• ' Released: October 26, 1983 • ' Released: 1983 • ' Released: September 28, 1983 • ' Released: November 1983 Scarface: Music from the Original Motion Picture Soundtrack is the featured on the 1983 American crime film,, which was directed. Composed by Italian, the vinyl soundtrack was released on December 9 of the same year through.

The album features music created by Moroder, who wrote and produced all of the tracks. Scarface counts with the collaboration of multiple singers, including in the track ', in ', and in ' and ', among other artists. The soundtrack received a nomination for at the.

In 2003, Scarface was and re-released through. The 2003 remaster has been criticized for extensively remixing several tracks from the original album. According to De Palma, Universal wanted to change the original soundtrack for a score. After its re-release, the soundtrack debuted in the at number 98. In 2006, the soundtrack was featured in the game, which is based on the film. Diverse songs from artists songs from the soundtrack. Also, they were featured on the of the video game (2001), on its fictional Flashback 95.6 radio station.

A sample of the song ', performed. Robbie Daw for noted the lyrics of the song 'fit the overall druggy feel' of the film.

Problems playing this file? Is an American film which relates the story of, a Cuban refugee who goes to in 1980 with the, and there he becomes a. Scarface was created as the. Its songs were written and produced by, an Italian record producer, along with other musicians.

Find album reviews, stream songs, credits and award information for Scarface [Original Soundtrack] - Original Soundtrack on AllMusic - 1990. Find album reviews, stream songs, credits and award information for Scarface [Original Soundtrack] - Original Soundtrack on AllMusic - 1990. Scarface (Push It to the Limit) Pete Bellotte / Giorgio.

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Former of the band,, co-wrote '. The song's title is a reference to, and it was based upon Moroder's soundtrack (1980). Robbin Daw considered its lyrics 'fit the overall druggy feel' of the film, and Harry commented about it is '[a]s far as the films' themes and the lyrics [she] wrote, they were pretty much up to [her].' The song also became Harry's debut single as solo artist after Blondie's breakup. Moroder worked with, with whom he co-wrote ', ' and '. The first song features vocals of, while in the other two sang. Co-wrote 'Shake It Up' and 'I'm Hot Tonight', in which performed, and 'Dance Dance Dance', with vocals.

Appeared in the song 'Vamos a Bailar'. The soundtrack includes two, 'Tony's Theme' and 'Gina's and Elvira's Theme'. Main theme, 'Tony's Theme', is inspired, or more precisely a transcription of ', act three of the opera '. The soundtrack incorporates elements of,. According to John Richardson, Claudia Gorbman and Carol Vernallis, in their book The Oxford Handbook of New Audiovisual Aesthetics (2013), Moroder employed music as 'material to conduct performances, experiences, and energies whose symbolic function and textural weight are elucidated by the aural materiality of its soundtrack', as in the 1965 American film.

The main used by Moroder for the Scarface soundtrack were the and the. Releases and reception [ ]. Moroder received a nomination for his production work in the soundtrack.

Released Scarface on December 9, 1983, through. After the release of the film, it began to gain notoriety as the time passed. Due to this, in 2003 re-released the film in DVD, and the soundtrack was and released in. According to, the film director of Scarface, Universal Pictures had intended to re-release the film with a, but De Palma has not allowed them to change the original score, as he considered it to be 'perfect'. Thanks to the re-release, on March 7, 2004, Scarface debuted at number 98 in the. The soundtrack stayed in the chart for seven weeks.

In its review for the website, Jason Birchmeier compared Scarface to other soundtrack works of Moroder, including and, both released in 1983. Birchmeier considered the collaborations of Debbie Harry, Amy Holland and Elizabeth Daily to the soundtrack 'much sheer fun', and Moroder's 'moody' instrumentals as 'quite moving'. He considered the film to be 'undoubtedly the one that withstood the test of time most impressively, growing in popularity as the years passed', something that did not happen with the soundtrack, and concluded with 'Moroder's craft, as always, is notably distinct for its stylishness, if not for its tastefulness.'