Did you really expect me to watch a movie like Labyrinth and not get curious about the crazy 80’s soundtrack? Turns out, I found myself quite inspired after watching the movie, and occasionally found myself turning it on just for a few of the weird songs. Well, that just won’t do. I can’t keep playing the movie when I just want to hear a song or two. So I got the soundtrack.

When David Bowie wasn’t busy composing songs and lyrics for them, Trevor Jones was composing the in-between bits that lurk around while Sarah runs through the Labyrinth and dealing with Jareth. Keep in mind, this movie was made in 1986, so if you remember the music style of the 80s, you’ll hear it here. If you’re not familiar, then just think a lot of electronic sounds, synthetic bits, electric guitar, and when Bowie comes on the scene…well, he’s David Bowie. A bit hard to describe. Find a song by him and you’ll get the idea.

1.) Opening Titles Including Underground – 3:21 The opening dances around a bit, giving you the general idea of what Trevor Jones is going to offer in terms of magical sounds and electro goodies. David Bowie does the same with his Underground song. You’ll get the full version at the end of the soundtrack.

2.) Into the Labyrinth – 2:12 A good into to the Labyrinth, with electronic-created pan pipes (or maybe they’re real? You never know in the Labyrinth, things aren’t always what they seem) and the feeling of running around in a maze. A nice little piece that was one you can easily pick out as you watch the movie, and one that piqued my interest as well.

3.) Magic Dance – 5:13 Somehow this has become my favorite song of the whole deal. I think, though, I like it better in the movie because A.) You get a better intro with Jareth commanding and his goblins laughing, B.) you get real baby noises—David Bowie had to create his own baby noises here apparently as opposed to the baby noises in the movie, and C.) you get goblins singing pieces instead of backup singers. What I like better here is that the song is longer. It fades off about midway through in the movie and I always want it to go just a little longer, even if I don’t have any clue as to why Jareth is singing this song in the first place…

4.) Sarah – 3:12 I like the fake harpsichord noises Trevor Jones digs up for this movie, as well as the bells and horns. It gives everything a magical, medieval feeling and makes for a rather unique listening experience. Sarah tends to have a bit of triumph attached to her in terms of melodies, and this song in particular is one that I couldn’t hear well in the movie, though I can enjoy it.

5.) Chilly Down – 3:46 I truly do not understand this song or its point. It’s a weird song that somehow took on a kind of Jamaican reggae flavor. When I see this movie sequence, I wonder if maybe I’ve tripped on acid somehow, so when I hear this song I begin to wonder if there are still some after effects going on that I don’t know about. Frankly, it manages to creep me out a little, so I tend to skip it, but I know there are others out there who probably like it for those same reasons. And yes, that’s Bowie.

6.) Hallucination – 3:02 It’s the saxophone in true 80s fashion for you. As Sarah gets dizzy and starts to fall into a bit of a spell, Jareth’s sneaky tricks lure her into, you guessed it, a bit of a hallucination. It’s wondrous and a nice piece that slows down as it nears the end and becomes more magical in order to make way for…

7.) As the World Falls Down – 4:51 Another David Bowie song for you. You can’t have a fairy tale without a ballroom dance, can you? While it’s the kind of song ridiculous girls like me would have loved to dance to while in high school during the 80s (which I wasn’t, so never mind), it’s hard not to like. It’s perfect for Jareth to sing in the current situation, especially consider just what Sarah does as the song ends, except the best part here is that you get the whole song.

8.) The Goblin Battle – 3:31 Quite crazy. I have to say, this sounds a lot like something you’d hear while playing a video game. No joke. Of course, it works out well in the movie, but you’re mostly busy watching the action as opposed to zeroing in on the music. A lot of zippy, twangy electronic sounds all working together to get a goblin-like chase song going. Manages to pull it off too.

9.) Within You – 3:31 Sort of an angry lament by Jareth to Sarah, I like this song as well. I can picture him walking upside-down and sideways on walls in the movie’s Escher room, frustrated and bummed that Sarah won’t accept all he has to offer.

10.) Thirteen O'Clock – 3:09 I like this one. Quite a dark and dangerous little piece until the upbeat victory flare at the end. It lurks around, and you’ll wonder just what will happen between Jareth and Sarah now that the clock has struck its final bell.

11.) Home at Last – 1:48 A nice change, with a bit of harp and gentle string plucking that are almost music box-like.

12.) Underground – 5:56 Complete with sax and chorus, a rather fun tune once it gets going. Even a bit of piano gets in as the song rocks out in loose 80s fashion. The kind of song you’d hear playing in Jareth’s castle when he’s in a really, really good mood. It just gets on a roll and keeps on going while the credits roll and eventually just fades off.

I swear, I used to have a little electric keyboard that had over half the sounds you can hear on this soundtrack. Weird, twangy, tinkling stuff that zings and pings and jingles when necessary. You’d never really guess it while you watch the movie; most of it gets tuned out either by the action or the fact that you’re too into the storyline to pay it much attention.

Actually, while listening to this soundtrack, during “Sarah” I realized just how similar sounding this was to the Legend soundtrack in terms of electronica and pan-pipe sounds and so forth. The songs all match extremely well to the movie—David Bowie songs included. Who would have thought? Of course, I’m sure they would have been rejected if they didn’t work well. This is one of those soundtracks that you have to like the movie at least a fraction in order for it to work for you. Unless you just happen to like Trevor Jones’s work, 80s stylings, and David Bowie, then I suppose you’re golden as well.

So, replay value and will it inspire me further? Replay value is pretty good, actually. I’m a chump when it comes to the Bowie songs (don’t know how exactly it happened, so don’t ask), except for “Chilly Down.” Honestly, that song can go. I’ve already listened to these songs several times. Likewise, the majority of the Trevor Jones pieces are rather enjoyable, though I’m likely to skip out on “The Goblin Battle” for the most part. As for inspiration, right now I’m still at the point of giggling to myself when I turn this soundtrack on. I guess I am an official dork, but A.) I’m not the only one to review this, B.) after all, I am a soundtrack junkie, and C.) you’re reading this, aren’t you?

Maybe I’m not such a dork after all. Long live the Goblin King and his Labyrinth.

NT

Recommended: Yes