THE COMPLETE SCORE ON RHINO RECORDS -RELEASED 15th FEBRUARY 2000

The curtains part across the panavision width to reveal a little TV screen in the middle. A little boy reads from an Action Comic. We pass the Daily Planet, pass the moon, then the first credit appears, the curtains disappears to reveal the 2.35.1 screen.

This was my first introduction to Film music in the early/mid 80s, it took me till Jan/Feb 1997 to buy the first soundtrack, which was SUPERMAN.

After subsequent releases, 21 years later, THE COMPLETE SCORE TO SUPERMAN has become a reality.

This new and final release of the music (well, maybe if and when DVD Audio takes off) from Rhino Records is definitive and has it been worth the wait? The answer at the end.

When I got the CD, the first track I listened to was the ‘Prelude and Main Title March’, it is perfect, this is Superman like we’ve never heard before.
The sole muted trumpet is the perfect opening, very nostalgic, it almost sounds understated, but we know we're about to treated to something big.The full intro to The Main Title had to be created editorially and it is great, a slight edit can be heard, but you gotta know what you are listening for.

Track 2 features the entire Trial sequence and is quite a surprising cue, the opening of the dome is quite haunting, something I didn’t notice in the film.

Destruction of Krypton is a particular favourite, and presented for the first; the sad passage underscoring Lara’s entrance in-between the shots of the red sun. This section conveys the feeling of certain doom, the green crystal theme appears at the end of this previously unreleased section', a very haunting motif. The rising brass at the end of cue works so much better when heard with the next cue ‘Star Ship Escapes’

The fanfare opening heralds a new beginning or hope for mankind and the end for Krypton's populous as the 'Star Ship Escapes' cue progresses to its apoplectic end. The Boom heard at the end of this cue is heard in the TV Version of the film. The theatrical version works better with the silent destruction, on CD it’s a fitting end.

Jonathan’s Death introduces William’s Americana theme, it's a such poignant piece of scoring along with Leaving Home. It captures the whole feeling of middle America.

'Fortress of Solitude' opens mysteriously, it's a journey into the unknown for Clark Kent. The crystal sound effects can be heard clearly, almost a dreamlike cue. Jor-El face morphs into a cold crystal sculpture, Clark Kent is now a man, not an ordinary man, a SUPERMAN!

'Welcome To Metropolis' is the most surprising cue on the album, a lot of this was dialled out in all versions of the film. The end of the cue plays a undeveloped version of the Superman theme. This leads straight into Lex Luthor's Lair, a much more interesting version of the Villain's March. The introduction of Otis is perfect in the extended cut of the film. Presented in its entirety on the Rhino set.

The cue that the majority of film music fans have wanted - 'The Big Rescue' presented in its original composition (this cue was edited 50 times in the final film) The frenetic strings is classic Williams. The introduction of the Superman theme is cleverly done, when the man of steel captures Lois, it's almost sounds like a normal deed for our hero,  it's only when he grabs the copter, that the full developed March erupts, perfect scoring from the maestro. As the fanfare plays out this cue over an excited Superman, the track segues into 'Super Crime Fighter' Another surprising section, police chasing crooks is mostly drowned out in the film, but away from the celluloid, it's Vintage Williams, Crazy Williams, Fantastic Williams!!!! I love this piece.

Superman has time to help out a girl and her cat, a little section is restored here. And with Superman saving AFO, it's been a hectic night for our hero.

A jealous Lex re-creates Hawaii in his Lair, so Williams wrote a bit of source music, Luthor's Luau' is a hilarious bit of music, I love it! As with all source music, it works with the film only, away from it, I suppose it depends on your taste, I'm glad it's on the disc.

The Alternate Planet Krypton opens in a different key, F minor to be exact. After 20 seconds or so, the cue sounds familiar, the rest plays out with the rebalance piano and synths as heard on the original WB album.

Disc One ends with the Alternate Main Title March (The second version of the title theme Williams recorded)

Disc Two opens with an interesting Superman March, begins with the familiar fanfare, followed by a short quiet prelude music before building up to the March. The March section is a shorter composition, with the Love Theme played in a strong key. It's a great version, actually, this was the original theme to open the film. I'm dying to know what the original idea for the title sequence was.

Probably the only least interesting cue 'March of the Villains' The variations of this concert version are much more better.

The Terrace introduces the fully developed theme for Clark Kent/Superman. The Flying Sequence presented for the first time without vocals is given a new lease of life, it's absolutely beautiful. Clark and Lois once again plays the Clark/Superman persona theme, ending with a quickened tempo of the love theme.

'Crime of the Century' begins with a military March, which is Vintage Williams, and the villains theme is given an interesting workout. It's a very tongue-in-cheek cue. Sonic Greeting is a very exciting cue played at quickening pace, the violins are working overtime here.

'Misguided Missiles and Kryptonite' is a suspenseful cue, ending is exhilarating.

Chasing Rockets sounds more hopeful for Superman, I like the playful flutes which underscore the rejunvated Superman, thanks to Miss Teschmacher!

Superfeats ends with a perfect linger and it segues into 'Super Dam and Finding Lois' The March erupts once more underscoring another 'Feat'. Finale and End Title March presented for the first time, my favourite version of the Superman March. I love the build-up as the sun appears on Earth's horizon, out of the darkness appears the world's saviour. The swifter tempo and the shortened end with emphasis on the symbol crashes make this cue a fitting end to the film, and the quality of the sound does it justice, it really is sonically exciting. The Love Theme finishes the remainder of the credits (edited in the film), a beautiful composition, possibly John Williams' best romantic music.

'Can you Read My Mind' disco alternate presented here for the first sounds extremely dated. The Flying Sequence with vocals is also presented, a version that I quite like. I never minded the vocals, well, I did when I was younger! 'Can You Read My Mind' disco instrumental is okay, just so dated, though. The familiar Superman Concert Theme rounds off the CD Set.

Phew!

So, has it been worth the wait? YES, but nothing is perfect, there are minor problems with this set.

As with the deluxe STAR WARS CD Sets, the packaging is not practical. The booklet that comes with the set doesn't fit in the jewel case. I don't understand why Rhino decided on this. If 36 page booklet doesn't fit, why not set the font down a notch? and make the photos are little smaller? There are no track times printed. The Slipcase is very classy, shine a light on it and it's absolutely beautiful.

There is some hiss and distortion evident on a few tracks, this is to be expected on a 22 year old source.I think this restoration sounds just as good as A NEW HOPE which features some problems, too. In my opinion, RAIDERS OF THE LOST ARK is the best sounding Williams' expanded release so far.

Superman, apparently was a frenzied recording back in July 1978, paperwork is a mess, the whole process wasn't documented very well. One wonders how such a masterpiece was ready to erupt in July with the LSO. According to the producer, they were experimenting on new recording techniques, SUPERMAN was an inferior recording, by the time THE FURY was being done, they ironed out the problems associated with the Super Hero score.

There are some influences in Superman, one being Enrich Wolfgang Korngold.A great composer who is famous for his work on the Flynn swashbucklers, his action scores are some of the finest from the golden years. A little section of Robin Hood is featured quite prominately in the Main Title March.

When you’ve got John Williams at the podium, baton in hand, the orchestra ready to unleash the spectacular, there is still one man who can delight film music fans across the world in the 21^st Century. As the sun appears on the horizon, Superman flies out from the darkness, smiles at the audience, it’s been a tough start for our hero, but John Williams was there to back him up, and boy, didn’t he do it with style!!!!!!

DON'T HESITATE, BUY IT NOW!!!!!!!!!