|1.||House at the End of the Drive||4:24|
|2.||I'll Wait For You||0:32|
|4.||Dinner With Friends||3:27|
|6.||Like A Woman||4:01|
|10.||Lets Go To The House||3:59|
|12.||Time Warp to 1969||2:17|
|16.||What The Hell||2:28|
|17.||Somebody's Gonna Die||4:25|
|18.||This Can't Be Real||3:24|
|19.||Back to Cielo Drive||2:44|
|20.||Just Another Song||5:20|
|Total Album Time:||64:27|
From the Manufacturer
When it came time to score House at the End of the Drive, writer and producer David Oman was referred to composer Alan Howarth by David Worth, the director of the film, who had served as director of photography on an earlier project Alan had scored. The story of House at the End of the Drive would offer a composer the opportunity to explore two separate worlds of sound in scoring the film. The present day and the world of 1969.
As a child of 1969 and a musician, Howarth embraced the opportunity. The story's modern era is dominated by threatening musical textures and chilling ambiances that unnerve the viewer as the ghosts of Cielo Drive begin to make themselves known while the scoring for the world of 1969 has more of a rock vibe, with guitars and drums, which included producing a half-dozen 1969-style folk-rock tunes for the project.
The booklet contains liner notes written by noted author Randall Larson, including insights by composer Alan Howarth on the creation of the score for this unique horror film.
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