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Section Header
The Nightmare Before Christmas
(1993)
1993 Disney

2006 Disney

2008 Disney

2011 Warner

Composed, Lyrics, Co-Performed, and Produced by:
Danny Elfman

Conducted by:
Chris Boardman
JAC Redford

Orchestrated by:
Steve Bartek
Marc Mann
Mark McKenzie

Labels and Dates:
Walt Disney Records
(Original)
(November 10th, 1993)

Walt Disney Records
(2-CD Set)
(October 24th, 2006)

Walt Disney Records
(Revisited)
(September 30th, 2008)

Warner Brothers Records
(April 12th, 2011)

Also See:
The Danny Elfman and Tim Burton 25th Anniversary Music Box
The Corpse Bride
Charlie and the Chocolate Factory
Alice in Wonderland
Batman
Edward Scissorhands
Beetlejuice
Dick Tracy

Audio Clips:
1993 Disney Album:

4. Jack's Lament (0:35):
WMA (229K)  MP3 (285K)
Real Audio (177K)

15. Christmas Eve Montage (0:26):
WMA (163K)  MP3 (198K)
Real Audio (123K)

18. Finale/Reprise (0:30):
WMA (195K)  MP3 (241K)
Real Audio (149K)

20. End Titles (0:33):
WMA (215K)  MP3 (265K)
Real Audio (165K)

Availability:
All of the Disney albums are regular U.S. releases. Duplicate pressings of the 1993 album were re-issued in 1994 and 1995 with the same packaging and contents. The 2011 Warner set is a limited edition of 2,000 copies, sold for $500 primarily through the official site of the album. Consult with the separate review of that set for more details about its availability.

Awards:
  Nominated for a Golden Globe.









The Nightmare Before Christmas

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Buy it... if you have any doubt whatsoever about Danny Elfman's talents, because his writing and performances in The Nightmare Before Christmas produce one of the most uniquely attractive musicals ever to scare the big screen.

Avoid it... if you expect the Broadway style of songs or light-hearted atmosphere of Alan Menken's musicals for Disney during the same era. Also avoid it on the disgraceful 2008 cover-version album at all costs.



Elfman
The Nightmare Before Christmas: (Danny Elfman) Sometimes films don't receive their due praise until long after their unheralded debuts, and such was definitely the case with Tim Burton's production of The Nightmare Before Christmas. Based on a concept percolating in his head for a decade, the story involves the clashing of two holidays when the inhabitants of the fantasy town of Halloween discover the town of Christmas and attempt to adapt the latter holiday with their own sensibility. Every aspect of the film is unconventional, from the stop-action animation process to ambiguous look of the characters and the musical format of the soundtrack. Executives at Disney were initially horrified by Burton's creation during post-production, withholding merchandising and advertising dollars because they were convinced that the film was an extremely morbid blemish on the studio's reputation. Indeed, a combination of character and set design was too dark for small children and humor aimed at adults caused The Nightmare Before Christmas to become a favorite of the teenage crowd instead. The enigma fared relatively well at the time of its 1993 release, but despite being a musical in Disney's line-up at a time when that format could do no wrong for the studio, the film was a box office disappointment. The songs and score by rising star Danny Elfman received little mainstream recognition, failing to garner a single Oscar nomination in either category. Inevitably, the world was enamored with Alan Menken's production for Disney at the time, which made sense given that he had just completed the superior trilogy of soundtracks (ending with Aladdin) that made him famous. But time has been abnormally kind to The Nightmare Before Christmas. It is often remembered today as a hidden gem in the careers of both Burton and Elfman, and its cult following increased to such an extent that the film was transferred by Disney into 3D format and re-released into theatres on its 13th anniversary in 2006. The film has earned its fairly deserved recognition outside teenage circles and, while still too strange for some older audiences and certainly the kind of concept to earn considerable protest from the America's touchy religious right, it continues to develop a strong reputation with another generation of youngsters.

For Elfman, The Nightmare Before Christmas was an endeavor of immense personal hardship, investing himself so far into the project that he eventually became not only composer and lyricist, but lead performer and associate producer. His girlfriend at the time, Edward Scissorhands writer Caroline Thompson, was enlisted to write the rushed, late screenplay long after Elfman and Burton had assembled the songs and written the lyrics together. The two men suffered equally from the pressure of Disney's negativity, and after a petty argument at the conclusion of work on The Nightmare Before Christmas, they went their separate ways. Burton used composer Howard Shore as a temporary stand-in for Elfman in Ed Wood the following year before the collaborators reconciled prior to Mars Attacks!. Contributing to Elfman's frustration in late 1993 was that his music wasn't much applauded by mainstream critics (in fact, some denigrated it simply by using Menken as an unfair comparison), despite the fact that The Nightmare Before Christmas remains a remarkable exhibition of the man's obviously singular talents. For many viewers and listeners, the production is just as much defined by Elfman as (if not moreso than) Burton, who chose not to direct the picture himself. Musically speaking, when Elfman changed course with his career later in the 1990's and experimented with orchestral and electronic minimalism, many of his earliest fans lamented the loss of his Batman and Edward Scissorhands styles. Equal was the loss of The Nightmare Before Christmas, for the composer would never again pour so much overwhelming creativity of a clearly personal nature into one production. His songs and score may not be classics in any corner, but they are uniquely fashioned out his distinctly intoxicating sound. His lyrics, with some input from Burton in several songs, are frightfully intelligent and humorous. His singing performances as several of the characters, including Jack Skellington, are remarkably inflective. The composer was originally not intended to take these roles, but once he had performed all the parts (except Sally) in the demo recordings, it became clear that due to his passion for the music, he would be an excellent choice for the lead. In fact, some of his vocals for the demos were considered superior to those recorded more professionally for the final product and were utilized instead.

By 1993, the scoring community had already tasted its fair share of Elfman's creativity, and yet one can easily get the impression that nobody was fully prepared for the rather demented personality of The Nightmare Before Christmas. It truly is impossible to place this work in context with the average run of the mill soundtrack or even musical. Because of that fact, it's hard to listen to The Nightmare Before Christmas very often unless you consider yourself a die-hard fan of the concept. With its so many strong themes, it's a great score to dissect and reconstruct, and the main reason to pull this album off the shelf is to admire the complexity of Elfman's creation. The composition itself is superior, with multiple themes interacting seamlessly and complimenting each other with a certain funny elegance. His manipulation of themes to suit the varying emotions of the characters is masterful. His inherent love of tragedy leads to such numbers as "Jack's Lament," "Sally's Song," and "Poor Jack," while his affinity for the bizarre is heard in "This is Halloween," "Kidnap the Sandy Claws," and "Oogie Boogie's Song." The fact that there are ten songs in The Nightmare Before Christmas (eleven if you consider the reprise at the end a separate song) not only gives the film wall-to-wall melodies but also creates a roller coaster ride that defies a consistent sound for the entire production. The brooding emphasis on lower range instruments and heavy bass in the mix, a carry-over from the morbid, droning ambience of Batman Returns, offer a bit of overarching connection, as do the references to previous songs in later ones (and future songs in preceding score cues). On the whole, though, The Nightmare Before Christmas is all over the map in terms of style. To go from the vintage Cab Calloway-style jazz of "Oogie Boogie's Song" to the sparse drama of "Sally's Song" causes obvious problems in stylistic continuity. While "This is Halloween" is the flashiest, "Jack's Lament" and "What's This?" are highlights, if only because of Elfman's dynamic, hyperactive vocal performances as Jack. His amusingly expressive performances easily overshadow the vocals by Catherine O'Hara, Ken Page, and others. Without any single dominant song in the entire work (there is no "title song"), there really was nothing for awards voters to grasp on to. Technically, "Jack's Lament" and "Sally's Song" are the most frequently referenced in the score and closely represent the lead characters, but neither can be described as a showstopper.

As for the score, Elfman's music is very tightly related to the melodies of the songs, with no score-specific standalone themes. Outside of parts of "Jack and Sally Montage" and "Christmas Eve Montage," the score tracks are largely unremarkable unless you are enamored by all of the various songs, for Elfman rarely branches off from one of the song melodies in his predictable but effective parade of themes conveyed in each instrumental interlude. In an age when overtures have long since disappeared, it's great to hear a well-constructed one here, and both "Overture" and "End Title" are smart suites that brilliantly provide snippets of most of the songs' themes. The two performances by Patrick Stewart as the narrator provide a great, God-like perspective on the whole affair, but neither was heard in the film. The original "Opening" was abbreviated and recorded by the actor who plays Santa Claus (never released on album) and it is that performance that existed in the film at its debut. Elfman himself also recorded the narration and can be heard on a few of the available albums. Arguably the soundtrack's most endearing, heartwarming moment comes when the score and song are fused at the end of "Finale/Reprise," when Elfman and O'Hara perform in unison a snippet of "Sally's Song" with lovely orchestral accompaniment. Despite this and other highlights, Disney has never been thorough in its presentation of the music on album. The film was released two weeks before Halloween and the initial CD hit the shelves ten days after the pumpkins had been packed away, allowing for the revision of the narration but clearly indicative of the lack of confidence the studio had in the film. The product contained all of the songs but only about half the score. For the 2006 re-release of the movie to theatres, Disney offered a 2-CD package with no new material from the score. It does offer demo performances of four songs by Elfman (including "This is Halloween," which appeared on the composer's "Music for a Darkened Theatre, Volume 2" compilation), but the five cover versions by Marilyn Manson, Fiona Apple, and others are wretched and atrocious. And, as if Disney hadn't milked this cow enough after realizing its initial error, the studio's label released yet another album of music from The Nightmare Before Christmas two years later, this time with only cover versions of every track. The 2008 album is the absolute worst that commercial markets can inspire, taking artists of radically different cultures and genres of music and giving each one shot at producing their own version of material that really required Elfman's own touch.

The spirit of the original performances by Elfman and others for The Nightmare Before Christmas is usually completely lost in the 2008 cover versions, except in the cases of "Sally's Song" and "Poor Jack," both of which actually marginally resemble the original recording. The Marilyn Manson performance from the 2006 album is reprised. Otherwise, some of these cover renditions are so incongruous with the originals that they will be unrecognizable. This isn't like hearing Natalie Merchant perform David Bowie's "Space Oddity," one of many cases in which the cover is gorgeous and the original quite annoying. Elfman and his ensemble nailed these performances in 1993 and anything significantly different is an oddity not worth the money. On the surface, one interesting aspect of this album for the composer's collectors will be the fact that the score tracks are included in the 2008 endeavor. The Vitamin String Quartet's version of "Jack and Sally Montage" is listenable, but that's about it. Hearing the remaining score tracks translated into heavy metal or electronica (or, in the case of "End Title," a drug-induced haze) stinks of studio and label greed. If Disney wanted to do this right, they would have taken the original recording, augment it with the important quantity of score material that still remained unreleased (indeed, after three albums, Disney still couldn't provide a complete presentation!), and offer a second CD (like the 2006 album) with all of these ridiculous cover versions to help push units. The only truly neat aspect of the 2008 "Nightmare Revisited" album is the change in narration during "Opening" and "Closing." For these tracks, the original orchestral underscore is accompanied by the new recordings of Elfman performing the narrator role himself. His voice has changed in the last fifteen years, though there's still a hint of that Jack Skellington tone to be heard. Patrick Stewart's version, not surprisingly, is arguably superior, but since The Nightmare Before Christmas is truly Elfman's baby, it's nice to hear him in yet another role. The vocal mix is resounding and he reprises the harsher edge of Jack's spoken voice with the line "Wouldn't you?" to conclude "Closing." In the end, however, no cover version of any of Elfman's songs or score can possibly capture the spirit of the cast of voices and accompanying instrumentation, and the original 1993 album still exists with everything true enthusiasts of the film and music really need. That is, unless you've got a tremendous amount of expendable income, in which case, the 2011 set "The Danny Elfman and Tim Burton 25th Anniversary Music Box" finally treats the soundtrack right.

[Editor's Note: Two weeks after reviewing that beast of a box set, I was manually assembling the track listings for all its miscellaneous albums and discovered an oddity on CD 16. I had fallen out of a willow tree earlier in the day while trying to prune the unwieldy monster, and I figured upon encountering a strange issue with the orchestra-only version of "Finale/Reprise" that I was simply "hearing things" in my head because I was groggy from the day's work. Upon closer inspection, however, as well as confirmation from my wife after my third attempt to point her to this oddity, some facts were revealed. In this particular track, the last forty seconds could be classified as one of two things: a disastrous attempt to edit a cue or a really cool accident. What originally caught my attention was the feeling that I was still hearing Catherine O'Hara's voice in the background of the "Finale" with Sally's theme in that supposedly orchestra-only version. Naturally, I ignored it at first. After all, I've heard that soundtrack enough times through the years for my brain to simply fill in the voices subconsciously. But then I noticed that the orchestral recording concluding that track is the superior film version, a more whimsical alternate with a hint of "What's This?" in its celesta contribution. What you hear closing out "Finale" on all the vocal versions on CD going back 1993 contains a solitary descending brass line instead. After transferring the track into some editing software, I confirmed that I wasn't simply "hearing things" in regards to O'Hara's voice, either. While the accordion is front and center as it's supposed to be, her lyrics "...and sit together, now and forever" and "we're simply meant to be" are relatively evident at high volumes (especially the "s" tones). Elfman's voice is completely absent. Another clue to this strange artifact occurs right before her lines begin; at precisely 1:57 into the track, there's a hiccup in volume that reveals a bad splice where someone apparently attempted to change recording sources. It's possible that an editor chose to include the film version of the orchestra's performance for the last 20 seconds of the score, simply cutting into a different take at that 1:57 mark but failing for some reason to completely dial O'Hara's vocals out of the mix. Some listeners probably won't notice any of these issues, maybe hearing a woman humming in the background at most. But the film version of that cue has been long awaited on CD, and, aside from the hiccup at 1:57, the ghostly nature of the voice in the background is strangely appropriate. On the other hand, it's yet another example of a disappointing set with an abundance of sloppy and curious choices.]

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There are a multitude of reasons to despise the Elfman/Burton "music box," foremost its ridiculous design, endless delays, and ridiculous $500 price tag. But you really can't fault Elfman's own treatment of The Nightmare Before Christmas for that product. Whereas many of the soundtracks on that set include just a couple of additional new cues or are primarily served with newly revealed demo recordings, The Nightmare Before Christmas, among a couple of others, is really one of the major reasons to invest in the product. On CD #6 of the set, Elfman assembled the most complete chronological order of music from the film to date, adding nine score cues and extending "Christmas Eve Montage" by two minutes. Some of these cues are meaty, too, with several minutes of fantastic development and foreshadowing of the songs' melodies. In particular, "Post Party" and "Sally's Lament/Wandering Jack" represent five minutes of satisfying development of the two leads' themes. The duo of "Bunny" and "Big Send-Off," each about two minutes in length, delve into the holiday spirit, the latter a vital cue. In sum, the additional score amounts to about 15 minutes in length, a long overdue presentation that flows very well. The set's miscellaneous CDs also concentrate heavily on The Nightmare Before Christmas. On CD #15, "Curios and Curiouser," the composer provides his previously released narrative tracks, several demos as yet unheard by the public, the quite cool Oingo Boingo-style rock version of "Making Christmas" titled "This Time," and interesting but sometimes unlistenable foreign language recordings of some of the songs. On CD #16, "Notes and Notions," the orchestra-only recordings for the songs will be fodder for karaoke enthusiasts and a newly recorded music box suite runs through the major melodies. The USB stick-only bonus material in the set includes additional demos and the two source cues from the Halloween Town Band. No matter where you stand on the massive issues pertaining to the 2011 set, you have to admire the plethora of material from The Nightmare Before Christmas included. For $500, you can assemble almost every piece of music from this soundtrack that you could possibly want, minus the shortened, unreleased performance of the original opening narration. Given the cult following that worships this movie, it wouldn't be surprising if a fair number of the set's 2,000 copies are snagged by this specific fanbase. Elfman and Burton would try to tap the same well in 2005 with The Corpse Bride, but by then, the undeniably unique magic of The Nightmare Before Christmas was gone. Love it or hate it, this music is a once-in-a-lifetime type of experience.   Amazon.com Price Hunt: CD or Download

    Music as Written for the Film: ****
    Music as Heard on the 1993 and 2006 Albums: ****
    Music as Heard on the 2008 "Revisited" Album: **
    Music as Heard on the 2011 Set: *****
    Overall: ****

Bias Check:For Danny Elfman reviews at Filmtracks, the average editorial rating is 3.18 (in 62 reviews)
and the average viewer rating is 3.25 (in 117,673 votes). The maximum rating is 5 stars.





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 Track Listings (1993 Disney Album): Total Time: 61:16


• 1. Overture (1:47)
• 2. Opening (0:57)
• 3. This is Halloween (song) (3:15)
• 4. Jack's Lament (song) (3:13)
• 5. Dr. Finkelstein/In the Forest (2:36)
• 6. What's This? (song) (3:05)
• 7. Town Meeting Song (song) (2:55)
• 8. Jack and Sally Montage (5:17)
• 9. Jack's Obsession (song) (2:45)
• 10. Kidnap the Sandy Claws (song) (3:02)
• 11. Making Christmas (song) (3:57)
• 12. Nabbed (3:04)
• 13. Oogie Boogie's Song (song) (3:16)
• 14. Sally's Song (song) (1:47)
• 15. Christmas Eve Montage (4:43)
• 16. Poor Jack (song) (2:30)
• 17. To the Rescue (3:38)
• 18. Finale/Reprise (2:44)
• 19. Closing (1:25)
• 20. End Titles (5:05)




 Track Listings (2006 Disney 2-CD Set): Total Time: 94:42


CD 1: (61:16)

• 1. Overture (1:47)
• 2. Opening (0:57)
• 3. This is Halloween (song) (3:15)
• 4. Jack's Lament (song) (3:13)
• 5. Dr. Finkelstein/In the Forest (2:36)
• 6. What's This? (song) (3:05)
• 7. Town Meeting Song (song) (2:55)
• 8. Jack and Sally Montage (5:17)
• 9. Jack's Obsession (song) (2:45)
• 10. Kidnap the Sandy Claws (song) (3:02)
• 11. Making Christmas (song) (3:57)
• 12. Nabbed (3:04)
• 13. Oogie Boogie's Song (song) (3:16)
• 14. Sally's Song (song) (1:47)
• 15. Christmas Eve Montage (4:43)
• 16. Poor Jack (song) (2:30)
• 17. To the Rescue (3:38)
• 18. Finale/Reprise (2:44)
• 19. Closing (1:25)
• 20. End Titles (5:05)
CD 2: (33:26)

• 1. This is Halloween - performed by Marilyn Manson (3:22)
• 2. Sally's Song - performed by Fiona Apple (3:20)
• 3. What's This? - performed by Fall Out Boy (3:00)
• 4. Kidnap the Sandy Claws - performed by She Wants Revenge (5:09)
• 5. This is Halloween - performed by Panic! At the Disco (3:36)
• 6. Making Christmas (Demo) - performed by Danny Elfman (5:34)
• 7. Oogie Boogie's Song (Demo) - performed by Danny Elfman (3:15)
• 8. Kidnap the Sandy Claws (Demo) - performed by Danny Elfman (2:51)
• 9. This is Halloween (Demo) - performed by Danny Elfman (3:19)




 Track Listings (2008 Disney "Revisited" Album): Total Time: 75:39


• 1. Overture - performed by DeVotchKa (2:36)
• 2. Opening - performed by Danny Elfman (1:00)
• 3. This is Halloween - performed by Marilyn Manson and Tim Skold (3:23)
• 4. Jack's Lament - performed by The All-American Rejects (3:15)
• 5. Doctor Finkelstein/In The Forest - performed by Amiina (3:18)
• 6. What's This? - performed by Flyleaf (3:20)
• 7. Town Meeting Song - performed by The Polyphonic Spree (8:56)
• 8. Jack and Sally Montage - performed by Vitamin String Quartet (5:45)
• 9. Jack's Obsession - performed by Sparklehorse (5:32)
• 10. Kidnap the Sandy Claws - performed by Korn (3:37)
• 11. Making Christmas - performed by Rise Against (3:27)
• 12. Nabbed - performed by Yoshida Brothers (7:35)
• 13. Oogie Boogie's Song - performed by Rodrigo y Gabriela (2:48)
• 14. Sally's Song - performed by Amy Lee (3:03)
• 15. Christmas Eve Montage - performed by RJD2 (3:46)
• 16. Poor Jack - performed by Plain White T's (2:35)
• 17. To the Rescue - performed by Datarock (3:34)
• 18. Finale/Reprise - performed by Shiny Toy Guns (3:07)
• 19. Closing - performed by Danny Elfman (1:25)
• 20. End Title - performed by The Album Leaf (3:47)




 Track Listings (2011 Warner Set): Total Time: 172:29


CD 6: (76:17)

• 1. Overture (1:47)
• 2. Opening (0:57)
• 3. This is Halloween (song) (3:16)
• 4. Post Party* (2:19)
• 5. Jack's Lament (song) (3:00)
• 6. Doctor Finklestein/In the Forest (2:37)
• 7. What's This? (Singing Elf Mix)* (song) (3:05)
• 8. Sally's Lament/Wandering Jack* (2:48)
• 9. Jack Returns* (0:31)
• 10. Town Meeting Song Intro* (0:35)
• 11. Town Meeting Song (song) (2:57)
• 12. Jack and Sally Montage (5:17)
• 13. Jack's Obsession (song) (2:47)
• 14. Work in Progress* (2:03)
• 15. Kidnap the Sandy Claws (song) (3:03)
• 16. Bunny* (1:50)
• 17. Making Christmas Intro* (0:27)
• 18. Making Christmas (song) (3:58)
• 19. Nabbed (3:04)
• 20. Oogie Boogie's Song (song) (3:16)
• 21. Big Send-Off* (2:01)
• 22. Sally's Song (song) (1:48)
• 23. Christmas Eve Montage (Extended Film Version) * (6:55)
• 24. Poor Jack (song) (2:31)
• 25. To the Rescue (3:39)
• 26. Back to Business* (0:50)
• 27. Finale/Reprise (2:44)
• 28. Closing (1:26)
• 29. End Title (5:04)


CD 15: (53:21)

• 1. Opening (Danny Elfman Vocal Version) (0:58)
• 2. This is Halloween (Demo) (3:22)
• 3. Jack's Lament (Demo)* (3:10)
• 4. What's This? (Demo) (3:05)
• 5. Town Meeting Song (Demo) (2:43)
• 6. Jack's Obsession (Demo)* (2:37)
• 7. Kidnap the Sandy Claws (Demo) (2:45)
• 8. Making Christmas (Demo) (5:16)
• 9. Oogie Boogie's Song (Demo) (3:03)
• 10. Sally's Song (Instrumental Demo)* (1:40)
• 11. Poor Jack (Demo)* (2:58)
• 12. Finale/Reprise (Demo)* (2:19)
• 13. This Time (Unused Electric Song - Demo)* (4:06)
• 14. This is Halloween (Italian Version) (3:17)
• 15. Jack's Lament (German Version) (3:15)
• 16. Oogie Boogie's Song (Italian Version) (3:07)
• 17. Sally's Song (German Version) (1:48)
• 18. Poor Jack (French Version) (2:33)
• 19. Closing (Danny Elfman Vocal Version) (1:25)


CD 16: (33:55)

• 1. Opening (Orchestra-Only Version)* (0:46)
• 2. This Is Halloween (Orchestra-Only Version)* (3:12)
• 3. Jack's Lament (Orchestra-Only Version)* (3:14)
• 4. What's This? (Orchestra-Only Version)* (3:00)
• 5. Town Meeting Song (Orchestra-Only Version)* (2:54)
• 6. Jack's Obsession (Orchestra-Only Version)* (2:49)
• 7. Kidnap the Sandy Claws (Orchestra-Only Version)* (3:01)
• 8. Making Christmas (Orchestra-Only Version)* (3:59)
• 9. Oogie Boogie's Song (Orchestra-Only Version)* (2:25)
• 10. Sally's Song (Orchestra-Only Version)* (1:47)
• 11. Poor Jack (Orchestra-Only Version)* (2:55)
• 12. Finale/Reprise (Orchestra-Only Version)* (2:39)
• 13. Closing (Orchestra-Only Version)* (1:18)

• 26. Tim Burton's The Nightmare Before Christmas Suite* (3:05)


CD 16: USB Stick: (8:54)

• 28. Snakey (Worktape)* (3:44)
• 29. Reprise (Early Demo)* (1:16)
• 30. Oogie Boogie - Alternate Melody (Demo)* (1:50)
• 31. Mayor's Theme (Demo)* (1:26)
• 32. Jingle Bells* (0:14)
• 33. Here Comes Santa Claus* (0:25)

* previously unreleased




 Notes and Quotes:  


Both the 1993 and 2006 albums contain the same credits and lyrics, but neither features extra information about the score or film. The first pressing of the 2006 album contained a 3D slip cover. The 2008 album was packaged in a hard cardboard slip case, with a removable insert that contains photos of most of the artists, but again no extra information about the score or film. The 2011 Warner set features some notes from Elfman about his choices of music for inclusion on the product.





   
  All artwork and sound clips from The Nightmare Before Christmas are Copyright © 1993, 2006, 2008, 2011, Walt Disney Records (Original), Walt Disney Records (2-CD Set), Walt Disney Records (Revisited), Warner Brothers Records. The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 9/24/96 and last updated 5/31/11. Review Version 5.1 (PHP). Copyright © 1996-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.