Buy it... only if you consider yourself an avid fan of the "Babylon 5" series and maintain a healthy collection of the episodic score releases for the show.

Avoid it... if you expect the quality of this final episode's score to meet expectations in its summary of series themes or convincing melodramatic depth.

Babylon 5: Sleeping in Light: (Christopher Franke) One of the great disappointments of the ground-breaking science fiction show "Babylon 5" was its love and hate relationship with the TNT network in the late 1990's, a problem that plagued the concept for years. One way in which it ironically helped the show was in its conclusive episode. At the end of the fourth season, there was no expectation that the show would be picked up by TNT for another year, so an epilogue was shot and intended for use as the final episode. When the fifth season ensued, it turned out to be somewhat of an orphaned year, and it was refreshing to see the assembled cast from the second through fourth seasons finally close out the series. By then, "Babylon 5" had made itself known worldwide through trademark innovations in special effects, make-up, and music. The unconventional music of "Babylon 5" worked so well in context because the show's production was also somewhat unconventional. Instead of building models for space sequences and contracting a full orchestra to perform for each episode, J. Michael Straczynski created a concept that became more of a political space fantasy than a typical, technically interpersonal sci-fi production. Tackling the duties of scoring "Babylon 5" was former Tangerine Dream member and Sonic Images Records founder Christopher Franke, whose electronically creative music for each and every episode (as well as the majority of television films) added another dimension of mystery, suspense, and excitement to the show, with an easily distinguishable character that separates "Babylon 5" from other sci-fi television entries of the era. In these regards, Franke's contribution was a perfect match for the style of special effects that may now look simplistic in retrospect, but were, at the very least, another extremely identifiable aspect of the show. On album, however, some of Franke's episodic scores for "Babylon 5" remain more enjoyable than others. The music, interestingly, sometimes lacks three-dimensional character when heard without those distinct visuals, a problem complicated by the fact that Franke's own label released so many of the episodic scores on albums that generally ranged from 25 to 36 minutes in length.

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The episodic score albums were definitely products that required an appreciation of the individual episode represented, and thus appealed to a more narrow audience than the two compilations that had existed at the time. One entry in a later batch of episodic releases from March of 1999 was "Sleeping in Light," the episode that was held back a year and serving as the final identity of the dying space station and lead character. Franke's music for this episode does not run as long as many of the others, and is devoid of the usual title theme sequence (on screen and on album), a disappointment given the strength of the fifth season's theme (if it would even be applicable here). Unfortunately, while Franke's style matured through the years of "Babylon 5," the more romantic and sensitive nature of "Sleeping in Light" makes for a comparatively dull listening experience. It's the type of episodic score that would have been much better suited for suite format on a compilation of important music from "Babylon 5." The assembly of characters in the story allows Franke the opportunity to briefly explore individual stylistic motifs that he used for each one, though nothing can compete with the overwhelming sense of melancholy that prevails in the understated approach that Franke took with this whole episode. The tragedy of the first four tracks, making up the vast majority of the music in this entry, is so subtle and subdued compared to the vibrant personality of the rest of the show's music that it seems like something of a disservice to the characters and the larger concept. Franke does offer up a recapitulation of the station's death theme from the episode "Objects at Rest," and it is this noble and melodramatic farewell that accompanies the extended "End Title" sequence that delighted fans of the show with a prolonged goodbye to the characters and crew of "Babylon 5." Otherwise, "Sleeping in Light" is surprisingly dull. The lead character's choral death cue, "The White Light," is underwhelming, and the remainder of the score is anchored by strings and acoustic guitar that never attain convincing depth. The score works in the episode simply because of the inherent sadness at the end of the show, and the lack of any attempt by Franke to work in the earlier title themes of the show into this last entry is a missed opportunity. Overall, stick with the compilations for "Babylon 5," or at least a few of the accomplished and longer episodic releases. **   Amazon.com Price Hunt: CD or Download