Tracklist:
- Main Title 3:12
- The Passion Theme 4:49
(performed by Warren Hill ; written by Graeme Revell, Jeff Silbar and Warren Hill)
- The Funeral 3:30
- The House Boat 4:34
- Hot Wax & Champagne 5:38
- The Fight 3:05
- The Handcuffs 4:21
(vocals: Darlene Koldenhoven (soloist), Donna Davidson, Bobby Page, Linda Harmon, John Laird, Gene Merlino)
- The Parking Garage 2:57
- Waiting For The Jury 3:19
- Confrontation 1:39
- Karma/End Credits 4:06
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 At first sight and looking thoroughly at the CD cover, I figured this was going to be more of this type of music, with upbeat and involuntarily hilarious rhythms repeated infinitely, where your bodily senses are supposed to be working at full speed, simultaneously giving birth to an extreme excitation of your erogenous zones. While Uli Edel's film, starring Madonna and Willem Dafoe, is likely not concealing its true nature of erotic film, it is rather a tender, subtle, romantic and different musical approach of scoring the composer of the gorgeous The Crow went for, here mainly dominated by slow strings, with choirs, piano or synthesizers, and also small sections of brass and Spanish guitar, sometimes even Elfmanesque in its most glorious and inspired moments of imagination. Except The Fight, nothing like the presence of action material. So unless you're fond of minimalist and quiet scores à la Zimmer's The Thin Red Line or Goldsmith's Basic Instinct, there's frankly not much for the action music enthusiasts to enjoy here, I'm afraid.
 As a side note, Graeme Revell is actually one of the few composers on planet Earth whose newest works still have me guessing until their very release date, so I am like, devoid of any biased preconceptions and stranded in my daydreaming activities : 'So what is he, to my great surprise, going to come up with this time?'. And, usually, it's never quite what you want it to be, which in the end should be taken as a huge compliment. But, more than just an incredible affection for diversity, the guy is also a wonderful musician, he can basically do it all, and mostly with the required talent. I mean, not like all the other contemporary composers out there, with whom you actually know beforehand what the result of their current 'mind job' is going to be like. Not that it's a bad thing, au contraire : that's what we love them for! Of course, you sure can tell Revell has been following the footsteps of those precursors using many ethnic-influenced patterns in music, but then, he's always unpredictable, and this Body of Evidence is proof I am not talking twaddle because, honestly spoken, who would expect the composer to be capable of writing such (quality) music? It takes a heck lot of polyvalent skills, ultimately.
Fervent fans of the New Zealander should not hesitate any longer and let themselves be tempted, you will certainly be tickled by the outcome. As for the others, if you think a peaceful and moving soundtrack with a beautiful main theme is your kind of stuff, you might want to open up your wallet. Sin is good!
The Best: Main Title, The Fight, The Handcuffs, Karma/End Credits
The Worst: The Passion Theme, Hot Wax & Champagne & The Parking Garage (at times both tedious)
dudeofthedead
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