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Krull! If that word conjures up images of Kevin Sorbo and swords and sorcery…well, you’re in the wrong place. That was Kull The Conqueror. Krull was a big-budget 1983 popcorn flick featuring Kenneth Marshall and swords and sorcery, and it was practically designed to be the next Star Wars. Needless to say…it wasn’t. While it brought the concept of throwing stars to the attention of a great many youngsters (myself included), Krull wasn’t a box office smash. And much as I hate to say it, perhaps its soundtrack has something to do with that.

I’ll admit, however, that what is stated above is my opinion alone, and it’s not one shared by soundtrack collectors or film music fans for the most part. James Horner’s Krull soundtrack is revered, and this 2-CD version released in the 1990s by the now-defunct internet soundtrack specialty shop Supercollector.com is considered particularly desirable on the collectors’ circuit. But when I listen to it, what hits my ears sounds like the music from Star Trek II, cut-and-pasted around a bit so it doesn’t sound exactly the same. Even the arrangements and the balance of instruments used is nearly identical. I do like the heraldic blasts of brass the punctuate the more heroic moments of the music, but so much of the bulk of Krull’s music is borrowed from The Wrath Of Khan that it’s not funny - I already paid for this same music once. (See also: Horner’s music from Aliens.)

To be fair, though, I will give Horner some praise for his attempts to differentiate Krull from his previous work. There’s a cuttingly siren-like descending synth note in the attack scenes involving the Black Fortress minions that, while it’s a bit dated now, does indeed jump right out, grab you by the neck and telegraphs “bad news!” straight into your ears. “Ride Of The Firemares”, even with its own borrowed passages, is simply one of the best things Horner’s ever put in front of an orchestra.These new developments to what seems like very familiar material are interesting…but I’d be more inclined to adjust my thinking of Horner from unoriginality to an artist who keeps revisiting a theme until he’s perfected it if I hadn’t had to pay good money to hear every “work in progress” stage of that theme.

Disc One:

1. Main Title & Colwyn’s Arrival (7:34)
2. The Slayers Attack (9:20)
3. Quest For The Glaive (7:23)
4. Ride To The Waterfall (0:54)
5. Lyssa In The Fortress (1:29)
6. The Walk To The Seer’s Cave (4:10)
7. The Seer’s Vision (2:19)
8. Battle In The Swamp (2:40)
9. Quicksand (3:39)
10. The Changeling (4:04)
11. Colwyn and Lyssa (Love Theme) (2:38)

Disc Two:

1. Leaving The Swamp (2:00)
2. The Widow’s Web (6:19)
3. The Widow’s Lullaby (5:02)
4. Vella (3:47)
5. Ynyr’s Death (1:42)
6. Ride Of The Firemares (5:23)
7. Battle Of The Parapets (2:53)
8. Inside The Black Fortress (6:15)
9. The Death Of The Beast and The Destruction of the Dark Fortress (8:32)
10. Epilogue & End Title (4:50)

Released by: Super Collector / Supertracks
Release date: 1998
Disc one total running time: 46:10
Disc two total running time: 46:43

His first album after the seminal Tubular Bells, Mike Oldfield’s Hergest Ridge dips into decidedly Celtic waters. The best thing about this epic two-part composition is that it really does take one on a journey - the main themes and motifs are developed, come to a climax, and then put on the back burner while other themes come to the fore, and everything reappears toward the end for a surprisingly laid-back summation. Despite the classical structure, it’s very much a modern work. Oldfield’s guitar work is nothing short of phenomenal, ranging from bucolic, Celtic-style strumming to full-blast heavy metal, and there are several thematic previews of his next album, Ommadawn, to be heard. (In fact, if you’ve got the hour or so to burn, I strongly suggest listening to Hergest Ridge and Ommadawn back to back.) There is also an abundance of orchestral instrumentation here, as well as a full choral version of one theme.

There really aren’t any drawbacks; this kind of longform composition has fallen into disuse these days, so those looking for convenient places to take a break may be a little put off by the length of the tracks. To them, I can only say that it’s worth it to sit and listen to this one (and indeed, to any of Oldfield’s longform works). Very highly recommended for those who want to hear an ambient instrumental piece that isn’t steeped in electronica, and lasts longer than five or six minutes.

1. Part One (21:28)
2. Part Two (18:45)

Released by: Caroline
Release date: 1974
Total running time: 40:13