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Mad Max Beyond Thunderdome
Album Cover Art
1985 EMI (Europe)
1994 GNP Crescendo
Album 2 Cover Art
2003 Fuel 2000/EMI
Album 3 Cover Art
2010 Tadlow
Album 4 Cover Art
Composed, Conducted, and Produced by:
Maurice Jarre

Performed by:
The Royal Philharmonic Orchestra
Labels Icon
EMI Records (Europe)
(July 10th, 1985)

GNP Crescendo
(June 24th, 1994)

Fuel 2000/EMI
(November 11th, 2003)

Tadlow Music
(May 25th, 2010)
Availability Icon
The 1985 EMI Records album was a commercial European release that was almost immediately difficult to locate. The 1994 GNP Crescendo album was the first regular U.S. release, later valued at $25 after it went out of print. The 2003 Fuel 2000/EMI re-issue was only in print for a few years, eventually fetching $45 on the used market. The 2010 Tadlow 2-CD set, distributed by Silva Screen, was limited to 3,000 copies and sold through soundtrack specialty outlets for an initial price of $30.
The song "We Don't Need Another Hero (Thunderdome)" was nominated for a Golden Globe. The song "One of the Living" was nominated for a Grammy Award.

Decorative Nonsense
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Availability | Awards | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... on the widely available song and score combination album if you seek a basic introduction to this rowdy, fun score by Maurice Jarre and Tina Turner's popular songs for the film.

Avoid it... on the 2010 Tadlow limited release of the complete score if you're not interested in hearing Jarre's surprisingly over-thought, complicated score that defies the simplistic, primordial nature of the film's plot with unconventional instrumental creativity and occasionally confusing thematic attributions.
Review Icon
WRITTEN 6/30/10
Mad Max Beyond Thunderdome: (Maurice Jarre) The third entry in the Mad Max franchise, the popular 1985 film Mad Max Beyond Thunderdome, further explained the bizarre world in which the concept had resided since its inception in 1979. These films, often led in praise by Mad Max 2 (or The Road Warrior, depending on the country of release), are exhibits of post-apocalyptic carnage in which the people of Australia have resorted to primordial behavior to survive. They are best remembered for their striking chase sequences involving intriguing, but battered vehicles, and franchise director George Miller agreed to return for the third film only to handle the similar chase scenes in its screenplay. He would eventually toil throughout the 2000's in his effort to direct a long-awaited fourth installment. Whereas the first two films depicted the global meltdown just prior to nuclear annihilation and the immediate aftermath of the ensuing devastation, Mad Max Beyond Thunderdome concentrates on the early rebuilding process and offers a glimpse of hope for the surviving younger generation of Australians. Mel Gibson returns as a police officer turned rogue warrior, fighting to survive while reluctantly transformed into a savior for a group of children marooned after the apocalypse in a crashed commercial aircraft. The appeal of Mad Max Beyond Thunderdome, however, is the road warrior's discovery of Bartertown, a crude civilization in the desert that has rudimentary electricity and laws. A fight sequence between Max and the massive bodyguard of the town's engineer in the famed "Thunderdome" remains one of the most interesting combat scenes in the history of film. Running Bartertown is the always entertaining Tina Turner, though her involvement with the production ultimately led to complications with the soundtrack that the franchise had not previously dealt with during its relative obscurity. Australian composer Brian May had written the scores for the 1979 and 1981 films, but with Mad Max Beyond Thunderdome came not only the inevitable Turner vocal performances but also a shift to the legendary Maurice Jarre. The production came under criticism for the hiring of Jarre because, unlike May, the composer was not native to the land. Still, Jarre took the style of the franchise's music from May's bleak blend of synthesizer and orchestra and gave it a distinctly epic scope of majesty.

Ratings Icon
Average: 3.15 Stars
***** 40 5 Stars
**** 39 4 Stars
*** 46 3 Stars
** 38 2 Stars
* 26 1 Stars
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Track Listings Icon
Audio Samples   ▼
1985 and 2003 EMI/Fuel 2000 Albums Tracks   ▼Total Time: 44:28
• 1. We Don't Need Another Hero (Thunderdome) - performed by Tina Turner (6:07)
• 2. One of the Living - performed by Tina Turner (5:58)
• 3. We Don't Need Another Hero (Thunderdome) Instrumental (6:30)
• 4. Bartertown (8:27)
• 5. The Children (2:12)
• 6. Coming Home (15:12)
1994 GNP Crescendo Album Tracks   ▼Total Time: 44:15
2010 Tadlow Music Album Tracks   ▼Total Time: 122:07

Notes Icon
The inserts of the 1985, 1994, and 2003 albums include no extra information about the score or film. The 2010 Taldow album includes detailed notes about both, but they contain errors and the packaging is painfully subpar compared to other soundtrack specialty releases (The title of the film is not even correct on the two CDs!).
Copyright © 2010-2019, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Mad Max Beyond Thunderdome are Copyright © 1985, 1994, 2003, 1010, EMI Records (Europe), GNP Crescendo, Fuel 2000/EMI, Tadlow Music and cannot be redistributed without the label's expressed written consent. Page created 6/30/10 (and not updated significantly since).
Liza Minnelli would have been able to defeat Blaster in the Thunderdome by simply opening her mouth.
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