Assistant director John Harrison, who
had scored Romero’s Creepshow two years earlier was once again
entrusted to create the score. He set up his synthesizers and a piano in
a downstairs room in a Laurel office while the film was being edited. In
just eight weeks it was done, accenting all the tension with
combinations of tropical melodies and driving beats. He even threw in a
musical reference to Dawn's polka Muzak in the scene where Logan
turns the light out on the Beef Treats zombie. "Creating a score is
similar to the vision a director must have" John told Fangoria. "The
music for films should be invisible. If you sit in a theatre listening
to the music and not watching the movie, then the score has
Side One, recorded at Jeree Studios with Don Garvin and Rex Burk and
produced by Tom Cossie, opens with that familiar headline "The Dead
Walk". Created after the film as album filler, some of John
Harrison's melodies from his "Dead Suite" (which is actual
music from the movie) is performed on a different synthesizer with a
very robotic dance beat. These kind of songs were recurring in horror at
the time (i.e. Friday the 13th Pt. 3 Theme). Performed by Modern
Man - actually Jim Blazer (on a DX7 Chroma) and Harrison. Harrison’s
guitar driven "Escape Invasion" was actually used in the scene
where Steel is being pursued by zombies near the end. It fades out a
little too fast though on the record. "If Tomorrow Comes" is
an unused track that sounds like "The World Inside Your Eyes";
Sputzy Sparacino's vocal over light synthesizer with additional vocal by
Delilah. Music by Sparacino, Blazer and Harrison. "Breakdown"
is the powerful synth piece that begins in the scene after Miller is
killed and Miguel is about to lose a forearm. "The World Inside
Your Eyes" is the Sputzy/Delilah ballad used at the end of the
film. In the final film, the song begins on the second verse. The
Caribbean-flavored opening is reminiscent of Art of Noise's
"Moments in Love" from around the same time. Music by
Harrison, Harrison and Talmadge Pearsall on keys.
Side Two, comprised of nearly
twenty-minute "The Dead Suite" was composed and performed by
John Harrison, recorded and mixed by Bill Smith at Studio Sound
Recorders and produced by John Sutton and John Harrison. It includes
much of the actual music in sequence it was heard in the film. Here you
can relive the suspense of the first five minutes of the film-minus the
sound effect from the wall of arms and the title stinger.
Left out is the capture sequence which
was mainly spaced keys; it segues over that into the section used when
Sarah enters the operating theatre. The "shock" moments in
that scene and every scene after is not included as it jumps to the part
where Sarah goes with Billy to the Ritz. Bub's music is not included
afterwards either; the 'let's kick John around' music is not here but it
is represented in a part of "Escape Invasion". The compound
invasion music fades up and an extra bass beat was added in the parts
leading to the actual elevator descension into the base by the living
dead with a dynamic surge recalling Alan Parsons' 1982
"Sirius." Bub's discovery of the gun is intact though the
section leading to Torrez's death is not. The next part is actually
"Escape Invasion" so it goes to Rhodes' final moments with Bub.
The feast background music is also gone from this recording.
Saturn Records released the Day of
the Dead score on LP (SR-LP-1701) and cassette (SR-CAS-1701) in
conjunction with the theatrical release. A 7" single (A-2107-45) of
"The World Inside Your Eyes" b/w "The Dead Walk" was
issued as a limited edition to Fangoria readers. The packaging
license on all of these was limited to use of the poster art. No
pictures were permitted.
However, the only other official
pressing was the Japanese Polydor LP (28MM-0489) and cassette
(28CM-0489). This release not only had superior packaging (a photo in
the center of a black background of Sarah and the wall of arm nightmare
scene, with color stills on the back), it included a lyric sleeve!
Before it was licensed to CD there were
scores of bootlegged copies made from crackling records. Beware of
these: a Polish version from Kraton Records (from an LP source) and an
US-made (opening with "Dead Suite") from a cassette dub.
Released Feb. 20, 2002, Numenorean Music’s
licensed, digitally remastered CD (NMCD001) contains a different order:
Dead Suite, Breakdown, Escape Invasion, The Dead Walk, If Tomorrow
Comes, The World Inside Your Eyes.
The bonus tracks are more like ‘bogus’
tracks, thrown on the disc by Taurus Entertainment, no doubt hoping no
fans would notice their true origins. Sound effects (zombie groans,
machine gun fire, running and other foley sound) are annoyingly intact.
"Deadly Beginnings" repeats the first 7 and a half minutes of
Day (essentially almost half of the "Dead Suite"). This was
done presumably to incorporate the title stinger. "Diner of the
Living Dead" bypasses all the music leading up to when Sarah and
Miguel jump on the golf cart and head out to the corral. Instead it
picks up where the first captives are about to be collared , "Dead
Calm" actually works as an instrumental track more than the others.
It is the music heard when Sarah and McDermott discover the head of the
soldier Johnson in the laboratory; this continues to the part where they
spot Logan leaving the cold storage with a bucket. "Bub’s 9th"
is simply the scene where Bub is listening to Beethoven’s 9th
Symphony (Ode To Joy) on his headphones – complete with moans and tape
player buttons clicking. The 21-minute "Dead End" which starts
with the sound of the gunshot killing Fisher and continues to the very
ending with an instrumental track of "The World Inside Your
Eyes" is another bore for even hardcore fans who have owned any of
the Japanese versions. Another rip-off is the fact that these tracks are
directly from the butchered edits so the music breaks up during gory
scenes and all the soldier death background music is removed. Much of
the "Dead Suite" and all of "Escape Invasion" is
repeated. Numbered copies limited to 3000, with a 12-page booklet
reprinting the press kit synopsis, and liner notes by Romero and
Harrison. Not one picture of Harrison made the insert! The disc was
dedicated to Richard Liberty – who never even owned nor cared for the
score (personal correspondence, 1993). The back CD case design was my
design actually and I remember showing the licensers this image that I
made from Photoshop. I was not given due credit.
are the lyrics to the two songs with vocals.