Rupert Hine The Shout (Original Soundtrack)

• 1. A Friendly Game
• 2. There You Are
• 3. Anthony's Studio
• 4. My Wife Is Waiting For Me
• 5. Trapped
• 6. The Shout
• 7. Crossley Inspects The Studio
• 8. Bass Drone
• 9. Anthony Attempts The Shout
• 10. CS80 Strings
• 11. Vocal Drone
• 12. Harry's Funeral
• 13. EMS seq1
• 14. Ring Mod FX
• 15. Eventide Voices
• 16. Crossley's Arrest
• 17. Roop
• 18. Tailcoated Shaman
• 19. Not Entirely Normal
• 20. EMS seq3
• 21. Blake Leads The Bowling
• 22. Hartland Echoes
• 23. I Like To Keep It Alive
• 24. My Wife Is Waiting For Me v2
• 25. Sharpening
• 26. Approaching Saunton
• 27. Pointing The Bone
• 28. Walking On All Fours
• 29. A Shattered Soul
• 30. CS80 Dark Strings
• 31. Lightning Strikes
• 32. Sound And Fury

Jeremy Thomas’ 1978 production of The Shout, adapted from a short story by Robert Graves and directed by Jerzy Skolimowski, is highly regarded amongst British horror and electronic music fans due to its bold, arthouse approach to psychological drama, propelled by experimental studio techniques and visceral sound design. The film’s score and audio effects were almost entirely created by the songwriter and record producer Rupert Hine (Thinkman, Quantum Jump, Rush, Stevie Nicks, Kevin Ayers, Nico, Howard Jones, Underworld, Tina Turner and more). Rupert recorded reels of ideas and experiments for the film between 1977 and 1978 using an EMS VCS3, Yamaha CS80, Eventide Harmoniser and Roland Space Echo. He also created Crossley‘s terrifying shout and other foley effects such as the musique concrète for John Hurt’s studio scenes.

Upon release marketing for the soundtrack focused on the involvement of Tony Banks and Mike Rutherford from the rock band Genesis. Their contribution was two short, repeated themes, co-produced with Rupert. It hasn’t been possible to include those tracks due to some challenging rights negotiations but what we do have is all of Rupert’s electronic effects, musical cues, demos, loops, drones and outtakes.

Listen closely and you’ll hear Rupert's sounds scattered throughout the film, discreetly mixed by award-winning sound editor Alan Bell (The Man Who Fell To Earth, The Bounty) and Tony Jackson who use them to establish the film’s creeping dread. Rupert was an early adopter of new technology and amongst the sonic experimentation there are some gorgeous synthesised pieces using the Yamaha CS80, almost 4 years before Vangelis used the same instrument to create his legendary Bladerunner score.

Rupert sadly passed away before completion of the tape transfers but it’s clear from the wealth of material we uncovered how immersed he was during the soundtrack’s production. It’s a testament to his creativity that, with a fairly simple studio set up, Rupert was able to conjure such an inspired selection of themes and effects.