Ost / Bernard Herrmann - Taxi Driver Ost / Bernard Herrmann

Waxwork Records is honored to announce the 40th Anniversary soundtrack release of director Martin Scorsese’s 1976 cinematic masterpiece, TAXI DRIVER composed by the legendary Bernard Herrmann. Featuring an all star cast including Robert DeNiro, Jodie Foster, Cybill Shepard, Albert Brooks, and Harvey Keitel, TAXI DRIVER is regularly cited by audiences, critics, and film directors alike as one of the greatest films of all time. The music by legendary composer Bernard Herrmann was his final score before his death on December 24th, 1975. Nominated for four Academy Awards, including Best Picture, the film was considered “culturally, historically, and aesthetically significant” by the US Library of Congress and was selected for preservation in the National Film Registry in 1994. Waxwork Records is excited to present TAXI DRIVER as a deluxe double LP featuring the complete film score by Bernard Herrmann on vinyl for the very first time. Also included is the complete and remastered original 1976 soundtrack release. Waxwork Records had the immense pleasure of working with legendary director Martin Scorsese on this 40th Anniversary release to which the director provided new, in depth, and exclusive liner notes. The new album artwork by Rich Kelly is approved by director Martin Scorsese. 1. Theme from Taxi Driver 4:06 2. I Work the Whole City 2:24 3. Betsy in a White Dress 2:13 4. The Days Do Not End 4:05 5. Reprise: Theme from Taxi Driver 2:24 6. Diary of a Taxi Driver (Voice - Robert de Niro) 4:28 7. Theme from Taxi Driver 3:35 8. The.44 Magnum Is a Monster 3:11 9. Sport and Iris 2:17 10. Gods Lonely Man (End Title) 1:52 Taxi Driver - vinyl Soundtrack. The music by Bernard Herrmann was his final score before his death on December 24, 1975, and the film is dedicated to his memory. Robert Barnett of MusicWeb International has said that it contrasts deep, sleazy noises, representing the "scum" that Travis sees all over the city, with the saxophone, a musical counterpart to Travis, creating a mellifluously disenchanted troubadour. Barnett also observes that the opposing noises in the soundtrack-gritty little harp figures, hard as shards of steel, as well as a jazz drum kit placing the drama in the city-are indicative of loneliness in the midst of mobs of people. Deep brass and woodwinds are also evident. Barnett heard in the drumbeat a wild-eyed martial air charting the pressure on Bickle, who is increasingly oppressed by the corruption around him, and that the harp, drum, and saxophone play significant roles in the music.