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
Mummy.
| Music Rating | 9/10 |
| Packaging/Liner Notes | N/A |
| Orchestral Performance | 9/10 |
| Sound Quality | 9/10 |
| Length | 10/10 |
