While film music fans always think of Alan Silvestri as first and foremost a composer of exciting music for action/adventures, in truth he is probably viewed by his Hollywood employers primarily for his work on numerous comedies over the years (many of which have had, sadly, no score release).  He's unusually adept at scoring comedy: while it is almost impossible to avoid the cliches that come with the genre, Silvestri always finds something fresh to say and brings something unique that the majority of his contemporaries - many of whom are also widely-regarded as being specialists in the genre - don't do on any sort of regular basis.  In terms of bringing unique slants, his score for Soap Dish must take the cake - it's a series of zany, riotous mambos.

The film is barely remembered today, only just over a decade later.  It was essentially a Hollywood satire about someone who wants to oust the longstanding star of a soap opera and take her place, starring Sally Field, Kevin Kline and various other luminaries.  Silvestri's score is just magic.  There's not that much to it - it really is just a series of mambos with barely any actual dramatic underscore - well, and there's one tango - but it's so full of life and is so enthusiastic that it's almost impossible to dislike.  The few bits of genuine underscore are somewhat romantic with a nostalgic twinge and are based around a lovely, sweet theme - "America's Sweetheart (underbelly)", "Lori Meets the Press" and the big finale "She's a Boy" (!?) being the best examples.

This is an unusual but highly-entertaining album and, if you can get hold of a copy, then I recommend it.  A 1990s comedy score with a personality and identity of its own?  Stand back in amazement.

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