From: [sic: Beetlejeuce]: Danny Elfman's contribution of the opening titles for this cartoon (in fact ANY cartoon) is entirely within the expectations of his stylistic capabilities. The music for most of his films up to--but not including-- Batman (1989) show us a composer instantly at home with quirky comedy, outrageous plot-lines, silly people and social satire (the latter portrayed most memorably in Beetlejeuce and Scrooged). From this aspect of his repertoire the movement to the bitingly funny satirical Simpsons is less a leap, more of a dolly-step (pardon the twee playground slang). What makes The Simpsons the most enduring of modern "cartoonism" is its combination of intelligent plotting, instantly recognizable characterization, and attention to detail. These observations are ironically the values which not just recent cartoons (with the exception of Disney--though at the cost of today's cinema seats you've got to expect a bit of effort) lack, but also many of the goofy films (did anyone say Flubber?) which might consider themselves appropriate to Elfman's magic touch. In short, this is one "classic" that deserves as much critical praise as it has ratings all over the world. Elfman's role was to provide striking opening/closing title music which would be both suitable curtain-opener to the show, and provide the series composer (Alf Clausen) with meaty material to work on. In effect what was required was a typical operatic overture. In some sleeve notes for "The Simpsons. Songs in the Key of Springfield" Matt Groening (series creator) claims to have requested "a big, fully orchestrated, obnoxious, arrogant theme that promised you the time of your life". Perhaps not opera as we see it today, but still fitting. The result is success on a par with the opening of Beetlejeuce--without the headache of a whole film to fill later. A mere 1'29 in length it crams in references to various visual cues, from the raucous brass writing in the town-driving scene...to the pizzicato delicacy (accompanied by rushing strings) of little Maggie's faux-driving scene...to Lisa's saxophonic disruption of the school band scene (in succeeding episodes this moment provides ample opportunity for improvisation)...This is all stuff that Elfman in this style is immediately suited to and associated with. In fact films such as Beetlejeuce and Pee Wee are often accused of being live action cartoons. This is not without reason, but shouldn't be taken as criticism because: a) they make entertaining films, b) if cartoons were judged on the Simpsons' standard they really would be a "standard" and c) we can enjoy Elfman's style from this period, knowing that what he has written since has proved him to be both imaginative and innovative in other film genres. Without a doubt the music is concentrated perfect, complimenting the cartoon in a way that few other composers would dare, without disregarding thematic tunefulness. The mood is fun fun fun to an exaggerated extent, and it is perhaps this which lends it that illusive sense of weight and the wickedly dark under-current The Simpsons hides beneath its own flamboyant exterior. Certainly the orchestration is top-notch, and bears an almost infinite number of listenings without giving up all its secrets--a good strength to have when you really are going to hear it that many times. VERDICT: A miniature catchy-but-classic masterpiece. A must for all fans of this aspect of Elfman's style, and especially for those (like myself) who can usually only take it in small doses!!! I. Davis ==================== mb: The piano reduction is of course only a very thin representation of the real score. This MIDI file is pretty good: . There is an impressive list of Simpsons Theme MIDI files at , but I suspect many of those are actually identical. Michael Bednarek http://mbednarek.com/