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•	1998 Sony Album

•	1998 Sony Album

Not only was Arnold was writing music blind, but he also knew that several scenes in the film would be overwhelmed by sound effects to such an extent that subtleties in his music were unnecessary. Many of his admirably crafted themes, even for quieter situations, are lost in the film. Still, where the film's plot and acting failed to deliver even an adequate performance, Arnold undoubtedly did. Drowned out by many of the sound effects and curious edits in the final product, the score for Godzilla didn't play as big a role in the film as any of the composers' prior efforts. Arnold's earlier scores had each blasted across the screen with glorious thematic intensity, but the themes of Godzilla failed in context to much the same extent as Matthew Broderick's miscast role. While not as robust in scope as Stargate or Independence Day and not as eclectic as Tomorrow Never Dies, the score for Godzilla remains a very strong entry in Arnold's early career, eclipsing most concurrent action scores in its sheer noise, ambitious tone, and monstrous thematic statements. The score picks up some enormously entertaining and driving action music during the scenes as New York prepares for the arrival of Godzilla, with patriotic brass and snare-dominated cues of fully orchestral bombast of the best Arnold kind. The composer has mentioned that his favorite theme from the score is the one he wrote for the American military, and indeed, it's a stirring addition to the ideas of Independence Day with an elegantly noble interlude that highlights the entire score. In the central portion of the film and score, when the main character is taken off the case, Arnold kicks in a dramatic secondary love theme that prevails in several cues later in the work. The brooding theme for the lizard itself, heard most ominously in the opening credits of the film, is ironically the least interesting. It proves once again that Arnold is at his best in such circumstances when he can belt out his patriotic and victorious action themes in between lofty love themes with layers of strings. The composer does keenly adapt the monster's underwhelming theme into a largely choral and string-based statement as it is killed while protecting its young, an intriguing dose of intellect where none was really necessary.

The concluding "The End" cue is a fantastic suite that summarizes Arnold's ideas for Godzilla, encompassing the positive variation on the title theme while also providing some air time to the love theme, a hint of the military theme, and the darker variant of the monster's idea. In texture, several applications of the scrappy, metallic instrumentation heard extensively in Tomorrow Never Dies the previous year carry over to this project. Only a minimal use of a massive choir is employed, which is somewhat curious given the request by the filmmakers to make the monster into a creature of awe rather than one of pure fright; Arnold does unleash the voices at the monster's actual death scene in dramatic fashion, though. Some listeners may find the overall package to be somewhat derivative of Arnold's typical 1990's blockbuster sound, though while this criticism may have carried more weight at the time, the fact that the composer has not returned to that sound in the subsequent decade has caused an understandable amount of affinity for the score. Slight comparisons between some of the lesser motifs of this score and John Williams' music for the first two Jurassic Park films have also faded with time. One of the reasons why the score never achieved the status it deserved at the time was because of its dismal album situation. The original plan was for Sony to release both the standard song compilation and the score on separate products; the latter album was formally arranged and prepared for release by Arnold. Sony had even leaked the news of a score-only album to be released later in 1998, but the failure of the film's performance in the weeks after its debut caused the studio and its label to balk on that product. The song album was produced by Devlin and Emmerich themselves, and the blame for the horrendous outcome of its contents rests on their shoulders. Despite selling like hotcakes for a number of months, the album was slammed by rock and metal song critics in nearly every major publication. Even Entertainment Weekly, a publication not known for its detailed coverage of orchestral scores, stated that "it's telling when the best cut on this mostly pop soundtrack is an orchestral one." Mainstream listeners quickly changed their minds about the disappointing song performances and the album began filling used-CD bins by the countless thousands, eventually becoming one of the most discarded soundtrack albums of all time.

The commercial song album contained only about four minutes of Arnold's score, which obviously did not satisfy his growing fanbase. The composer had a promotional album pressed for Academy Award consideration in January of 1999, and the bootleg market in turn began pressing their own copies of those contents almost immediately. Whereas Arnold's original promotional albums disappeared quickly, the subsequent bootlegs continued to proliferate madly in the growing online marketplaces, often changing the material provided based upon whatever extra music fans could adequately rip from decent sources. The originally identical 49-minute promos and bootlegs likely surprised many film score fans, especially considering how so much good material got lost in context. The promo/bootleg presentation is littered with grand performances of Arnold's typical bombast, making it very consistent in its elevated volume and major key resolution to every heroic measure. For some reason, Devlin and Emmerich decided to include the first two cues from the score (mixed together with several seconds overlapping) on their commercial album. Unfortunately, these are among the weakest of Arnold's work for the project. In fact, the first three cues on the promo/bootleg are the only truly uninteresting entries on the entire album, making the choices for the commercial album even more curious. Had Devlin and Emmerich filled those four minutes with music from the evacuation sequence, the score might have experienced more demand from the start. The entire issue about the albums was rendered moot in 2007, however, when La-La Records released a 3,000-copy pressing of Arnold's nearly complete recordings. This attractive product spanned two CDs, with four alternative takes following the full score to provide a 110-minute listening experience. In 2012, few years after that album sold out, BSX Records merged the promo and La-La Land contents into one 3-CD set (also of 3,000 copies), adding a few extra minutes of alternate recordings for good measure. For general film music collectors, this final set may seem like overkill, especially when the previous score albums each offered a well-rounded presentation of the score. The sound quality is equal on all of the releases; it isn't spectacular, but its choral cues are clear and the acoustics are reasonable. With so much hype surrounding Arnold's successful move to the James Bond franchise at the time, it's partially understandable that this score was somewhat forgotten, but if you have any affinity for Arnold's large-scale action efforts, then don't hesitate to pick up any of the versions of the score on album.   @Amazon.com: CD or Download

• Music as Written for the Film:  ****
• Music as Heard in the Film:  ***
• Score as Heard on 1998 Sony Album:  *
• Score as Heard on 1999 Promotional/Bootleg Albums:  ****
• Score as Heard on 2007 and 2012 Limited Albums:  ****
• Overall:  ****

Bias Check:

For David Arnold reviews at Filmtracks, the average editorial rating is 3.53 (in 15 reviews) and the average viewer rating is 3.28 (in 44,974 votes). The maximum rating is 5 stars.