The last six tracks on the commercial Disney album are straight orchestral score cues by Disney veteran John Debney, with a running time of about 15 minutes. The contribution is short, but certainly memorable. If you can't handle parody interpretations or shameless, intentional rips from the temp-track containing other alien-related scores, then Debney's equally shameless (and likely equally intentional) parody score will drive you nuts. The first cue is the standout invasion piece, containing significant structural and thematic references to David Arnold's climactic battle cues in Independence Day. Constant snares and bombastic brass motifs yield to tacky synth effects and heavy chanting for the end of world (similar to adult choir material in Scorpion King). The other big ticket cue is "The Big Game," in which Debney takes a different approach from his usual sporting event tactics and gives us a full blown Western cue with fresh new trumpet fanfares. Even in this cue, though, a significant statement of Arnold's "patriotic theme" from ID4 is performed by strings near the start. The same acoustic guitar he used in the concurrent children's film Dreamer is used in this cue and in "Dad Apologizes" to set the locale in a bluegrass sound for the town of Oakey Oaks, though the latter cue leads to plucking string comedy rhythms more recognizable in the cartoon genre.

The "Chase to Cornfield" cue is a rousing piece that once again features adult chanting and clanging of percussion over an electric bass reminiscent of The Tuxedo and My Favorite Martian. The wild orchestra hits in "Dodgeball," set over hip guitar rhythms and deep sax meanderings would make George S. Clinton proud. Interestingly, with the obvious amount of humor that Debney injects into this score, it's no surprise that he lifts ideas from End of Days, but if you want to go all the way, why not bring a little Passion of the Christ into it too? There must be limits. On the whole, Debney once again impresses with his superb knowledge of previous scores and his ability to reference them while remaining not only legal, but also refreshing in a pure and pleasant setting. His interpretation of the theme of "We Are the Champions" not only strikes in the bombastic cue at the outset, but also in the soft, piano/flute-driven character cue finishes the album. This material truly makes Madagascar by Zimmer and his gang sound outclassed, and collectors of Debney's vast works in the comedy genre can only hope that a fuller Chicken Little score finds its way onto a promotional album like the majority of Debney efforts inevitable do. On the commercial album, the score is obviously an afterthought given how it is gracelessly faded into the first track mid-cue. And yet, compared to the pleasant, but conservative music for Dreamer, Chicken Little is far more entertaining even in its brevity.   @Amazon.com: CD or Download