For Enchanted, he would be tasked with providing five original songs, one parody song, and over half an hour of score. Unlike his previous efforts for Disney's fairy tales, though, this film causes him some stylistic dilemmas caused by the switch in locations. The intent with both the score and songs was to reach back to Disney's own Golden Age of soundtracks, and Menken is quite successful at raising that over-embellished orchestral zeal in Enchanted. The first and final thirds of the film are rich with the spirit of classic Disney scores and songwriting, merging with Menken's own fluffy styles to produce an almost insufferably positive atmosphere suitable for any princess. Expect an excess of tingling percussion, light choir, and squeaky strings, all performing to noble brass in thematic structures often reminiscent of the big band atmosphere from yesteryear. Menken's sense of humor is evident in a few places, with direct references to classic themes led by a creatively fragmented statement of the Beauty and the Beast title song's theme in "Nathaniel and Pip." Both the score and songs switch to a modern style, however, with contemporary pop elements encompassing the three later songs and the score track "Girls Go Shopping." Most listeners won't be familiar with Menken's abilities in that kind of setting, but rest assured that the same undeniably positive spirit translates to a light rock ensemble. While the score is mostly rooted in the classical style of animated scoring, usually to a level of excessive bravado, the songs are not as consistent. "True Love's Kiss" is the princess' main performance, and translates to the often choral-accompanied title theme in the score. While Amy Adams' performances are adequate, a lack of memorability in the songs' themes and the fact that her voice is seemingly mixed behind her accompanying ensemble causes some dissatisfaction with them.

The two modern songs not performed by a cast member are equally stale, with Carrie Underwood's performance of the end title piece "Ever Ever After" a bit too grating in its instrumentation and vocalization to fit with the remaining music. The parody song "That's Amore," complete with all the necessary Italian elements and performed by the prince, is ironically the most entertaining song in the film. Otherwise, the most interesting score tracks are the final two, when the wicked queen's theme is given robust treatment by menace brass and choir. The final "Suite" cue is exactly that, stating the themes from the first five songs in succession in the same style that Jerry Goldsmith recorded a suite for Mulan. Opening with a vibrant orchestral version of "That's How You Know" and eventually leading to a short burst of the contemporary instrumentation for "Ever Ever After," the suite is a satisfying summation of Menken's contributions. Collaborating with Menken once again is lyricist Stephen Schwartz, who both an Oscar last for Pocahontas. Their best work together in Enchanted is for the harpsichord-laced "Happy Working Song," with comical lyrics describing the princess' attempts to conjure an ultra happy tune while scrubbing floors and toilets in the real world. Overall, Enchanted is an extremely charming endeavor, but be aware that its hopelessly positive attitude, bordering on comedy, will frustrate and annoy listeners who can barely tolerate the already normally upbeat style of Menken's writing. The substance of the music is largely obscured by its fluffy tones. It's doubtful that Enchanted is of a quality that will garner significant consideration come awards season, but the project should at the very least confirm that Menken has once again cemented his place in another era of Disney productions.  ***   @Amazon.com: CD or Download