The first thing one notices is the small fold-out poster included with the CD; Although this precludes proper liner notes, it's a nice little present. The back cover shows an exciting scene from the film's pod race, while the CD itself displays the planet Naboo in half-shadow.

Surprisingly, the Phantom Menace CD does not present the music chronologically. This allows Williams to order the excerpts more musically, varying the mood more appropriately for a stand-alone soundtrack. Those familiar with the movie may not appreciate the unexpected sequence of selections, but the CD succeeds in presenting a progressive sequence of themes without ever sounding monotonous. (One note for those who buy the soundtrack before seeing the movie: Don't read the track titles! Even though out of order, some are still plot spoilers.)

The expected opening track, "Star Wars Main Title," explodes out of your speakers, using a bit more interpretive license than the original 1977 version. The familiar decrescendo into the first new theme of the movie follows, foreshadowing the darker, grander motifs of The Phantom Menace.

The music for the teaser video, "Duel of the Fates," follows second on the recording, which is unusual since the music dominates the finale of the movie. The selection does pose a dramatic contrast, though, between the subdued "Arrival at Naboo" and melancholy "Anakin's Theme."

"Anakin's Theme" sounds rather like the poignant finale of Williams' score for E.T., but does manage to strike its own individual flavor. This music, easily the most melodic on the album, evokes all the angst of Luke Skywalker's theme from A New Hope. In addition to reminding us of Luke, Williams cleverly inserts hints of Darth Vader's "Imperial March" towards the end, musical premonitions of things to come.

Thankfully, the "Passage Through the Planet's Core" doesn't rely as much on underwater choirs and shimmering strings as "The Swim to Otoh Gunga" does. It appears John Williams has accepted the convention that mystical underwater scenes require female choirs and shimmering strings. The music achieves the desired effect, but also seems a bit trite and clichéd.

Contrived music does not pervade, but overall The Phantom Menace soundtrack does not seem as memorable as Williams' previous film scores. While Williams does successfully intertwine his many new themes with quotes and variations from the original trilogy, that only demonstrates the strength of those older melodies.

My second complaint is the music reserved for Jar Jar Binks and the Gungans. Not surprisingly, most of the music associated with Jar Jar sounds like it was taken from a Bugs Bunny cartoon. Silly character, silly music. Reinforcing the impression that the Gungans hail from Jamaica, "Augie's Great Municipal Band" parades into the Naboo capital with a Junkanoo-influenced marching band and invisible children's choir. Although more involved and clever than the Ewok's music at the end of Return of the Jedi, this piece still feels out of place.

Of all the tracks, "The Sith Spacecraft and The Droid Battle" sounds most like the original Star Wars trilogy, mainly because Williams uses Darth Vader's "Imperial March" as the source of several variations and expositions. Far from rehashing it, however, Williams successfully presents a distinctively exciting and ominous excerpt.

The sound quality on this CD equals that of most top classical music offerings, as does the expert playing of the London Symphony Orchestra. The veteran Star Wars ensemble plays beautifully in tune, sparkles rhythmically, and balances the presence of the choir and instruments perfectly. The lush strings and warm brass create a gorgeous musical panorama of emotion and magic. The addition of a choir distinguishes this Star Wars score as Williams realizes the unique power of human voices to express reverence, terror, and redemption.

If you're a Star Wars and John Williams fan, I recommend you run out and buy The Phantom Menace soundtrack right now; the rest of you should wait for the CD's price to drop a bit. Regardless of what you may think of the movie's questionable merits, The Phantom Menace soundtrack definitely succeeds.

By: Eric Rosenberg, Hollywood.com - July 1999

If you enjoyed this recording, you may also enjoy:
Carmina Burana, by Carl Orff (London 430 509-2)
Requiem, by Guiseppe Verdi (Telarc CD-80152)
The Planets, by Gustav Holst (London 417 553-2)
Daphnis and Chloé, by Maurice Ravel (London 400 055-2)
Pops in Space, Boston Pops conducted by John Williams