The Transformers: The Movie (Original Motion Picture Soundtrack)


The Transformers: The Movie is the 1986 soundtrack from the motion picture The Transformers: The Movie. It was released in the United States ahead of the theatrical release on July 26, 1986 by Scotti Bros. Records on LP and cassette.
“Stan Bush’s ‘The Touch’ was released as a single and issued in the United States as a 45 RPM by Scotti Bros., with Weird Al Yankovic’s ‘Dare to Be Stupid’ on the B-side.” In the United Kingdom, Epic Records also issued the single as a die-cut picture disc featuring toy box art for the G1 Transformer Superion.
In 1992, Scotti Bros. released the album on CD in the US. By 1999, it was subsequently re-issued by eventual successor company Volcano Entertainment, and was re-released in 2007 with updated cover art and four bonus tracks.
In the fall of 2015, the soundtrack was reissued by Sony’s Legacy label as a limited-edition vinyl release for Record Store Day, marking the upcoming 30th anniversary of the film.
The soundtrack was originally released in Japan by Pony Canyon on CD in 1989.

Reception

The soundtrack received little media attention or commercial radio airplay prior to or during the film’s theatrical release. The single issued from the album, “The Touch", also received minimal airplay in the United States. “The Touch” fared somewhat better on German radio; RTL Luxembourg named it one of its “Records of the Week” for the week of 1986-10-04. It also received airplay on stations in Hamburg and Munchen stations.
Ivan Brunet of British Columbia’s Nanaimo Daily News described the soundtrack as “Basically heavy metal music.” He singled out “Nothin's Gonna Stand in Our Way” by Kick Axe and “Instruments of Destruction” by NRG as standouts, but identified the key track as Stan Bush’s “The Touch,” which he called “a fiery rock tune.” He added, “Uneven as this album is, it will more than likely fare well on the strength of the film.”
In Marianne Meyer’s A/P column “Rock View,” she described it as “A rock soundtrack featuring generally obscure musical acts” and used it as an example of the industry’s “soundtrack mania” at the time, writing that it was released in “an effort to bring older kids in to the theater for this toy-inspired cartoon.”

Legacy

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