PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST

Though the Middle Eastern-dominated music used for this soundtrack was a complete surprise to me, I think Martin Scorsese's bold decision to hire Peter Gabriel for this effort was a choice that was both brave and genius. The fact that Peter delivered one of the most unique and innovative soundtracks in history helps make this point.

1. "The Feeling Begins" (4:00) a shockingly haunting violin melody and percussive monster that evokes such strong feelings of the desert. (9.5/10)

2. "Gethsemane" (1:23) like something left off of Eno's Fourth World Possible Musics albums, computer-generated or enhanced elephantine noises dominate. (5/5)

3. "Of These, Hope" (4:05) opens with a cacophony of bizarre-like horns before hypnotic drum and bass line enter and transport the listener away. Amazing how this low end feast can draw one in. And then the synth, voice, and Shankar violin melody doubles the effect. Soundtrack music does not get any better than this. (10/10)

4. "Lazarus Raised" (0:36) like the horn raising the cobra out of its basket. (4.5/5)

5. "Of These, Hope (Reprise)" (1:06) (5/5)

6. "In Doubt" (2:07) a psychological mind warp (4.5/5)

7. "A Different Drum" (6:05) a computer keyboard and drum rhythmic sequence over which PG, Youssou N'Dour and David Sancious lend their vocals. Like a song. (8.75/10)

8. "Zaar" (4:44) more Garbriel-esque in its keyboard sequences and synthesizer palette, though still retaining the sounds and uniquities of Middle Eastern instruments. (8.75/10)

9. "Troubled" (2:46) great drums and percussion song, with quite a broad spectrum of percussion sounds coming from Billy Cobham and PG's computers. (9/10)

10. "Open" (3:18) deep sustained synth with Shankar's etheric violin and PG and Shankar's voices soloing above. So cool. (9/10)

11. "Before Night Falls" (2:16) awesome interplay between Armenian Ney flute, Shankar's cetaceous violin, and hand percussives. (5/5)

12. "With This Love" (3:36) solo, plaintive cor anglais over synthscape. Beautiful classical-sounding piece. (9.25/10)

13. "Sandstorm" (2:55) all kinds of North African and Middle Eastern sounds and instruments woven into this muddle of muckery. (4.5/5)

14. "Stigmata" (2:24) improvised kementché (acoustic bowed string instrument) and PG voice. (4.25/5)

15. "Passion" (7:36) the same soundscape as "Of These, Hope" before the drums join in, with Jon Hassell's distinctive breathy trumpet paired with the inimitable Qawwali voice of Nusrat Fateh Ali Khan. Shankar joins in, trying to emulate Nusrat's vocal reaches with his violin. At 3:20 the angelic voice of child choirboy Julian Wilkins gets the spotlight. Shankar and Nusrat Fateh Ali Khan meekly, humbly re-take the lead before low-end synthesized soundscape rises and dominates before the final crescendo of all voices that begins with about 90 seconds to go. The quiet that ensues is beautiful. (13.5/15)

16. "With This Love" [Choir version] (3:19) the cor anglais of Robin Canter rejoins us, but merely for the opening introduction as, this time, the song is presented by a boys choir singing wordlessly. (9.25/10)

17. "Wall of Breath" (2:25) Ney flute, violin, and arghul (Egyptian bamboo flute) solo gently over synth drone. (4.25/5)

18. "The Promise of Shadows" (2:12) a heap of heavily treated percussives and more. Eerie! (4.5/5)

19. "Disturbed (3:07) violin and Fairlight synth washes which are joined by broad spectrum of hand drummers working together or looped. Pretty amazing! (10/10)

20. "It Is Accomplished" (3:30) PG piano and tubular bells with Billy Cobham drums andmore--a real PG celebratory piece like "Kiss of Life" or "Biko." (8.5/10)

21. "Bread and Wine" (2:23) some Celtic sounds and themes in play here. (4.25/5)

Total Time: 65:53

A-/five stars; a minor masterpiece of progressive rock music delivered as a soundtrack of world-prog fusion.