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Godzilla
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Composed, Conducted and Produced by:
Akira Ifukube
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LABELS & RELEASE DATES
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Futureland/Toshiba EMI (Japan)
(December 22nd, 1993)
La-La Land Records (America) (August 17th, 2004)Toho Music (Japan) (September 2nd, 2004)Harkit Records (Europe) (May 12th, 2014)2024 Universal Music (Japan) (May 29th, 2024)
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ALBUM AVAILABILITY
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The Japanese albums, including the standard 1993
Futureland one, are scarce internationally since most Godzilla
products are imported from Japan. The 2004 expanded re-issue from La-La
Land Records is a regular U.S. release. Toho Music's alternative the
same year was limited to 1,954 copies and retailed for $120. The 2014
Harkit Records re-issue of the 2004 La-La Land product is a commercial
European release. The 2024 Universal Music Japan re-issue of the 1993
Futureland album is part of a 22-CD set that retailed for $340.
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AWARDS
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None.
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ALSO SEE
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Buy it... if you have any interest in Akira Ifukube's music or the
concept of Godzilla in general, for the two 2004 album variants
are the definitive releases of the original film's score.
Avoid it... if you do not value the history of Godzilla more
than the need for decent sound quality, because the score's incredibly
muffled sound is a considerable deterrent for those not prepared for
such a degree of muted ambience.
BUY IT
Godzilla (1954): (Akira Ifukube) Surviving the
legacy of dozens of progressively sillier sequels and remakes as well as
several notable American adaptations from 1956 to 2014 and beyond, the
original Godzilla ( Gojira), directed by Ishiro Honda,
remains a cult classic around the world but especially in Japan, where
the creature to this day stands as a historical relic of an age during
which post-war nuclear fears were at their greatest. The monster, though
imitated and even mocked in subsequent decades, was originally a
completely serious embodiment of the fear of radiation that was all too
familiar in Japan at the time. While making a political statement, the
prehistoric beast also opened the doors to an all-new genre of massive
science fiction destruction films involving massive creatures and
cityscape annihilation that was eventually exploited by of Hollywood.
Depending on your viewpoint of humanity, you could find yourself rooting
for the monster, if only to put some property insurance companies out of
business. Japanese composer Akira Ifukube's career will forever be
remembered as one of giant creature battles and other fantasy adventure,
and, remarkably, Ifukube was publicly honored on the 50th anniversary of
the original Godzilla in 2004, just as the retired composer
turned 90 years old. Ifukube was once again involved with the modern
series of Gojira films in the 1990's, finishing with the death of
the original monster in 1995's Gojira vs. Desutoroia, a movie
which Ifukube scored with enthusiasm while in his 80's. Like the films,
the music for the Godzilla concept is a source of pride for the
Japanese, and it has stood for many decades as a testament to their
cultural ingenuity as well as Ifukube's enduring individual talent. His
scores for the concept are both tragic and heroic, sometimes massively
orchestral with choral interludes, and creative in the use of the
ensemble to produce the majority of sound effects heard in context for
the first films in the franchise. The brutality of the strings and brass
in his ensemble are particularly notable, as is the lower register
gravity that comes with them.
Ifukube's main theme for Godzilla wasn't
originally intended to serve as such, but the series of three menacingly
descending notes over a stomping rhythm became the memorable anthem for
the monster. Its driving determination and easily recognizable
repetition is easy for any audience to recall after so much history,
though it's a rather simple construct that doesn't evolve significantly,
at least not in the 1954 film. There's a sense of raw abrasiveness to
the original film's score that matches the primitive but evocative
imagery, and while the theme has been re-recorded brilliantly in the
many decades to follow, especially during the Digital Age, there will
always be a place for the brooding force of the original recording. From
the patriotic march of the Japanese Army, performed by trumpets in
unison, to the epic scenes of destruction with excruciating strings, the
agony of the people and the monster are both reflected well in the scope
of the score. While the concept is one of high familiarity for those
around the world, relatively few soundtrack listeners outside of the
Godzilla fandom appreciated this music for many decades. Long
residing on solely Japanese albums of obscurity, several of those
products were essentially bootlegs. The most widely attainable album in
the Digital Age was the official 1993 release by Futureland/Toshiba EMI
of Japan. Unfortunately, even this release suffered from the artifacts
of dialogue mixes, poor renderings of the sound effects, warbles, and
even the sound of a screaming baby that somehow managed to work its way
onto the release. Because the recording was made in mono, not to mention
the limited recording quality available to the project in 1954, both the
composition and recording phases of the original Godzilla were
extremely rushed, which proved to be a recurring problem for the sequels
as well. Under these circumstances, the sound quality is perhaps poorer
than its contemporary counterparts no matter how much anyone attempts to
clean it up. For some listeners, and especially those who are simply not
interested in the historical magnitude of the score and film, the
distant and muffled sound quality could significantly restrict any
enjoyment of the music. Unless the score maintains a relatively
conservative volume for a lengthy period, as in "Godzilla at the Ocean
Floor," the distortion levels are prohibitive.
During the lifespan of the 1993 Futureland album as the
only official representation of the score, there didn't exist an
adequate re-recording of the entire work to suffice in place of the
original. It was only a matter of time, though, before Ifukube's music
rose from its purgatory and was fully remastered on internationally
available album releases. To coincide with the 50th anniversary of the
release of Godzilla, two different remastered and expanded CDs
for the soundtrack hit the shelves in the summer of 2004, finally
providing readily available options for this influential music. In 2004,
La-La Land Records edited the best available mono sources of the music
from the Toho music vaults and remastered them to remove all of the most
annoying artifacts heard on the Japanese versions. With a detailed
package and four new tracks, this 46-minute expanded edition was the
most definitive Godzilla album ever to hit the shelves, and it
joyously came as Ifukube was still able to actively see his music
enjoyed by the masses. At the same time, Toho Music released a 50th
anniversary set (the "Perfect Collection") of their own that included 7
CDs and 53 minutes of music from this first score in particular. While
the equal-sounding contents of the two 2004 albums is slightly
rearranged, the La-La Land product was by far the better deal despite
lacking about six minutes of lesser music by comparison. Its
presentation was re-issued by Harkit Records in 2014 for European
distribution at the 60th anniversary of the film. Then, in 2024 for the
70th anniversary, Universal Music Japan offered a straight re-issue of
the original 1993 album as part of a $300+ 22-CD set of music from the
franchise. There really wasn't as much of an audience for this immense
product, as many of the scores represented on it, especially the
original 1954 entry, had been released in better sound on less expensive
options. Though limited, these massive sets costing hundreds of dollars
didn't sell out, exposing that the rather small audience for them was
largely satisfied with the albums they already owned. Any enthusiast of
the concept will want to seek either of the 2004 albums or the 2014
re-issue for the best experience from this film, and while the recording
is extremely muffled in any of the offerings, it's an easy one to
appreciate because of its strong balance between emotional appeal for
the beast and its destructive tendencies. Too many have shamelessly
imitated this distinctive sound since.
***** @Amazon.com: CD or
Download
Nice Expand >> thw - August 31, 2004, at 5:57 p.m. |
2 comments (4950 views) Newest: September 1, 2004, at 4:39 p.m. by Littleman |
1993 Futureland/2024 Universal Albums Tracks ▼ | Total Time: 36:50 |
1. Main Title (1:32)
2. Footsteps (2:10)
3. Eiko-maru Sinking (1:08)
4. Bingo-maru Sinking (0:22)
5. Uneasiness on Odo Island (0:49)
6. Ritual Music of Odo Island (1:21)
7. Storm on Odo Island (1:57)
8. Odo Island Theme (0:34)
9. Frigate March I (0:41)
10. Horror in the Water Tank (0:42)
11. Godzilla Comes Ashore (1:54)
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12. Fury of Godzilla (2:26)
13. Deadly Broadcast (1:16)
14. Godzilla to Tokyo Bay (1:28)
15. Attack Godzilla! (1:27)
16. Devastated Tokyo (2:16)
17. Oxygen Destroyer (3:13)
18. Prayer for Peace (3:03)
19. Frigate March II (0:20)
20. Godzilla Under the Sea (6:20)
21. Ending (1:41)
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2004 La-La Land/2014 Harkit Albums Tracks ▼ | Total Time: 46:28 |
1. Godzilla Approaches (Sound Effects) (0:49)
2. Godzilla Main Title (1:31)
3. Ship Music/Sinking of Eikou-Maru (1:06)
4. Sinking of Bingou-Maru (0:23)
5. Anxieties on Ootojima Island (0:50)
6. Ootojima Temple Festival (1:21)
7. Stormy Ootojima Island (1:53)
8. Theme for Ootojima Island (0:34)
9. Japanese Army March I (0:42)
10. Horror of the Water Tank (0:42)
11. Godzilla Comes Ashore (1:52)
12. Godzilla's Rampage (2:25)
13. Desperate Broadcast (1:12)
14. Godzilla Comes to Tokyo Bay (1:25)
15. Intercept Godzilla (1:27)
16. Tragic Sight of the Imperial Capital (2:18)
17. Oxygen Destroyer (3:11)
18. Prayer for Peace (2:48)
19. Japanese Army March II (0:21)
20. Godzilla at the Ocean Floor (6:20)
21. Ending (1:41)
22. Godzilla Leaving (Sound Effects) (1:04)
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Bonus Tracks:
23. Main Title (Film Version) (2:03)
24. First Landing (Film Version) (3:37)
25. Tokyo in Flames (Film Version) (2:17)
26. Last Assault (Film Version) (2:21)
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2004 Toho Album Tracks ▼ | Total Time: 52:52 |
CD 1: (46:23)
1. Main Title (M2+M1) (2:11)
2. Sinking of Glory Maru (M3) (1:10)
3. Sinking of Bigo Maru (M4) (0:24)
4. Otoshima's Anxiety (M5) (0:51)
5. Otoshima Kagura (M6) (1:20)
6. Storm Otoshima (M7/T1) (1:54)
7. Departure From Shikine (Frigate March I) (M11) (0:41)
8. Otoshima Theme (M9) (0:34)
9. Appeared on Godzilla Otoshima (Treated as M10) (0:54)
10. Fear of the Water Tank (M13) (0:42)
11. Shinagawa Great Confusion (M14+M7T1) (1:49)
12. Intercept Godzilla (M16) (1:27)
13. Godzilla Re-Landing (M14) (1:55)
14. Godzilla's Furious (MA) (2:27)
15. Desperate Broadcast (MB) (1:14)
16. To Godzilla Tokyo Bay (MC) (1:27)
17. Pursue Godzilla (M1) (1:32)
18. The Misery of the Imperial Capital (M19) (2:19)
19. Oxygen Destroyer (M20) (3:14)
20. Prayer for Peace (3:03)
21. Frigate March II (M21) (0:22)
22. Godzilla Under the Seabed (M22) (6:24)
23. Ending (M23) (1:43)
CD 7: (6:29)
2. Otoshima Kagura (1:19)
3. Godzilla Appears (1:28)
4. Godzilla Title (1:29)
20. Last Broadcast (2:13)
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(Music from Godzilla appears only on CD1 and CD7, the latter in only four tracks.) |
The inserts of all albums since 2004 have included detailed
notes about the film, composer, and the history of the Godzilla
franchise on the big screen. Packaging of the products from Japan are
primarily in Japanese.
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