Forty years after its release, David Bowie’s soundtrack for Labyrinth remains one of the most enduring entries in his catalogue, bridging his commercial 1980s peak with his work in film and helping transform a box office disappointment into a multi-generational cultural phenomenon.
by Paul Cashmere
Forty years ago, on 23 June 1986, David Bowie released the soundtrack to Labyrinth, the fantasy film directed by Jim Henson that cast Bowie as the enigmatic Goblin King Jareth. While the film struggled commercially during its initial theatrical run, both the movie and its soundtrack have since become enduring cult favourites, with Bowie’s songs remaining central to the film’s legacy four decades later.
The anniversary arrives at a time when Labyrinth continues to find new audiences through streaming, home entertainment and merchandise, while the soundtrack itself remains one of Bowie’s most recognisable soundtrack projects. Originally released to coincide with the film’s American premiere, the album combined five new Bowie compositions with Trevor Jones’ orchestral score, creating a hybrid soundtrack that stood apart from most film releases of the era.
For Bowie, Labyrinth represented a significant moment in a decade defined by dramatic shifts in his career. Following the artistic triumph of Scary Monsters (And Super Creeps) in 1980 and the global commercial breakthrough of Let’s Dance in 1983, Bowie entered the mid-1980s as one of the world’s biggest music stars. Albums such as Tonight in 1984 and the later Never Let Me Down in 1987 reflected an artist navigating the pressures of mainstream success while continuing to pursue film and multimedia projects.
Labyrinth sat squarely within that period. Jim Henson first approached Bowie during the Serious Moonlight Tour in 1983, presenting early concepts for the fantasy film. Bowie had expressed interest in creating music for a children’s movie and embraced the opportunity. The resulting soundtrack featured the songs Underground, Magic Dance, Chilly Down, As The World Falls Down and Within You, all written specifically for the film’s narrative.
Among those tracks, Magic Dance became the soundtrack’s signature song, while As The World Falls Down developed a lasting reputation as one of Bowie’s most elegant romantic ballads. Underground, released as the lead single, framed the film’s opening sequence and was later issued in various formats, including extended dance versions aimed at contemporary radio and club audiences.
The soundtrack also showcased an impressive supporting cast of musicians and vocalists. Producer Arif Mardin worked alongside Bowie and composer Trevor Jones, while contributors included Chaka Khan, Luther Vandross, Cissy Houston, Steve Ferrone and Ray Russell. The combination of pop, orchestral scoring and fantasy storytelling gave the album a distinctive identity within Bowie’s catalogue.
Labyrinth itself was an ambitious production. Directed by Henson from a screenplay credited to Terry Jones of Monty Python, the film starred Bowie opposite Jennifer Connelly. Executive producer George Lucas helped bring the project to the screen through a collaboration between Henson Associates and Lucasfilm. The story followed teenager Sarah, played by Connelly, as she attempted to navigate a magical labyrinth to rescue her baby brother from Bowie’s Goblin King.
Despite a reported budget of US$25 million, the film earned only US$12.9 million during its initial American theatrical run. Overseas audiences responded more favourably, and the film ultimately grossed more than US$34 million worldwide. Home video, television broadcasts and later streaming platforms transformed Labyrinth into one of the defining cult films of the 1980s.
The soundtrack experienced a similar trajectory. In 1986 it reached No. 38 on the UK Albums Chart and No. 68 on the Billboard 200 in the United States. Decades later, a remastered vinyl reissue in 2017 returned the album to the UK charts, reflecting renewed interest from collectors and younger audiences discovering the film for the first time.
Within Bowie’s soundtrack history, Labyrinth occupies a unique position. It followed his involvement with the soundtrack to Christiane F. in 1981, which largely drew from existing Bowie recordings, and preceded The Buddha Of Suburbia in 1993, a project often regarded as a studio album but originally conceived as music for a television adaptation. He also contributed three new songs to the 1986 soundtrack album Absolute Beginners, released only months before Labyrinth.
Critical opinion on the soundtrack has evolved considerably over time. Early responses to both the film and album were mixed, mirroring the lukewarm reception that greeted many of Bowie’s mid-1980s projects. In later decades, however, the songs gained wider appreciation for their melodic strength and their role in supporting the film’s fantasy world. Publications and fan communities regularly rank Labyrinth among the standout movie soundtracks of the 1980s.
Forty years on, Labyrinth remains an important chapter in Bowie’s story. It captures an artist at the height of his global fame, experimenting with cinema, character performance and songwriting in ways that extended beyond the traditional album cycle. While many soundtrack albums fade alongside the films they accompany, Labyrinth has endured as both a beloved fantasy soundtrack and a significant entry in David Bowie’s remarkable catalogue.
Track Listing
Opening Titles Including Underground
Into The Labyrinth
Magic Dance
Sarah
Chilly Down
Hallucination
As The World Falls Down
The Goblin Battle
Within You
Thirteen O’Clock
Home At Last
Underground
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