The Mummy Returns

May 1, 2001 | Format: MP3

$9.49
Song Title Artist
Time
Popularity  
30
1
4:55
30
2
4:24
30
3
4:22
30
4
1:25
30
5
1:28
30
6
5:55
30
7
1:59
30
8
2:42
30
9
7:45
30
10
2:42
30
11
5:32
30
12
2:03
30
13
4:03
30
14
3:22
30
15
2:18
30
16
3:31
30
17
3:29
30
18
7:44
30
19
3:47


Product Details

  • Original Release Date: May 1, 2001
  • Release Date: May 1, 2001
  • Label: Decca US (Classics)
  • Copyright: (C) 2001 Universal Classics Group, a Division of UMG Recordings Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:13:26
  • Genres:
  • ASIN: B000V6S89S
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (43 customer reviews)
  • Amazon Best Sellers Rank: #130,000 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Listening to the music is excellent.
Ruth
This CD was really fitting for the movie,even though it didn't have a certain theme repeating like the first one did.
Nefertiti
Overall this is one of my favorite scores.
Karen Halat

Most Helpful Customer Reviews

14 of 14 people found the following review helpful By G M. Stathis on May 5, 2001
Format: Audio CD
No doubt a number of people were disappointed when they heard that Jerry Goldsmith would not score "The Mummy Returns," and an equal number had serious concerns about Alan Silvestri in this genre. Goldsmith is missed, to be sure, his original venture with "The Mummy" is one of his best works, and is a cut above the score wriiten by Silvestri for "The Mummy Returns." All of that said, Alan Silvestri clearly surpassed expectations with a score that fits the film quite well, and is a good listen on CD, although one has to leave Goldsmith's music behind. The tempo is appropriate, the Oriental motifs work quite well, and there is a heroic/action theme that is as good as Silvestri has ever produced, along with brief romantic passages (brief because they are indeed brief in the film, as well). The opening grabs you and pulls you in, but it takes a few tracks, on the CD, for the music to unfold. By track twelve you are convinced that this music works. Aside from an impressive opeing, tracks 12 through 18 are the best, and Silvestri's use of percussion and some of his main thematic material really come together in track 14, "Sandcastles," so well, in fact, that this is the basic music used in the end credits (missing on the soundtrack album, this repeated music would have been a much better choice than the song by Live...an interesting song, but not as good as Silvestri's music). "Sandcastles" should releive any lingering doubts that this is a worthy effort. The oritental percussion and motifs, and the heroic themes take off here. Silvestri's music proved a good fit for the movie, and will be a welcome choice on CD, too bad that track 19 is not a concluding suite though.
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6 of 6 people found the following review helpful By David I. Landers on May 2, 2001
Format: Audio CD
There are two ways that I come at rating this soundtrack: from the standpoint of how it conveys the mood and setting that the movie is in, and fits there; and how it is on a purely listening enjoyment basis. The reason for me bringing up this difference is that this soundtrack is a perfect example of these two perspectives.
As far as the pure beauty of the listening experience is concerned, it isn't all that great. Similar to the first "Mummy" soundtrack, it is comprised mostly of action music, including some large, harsh sounds, and startling noises here and there. In the "Mummy" soundtrack, there was at least a theme for parts of it, including a love theme. In this one, there really is no theme to speak of, at least not one that's used much. Several of the tracks briefly go into what I would call the "Mummy Returns Theme", but not for very long. Only in the final score track, #18, does this theme really mature into a noticable capacity, and this is probably during the end credits of the movie. There is really no love theme, surprising since Rick O'Connell and Evy are now married in this movie, and you'd think there would be a strong love theme to go with that. But there really isn't. Once again, there is a slight theme that might be what is used during the movie to represent Rick and Evy, but it comprises very little of the score with the exception again of track #18. As far as themes go, there is really only one other one that pops up, and this one sounds very high- spirited and adventurous. It is actually quite rousing, and is my favorite part of the score. It is the best developed in track #6, and is again used towards the end of track#9.
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5 of 5 people found the following review helpful By Eric Scott on May 15, 2001
Format: Audio CD
I was initially leery of purchasing the soundtrack for "The Mummy Returns" when I learned that Jerry Goldsmith was not coming back to follow up his masterful score to "The Mummy" (one of the best works Mr. Goldsmith has turned out in recent years). I eventually caved, however, and am now very thankful that I did so. Alan Silvestri's "The Mummy Returns" captures all the bold action and adventure of the movie, and is highly listenable. Like the movie, the score opens with a bang and carries one along for an exciting ride that hearkens back to Silvestri's robust work for the "Back to the Future" series (actually I failed to notice this similarity, but my wife Kim picked up on it after listening to just a few bars of Track 9). The new themes for the various characters are both appropriate and memorable; that for Rick O'Connell (Brendan Fraser's character) is a delight, with the only problem being that it is employed only infrequently throughout the CD.
This last observation touches on the CDs biggest flaw (and the reason I gave it only 4 stars rather than 5): the complete absence of the music from the finale of the movie! Other CDs have had this challenge, to be sure, but here the music was so much fun and the themes had such triumphant, ringing power to them that its a shame they were in a sense "left hanging" with no resolution. The conclusion of the film was in fact a seemingly endless -- and very exciting! -- action sequence, cut between four different locales and with multiple characters (and their respective motifs), that featured some of Silvestri's most powerful and inspired music to date.
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