Escape From The Planet Of The Apes – music by Jerry Goldsmith

Escape From The Planet Of The ApesJerry Goldsmith was among those who didn’t return for the second installment of the Planet Of The Apes film series, but he was back on board for the third, which was an attempt to reboot the series without ditching the established continuity. If anything, the third film was the most clever of the sequels, drop-kicking the story back into the present day (or something like it) for an Apes-style meditation on the spectrum of prejudice (from sublte to savage) and the fleeting and entirely disposable nature of celebrity, two topics which have helped Escape From The Planet Of The Apes retain its ironic bite over the years rather than allowing it to become increasingly dated (as with the other sequels).

Goldsmith, keenly aware of what the movie needed (as always), came out swingin’. No, not swinging, but swingin’ – as in groovy, baby! His opening theme for Escape is one of my favorite pieces that Goldsmith has ever written, period. It sounds nothing like the opening to a science fiction movie. It sounds like the opening to a ’70s comedy, which is what the movie’s admittedly funny opening scene is trying to trick you into expecting. With its jazzy beat and straight-outta-the-late-sixties electric organs, guitar and sitar, Goldsmith’s opening number completely belies the story that’s about to unfold. And I love it. The whole movie is about appearances deceiving, and Goldsmith was clearly in on the joke.

The swingin’ mood carries into the next track, “The Zoo”, which is a bit more mellow – almost into Barry White backing-track territory, again completely unexpected for Goldsmith. It’s at the beginning of this track, however, that the composer begins to slip in some of the unorthodox, almost animalistic instrumentation from the Planet Of The Apes score, but subtly – you can be forgiven for not noticing (especially while watching with the movie’s dialogue and sound effects).

“Gorilla Attack” is a burst of brutality that seems out of the place with the movie’s decided gentle first reel, but it’s a preview of things to come. Goldsmith resumes the grooviness with the “Shopping Spree” montage, but things quickly become more unsettled as the movie’s plot becomes darker and more serious to a shocking degree. As suspicion mounts that the two talking apea – now revealed to be expecting parents – may well signal the end of the line for homo sapiens, the music becomes darker by several orders of magnitude. Tracks such as “Labor Pains” and “Mother And Child” distract a bit by sounding like the score from a more domestic drama, but the sheer brutality of immediately adjacent tracks like “The Breakout” and “The Hunt” leave little doubt that the story is still about the impending extinction of the apes as we know them at this point in the saga. “Final Chapter and End Credits” brings it all home, no longer the gimmicky laugh at the beginning of the movie, but closing off a tragically brutal story. The latter half of that track revisits the basic melody of Goldsmith’s jaunty opening, but in a much more somber treatment.

I can caution you that there’s barely a half-hour of music here (and on one of those pricey, limited-edition releases, no less), but this is a Goldsmith masterpiece – possibly even moreso than Planet Of The Apes itself. Escape From The Planet Of The Apes was all about getting the audience in their seats with some popcorn for some kooky, zany fish-out-of-water comedy, only to 4 out of 4serve up a slice of blistering social commentary that, frankly, audiences probably needed in 1971. (I’d put this movie, completely unchanged in front of an audience now, too: the 1971 timestamp would probably put them even more at ease and make it even more shocking.) Goldsmith’s music was part of the process of tricking the audience into letting its guard down, and it’s downright hummable too – a great combination.

Order this CD

  1. Main Title (2:32)
  2. The Zoo (1:06)
  3. The Gorilla Attack (0:56)
  4. I Like You (1:05)
  5. Shopping Spree (2:19)
  6. A Little History (1:23)
  7. Interrogation (3:18)
  8. Labor Pains (1:05)
  9. Breakout (0:38)
  10. The Labor Continues (3:55)
  11. The Hitchhiker (1:06)
  12. Mother And Child (3:52)
  13. The Hunt (4:06)
  14. Final Chapter and End Credits (1:42)

Released by: Varese Sarabande
Release date: 2009
Total running time: 29:03

Star Trek (Newly Expanded Edition) – music by Michael Giacchino

Star Trek (Newly Expanded Edition)Released to a combination of applause from Trek music completists and complaints of double-dipping from other observers, Varese Sarabande – not to be outdone by Film Score Monthly’s recent definitive editions of the music from Star Trek II and III – has now made the complete Michael Giacchino score from 2009’s Star Trek available as a swanky, limited-edition double-CD package (in, curiously, packaging normally used for two-disc Blu-Ray releases).

Is it worth going back to the well for every single note from the movie? Put simply and unequivocally: yes. Some of the best moments of the music from Star Trek were omitted from the single-CD soundtrack album that Varese issued at the time of the movie’s theatrical release. Those moments are restored in more or less chronological order here. I thought that both of the shuttlecraft rides to the Narada (Captain Robau’s and, later, Captain Pike’s) were awesomely menacing stuff, with enough harp to give the average John Williams score a run for its money, and those sequences can be found here. The thrilling orbital skydive to Nero’s drilling platform – a major action setpiece that was curiously left off of the original soundtrack album – is a piece of music likely to keep the fans happy.

Some of the best tracks, however, are those which musically signify Spock’s Vulcan heritage, frequently taking the form of a wistful solo ehru. These cues were mixed down in the movie, and left off of the original soundtrack altogether, and yet they’re some of the film’s best music, as well as one of the most interesting and memorable themes Giacchino has composed to date (and I’m counting his work on Alias, Lost, The Incredibles, Fringe and Ratatouille there too).

I’m going to go on the record as saying that I love Giacchino’s self-penned, punishingly punny track/cue titles, but they require a little bit of lateral thinking and a sense of humor: “Dad’s Route To School” (i.e. the “evicted” Kirk trudging through snow, uphill, both ways) and “Galaxy’s Worst Sushi Bar” (Captain Pike having a poor man’s Ceti eel shoved down his throat) are a couple of my favorite titles. The packaging, while it is indeed awkward to slot into a CD shelf, is gorgeous; the discs themselves are top-down renderings of the saucer sections of the Enterprise (disc one) and the ill-fated U.S.S. Kelvin (disc two). My one complaint is that Varese’s sales pitch made a big deal out of new liner notes by founding Starlog editor Kerry O’ Quinn, a man whose columns and writings in the heyday of (tragically now-defunct) Starlog Magazine are largely responsible for inspiring me to be here writing this now; it’s actually more like one page.

The Star Trek soundtrack is a much 4 out of 4more cohesive listen in this form than it was as the first release’s “edited highlights,” in some places making it very clear that Giacchino’s music wasn’t as uninteresting as some listeners found it from the single CD release. It’s just a pity that it wasn’t released in this form from the beginning – the real good stuff is, once again, relegated to the collectors’ market. Well worth seeking out, though at the time of this writing, the 3,000-copy print run of this edition was very close to being sold out.

Order this CD

    Disc One

  1. Star Trek (2:28)
  2. Narada Boom (2:48)
  3. Hack To The Future (1:25)
  4. Nailin’ The Kelvin (2:09)
  5. Labor Of Love (2:44)
  6. Main Title (0:46)
  7. Head To Heart Conversation (1:10)
  8. One Proud Mother (1:37)
  9. Hella Bar Talk (1:56)
  10. The Flask At Hand (0:28)
  11. Welcome Back, Spock (1:09)
  12. Vulcan Gets A Good Drilling (1:30)
  13. Hangar Management (2:47)
  14. Enterprising Young Men (3:05)
  15. Flying Into A Trphlthdl (3:23)
  16. Nero Sighted (3:23)
  17. Matter? I Barely Know Her! (2:07)
  18. Jehosafats (3:02)
  19. Chutes And Matter (3:29)
  20. A Whole In My Hearth (0:56)
  21. I’ve Fallen And I Can’t Beam Up! (1:51)
  22. Spock Goes Spelunking (1:30)
  23. An Endangered Species (3:09)
  24. Galaxy’s Worst Sushi Bar (2:16)
  25. Mandatory Leave Of Absence (1:18)
  26. Dad’s Route To School (0:35)
  27. Frozen Dinner (1:30)
  28. You Snowin’ Me? (0:49)
    Disc Two

  1. Nice To Meld You (3:13)
  2. Hail To The Chief (0:51)
  3. I Gotta Beam Me (2:02)
  4. Scotty’s Tanked (1:39)
  5. What’s With You? (2:12)
  6. Either Way, Someone’s Going Down (2:43)
  7. Trekking Down The Narada (2:32)
  8. Run And Shoot Offense (2:02)
  9. Does It Still McFly? (2:02)
  10. Nero Death Experience (5:38)
  11. Nero Fiddles, Narada Burns (2:29)
  12. Black Holes Have A Lot Of Pull (0:56)
  13. Back From Black (0:58)
  14. That New Car Smell (4:45)
  15. To Boldly Go (0:26)
  16. End Credits (9:11)

Released by: Varese Sarabande
Release date: 2010
Disc one total running time: 55:20
Disc two total running time: 43:39

InnerSpace – music by Jerry Goldsmith

Not exactly a major box office hit, 1987’s Innerspace was an odd mix of science fiction action and romantic comedy whose two halves never quite made for one satisfying whole. The ingredients all seemed to be there, including Joe Dante behind the camera, impressive FX work, and an all-star 1980s cast including Dennis Quaid, Martin Short and Meg Ryan, but somehow Innerspace didn’t catch on. It also featured a score by the legendary Jerry Goldsmith, which may well be the one thing about the movie that does have staying power. La-La Land Records issued a nicely remastered edition on CD at the end of 2009, along with their usual generous helping of detailed liner notes that proclaim the musical score (but not the movie) of Innerspace to be a virtual sequel to Goldsmith’s music from Star Trek: The Motion Picture.

Is this true? Well, yes and no. Goldsmith does an admirable job of conjuring up that same sense of wonder that he employed in Trek, though of course the arrangement is different, and the one thing that would’ve made a strong connection between the two films’ music – the blaster beam instrument – is a no-show for Innerspace. But seeing that Goldsmith was writing and arranging music for Innerspace and not another Star Trek flick, that’s completely understandable: the literature trying to convince us that Trek fans will eat this up is, perhaps, overstating the case.

Taking up much more of the proceedings are a wistful Americana-flavored theme for Quaid’s washed-up (and washed-out) astronaut, and a comically threatening, twangy motif for the bizarre enemy agent played (complete with evil foreign accent) by Robert Picardo. Action cues begin commanding some of the action about 1/3 of the way though, and while they’re perfectly decent action music, they’re nothing groundbreaking by Goldsmith’s standards (but that still means it’s better than most movie action music).

3 out of 4Innerspace is a more than competent movie score – Jerry Goldsmith never quite seemed to reach the stage where he was phoning it in, which is why fans go nuts when a score like Innerspace is released. If there’s a disservice here, it may well be the marketing hoopla comparing it to some of the composer’s even better works.

Order this CD

  1. Main Title (2:16)
  2. Take Him Home / Broken Toe (1:48)
  3. Tell Me About It (2:17)
  4. State of the Art / The Charge (6:55)
  5. Gas Attack (4:53)
  6. The Injection (2:12)
  7. The Hand / Fat Cells (1:01)
  8. Woman In Red (2:36)
  9. What Is It? (1:08)
  10. Optic Nerves (3:59)
  11. Take It Easy / It’s True (2:18)
  12. No Messenger (2:42)
  13. No Pain (1:57)
  14. User Friendly (1:39)
  15. A Close Look (1:34)
  16. The Cowboy (0:59)
  17. Hold It (3:41)
  18. For the Money / A New Man (3:40)
  19. How Do I Look? / Save It (1:45)
  20. Transformed (3:01)
  21. Retransformed (2:52)
  22. Where Am I? (2:12)
  23. The Womb (4:38)
  24. Fair Exchange (2:05)
  25. Stop The Car (5:59)
  26. Out Of The Pod (3:55)
  27. Disengage (3:00)
  28. No Red Lights (1:18)

Released by: La-La Land Records
Release date: 2009
Total running time: 78:20

Little Boots – Hands

This might seem a bit “young” for my usual tastes, but Little Boots is an interesting act with a sound that makes it clear that someone – whether it’s the artist or her producer(s) – has a fixation on an ’80s-style sound that I used to know as “new wave.” (These days I think they call it electropop; I missed the memo when this change happened.) This sound has won Little Boots a consistent showing in the charts in the UK and Europe over the past several months, and it’s a sound that’s usually backed up by some pretty catchy songwriting.

And how much credibility does Little Boots have with the (formerly) new wave crowd? Enough that her debut album features a duet with Human League frontman Philip Oakey – if that’s not an old-school new wave stamp of approval, then I’m not sure there is one. It’s also one of the highlights of the entire album, but not the only one by far. The dance-ready single “Remedy” is slightly more modern, but still puts wavering, wobbly ’80s analog-style synths front and center in the mix. “Stuck On Repeat” also smacks of a strong ’80s new wave influence, with a pulsating, repeating synth behind the entire song. It’s meant to be dance music, of course, but it stands up quite well musically.

3 out of 4“Symmetry” and “Stuck On Repeat” are just two of the standouts; others include “Earthquake”, “Click” and “Hearts Collide”. The first single, “New In Town”, doesn’t strike me as having the staying power of some of the above, but it was popular enough in the UK. At any rate, enough of Hands is strong enough that Little Boots is an act that merits watching in the future.

Order this CD

  1. New In Town (3:19)
  2. Earthquake (4:04)
  3. Stuck On Repeat (3:21)
  4. Click (3:16)
  5. Remedy (3:19)
  6. Meddle (3:16)
  7. Ghost (3:02)
  8. Mathematics (3:25)
  9. Symmetry (4:30)
  10. Discuss it!Tune Into My Heart (3:41)
  11. Hearts Collide (3:45)
  12. No Brakes (4:01)

Released by: Atlantic
Release date: 2009
Total running time: 42:59

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Kelly Groucutt – Kelly

Kelly Groucutt - KellyReleased on vinyl in 1982, and then reprinted on CD circa 2001 as a fan club exclusive and again as a general release in 2009, Kelly is the sole solo outing for the late Kelly Groucutt, whose musical claim to fame was as the bassist and soaring backup vocalist for ELO and, later, ELO Part II / The Orchestra. Groucutt had the help of most of his bandmates in recording his album, with the most conspicuous holdout being Jeff Lynne himself; perhaps not surprisingly, the entire album is very much in the style of ELO’s halcyon days (namely the mid/late 1970s). Groucutt was already an integral part of the ELO sound from that period, and Kelly can almost be seen – or heard – as an audition for the opportunity to take an even wider role creatively within the group.

As always, Groucutt’s vocal range is beyond merely impressive, and his singing voice doesn’t thin out when he edges toward baritone or falsetto. Having seen him play live with ELO Part II, I can vouch for the fact that the man could, quite simply, belt out a tune – and with his vocal abilities, he could belt out nearly any tune you can think of. But Kelly also shows off his songwriting abilities, and it’s quite evident that Groucutt was paying very very close attention to how songs were put together in ELO’s signature style; much of this album could fit in seamlessly on nearly any ELO album between Face The Music and Time (the ELO album whose release immediately preceded Kelly).

Songs like “Am I A Dreamer” (presented here in both demo and finished recordings) and “Sea Of Dreams” seem like they could’ve been strong candidates to become classic ELO songs. Groucutt also clearly shared Lynne’s love of classic ’50s rock – his background vocal arrangements are very reminiscent of Lynne’s work, but they also have just a hint of doo-wop to them. “Midnight Train” and “Black Hearted Woman” show ’70s roots, but the former especially highlights the unique rapport between Groucutt and ELO violinist Mik Kaminski, who provides hoedown-worthy fiddle work as well as coaxing “train whistle” effects out of his violin. The two would later form OrKestra, which would later be absorbed by ELO Part II.

There is, however, one huge problem with the re-release of Kelly that’s distressing: the sound quality. I’m assuming that the original vinyl release of Kelly didn’t sound like this does: the CD winds up sounding like it was mastered from a very well-worn cassette tape. Disappointingly, most of the songs sound tinny and hollow, with almost no bass frequencies… which is almost a slap in the face to the memory of someone who was, in fact, a bass player. Actually, I have a confession to make: back in the heady days of Napster, before this album was re-released, I downloaded several individual tracks from someone’s vinyl-to-CD-R copy of Kelly because I’d heard of the album but had never actually heard any of the songs… and to be brutally honest, the commercially-released CD sounds like it was mastered from those very badly-recorded, lo-fi MP3 tracks.

I give high marks for the music: Kelly Groucutt was willing, ready, and capable of taking a more direct creative role in the future of ELO, but – again, to be brutally honest – by this time Jeff Lynne had almost certainly realized that his future fortunes rested with holding the publishing rights to ELO’s output, and therefore wasn’t about to let go of the “central / sole songwriter” role. Which is unfortunate, because his sideman was clearly ready to help out. (I have to say that this also makes me reconsider Lynne’s more recent complaints, in some of the remastered ELO catalog’s liner notes, about bearing the heavy creative burden of the group alone; having heard Kelly, I call BS. More creative energy was there if he had only permitted it. I’m not going to say that a Lynne/Groucutt songwriting partnership would’ve 3 out of 4been another Lennon/McCartney, but it might have kept ELO on track or extended the group’s life span.)

Now I’d just like to see someone honor Mr. Groucutt’s memory by carrying out a proper remastering of his one solo album. These are great songs – I’d just like to hear them in a sound quality that befits the quality of the songwriting and performance on display here. (Feel free to do the same with OrKestra’s unreleased-on-CD album too, while you’re at it.)

Order this CD

  1. Am I A Dreamer (3:45)
  2. Oh Little Darling (3:29)
  3. Dear Mama (4:33)
  4. You Don’t Need To Hold Me Tight (3:56)
  5. Black Hearted Woman (3:27)
  6. Midnight Train (3:52)
  7. Don’t Wanna Hear That Song Again (3:12)
  8. Anything Goes With Me (3:33)
  9. Can’t Stand The Morning (3:11)
  10. Old Rock & Roller (3:48)
  11. You’ve Been Telling Lies (3:10)
  12. Sea Of Dreams (4:47)
  13. I’ll Cry For You Tonight (4:06)
  14. Am I A Dreamer (3:42)

Released by: Renaissance
Release date: 1982 / reissued in 2009
Total running time: 52:31

Space 1999: Year Two – music by Derek Wadsworth

Space 1999: Volume TwoThe often unfairly derided ’70s sci-fi melodrama Space: 1999 is a classic example of a TV show whose renewal came at the expense of a lot of creative interference. Wanting to ramp up the action and romance in an effort to boost ratings, please the advertisers and justify the expense of making the thing in the first place, ITV demanded a major overhaul of the show. Even the top-line actors weren’t immune: Barry Morse vanished without a trace or even so much as a later mention in dialogue. The carefully-designed, muted-color costumes were covered by new, more colorful jackets. And the show was now being run by none other than Fred Freiberger, a producer whom many credited with making the original Star Trek‘s third season its last.

Oh, and the music changed a bit too. Space: 1999’s first season relied on a library of new compositions by longtime Gerry Anderson collaborator Barry Gray, as well as the music Gray had composed for other Anderson productions such as UFO, supplemented by occasional commercial music library tracks. Gray declined to take part in Space: 1999’s second season, leaving the composer job up in the air. While commercial library tracks would still be used, the new theme tune and all incidental music custom-made for the show was composed by Derek Wadsworth – and like the revised costumes, the new score was as colorful and shiny as the first season’s was dour.

Not that this will rate as an improvement for every listener. Fans of ’70s TV scoring – which often relied on the disco style prevalant on the radio at the same time – will find much to enjoy here, while those who preferred Barry Gray’s outstanding but bleak season one score may be left scratching their heads. Wadsworth’s music seems to be based largely on the arrangement and production style of Gamble & Huff’s “Philly soul” sound – it’s classic early disco, and in places it’s really good listening on its own, especially the track “Escape From Psychon”, from which excerpts were endlessly reused in moments of tension throughout the season. Whether or not modern sensibilities will decree this as suitable music for an ostensibly serious SF series is another matter, though it’s also worth noting that in its second year, Space: 1999 was seriously descending into the “camp” category – and then toward the end of that season, any hope of the show recovering its reputation was literally blown away by a little movie called Star Wars.

Culled from a limited-edition 2-CD set (now hopelessly rare and excruciatingly expensive) originally issued by the Gerry Anderson fan club Fanderson, this general release from Silva Screen concentrates entirely on Wadsworth’s work, which is good in that there’s a stylistic unity to the whole thing. Silva’s first season soundtrack included some library tracks, but that isn’t the case here. Again, I’m grateful to Silva for bringing this music to those of us who aren’t willing to skip a house payment to buy a soundtrack CD.

3 out of 4Space: 1999 Year Two is good listening if you have a stomach for 1970s musical styles. Even if the arrangements were very 1970s, Wadsworth’s dramatic instincts were fairly sharp, and the lush arrangements for orchestra-with-some-rock/disco-elements indicated that the show’s producers were still spending money on the music. For those who can’t conceive of this being the sound of a TV science fiction series, Space: 1999 Year Two will either be an education or it’ll drive you crazy.

Order this CD

  1. Space 1999 Year 2 Main Theme (0:49)
  2. Strange Light (3:00)
  3. Rendezvous In Space (5:53)
  4. Escape From Psychon (9:14)
  5. We’re All Aliens (1:57)
  6. A Swarm Of Space Bees (2:32)
  7. The First Capsule (3:06)
  8. The Exiles Emerge (4:40)
  9. Return To Golos (7:23)
  10. Make Me A Pretty Nose (1:10)
  11. Garden Of Vega (2:37)
  12. The Strongest Passion (2:35)
  13. Seduction (5:26)
  14. Alpha Ahoy (1:54)
  15. The Emporium (4:13)
  16. The Abduction Of Maya (4:02)
  17. Sore Loser (1:51)
  18. Light Years Away (5:28)
  19. Space Animal On The Loose (4:21)
  20. Showdown At Copernicus (7:06)
  21. Space 1999 Year 2 End Titles (0:32)

Released by: Silva Screen
Release date: 2009
Total running time: 79:49

Space Battleship Yamato: Rebirth Chapter

Space Battleship Yamato: Rebirth ChapterSometimes I review soundtracks without having seen the movies first. Sometimes this happens because the soundtrack is part of a merchandising blitz ahead of the movie release (see: every Star Wars soundtrack over the past decade-and-then-some). Sometimes I just haven’t gotten around to seeing the movie yet, or the soundtrack’s been sent to me by the label ahead of the movie’s release. But this is a first: I haven’t seen the movie because it hasn’t been translated into my language yet. (For the record, I’ll take subs, dubs or both.) We’re talking about the first half of the surprising resuscitation of the Space Battleship Yamato franchise, better known in the English-speaking world as Star Blazers.

This revival is two-fold: the first-ever live-action film based on the classic anime series is expected at the end of this year. The first animated continuation of the original series in over a decade was released at the end of 2009. To say that both are eagerly awaited is an understatement along the lines of “Those Gamilon planet bombs sure are reducing property values around here.” This soundtrack, of course, is from the recently-released (but apparently not very financially successful) Space Battleship Yamato: Fukkatsu Hen (Space Battleship Yamato: Rebirth Chapter). Clocking in at over two hours, the movie may have gained bad word of mouth by ending on a cliffhanger promising resolution in further movies… which, naturally, could be endangered by this film’s cool reception at the box office.

So much time has passed since the last movie in the series (1983’s Final Yamato) that there were numerous impacts on the new film(s?), including the death of the original voice actor behind lead character Susumu Kodai and even the death of Hiroshi Miyagawa, the composer who created almost all of the original Yamato themes and scores. For Rebirth Chapter’s music, it was apparently decided to mix-and-match existing music from Miyagawa’s previous work (in the form of new arrangements with new bridging material by Naoto Otomo. If that’s not confusing enough, Final Yamato themes by the late Kentaro Henada are also referenced.

And then, if we aren’t already right on the edge of losing musical cohesion (though Otomo’s arrangements do wed the Yamato film and TV compositions quite nicely), roughly half of the soundtrack is taken up by selections from the classical canon. Perhaps the classical music is explained as a plot point of some kind in the movie, but simply as a listening experience, it’s disconcerting (ha!) to hear a thundering, hard-rock-with-orchestra remake of the original Yamato theme and then wind up with Beethoven and Grieg a few tracks later. As much as I love the new treatments of Miyagawa’s music, I really find myself wondering if a more cohesive end result couldn’t have been achieved by finding some new talent and allowing them the freedom to reference Miyagawa and Haneda – if they wanted to – among their own original work.

The highlights of the soundtrack are the first track – a gorgeous new recording of Miyagawa’s “The Universe Spreading To Infinity” theme (but not a significantly altered arrangement) – and especially track 6, “Yamato Hasshin”, which is the aforementioned rocked-out new version of the original Yamato theme, featuring J-pop band The Alfee. My favorite revived piece of Kentaro Haneda’s is “Fly-By Warp”.

3 out of 4It’s hard to really judge fairly the odd balance of classical music and more-recent-but-still-recycled Yamato music without knowing what role the classical pieces may (or may not) play in the narrative. Someone’ll have to translate it for the western world so I can make that determination. But purely as a listening experience, Space Battleship Yamato: Rebirth Chapter’s soundtrack is pleasant enough, but never really establishes a feel that’s truly all its own.

Order this CD

  1. Mugen Ni Hirogaru Uchuu (Miyagawa) (1:42)
  2. Cascade Black Hall (Mahler) (2:39)
  3. Kodai No Kikan (Miyagawa) (5:55)
  4. Wakamono Tachi (Miyagawa) (1:43)
  5. Hyoukai Ni Nemuru (Miyagawa) (3:13)
  6. Yamato Hasshin (Miyagawa / featuring The Alfee) (5:45)
  7. Senka No Uzu He (Kousuke Yamashita) (3:50)
  8. Fly-By Warp (Haneda) (2:47)
  9. Amar (Tchaikovsky) (5:35)
  10. Golui (Beethoven) (5:33)
  11. Joou Ilya (Chopin) (5:27)
  12. Mirai Heno Tatakai (Beethoven) (5:46)
  13. Sus Dai Yousai (Grieg) (5:46)
  14. “Fukkatsu Hen” No Tame No Symphony (Haneda) (4:17)
  15. Metzler (Kousuke Yamashita) (2:45)
  16. Kono Ai Wo Sasagete (featuring The Alfee) (6:00)

Released by: EMI Japan
Release date: 2009
Total running time: 65:32