It was the mid-80's, which meant the time was right for David Bowie to stuff a sock in his pants, sport a full-fledged freak mullet, and attempt to seduce under-aged girls on the silver screen.
Though perhaps we shouldn't lay too much of the blame for this potential embarrassment on Bowie himself, since he didn't have a whole lot of control over his costume or the content of his music videos. All he did was play the lead role in a goofy fantasy movie directed by Jim Henson, and he wrote a handful of songs for it too.
Even though I was a child of the 80's and a die-hard fan of
The Muppets, it wasn't until my early 20s that I finally saw this film. I can't say why it took me so long, I suppose I didn't put much stock in a Muppet movie that didn't star Kermit. I do wish I'd seen
Labyrinth as a child though, I wouldn't have been so bothered by the plot's complete lack of sense. More importantly, I wouldn't have been plagued with cynical thoughts about Bowie's distinctly paedophilac manner towards 15-year-old Jennifer Connelly (I mean, what was with those crystal balls he kept waving in her face?).
Despite my somewhat cynical attitude towards this children's film, I found
Labyrinth entertaining and imaginative. I own a copy of it, so I'm probably one of the bandwagon that catapulted the film into its current status as a cult classic. As a Bowie fan, I also have to marvel how he could get away with anything - there was literally nobody else in the world who could've worn a costume like that and not come off as a total ass. You know what I'm talking about.
Read more
Since I'm allegedly a music reviewer, and I'm allegedly reviewing a soundtrack album, I'd better get on with talking about the actual music! This certainly isn't a significant release in the Bowie catalog since he only wrote five songs for it, and the remainder of the tracks are instrumental pieces from Trevor Jones.
Jones is an acclaimed composer, but I find his instrumentals to be wholly underwhelming. They're synth-heavy, very 80's, and completely cold and emotionless. They set the scene only passably in the film, but they're completely worthless listening outside the context of the film. So don't bother.
Thus, the only reason to buy this album would be for the Bowie tunes. And even then, you'd have to try not to feel too silly about listening to them - after all, he did fashion these as kiddie songs, and what's more they're laced with Muppet voices and cooing babies. But as a whole I really like the songs. What the hell do I care if these are kiddie songs anyhow?
“As the World Falls Down” is a gorgeous ballad that is delicately textured and well-sung. It not only has a great tune, it also has that weird twisted romantic vibe only Bowie could pull off. The first time I listened to the song, I was captivated by it, though my admiration has cooled off a bit since, but not a whole lot. “Magic Dance” is a silly song, and it's even sillier if you remember the scene from the movie in which Bowie dances around with a bunch of Muppets, while rather violently tossing a baby in the air as though it were pizza dough. “Underground” is the catchy closing music, which nearly turns into a full-on Gospel song - it makes for pretty exciting closing credits music!
The other two original tunes aren't quite so special. “Chilly Down” has a weak hook, and it's sung by annoyingly screechy Muppet singers. “Within You” just seems half-written, however it is atmospheric and dramatic when you see it performed in the movie, and so it's passable.
My main complaint about the Bowie pop tunes, and one that is shared by many other reviewers, is that the production is so 1980's it starts to approach Madonna-style electro-garbage. However, I find the songs well-written and catchy, and some tunes are just too good to be ruined even by a 1980's production.
[Footnote: Don Ignacio's Blog supplements this Review with a bonus track-by-track commentary]
Rated: 






by Reviewer:
Don Ignacio (blogging at
Don Ignacio's Album Reviews)