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Blow-Up [Bonus Tracks]

Herbie Hancock - CD

Blow-Up Herbie Hancock CD
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  • Artist: Herbie Hancock
  • Format: CD
  • Year: 1996, 2005
  • UPC: 081227252724
  • Item Number: RHI25272
  • Release date: 08/20/1996
  • 1. Main Title from "Blow-Up"
  • 2. Verushka, Pt. 1
  • 3. Verushka, Pt. 2
  • 4. Butchie's Tune
  • 5. Did You Ever Have to Make up Your Mind?
  • 6. Bring Down the Birds [outtake][Outtake]
  • 7. Naked Camera
  • 8. Jane's Theme
  • 9. Thief
  • 10. Kiss
  • 11. Curiosity
  • 12. Thomas Studies Photos
  • 13. Bed
  • 14. Stroll On
  • 15. End Title "Blow Up"
  • 16. Am I Glad to See You [Outtake][Outtake]
  • 17. Blow-Up [Outtake][Outtake]
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Blow-Up [Bonus Tracks] by Herbie Hancock on CD


A young Herbie Hancock contributed the bulk of the score to Michaelangelo Antonioni's 1966 screen classic, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, "Stroll On" (actually an adaptation of "The Train Kept A-Rollin'"), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. That cut is also included (although it's also been reissued elsewhere). The CD reissue adds the Hancock outtake "Bring Down the Birds," as well as two outtakes written and recorded for the film by the underground mod/psychedelic band Tomorrow, which was originally considered for the role that eventually went to the Yardbirds. ~ Richie Unterberger, All Music Guide
  • Artist: Herbie Hancock
  • Format: CD
  • Year: 1996, 2005
  • UPC: 081227252724
  • Item Number: RHI25272
  • Release date: 08/20/1996
  • Label: Rhino
  • Genre: Soundtrack
  • Style: Film Music, Hard Bop, Modal Music, Original Score, Post-Bop, Soundtracks
  • Album Time: 43:40
  • SPARS Code: AAD

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  • Blow-Up Herbie Hancock CD
Blow-Up Herbie Hancock CD

Editorial Reviews

A masterpiece of 1960s art-house cinema, Michelangelo Antonioni's Blow-Up is a dizzying exploration of images, appearances, and existence amid the mod glamour of Swinging '60s London. Antonioni took his signature influence of existentialist philosophy, seen in such earlier films as L'avventura (1960), La notte (1961), The Eclipse (1962), and Red Desert (1964), and pushed it to full-scale reflexivity: instead of just questioning existence, he questioned the nature of reality itself. Just as Thomas blows up his photographs until they are pure abstraction, Antonioni uses deliberately odd framing, expressionistic use of color, and an extremely long telephoto lens, which crushes depth from the image, to make the film look both striking and opaque. Thomas himself is adrift in this world: absorbed in the surfaces of things yet unable to perceive intrinsic beauty, he finds it increasingly difficult to distinguish objective reality from the simulacra of advertising and fashion photography. By the end of the film, he is no longer certain if distinctions among image, illusion, and reality even exist. The film's brilliantly dense philosophical underpinnings aside, its Rear Window-esque plot makes it a compelling piece of work. Moreover, it features some of the most memorable sequences in cinema: the pantomime tennis match at the end of the film, the naughty ménage à trois on purple paper, and the almost farcically erotic photo shoot at the beginning of the film between model Veruschka and Thomas with his oversized camera lens. Blow Up proved extremely influential on younger generations of filmmakers; and it was later echoed by both Francis Ford Coppola in The Conversation (1974) and Brian De Palma in Blow Out (1981). ~ Jonathan Crow, All Movie Guide