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Section Header
The Prince of Egypt
1998 Original

1998 Collector's Edition

Sample Bootleg

Score Composed and Co-Produced by:
Hans Zimmer

Score Co-Produced by:
Adam Smalley

Orchestrated by:
Bruce Fowler
Yvonne S. Moriarty

Songs Composed by:
Stephen Schwartz

Songs Produced by:
Hans Zimmer
Harry Gregson-Williams
John Powell
Gavin Greenaway

Conducted by:
Gavin Greenaway
Harry Gregson-Williams

Labels and Dates:
Dreamworks Records (Original)
(November 17th, 1998)

Dreamworks Records (Collector's Edition)
(November 24th, 1998)


Audio Clips:
Original Album:

2. Deliver Us (0:33):
WMA (215K)  MP3 (267K)
Real Audio (166K)

8. The Burning Bush (0:32):
WMA (204K)  MP3 (251K)
Real Audio (156K)

14. When You Believe (0:31):
WMA (202K)  MP3 (248K)
Real Audio (154K)

15. Red Sea (0:30):
WMA (193K)  MP3 (238K)
Real Audio (147K)

Collector's Edition:

1. It is Only the Beginning... (part I) (0:30):
WMA (197K)  MP3 (242K)
Real Audio (150K)

1. It is Only the Beginning... (part II) (0:31):
WMA (204K)  MP3 (251K)
Real Audio (156K)

6. Chariot Race (part I) (0:29):
WMA (191K)  MP3 (235K)
Real Audio (146K)

6. Chariot Race (part II) (0:32):
WMA (204K)  MP3 (251K)
Real Audio (156K)

The original three soundtrack albums ('Soundtrack,' 'Nashville,' and 'Inspirational') are regular U.S. releases. The Collector's Edition was readily available at Walmart in late 1998 and 1999, fetching prices as high as $50 on the secondary market after selling out. The mass quantities available for this short album, however, have caused it to become a cheap used-CD find. The first bootlegs that circulated in 2001 featured terrible sound quality, but by 2004, better sources for the material began to leak and these 2-CD bootlegs were more tolerable.

  The song "When You Believe" and the score were both nominated for Golden Globes and Academy Awards. That song, as well as the primary album, were also nominated for Grammy Awards.

The Prince of Egypt
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Buy it... on the commercial album if you seek only a survey of the film's cast songs and half of Hans Zimmer's occasionally epic score.

Avoid it... on all of the commercially available albums if you want a truly loyal representation of the music you actually hear in the film.

The Prince of Egypt: (Hans Zimmer/Stephen Schwartz) The biggest question about Dreamworks' 1998 venture into animation was how exactly the studio could base a children's musical on the first chapters of the Book of Exodus without offending half of the world's population (if not more). Several careful consultations with religious historians and delicate liberties taken with the story led to a product that worked surprisingly well, intelligent enough to impress adults (including critics) and with vivid colors and compelling emotional relationships to keep the kids interested. Regardless of the sticky subject matter, the animated musical genre had been dominated by Disney throughout the 1990's. In 1997 and 1998, however, 20th Century Fox, Warner Bothers, and Dreamworks were all reaching into that same well of vast potential earnings. While Fox had mostly succeeded with Anastasia, Warner's The Quest for Camelot was a monumental failure (despite some outstanding music). Dreamworks would easily exceed both in competition, matching Disney's Mulan in 1998 with immense praise and surprising financial returns given the topic of the story. Dreamworks decided to stay true to the structure of the typical musical for the era, meaning that the tunes for the songs would need to be written early enough in the production process to properly synchronize the story with its singing. Broadway songwriter and lyricist for the recent Disney musicals by Alan Menken, Stephen Schwartz was finally given the opportunity to write his own songs for a major feature. The scoring duties were the assignment of Hans Zimmer, who had not only won an Academy Award for The Lion King, but was involved with the early Dreamworks production The Peacemaker the previous year. Perhaps the most interesting aspect of these two artists' involvement with the songs and score for The Prince of Egypt is the fact that Zimmer seemingly came on board as early as Schwartz did in order to arrange the film's songs. He asserted late in 1998 that he had been involved with small portions of the song creation as early as 1995 and had even contributed suggestions to help shape the film's story.

Unlike The Lion King, Zimmer's involvement at the very start of production for The Prince of Egypt gave him a more integral attachment to the concept. While touting his own work on the songs, he is not quick to mention the collaboration with Schwartz, who is solely credited as the writer of each of the six cast songs. The balance between Schwartz's writing of the melodies and their instrumental arrangements by Zimmer and a vast collection of Media Ventures talent has always been somewhat nebulous, due in part to the large quantity of contributing talent in the editing and recording process. The project caused Zimmer significant anxiety, for his determination to avoid offending viewers caused him to fret about the appropriateness of his music for the daunting Biblical story. He intentionally whipped through the process of writing the hour of underscore for the film in just one month, quickly handing the score over to his assistants after years of stirring the pot of ideas for the production. As Zimmer told Film Score Monthly at the time of the film's release, "While recording in London, I was the most miserable I have ever been. I was so grumpy because I thought I ruined the whole movie. I dropped into a complete insecurity. I was convinced none of the music would fit the action. Then, I became more and more panicked and didn't tell anybody. I was impossible to be with." The scene addressing the burning bush was particularly troublesome for Zimmer, but after assurances from his staff, he later said, "I think I pulled it off." Unlike the rest of the score for the film, the "Burning Bush" cue was one instance in which Zimmer did not have any visuals to write for, a situation that resembled the uncertainty over synchronization with The Lion King. Like the songs, Zimmer's music for the scene would guide the animators' pacing. The Media Ventures staff proved to be more crucial in the recording and editing process of The Prince of Egypt than perhaps ever before or since. One of these members, and the most likely candidate is Jeff Rona (who had both performed on woodwinds for Zimmer's scores and arranged his commercial albums), took Zimmer's 88 recorded tracks for the film and finally organized them into the final product.

The performing ensemble for The Prince of Egypt is staggering, which is likely part of the reason the production of the score and the songs' instrumental arrangements was a nightmare for Zimmer. Orchestral players making up several of London's notable ensembles were combined with familiar soloists from earlier Zimmer projects and the usual Media Ventures clan who, inevitably, helped the composer lend the music its familiar masculine edge with a host of synthetic accents and mixing techniques. Israeli chanteuse Ofra Haza was the first choice by Zimmer to contribute to The Prince of Egypt. "I have always loved Ofra and asked for her," Zimmer recalled. "She is tremendous." When Zimmer first sat down to tackle the score's content, he claimed that the score he consulted with, interestingly, was John Williams' Schindler's List (with the common denominator being the treatment of religious persecution, of course) and, after studying it closely, claimed that "The one thing I didn't want to do is go anywhere near that music." Indeed, Zimmer had to deal with the same tricky balance of addressing the weight of the religious story with the PG rating of the film. Schwartz faced the same dilemma as well, and he arguably achieved a better result. His six songs followed the pattern of most musicals, with heroic ballads of hope, a fierce vocal battle with the villain, and even a variation on the usual comedy relief piece. Perhaps one of the reasons Zimmer was worried about the viability of his work on the score was because of the success of Schwartz's contributions. There was much disagreement with this point at the time, with reviewers all choosing different songs as the highlight of the music. The magazine Entertainment Weekly wrote at the time that "No amount of positive thinking can make Schwartz's quasi-religious show tunes fly." Audiences chose their own overwhelming favorite, however, with "When You Believe" earning accolades ultimately resulting in another Oscar for Schwartz. The pop variation of that song, performed by Whitney Houston and Mariah Carey, sustained itself on Billboard's charts for a while, though Schwartz's refusal to give Kenneth "Babyface" Edmonds co-writing credit for that version of the song for the purposes of the Oscar nomination caused significant controversy (and boycott threats) before the ceremonies in 1999.

Despite a somewhat muddled response from critics, The Prince of Egypt's songs remain a crowning mainstream achievement for Schwartz, every one featuring uniquely positive attributes. Each of them manages to balance the religious gravity of the story with the innocence of the children's genre. His melodies are attractive and the instrumental accompaniment by Zimmer's staff offers strong connections to the style of the surrounding underscore. The opening of the film features the powerful and compelling song "Deliver Us," an ensemble expression of persecution with heartbreaking lyrics and two gorgeous lead female performances in its middle sections. The uplifting and buoyant "All I Ever Wanted" is the closest Schwartz comes to emulating the hero's song of aspiration that Alen Menken made famous throughout the decade. The determination in this short song is convincing and the queen's reprise is elegantly merged with the river melody from "Deliver Us" at its conclusion. While "Through Heaven's Eyes" is a common favorite for listeners, its folk rhythms betray the resounding voice of Brian Stokes Mitchell. The Steve Martin and Martin Short song "Playing With the Big Boys" is surprisingly sinister, with tones similar to the villain's song from Anastasia. One of the more terrifyingly effective songs of recent animation history comes with "The Plagues," which challenges the lyrical nature of the film's early songs with deliberately harsh chanting that battles quite strikingly with a pseudo-reprise of "All I Ever Wanted" (performed by Amick Bryam). Ralph Fiennes's contribution in the last 45 seconds is intentionally mixed at a distance, likely to hide the lack of power behind his voice. The primary song from the film is "When You Believe," the sorrowful but optimistic equivalent to "God Help the Outcasts" from The Hunchback of Notre Dame. A graceful duet between Sally Dworsky and Michelle Pfeiffer yields to children's voices and a highly percussive rhythmic presence in the last minute to address the victorious stance reprised at the film's finale. It is "When You Believe" that went on to Grammy and Oscar recognition in its radio-blitzed pop variant, despite terrible editing that places percussion on top of both voices and wastes the precision of those singing talents with an ambiguous mix.

To his credit, Schwartz achieved a level of consistency in his songs that was rarely heard in musicals at the time, especially when compared to Menken, who was often a "hit and miss" prospect. Other than the brief performances by Fiennes and Pfeiffer, there are no singing misadventures from Val Kilmer, Patrick Stewart, Jeff Goldblum, or the remainder of the major cast. If you compare Schwartz's contributions to The Prince of Egypt with the rival songs for Mulan and The Quest for Camelot, you'll note that Schwartz fares well next to Mulan, against which the scores for the two ventures split the genre's Oscar votes and doomed one another's chances at gold. Unlike the songs for Mulan, which failed to be integrated well with the style of Jerry Goldsmith's score, the songs for The Prince of Egypt are both strong in their melodies and performances, as well as very effectively utilizing the arrangements by Zimmer's troop to promote consistency with the score. Neither really stands up to the quality of the songs in The Quest for Camelot, which neglected to really address Patrick Doyle's score (and vice versa) but topped the list with at least two stunners in the songs alone. The song "The Prayer" from The Quest for Camelot beats anything Schwartz has to offer, but the failure of the film reduced that song (among the others for the obscure project) to "hidden gem" status despite a Golden Globe win. As expected, the end credits for The Prince of Egypt are the host for some of the pop songs that populate the end of the main album for the film. The pop variant on "Through Heaven's Eyes" and "River Lullaby" are from the pen of Schwartz, the latter song performed by Amy Grant being an extension on the beautiful middle portion of "Deliver Us." The other two songs are tacked on without any relation to the project and, like the "K-Ci & Jo Jo" version of "Through Heaven's Eyes," will be intolerable for most film score collectors. One of the significant problems with the five pop songs on the album (including the opening presentation of "When You Believe") is their mastering in relation to the remaining material. Their gain levels are so blatantly and obnoxiously loud that you simply cannot switch between the cast songs (and score) and the pop songs without significant volume adjustment.

For fans looking for the original score by Hans Zimmer for The Prince of Egypt, a completely satisfying listening experience is an elusive prospect. The score was the final entry in a string of quality production by Zimmer dating back to The Lion King. While the major assignments continued to roll in after 1998, Zimmer's scores would be more and more diluted by redundancy and a reliance on credited secondary writers. Interestingly, though, this score represented Zimmer's second Middle Eastern score in his previous three efforts at the time, and even though it was composed for a completely different genre of film, The Prince of Egypt expands stylistically on some of the ethnic traits heard in The Peacemaker's Sarajevo material. In some ways, Zimmer's fears about the appropriateness of his music were realized, while in other regards, he succeeded very well. His themes for the film are diverse, covering eight different characters and plot elements. But his enunciation of these themes isn't as strong as necessary to truly identify specific themes with those ideas. The only themes that stand out among the eight are those for God, Ramses, and the Egyptians. The Egyptian theme, heard most prominently in the last half of "The Reprimand," will recall The Peacemaker. Additionally, Ofra Haza's vocals will, to many Western ears, sound similar to Mamak Khadem's tones from the previous score. The theme for Ramses is a bold, prototypical Zimmer expression of gloom, existing prominently in "Goodbye Brother" and "Cry." The most impressive Zimmer theme, however, is the one for God, explored with grandeur in "The Burning Bush" and "Red Sea." The choral crescendos in these two tracks compensate for all the ills that the remainder of the score tends to suffer, spectacularly aiding in the film's quest for spritual identity and a sense of historical importance. Singular moments of thematic complexity are littered throughout The Prince of Egypt, though Zimmer's heavy instrumentation can obscure them. The overlapping of the God and Egyptian themes in the fourth minute of "The Burning Bush" is a highlight, though. The score's only moment of disjointed pounding is late in "Red Sea," an unfortunate slip back into Zimmer's action-oriented comfort zone.

A few specific aspects of the score's production should be discussed to fairly evaluate Zimmer's work. First, whether you like it or not, the composer's trademark style of a masculine rendering prevails throughout the recording. Despite the contributions by solo and ensemble voices, as well as an array of specialty Middle Eastern instruments, the synthetic backing to the orchestral recordings, or perhaps the usual mixing of that recording to replace the organic sound with a harsh electronic edge, causes the score to lose some of its authenticity given the topic. At some moments, Zimmer excels past this habit, but The Prince of Egypt is, on the whole, extremely consistent with his occasionally overbearing 1990's style of simplistic bombast, and this will bother some listeners who are not convinced of the match with this subject matter. In terms of Middle Eastern flavor, the minor-key cliches are there, but they aren't as obvious as Alan Menken's similar use in Aladdin. Both the scores for The Lion King and The Prince of Egypt rely on wholesale awe to float their major cues, with scope and straight forward beauty the specialty of the moment, though only the choral ensemble performances in the latter score can compete with the magical woodwind solos in the former. Secondly, Zimmer doesn't utilize the melodies from the songs often in his underscore, creating somewhat of a disconnect between them. Another aspect of Zimmer's involvement with The Prince of Egypt that is worth mentioning is the even flow between the cast songs and the score. Their presentation on album is seamless, and this editing works because of simple fact that Zimmer's team of Media Ventures assistants arranged the accompaniment to the songs so that Zimmer's same drum pads, electric bass, and other trademark instrumental sounds existed in the songs as well. The problem that Zimmer fans ran into with the score is that only half of its length was available on the main commercial album for the film and, as was typical for Zimmer as well, the versions of the music heard on the album did not match the mix that was used in the film. The cues "Red Sea," "Goodbye Brother," "Death of the First Born" exist in multiple mixes, as do the songs "Deliver Us" and "When You Believe."

The album situation didn't help the confusion, unfortunately forcing fans to search for various bootlegs to find relief. Dreamworks initially released three major commercial albums for The Prince of Egypt, with only the official soundtrack featuring any of the music actually heard in the film. The "Inspirational" and "Nashville" song compilations are useless to film score collectors and should be shunned. Shortly after the theatrical release of the film, Dreamworks issued "Collector's Edition" copies of The Prince of Egypt that include a short amount of music from the film in combination with songs from all three song compilations. It was a teaser product bundled initially with toys and available only at Walmart stores, the soulless box store for the obese and destitute of America. Two versions of the short 20 to 25-minute release exist, offering either one or two tracks of score not available on the main commercial album. All of them have the stunning "Chariot Race" track, which not only features the romping survey of the score's themes in the first three minutes actually devoted to that scene in the film, but also tacks on the film's finale for another three minutes. This latter half of the cue is the true highlight of the entire score, finally working the songs into the score with glorious results. Featuring a massive choral rendition of "Deliver Us" and weaving an intelligent interpolation of the song "When You Believe" into the fabric of the score, the victorious conclusion to this cue is not to be missed. Ironically, this recording still isn't the actual music that you hear in the film, but it's a close representation and stands as the single best score cue that Zimmer has to offer here. Some of the "Collector's Editions" also include the "It is Only Beginning..." cue, which accompanies the "Nile of Blood" scene and serves up a dose of the "When You Believe" melody as well as all of Zimmer's three most prominent themes. Although this track appears on the version that is more difficult to find, it really isn't worth much fuss. While the addendum CD was available in Walmart for incredibly cheap prices, it temporarily fetched significant sums (over $50) worldwide, as the score-collecting market snatched it up.

For the vast majority of mainstream listeners and casual soundtrack enthusiasts, the commercial album alone will suffice. For those who maintain a somewhat healthy collection of Zimmer's works, the addition of the three Zimmer cues in two tracks on Dreamworks' promotional "Collector's Edition" will be a reasonable addition for a far more manageable price ten years later, with the best cue from either album on that smaller release. For the die-hard Zimmer collectors, however, the 30 minutes on the commercial album and 10 additional minutes on the Walmart album will fail to address a few notable cues heard in the film, including the hieroglyphics nightmare scene (among others). There also exists, of course, the film versions of the aforementioned cues and songs, amounting to another additional twenty minutes that you could really rip from the film itself. Early versions of a bootleg did just that, though these traded albums featured irritating sound effects and often padded their running time on the second CD with music from other Zimmer projects. In the mid-2000's, however, refined versions of the unreleased score and the material actually used in the film was leaked. The resulting 2-CD bootlegs of 80+ minutes of music are the complete representations of all the music from the film, but the additional material they offer is perhaps not as impressive as the simple task of rearranging all of the film versions of the various score and songs into a loyal listening experience. Some sound quality issues remain, too. Overall, The Prince of Egypt does have its weaknesses, but it's an enjoyable and well conceived collection of songs and score. The songs will easily appeal to fans of the genre, and Zimmer's score will likewise appease fans of his distinct style of the era. There are lingering questions about the effectiveness of that electronically aided style, and Zimmer's handling of this multitude of themes and the song melodies remains an easy target for criticism. The album situation is somewhat souring as well, especially with the country and religious albums muddying the waters. But even with only the regular commercial album, you hear a score with the intensity of epic proportions that fellow animated genre composers Alan Menken and Randy Newman have difficulty obtaining consistently. It's an entertaining listening experience with a handful of excellent highlights. Price Hunt: CD or Download

    Songs: *****
    Score: ****
    All Album Releases: ****
    Overall: ****

Bias Check:For Hans Zimmer reviews at Filmtracks, the average editorial rating is 2.98 (in 89 reviews)
and the average viewer rating is 3 (in 266,350 votes). The maximum rating is 5 stars.

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 Track Listings (Original 'Soundtrack' Album): Total Time: 54:27

• 1. The Prince of Egypt (When You Believe) - performed by Mariah Carey and Whitney Houston (5:05)
• 2. Deliver Us - performed by Ofra Haza and Eden Riegel (7:16)
• 3. The Reprimand* (4:05)
• 4. Following Tzipporah* (1:01)
• 5. All I Ever Wanted (With Queen's Reprise) - performed by Amick Byram and Linda Dee Shayne (2:51)
• 6. Goodbye Brother* (5:34)
• 7. Through Heaven's Eyes - performed by Brian Stokes Mitchell (3:42)
• 8. The Burning Bush* (7:18)
• 9. Playing with the Big Boys - performed by Steven Martin and Martin Short (2:53)
• 10. Cry* (3:50)
• 11. Rally* (0:43)
• 12. The Plagues - performed by Amick Byram and Ralph Fiennes (2:40)
• 13. Death of the First Born* (1:08)
• 14. When You Believe - performed by Michelle Pfeiffer and Sally Dworsky (4:05)
• 15. Red Sea* (5:15)

• 16. Through Heaven's Eyes - performed by K-Ci and Jo Jo (5:05)
• 17. River Lullaby - performed by Amy Grant (3:57)
• 18. Humanity - performed by the actor and singer ensemble (4:33)
• 19. I Will Get There (A Capella) - performed by Boyz II Men (4:21)

* exclusive track from Hans Zimmer's score (Total: 29:10)

 Track Listings (Collector's Edition): Total Time: 26:51

• 1. It is Only Beginning...* (3:44)
• 2. Freedom - performed by Wynonna (4:41)
• 3. The River - performed by CeCe Winans (3:53)
• 4. Humanity - performed by the actor and singer ensemble (4:33)
• 5. Through Heaven's Eyes - performed by Brian Stokes Mitchell (3:37)
• 6. Chariot Race* (6:27)

* exclusive track from Hans Zimmer's score (Total: 10:11)

 Track Listings (Sample 2004 Bootleg): Total Time: 118:52

CD1: (57:42)
• 1. Main Title (1:00)
• 2. Deliver Us (Film Version) (7:15)
• 3. Chariot Race (3:04)
• 4. The Reprimand (4:07)
• 5. Power of Ra (0:19)
• 6. Royal Chief Architect (1:32)
• 7. Escape (1:01)
• 8. Brother (5:33)
• 9. Hieroglyph Nighmare/This is Your Home/Slavery (6:31)
• 10. Rescue (2:12)
• 11. Through Heaven's Eyes (4:11)
• 12. The Burning Bush (1:54)
• 13. The Mission (6:34)
• 14. Let My People Go (1:24)
• 15. Playing With the Big Boys (2:54)
• 16. Ramses vs Moses (1:33)
• 17. Nile of Blood (3:45)
• 18. The Rally (0:43)
• 19. The Plague (3:26)
CD2: (61:10)
• 1. Ultimatum (3:49)
• 2. Death of the First Born (1:10)
• 3. When You Believe (Film Version) (4:53)
• 4. Red Sea (Film Version) (5:58)
• 5. Goodbye Brother (Film Version) (3:39)

Bonus Tracks (Previous Album Versions):
• 6. Deliver Us (7:17)
• 7. Chariot Race (6:28)
• 8. Following Tzipporah (1:03)
• 9. All I Ever Wanted (2:52)
• 10. Goodbye Brother (5:32)
• 11. The Burning Bush (7:17)
• 12. Death of the First Born (1:08)
• 13. When You Believe (4:55)
• 14. Red Sea (5:10)

(all selections are either score or cast songs)

 Notes and Quotes:  

The insert for the 'Original' commercial release includes a lengthy list of performers, both instrumentally and vocally, as well as lyrics for the songs. The 'Collector's Edition' contains only a single-page slip insert with no extra information about the music. The bootleg covers vary widely.

  All artwork and sound clips from The Prince of Egypt are Copyright © 1998, Dreamworks Records (Original), Dreamworks Records (Collector's Edition), Bootleg. The reviews and other textual content contained on the site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 12/20/98 and last updated 3/25/08. Review Version 5.1 (PHP). Copyright © 1998-2015, Christian Clemmensen (Filmtracks Publications). All rights reserved.