The music for Congo is not bad, but not fabulous. It is a typical, yet solid Goldsmith action score, with a majestic main theme, and a plucky “cute” theme for the little gorilla character, Amy. This material is basically what you’d expect. When I first saw this picture, and “Spirit of Africa” began to run over an impressively photographed African landscape, I knew I was at least in for a solid score. In Congo, Goldsmith experiments with new sounds and textures, reminiscent of his efforts in Planet of the Apes, and Star Trek: The Motion Picture. The score has a decidedly African and tribal flair, utilizing pan flutes, traditional African instruments, heavy percussion, electronics and several other instruments that are rare in the Goldsmith orchestra. Guest vocalist Lebo M (a somewhat cliched voice by now) provides African lyrics to a couple of tracks, delving the listener deeper into the context of the film. These lyrics are welcome but are only found in the beginning and at the end of the album (and film), sometimes feeling out of place. The highlight of these new elements is the intricately orchestrated percussion section, whose varied instruments shine in many of the cues (even though some of the performers are occasionally off tempo). Even though there are new elements, all of the Goldsmith trademarks are present, including strong thematic material (with many variations throughout), and driving brass/string action cues. To Goldsmith fans, many of the cues will sound familiar, some of which are very close to the ethnic textures of Goldsmith’s TheGhost and the Darkness, and later, The Mummy. Ultimately, this is the score’s failing: It comes off as somewhat uninspired. Its familiarity prevents the listener from truly being captured.
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