By 1980, Brian De Palma had become widely regarded as one of American’s most popular - and most controversial - directors of contemporary suspense films.

Considered by many to be the cinematic heir to Alfred Hitchcock, his current successes of "Obsession" and "Dressed to Kill" would lead him to revisit a treatment he had written years earlier; a story of two people who become unwilling entangled in a political conspiracy at the highest level.

Brian De Palma's homage to Michelangelo Antonioni's classic art movie "Blow-Up" (1966) blends suspense and political paranoia when a Philadelphia soundman inadvertently records a murder. Former police technician Jack Terri (John Travolta) makes his living doing sound for slasher flicks. While recording new outdoor effects one night, Jack witnesses a couple's car careen off a bridge into a river, but he can save only the female occupant, Sally (Nancy Allen). Jack begins to suspect something when he learns that her dead companion was a Presidential hopeful. Re-playing his tape over and over, Jack thinks that he hears a gun shot before the crash-causing tire blow-out. When sleazy photographer Manny Karp (Dennis Franz) comes forward with photos of the accident, Jack discovers the real reason that the naïve Sally was in the car -- and also a way to prove his auditory suspicions through motion pictures. Even with all his surveillance talent, however, Jack cannot see (or hear) how dangerous the big picture really is until it's too late. Taking a break from horror films, De Palma turned his interests in technology and voyeurism toward more politically loaded subject matter at the dawn of the Reagan era; the film's red, white and blue mise-en-scène, "Liberty Day" celebration climax, and conspiracy surrounding political "dirty tricks" suggest that American politics are still rotten, seven years after Watergate, . Although Blow Out earned some favorable notice, particularly for Travolta's first "adult" performance, De Palma's downbeat film did not go over well with 1981 summer audiences. Rather than blockbuster escapism, Blow Out instead harks back to 1970s political thrillers like The Parallax View (1974), using cinematic fireworks to tell an unsettling story about one man's struggle against unstoppable corruption. 1981

1. Theme from BLOW OUT (3:48)
2. Jack Saves Sally (2:22)
3. Hospital to Motel (2:05)
4. Jack on the Move * (1:14)
5. Jack Cuts Pictures (1:47)
6. Freddie Is Miked/Freddie and The Mobsters/Dead Freddie (2:39)
7. Jack and Sally in Café #2/ Burke Kills Redhead (4:01)
8. Jack Discovers Gunshot (1:06)
9. Jack Hides the Tape an film (:52)
10. Burke at Phone booth/Burke & Manners/Evil Burke #1* (2:12)
11. Sally Slugs Karp (1:11)
12. Evil Burke #1*/Jack on Phone to Donahue/Burke Calls Sally (1:41)
13. Burke to Phone booth/Burke Kills Hooker (2:59)
14. Sally To Station (1:09)
15. Burke Meets Sally/Jack runs through Station/Runs After Sally (3:15)
16. Car through Glass Window (1:17)
17. Burke Kills Sally (3:38)
18. Jack Kills Burke (2:44)
19. Good Scream-End Credits (3:47)

*Not used in final film

Bonus Tracks
20. Jack and Sally In Café (Source) (3:46)
21. Coed Frenzy Disco (Source) (2:52)

Recorded December,1981 NEW YORK CITY