Jurassic Park Soundtrack (*****). In 1993, author/screenwriter Michael Crichton and director Steven Spielberg brought Jurassic Park to the big screen. The story co-written by David Koepp involved cloning. When the blood of insects containing rare dinosaur DNA is extracted, scientists led by billionaire John Hammond (Richard Attenborough) succeed in creating prehistoric creatures such as the Velociraptor and T-Rex. Whether carnivorous or vegetarian, each one is kept behind electrified fences. Unfortunately, the park’s defences end up compromised just as important scientific explorers arrive to endorse this undertaking.

Similar to Jaws, Jurassic Park scored mammoth ticket sales, won three Oscars (including Best Sound) and composer John Williams contributes a solid orchestral backdrop. Notably, there are several leitmotifs which peak often before wandering off to explore.

“Incident at Isla Nublar” actually covers three scenes from the film: the opening Velociraptor sequence; Alan Grant (Sam Neill) and Tim (Joseph Mazzello) escaping from the tree; and Ellie Sattler (Laura Dern) arriving at the mangled T-Rex paddock. She’s accompanied by game warden Robert Muldoon (Bob Peck) and they soon discover a wounded Dr. Ian Malcolm (Jeff Goldblum). The word “peril” definitely describes this musical triptych.

Several times, the quality in terms of composition, imagination and innovation more than meets the demand for a five-star effort. A case in point: “Journey to the Island.” Beautiful, soaring and crisp melodies underscore the adventure lying in wait for us. Williams’ unique ability to make us feel the same as the characters i.e. amazement, fear, curiosity, etc. makes him a grand master in my book. At 1:21, the theme moves in an undulating wave of peaks and valleys. When the chopper finally lands at 2:54, prepare for goose bumps. It’s simply a beautiful thing. From there, the music marches in unison with our heroes. As the vehicles stop, we are left hanging in suspense for a beat or two. We start to wonder what Grant, Sattler and Malcolm could be seeing that’s so extraordinary. Suffice to say, Williams does all the talking with his magnificent orchestra.

We get some technological mischief as “Dennis Steals the Embryo.” Synthetic textures, running percussion, muted trumpets and the Pan Flute carve an indefatigable portrait of treachery here.

As an action writer, Williams probably ranks in the top five. His “T-Rex Rescue and Finale” unfolds in four movements, while the orchestra offers combustible rhythms woven into a superb ebb and flow. He understands the necessity for build-up, thematic development and release. This happens to be a score highlight. 

Although Williams won the Academy Award for Schindler’s List (made the same year), I still consider Jurassic Park to be a relaxing alternative.

The Lost World Soundtrack (*****). I'm gonna dive right in and express my disappointment over the “Rescuing Sarah” cue. It’s a score highlight which reminds us why we love John Williams in the first place. Big, percussive and organically creative, this is great film music. Alas, the CD presentation omits a key build-up as well as a towering, heroic crescendo. If it was simply a matter of money (licensing fees, etc.) then all I say is “Open thy wallet, fool!” Luckily, another important musical idea at 3:08 remains, so it’s not a total loss.

Now that my rant appears to be over, it’s on to the good stuff. The Lost World expands upon the world conjured by director Steven Spielberg, special effects wizard Stan Winston and company. On Site B, there are no fences or compounds to keep the dinosaurs safely contained. Although Ian Malcolm (Jeff Goldblum) and his group of researchers plan on sticking to the outer rim (away from claws and jaws), fate steps in. Apparently, InGen owns the patent to these experiments and they are keen on exploiting their commercial potential. Quite simply, there’s a plan to move the creatures to a new theme park in San Diego. Of course, nature bites back!

Williams doesn't waste any time cutting to the chase as “The Lost World” unfolds. This feels like a far more appropriate opening for the CD than “The Island Prologue.” The latter seems rather subdued until the final minute, and it’s not entirely dissimilar to Jurassic Park’s “Opening Titles.”

As a self-contained piece, “Malcolm’s Journey” reinforces all the qualities which make The Lost World incomparable to the first effort. Williams crafts a love-letter to the audience, something which says, “Hey, times are tough and yet entertainment is here to stay.” The rhythms tread boldly on a canvas of pure heart, while the thematic threads stay true to the bliss of discovery.

From the great white shark’s introduction in Jaws to Close Encounters of the Third Kind, Williams just has a way with capturing a sense of awe. This feels most apparent in the excellent “Stegosaurus.” To this day, I’ll never understand the lack of enthusiasm from Oscar voters regarding The Lost World and its predecessor. Truly, the maestro gave us wonderfully stirring compositions with Schindler’s List and Amistad. However, his dinosaur music comes closer to the hypnotic purity of his earlier classics, such as Raiders of the Lost Ark and Star Wars.

“Compys Dine” brings out the darkness which Jurassic Park rarely addressed. Thus, Williams’ cue might induce more than its fair share of chills.

It’s interesting to compare Williams’ score with Michael Giacchino’s video game counterpart. Although they sound wildly different -- the latter favouring bounce over crimson fear -- each one complements the other. After all, a chiaroscuro only works if there’s both light and shade.

To set pulses racing, Williams gives us “Visitor in San Diego.” Alongside “Journey to the Island,” it’s my favourite track from the whole series. For nearly eight minutes, every great monster theme from Max Steiner’s King Kong to Akira Ifukube’s Gojira receives the quintessential Williams twist. Dynamic brass combined with exotic percussion transforms this simple musical construct into something emotionally vibrant. At 5:55, drums ignite the last leg in this terrific chase. 

Despite equal star ratings for Jurassic Park and its sequel The Lost World, I still prefer the latter. His decision to favour a dark base augmented by elements of near swashbuckling joie de vivre makes all the difference to me. 

As of this writing, I eagerly await an expanded archival release of this magnificent score.