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"Music from Twin Peaks" redirects here. For music related to the television series film in general, see Music of Twin Peaks.
Soundtrack from Twin Peaks
A signpost reading "Welcome to Twin Peaks – Population: 51,201" on a rural roadside, with the main road visible to the left. Several trees (barren and in bloom) and an electricity pole are visible directly behind the signpost; a mountain with snow on its peak is visible in the further background. Brown bold text with a green outline reads "Twin Peaks" in the center; black bold serif text above reads "Soundtrack from"; white bold serif text below reads "Music composed by Angelo Badalamenti".
Soundtrack album by
Angelo Badalamenti
ReleasedSeptember 11, 1990 (1990-09-11)
Recorded1989–90
StudioExcalibur Sound, New York City
Genre
Length48:50
LabelWarner Bros.
Producer
Angelo Badalamenti chronology
Cousins [Original Soundtrack]
(1989) 		Soundtrack from Twin Peaks
(1990) 		The Comfort of Strangers [Original Soundtrack]
(1990)
Music of Twin Peaks chronology
Soundtrack from Twin Peaks
(1990) 		Twin Peaks: Fire Walk with Me
(1992)
Singles from Soundtrack from Twin Peaks
  1. "Falling"
    Released: June 12, 1990[1]

Soundtrack from Twin Peaks (titled Music from Twin Peaks in some editions) is a soundtrack album composed by Angelo Badalamenti. It was the first of several soundtrack releases related to the television series Twin Peaks (1990–91) and its spinoffs. The album was released by Warner Bros. Records on September 11, 1990, several months after the broadcast of the show's first-season finale and a few weeks ahead of its second-season premiere.

Most of the album is instrumental, ranging in genre from ambient music to cool jazz. Three dream pop–style songs, featuring vocals by Julee Cruise and lyrics written by series co-creator David Lynch, had been previously recorded and released on the former's debut album, Floating into the Night (1989).

Background[edit]

Photo of a man with styled hair wearing a tuxedo at a red-carpet pre-show event
David Lynch at the 42nd Primetime Emmy Awards, a few days after the release of Soundtrack from Twin Peaks

Badalamenti and Lynch first worked together during the production of Blue Velvet (1986), Lynch's fourth feature film as a director. Initially hired as a vocal coach for actress Isabella Rossellini, Badalamenti was asked to compose music for the film's soundtrack.[2] While shooting the film, Lynch became obsessed with This Mortal Coil's cover of Tim Buckley's "Song to the Siren" and listened to it repeatedly on set.[3] Decades later, he called it his favorite record: "That song does something to me, for sure."[4] He wanted to use it in Blue Velvet, but the cost asked by Buckley's estate to license the song was too high for the independent film's comparatively modest budget.[note 1] Instead, Lynch commissioned Badalamenti to write a song emulating the style and mood of This Mortal Coil's recording.[3]

The result was "Mysteries of Love". To sing Lynch's lyrics for the song, Badalamenti chose Julee Cruise. The two had previously worked together in musical theater.[5] At the time, Cruise was known for husky, powerful belting akin to Shirley Bassey and Janis Joplin, who she had played in a musical.[6] Although her sound was far removed from the delicate, upper-register vocal tone used by Elizabeth Fraser for "Song to the Siren", Badalamenti trusted that Cruise had the range to match Fraser's performance. In preparation, Cruise quit smoking cigarettes to make her voice clearer and less raspy.[5]

After "Mysteries of Love", Badalamenti and Cruise joined the ranks of Lynch's frequent collaborators.[7] Badalamenti scored all of Lynch's subsequent film, TV, and stage productions with the exception of Inland Empire (2006).[8] The composer later described his working relationship with David Lynch as "a marriage made in heaven" and compared it to other enduring filmmaker–composer partnerships like Alfred Hitchcock and Bernard Herrmann, Sergio Leone and Ennio Morricone, and Tim Burton and Danny Elfman.[9]

Cruise later recognized that she had wholly reinvented herself and adopted a new persona in her work with Lynch. He continued to cultivate this persona in all of their future collaborations.[10] Lynch saw her as a "musical actress" whose voice would accompany his future projects, both onscreen and off.[11] Other have described Cruise's Lynchian persona as a "floating lady" or "white angel".[12]

Recording[edit]

Floating into the Night[edit]

Photo of a woman singing in darkness
Julee Cruise in 2008
Main article: Floating into the Night

Cruise's debut album, Floating into the Night, began production in 1988.[13] The album further developed the dream pop style.[14]

  • Badalamenti: "The music from Twin Peaks draws from the same sound and spirit. It was all done at the same time. As we were doing Julee Cruise, David told us about his plan to do a Blue Velvet kind of soap opera. He came into the office as we were onto this kind of mentality and feel. The plan was also to use some of the Julee Cruise music as well."[15]

Three songs from Floating into the Night were later featured on Soundtrack from Twin Peaks: "Into the Night", "The Nightingale", and "Falling", which also became the "Twin Peaks Theme" in its instrumental version.[16] Several other songs from Floating into the Night appeared in Twin Peaks after the first season.[note 2]

Twin Peaks[edit]

Lynch returned to the studio to work on the soundtrack between casting the series and shooting the pilot episode.[17]

Composition[edit]

  • David Toop, "Ambient torch songs"[18]
  • "That mood is the specialty of Angelo Badalamenti. Before teaming up with Lynch on "Blue Velvet," Badalamenti wrote for R&B divas like Melba Moore and Nashville country bumpkins on the order of Mel Tillis. Learning to approximate different musical genres paid off. What makes Badalamenti's cool quasi-jazz so uncanny is that it feels familiar - and therefore its impact is immediate - and yet it has a subversive, otherworldly '50s quality, as if it came from a planet where Cadillacs with fins were still parked next to kidney-shaped swimming pools."[19]
  • Contrast with Carl W. Stalling's scores for cartoons: "While Stalling, despite his flair for avant-garde invention, was working in an essentially straightforward manner, commenting directly on the action of his cartoons, Badalamenti, like a good post-modernist, likes to subvert expectations."[20]

Soundtrack from Twin Peaks opens with "Twin Peaks Theme" and closes with "Falling".

Cruise said she believed the lyrics to "Falling", and other love songs on Floating into the Night, had been inspired by Lynch's girlfriend at the time, Isabella Rosellini.[11] "David wanted me to sing about love," Cruise said, "but I didn't love people." Instead, she sang the song in tribute to her recently deceased Cocker Spaniel Rudy, who she described as "my true love" and the source of "the tears, the emotion of that song."[11]

Release[edit]

Floating into the Night received positive critical notice upon release, but was ignored by the general public until after the premiere of Twin Peaks.[21] According to Ned Raggett at AllMusic, Cruise's album "became more or less [the] unofficial soundtrack" to the show.[22] The association with the show drove sales in the United States: after selling only 10,000 copies in its first four months of release, it sold another 65,000 in the month following the show's premiere.[23]

Broader commercial trends:

  • Soundtracks in general[24]
  • Non-musical television soundtracks[25]
  • Merchandising around TV shows at the time and Twin Peaks in particular[26]

Packaging[edit]

A stretch of a two-lane road, with green grass, trees, and electricity poles on either side. In the distance there is a snow-covered mountain peak.
The "Welcome to Twin Peaks" sign seen on the album cover was filmed on Southeast Reinig Road (pictured) in Snoqualmie, Washington.

The album cover shows a sign reading "Welcome to Twin Peaks – Population 51,201" from the show's opening title sequence, filmed on a stretch of Southeast Reinig Road in Snoqualmie, Washington.[27] The accompanying booklet of liner notes includes a portrait gallery of characters from the series.[28]

Reception[edit]

Prior to the soundtrack's release, newspaper critics had remarked on the unusual style and mood-setting quality of the music of Twin Peaks. "Even nonmusic lovers who watched David Lynch's Twin Peaks this past season", wrote John Rockwell at The New York Times, "must have recognized music's role in its eerie impact."[29] However, reaction was split between those who felt the music complemented and enhanced the series and those who found it monotonous. Paul Lomartire at The Palm Beach Post wrote that "Twin Peaks music can either cause listeners to become captivated or comatose."[30] Two critics likened the show's sound to other musicians under the influence of depressants: one writer at the San Francisco Chronicle called it a "spooky soundtrack that sounds like Duane Eddy on downers", while another at the Los Angeles Times wrote that it "sounds like Cowboy Junkies on Valium".[31]

Professional ratings
Review scores
SourceRating
AllMusic[32]
Knoxville News Sentinel[33]
Orlando Sentinel[34]
St. Petersburg Times[35]

The soundtrack was generally well-received upon release in the United States, where it was reviewed by regional daily newspapers but not music magazines. It received a perfect score from the Knoxville News Sentinel, whose reviewer Chuck Campbell wrote that it "has more of a universal appeal" than the series itself, "but it parallels the show in ingenuity."[33] Some critics compared the soundtrack to Floating into the Night or the recently released soundtrack to Lynch's 1990 film Wild at Heart.[note 3]

Other American reviews were less enthusiastic. J. D. Considine at The Baltimore Sun questioned why the soundtrack had "become such a hit" and speculated, sarcastically, that perhaps it had become popular because "Cruise's flat, emotionless vocals have become an inspiration for young singers who figure that if [she] can make it, anyone can", or because "Americans are so desperate for a dose of quirky cool that they'll settle for anything, including Badalamenti's windy atmospherics and cool-jazz cliches."[36] Tom Marstaud of The Dallas Morning News wrote that "[s]ome of this is elegiac, some just plain silly", and he expressed skepticism of the wave of hype and merchandising around the series, of which the soundtrack was just one more component: "its release will surely feed the rekindling fire of Twin Peaks-mania as the new season approaches. I, however, am still holding out for a Twin Peaks breakfast cereal."[37]

The soundtrack was well-received by the British and Australian press. It was favorably reviewed by the British magazine NME, which ranked it number 11 on its list of the best album of 1990—just below Floating into the Night at number 9.[38] Vox.[39] Lynden Barber at The Sydney Morning Herald called the soundtrack "[b]reathtaking" and proposed that "Badalementi is offering a serious claim to Ennio Morricone's crown as the contemporary soundtrack composer of near-genius."[40]

Commercial performance[edit]

The soundtrack sold 40,000 copies in the US in its first two weeks of release.[41] By the end of the third week, when the second-season premiere aired, it had sold 350,000 copies.[42] It peaked at number 22 on the Billboard 200 and performed well on several international charts, even peaking at number 1 on the Australian ARIA Charts.[43] By 2000, the soundtrack had sold at least two million copies worldwide.[note 4]

By the end of the year, the soundtrack had been certified Gold by the Recording Industry Association of America (RIAA), denoting shipments of more than 500,000 copies in the United States; Gold by the British Phonographic Industry, denoting shipments of more than 100,000 copies in the United Kingdom; and Gold by Music Canada, denoting shipments of of more than 50,000 copies.[45]

Legacy[edit]

In the 1994 print edition of All Music Guide, Brian Mansfield hailed it as "one of the best scores ever written for television" and said the "dark, cloying, and obsessive" music would be "instantly recognizable to anyone who saw even one episode of the series."[46]

Moby, Anthrax

Lana Del Rey, Sky Ferreira[47]

Pitchfork ranked "Falling" as the 146th best track of the 1990s, while Fact named the soundtrack the tenth best album of that decade.[48]

2016 reissue[edit]

Reissued by Death Waltz, a boutique independent record label.[49]

Professional ratings
2016 reissue
Review scores
SourceRating
The Independent[50]
Pitchfork9.0/10[51]
Uncut9/10[52]

US:

UK:

The reissue edition had sold approximately 36,000 copies as of January 2020, far surpassing Death Waltz's expectations. According to a label manager, sales of 3,000 copies marked the typical break-even point for one of their releases and sales over 5,000 would be a major success.[49]

Track listing[edit]

All lyrics are written by David Lynch (tracks 4, 7, and 11); all music is composed by Angelo Badalamenti

No.TitleLength
1."Twin Peaks Theme"4:45
2."Laura Palmer's Theme"5:08
3."Audrey's Dance"5:15
4."The Nightingale" (vocals by Julee Cruise)4:54
5."Freshly Squeezed"3:48
6."The Bookhouse Boys"3:24
7."Into the Night" (vocals by Julee Cruise)4:42
8."Night Life in Twin Peaks"3:23
9."Dance of the Dream Man"3:39
10."Love Theme from Twin Peaks"4:34
11."Falling" (vocals by Julee Cruise)5:18
Total length:48:50

Personnel[edit]

Credits adapted from the liner notes of Soundtrack from Twin Peaks.[56]

Charts[edit]

Certifications[edit]

Region Certification Certified units/sales
Australia (ARIA)[78] Platinum 70,000^
Canada (Music Canada)[79] Gold 50,000^
Finland (Musiikkituottajat)[80] Gold 28,316[80]
France (SNEP)[81] Gold 100,000*
Netherlands (NVPI)[82] Gold 50,000^
Spain (PROMUSICAE)[83] Platinum 100,000^
Sweden (GLF)[84] Gold 50,000^
United Kingdom (BPI)[85] Gold 100,000^
United States (RIAA)[86] Gold 500,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Notes[edit]

  1. ^ After failing to license "Song to the Siren" for Blue Velvet, Lynch was able to use the song in Lost Highway (1997).[4]
  2. ^ Two other songs from the Floating into the Night, "Rockin' Back Inside My Heart" and "The World Spins", were used in "Episode 14", which aired in November 1990 during the show's second season. The former did not appear on any Twin Peaks soundtrack albums; the latter appeared again in the penultimate "Part 17" of the 2017 revival of Twin Peaks and on the accompanying Music from the Limited Event Series soundtrack album.
  3. ^ Bill Henderson of Orlando Sentinel wrote that the soundtrrack was "as haunting as it is beautiful and weird" and found the music compelling even without the show's "visual foreground"; nevertheless, he favored Cruise's record because "[her] voice clarifies the qualities that make the show so appealing."[34] Barry Walters of The San Francisco Examiner said the Twin Peaks soundtrack was "more consistent" than the Wild at Heart soundtrack but found the repetition of tracks from Floating into the Night to be "annoying", as he felt both releases were separately "worth owning".[19]
  4. ^ Lynch biographer Paul Woods claimed that the album had sold two million copies worldwide as of 2000.[41] In an interview published September 2001, Badalamenti said it had sold three million copies without indicating whether he was rounding up or down.[44]

Citations[edit]

  1. ^ Wloszczyna 1990.
  2. ^ Olson 2008, p. 211.
  3. ^ a b Aston 2013, Chapter 1.
  4. ^ a b Grundy 2010.
  5. ^ a b Woods 2000, p. 85.
  6. ^ Woods 2000, p. 85; Appleford 2017.
  7. ^ Chion 1995, pp. 89–90; Olson 2008, pp. 211–212.
  8. ^ Olson 2008, p. 211; Wray 2016.
  9. ^ Halskov 2016, p. 68.
  10. ^ Olson 2008, pp. 587–588; Norelli 2017, p. 28.
  11. ^ a b c Olson 2008, p. 586.
  12. ^ Woods 2000, p. 85; Norelli 2017, pp. 28, 120.
  13. ^ Norelli 2017, p. 36.
  14. ^ Grow 2014; Norelli 2017, p. 120.
  15. ^ Zimmerman & Zimmerman 1990, p. 29.
  16. ^ Norelli 2017, p. 38.
  17. ^ Lynch & McKenna 2018, p. 251.
  18. ^ Toop 1994, p. 38.
  19. ^ a b Walters 1990.
  20. ^ Pick 1990.
  21. ^ Norelli 2017, p. 47.
  22. ^ Raggett n.d.
  23. ^ Lomartire 1990a.
  24. ^ DiMartino 1991.
  25. ^ Pittsburgh Post-Gazette 1990.
  26. ^ Shales 1990.
  27. ^ Boren 1990; La Ganga 2017.
  28. ^ Boren 1990.
  29. ^ Rockwell 1990.
  30. ^ Lomartire 1990b.
  31. ^ Lufkin 1990; Peterson 1990.
  32. ^ Mansfield n.d.
  33. ^ a b Campbell 1990.
  34. ^ a b Henderson 1990.
  35. ^ Snyder 1990.
  36. ^ Considine 1990.
  37. ^ Maurstad 1990.
  38. ^ Barron 1990; NME 2016.
  39. ^ Page 1991.
  40. ^ Barber 1991.
  41. ^ a b Woods 2000, p. 103.
  42. ^ de la Vina 1990.
  43. ^ Norelli 2017, p. 48.
  44. ^ Schweiger 2001, p. 26.
  45. ^ RIAA n.d.; Music Canada n.d.; BPI n.d..
  46. ^ Mansfield 1994, p. 978; Mansfield n.d. (same review in the online AllMusic database).
  47. ^ Norelli 2017, p. 120.
  48. ^ Ewing 2010; Sande et al. 2012.
  49. ^ a b Newman 2020.
  50. ^ a b Gill 2017.
  51. ^ a b Walls 2016.
  52. ^ a b Pinnock 2016, p. 47.
  53. ^ Cills 2016.
  54. ^ Coney 2016.
  55. ^ Cory 2016, p. 72.
  56. ^ Badalamenti 1990, foldout liner notes in jewel case.
  57. ^ Australian-Charts.com n.d.
  58. ^ Austriancharts.at n.d.
  59. ^ RPM 1990a.
  60. ^ Music & Media 1991a, p. 30.
  61. ^ Dutchcharts.nl n.d.
  62. ^ Music & Media 1991c, p. 21.
  63. ^ Pennanen 2015, p. 2.
  64. ^ Offizielle Deutsche Charts n.d.
  65. ^ Music & Media 1991e, p. 30.
  66. ^ a b Music & Media 1991b, p. 25.
  67. ^ Charts.nz n.d.
  68. ^ Norwegiancharts.com n.d.
  69. ^ Music & Media 1991d, p. 25.
  70. ^ Swedishcharts.com n.d.
  71. ^ Official Charts Company 1991.
  72. ^ Billboard 1990.
  73. ^ Billboard n.d.
  74. ^ RPM 1990b.
  75. ^ ARIA 1991.
  76. ^ Dutchcharts.nl 1991.
  77. ^ Music & Media 1991f, p. 24.
  78. ^ ARIA n.d.
  79. ^ Music Canada n.d.
  80. ^ a b Musiikkituottajat n.d.
  81. ^ SNEP n.d.
  82. ^ NVPI n.d.
  83. ^ Salaverrie 2005, p. 931.
  84. ^ IFPI n.d.
  85. ^ BPI n.d.
  86. ^ RIAA n.d.

References[edit]

Badalamenti, Angelo (September 11, 1990). Soundtrack from Twin Peaks (CD). Warner Bros. Records. Catalog no. 9 26316-2 – via the Internet Archive.

Bibliography[edit]

Aston, Martin (2013). Facing the Other Way: The Story of 4AD (e-book ed.). London: HarperCollins. ISBN 978-0-00-752201-9.
Brown, Royal S. (2014). Overtones and Undertones: Reading Film Music. Berkeley, California: University of California Press. ISBN 978-0-520-08320-2 – via Google Books.
Chion, Michel (1995). David Lynch. London: British Film Institute. ISBN 0-85170-456-5 – via the Internet Archive (registration required).
Dukes, Brad (2014). Reflections: An Oral History of Twin Peaks. Nashville, Tennessee: short/Tall Press.
Gabel, J.C.; Hundley, Jessica, eds. (2018). Beyond the Beyond: Music from the Films of David Lynch. Los Angeles: Hat & Beard Press. ISBN 978-0-9967447-0-6.
Kalinak, Kathryn (1995). "'Disturbing the Guests With this Racket': Music and Twin Peaks". In Lavery, David (ed.). Full of Secrets: Critical Approaches to Twin Peaks. Detroit: Wayne State University Press. pp. 82–92. ISBN 0-8143-2506-8. Archived from the original on May 17, 2019 – via Google Books.
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Lynch, David; McKenna, Kristine (2018). Room to Dream. New York: Random House. ISBN 978-0-399-58919-5.
Mansfield, Brian (1994). "Twin Peaks / Sep. 11, 1990 / Warner Brothers 26316". In Erlewine, Michael; Bogdanov, Vladimir; Woodstra, Chris (eds.). All Music Guide (2nd ed.). San Francisco: Miller Freeman Books. p. 978 – via the Internet Archive (registration required).
Norelli, Clare Nina (2017). Soundtrack from Twin Peaks. 33⅓. Vol. 120. New York & London: Bloomsbury Academic. ISBN 978-1-5013-2301-0.
Olson, Greg (2008). David Lynch: Beautiful Dark. The Scarecrow Filmmakers Series. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-5917-3.
Richardson, John (1995). "Laura and Twin Peaks: Postmodern Parody and the Musical Reconstruction of the Absent Femme Fatale" (pdf). In Sheen, Erica; Davison, Annette (eds.). The Cinema of David Lynch: American Dreams, Nightmare Visions. London: Wallflower Press. pp. 77–92. ISBN 1-903364-85-X – via ResearchGate.
Toop, David (2018) [1st ed. 1995]. Ocean of Sound: Ambient Sound and Radical Listening in the Age of Communication (Serpent's Tail Classics ed.). London: Serpent's Tail. ISBN 978-1-78816-104-6.
van Elferen, Isabella (2010). "Haunted by a Melody: Ghosts, Transgression, and Music in Twin Peaks". In Blanco, María del Pilar; Peeren, Esther (eds.). Popular Ghosts: The Haunted Spaces of Everyday Culture. New York: Continuum International Publishing Group. pp. 282–295. ISBN 978-1-4411-6369-1.
——— (2012). "Dream Timbre: Notes on Lynchian Sound Design". In Wierzbicki, James (ed.). Music, Sound and Filmmakers: Sonic Style in Cinema. Routledge Music and Screen Media Series. New York: Routledge. pp. 175–199. ISBN 978-0-415-89893-5.
Weinstock, Jeffrey Andrew; Spooner, Catherine, eds. (2016). Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television. New York: Palgrave Macmillan. ISBN 978-1-349-57140-6.
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Anon. (July 25, 1990). "Soundtracks in Works for Several TV Series". Pittsburgh Post-Gazette.
Barber, Lynden (January 22, 1991). "The Rise and Rise of Musical Cliches". The Sydney Morning Herald.
Appleford, Steve (September 4, 2017). "Julee Cruise returns to 'Twin Peaks': 'I will always be proud of this'". Los Angeles Times. Archived from the original on November 4, 2019. Retrieved March 20, 2020.
Barron, Jack (December 1, 1990). "Julee Cruise: Cruise's Peak". NME. Retrieved May 15, 2019 – via Rock's Backpages. (subscription required)
Barrow, Dan (November 2017). "The return of David Lynch's TV psychodrama Twin Peaks foregrounded extreme sound design that used drones and noise to destabilise its narrative". The Wire (405): 24 – via Exact Editions. (subscription required)
Beaumont-Thomas, Ben (March 25, 2010). "Twin Peaks still marks the summit of TV soundtracks". The Guardian. Archived from the original on December 19, 2013. Retrieved May 15, 2019.
Boren, Ray (October 30, 1990). "TV Themes Invade the Music Stores". Deseret News. Archived from the original on June 10, 2019. Retrieved June 10, 2019.
Brophy, Philip (July 1998). "Muzak for Films & Airports". The Wire (173): 40–41 – via Exact Editions. (subscription required)
Cory, Lara C. (October 2016). "Angelo Badalamenti & David Lynch – Twin Peaks – Death Waltz LP". The Wire (392): 72 – via Exact Editions. (subscription required)
Campbell, Chuck (October 3, 1990). "Twin Peaks Soundtrack Has Direct Appeal". Knoxville News Sentinel.
Considine, J. D. (October 19, 1990). "Soundtrack from Twin Peaks - Angelo Badalamenti (Warner Bros. 26316)". The Baltimore Sun.
de la Vina, Mark (October 18, 1990). "A Composer Hitting His 'Peak'". Philadelphia Daily News.
DiMartino, Dave (February 16, 1991). "Instrumental Soundtracks Chime in: Carve Retail Niche, Spawn New Singles" (PDF). Billboard. Vol. 103, no. 7. pp. 10, 55, 69. Retrieved March 25, 2020 – via AmericanRadioHistory.com.{{cite magazine}}: CS1 maint: url-status (link)
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Endrst, James (May 23, 1990). "Last Stab at Who Killed Laura: It's Put Up or Shut Up for Twin Peaks". San Francisco Chronicle.
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Grundy, Gareth (December 18, 2010). "David Lynch: 'I'm not a musician but I love making music. It's a blast.'". The Guardian. Archived from the original on July 15, 2019. Retrieved March 20, 2020.
Halskov, Andreas (Winter 2016). "'A Marriage Made in Heaven': The Music of Twin Peaks According to Composer Angelo Badalamenti and Music Editor Lori Eschler Frystak". Series: International Journal of TV Serial Narratives. 2 (2). The Technical University of Valencia and the University of Bologna: 67–72. doi:10.6092/issn.2421-454X/6592. ISSN 2421-454X. Archived from the original on March 19, 2020.
Henderson, Bill (October 5, 1990). "Angelo Badalamenti, Julee Cruise". Orlando Sentinel.
Ivie, Ben (September 15, 2016). "Angelo Badalamenti Tells the Stories Behind 5 Twin Peaks Songs". The Guardian. Archived from the original on December 19, 2013. Retrieved May 15, 2019. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; May 3, 2019 suggested (help)
Johnson, Peter (July 25, 1990a). "PBS Looks to Broaden Its Fall Programming". USA Today.
Kim, Jae-Ha (July 24, 1990). "Twin Peaks creator guides singer's career". Chicago Sun-Times.
Kot, Greg (June 17, 1990). "A Star is Born: Twin Peaks Did for Julie Cruise What Her Record Alone Couldn't". Chicago Tribune. Archived from the original on March 22, 2020.
——— (February 19, 1996). "For Better or Worse, Lounge Music (Yes, That Easy-Listening Dreck) Has Returned, So . . ". Chicago Tribune. Archived from the original on June 23, 2019.
Kubasik, Ben (August 22, 1990). "TV Spots". Newsday.
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La Ganga, Maria L. (May 19, 2017). "The town where Twin Peaks was filmed has its own share of mysterious deaths". The Guardian. Archived from the original on April 13, 2017. Retrieved June 10, 2019. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; April 13, 2019 suggested (help)
Lewis, Dana (June 21, 1992). "Pacific Rim: They Really Care Who Killed Laura Palmer". Los Angeles Times. Archived from the original on June 11, 2019. Retrieved June 11, 2019.
Lomartire, Paul (May 23, 1990a). "Twin Peaks Leads to Album for Singer". The Palm Beach Post.
——— (June 17, 1990b). "Twin Peaks Theme Being Released". The Palm Beach Post.
Lufkin, Liz (May 10, 1990). "Cooper, We Know Who Killed Laura Palmer – Now a Word from the Log Lady". San Francisco Chronicle.
Maurstad, Tom (August 23, 1990). "Arts Day: Albums: Twin Peaks, Various artists (Warner Bros.)". The Dallas Morning News.
Lynskey, Dorian (March 24, 2017). "Twin Peaks still marks the summit of TV soundtracks". The Guardian. Archived from the original on March 24, 2017. Retrieved May 15, 2019.
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Web sources[edit]

http://www.noripcord.com/features/top-100-albums-1990-1999-part-three-100-81 https://www.chicagotribune.com/news/ct-xpm-1996-02-19-9602190004-story.html https://www.theglobeandmail.com/arts/music/how-twin-peaks-beautifully-dark-music-left-a-lasting-impact/article35059842/

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Charts and certifications[edit]

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Anon. (n.d.). "Guld- och Platinacertifikat − År 1987–1998" [Gold and Platinum Certificates, 1987–1998] (PDF) (in Swedish). International Federation of the Phonographic Industry (IFPI). Archived from the original (PDF) on June 16, 2011.
Anon. (n.d.). "Gold/Platinum: Various Artists Twin Peaks (soundtrack)". Music Canada. Archived from the original on May 11, 2019. Retrieved May 11, 2019.
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Anon. (March 30, 1991). "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 8, no. 13. p. 25. OCLC 29800226 – via American Radio History.{{cite magazine}}: CS1 maint: url-status (link)
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Anon. (December 21, 1991). "European Top 100 Albums – 1991" (PDF). Music & Media. Vol. 8, no. 51/52. p. 24. OCLC 29800226 – via American Radio History.{{cite magazine}}: CS1 maint: url-status (link)
Pennanen, Timo (August 12, 2015). "Soundtrack, eri esittäjiä". Suomenlistalevyt.blogspot.fi – Levyt ja esittäjät Suomen musiikkilistoilla 1960–2018 (in Finnish). Archived from the original on April 27, 2019 – via Blogspot.
Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 [Only the Hits: Year by Year, 1959–2002] (in Spanish) (1st ed.). Madrid: Fundación Autor/SGAE. ISBN 84-8048-639-2.

External links[edit]


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