When you're creating one of the most original, compelling and thought-provoking science fiction series of all time, you're going to naturally want to find a composer whose work can match, complement and augment what's going to be seen on tv screens across the globe. Series creator J. Michael Straczynski actually managed to do that when he reached out to Christopher Franke, who was originally a drummer and synthesizer keyboardist for the German group Tangerine Dream, to compose the music for his ground-breaking series Babylon 5.

     Backed by the Berlin Symphonic Film Orchestra(which he founded), Franke delivers a score with numerous layers and subtleties. While the soundtrack covers nearly the entire score for half of Babylon 5's first season, the only real flaw(for myself, anyway) is that the twelve tracks are broken up into four groups which run into each other. While they do blend effectively, it is a bear for completists who might prefer individual tracks rather than medleys. However, the sad beauty of Londo Mollari's love theme and the drop-dead sexiness of the theme for the Dark Star Bar more than make up for it. And of course, the original main theme for Babylon 5 ranks up there with the most majestic representative theme scores ever produced. It doesn't matter if you're a fan of science fiction or not...if you're a fan of music in general, Babylon 5 is a treat to own.

7 - The Crow(Composer: Graeme Revell. Label: Varese Sarabande. Year of release: 1994)

     Usually, people who rip off other musicians tend to piss me off a whole lot. Such thievery cites an amazing lack of creativity. However, in the case of the film score for The Crow, the compositions allow for a lot of forgiveness.
Several of composer Graeme Revell's themes for this score--most notably the opening "Birth of the Legend" are blatantly ripped off from Peter Gabri-el's score for the 1988 film The Last Temptation of Christ. Yet surprisingly, no lawsuit was ever brought against either Revell or Sarabande.

     The music of The Crow, much like the film itself, is powerful, evocative and has a decidedly urban feel to a few of its tracks. Since the film itself deals with love, death and redemption, many of the other tracks have a very ethereal quality to them, most notably the beautiful "Pain and Retribution" with its heavenly choir and the touching, sad yet somehow uplifting "Return to the Grave". The entirety of the soundtrack holds together as a cohesive whole, and if you've seen the film, each cue will instantly bring back memor-ies of what part of the movie they fit into. Like I said, I don't like ripoffs...but for those few borrowed tracks, The Crow is one you'll be able to live with.

8 - The Fabulous Baker Boys(Composer: Dave Grusin. Label: GRP. Year of release: 1989)

     I am really not a jazz fan at all. Aside from a good friend of mine who per-forms in New York, I generally feel that most jazz is just a series of random notes. However, every so often a jazz musician comes along that takes the standard instruments of the craft and utilizes them to produce something truly magical. Luckily, such is the effect produced on the soundtrack to The Fabulous Baker Boys.

     The Baker Boys soundtrack, like the film itself, is one gem of a piece. Grusin packs the score with stirring guitar riffs, trumpets and horns which lift the spirit. The absolute best thing about this score however, is the vocal work by actress Michelle Pfeiffer, who did all her own versions of classic lounge standards. Pfeiffer trained for months to strengthen her vocal chords and hone her skill in preparation for the extensive vocals throughout, and it truly shows.

     For some unknown reason, either GRP or Grusin chose not to include all of Pfeiffer's vocals, though(she performed at least five songs in the film). They wisely included the showstopper "Makin' Whoopee" but the lesser "My Funny Valentine"(not that Pfeiffer's vocals were off in any way--the song itself is just a weak composition). These minor flaws aside, The Fabulous Baker Boys score is one worth owning, be ye jazz fan or not.

9 - Farscape(Composer: Sub Vision and Guy Gross. Label: GNP Crescendo. Year of release: 2000)

     Another one of the most unique science fiction series ever created for television, Farscape literally became The Show That Would Not Die. The series ran for four years on the Sci-Fi Channel until--in the tradition of the original Star Trek--it was unceremoniously dumped by a network that didn't realize the show's value.

     The Farscape soundtrack follows the path of the show's uniqueness. Displaying tracks from the series' first two seasons(music for season one by Sub Vision, season two by Guy Gross), the compositions are jarring, operat-ic, classical with a new wave feel and even throw in a hip-hop beat at one point. It is unlike any film or tv score you've ever heard in your life--guaranteed.

     It is a tribute to the guiding vision of series creators Rockne S. O'Bannon, Brian Henson and David Kemper that while music cues 1-11 are the work of one set of composers and tracks 12-23 are the machinations of another, the music flows logically and orderly as if they were created by the same person. Again, unlike anything you've ever heard. Without a doubt, the most wonder-ful, amazing, beautiful and touching piece on the entire score is the track "Family Ties: Parting Comrades". It takes place during a scene where two of the main characters, John Crichton(Ben Browder) and Ka D'Argo(Anthony Simcoe) are about to engage in a suicide mission. Knowing they'll never come back, and that the crew of their living ship Moya is in likewise jeopardy, crewmember Chiana(Gigi Edgley) prepares a last supper of everyone's favorite dishes. I've played this track for several friends, and every last one of them have remarked it's one of the most beautiful themes they've ever heard.

     Like the original Trek, Farscape gained new life via a torrent of protest mail from irate fans. Sci-Fi brought the characters back for a supplementary tv movie, and webisodes of the series will soon be available for viewing. New soundtracks for the subsequent series have also been released, but this first original score is without a doubt the best of the lot, and deserves to be a part of your collection.

10 - La Femme Nikita(Composer: Eric Serra. Label: Varese Sarabande. Year of release: 1990)

     Like the astonishing film it accompanies, the music for La Femme Nikita is a chameleonic mix of seductive synths, playful melodies, darkened under-tones and evocative themes. Eric Serra is usually the composer of choice for Nikita director Luc Besson, and the union has produced many fan favorite scores, this one being the best known of all of them. From the powerful opening track, "Rico's Gang Suicide" to the fanciful "Learning" and the bittersweet song "The Dark Side of Time"(performed by Serra, who usually sings at least one song on the albums of the films he scores), each track brings forth a memory from this powerful film.

     There are certain songs which have a decidedly "nighttime" feel to them, as if when one sets out for an evening, such music would naturally accomp-any the locales one visits or would evince the sights and sounds of a living, breathing city at night--which is markedly different from such a place during the day. U2's "City of Blinding Lights" is such a song, as is David Bowie's "You've Been Around" or Prince's "Somebody's Somebody". On Nikita, the track "The Free Side" captures the nighttime mood perfectly(although ironic-ally, the cue appears in a daytime scene in the film).

     La Femme Nikita is a film score that can be played almost anytime...the majority of the tracks can be used as background for dinner with a special friend(and as a prelude to what comes afterward) or if you just want to chill out for an evening in the darkness. Not many scores come around that tingle the nerve endings, but without a doubt, this is one of the rare and little known classics.

     And it'll make a great companion piece once you get ahold of the film itself.

     From the moment it was announced The Eurythmics would be performing the music of 1984(based on George Orwell's legendary novel), controversy erupted. Director Michael Radford was incensed that 20th Century Fox was forcing him to use their more pop-oriented, synthesizer driven music when Dominic Muldowney(Loose Connections, Warrior Queen) had already composed a more traditional, orchestral score. At the time however, The Eurythmics were a powerhouse force in music, and Fox obviously wanted to put fans of their music(some of whom might not have been inclined to view a film which such depressing themes) in theater seats. Being that they were footing the bill, Fox won of course. It wouldn't be until years later that Rad-ford would have his way with a DVD release featuring Muldowney's music instead.

     In the meantime however, filmscore fans had(the soundtrack has become increasingly difficult to find, and your best bet might be Ebay) the powerful, driving, sensual and completely hypnotic music of The Eurythmics to groove to. There was still some controversy even with the release of singles from the album though: the title track "Sexcrime(nineteen eighty-four)" wouldn't receive airplay, since stations believed it might lead to an upsurge in rape(the track has nothing to do with any such notions whatsoever), and aside from "Doubleplusgood", none of the tracks are exactly top 40 material. Still, the CD is a godsend to collectors of hard-to-find scores, and a treat for those fans of Annie Lennox and Dave Stewart, who manage to track it down. Doubleplusgood, all around.

 
1984 tracks:
I Did It Just The Same * Sexcrime(nineteen eighty-four) * For the Love of Big Brother * Winston's Diary * Greetings From A Dead Man * Julia * Doubleplusgood * Ministry of Love * Room 101 Total Time: 37:10

12 - The Dead Zone(Composer: Michael Kamen. Label: Milan. Year of release: 1983)

     Why is it that so many good films and scores came out within the last two decades, but as we enter the early phases of the 21st Century, all creativity seems to be nonexistent? One of the true gems of the early '80's was David Cronenberg's adaptation of Stephen King's novel "The Dead Zone". It is an almost timeless film, and while many cite Kubrick's The Shining as the best King adaptation, I stand firm in my belief that The Dead Zone--about a school teacher who gets smashed into a 5 year coma via collision with a semi, and comes out of it not only with the ability to see the future, but with the knowledge that one man in particular will cause the destruction of all humanity--is the superior film.

     As such, the score for The Dead Zone is appropriately sad, moody, forlorn and of course, creepy. From the surreal "Opening Titles" track to the wistful, bittersweet "Lost Love" and onto the brilliant "Rally - Meet Your Local Candidate", one can almost feel the main character Johnny Smith(Christoph-er Walken) rushing headlong to his inevitable destiny--the one fate in the film that seemingly can't be changed. The Dead Zone film score is the per-fect choice to listen to on those cold, snowy nights when you're alone in the house and curled up with a good King book...just make sure all the lights are on.

 
The Dead Zone tracks:
Opening Titles * Coma * Hospital Visit * 1st Vision - 2nd Sight * Lost Love * Drowning Vision - Through the Ice * School Days * In the Snow - Hope * Alone * Political Death * Rally - Meet Your Local Candidate * Realisation - Destiny * Death of a Visionary * Civic Duty & Sacrifice * The Dead Zone * Coda to a Coma - The Balcony Total Time: 40:11

13 - Bram Stoker's Dracula(Composer: Wojciech Kilar. Label: Columbia. Year of release: 1992)

     Polish composer Wojciech Kilar was an absolute unknown to American audiences. Credit Francis Ford Coppola for having the foresight to bring Kilar into the mix when it was time to choose a composer for his masterpiece, Bram Stoker's Dracula. While known primarily as a horror film, the picture is in actuality a love story, dealing with the theme of love everlasting...even from beyond the grave. As dark, horrific, romantic and shockingly beautiful Coppola's film is, Kilar's score matches it perfectly, beat for beat. The music on the disc runs the full gamut of emotion, right from the first track, "Dracula - The Beginning" through to "The Ring of Fire" which are wonderfully evoca-tive and creepy, just as "The Brides" is darkly seductive and "Mina/Dracula" is a flat-out tragic love theme.

 
     And for the Eurythmics fans among us, there's even an end title song by Annie Lennox(who at the time was just coming into her own as a solo artist).
Kilar uses a full, powerful orchestra to deliver lush, rich music which is a delight on all levels. The violins create a suitable and convincing Romanian setting, as Dracula is indeed a prince of that land. There are subtle yet discordant piano accompaniments, and powerful brass which heralds the leitmotif announcing the appearance of Dracula. Kilar's music is powerful yet never overpowering; seductive yet dark. It is a triumph on every level, and will make an excellent addition to your film score collection.

14 - Rob Roy(Composer: Carter Burwell. Label: Virgin. Year of release: 1995)

     It's a long way from New York to the Scottish highlands, but Big Apple-born composer Carter Burwell bridged the gap effortlessly when he composed the music for the magnificent film Rob Roy. The score makes effective use of bagpipes, bodhran and other Celtic instruments, as well as beautiful, lilting vocals from Karen Matheson and Angus Grant.

15 - The Terminator - The Definite Edition(Composer: Brad Fiedel. Label: Edel. Year of release: 1994)

     Like the emotionless engine of destruction from the film, "The Terminator - The Definite Edition" comes at you relentlessly. Unlike the original sham score released on the DCC label in 1984, which only included six truncated themes from the film and five completely forgettable pop tunes, "The Definite Edition" is exactly that: the 100% complete score, remixed and remastered from the original master multi-track recording tapes!

 
     The sound is exquisite, the rhythms pulsating with the duality of humanity and the opposing cold, artificial life. Nearly every track brings to mind a scene from the film, whether it's the excitement of Kyle Reese(Michael Biehn) being chased by L.A. cops after arriving from the future("Gun Shop/Reese in Alley"), the bleakness of a hopeless future("Future Flashback"/Terminator Infiltration") or the heartbreaking sadness of Kyle and Sarah's(Linda Hamil-ton) one night together("Conversation by the Window/Love Scene").

 
     If by some chance you only own the DCC original, toss it in the garbage and get yourself a copy of "The Definite Edition". It's time to upgrade to a more aggressive model, baby.