Triple X: THE X-FILES VOLUME THREE

The X-Files Volume Three, released by La-La Land Records.

Who would have thought after The X-Files ended in 2002, that we would get 12 CDs of music from the show ten years later? And it’s not even the end of that. Due to the huge demand on the first two sets and a very well reception of the third one, the producers at La-La Land Records may be opting for another four CD set with Volume four. Initially volume four was just a 2CD set, that would combine some leftovers from episodes, that were already covered on the other sets. And as I write this, La-La Land Records releases a 2CD set with Mark Snow’s music from the tenth season of The X-Files, that aired in 2016.

Card board around the set.

The third set is somewhat different from the second one, as was the second one from the first one. The first set was a sort of best of collection from the show, gathering some often wished fan favourites and spanning all nine seasons. The second set focused more on Mark’s dark ambient scores for the show. Now the third set has less episodes on it, but therefore more music from these episodes.

Disc one opens with the X-Files theme music from season one. We then venture into the episode Deep Throat from season one. UFO Kids underscores the scene when Mulder and Scully are out at Ellis Air Force Base, witnessing strange lights in the sky. Snow’s music has a sense of creepiness to it, combining a dark, sonic texture with a little musical motif, that goes on as percussion is added to the music. The track UFO Technology includes a soft, but mysterious motif for Deep Throat, who makes his first appearance in the episode. This is another gem, that was often requested by fans. Mulder and Scully argue about the nature of what it really is, that they saw in the sky. Confrontation starts with a simple piano motif, that Snow would use more often later in the series and then dissolves into another dark soundscape. In Trek To Yellow Base Deep Throat’s theme returns, as Mulder makes his way into the base which he thinks contains the aircraft they saw. A series of bell notes over the sonic texture can be heard, as Mulder discovers the secret, followed by pounding percussion, as he is chased by the security guards. Mulder is captured and has to undergo a procedure, where he is given drugs, that should erase his memory. Eye Poke starts off with a rhythmic percussion pattern, before it ventures back into the dark sonic textures of the track UFO Kids. Mulder is released to Scully, weak and confused, which is accompanied by soft string sounds. As Scully writes her report back in Washington, she closes with „inconclusive“. The track Transfer And Release therefore ends with a simple harp motif, overlayed by an alien echo sound.

The next episode on the set is Conduit. Shaky Ground might be familiar with owners of the The Truth And The Light CD, that was released in 1996, since it is featured on that album as well. Strangely enough that piece of music wasn’t used in the final mix of the episode. Mark composed a baroque-like melody for it, that is performed by a synthesized flute. But it was replaced by a darker ambience track in the episode, as a girl, Ruby, is camping at a lake, when suddenly the ground begins to shake. Mulder talks to Scully about the abduction of his sister, before they drive to Sioux City to speak with the abducted girl’s family (track Weather Balloons). Mark is having fun with the title of the next track, Kevin, The NSA Menace. Mulder is questioned by three NSA agents, while the music provides a feeling of mystery and danger. Switching Channels/Deciphering combines two scenes, where Ruby’s brother seems to have become a conduit for alien broadcasts, since he is constantly switching channels and writing down fragments of binary code. The music consists of soft string textures with a high note motif played over it. The agents are searching the lakeshore, as Mulder discovers a bit of sand solidified into glass. A cluster of metallic percussion is heard, as Mulder discovers the body of Ruby’s boyfriend buried in a Shallow Grave in the woods. Another X-File seems to be unsolved, as Ruby returns and Scully listens to archival tape of young Mulder talking about the abduction of his sister. The track was also featured on The Truth And The Light and consists of harmonic clusters, that are warm and comforting.

Maybe not one of the best, but one of the most well-known episodes from season one is Space. The Young Col. Belt has nightmares of his encounter with the „Martian face“. Snow’s music is eerie and unsettling, with a haunting piano motif, that resembles into a pattern of shrill violins, as shadows drift across the ceiling and lunge into him. Mulder and Scully travel to Houston, because someone within NASA may be sabotaging launch attempts. Sustained synths evoke tension, as they witness the successfull Lift Off. The tension rises, as Mulder and Scully rush back from the hotel after hearing the news, that Mission Control has lost contact with the shuttle. The agents follow their informant’s car, as it suddenly veers of the road, a Car Crash. Mulder helps to search for signs of sabotage in the Digital Data Banks, as jeopardy rises for the astronauts in the shuttle. Snow’s percussive patterns grow steadily, until the uplink is restored. Col. Belt fought against the presence inside him, but saw no other way to stop it but to commit suicide. He gets an Aerial Burial, scored by a noble melody, performed by a solo trumpet over spheric strings.

In Gender Bender the agents investigate a series of murders that happen during sexual encounters. They discover a religious sect called The Kindred, which members seem to have the ability to change gender on demand. Sex Kills is what a man has to learn, as he picks up a woman in a club. As the woman, Marty, watches her lover, he suddenly dies in a gurgling fit. Marty transform into a man and leaves the room, wearing the victims clothes. The music evolves from a layer of high-pitched strings into a brooding bass pulse, accompanied by a two-note motif from brass and muted gongs, which will be associated with The Kindred troughout the score. This two-note motif appears in other episodes too, like in Kaddish. The muted gongs are back in Arrival In Town, as Mulder tells Scully about The Kindred. They travel to Steveston, accompanied by light traveling music from piano and flute. The gong and the keyboard motif from Arrival In Town return in Intro To Kindred, Part 2, as a small group of The Kindred arrives in town. Finding Kindred follows Mulder and Scully, as they are searching the woods to find the village of The Kindred. The music creates a tense atmosphere, as the agents get surrounded by armed members of The Kindred. Snows music offers some piano arpeggios and reverbed piano, as Mulder witnesses a Kindred ritual, accompanied by the muted gong. Indian Prince-(ss) features a fast-paced piano motif with an indian flute played over it. The two-note motif also comes back, as Mulder approaches a dead man that was part of the ritual and has now begun to take on feminine features.

Mark Snow recalls „From the pilot, everyone involved from Chris Carter down wanted a lot of music. At first he was talking about ambient, atmospheric, synth-pad kind of stuff. And that’s what I did at the beginning. After the first year he let me go off on my own, and as the years went on it became more musical and less sound design.“

We leave season one and see the first appearance of Alex Krycek in the season two episode Sleepless. The episode evolves around a telepathic war veteran, who is killing the members of a sleep experiment, which he was also part of. Fire In The Mind it really is, as we see Dr. Saul Grissom discovering a fire outside his apartment. Shaking tambourines and percussion erupt as the flames vent into his apartment. Grissom calls 911, but when the firefighters arrive, they just find the lifeless body of Dr. Grissom, but no signs of fire or smoke. Mulder does A Call To Autopsy, as he finds out that another agent, Alex Krycek, is already on the case. Snow scores the scene with a layer of uneven percussive hits and tonal synth pads. Meet The New Throat has Mulder facing off his new informant, who simply calls himself „X“. Mysterious layers of synth and strings create an uneven atmosphere, as Mulder learns about the case from X. Top Secret Eyes and Spy Boy present Mark’s favourite tools for scoring the show, layered strings and piano. The same piece of music can be heard in both tracks, as Krycek informs the Cigarette Smoking Man about his insights of working with Mulder.

The episode 3 is a Mulder solo episode so to speak, since Scully was abducted in the episode that came before. Mulder follows an „Unholy Trinity“ of killers who drink the blood of their victims. The track Bloody Jacuzzi opens the episode, when we see a middle-aged business man glancing at the fires in the canyon, that illuminate the dark night. He is with a mysterious woman, who promises him to do things with him, he’s never done before. As they are kissing in the hot tub, she starts to bite his arm and suck his blood, before two other male intruders rush into the house and stab him with syringes. That piece of music can also be heard on The Truth And The Light. It features a soft and haunting keyboard theme, which transforms into a crescendo of percussion and trumpets, as the attackers come in. With her abduction Scully herself has become an X-File. Mulder opens the drawer in his old office to put Scully’s file into it. Mark plays a bittersweet melody as Mulder takes Scully’s crucifix necklace from the Old Files. One may notice that Snow uses the first notes of the X-Files theme throughout the episode. This is worth mentioning because Snow didn’t use the iconic main theme very often within his episode scores. The fact, that we hear just the first notes of the theme surely resembles the physical absence of Scully, with Mulder carrying a part of her with him. With Blood In The Loaf Mulder runs background checks on the suspect Kristen Kilar, before busting into her apartment with the LAPD. He finds a loaf of bread filled with blood, which serves as protection against vampires according to an Eastern-European legend. The name of the character may therefore be no coincidence. There was a polish composer named Wojciech Kilar, who also wrote the film music for Francis Ford Coppola’s Dracula in 1992. Maybe Kristen Kilar was a refernce to him. The track starts off with brooding string patterns, accompanied by the first notes of the main theme, before the percussion stomps in, as Mulder and the LAPD bust into Kristen’s apartement. Later that night Kristen returns to her apartment. Mulder is waiting for her in the shadows. Snow scores that scene with brooding synth layers. The music turns to the haunting keyboard theme from earlier again, as Kristen and Fox kiss. He wants to be her Protector. Just Ashes And Bones is all that remains, after Kristen set her house on fire to kill the „Unholy Trinity“. Mulder sits on the grass, while holding Scully’s necklace, as Mark’s music ends again with the first notes of the main theme.

We are leaping from season two to season four with the beginning of disc two. The episode Small Potatoes evolves around a man born with a prehensile tail and the ability to change his shape. He uses this ability to pose as the husbands of women, who then give birth to babys with tails. Alieness is the teaser music, as one of the women, Amanda, is taken to the hospital, about to give birth to a child. Although the episode has a lighter touch to it, Snow scores the scene very straight and serious, with a light piano motif played over soft layers of strings. The Baroque-like music is back with Light Sabre, as Mulder and Scully question Amanda about the father of the baby, who she claims is Luke Skywalker. At the fertility clinic Mulder comes across the janitor, who used to have a tail and he is chasing him down. Obie Gyn therefore begins with Snow’s layered string patterns, before hitting the percussion for the chase. The chase music continues in Sugar Patootie, when the suspect, Eddie van Blundht („The „h“ is silent.“) changes his form and therefore escapes from custody. Eddie transforms himself into Mulder, while the music lightens up in Identitiy Crisis. The lonely Oboe returns in Mugging, as the false Mulder inspects the real Mulder’s office at the FBI. When Eddie is caught, he tells Mulder, while he (Eddie) was a born loser, Mulder is a loser by choice. It’s the end of the episode and Mark uses the light piano theme from Obie Gyn again to close this X-File.

Mulder and Scully search for the mythical El Chupacabra in the episode El Mundo Gira. This inspired Mark to compose some music with a spanish/mexican flavor, adding a flamenco guitar to the music, presented in the track Sulfur Water. The flamenco guitar also makes its appearance in Fungi Man and El Quasicabra!, as the plot unfolds, with Mark merging it into his distinctive string patterns and brooding stingers.

Returning to season two with the episode Fearful Symmetry. As animals from a zoo seem to escape their cages, turn invisible and then appear again miles away from the zoo, Mulder suspects alien abductions for the purpose of conserving their species. Like in the episode Gender Bender, Mark uses a simple two-note motif throughout the score. The drawn-out second note comes from a synth woodwind, representing that the animals are in danger. This specific two-note woodwind motif can also be heard in other X-Files episodes, especially in episodes dealing with animals and/or ancient curses. It first appears in the track Pachyderm, but Snow also uses some tribal drums to provide an African-safari feel, like in Tiger Walk.

Leaping forward several years we’re in the season five episode The Pine Bluff Variant. Represented by just one track, Jog, the music serves as underscore in the teaser of the episode, with growing tension provided by light percussion and hissing stingers.

Jumping to season six and the episode Field Trip. Mulder and Scully become exposed to a fungal growth that releases spores. They are hallucinating things while in reality they are being slowly digested by the fungus. Snow opens the episode with cold string layers in Fungus Among Us, presenting sort of a hissing sound for the fungus. The almost ten minutes long cue Dream Time accompanies the scenes, when Mulder and Scully are hallucinating events. The music shifts from spheric soundscapes to Snow’s piano motifs and even includes a brief quotation of the main theme. The theme can also be heard in a varied form in the track Still Underground. Migraine Mushroom it is, as Mulder manages to wake up and escape the fungus with Scully. Distorted synth layers, driving percussion and a sense of relief at the end of the cue guides the listener through the agents’ nightmare.

Mark Snow had a very tight schedule every week working on the show. He had about three to five days to compose some 30 minutes of music for each episode. And he did other things in between, writing music for tv movies or other shows like MillenniuM. Sometimes he would work closely with the director of an episode, but Chris Carter had the final say. „It was rare indeed when there was a fundamental difference about the musical approach. When that did happen, it was always concerning an episode that had bigger problems we were hoping Mark’s music would somehow repair.“ Frank Spotnitz recalls. There is a noticable difference in Mark’s approach between the stand-alone episodes and the mythology-oriented episodes. The latter ones soon had their own musical world with certain motifs and themes, whereas Mark had much more freedom on the stand-alone episodes, since they could be anything, from black comedy to human drama.

Disc three opens with one of those stand-alone episodes, Bad Blood from season five. The humourous tone of the story serves for another lighter musical approach by Mark. The teaser is scored pretty straight though, when Mulder stakes a teenage boy he mistakes for a real vampire in Stake In The Heart/Main Title. Back in Washington the agents talk about how this all could happen and both of them have a different view on the events. In Can Kicking/Ticket/Exuberant Mark opens with a slightly varied quotation of a classical piece, the Sarabande by Georg Friedrich Händel, combining it with the main theme. This classical piece was also quoted by Mark in the MillenniuM episode The Curse of Frank Black. The track Mushrooms also opens with a variation of that piece. With Fangs Mulder begins to tell his view of the events. His music is much more driven than the music for Scully’s tale. This continues in Rolling Acres, before Mark closes the cue with a quotation of Richard Wagner’s Ride of the Valkyries. The track Living Dead underscores the resolution to this case, as Mulder and Scully realize that all the villagers are vampires. It ends with another variation of the Sarabande.

Unusual Suspects not only marks the 100th episode of the show, but also dives deeper into the origins of the Lone Gunmen. The story evolves around a government conspiracy to test a gas on civilians that causes paranoia. Therefore the music is back in the dark, brooding ambient enviroment in Fell’s Point. The music lightens up in Hackland and Holly Sugar, adding more of Snow’s soft string layers to the scene. A sense of releasing suspense is brought in by Snow in the final track The Truth Is, when Byers talks to Susanne, the suspect which he fell in love with, before he witnesses X’s men pulling her into a van and driving off.

In Detour, Mulder and Scully are off to a team building seminar in Florida, as they come across a case of mysterious humanoid creatures living in the woods and protecting their home. The Bush Monster appears at the edge of the woods, causing a dog to bark widly, as the house owner’s panic grows. The music builds up the tension and ends with an orchestral stinger. Mark’s chase music returns in Trail of Stolen Pebbles, but this time not with harsh metallic percussion, but with the use of bongos and piano. Mulder and Scully get lost and have to spend the night in the woods. Scully discovers the chamber of these strange creatures by accidentially falling into it. The music in Forest Fridge follows that with slow, twinkling harp sounds and a resolutionary string layer, when the agents are found by a rescue team.

The mythical story-arc continues with Patient X. Cassandra Spender makes her first appearance here. While Scully sees similiarities in the way Cassandra was abducted with her own abduction, Mulder questions himself and the purpose of his crusade. The track Barbecue Ludi plays over Mulder’s voice-over, as two boys witness an object falling from the sky. A burning man comes out of the wreck and an alien bounty hunter, eyes and mouth sewn shut, appears. The music starts off with a soft choir, before a horn motif and pounding Tom-Toms come into the scene. In Malchik we hear a familiar high-strung motif, that Mark used several times during the show, playing under scenes that dealt with the conspiracy. Brooding synth layers can be heard in The Krycek Diet, as the syndicate learns about what Alex Krycek is up to. Skyland Barbecue refers to the first track of the episode, as a group of abductees is burned to death by alien bounty hunters. The track starts off lovely with a beautiful piano theme and ends with the conspiracy motif, when the bounty hunters appear. The conspiracy motif returns in Les Saboteurs, as the syndicate discusses the purpose of the burning. Soft synth layers accompany Cassandra’s mourning, as she watches the news of the burning. Scully and Cassandra travel to the Ruskin Dam, gazing into the sky on the Bridge of Sighs. Suddenly the faceless aliens arrive, again burning people, while the screen turns to black. The music has some form of tension, people waiting on the bridge for something to happen. It then turns into somewhat majestic, with horns and a choir, before descending into sharp metallic stingers, as the burning happens.

Over the years The X-Files had some guest stars, that became more famous years later. One of them is Bryan Cranston, who plays Patrick Crump in the episode Drive, long before he became Heisenberg on Breaking Bad. Opening Disc four with Special Report, a short news fanfare, we get into Road Rage, when Crump and his wife get arrested by the police. Their car is stopped and his wife is starting to bang her head against the window, before her head suddenly explodes. Snow scores this with a recurring cycle of seven notes. The next track, Head Blow, again presents a two-note motif, that Mark uses several times during the episode. It sounds like a metallic breathing. The ten minutes long Inner Ear covers several scenes of Mulder driving in the car with Crump and Scully investigating Crump’s home. The two-note motif returns throughout the cue again and again, like a warning signal. ELF Wave has more of Snow’s travel music, as Mulder and Crump keep on driving towards the shore. Scully wants to insert a needle into Crump’s inner ear, hopefully reducing the pressure caused by the ELF waves. But as the car arrives Mulder gets out, watching the ocean, while Scully sees Crump’s dead body lying on the backseat. The percussive travel music is accompanied by a horn and as Mulder gets out of the car, the music changes to soft piano notes.

We’re making another great leap from the beginning of season six to the end of season eight with the episode Essence. Scully is pregnant and the former abductee Billy Miles is back as an alien supersoldier, attempting to erase all evidence of the aliens’ tests. In Parenti’s Showroom Mulder and Doggett sneak into the office of Scully’s obstetrician, discovering a display case of human fetuses. The music consists of layered synth pads and a distorted breathing noise, when Mulder and Doggett come across the fetuses. Suspense and action are back in Billy The Terminator. The distorted breathing sound shines through layers of percussion and strings, with a trumpet added to the mix, as Mulder, Doggett and Skinner fight Billy Miles. The suspenseful Vitamins plays, as Scully discovers , that Gill had been tampering with her medication. After she gets examined and told, that the baby is alright, the music softens to a light piano theme. Gill is interviewed at the FBI headquaters, where she talks about the Syndicate and their success in cloning alien babies from a human egg. Lizzy’s Labours helps that scene by laying a carpet of Snow’s mysterioso story-arc music. Compacted is an energetic action cue, heard at the final confrontation with Billy Miles, as he falls from the roof and into a garbage truck, which quickly compacts him.

The final episode on the set is season nine’s Trust No1. Again scored with more suspense ambient music by Mark, the episode evolves around a stranger, simply referred to as Shadow Man, who convinces Scully, that he wants to help clear the way for Mulder’s safe return, who is hiding for most of the season. The Shadow Man is played by Terry O´Quinn, no stranger to Chris Carter’s universe. He was also an FBI agent in the first X-Files movie, as well as Frank Black’s partner Peter Watts in MillenniuM and the evil General Santiago in Harsh Realm. Puppet Master, which runs for over nine minutes, covers a number of scenes. The metallic percussion creates an atmosphere of uneasiness, as Scully is contacted by the Shadow Man, convincing her to contact Mulder. They arrange a meeting, but the Shadow Man doesn’t show up, he instead calls Scully and tells her, that she has to go somewhere else. The musical suspense keeps on growing, as Scully is directed to change cars and her realization, that she has no control over the situation. Scully arranged Mulder’s return on a midnight train, but the Shadow Man shows up with a gun. Before he can shoot Scully, Doggett shoots the Shadow Man. He falls onto the train tracks just as the train passes through. The tension of the scene is very vital in the first half of Jumper/Scully’s Serenade, while in the second half the theme, that Snow composed for Scully for season eight, makes a comeback, as she writes an email of hope to Mulder. The vocals on that track were performed by Nicci Sill.

The disc ends with the main theme in its first season end credits version, followed by the popular „I Made This“ tag line from TenThirteen productions and the 20th Century Fox fanfare.

Mark Snow’s music keeps on being a miracle. From the dark, brooding ambient soundscapes in the first seasons to the more melodic tunes in the later seasons, his music serves as an additional character in the show. His music sets the mood for the story. Because of his music we are scared, we are reliefed, we feel the strong bond between Mulder and Scully. He makes us laugh, he makes us cry, but most of all he makes us care for what happens on screen. Even his unmelodic dark soundscapes are so well-crafted, there is so much going on, that we can only stand in awe at how Mark pulled all this countless hours of music off for nine years. His music is an important part of the show, even equal to the actors I would say. And he continues this journey, not only with the recently aired six new episodes of The X-Files, but hopefully by returning to the planned season eleven.

Like the other sets The X-Files Volume Three comes in a black cardboard box with imprinted letters. While volume one has silver letters and volume two has green letters, the third volume changed the color to purple. The booklet again is rich and informative, again with track-by-track analysis written by Randall D. Larson. The set is limited to 3.000 copies, as were the other two volumes. The first 3.000 copies of volume one sold out several years ago, but La-La Land Records re-released volume one, now limited to 2.000 copies. But they got rid of the black cardboard box for the re-release and therefore the booklet is smaller to fit into the jewel case. So get your copy as long as you can, the music is definately worth it.

Front Cover of the box set, signed by Mark Snow.

THE X-FILES VOLUME 3 — 4 CD BOX SET
MUSIC BY MARK SNOW
LLLCD 1370
RETAIL PRICE: $49.98

PRODUCED BY MARK SNOW, NICK REDMAN AND MIKE JOFFE
LINER NOTES BY RANDALL D. LARSON
MASTERED BY JAMES NELSON
ART DIRECTION BY MARK BANNING

Disc One

1. THE X-FILES Main Title (Season 1) 0:47

1X2 – DEEP THROAT
2. UFO Kids 2:15
3. UFO Technology 2:15
4. Confrontation 2:09
5. Trek to Yellow Base 2:53
6. Eye Poke 1:06
7. Transfer and Release 3:26

1X4 – CONDUIT
8. Shaky Ground 2:13
9. Weather Balloons 1:00
10. Kevin, the NSA Menace 1:59
11. Switching Channels / Deciphering 1:11
12. Shallow Grave 2:03
13. Another X-File 1:48

1X9 – SPACE
14. The Young Col. Belt 1:23
15. Lift Off 4:00
16. Car Crash 0:57
17. Digital Data Banks 2:09
18. Aerial Burial 1:17

1X14 – GENDER BENDER
19. Sex Kills 1:32
20. Arrival in Town 1:18
21. Intro to Kindred, Part 2 3:19
22. Finding Kindred 3:24
23. I Called Him Marty 2:12
24. Indian Prince-(ss) 2:02

2X4 – SLEEPLESS
25. Fire in the Mind 2:51
26. A Call to Autopsy 1:21
27. Meet the New Throat 4:02
28. Top Secret Eyes 2:22
29. Spy Boy 1:25

2X7 – “3”
30. Bloody Jacuzzi 2:46
31. Old Files 3:06
32. Blood in the Loaf 4:26
33. Protector 5:22
34. Just Ashes and Bones 0:25

Disc One Total Time: 78:10

Disc Two

4X20 – SMALL POTATOES
1. Alieness 1:14
2. Light Sabre 1:08
3. Obie Gyn 1:13
4. Sugar Patootie 4:21
5. Identity Crisis 3:47
6. Potato Vault 0:40
7. Perk Prisoner 0:44
8. Mugging 4:00
9. Ain’t No Eddie 0:55

4X11 – EL MUNDO GIRA
10. Sulphur Water 3:47
11. Killer Enzyme 3:02
12. Fungi Man 6:32
13. El Quasicabra! 7:05

2X18 – FEARFUL SYMMETRY
14. Pachyderm 2:32
15. Cat Food 3:41
16. Tiger Walk 3:26
17. Crushed 2:40

5X18 – THE PINE BLUFF VARIANT
18. Jog 4:21

6X21 – Field Trip
19. Fungus Among Us 2:24
20. Swamp Ooze 3:08
21. Dream Time 9:55
22. Still Underground 1:52
23. Migraine Mushroom 4:04

Disc Two Total Time: 77:19

Disc Three

5X12 – BAD BLOOD
1. Stake In The Heart/Main Title 2:18
2. Can Kickin’/Ticket/Exuberant 1:55
3. Mushrooms 3:05
4. Fangs 1:30
5. Rolling Acres 2:40
6. Vibro-Pizza 4:04
7. Living Dead 4:40

5X01 – UNUSUAL SUSPECTS
8. Fell’s Point 2:37
9. Hackland 1:49
10. Holly Sugar 3:04
11. Molar Wire 3:29
12. Cleaners 4:13
13. The Truth Is 4:09

5X04 – DETOUR
14. Bush Monster 2:14
15. Trail of Stolen Pebbles 4:26
16. Forest Fridge 5:28

5X13 – PATIENT X
17. Barbecue Ludi 3:04
18. Malchik 2:51
19. The Krycek Diet 3:13
20. Skyland Barbecue 4:38
21. Les Saboteurs 6:05
22. Bridge of Sighs 5:33

Disc Three Total Time: 77:57

Disc Four

6X02 – DRIVE
1. Special Report 0:09
2. Road Rage 1:58
3. Head Blow 4:22
4. Hijack 4:07
5. Westward Ho 3:54
6. Inner Ear 10:00
7. ELF Wave 7:19
8. Manure Piles 1:20

8X20 – ESSENCE
9. Recap 0:52
10. Parenti’s Showroom 4:18
11. Billy the Terminator 5:12
12. Head Bag 2:17
13. Vitamins 3:14
14. Lizzy’s Labours 6:10
15. Compacted 4:17

9X06 – TRUST NO 1
16. Computer Lab 1:42
17. Spies Like Us 2:32
18. Puppet Master 9:11
19. Jumper / Scully’s Serenade 5:10

20. THE X-FILES 1st Season
End Credits 0:28
21. I Made This/
20th Century Fox Fanfare* 0:09
* – Music By Alfred Newman
Disc Four Total Time: 78:02
Total Set Running Time: 5:10:28

www.lalalandrecords.com

Rating: 5.0/5. Von 1 Abstimmung.
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