The Mummy: Original Motion Picture Soundtrack [Soundtrack]

the mummy: original motion picture soundtrack [soundtrack]

Editorial Reviews
Amazon.com
Thankfully, Jerry Goldsmith's contribution to The Mummy isn't all bombast. In fact, the composer behind such varied scores as The Omen, Chinatown, and Planet of the Apes throws a little bit of everything into The Mummy's sonic stew and turns in a semi-memorable score that never seems to slow down for too long. Goldsmith weds swatches of Middle Eastern-sounding melodies into the primarily synth-driven score to good effect on such tracks as "Giza Port" and "The Caravan." Frenetic string and percussive passages in "Night Borders" and "Mumia Attack" are plenty tense, but also feature otherworldy sci-fi sound effects, while on "Rebirth" the sounds of synth'd voices make for an ethereal effect over the orchestrations. Mummified this score isn't, but clichéd it, unfortunately, is. --Jason Verlinde

The Mummy: Original Motion Picture Soundtrack,Jerry Goldsmith,Decca,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores

The Mummy: Original Motion Picture Soundtrack [Soundtrack]

Average customer rating:

The Sand Volcano
Not bad
Excellent!!!
A great mix of middle eastern music
Wow!

The Mummy: Original Motion Picture Soundtrack
Jerry Goldsmith
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Mummy Returns: Original Motion Picture Soundtrack
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ASIN: B00000IWP1
Release Date: 1999-05-04

Tracks:

Imhotep
The Sarcophagus
Tauger Attack
Giza Port
Night Boarders
The Caravan
Camel Race
The Crypt
Mumia Attack
Discoveries
My Favorite Plague
Crowd Control
Rebirth
The Mummy
The Sand Volcano

Amazon.com

Thankfully, Jerry Goldsmith's contribution to The Mummy isn't all bombast. In fact, the composer behind such varied scores as The Omen, Chinatown, and Planet of the Apes throws a little bit of everything into The Mummy's sonic stew and turns in a semi-memorable score that never seems to slow down for too long. Goldsmith weds swatches of Middle Eastern-sounding melodies into the primarily synth-driven score to good effect on such tracks as "Giza Port" and "The Caravan." Frenetic string and percussive passages in "Night Borders" and "Mumia Attack" are plenty tense, but also feature otherworldy sci-fi sound effects, while on "Rebirth" the sounds of synth'd voices make for an ethereal effect over the orchestrations. Mummified this score isn't, but clichéd it, unfortunately, is. --Jason Verlinde

Customer Reviews:

The Sand Volcano.......2007-01-14

1999 was a busy year for the late great Goldsmith with him scoring three big movies that year. You'd think with such a busy schedule he'd switch into auto pilot and do what other successful composers do which is copy paste their music, but Goldsmith gave us a gem with each album and this one is no exception

The album starts off with "Imhotep" which starts off very mysteriously with an amazing use of strings and creepy vocal then switches to this loud bombastic piece for the amazing shot of old Egypt. I really love that piece because it captures the sense of awe that we the audience feel as we see this amazing shot in the movie. The choir at the 45 mark just gets me everytime I listen to it.

It's really hard to pick a highlight when it comes to a Goldsmith album but if I were forced to pick I'd probably go with "Imhotep", "Camel Race", "Rebirth" and "The Sand Volcano". The last 90 seconds of "Rebirth" is a blast to listen to because it's the great "Heroes March" theme in its full glory. I think it's for the scene when Rick fights the 12 Mummy Priests. "Camel Race" to me is the most fun track on the album. It's very light and makes you bop your head and tap your feet when you listen to it. "Sand Volcano" is the last piece on the album and what a fantastic piece it is. It starts in action mode then calms down. The best part of the track is the expansion of the love theme which accompanies the end credits to the movie. Goldsmith utilizes a solo trumpet towards the end that should explain to people why a lot of us think Goldsmith is the greatest film composer of all time.

Die hard fans of the late great master composer owe it to themselves to pick up this amazing soundtrack.

Not bad.......2006-04-27

This is a pretty solid action score, but it wasn't as exotic as I was expecting. You'd think a movie that takes place in Egypt and centers around Egyptian mythology would have something a little more cultural-sounding, but there's not much unique about it.

It still has a good energy and momentum to it though.

Excellent!!!.......2006-02-16

This soundtrack captures the majesty of the score. It is a soundtrack that you can listen to any time. A definite must buy.

A great mix of middle eastern music.......2005-06-19

I have to admit that it took me a while to finally force myself to buy this soundtrack. I had seen the movie several times before and it had always been one of my favorites. When I first heard the music, it ammediatly caught my attention. I loved how it had a blend of a middle eastern style along with your regular film music, I don't see this mixture very often, and I just really enjoyed listening to it. I have actually been to Egypt and I lived in Kuwait for 7 years, so the middle east will always remain special to me.

The orchestration is excellent. If you saw the film, you will recognize the music for sure. All of the music was composed by Jerry Goldsmith. I had never heard that name before but he must be pretty talented. The music can be loud and dynamic one minute, and soft and soothing the next. That was another blend that I enjoyed. I noticed that there was one main tune that was played throughout the soundtrack whic was supposed to be the love theme. That might, in many cases, be the theme of the soundtrack.

The reason why it took me so long to buy this was because in the back of my head I was thinking that I am going to listen to it once and then just put it away. That's the same thing that happened with the Raiders of the Lost Ark(it's been ages since I listened to that). That will always be the case with some albums, but not with this one.

Buy this album and take a journey into the middle east...

Wow!.......2005-03-19

First of all, I am a big fan of movie scores, "and mummy movies." This score totaly impresses me. It begins slowly, a lone stringed instrument with light choir and low strings. Bang! drums, brass, thumping sounds that you put with the amazing Cairo scene from the film. Following this is the tragic, yet sinister love theme for Imhotep and Anak Sanu Mun. Ending this track is the terrible murder of Pharoh by his bride to be, and his high priest.

The score only goes uphill after this phenominal opening, and impresses on every way possible.

A must have, the new never wears off!

The Mummy Returns: Original Motion Picture Soundtrack

Average customer rating:

Still good, but can it compare with the first?
OH YEAH
Wow!
Track by track comparison with film
One of Silvestri's finest.

The Mummy Returns: Original Motion Picture Soundtrack

Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005BJK3
Release Date: 2001-05-01

Tracks:

The Legend Of The Scorpion King
Scorpion Shoes
Imhotep Unearthed
Just An Oasis
Bracelet Awakens
Evy Kidnapped
Rick's Tattoo
Imhotep Reborn
My First Bus Ride
The Mushy Part
A Gift And A Curse
Medjai Commanders
Evy Remembers
Sandcastles
We're In Trouble
Pygmy Attack
Come Back Ivy
The Mummy Returns
Forever May Not Be Long Enough - Live

Amazon.com

Having begun life as a modest 1932 horror vehicle for the great Boris Karloff, the Mummy franchise went on to encompass a whole cycle of classic Universal fright flicks and, most recently, a big-budget, if equally popcorn-friendly, reincarnation laden with computer-generated effects. What with the success of Gladiator, The Mummy Returns also expanded its scope to include the Rock's Scorpion King and his legions, giving the saga a distinct sword 'n' sandal epic sweep in the bargain. Alan Silvestri's music echoes those concerns in a score that's one part galloping '40s throwback, with a dash of Stravinsky-lite, and heavy on the Zimmeresque Sturm und Drang. It's a far cry from Silvestri's mostly comedic canon, and a radical departure from The Mexican, its breezy, tongue-in-cheek predecessor. And if the sheer scale of the score's blazing brass, thundering tympani, crashing cymbals, and soaring choirs effectively disguise its paucity of memorable melodies and substance, they perfectly echo the thrill-ride intentions of the film itself. Live and über-producer Glen Ballard also contribute the obligatory pop end-title song, "Forever May Not Be Long Enough," a darkly urgent little ditty with suitably exotic production flourishes. --Jerry McCulley

Customer Reviews:

Still good, but can it compare with the first?.......2005-07-13

I loved the first soundtrack. The fast action music, the eerie Imhotep themes, the romatic love themes, they were all good. Yet, I felt a little disappointed when I bought this soundtrack. I tried to sit and listen to it, to remember the scenes and where each track fit it, but I found it was not quite on the same level as The Mummy soundtrack. It's still a good sountrack, of course, but I found it to be a bit lacking. Especially next to the first. In all, I'd recommend it, though.

OH YEAH.......2005-04-27

I really enjoyed this soundtrack.
It is one of the bestsoundtracks according to me.
I also enjoy these soundtracks:
Thunderbirds, Star Wars 1-6, Back to the Future 1-3, The Incredibles, and lots of John Williams music

overall this s a great soundtrack

Wow!.......2005-02-20

I love both the mummy and the mummy returns. This is a truely amazing score.

Track by track comparison with film.......2003-07-01

The tracks herein correspond to those on the Collector's Edition DVD - none have been 're-recorded to get a musically superior version', although some were chopped up for actual use in the film. I'll indicate which parts of the film correspond to each track, to help people decide for themselves what they'll be getting out of this CD.

My favorite is 'Sandcastles', followed by 'The Mummy Returns', and maybe the fight scene sequence from 'Evy Kidnapped'. Most of the other pieces chop and change a great deal to accommodate the visuals, and tend not to stick in my memory (and I've just listened to the lot, mind you).

"The Legend of the Scorpion King" opens as the Univeral Pictures sunrise logo comes up, beginning with a martial emphasis on brass and snare drums as the Scorpion King's mortal army goes into battle. The piece changes to a dirge-like theme as the beaten remnants of the Scorpion King's army are driven into the Ahm-Shere desert, then shifts back into a martial theme with deeper, darker tones after the Scorpion King makes his pact and returns with Anubis' army. The piece ends with the dissolve from ancient Egypt to the 1933 O'Connell expedition.

"Scorpion Shoes" opens with the standard stylized cacophony for a gross-out insect scene, which in this case is our *second* sight of the tomb's scorpions - beginning not with the O'Connells' entrance (they're not impressed), but with the thug's shock when he first encounters them. The piece changes its emotional tone as it follows the cuts back and forth between the O'Connells in the bracelet's chamber to the lighter moments as Alex torments the invaders with his slingshot. (The piece ends on Alex's line, 'Mom, Dad - I can explain everything.')

"Imhotep Unearthed" doesn't appear to have been completely included in the film, but it's hard to tell given the volume of the music beneath the dialogue track. Its first flourish corresponds with the reappearance of the scarabs, then tracks the film through Imhotep's rediscovery until just after the cut to the O'Connells back in London. (The last dramatic flourishes of the piece weren't presented in musical sequence, but cut in with the bad guys' arrival at O'Connell manor, after 'Just an Oasis'.)

"Just an Oasis" opens as Evy speaks that line to Rick, working on persuading him to hunt for Ahm-Shere. The piece is built around the flute solo I think of as the romantic Evy/Rick theme.

"Bracelet Awakens" - creepy opening, building into very dramatic sweeping crescendo to accompany Alex's first vision of the bracelet's holographic 'map'.

"Evy Kidnapped" begins as Lok-nah first confronts Evy and Alex, through the subsequent fight scene, ending as Rick and company pull up to the Museum.

"Rick's Tattoo" begins just as Ardath sees it and explains its meaning, flowing through the procession sequences inside the museum as the Book of the Dead is deployed once again. (The piece isn't continuous on the film's own soundtrack, given the cuts to Ardath and Rick.) It flows into the next track, "Imhotep Reborn", through the romantic interlude as Imhotep meets his reincarnated princess again, ending with the bad guys realizing where the bracelet must be.

"My First Bus Ride" begins as Imhotep is presented with his gift - the chance to burn Evy alive in the British Museum; the battle sequences reprise a theme similar to that of the 'Kidnap' battle theme, continuing as our heroes flee the mummies via the double-decker bus. The sequence ends just as Ardath speaks the title line about this having been his first bus ride.

"The Mushy Part" picks up just after 'Bus Ride', opening with the Evy/Rick romantic theme, abruptly changing tone as Imhotep's thugs grab Alex, continuing through Imhotep's romantic theme with his first flashback, ending only with Rick's 'magic carpet' line.

"A Gift and a Curse" - title comes from Imhotep's line explaining the dangers of the bracelet to Alex, but beginning earlier just as the curator hands Anck the Book of the Dead, asking her to keep it with her always. The piece runs through the three stooges' meeting with Imhotep, ending just as Rick and company meet with Izzy at Magic Carpet Airways.

"Medjai Commanders" occurs in the film back-to-front, the second half played as the commanders first meet with Ardath outside Izzy's place, the first half played over the opening dirigible sequences.

"Evy Remembers" does NOT include the most memorable part of the flashback - the duel - but picks up just as the pharaoh congratulates both competitors. Consequently, the action sequence of the combat isn't included, but the lush romantic tryst between Imhotep and Anck, changing to action during their confrontation with the pharaoh and the ancient Medjai.

"Sandcastles" begins with 'we've lost them' at Karnak, flowing through all the rest of the sandcastle sequence until Imhotep casts his waterwall spell. Great piece, with a strong 'pursuit' flavor about it; goes well with the 'balloon' theme.

"We're in Trouble" (Izzy's line) picks up just after 'Sandcastles', covering the waterwall sequence until the dirigible's afterburners fizzle.

"Pygmy Attack" covers the 3-way battle, starting where the apparently shrunken head starts screaming until the curator delivers his 'the two of you must sacrifice yourselves for me' line. (Even *Jonathan* isn't *that* bad.)

"Come Back Evy" begins with a triumphal flourish as the bracelet unlocks itself, shifting shockingly with Anck's attack on Evy, ending after Rick's title line as he must leave Evy to track down her attackers.

"The Mummy Returns" - this medley actually *doesn't* correspond to the end credits sequence (a really nifty reprise of 'Sandcastles' that wasn't included for some silly reason).

"Forever May Not Be Long Enough" is technically part of the original soundtrack, as it appears over the latter part of the closing credits, beginning just as the complete cast list starts rolling. Unlike the rest of the soundtrack (which is purely instrumental), this is rock with vocals - a somewhat romantic take on Imhotep and Anck-su-namun.

One of Silvestri's finest........2003-04-19

Most of the personnel who worked on "The Mummy" returned for the sequel, but Jerry Goldsmith declined (he's not a great fan of the first movie). Fortunately, Alan Silvestri was a more than adequate replacement; he thrives on action-adventure, and he turns in a full-throttle score that if anything improves on Goldsmith's music for the first movie (and I realise that sounds like blasphemy to JG fans). Standout track: "My First Bus Ride," a stirring cue for a chase involving a double-decker bus that moves faster than any bus has a right to.

Because the climactic cues were recorded in Los Angeles instead of London (as with "Judge Dredd," Silvestri conducted the Sinfonia of London), they weren't included on the CD - which is why the penultimate track is a suite of the score's themes. The climax at the pyramid and the music over the first part of the end titles would have provided this album with a true finale... and would also most likely have spared us that ghastly song. [The climax's absence and that song's presence explains the lack of the fifth star it would otherwise certainly get.) Silvestri is collaborating with director Stephen Sommers again on "Van Helsing" - let's hope we're spared a song this time.

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