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The Best Of Godzilla 1984-1995: Original Film Soundtracks [Soundtrack]
Editorial Reviews
Amazon.com
Godzilla, the beast that even a big-budget Hollywood stinkeroo couldn't kill, has been many things in his (her?) illustrious career: nuclear allegory, loving parent, neighborhood pest, property insurance exemption clause. But has-been? That's what many cynics were calling the Big Lizard by the late '70s. Resurrecting their cash, er, cow after a nine-year hiatus in the mid-'80s, Japan's Toho Studios wisely moved away from the tired stock footage, cheap effects, and kiddie-corn plot lines that had come to characterize the series, moving the final seven sagas back to the deadly-serious aesthetic of the original. Ironically, as Gojira's handlers got back to their cinematic roots, the films' music initially moved closer to the Hollywood mainstream, including healthy doses of heroic Korngold-esque romanticism and even screaming, diddly-squeak-school metal guitar. But after the more modern, if questionably effective efforts of Reijiroh Koroku and Kohichi Sugiyama (for Return of Godzilla and Godzilla vs. Biollante, respectively), Gojira music godfather Akira Ifukube returned to score four of the series' last five installments, truly bringing the saga full circle; the man who had musically brought the monster to life 41 years earlier was gratifyingly now allowed to write its moving Requiem. The annotation and illustration (which equals the high standards of its companion volume 1954-1975) are even more crucial here, as most of these "second cycle" films have seen but spotty distribution outside their native Japan. --Jerry McCulley
The Best Of Godzilla 1984-1995: Original Film Soundtracks,Various Artists,Gnp Crescendo,Pop,Soundtrack,Soundtrack Collections,Soundtracks & Film Scores
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The Best Of Godzilla 1984-1995: Original Film Soundtracks
Various Artists Manufacturer: Gnp Crescendo ProductGroup: Music Binding: Audio CD  Movie Soundtracks
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ASIN: B000007OF8 Release Date: 1998-02-17 |
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Amazon.com
Godzilla, the beast that even a big-budget Hollywood stinkeroo couldn't kill, has been many things in his (her?) illustrious career: nuclear allegory, loving parent, neighborhood pest, property insurance exemption clause. But has-been? That's what many cynics were calling the Big Lizard by the late '70s. Resurrecting their cash, er, cow after a nine-year hiatus in the mid-'80s, Japan's Toho Studios wisely moved away from the tired stock footage, cheap effects, and kiddie-corn plot lines that had come to characterize the series, moving the final seven sagas back to the deadly-serious aesthetic of the original. Ironically, as Gojira's handlers got back to their cinematic roots, the films' music initially moved closer to the Hollywood mainstream, including healthy doses of heroic Korngold-esque romanticism and even screaming, diddly-squeak-school metal guitar. But after the more modern, if questionably effective efforts of Reijiroh Koroku and Kohichi Sugiyama (for Return of Godzilla and Godzilla vs. Biollante, respectively), Gojira music godfather Akira Ifukube returned to score four of the series' last five installments, truly bringing the saga full circle; the man who had musically brought the monster to life 41 years earlier was gratifyingly now allowed to write its moving Requiem. The annotation and illustration (which equals the high standards of its companion volume 1954-1975) are even more crucial here, as most of these "second cycle" films have seen but spotty distribution outside their native Japan. --Jerry McCulleyCustomer Reviews:
Should incude fx........2007-05-06
Forget about the guy in the rubber suit.......2007-03-23
Godzilla is the "King of Monsters"!.......2006-09-27
The Greatest of Godzilla.......2004-11-27
A mostly excellent compilation, with a few odd choices........2002-12-16
After a very nice version of Godzilla's signature theme, by Godzilla's signature composer, maestro Akira Ifukube, we listen to a suite of five songs from THE RETURN OF GODZILLA (aka GODZILLA 1985). These pieces by Reijiro Koroku, a severely underrated composer, are some of the best on the disc; "Main Title," "Take Shelter/Godzilla vs. Super X," "Japanese Army March," "Godzilla's Exit," and "Ending" can be re-listened to over and over again, espeically "Super X."
Next are three songs--"Scramble March," "Bio Wars," and "Ending"--from GODZILLA VS. BIOLLANTE, composed by Koichi Sugiyama. They are also quite nice, but are rather long, which cuts down on their replay value a bit.
Now we enter Ifukube-sama's section. The first of the Heisei films he scored was GODZILLA VS. KING GHIDORAH. "Main Title/UFO Invasion," "King Ghidorah Attacks Fukuoka," and "Get King Ghidorah" are, sadly, the only songs from this excellent soundtrack.
This album's first misstep comes with the songs from GODZILLA VS. MOTHRA. Although "Main Title," "Mahara Mothra," "Mesa March," and "Rolling Title Ending," are all good Ifukube works, there are too many; this soundtrack was not as good as the previous (or the next), and it is over-represented. They also erred by including "Mothra's Song," when they'd already included a version in "Mahara Mothra."
The next misstep was including only two songs from GODZILLA VS. MECHAGODZILLA II, the soundtrack of which is widely considered to be one of Ifukube's best soundtrack's ever. "Main Title" and "G-Force March #1" are excellent, but together they are not even 4:30 minutes long. At least one more should have been added.
The final misstep was including so many songs from GODZILLA VS. SPACEGODZILLA, composed by Takayuki Hattori; with "Prologue/Main Title," "Bass Island," "Mogera vs. Spacegodzilla #2," "Mogera vs. Spacegodzilla #3," and "Crystal," this is another overrepresented title. Only the first and last songs should have been included; the middle three are not that good.
Fortunately, they also include five songs from Ifukube's swan song: GODZILLA VS. DESTOROYAH, which at the time of production was also thought to have been Godzilla's own, final film. "Main Title/Hong Kong's Destruction" is a majestic, sweeping piece; "Attack Of Super X III" and "Mesa Tank Super Freeze Attack" are stirring militaristic marches. "Requiem" is a truly moving piece played during Godzilla's death, and "Ending Title" is a blending of some of Ifukube's greatest hits that ran as a montage of some of Godzilla's was shown.
The last track on this CD is "Monster Zero March," a rearrangement of one of the great Ifukube pieces of the 60's by Neil Norman and his Cosmic Orchestra.
Despite some flaws, this CD is definitely worth a buy, not just for Godzilla fans, but for movie music fans in general.
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