The result of the combined efforts of Kamen's associates for Back to Gaya is more of a tribute to the composer than a standalone film score with airtight narrative cohesion. You hear many of the composer's orchestral mannerisms expressed to the level of glorification in this score, and many of the most competent musicians in London who had performed on Kamen's previous works assembled specifically to lend their support to this cause as well. Given the poor quality of the film, perhaps it is fitting to look upon the score for Back to Gaya as a separate concert arrangement to honor the composer's style of orchestral might. There is no contribution from electronics, acoustic guitar, or other common elements in Kamen's career, and even the percussion in the score is held to a purely supporting role. The other three sections of the orchestra are all exercised extensively, however, from charged low string rhythms to tonal brass layers of magnificence. Most important, however, is the job that the crew did to intentionally emphasize the woodwinds, following this trademark Kamen focus to such an extent that even a few notable oboe solos are incorporated to reflect the composer's own affinity for that instrument. Thematically, there are several recurring ideas heard in Back to Gaya, though while each is entertaining and adequate at the task of representing part of the concept, they don't seem to form a tightly woven tapestry in the end. The most obvious and memorable idea is the primary theme, heard prominently in "Main Title" and in the conclusive duo of "We're Free!" and "Back to Gaya." This theme was reportedly an early version of the main identity for Robin Hood: Prince of Thieves, and its use of the same chopping string rhythms is an appropriate gesture here. Kamen also wrote a bassoon theme for the Snurks that is expressed in the cue of that title and in more resolute shades in "Free Will." A villainous, stomping theme of dread and a saccharine, nostalgic theme are notable secondary ideas, the latter quite lovely in "Switched On." Only the title theme's performances will really catch your attention, however, as will some of the major action sequences (a few of which use that recognizable melody). In a few instances, these rousing cues employ a layer of choral majesty, as in the latter portions of "Flying" and "We're Free!" The bright, timpani-pounding enthusiasm of "Fireworks," complete with the main theme's rhythm, and the frantic balance of awe and action in "The Vortex" are sustained highlights. On the whole, Back to Gaya is a highly enjoyable collection of "Kamenisms," some obvious while others fluttering about in the background of hyperactive cues. Both the arrangement and orchestrations are as reflective of generic Kamen tones as possible, a neat feat of musical engineering but also one that inhibits the narrative flow of the entirety. Still, the limited CD album from MovieScore Media is highly recommended.  ****   @Amazon.com: CD or Download