Track Listing

1. DOUBLE INDEMNITY (Miklós Rózsa): Prelude (film version) / First Scene 4:50
2. The Meeting 2:35
3. In the Cab 0:52
4. The Anklet 0:55
5. Inner Struggle 1:18
6. The Conspiracy 0:57
7. The Policy 1:48
8. The Market 1:04
9. Reading His Mail 0:28
10. Preparation / The Murder 3:06
11. Railroad Tracks 3:10
12. Relief 1:21
13. The Hallway 2:15
14. The Daughter 0:57
15. Warnings 3:02
16. The Appointment 1:24
17. Punishment / So Long Keyes / Finale 8:03
18. ACE IN THE HOLE (Hugo Friedhofer): Prelude 2:47
19. Sand Trickle 1:22
20. The Dirty Work Begins 2:09
21. Platinum Blonde 1:21
22. Pneumonia 1:10
23. Grand Finale 2:32
24. Tatum's Death and End Title / End Cast 4:01
25. SORRY, WRONG NUMBER (Franz Waxman): Prelude / The Foreword 2:09
26. Wedding and Honeymoon 2:07
27. Staten Island 4:11
28. The Stanger Buzzer / Mr. Evans Cuts Off 1:18
29. A Message of Murder 0:53
30. Bowery 2-1000 4:00
31. Finale and End Title / Cast 0:28
32. EXTRAS: Schubert's Unfinished Symphony 1:41
33. Spanish Dance (Van Cleave) 1:18
34. June in January (Ralph Rainger & Leo Robin) 2:29
  Disc Time: 74:01

Disc 2: The Desperate Hours / The Scarlet Hour / Union Station / I Walk Alone / Extras
1. THE DESPERATE HOURS (Gail Kubik): Paramount Seal (Van Cleave) / Prelude 1:42
2. Kobish Toccata (unused) 2:06
3. Open Conflict (unused) 0:52
4. Retribution (Daniele Amfitheatrof) 2:44
5. Last Chance (unused) 1:43
6. THE SCARLET HOUR (Leith Stevens): Prelude (includes “Never Let Me Go” by Jay Livingston & Ray Evans) 2:01
7. Never Let Me Go (Theme Intro) (Jay Livingston & Ray Evans) 3:30
8. Unexpected Arrival / Ralph Trails Paulie / Lynbury Home (revised ending) 3:19
9. Ralph's Interruption 1:07
10. Never Let Me Go (Crystal Room Beguine) (Livingston & Evans) 1:57
11. Scarlet Hour Mambo (Leith Stevens and Bebe Blake) 2:35
12. Music City Jump 2:51
13. Teen Swing 2:50
14. Breakup / Close Watch / Lynbury Home (original version) 2:21
15. Paulie Packs (includes “Never Let Me Go” by Jay Livingston & Ray Evans) / End Title 2:04
16. UNION STATION (Heinz Roemheld): Prelude 1:15
17. The Stockyard 3:05
18. Trapped / End Title 2:53
19. I WALK ALONE (Victor Young): Prelude 1:00
20. The Revelation / Hi-Jackers / We're Partners 4:43
21. Double Cross / Dave's Double Cross / End of Fight and Intro 4:02
22. Two Real Friends 1:18
23. Dutch Uncle / Frankie Comes Through 3:58
24. Wanted for Murder / Get the Truth 1:53
25. Five Shots Left 1:30
26. The Ride 6:16
27. End of Ride / Together and Cast 3:05
28. Easy to Remember 1:44
29. EXTRAS: Double Indemnity - Prelude (stereo re-recording) 1:23
30. Ace in the Hole - Prelude (with FX) 2:32
  Total Album Time: 148:20

From the Manufacturer

This set featuring seven different composers writing for film noir classics. The headliner is Miklós Rózsa's Oscar-winning score to Double Indemnity, in near complete form. Rózsa composed three principal motifs for the film. A restless "conspiracy" theme dominates his score, but it is the powerful murder theme that opens the film and the composer returns to this theme repeatedly with an almost tragic quality. The third principal theme is a love theme.

Hugo Friedhofer's Ace in the Hole deftly matches the unusual mixture of tones Billy Wilder achieved in his unusually bleak dissection of modern journalism.

For Sorry, Wrong Number, Franz Waxman set the film's anxious tone with a dramatic main title cue which incorporated phone sound effects.

In The Desperate Hours, Gail Kubik took an unusual and daring approach, writing and recording an unpredictable score.

For The Scarlet Hour, Leith Stevens supplied suitably dramatic and agitated original cues for key scenes, but the main musical focus of the film is the original song "Never Let Me Go," written by the team of Jay Livingston and Ray Evans.

Although the main titles of Union Station don't list a composer, Heinz Roemheld scored the picture, yet little of his music ended up in the final film.

Finally, the nearly 30 minutes of Victor Young's I Walk Alone features a vivid and varied score including bluesy music and exciting chase music.

Most of the music in this album was sourced from 35mm magnetic film stored in the Paramount vaults. Desperate Hours is three-track stereo. The Scarlet Hour is in "quasi stereo" because there were "directional angles" for certain cues, while all the other film tracks are mono.

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