X-Men: Original Motion Picture Soundtrack
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Music CD Cover
Brand: X-MenComposer: Michael Kamen
Edition: Music CD
Audio: English (Original Language)
Format: Soundtrack
CD Release Date: 2000-07-11
Music Label: Decca
Product features:
- SOUNDTRACK X-MEN (MICHAEL KAMEN)
- Death Camp
- Ambush
- Mutant School
- Magneto's Lair
- Cerebro
- Train
- Magneto Stand Off
- The X-Jet
- Museum Fight
- The Statue Of Liberty
- Final Showdown
- Logan And Rogue
Free Music Notes for X-Men: Original Motion Picture Soundtrack
Free Music Review: What really makes this soundtrack a true X-Men based medium
Hit: 5 Stars
So far, there have been two takes on the X-Men music: Michael Kamen's score and John Ottman's score. The differences between their scores are great, but the attitudes they created in their music are very similar. However, as far as which one comes out on top, Kamen does so, but this soundtrack may not do Kamen's score justice.
Kamen uses an up-to-date scoring style, with a bit of techno instruments mixed in with the orchestra. Ottman chooses to keep to a more traditional scoring style, as his idols are traditional musicians such as John Williams. This is a great difference in the scores of each film, but Kamen's style keeps more true to a theme such as X-Men. X-Men takes place in the future, and a techno style scoring keeps more true to that theme. In addition, when watching these films, you may feel the difference in this (for instance: in X-Men, use Magneto's stand off with the cops compared to X2's segment of Magneto in Striker's base and twisting the plot).
The attitudes that both composers create are very similar, and they are wonderful takes on the themes that reflect upon each character/group/event. So it's hard to say which theme is better over the other. However, the theme that is COMPLETELY different between the two scores is the theme for the X-Men, themselves. Kamen's theme for the X-Men is hard to describe, but it is very unique and fits the X-Men persona perfectly. Whereas Ottman's score is a very heroic theme that represents a superhero team. This is the trouble with Ottman's theme for the X-Men: it can be associated for any other superhero team, from the Avengers to the Justice League to the Fantastic Four (of which Ottman is scoring as well). It spares any uniqueness that could reflect the persona of the X-Men and just gives us an upbeat, superhero theme that amuses us. We're bound to hear a similar theme again from some other superhero franchise.
This X-Men soundtrack is really, as I feel, a wonderful score to such a franchise, but unfortunately, it's edited a bit much and leaves out some important instrumentals, which is evident once you listen to the end credits in the movie. Overall though, Kamen used all the necessary means to convey the X-Men universe in its grandest fashion, including the techno instruments and themes. But what truly makes this a solid piece for the X-Men is Kamen's style. This score could not have come to fruition without Kamen and his thinking. It's too bad that he died; I would have greatly anticipated his second take on the franchise if he was ever given the opportunity. But as a recommendation, otherwise, Ottman is a good choice; just PLLEEAASSE change or alter the X-Men theme to one more similar to Kamen's, then you're on the 'X-Men level.'
X-Men: Original Motion Picture Soundtrack Poster
SOUNDTRACK X-MEN (MICHAEL KAMEN)Michael Kamen has become one of the most respected movie soundtrack producers and composers of the modern age. And he's never lost his connection with pop music, either: most recently, he conducted the orchestra for Metallica's S & M. Juilliard-bred, Kamen has orchestrated work for David Bowie and Kate Bush, among others, and his work with Eric Clapton on the movie score for 1987's Lethal Weapon merged his two worlds into one. The summer blockbuster X-Men is a perfect match for the man who brought both Terry Gilliam's classic, Brazil, and Die Hard to life. Here, the battle of Professor X (Patrick Stewart), who must protect mutants born with unusual powers--they can mindread and fly--against the holocaust threatening their freakish existence creates massive tension that Kamen's score elaborately fulfills. Using the L.A. All-star Orchestra at full throttle, Kamen is at his Wagnerian best for "Museum Fight" and "The Final Showdown," and is noticeably more gentle with the epilogue, "Logan and Rogue." Kamen knows how to action-pack a score for maximum effect. --Rob O'Connor
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