Something tells me when Chris Carter pitched the idea of two FBI agents pursuing cases about the paranormal, one a believer, the other a skeptic, I doubt that Fox saw it lasting more than a season, let alone 9 and 2 major motion pictures.

The X-Files exploded onto the small screen in the Fall of 1993 and instantly became a hit. The show was always unique, creepy, scary, and cool. At the time, it was “The Water Cooler” show. The X-Files gave a megaphone to geeks everywhere who watch the skies in hopes that we are not alone in the universe. I personally remember my first “X-File” episode, “Little Green Men.” It freaked the living daylights out of me and I was hooked. I stayed a loyal viewer till the end and I was sad to see it go, and even though I felt the show had long out stayed its welcome, there was something somber about watching Mulder and Scully fade into the sunset in the final episode.

For me, one of the big factors that would freak me out in addition to the visuals, was of course, Mark Snow’s atmospheric and down right creepy score. Snow, who at the time, had been scoring TV shows since the 1970s, was no stranger to the small screen. Every episode, Snow would develop and create little themes, some haunting and beautiful like “Scully’s Theme” in Season 8, or some treacherous, like Eugene Tooms in Season 1. Like anything in the show, the music made the world real. It made Mulder and Scully’s work jump off the screen and into our living rooms with its sonic beauty and horror, and while the show’s score showed a dynamic sandbox of abstract themes, motifs and electronica, the score for the film is very much restrained.

In “Threnody In X”, Snow’s theme becomes an epic piece of orchestral writing. I think the cue gets the listener excited for the experience to come in a big way. The sonic power of the orchestra lifts Snow’s original synth theme and brings it to a new level. I like how Snow doesn’t depend on the theme to move the score along. The great thing about the theme is that the way it’s written you really can’t, so it forces the composer to think of new ways to move the picture along. It only shows up a few times in Snow’s score. It’s played through once in “Plague,” and hints can be heard in “Stung Kissing/Cargo Hold” and “Corn Copters.” Also during the movie, the “Crossroads” cue is different than on the album, and it contains part of the “Threnody” theme.

I think to the casual viewer of the show, this music would be like nails on a chock board, albeit a handful of more palatable, more traditional pieces.  But for fans, Snow not only delivers his trademark eeriness but throws in some splashes of thematic boldness too. Cues like “Goop” and “Soda Pop” establish some early orchestral flares and orchestrations that we’ll hear later on. In addition to those, a bit of thematic material is heard that is slightly expanded on later. The honest truth of this score is that it’s all normal for your typical X-Files episode, but taken a few steps further. Even though Chris Carter and director Rob Bowman wanted a very minimalist approach to the music, Snow was able to introduce some really great moments with the orchestra. Cues like “Already Dead,” “Come and Gone” and “Trust No One” Snow gives us classic sounds from the series but with big orchestral treatments, while cues like “Cave Base” and “Crossroads” show us a more thematically sweeping arc.

A few cues that always stand out with me still 10 years later are “Stung Kissing/Cargo Hold” and “Facts.” I think both of these cues, in addition to the few mentioned above represent what Snow could have done if Carter and Bowman would have really let him go on thematic development… as much as an X-Files movie could handle that is.  Snow gives what I think is some of the best music of his carrier, aside from his work on Smallville. Of course, his music for The X-Files show and movies will always be a stand out for fans.

As a fan of the show and the music, I guess I’m biased. I think 10 years after this score was recorded and 6 years after the airing of “The Truth,” it still holds up. It still manages to give me goosebumps at all the right times, and I think that’s what really takes a mediocre score to good, or a good score to great.  Personally, I’m really excited to hear what Snow’s cooked up for “I Want To Believe.”

Rating: 4/5
Favorite Track: 1

You know, I think in some respects, the Pirates franchise was a fluke. At the time of its conception, the last big pirate movie was Cutthroat Island. While sporting an amazing score from John Debney, the movie was ultimately a box office failure and is generally considered as big of a flop as Heaven’s Gate. So when Disney said they were going to make a movie based on the Pirates of the Caribbean, which, until that point had strictly been an old, nostalgic, but popular theme park ride, everyone kind of scratched their heads. Enter Jerry Bruckheimer, director Gore Verbinski, and writers Ted Elliott and Terry Rossio, the ending result was The Curse of the Black Pearl. And then it went on to make insane amounts of money, shocking everyone (including Disney) and spawned two sequels: Dead Man’s Chest and At World’s End.

With At World’s End, Zimmer returns to finish the swashbuckling musical journey that began in The Curse of the Black Pearl. In my opinion, he and his team deliver what may be the most satisfying of the three scores. While some of the themes like “Jack’s Theme”, “Davy Jones’ Theme” and “He’s A Pirate” make some appearances in either full force or subtle variation, Hans Zimmer has brought a whole new gambit of musical material to this final chapter.

The album opens with “Hoist The Colours.” This rousing pirate jig is one of the new main themes of the movie. It makes various appearances throughout the score and is a soaring piece of music that’s used to represent unity between the Pirate Clans as they make their last stand for survival at the edge of the world.

Zimmer’s next big, new, notable thematic addition is what he’s referred to in interviews as “The Love Theme”. Crazy, I know. It’s big, it’s majestic, and it is everything you’d expect from something regarded so boldly as “The Love Theme”. Brace yourself for it, because it rears its big, bold, beautiful head in the track “At Wit’s End”. Like sighting a brachiosaurus in the middle of a theme park, “The Love Theme” really captures the sense of what’s going on with this movie. The theme not only symbolizes the distressed love-struggle between Will and Elizabeth but, also somehow ties into the relationships between all of the important “good guys”. The theme also miraculously manages to double as an action set piece as heard in the cue “Up Is Down” (whoodathunkit?!). Maestro Zimmer also tips his cowboy hat to much-loved-by-MV-but-farthest-thing-from-MV composer Ennio Morricone in the track “Parlay.” Bottom line, “The Love Theme” proves itself to be versatile and functional, as I’m sure it is also immensely effective in the context of the film.

For those craving themes from the previous two adventures, next up Zimmer does some really fun things with “Jack’s Theme” in “Multiple Jacks”. Using the expanded motif we heard in Dead Man’s Chest but with some fun, clunky, bouncy, almost comedic instrumentation mixed with some pretty creepy, atmospheric orchestration, this is probably one of the most interesting Zimmer cues I’ve ever heard. Jack’s back…though I can only imagine what the music is actually implying. We also hear a bit of “Davy Jones’s Theme” in “At Wit’s End”.

I know, I know, action music! There’s great stuff is toward the end of the album. “What Shall We Die For?” and “I Don’t Think Now Is The Best Time” are two connecting tracks that total up to approximately 12 minutes of really fun action writing. This is Zimmer doing what he does best, bringing an array of themes online and ready for battle. Most if not all the themes from all three films make it in here… along with some substantial choral work (a particularly rousing rendition of “Hoist the Colours”).

The last two tracks, “One Day” and “Drink Up Me Hearties” are two of my personal favorites. Again encompassing, themes from all three films and intermixing them into this grand send off for the series, it’s just fantastic. In “One Day,” Zimmer makes good if not predictable re-use of orchestrational detailing found in both Dead Man’s Chest and The Da Vinci Code. Refer to the respective cues “Hello Beastie” and CheValiers De Sangreal”. He just levels the music and themes on top of each other and it builds and swells, just fantastic. He might as well be doing his victory dance down on the football field, after making a touchdown. Just beautiful. That hand-off was terrific, Randy. Err… Now a word from our sponsors!

At World’s End really is the end of a musical journey for Capt. Jack and Co. (until they do spin-offs). The ground work that was laid in Curse of the Black Pearl and Dead Man’s Chest come to an epic finish with this score. Zimmer not only gives us three scores of pirate swashbuckling action music, he also manages to update a style of writing that genre composers Steiner and Korngold gave birth to. Either you’ll feel it bastardizes a legacy or bumps it up a few notches. I’ll leave that up to you!

Bottom line, this is a Zimmer fan’s score album of the year, its good fun and of course a must listen for any Pirate scallywag.

Yo Ho and Drink Up Me Hearties!

Rating: 4.5/5
Favorite Track: 13

When it was announced that director Alfonso Cuarón would direct Azkaban many in film score community wondered if Patrick Doyle (who had worked with Cuarón on Great Expectations) would come with him. As we all know, Doyle did not. However, when it was announced that Mike Newell was on board to helm Goblet many again wondered if a changing of the composer was drawing near. A few months after photography began, it was announced that indeed, John Williams had stepped down for Goblet and Patrick Doyle (long time collaborator with Newell) had taken over the baton. Again, Williams’ purists howled, but many took a sigh of relief.

For me personally, it was something exciting. As much as I loved what Williams’ developed with his first three scores, I felt a change was needed as the story became darker, older and more mature. While I know Williams’ could have written such music, I feel that Harry’s world can belong to anyone with the musical vision to support its needs.

When I first heard Doyle’s score, I really didn’t know what to think. I needed a few days to really sit back and try to dissect what he was trying to accomplish. His music for this newest imagining is nothing short of totally original. I think his music is a perfect fit for the story of Goblet of Fire. It’s grown up and interestingly (based on the contents of the album), does not depend on a strong thematic through-line unlike the previous three films. The book is dark, and so is the score.  I think Doyle’s music completely reflects the source material, and if the music is any indication, it will work wonderfully with the film.

Kicking off with some of the small thematic material I found. In “The Dark Mark.” We hear a new theme for Voldemort. This theme is also found in the finale cue “Voldemort.” We also have a new theme for Harry. Found in small parts through out the score, the theme is somber, but at the same time grand and uplifting. Found in various arrangements in “Harry in Winter,” “Death of Cedric,” as well as the epic closing cues, “Voldemort” and “Another Year Ends.”

What I find really refreshing about this score is its lack of borrowed material from the other scores. Williams’ “Hegwig’s Theme” is only used I think twice in the music on the disc, the rest is all Doyle. The score ranges from epic action cues like “Golden Egg,” to grand and majestic pieces like “Neville’s Waltz,” dark music as heard in “Voldemort” and sad, tender music as heard in “Death of Cedric.” Overall, the music on the entire disc is great, and while the previously mentioned lack of thematic through-line is all but heavily apparent, however after a few listens, Patrick Doyle makes it easy to realize that themes aren’t necessarily required to have a great score.  I think Doyle has created something very grand here, something totally original, yet true to Harry’s world. That’s something I find amazing. It doesn’t replace Williams’ original scores, but manages to stand next to it as an equal.

So, will Doyle return for David Yates and Order of the Phoenix?  Your guess is as good as mine, however I would not mind.  Pat, if you’re listening:  I’d like some thematic development with your next go-round, please!

A word about the songs by Jarvis Cocker that appear on this disc. They are supposedly for the Yule Ball sequence that appears in the middle of the film. They completely take you out of the ending mood of the disc. And the hard rock aspect of the tracks makes me hope they are very different in the film. I’d never imagine a Ball sequence with that kind of music, Potter or not.

Just some more words about the disc. The mastering is amazing. The recording by Nick Wollage is nothing short of phenomenal and I never need to mention how good the London Symphony is.

At any rate, as always, I’m off to enlist myself into the Order.

Cheers and Happy Listening!

Rating: 4 / 5
Favorite Track: 12

A few months after Chamber of Secrets premiered here State-side, the actors and crew were hard at work for the third (and darker) Harry Potter film, The Prisoner of Azkaban. Under the new direction of visual director Alfonso Cuarón, many in the film score community wondered if he would be given the green light to bring on a different composer and some speculated Patrick Doyle who had worked with Cuarón on Warner’s A Little Princess and Great Expectations would be his choice. However that did not come to pass and it was learned last year that John Williams would once again be taking the podium for scoring duties however this time without the assistance of composer William Ross.

Truthfully, I really didn’t know what to expect out of this disc. In all honesty, I mean it’s the third time out for Williams on the Potter series and while he didn’t do most of Chamber he is totally back in force with Azkaban and much to my surprise and delight, the music has grown just like the kids in the film. This score is dark and while it has elements of the older scores, this is defiantly a more powerful score.

The disc kicks off with “Hedwig’s Theme” in the cue, “Lumos.” While not as sweeping as what Ross did in Chamber, the cue does suggest a certain expectation and while it might be subconscious in most audience members, the cue is setting you up for an even darker film than the last one.

I was pleased to see that they have kept the Aunt Marge scene from the book, it really is wonderful, but I didn’t expect it to be a full on waltz! The cue is great, totally giving the impression that the scene is one big dance (and on some level it is.) The cue is light with lots of string work with some brass coming toward the middle and end.

The Knight Bus is the wizarding world’s ultra taxi service and the cue is a jazzy, upbeat, all over the place, non-stop, rip rearing good time. Layered with many brass instruments, the cue builds and builds and comes to a complete and utter stop (much like in the film). The cue is fun and was totally unexpected; I think Williams had fun writing it.

Finally, all those “Something Wicked This Way Comes” fans can rejoice. Here it is the full song and new theme in its entirety. The cue, “Double Trouble” is something that sounds out of the renaissance. It sounds old and is very sweeping and shows up again in other parts of the score. The cue is fun and helps to set the tone for the darker music ahead…something this way comes indeed…

Next up is “Buckbeak’s Flight,” Continuing with the Animal Catalyst theory, it opens with a ton of drums at thundering speed that sounds really cool. Here emerges one of the new themes found in Buckbeak the Hippogriff. The theme is sweeping and almost tragic sounding, it does never the less blows anything that Fawkes’ the Phoenix had going for him. While Fawkes’ theme is good Williams, Buckbeak is just better, more adult, helping the listener into the world of this more adult subject matter.

In “Window of the Part” we finally get a theme for Harry’s mom and dad, James and Lilly. The theme is very nice and sounds almost like something out the renaissance era. Dominated using wind instrumentation, the theme is really one of the great themes on this disc. Can’t wait to hear how Williams develops it through out the other films as I’m sure it will emerge in some form or another.

Hagrid finally gets a theme. Heard for the first time in “Hagrid the Professor,” the cue blends certain elements of wooden and western orchestration. The cue uses wooden instruments to give a throw back to Hagrid’s flute that he has in the first film. This track also contains themes used in “Double Trouble.”

I was glad to hear that the Quidditch music had been given an upgrade to the darker aspect of the film. The cue is dominated with strings and creates a great sense of urgency within the music. The cue hints at the theme established in “Double Trouble” a few times too, kind of fun. This cue has some really nice powerful choral work that brings in the London Voices. As the cue ends we hear a touch of ambience that is the signature of the Dementors.

“The Patronus Light” is a very nice cue, and one of my favorites. It uses a choral backing with very light instrument work. The cue gives theme to the power that Harry can produce and is a really gentle theme that appears again later in the disc.

“Forward to Time Past” is great. A ticking clock serves as the backdrop for the cue and is constantly there. The test of the orchestration and instrumentation are seduced around the clock thus letting the click be the center piece of the cue. The great string and little brass work infuse the cue with a sense of urgency.

The final three tracks, “The Dementors Converge,” “Finale” and “Mischief Managed” is basically just one big ending cue split into three sections. The “Dementors Converge” is a grandly epic cue with tons of great string and choral work. This cue gives us a grand building cue that totally delivers in the end. With its great choral work, “The Dementors Converge” is one of the highlights of the disc. “Finale” is interesting. Gone are the days of “The House Cup,” gone are the days of “Harry’s Wondrous World,” here we have a cue that continues from the cue before it and ramps up the work of Williams. The choral work here gives way to the “Patronus” theme in greater orchestral detail. These last cues are simply great and gives us even more reasons why we love the music of John Williams. The cue rounds out with “Harry’s Parents Theme.” This is how this movie should end.

Finally we come to the big finale for the film and the end credits roll (just think of a Star Wars ending, duh right?) All themes come into play here and make their finale grand exit stage left as the disc spins to a close. It’s nice to hear an edition of “Double Trouble” with out the lyrics, but don’t worry…we still get that during the end credits roll. The disc ends at with a tiny performance of “Hedwig’s Theme” as the disc comes to a stop at 68 minutes.

Like the rest of my Potter reviews, I haven’t talked about all the cues on the disc. All are fantastic and there are indeed some great ones that I haven’t talked about…I mean why ruin the surprise right? I’m sure that Williams fans already either have this disc on pre-order or own it as this review is being posted…and Potter fans…well, film music fan or not, defiantly pick this one up, it’s better than Sorcerer’s Stone and Chamber.

Just a little personal note (or rant) before I close, while William’s scores to all three films have been fantastic, this one being absolutely brilliant and totally refreshing, yet there is something to be said for allowing other composers to play in Harry’s sandbox. If the producers are changing up directors, cinematographers, editors, seriously, why not composers? Maybe that will change with Mike Newell, who is currently in pre-production on The Goblet of Fire set for a worldwide Winter 2005 release. But as of this review, it remains to be seen.

Anywho, enjoy the CD y’all, I’m off to save myself a seat for the Tri-Wizard Tournament…and bring on Goblet!

Rating: 5 / 5

It has been 5 years since director Bryan Singer and composer/editor John Ottman teamed up. The film back in 1998 was Apt Pupil and it produced a very dark film as well as an equally dark yet stunning score. After Pupil it was speculated that Ottman would return to his usual post of editor and composer for the first X-Men film. However due to Ottman’s tied up schedule with directing, editing and scoring his first feature, Urban Legends: Final Cut he was unable to be attached to X-Men. Composer Michael Kaman was called in to score the film. Personally I was and still am not really, a fan of Kaman’s score to the film and I was very happy to hear that Ottman was coming back to score and edit X2.

In being realistic, this is really Ottman’s first big action film. Most of his other films, like Suspects, Apt Pupil, Lake Placid, and Incognito were primarily suspense films, with X2 it really gives him a chance to spread his wings and expand his musical palette with a good old fashioned big effects blockbuster of an action film. Personally I think he delivered. The score works especially well in the film. Oh god did the score rock! The CD holds up but I think it will mean more to you if you have seen the film.

The disc by Superb Records comes with a very generous release of 60 minutes worth of music. I’m going to go through the disc and pick out the cues I like, because a review of every cue would be a very long review. But just so everyone knows, every track here is good.

The disc opens with “Suite from X2.” The suite employs the X2 main title, which, ironically sounds somewhat like Kaman’s title. I think it’s a nice touch by Ottman to connect the films together musically, if only for the main title, it’s always a good thing. The main title it’s self is very loud and bombastic, a solid piece of action music. The track runs a good seven minutes in length and carries with it all of the themes and some of the textures used thought the score. The track even introduces us to a choir! I love Ottman choral stuff.

Next on the list is “Storm’s Perfect Storm” a very cool track that uses a choir with some heavy brass and light string backing. Ottman’s string work is great here; a nice piece of string action music is always a good thing. The track ends with a nice long choral fade out piece.

“Sneaky Mystique” is a very interesting track using a lone female vocal to accent the loads of strong string work. The track beings sounding like something out of Suspects, then the main title is heard and we go into some brass and a bit of drums, then slides into the string work with the long vocal, very Cruel Intentions like on the vocal too. (I’d actually call that vocal “Mystique’s New Theme.”) The music begins to pick up then, with the brass and now choir coming into the mix. The cue becomes very action oriented then fades out using the same lone female vocal.

“Cerebro” brings in some deep bass in the form of cellos. The track is very light and is a nice change of pace for the moment. Soft string and brass are played throughout the cue with a very light backing of a choral element. The track is peaceful and somber. The cue is also very effective in the film too.

Aaahh, the “Mansion Attack.” This sequence was made very popular in the teaser trailer that Ottman edited for Comic Con and runs a nice 7 minutes long. The score here is very action oriented with a heavy brass backing. The cue makes a distant reference to the main title and this cue really kicks. It’s a very high octane track with loads of good brass and string work. All action all the time. The tone of the track really adds a lot. You can tell by the mixture of music the emotion of the characters. On one hand the track is suspenseful and action packed (our heroes) yet on the other it has its more emotional moments (the kids in the scene). The cue functions to serve both parties in the scene, always a good thing. It doesn’t blast you with one emotion but walks the tightrope trying to give you both. Once again, Ottman’s editing work comes into play during the film. A very exciting and well cut sequence, the music only adds to heighten the power on screen.

Many of the later tracks on the CD are for the most part solid action and a dash of emotional cues with choral work. A lot of these cues appear towards the end of Act 2 and most if not all of Act 3 of the film (from what I could tell). All of these cues carry with them great orchestral textures and make great use of the X2 theme and Ottman’s choral work. All the tracks really lend to themselves and in my opinion, all completely rock the house. I think I’ve yakked too much already but I’ll talk about the last cues anyway.

All the action and emotion come to a boiling point in “Goodbye.” The cue is in my view; one of the most powerful cues in the film. For a finale cue, Ottman really steps up to the plate and hits it out of the park. The track for the most part is dominated with brass work with strings thrown in for good use, Ottman’s choral work even makes yet another appearance (not that I’m complaining mind you.) The aggressive string work is apparent through out the cue and really gives an emotional impact, especially on screen. The music is grand yet somber. Toward the end of the cue, the choral steps up and delivers one final breath. Finally the cue ends with a very somber low string and brass work really highlighting the texture of the scene. The somberness of this cue also continues into “We’re Here to Stay.” That final cue rounds out the CD with a great performance of the X2 theme.

Here’s the short of it: The score rocks. If you’re an Ottman fan, then you should already have this. If you’re not really a fan then see the film at least. Personally, I thought “X2” really delivered in both film and score. I think the whole team on the scoring stage and mixing room totally stepped up to the plate and just hit this one out of the park.

A special thanks to Casey Stone for his great recording and mixing of the score. This score is truly a pleasure to listen to, thank you. Also to John Ottman, thanks for your great score and also a great cut of a film. You amazed me once again.

Bring on X3.

Rating 4 / 5
Favorite Track: 1

In the summer of 2002 it was learned that William Ross (My Dog Skip, Tuck Everlasting, and The Amazing Panda Adventure) was being brought on board to write the full score for Chamber while a busy John Williams wrote some new themes and some 40 minutes of material. This news was met with both skepticism and praise from the film score community. While William’s Purists were not happy about Ross “treading” on William’s ground, this reviewer would like to think that most people were optimistic about Ross coming in, after all, two heads are better then one right? The result of this partnership was something grand and powerful and that can easily be heard in the opening cue.

I’ve got to comment on the opening cue “Prologue: Book II and the Escape from the Dursleys.” While there is nothing musically new is in the cue it totally reintroduces the listener to “Harry’s World.” Beginning with “Hedwig’s Theme” then going on to “Harry’s Theme” The performances of the London Symphony are just great, this cue is great and gives the listener a look at what once was and then boom we’re off on another adventure.

For Chamber some new themes were crafted, while other themes from the first film were simply expanded. “Fawkes the Phoenix” and “Gilderoy Lockhart” are the some of the new themes written by Williams (What is it with Williams and using the animals of the wizard world to be the catalyst for his themes?) The theme for “Fawkes” is simply amazing. While sounds a little bit like something out of Episode II, the theme is epic in nature and conveys a sense of warmth and caring. The theme uses a lot of string work with some grand William’s swells, a true treasure of the album. Something I noticed about this CD verses the Sorcerer’s Stone the use of the themes like “Hedwig’s Theme” is greatly reduced. Granted that it worked great in the first film, but after a while it does get slightly annoying, a blasphemous thing to say, I know. The theme for “Gilderoy Lockhart” is perfect for the character. Harking back to William’s days at scoring Indiana Jones and the Last Crusade, Lockhart’s Theme borrows a few more than a few notes. But we can over look that…why you ask? Because it fits perfect! The music is playful but at the sometime sounding very devious and cunning, the same words that come to mind when describing Lockhart. Oh and we can’t forget he’s full of himself. Finally, “Dobby, the House Elf” introduces us to a player who is in three places in the film, ironically, the beginning, middle and end. His theme is mischievous and playful; the cue reminds me of something that would be used for a child. Yet as the cue rounds out the music becomes more thematic and epic.

The adapting of cues was a slightly interesting hear but it works so well. “Harry’s Theme” is used more in Chamber than in Sorcerer’s Stone something I really like. I think that theme is one of the strongest and beautiful themes I’ve heard in a few years. The theme comes up usually at the point where Harry (usually with Ron and Hermione) is being the hero of the scene, but in most cases, it goes by quick and is not dwelled upon. The theme plays and then other fresher music comes in to replace it, the use of themes from Sorcerer’s Stone is done, but with care. A fun example of this is the “Konchturn Alley” cue. The cue begins with a very sinister motif, almost like the Voldermort theme. As Harry gets out of Konchturn (a side road of Diagon Alley) the music changes to “Hedwig’s Theme” then into the theme for “Diagon Alley” but that theme is played very softly and not as it was in its original cue, a nice touch I thought, finally, the music ends on “Harry’s Theme” with a slight reworking of course.

More themes that are adapted are the “Ghost” theme for Moaning Myrtle and one of Voldermort’s Theme’s is expanded for “Tom Riddle.” Fans of the “Forbidden Forest” cues will be happy to know it is here on the CD. It’s used in great fashion for the “Meeting Aragog” sequence, which also takes place in the Forest. Funny how that works huh?

This is the part where you’re asking, where is the new stuff besides the themes? Well, the truth is, the whole score is brand new, with new themes and everything. But I’m only going to mention a few high points, the rest I’ll leave up to you to listen to. “The Spiders” is a fun and amazing track. It begins with something that could only be told as a spider crawling along the music (and no, not The X-Files way like Mark Snow does it). The music at the start of the cue is very stringy with almost no brass backing; only later does the brass come in. Soon after the 1:15 point, then the music really picks up, but you still feel like it’s restrained a little bit. As the chase for the spiders progresses so does the music. At about the 2:00 mark, the music really starts taking off with brass backing and the strings building and building. The music then comes to a quick slight pause at about 2:47 then quickly picks back up and goes through the end of the cue. Toward the end of the cue is where it really kick ass. After going to “Hedwig’s Theme” for a few notes, the brass comes back in full force and the strings deliver a great performance and that rounds out the cue.

“Dueling the Basilisk” is an amazing cue. Beginning with “Fawkes’ Theme” the cue kicks off into a high action track ride that never really lets up tell the tracks end. After a slight build up, the orchestra is off. Themes all come back for this final end game, mostly the track uses grand Williams’s style action music mixed in with themes like “Harry” and “Fawkes.” This cue also reminds me of something out of Episode II. Toward the middle of the cue, the chorus comes into play, and they add so much to the cue, I almost wish Williams/Ross had written more for them, they continue to come in and out as the cue finished.

The last part of the album comes together in an almost 10 minute suite. It begins with both light performances of both “Hedwig’s” and “Harry’s” Theme, and finally on CD in some from (it’s slightly adapted), “The House Cup” it plays out in the finale track “Reunion of Friends.” The track also rounds out the track with a slightly (but amazing) performance of “Leaving Hogwarts.” The CD itself finished with a slightly different (only in the end however) of “Harry’s Wondrous World.”

Well there you have it folks, just some of my thoughts on the score and highlights on the disc. As for my favorite track, there are a lot on the CD, but “Reunion of Friends” was a joy to hear. Thank You to Atlantic Records for providing us with another 70 minute CD. While there are cues missing from the disc, (examples that come to mind are “The Quidditch Match” and the Weasley house sequence called “The Borrow.”) this disc is still strong with out them, although another “Quidditch Cue” would have been nice.

Don’t get me wrong, the score to Sorcerer’s Stone was amazing and to Williams credit he gave Potter fans and film score fans alike a score that will be a high point in his carrier, at least I’d like to think so, but really, the combined talents of both Williams and Ross on Chamber resulted in a much more enjoyable experience than I ever imagined.

Bring on Azkaban!

Rating: 4.5 / 5
Favorite Track: 19