With its running time augmented to 55 mins., Intrada’s limited release of RoboCop fixes a lot of problems that made the original 38 mins. LP and CD so problematic. Besides an improved sound and extra clarity among mid-range, this new disc adds many cues that give the score needed thematic variety. The seemingly constant repetition of the main RoboCop theme made the early albums rather grating, and a lot of Poledouris' subtleties present in shorter cues were also absent.

The most notable surprises are a more lyrical, un-militaristic version of the main theme, and Poledouris’ selective use of electronics, which never dominate the score’s rich orchestral scope. Poledouris also restricted low tones and percussion in the main theme to Murphy’s reincarnation as RoboCop, which makes the early theme version particularly touching.

Also woven into the score’s design is the tragic theme “Murphy Goes Home,” which has always been the music ’s most important component because it reiterates the humanism that was lost when a cop was reformulated into a 'civilized' killing cyborg. That’s particularly vital since Paul Verhoeven’s direction deals with onscreen violence, sadism, and revenge, and Ed Neumeier and Michael Miner’s script has robust satirical elements that can easily make the roboticized Murphy a bit cartoonish.

Poledouris’ gift for writing themes and his love of rich classical Hollywood scoring gave so much to Verhoeven’s film, and that’s probably why the composer worked often with the director, stemming with the director’s first Hollywood film Flesh + Blood (1985), and Poledouris’ last great work, Starship Troopers (1997) – another satire whose violence and doe-eyed characters were kept in check by a potent score.

This CD is long overdue, and although its release comes after the composer’s passing in 2006, it should rekindle an interest in Poledouris’s career as a gifted composer whose work is ripe for rediscovery.

© 2010 Mark R. Hasan