There is literally two types of John Williams. There is the STAR WARS, JURASSIC PARK, HOOK, Williams - capable of mindbending melody and delicacy. There is also the gritty, less accessible Williams that wrote the tragically beautiful and authentic ROSEWOOD, the boy choir decay and jazzy action riff for SLEEPERS and the thrilling score to NIXON. I site these works because they are the most recent Williams - certainly a different composer than the one who wrote the original trilogy, with the last score for RETURN OF THE JEDI over 13 years ago.

Like most of North America, I waited in great anticipation for STAR WARS EPISODE 1. I was born the same year STAR WARS was released in theaters and grew up with the universe that George Lucas created. I collected the toys, listened to the original OSTs on LP, and the audio adventures on scratchy 45s.

I lost contact with the STAR WARS world as I grew older, as my tastes developed into other areas. Sam Raimi and Tim Burton now created the worlds I loved and STAR WARS was now just a hollow, merchandising juggernaut.

The Phantom P-renzy began and I was caught up - I was a kid again. I battled at Wal-Mart for my sight and sound Lightsaber, my Darth Maul figurine. I downloaded the "Duel of The Fates" and "Anakin's Them" MP3s. Not nearly as intense about the film as Harry Knowles or excited enough to camp outside a nearby movie theater - but genuinely interested.

From the familiar opening notes to the downbeat last few, STAR WARS THE PHANTOM MENACE is a major film score. While it may not play the right way, all the time, to everybody, it certainly has enough emotional oomph - even if most of it is emotional baggage brought by each and every listener - to make the proceedings enjoyable. That's not to say all of the music on this 74 minute plus CD is bone crunching good as say THE EMPIRE STRIKES BACK (considered by many including myself to be the best of the original trilogies scores). But at least John Williams adds enough of his themes and variations, such a staple of the original, to mix things up.

Judging this score as a stand alone is a tricky objective. I personally think that it is attached to the others thematically, therefore should have to stack up against them. In pure quanitity of themes, it falls a bit short. On my first listens I could pick up the "Force Theme", the "Duel of The Fates" theme, "Anakin's Theme" but not necessarily something for Queen Amidala (Natalie Portman). Sure there's a lot of mickey-mousing "cute", "bumbling" music for Jar Jar Binks, but that can't qualify as "theme".

My major problem with the CD is that there is no "The Asteroid Field" style track. No big set-piece to get my stereo rocking. Most of it is - gasp - underscore! There's plenty of brassy fanfares, light woodwind statements, choral themes and a biting five note theme from "Duel of The Fates" - but nothing really "rocking".

The CD starts the way STAR WARS always has - with the main thematic statement. Here it is played with spirit and recorded wonderfully. After the obligatory title crawl, the view dips onto a planet I presume, scored with John Williams' soft "space music". (Personal note - as a kid I used to think that space sounded like Williams' music! [1:38 of track 1]).

"Duel of The Fates" is a wise thematic touchstone for Williams. Without a doubt, it is the most thrilling cue on the CD. While the choral touch reminds me of Basil Poledouris' THE HUNT FOR RED OCTOBER, the racing woodwinds, brass hits are straight out of NIXON. We get our first listen to the dominant theme in THE PHANTOM MENACE score. What a thrill it is! So thrilling perhaps to inspire momentary losses of coolness and induce momentary lapses into geekdom? Indeed!

Things cool down with the faux-innocent "Anakin's Theme". The brilliant string work of the London Symphony Orchestra wrings out some emotion from cold old Elfmaniac and I'm fondly reminded on John's depressing "Hell's Kitchen" from SLEEPERS. Sheer genius at work, the "Imperial March" is woven so discreetly into "Anakin's Theme"; so subtle, at first you may not notice it's even there.

"Jar Jar's Introduction and The Swim To Otoh Gunga" starts with the giddy stylings of HOME ALONE and finishes with a massive choral treatment. 'The Sith Spacecraft and The Droid Battle" weaves the "Imperial March" into a percussive action track. Most of the middle cues on the CD are actually jumbled from their place in the film. This includes "The Trip to the Naboo Temple and The Audience with Boss Nass", "The Arrival at Tatooine and The Flag Parade".

"Anakin Defeats Sebulba" is a dissonant action cue and was not used in the film. Instead it plays out with nothing but the sounds of the pod race - a more effective move. "Passage Through The Planet Core" continues the choral motif and 'Watto's Deal and Kids at Play" states the "Jedi Theme" rather romantically.

"Panaka and The Queen's Protectors" is uncharacteristically playful for an action scene, in a sort of swashbuckling manner. I believe this cue is cut short when Darth Maul appears, but another viewing would have to confirm that for me. "Qui-Gon's Noble End" and "Qui-Gon's Funeral" are two fine tracks. "Qui-Gon's Noble End" reminds me of "The Football Game" from SLEEPERS of all things. It is used twice in the film - once for when the Queen's ship lands on Tatooine for the first time and faded rather poorly as well. "Qui-Gon's Funeral" restates the soft, choral theme this time even more understated and eerie. "Augie's Great Municipal Band and End Credits" is perhaps the most controversial cue on the album. On first listen most will probably despise it but oddly enough it is slightly infectious. The "End Credits" are merely a suite containing the Rebel fanfare, "Duel of The Fates", and "Anakin's Theme".

The more I listen to this album the more I like it. It's stapled mostly by "Duel of The Fates", and "Anakin's Theme". John Williams' ability to transform and manipulate themes has always been a major part of the music of STAR WARS and this score doesn't let that tradition down. It is grand, melodic and orchestral and hopefully it will revolutionize or inspire filmmakers to take the symphonic route like the original once did.

Summer films often promise big scores - and they rarely deliver. While it may be more SLEEPERS than SUPERMAN, THE PHANTOM MENACE by John Williams fulfills it's promise and starts a musical saga all over again.

Grade: A