- Released: October 25, 1990
- Label: Nonesuch
- 1.Opening Credits
- 3.Interrogation, Part One
- 4.Interrogation, Part Two
- 5.Turko, Part One
- 6.Turko, Part Two
- 8.Harris' Story
- 9.Adams' Story
- 10.Comets and Vegas
- 11.Defense Attorneys, Part One
- 12.Harris' Crimes, Part One
- 14.Trial, Part One
- 15.Trial, Part Two
- 16.Mystery Eyewitness, Part One
- 17.Mystery Eyewitness, Part Two
- 18.Elba Carr
- 19.Mystery Eyewitness, Part Three
- 20.Thin Blue Line
- 21.Dr. Death
- 22.Electric Chair
- 23.Defense Attorneys, Part Two
- 24.Harris' Testimony
- 25.Mystery Eyewitness, Part Four
- 26.Mystery Eyewitness, Part Five
- 27.Harris' Crimes, Part Two
- 28.Hell on Earth
- 29.Harris' Childhood
- 31.End Credits
Original score composed by Phillip Glass. Conducted by Michael Reisman.
Composer: Michael Riesman.
Personnel: Philip Glass (keyboards); Brian Koonin (guitar); Tim Baker , Sergiu Schwartz (violin); Karl Bargen (viola); Christopher Finckel (cello); Judith Mendenhall, Michael Parloff (flute); Stephen Burns, Steve Burns, Wilmer Wise (trumpet); Tony Miranda, Ron Sell, Stephen Moe, Sharon Moe (French horn); Michael Riesman (keyboards); Barbara Wilson (double bass); Gordon Gottlieb (percussion); Leslie Shatz, Samuel Lehmer (sound effects).
Audio Mixers: Jack Leahy; Samuel Lehmer.
Recording information: Living Room Recording Studio, New York, NY; Living Room, New York, NY; The Living Room, Ney York, NY.
Editors: Miles Green; Jaime Kibben; Paul Barnes; James Allen; Samuel Lehmer.
Photographers: Stefan Czapsky; Mark Lipson; Robert Chappell.
Unknown Contributor Roles: Sheila McFarland; Kurt Munkasci; Wilmer Wise.
The soundtrack to Errol Morris' documentary The Thin Blue Line emphasizes story over music; the interviews which make up the majority of the film -- a crusading effort which led to the the release of its subject, Randall Adams, from a Texas prison -- are presented on record as they were on screen, with Glass' chamber orchestra music hovering in the background. The result is a soundtrack which comes remarkably close to capturing the power of its source film; even without the moving images, this is a chilling document. ~ Jason Ankeny