Hey all. Wondering if anyone can help? Rewatching Heat (as Heat 2 the book is due out) I realised I cannot put the score and various artists soundtrack in sequential order. Some of the score tracks have names that are hard to get an easy grip on.
Has anyone here ever put a complete track order together?
The OST is difficult to arrange in chronological order, because some tracks are unused in the film and others are used in edited form and different versions. Nevertheless this should be roughly the film order (not 100% sure about the two unused tracks of course):
1. Heat 2. Entrada 3. Last Nite 4. Armenia 5. Always Forever Now 6. Shootout 7. Ultramarine 8. Of Helplessness 9. Mystery Man 10. Fate Scrapes 11. New Dawn Fades 12. Coffee Shop 13. Force Marker 14. Steel Cello Lament 15. La Bas (Edited Version) 16. Run Uphill (unused) 17. Condensers (unused) 18. Gloradin 19. Predator Diorama 20. Of Separation 21. God Moving Over the Face of the Waters
There's no official expanded score release, so discussing the content of any unmentionable would probably violate forum rules.
FYI - the version of Moby's "God Moving Over the Face of the Waters" on the Heat soundtrack album is NOT the version used in the film. It's missing the big, epic crescendo portion that closes the film.
The version of the song on the Heat soundtrack album is the original version off Moby's 1995 album "Everything is Wrong."
The version used in the film is completely different from that album version.
After being created for the film, it was first released in 1996 (soon after the film came out) as the B-side to the Dutch CD single for "That's When I Reach For My Revolver (Remix)".
It was finally made widely available on Moby's 1997 album "I Like to Score."
It's officially named "God Moving Over the Face of the Waters (Heat mix)"
The Moby cue was clearly the temp track, but Elliot Goldenthal composed a replacement cue when he recorded the score. It's very much based on the Moby cue. He released it on his website:
After Mann rejected that cue, Goldenthal re-used it a few months later as the finale of his masterful score for Neil Jordan's Michael Collins, minus the electric guitar. Skip to 1:35 in this album track, which combines two cues:
Interestingly, Goldenthal reused the composition again for Michael Mann as the finale of Public Enemies, just slowed down a lot, in a way that suggests the temp track for this scene was Zimmer's "Journey to the Line" from The Thin Red Line:
Interestingly, Goldenthal reused the composition again for Michael Mann as the finale of Public Enemies, just slowed down a lot, in a way that suggests the temp track for this scene was Zimmer's "Journey to the Line" from The Thin Red Line:
This cue always reminded me of Journey to the Line and if I remember correctly, the film even uses some music from The Thin Red Line so it almost certainly was used as a temp score.
The Moby cue was clearly the temp track, but Elliot Goldenthal composed a replacement cue when he recorded the score. It's very much based on the Moby cue. He released it on his website:
After Mann rejected that cue, Goldenthal re-used it a few months later as the finale of his masterful score for Neil Jordan's Michael Collins, minus the electric guitar. Skip to 1:35 in this album track, which combines two cues:
Interestingly, Goldenthal reused the composition again for Michael Mann as the finale of Public Enemies, just slowed down a lot, in a way that suggests the temp track for this scene was Zimmer's "Journey to the Line" from The Thin Red Line:
Goldenthal also reused parts of this cue for the finale of his magnificent Titus score:
Does anyone know where this was supposed to go? It's not in the film. Or maybe it was specifically composed for the album?
According to recording sessions posted a few posts up, this was written for the scene where Ashley Judd gives Val Kilmer the subtle hand gesture to signal it's a trap and he drives off
Interesting to hear some of Goldenthal's original cues that ended up being replaced by songs in the film.
An official release of all that's Goldenthal written and recorded for "Heat" is still one of my biggest grails. There's still some things missing from the different sources that are out there. Sadly, we'll probably never see it for various reasons (WB/Goldenthal feud, WB not working with the labels anymore)
I think the OST is just perfection the way it is -- a rare example of score and songs/existing music bleeding organically together to create this stupendous "cityscape" tone poem concept album.
