This vinyl is available for pre-order at Juno, for shipping on the release date. You won’t be charged until the order is despatched.
We'll keep you informed of your order at every stage, and let you know if the release date changes.
If the price of the item drops before it's released, you will pay the lower price, but if it increases, you'll only pay the price you see today.
If you also include in-stock items on your order, they’ll be charged and shipped within 24 hours as usual.There aren't many soundtracks that do as good a job of instantly summoming up the era of their creation than this. Released alongside the cult vampire flick in 1987, this ten-track album encapsulates the 80s sonic landscape, pairing bombastic rock with eerie, atmospheric compositions. This new reissue starts with 'Good Times' by INXS & Jimmy Barnes with an electrified take on The Easybeats' 60s hit. Its energetic riffs and raspy vocals create a charged introduction, though its upbeat nature contrasts the film's dark themes. The mood shifts with Lou Gramm's 'Lost in the Shadows (The Lost Boys)', a pulsing, synth-laden rock anthem. Gramm's impassioned delivery, particularly on the chilling chorus, heightens the sense of adventure and peril. Roger Daltrey's interpretation of 'Don't Let The Sun Go Down On Me' brings a dramatic, soulful weight to Elton John's classic, perfectly complementing the film's themes of isolation and nocturnal existence. Echo & The Bunnymen's 'People Are Strange' - the biggest hit from the OST - pays homage to The Doors while adding a sharper, post-punk edge, fitting seamlessly into the film's eerie, outsider atmosphere. Then comes the crown jewel: Gerard McMann's 'Cry Little Sister'. This haunting, gothic anthem is the film's lifeblood, with brooding synths, ghostly choirs and McMann's desperate, evocative vocals crafting an unforgettable sonic identity. The latter half of the album maintains momentum with Eddie & The Tide's 'Power Play' and Tim Cappello's 'I Still Believe', the latter dominated by a wailing saxophone and fervent vocals. Mummy Calls' 'Beauty Has Her Way' delivers a brooding yet melodic interlude before Thomas Newman's atmospheric 'To The Shock of Miss Louise' closes the album on an eerie instrumental note. Bridging pop, new wave and gothic rock, The Lost Boys OST is as immortal as its cinematic counterpartiseductive, moody and undeniably iconic.
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