2. The Sarcophagus (2:17)
This opens with a dissonant brass section, which will return several times during the track. The centerpiece, however, is a melody for the huge chorus. The theme introduced at the end of the previous track, which I'll refer to as the Star Trek theme, makes a short entrance, and the track ends with atonality.
3. Tauger Attack (2:23)
This is one of the two tracks on here most reminiscent of The Wind and the Lion's "Rasuili Attacks." It also harkens back to some of his classic Star Trek V action sequences, and it's entirely based on the main theme. The melodic line is constantly accompanied by virtuoso string runs. Another new theme is introduced, by far the most rousing of all the motives present. It's a trumpet/horn playoff, both doing various glissandi accompanied by the cithara.
4. Giza Port (2:01)
We finally get a break from the breakneck pace in the form of this haunting composition. It begins with a variation on the love theme played on the cithara over ethnic percussion. The strings later come in with the love theme, and the 3 elements mix for a while. Another transitory sequence follows with a bass statement of the main theme under strings. The cithara/percussion comes back, followed by a final mysterious orchestration of the main theme.
5. Night Boarders (4:08)
Another action cue based somewhat on "Rasuili Attacks" comes next. It opens with bass synth, which segues into a woodwind presentation of the love theme, only to be swallowed up by the introduction of a cithara/percussion ostinato, which starts the main action sequence. The ethnic percussion take over, and the cithara does a virtuoso run a lot like the trumpet run in "Rasuili Attacks." Like the aforementioned composition, the various sections of the orchestra receive the run, and a new melody enters. The only real theme recalled is the glissando theme found in track 3. It's first given slightly in the bass, then taken over by brass.
6. The Caravan (2:52)
The next two tracks give us more ridiculously epic moments, the most we've had in this score so far. The love theme begins the track, which is then taken over by more cithara. An altered presentation of the main theme comes next, supported by the massive choir. It's joined by a string descant, which adds another great melody. The final minute is somewhat more sinister, returning to some of the annoying bass synth and harmonic minor scales. Apparently the track is made up of 2 cues, as there's a long silence followed by a short 30 second tension cue.
7. Camel Race (3:26)
As if the previous track wasn't epic enough, Goldsmith takes his love theme and adds almost a Lawrence of Arabia-like quality. After a quiet opening, an evil horn call leads into a cithara/timpani ostinato, joined by soaring violin runs playing a variation of the love theme. A full-blooded presentation of it comes next, still with the ostinato. He extends it some, and this is the first full statement we've had so far. For the last minute, we get a 2/4 section with timpani on the downbeat followed by anvil. A horn solo plays over this. Finally, a more soothing statement of the love theme ends the track.
8. The Crypt (2:26)
Goldsmith now gives us a disturbing return to avant-garde. It opens with a wailing trombone that sounds like it's trying to emulate the serpent instrument found in Alien. A dissonant string section reminiscent of "The Droid" from the aforementioned score comes next, coupled with synth and a tuba ostinato. The atonal strings get a 2/4 ostinato, and horns come in with one of the main motives, nearly unrecognizable with the strings. Finally, the track ends with disquieting dissonant strings, chorus, and a return to the trombone.
9. Mumia Attack (2:19)
Here's another full-blooded action cue, based on an ostinato in the cithara, and bringing back the motif used in "Night Boarders." One of the more subdued middle sections interpolates the main theme, which is then used with the ostinato in the bass. The final section is quiet, with alternating descending and ascending harmonic minor scales, with the track ending with the love theme.
10. Discoveries (3:41)
Like track 8, this returns to Goldsmith's former avant-garde sensibilities, using dissonant strings, moaning choir, etc. One of the main tension motives forms one of the sections.
11. My Favorite Plague (3:59)
For the last five tracks, Jerry blends his 4 main themes, as well as all the secondary motives into a testosterone-pumped action blowout. The first theme heard in this track is the Star Trek motif, followed by a string ostinato, as well as some action licks not entirely unlike the better parts of Star Trek: Insurrection. The trumpets get the ostinato, and the ethnic percussion comes in for a while, joined by a tuba statement of the main theme. The Star Trek motif comes back, now sounding more like the original series than ever before. Like ST:I, he gets a major, upward moving version of his main theme. That ostinato comes back, is joined by choir, and it finally climaxes in another full statement of the main theme with percussion.
12. Crowd Control (3:12)
This begins with one of the most massive choral sections heard anywhere in the score, with them singing the Star Trek motif evetually. Hints of the glissando theme appear momentarily, followed by more permutations on the ST motif, now in the strings. Later the love theme makes a short appearance, swallowed up by choral chanting based slightly on the main theme.
13. Rebirth (8:33)
Foreboding strings open this, followed by synth and choral wailing. A mock march with choir on the offbeats soon takes over, goes back to the wailing, and finally climaxes in a major chord joined with trumpet and horn lines. A loud percussive section comes next, along with the return of the Star Trek motif. An action section forms the basis for the next few minutes, not really utilizing much thematic material. Finally it breaks out into the glissando theme, followed by cithara meanderings and the Star Trek motif. The rest of the cue is another action section that uses most of the main themes.
14. The Mummy (6:19)
Continuing with the precendent set in 11, we get another massive-scale action cue with all the main themes. By this time, however, all the action moments are beginning to run together, and the score is losing some of its appeal. Still, most statements of the themes, particularly the glissando and main themes, keep it pretty interesting.
15. The Sand Volcano (5:41)
This is much more interesting than the previous 2 action cues, and it gives the score a fitting send-off. The awesome main theme coupled with the usual violin runs opens it followed by more tension moments, leading to the love theme and a return to the plucked cithara material in Giza Port, which climaxes in one of the fullest presentations of the love theme on the CD. Next it's given a fugal march with an ostinato. The glissando action theme enters now, still with the ostinato, and it's actually given a few full statements. For the final 2 minutes, the love theme gives us an awesome send-off, complete with choir. The only disappointment is that there's no end credits or ending giant chord, so the score just trails off into nothingness. I suggest listening to part of track 1 again for this.
Even though parts of the last five tracks become somewhat wearing, this
is one of the very best Jerry Goldsmith scores of the '90s. Although
The Wind and the Lion has more charm, The Mummy, its counterpart will provide
you with many great themes and motives, charging action cues, and a way
to spice up any boring moment. Overall, you can't go wrong with The