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Okay, brew a pot of coffee. This is a long review. Longest review ever. In history? Maybe! But this is a watershed score for me. I've been waiting for it for a long time, and I feel obliged to dissect it thoroughly. I will try to avoid spoilers, and never give more away than the track titles tell us, but proceed with caution.
For me, John Williams' "Jurassic Park" score is the one that started it all... literally. I had grown up watching films and enjoying their music, but it wasn't until this score was released and it was given to me as a gift that I realized that you could actually buy the music from the movie! Yes, I was still quite young. I now have literally hundreds of soundtrack albums in my collection. I was thrilled about the fact that they were doing the new movie, but I was on the edge of my seat over the choice to use Michael Giacchino as the composer.
Why? Well, I have not really been a tremendous fan of his work--particularly his earlier ones. There is something about his action music that has always driven me bananas, and it's difficult to describe what about it always irritated me--perhaps the lack of musicality in the orchestral chaos? I don't know. It's difficult to describe; even John Williams most chaotic pieces, in, say, Jurassic Park as the raptors are chasing them through the visitors' center, you could always hum the tune to it if you paid attention and could remember it. But how could you hum the action music in Mission: Impossible III? Or "Nailin' the Kelvin" from 2009's Star Trek? To me, it just sounded like an exploding circus with all the accompanying horror of clowns running in terror while the circus tent comes crashing down on them but... somehow... less fun? It was always so difficult to describe, and so irritating when Giacchino fans would assail my opinions and insist "it was awesome", or that I was somehow dimwitted and "didn't get it".
I kept an open mind, however. My impression of Giacchino started to change with his work in "Super 8" and "John Carter". Here his themes were incredibly deep, and his action music was starting to veer away from the "exploding clowns" sound. These albums immediately went to the top of my list of favorites. I also enjoyed much of his work on the two new Star Trek films, even though there were plenty of moments that made me cringe.
So my question was: would Jurassic World hold a candle to John Williams' original score for "Jurassic Park" and "The Lost World: Jurassic Park"? In preparation, I listed to all three scores from previous Jurassic Park entries over and over, so that their themes and ideas would be fresh in mind. Yes, Williams had sped up the tempo of his main theme on the soundtrack for "The Lost World". Yes, Don Davis had altered the tail end of the theme's phrase in "Jurassic Park III", while also using a faster tempo. So variations from the original were to be expected and enjoyed, not whined about. Williams never viewed it as sacrilege to change a theme up, so neither should I with any variations in the new score.
I pre-ordered "Jurassic World", and as soon as I received it, listened to it all the way through - probably ten times in a row (it was a long, long drive that day). I listed to it again several times the next day. And I've been listening to it as much as possible ever since.
It is now an all-time favorite.
First, Giacchino pays homage to Williams by re-using the main theme frequently and faithfully. Second, he adds a great deal of new music and material to the "Jurassic" universe with some particularly pleasant new themes. Third, for the most part, Giacchino steers clear of my much-loathed "exploding clown" sounds in the action music... it's there at times, but it's woven in among so much good that I can't hate it.
Track-by-track breakdown:
1. Bury the Hatchling. Lurking and menacing, this track makes it clear that the dinosaurs are back, even as the "Universal" logo runs across the screen. The second half is something like a demented lullaby as the "Indominous" is hatching: cute and menacing at the same time. Nice work.
2. The Family That Strays Together. This track is a favorite, invoking the concept of being a kid again in less than a minute. Clearly, Giacchino is well in touch with his inner child.
3. Welcome to Jurassic World. This is a very, very good interpretation of John Williams' original theme for Jurassic Park (Track 2 on the original film's CD) in a nearly perfect rendition of the original. It's faster (about 155bpm as opposed to the original's 110) without being so fast that it sounds like it was recorded by the chipmunks, although the opening horn solo is played almost identically. It's also an abbreviated version, running 2:08 seconds as opposed to the original's 3:30 or so, and omitting some of the rep. The orchestration is also very, very good, nearly perfectly matching the original (although the horn which plays the theme at around 1:34 is not as good as the original). The recording levels on the new version are also much louder (to be expected). Additionally, comparing the two back and forth, the recording 'soundstage' for the original sounds much louder and allows the strings to breathe better with a slight echo, whereas the new recording feels much 'closer', and the strings don't reflect as well. I always like the slight echo of a larger recording space. The result, however, is that the majesty of the original theme is brought back in full swing, with a slightly zippier tempo to reflect that *living reality* of an operational theme park: the realization of John Hammond's dream!
4. As the Jurassic World Turns. Here we see Giacchino release a new, exciting and majestic theme for the fact that Jurassic World is OPEN! It's fun, it's exciting, and it's grand. At first, it's a little wandering; I was nervous. But at about :37 seconds in, it launches. Yes, the park is open and everyone loves it. It's so good it'll bring a tear to the eye. At 4:59, there's even some original music from Jurassic Park's "Journey to the Island" (but without the infamous chair squeak at the end of the original--yes, it was there. Someone shifted in their seat before the recording was cut on the original score.)
5. Clearly His First Rodeo. At first I was horrified, as it seemed to be a return to the "exploding clown" action sound. But it is much more dynamic than what he used to do, and a little more melodic. It also doesn't last long before it quiets down and begins to sound like a lullaby, before blaring horns drown out all thought. But then, at 1:30, it begins to sound very John Williams'ish -- think the menacing music from JAWS that wasn't the main theme. Then, from about 2:13 on, the piece is idyllic, playful scenes from childhood as (in the film), a children's petting zoo is enjoyed. The back half of the track returns it to full 5-star glory, because how could anyone not love it?
6. Owen You Nothing. This is an overall very quiet piece played while Claire and Owen talk. It is fun and engaging, very playful. Awesome! Some of the way the different instruments pick up the theme and bat it around starts to remind me of some of Williams' more playful quiet music from, say, his Star Wars (IV-VI) era. This is awesome.
7. Indominous Wrecks. This piece starts out playful and a lot like the previous track. Then at around 1:42, it picks up the Williams style "magic" sound that I was never able to describe completely. But it's there. Slowly, the track morphs into terror. Beginning at 2:23, we hear a very "Jaws"-like theme. Clearly Giacchino is paying homage to Williams in the best possible way. Later in the track, there's some melodic-wandering in the action music that is difficult to follow, but Giacchino catches himself quick. The track ends with a menacing low note with high strings playing over it. Awesome.
8. Gyrosphere of Influence. Majestic music for a drive in a 'hamster-ball' through the park. Awesome, playful. At around 1:30, things get menacing-sounding. The rest of the track plays out that way, very well done.
9. Pavane for a Dead Apatosaurus. This is very sad music, very fitting for the scene. I love it. Then at 3:20, it gets militaristic with a driving beat. Can't stop humming this part. It later slows and gets more menacing, for a strong finish.
10. Fits and Jumpstarts. Starts off with the new theme on the piano, then adding strings and horns. Then gets more 'let's get moving' with a strong rhythm.
11. The Dimorphodon Shuffle. This piece starts off strong and sounding very much like John Williams. Then Giacchino reasserts himself full throttle, building the tension in a great way. It certainly plays well over the Dimorphodons running amok, and never really gets irritating at the same time.
12. Love in the Time of Pterosauria. This piece starts to venture back toward orchestral chaos, but never gets startlingly irritating. There are a few chaotic passages in the middle, but then the driving rhythm returns, and it's clearly time to get to work--very mission oriented. The concept of verticality is very well demonstrated with ups and downs on the strings and harp, that really makes it sound like Pteronadons and Dimorphodons are swooping, diving, attacking and climbing. The piece ends with a terrific love theme, overridden at the end by a clever bit of tension.
13. Chasing the Dragons. Don't get me started on this track... pure bliss! I can't stop humming this one, either. The latin-esque action music that runs for the first 1:30 is just breathtaking. (No, don't ask me to turn it down!!! Haha!) In some respects, this expands on John Williams' somewhat latin-sounding concepts for "The Lost World: Jurassic Park" which worked so well and were such a nice addition to the ensemble. The back half of the piece is one of quiet, but building, tension. At the very end it gets builds into pure chaos that starts to jar a little. The end of the track actually fades out over the next track, indicating they were recorded as a single passage and broken into two tracks.
14. Raptor Your Heart Out. This piece starts out with a tumble through the orchestra that starts to irritate me like Giacchino's older "exploding clown" music (and no, I can't describe it any better than that--I wish I could). But it fits the scenes. At 1:39, it breaks out into the melodic action music that I absolutely love. Then it breaks back into the fantastic latin-sounding 'raptor chase' theme before ending rather quietly. The last 2+ minutes clearly make up for the irritating sounds at the beginning, and it all works when it's played in the film.
15. Costa Rican Standoff. Mayhem on Main Street, in the best possible way. A fun tumble through the orchestra at the beginning. At 1:43, I start to question what's going on for a couple seconds. But then at 1:56, I am instantly reminded of the music in "The Lost World: Jurassic Park" as Malcolm and the others are chased by the raptors through the deserted InGen operations center. A nice throw back to Williams' work, first rate. The end swells nicely into a rendition of the Jurassic Park theme.
16. Our Rex Is Bigger Than Yours. The beginning of this piece is a tremendous tension builder. It bursts into a "we're saved" sound and things quiet down for a few seconds. Then, around :50 in, comes one of Giacchino's worst new sounds, which I first caught in Star Trek: Into Darkness on that horrendously-awful "Klingon Wartet" track. The worst music of this or any century. I'm not kidding. Choirs aren't supposed to do that. Give them more than one note to sing. If you think this is quality music, listen to John Williams' soaring choir and horn pattern for "Duel of the Fates" from Star Wars (I), then come back to listen to this and have a chuckle. Michael... dude: fix this concept fast on subsequent CDs. Pleeeease. Then, after thirty seconds of doom, around 1:20, Giacchino catches himself, and it comes back to the "amazing territory" (with the choir). Then at 1:52, there's a few seconds from "The Lost World", before the amazing ending as dinosaurs battle it out to the end. If it wasn't for that thirty seconds of feebery in the middle, this track would be a 10. The action music has ended.
17. Growl and Make Up. Chaos has finished, order is restored. This is one of the best tracks I've ever heard Giacchino do. In fact, it sounds eerily like Jerry Goldsmith's work for "Star Trek: First Contact". Not a copy, but more of a stylistic tip-of-the-hat. I am relieved that someone knows how to make this sound with an orchestra still, since Jerry and Joel Goldsmith have both, sadly, passed away. This is astonishing music, enough to bring a tear to the eye.
18. Nine to Survival Job. Another beautiful, quiet piece as the survivors are reunited. Giacchino nails it, knocks it out of the park, brings it back to the 'childhood' themes from the beginning of the CD. From 1:20 the piano comes in very much the way it did in "Welcome to Jurassic Park" from the first CD (at the end of the movie, during the helicopter ride out). But it's so fresh and majestic, again, it could make a grown man weep (not me, of course) because suddenly he feels like a kid again.
19. The Park is Closed. Again, the original Jurassic Park theme returns. This time, it sounds even more like "Welcome to Jurassic Park", before the full orchestra comes in with Giacchino's new themes in a perfect blend. It swells into a glorious theme on the horns before backing down to the original Jurassic Park theme again. Nicely done, Michael. Tracks 17-19 are fantastic.
20. Jurassic World Suite. A melange of 10 pieces of different styles and types from throughout the film, blended nicely into one. The first segment, running to 1:35, and it sounds like it could have been the music originally intended for the intro to the film as the Universal logo plays out and the Indominous hatches. At 1:35, the second theme begins. To begin with, it sounds a little like JNH's "King Kong" work before falling into Giacchino's polished theme, before falling back to a very nice piano solo of the new themes. The orchestra starts to build back in, very pleasantly, until 3:14, when the third theme begins. It starts off terrifying, then goes into a menacing, "Jaws-like" combination of menacing, low orchestra, harp, and horns. It devolves into chaos until at 4:26, a new segment begins. This is a more upbeat, militaristic take on the previous theme; it's excellent, driving, and dramatic. At 5:19, the fifth theme starts. It has a jazz-like rhythm that reminds me of John Williams' work in "Catch Me If You Can", before turning a little more chaotic. At 6:25, the action ceases and turns more menacing with theme seven. Very effective. then the menace turns into hope somehow. At 7:21, the militaristic drums set in on theme 8. This section is a redux of the militaristic action sounds from the end of the "Pavane" track, but with even more variations and instruments toying with the theme. Can't stop humming this. So much fun. At 8:52, the fun comes to an end. Things get quiet again with the ninth theme. But that's okay, because we're back to the piano solo again, and this is great, too. Toward the end of this theme, (think around 10:08) it starts to actually remind me of Williams' work in "Sabrina" somehow. Theme 10 begins at 11:14, and it is the best fun of all: the latin-esque raptor-chasing music from tracks 13 & 14. That three-beat phrase keeps playing over-and-over in my head, and I find myself tapping it out with my fingers on the steering wheel, on my keyboard, everywhere. Again, this time it's explored with a little more fun and depth than the original appearances. When it finally ends, you want more.
21. It's a Small Jurassic World, 22. The Hammond Lab Overture, and 23. The Brokway Monorail are reviewed together. When I first listened to the CD, before I saw the movie, I instantly recognized what they were for: they were the fun "Jurassic World" theme park pieces! Are they cheesy bits of theme park music? Absolutely, but in the best possible way! And with my childhood memories of "Jurassic Park" not failing me, I even remember John Hammond saying that Mr. DNAs 'score was only temporary', and that it would be replaced by something far more dramatic, 'a march or something'... well here it is. Again, Hammond's dream is recognized. The CD would not be complete without these three tracks of music, heard in the background mostly in the film. What's interesting is that some parts of "The Hammond Lab Overture" and "The Brockway Monorail" actually reminded me of Williams' "Raiders' March" from the Indiana Jones films. And there were a couple of moments that sounded like "Star Wars" music in those same tracks. I don't think Williams could have done any better at concocting this very fun music, and Williams has never lost his "inner child" in doing things like this. Giacchino scored big with me for these crazy little pieces; they're everything they should be. Interestingly, the very end of "The Brockway Monorail" reminded me of a James Horner crescendo, which is very fitting considering the fact that we lost that great composer at just about the time this film was opening.
24. Sunrise O'er Jurassic World. Not composed by Michael Giacchino, but rather by Mick Giacchino. (?) This piece is very much a grand, old-fashioned safari-sounding piece, with a pleasant beat, strong horns, etc. Very nicely done, and a good ending to the entire CD.
Overall, Giacchino is clearly learning a lot and making tremendous strides forward as a composer, as every composer should with experience. I think that this is his finest work, right alongside "John Carter" (but better action music), and "Super 8". Let's see him sign back on for the Jurassic sequel because no one could do better in this style unless it was Williams himself.
And if you've read this entire review, get yourself a cookie or something. You deserve it! :)
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As expected. Good quality. Case is made from a quality heavy card stock and not a hard plastic case. DVD is in mint condition.
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