|6.||Robo vs. ED-209||2:07|
|8.||Across the Board||1:50|
|10.||Clarence Frags Bob||1:43|
|12.||Robo Drives to Jones||1:46|
|13.||We Killed You||1:44|
|16.||Have a Heart||0:31|
|19.||Big is Better||0:27|
| ||41:43| Submit your review
Paul Verhoeven has built up two very effective relationships with composers Basil Poledouris and Jerry Goldsmith, but it was with Robocop that he start his main stream film making and with Poledouris composing the score. Both composers have responded superbly to Verhoven's satirical take on the futuristic action feature, even if audiences haven't always appreciated the director's rather ironic style. The original Robocop is prototypical Verhoven with violence in a dystopian, corrupt future earth where a dead policeman is resurrected as a cyborg whose memories are still there, but disturbingly buried under the mechanics and hard wiring (and not, as you might have thought, about the well known Irish law enforcer Rob O'Cop). What could have been an inane action thriller becomes a satire, with an emotional subtext. As ever, Verhoven's cynical portrayal of corrupt businessmen and corporations is a little worryingly close to the truth, however exaggerated it might seem onscreen.
The main Robocop theme is pure Poledouris in his most familiar sci-fi style, although its use is actually fairly modest throughout the score album (even if it did appear more often during the film itself). After the brief Main Title, we're thrust into the exciting Van Chase and Poledouris does his bracing, brass filled action writing to the hilt. A more weighty action motif is introduced and one that works well in counterpoint to the over the top nature of the Robocop theme. There are some effective quieter moments, Home being particularly fetching, even if the occasional new age synth effects sound a little dated, the writing is still first rate. The more lightly scored action sequences contain another Poledouris trademark, the jangling, ticking percussion. I'm not sure of a better way to describe it, but it's an effect I've not heard in the works of other composers.
Despite its high status amongst the pantheon of Poledouris scores, I find myself returning to Robocop less frequently than some of his later efforts. It is certainly not of lower quality, but I simply don't find it so engrossing as scores such as Starship Troopers, even if they share a lot of style in common. Of course it's a seminal Poledouris score and together with the Conan scores secured his position as one of Hollywood's finest action composers. The fact that he's written music for the same director and more than held his own against Jerry Goldsmith is certainly no mean feat, even if it doesn't quite reach the outstanding quality of Total Recall. This new edition is remastered and features four brief and somewhat inconsequential extra tracks, but no indication as to whether this now constitutes a complete release of all the music written for the film. The album order and titles are also slightly amended, but this release isn't really worth it if you have the original, but for Poledouris fans who don't, recommended without hesitation.
Other releases of RoboCop (1987):