Nick Mason + Rick FennWhite Of The Eye

Label:Parlophone (2) – 0190295660147-3
CD, Album, Remastered, Unofficial Release
Genre:Jazz, Rock
Style:Art Rock, Prog Rock, Jazz-Rock


2Remember Mike?1:20
3Where Are You Joany?2:12
4Dry Junk3:20
6Thrift Store3:26
7Prelude And Ritual4:37
9Discovery And Recoil3:25
10Anne Mason4:05
12A World Of Appearances3:21
13Sacrifice Dance3:01
14White Of The Eye3:37

Companies, etc.



Total playing time: 43'10"

From the booklet:
The album was remastered in 2018 and released digitally as a part of CD/vinyl Nick Mason - Unattended Luggage box set.

Unofficial release packaged in a jewel case with transparent tray, includes 4 page booklet. Unlike the original release Unattended Luggage it was issued separately as a single CD release.
No Mould SID code on the matrix.
Track durations are not specified on the covers and are detected by EAC program.

Barcode and Other Identifiers

  • Barcode (Printed Text): 0 190295 660147
  • Barcode (Compact Text): 0190295660147
  • Label Code: LC30419
  • Matrix / Runout: 0190295660147-03 AI31466-01
  • Mastering SID Code: ifpi LP7612
  • Rights Society: GEMA/MCPS
  • Other (Disc Cat. #): 0190295660147/03


  • PussyStreetHomos's avatar
    This is for a really wonderful, heavily nuanced and occasionally unsettling motion picture soundtrack the two collaborated on for Donald Cammell (PERFORMANCE; DEMON SEED ; WILD SIDE)'s intense, bizarre and disturbing, largely Italian giallo-inspired serial killer police proceedural whodunnit, that plays out very much like an early Argento thriller, but transferred to an Arizona desert locale (Globe, Arizona, to be specific!) It is a very well acted, interestingly written and directed and effective horror entry that holds up rather well all throughout, until it's sudden and somewhat problematic final act, which doesn't entirely reneg on all that came before it, but does end on a bit of a whimper in contrast to the bulk of the film. However, Fenn and Mason's eclectic, occasionally mesmeric and memorable score does feature some truly lovely, ear-pleasing sonic atmospheres, particularly the very first one heard on the film's soundtrack, an electronic piece that firmly situates the killer's perspective as appropriately outer space-like, as well as the final epilogue track which plays during the end credits, kind of a Claptonesque, final girl's melancholic blues. But all of the other musical material on their soundtrack works really well in conjunction with the film's visual dynamic, particularly for the violent scenes of murder, and there is a particularly memorable leitmotif used throughout, which reoccuringly punctuates the action and is competently revisited, which does resonate really crazily well, and also aids in helping viewer's to easily recall minute details from the story's sometimes confusing occurrances of past/present/future time travel.


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    • Avg Rating:4 / 5
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