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The end credits of 1982s Blade Runner mentioned a forth coming soundtrack release, but those who were keen to get this product actually had to wait 12 years before a CD was available. The CD is also not a true representation of the sound track of the film, though the tracks on the album grew out of the recordings made at the time of the film, they are often in altered form, some had not even featured in the first place.

Blade Runner was such a ground breaking film, in its style and depth that something special was needed to capture this atmosphere for the soundtrack and with this in mind, Vangelis was called in. Riding high from his oscar winning score to Chariots of Fire, this Greek electronic composer proved to be just the man for the job.

Opening with a track called Main Titles, a wave of dark synth washes into ear shot on top of which we hear Deckard (Harrison Ford) talking to his computer as the music rolls in peaks and troughs, each peak more dominant than the last, until it fades to be replaced by more conversations, this time between Deckard and Rachael, the love tryst of the film. This opening track is not the same as the opening to the film which as a longer more masterful reflection of the awesome first scene. Blush Response begins with more of the same, layers of keyboard building before a back beat kicks in to power the track along. By now you will have a feel for the album, but if you have seen the film you will pretty much know what to expect, even though this second track is one of the new tracks created since the film came out, it is very representitive.
The music immediately takes you back the beautiful decay of the city of the film, the future Los Angeles the rain soaked, crowded streets, the shadows and neon lights, a dark possible future that we may end up becoming. Wait For Me offers a change of direction for the soundtrack, combining the now familiar synthetic keyboard soundscapes of Vangelis and the voices of the actors, a lonely saxaphone adds warmth and even a sexy element to the preceedings, a mixture of future shock and late night jazz club. This romantic and almost erotic mournful sound matches the sexual tensions between Deckard and Rachael. A cold wind rushes through the place as a range of percussion provides the background for the first musical voice we have heard. No words are uttered, the voice is used purely as an instrument, matching the inhuman melodies of the music, taking turns to compete in a contast of woman against machine,

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