Planet Of The Apes Soundtrack CD

Planet of The Apes.
1968, 20th Century Fox.
Jerry Goldsmith.
Intrada, CD, 1992, FMT 8006D.
Rating:

Based on a novel by Pierre Boulle, about a planet populated by a tyrannical army of talking, testosterone-fuelled apes, Franklin J. Schaffner’s film is both effective and intelligent; Goldsmith’s Academy Award nominated landmark score however is an avant garde masterpiece, overflowing with atmosphere and intensity. Though much has been made of cue ‘The Hunt’ (which debuts on this cd) with its interesting use of a ram’s horn, signifying the first appearance of the apes on horseback, this score is full of high points, most notably ‘Main Title’ that depicts the vast, barren planet landscape and ‘The Clothes Snatchers’, a mischievous, playful cue full of detail. The experimental nature of the score – Goldsmith had French horn players reverse their mouthpieces and used stainless steel mixing bowls to create various effects – is both highly engaging and full of unexpected moments. While Goldsmith would produce many fine film scores, such as (the equally experimental) ‘Alien’, released thirteen years later, ‘Planet Of The Apes’ remains one of his masterworks. Stunning.
Planet Of The Apes Movie Soundtrack. Review: Tim Mowbray.

Track Listing:
1. Main Title.
2. The Revelation.
3. The Clothes Snatchers.
4. The Hunt.
5. New Identity.
6. The Forbidden Zone.
7. The Search.
8. The Cave.
9. A Bid For Freedom.
10. A New Mate.
11. No Escape.

The Final Conflict Soundtrack CD

Final Conflict.
1981, 20th Century-Fox.
Jerry Goldsmith.
Verese Sarabande, CD, 2001, VSD-6289.
Rating:

The third instalment in ‘The Omen’ trilogy was always going to be a tricky project; the success of the previous two movies, along with an Academy Award winning score for ‘Ave Satani’ (for ‘The Omen‘) meant that there was a lot riding on its success. While it ultimately failed to deliver the expected box office returns, Jerry Goldsmith’s majestic score turned out to be better in many respects than the previous two, completing a cycle that began with the birth of the anti-Christ and ends with not one but two highly significant events: the death of the anti-Christ and the re-birth of Jesus Christ. Damien Thorn is now President of his Father’s company and heading for Ambassador status with an eye on the Whitehouse. The excavation of the Thorn Museum, destroyed by fire at the end of ‘Damien: Omen II‘, unearths the daggers of Meggido, which are stolen, auctioned and bought by a monastery in Italy where Father De Carlo (Rossano Brazzi) plans to use them to destroy Damien.

Though Goldsmith’s previous Omen scores concerned themselves with the more terrifying aspects of the story, ‘The Final Conflict’ combines these with an epic spiritual element representing the Second Coming. Goldsmith’s new theme featured in ‘Main Title’ and in various forms throughout, is a powerful cue led by horns and underpinned by a deep sense of foreboding. ‘Trial Run’, presents for the first time the more spiritual elements of the score. ‘The Monastery’ introduces the theme representing the Second Coming of Christ, which is expanded upon in ‘The Second Coming’ and adapted for ‘The Final Conflict’. However, the highlight of this score is ‘The Hunt’ an amazing equestrian event of a cue that combines the exhilaration and excitement of the chase with the darker aspects introduced in ‘Main Title’. While its chilling subject matter may not be to everyone’s taste, ‘The Final Conflict’ marks a high point in Goldsmith’s career and remains one of his most accomplished film scores. This re-mastered, deluxe edition also includes cues not featured on the original soundtrack LP release and vastly improved sound quality, along with extensive liner notes. A classic.
The Final Conflict Movie Soundtrack. Review: Tim Mowbray.

Track Listing:
1. Main Title.
2. The Ambassador.
3. Trial Run.
4. The Monastery.
5. A.T.V. First.
6. The Statue.
7. The Second Coming.
8. Electric Storm.
9. The Hunt.
10. The Blooding.
11. Lost Children.
12. 666.
13. Parted Hair.
14. The iron.
15. The Final Conflict.

Alien Soundtrack CD

Alien
1979, 20th Century Fox
Jerry Goldsmith
Silva Screen, CD, 1988, FILMCD 003
Rating:

One of the most effective sci-fi horror films ever made, ‘Alien’ kick-started Sigourney Weaver’s career, spawned three main sequels and countless imitations. Though the creature bursting from the chest of John Hurt’s character, Kane, has become one of its defining moments, its claustrophobic direction by Ridley Scott and top notch editing by Terry Rawlings make a simple creature feature into something far superior. Jerry Goldsmith’s score is equally effective, though large chunks weren’t used in the final print of the film, including the entire end title sequence, replaced by Howard Hanson’s Symphony No. 2 ‘The Romantic’. This aside, it is difficult to fault ‘Alien’ as a stand alone horror score. Apart from the atmospheric ‘Main Title’, expanded upon in ‘The Droid’, ‘The Landing’ and ‘End Title’. that lulls the listener into a false sense of security, most of the cues are cold, hard horror that barely let-up until the final note is struck. Percussive effects that mimic the alien threat are pretty disturbing, particularly in ‘Face Hugger’ and ‘The Recovery’. ‘Breakaway’ is a powerful, melodic cue driven by brass that is filled with intention and urgency; while ‘The Alien Planet’ builds from a sense of isolation to one of immediate threat. Whether Ridley Scott’s preferred composer, Isao Tomita, known for his re-workings of Holst’s ‘The Planets’ among others, could have done any better we will never know, but Goldsmith’s effort remains exciting, unsettling and highly original.
Alien Movie Soundtrack. Review: Tim Mowbray.

Track Listing:
1. Main Title.
2. Face Hugger.
3. Breakaway.
4. Acid Test.
5. The Landing.
6. The Droid.
7. The Recovery.
8. The Alien Planet.
9. The Shaft.
10. End Title.

Other Versions Available:

Silva Screen, LP, 1987, Film 003
Rating:

Side One:
1. Main Title.
2. Face Hugger.
3. Breakaway.
4. Acid Test.
5. The Landing.

Side Two:
6. The Droid.
7. The Recovery.
8. The Alien Planet.
9. The Shaft.
10. End Title.

Alien Complete Soundtrack CD

Intrada, CD, 2007, MAF 7102.
Rating:

This exciting two disc special edition incorporates Goldsmith’s original score in its entirety, including plenty of rescored alternate cues, along with the original soundtrack album (see above). Ridley Scott’s decision not to use certain sections of the score, most notably, the closing credit sequence, and to replace others with Goldsmith’s Oscar nominated music from ‘Freud’, against his wishes, caused rancour at the time, but listening to the music side by side, Goldsmith’s rescored ‘Main Title’, used in the film, with its unsettling noises and cold dissonance makes for a superior opener against the original, more thematic material. Though the original album is a strong, cohesive representation, the complete score is a far more varied offering, incorporating many of Goldsmith’s gentler, ‘spaces capes‘, such as the beautiful ‘Hyper Sleep’. Extensive liner notes, stills from the movie and a cue by cue breakdown make this an essential buy.
Alien: Complete original motion Picture Soundtrack. Review: Tim Mowbray.

Bonus Tracks.
11. Main Title (film version).
12. The Skeleton (alternate take).
13. The Passage (demonstration excerpt).
14. Hanging On (demonstration excerpt).
15. Parker’s Death (demonstration excerpt).
16. It’s A Droid (unused inserts).
17. Eine Kleine Nachtmusik (source).