Born on the Fourth of July

MCA Records Germany (0022925707123)
MCA Records Germany (5011781607925)
MCA Records Canada (0076732634028)
MCA Records US (0076732634011)
MCA Records US (0076732634028)
Movie | Released: 1989 | Film release: 1989 | Format: CD

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# Track Artist/Composer Duration
1.A Hard Rain's Gonna FallVEdie Brickell & New Bohemians4:58
2.Born On The BayouThe Broken Homes4:54
3.Brown Eyed GirlVan Morrison3:07
4.American PieDon McLean8:32
5.My GirlThe Temptations2:43
6.Soldier BoyThe Shirelles2:39
7.VenusFrankie Avalon2:21
8.Moon River Henry Mancini2:41
10.The Early Days, Massapequa, 19574:57
11.The Shooting Of Wilson5:07
12.Cua Viet River, Vietnam, 19685:02
14.Born On The Fourth Of July5:44
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Born on the Fourth of July - 10/10 - Review of Tom Daish, submitted at
This is a score overlooked by many people, and indeed by myself. However, with virtually all Williams' scores, it will surprise you, in a good way. I would go so far as to describe it as an undiscovered classic. Perhaps the biggest problem is that it is not always easy listening. The Shooting of Wilson is an incredibly disturbing and horrific cue that is full of dissonant violins, possibly recalling the earlier cues of Close Encounters. If you have a particular dislike of atonal music you may want to skip this cue, but it should be listened to at least once as a great example of dissonant music. The score music starts with a lonely trumpet solo over a sustained bass note and this sets the militaristic sad nature of the music. The next cue is also very sultry and casts the music under grey skies indeed, although there is a hint of sun that breaks through from time to time. Starting in the same manner as that track, Cua Viet River, Vietnam somewhat repeats some of the earlier music, but turns into a more like the dissonance of The Shooting of Wilson and has some particularly disturbing effects as sample and distorted voices are overlaid which makes the music incredibly eerie. From then on, there is a definite change in mood as the tone is raised and ever dares to support the wonderful main theme with a pop beat and certainly signifies Homecoming very well indeed.

The final track is one of the most spine tingling cues in the Williams cannon. Starting with a surging string figure that recalls Handel's Zadok the Priest opening (one of my favourite classical works), it then moves to the gorgeous main theme. The central part is secondary figure that perfectly compliments the main theme, but is nowhere near as grand. Ending with the same trumpet elegy with which is began, the happiness is disrupted (much like the ending to Jurassic Park) with a musical dig at the horrors that mankind can commit. As a soundtrack fan, I should complain bitterly about the abundance of songs and the shortness of the score, so there you have it. However, I would say that any other score would be nice, although I think an hour of the more dissonant moments could be a little bit too much to handle personally. This form presents the major elements of the score. Anyway, it's worth the price for the last track alone. It's getting difficult to come by at the moment, but I suggest you make the effort to find a copy.

Other releases of Born on the Fourth of July (1989):

Born on the Fourth of July (2000)
Born on the Fourth of July (1989)

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