound that will be ed even after decades!
Giorgio Moroder created one of the best soundtracks of his time (I think this is his best work), with catchy themes that remain in memory for a long time. Although he was a gifted composer, it seems to me that without the help of Sylvester Levay (another underestimated talent) it would have been difficult for him to translate his musical ideas so beautifully into this score. Levay did an excellent job of arranged score. He made significant contributions to the soundtrack. We must give him credit.
I am very pleased with this release. I have no complaints or questions about this release! La-La Land is truly magical! This is a luxurious and high-quality edition from people who are fans of their craft.

Big thanks to the La-La Land Records team, and to Neil S. Bulk and Chris Malone!

This release is so good, it includes the score that was never released before, beautifully restored in hiqh quality from the original tapes, also comes with the 1983 soundtrack mix also restored and not the 2000's remix, to add even more LLL has put up on CD2 cues used in the movie like little songs that plays in the Babylon club or some cuban music, little tracks but that are very good on their own, Cuban II and Disco I are my favorites of those, as for the main CD with the score, the Main Title, Rebenga, Elvira, Bolivia,The World Is Yours, The Chase and the End Title are really great, the whole score is good.. I can't recommend it enough, this is a must have if you love this movie, the liner notes also gives incredible knowledge to how and by who the score was being brought to life back in '83

Everything about this release is perfect, except the booklet is very prone to bending/creasing on the spine (all La La-Land stuff tends to have paper issues; either too stiff or too thin) and also the ridiculous chain of track titles bundled together. I've had to individually split all of Disc 1 into 48 tracks with Audacity, as the file path length is far too long when copying to other devices, such as tracks 13 and 24 on Disc 1. Other than that annoyance, it's a bloody work of art this release is and the 40 years is worth the wait!