The crew and ensemble for Article 99 was typical for Elfman at the time, Shirley Walker and Steve Bartek translating the composer's ideas for a standard Los Angeles orchestral ensemble with practically no embellishments in terms of unique instrumentation (an acoustic bass being the only rare exception). The piano is the primary element of choice for the sensitive tone of the score, though woodwinds carry Elfman's thematic constructs consistently as well. The primary theme takes several three-note progressions from Nightbreed, as well as that score's light percussive accompaniment in its harmonic passages, and twists them into a completely exuberant and redemptive alternate personality. When light string rhythms propel the theme (along with cymbal crashes and snare tapping), Elfman's style starts sounding familiar to John Debney and David Newman's standard comedy writing of the 1990's. That said, both extended versions of the main theme in Article 99 ("Main Title" and "End Credits") are extremely easy on the ears. Conflict is at a minimum in the score, the somber reminders of the larger issues at stake in the story embodied by stereotypical trumpet solos of distinction. The only truly disruptive passage in the score occurs in "Death," in which Elfman manipulates the light piano theme into a dissonant nightmare complete with pitch-defying brass effects. The "Love Theme" is interestingly a simple extension of the primary theme. The highlights of Article 99 may be, for Elfman veterans, the cues in which he addresses the outward comedy on screen. These glimpses back into the zany mannerisms of the composer are best heard in "Mayday" and "Rebellion." The general demeanor of these cues espouses the same playful mischief as Elfman's Pee Wee scores while also featuring the descending harp and thunderous minor-third piano pounding from Beetlejuice. The latter half of "Mayday" actually reminds strongly of Batman, especially in its rattling percussive effects, churning rhythmic patterns, and alternating horn and trumpet figures over snare. A little more vague is "Shooter" and "Confrontation," which treat the militaristic aspect with the diluted honor of a typical Mark Isham drama in that genre. On the whole, Article 99 is the kind of score that suffices in its task and would be largely unmemorable if not for the basic fact that it so strongly reminds the listener of a composer's trademarks during his most popular period of output. For those familiar with Elfman's famous scores from that era but not Article 99, the inexpensive (and short) album on the secondary market will greet you like a good, long lost friend.  ***   @Amazon.com: CD or Download