One of the things that makes
Lost
a remarkable television show is that it often feels like a long movie presented in hourlong installments as opposed to an episodic series. One of
's other remarkable attributes is its music, which, correspondingly, also feels more filmic than your average TV score. This disc collects all of
Michael Giacchino
's cues for the first season, as well as
J.J. Abrams
'
"Main Title,"
which is a classic TV theme even though it's just 16 seconds long and its ominous drones barely qualify as music (in the conventional TV
soundtrack
sense, anyway). Many of
Giacchino
's cues are spare, spooky, and percussion-heavy, emphasizing the show's pulse-pounding tension as well as its remote, quasi-tribal setting;
"The World's Worst Beach Party,"
for example, sounds like the theme to
Survivor
, or like the title itself says, the world's worst beach party. However,
"Run Like, Um... Hell?"
's rattling percussion and shivery brass and harp show that
knows how to turn it up when necessary. The score's quirky track titles are entertaining in their own right, sometimes because they capture the moment in the show exactly (
"Proper Motivation,"
"Just Die Already"
), sometimes because they're incredibly incongruous: it's hard to reconcile that The Beautiful, Soul-Stirring Music That Accompanied
Boone
's Funeral is actually called
"Booneral."
There are terrible puns (
"Crocodile Locke"
) and subtle ones (
"Kate's Motel,"
the music to which is a terrific homage to
Bernard Herrmann
), and nearly as many allusions to pop culture and literature as there are in the actual show (
"Run Away! Run Away!"
is a particularly apt nod to
Monty Python
, while
"Monsters Are Such Innnteresting People"
refers to a
Bugs Bunny
cartoon
). However wacky the titles are, they don't detract from the impact of the music.
"Win One for the Reaper"
is an especially lovely rendition of the show's main emotional theme, while
"Locke'd Out Again"
captures the poignancy of
Locke
's background story and his new start on the island. With its urgent strings and brass,
"Hollywood and Vines"
sounds like it could also appear on the
to a Western;
"Navel Gazing"
's lively marimbas and harp evoke the all too rarely shown peaceful, pretty side of the island. The score even has a sense of humor (beyond the track titles) on
"I've Got a Plane to Catch,"
the rambling acoustic piece that accompanied
Hurley
's hilariously complicated, ill-fated attempts to catch his flight. While
missed the opportunity to include
"You All Everybody,"
the hit that
Charlie
had with his band Driveshaft, or
Shannon
's charming rendition of
"La Mer,"
geeks and
buffs in general will be delighted to own this impressive score. ~ Heather Phares