Posted in: Music, Pop Culture, Soundtrack, Vinyl | Tagged: aliens, James Horner, Varèse Sarabande
Aliens Celebrates 40th Anniversary With New Vinyl Soundtrack Release
The film Aliens is celebrating its 40th Anniversary this year, and with that comes a special vinyl release of the complete soundtrack.
Article Summary
- Aliens marks its 40th anniversary with a new vinyl soundtrack featuring James Horner’s complete Oscar-nominated score.
- Varèse Sarabande’s Aliens release arrives November 13 in Silver, Barnes & Noble Alien Green, and Xenomorph Glow.
- Recorded at Abbey Road with the London Symphony Orchestra, Aliens launched James Horner’s long Cameron legacy.
- Aliens was finished under intense deadline pressure, with Horner composing the iconic score in just two weeks.
Varèse Sarabande has created a new anniversary soundtrack release: the 40th-anniversary vinyl edition of the film Aliens. The album features the complete score by composer James Horner, performed by the London Symphony Orchestra and recorded at Abbey Road Studios, which would go on to nab him an Oscar nomination and solidify his partnership with James Cameronon films such as Titanic and Avatar. The three options being released on November 13 include a Silver 40th-Anniversary Edition, as well as a Barnes & Noble Exclusive “Alien Green” edition, and a Varèse Sarabande Exclusive “Xenomorph Glow” glow-in-the-dark edition, all of which are up for pre-order. We have more details about the album below.
Aliens Celebrates Its 40th Anniversary On Vinyl
Cameron’s Aliens, the sequel to Ridley Scott‘s 1979 sci-fi classic Alien, follows Ellen Ripley (Sigourney Weaver), the sole survivor of the original film’s deadly encounter with the Xenomorph. Composed and conducted by Horner, the score was performed by the London Symphony Orchestra and recorded at London’s famed Abbey Road Studios. Aliens also marked the first collaboration between Cameron and Horner, who would later reunite for two of the highest-grossing films of all time: Titanic and Avatar.
Although Aliens ultimately became a critical and commercial success, the film was completed under intense deadline pressure. Cameron’s meticulous approach to filmmaking created significant challenges for everyone involved. “Cameron’s vision and hands-on oversight of every aspect of film production was also his curse,” Cinephilia & Beyond notes. “He knew exactly what he wanted and expected others to deliver it. The film was being completed with edits, effects, and music cues right up to the wire. James Horner had just two weeks to complete his score.”
Yet Horner’s score earned him his first Academy Award nomination. As Cinephilia & Beyond notes, “The first time many of the crew saw the completed film (there was no time for previews) was at the premiere. Grudgingly, many of the talented people who worked long hours would agree that the aggravation was worth it to create such a landmark film.” The demanding production strained Horner and Cameron’s relationship, and the two did not work together again for several years before reuniting on Titanic. Despite the friction, Cameron never lost sight of Horner’s talents as a composer.
“I never lost track of James Horner and his career. The craziest things have been written about what I wanted musically for Titanic; some people even suggested that my first choice wasJohn Williams. It’s true that over the years Michael Gorfaine has often suggested the great John Williams, but ever since Apollo 13, I knew James Horner was the right guy for me,” Cameron said. “I admire John Williams, but his style would have been at odds with my musical vision of Titanic, and I do not think that we would have come up with the best score for the film.” Horner’s distinctive style would become an integral part of Cameron’s later work.
The two eventually grew close again and collaborated over the following decades. “He was a great guy, and I think the depth of his emotion and his sensitivity is what gave him a lot of his musical talent,” Cameron recalled shortly after Horner died in 2015. “I mean, sure, he was classically trained, and he was a pianist and all that. But I think it was that he, himself, was a very emotional person,” Cameron concluded.
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