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The animated film you are refering to is a german production with the title Back to Gaya (aka. Boo, Zino and the Snurks, which was the international title, i think).
The reason why this wasnt released is probably because the movie performed rather poorly and it was still the time when this would decide wether a score would get released or not. There were plans to release it but in the end it did not happen.
The directors of the movie were fans of michael kamen and pursued him to do the movie. He recorded the score in London.
I think this must come out someday. Its just too good to be forgotten and re-use fees cant be an issue at all. The racing cue alone is a wonderful action piece worth of a release and the main theme is pure gold. Its definitely one of Kamens top works.
here is a german article about the movie and kamens involvment:
http://www.spiegel.de/kultur/kino/0,1518,291277,00.html
It offers some interesting backgrounds on why kamen joined the project, how he was approached by the directors and how he felt about the project. If i have the time i will translate it into english.
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His action score masterpiece- DIE HARD. I wasn't crazy about it in 1988. But I sure am now. It is a really fine score, hearing it with the movie or on it's own terms.
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Kamen only wrote a demo theme for First Daughter. He was still finishing work on Back to Gaya, and pending the approval of the demo theme he would have started work on First Daughter once Back to Gaya was finished. Following his passing, Kamen's orchestrators completed his sketches for Back to Gaya (Ilan Eshkeri might have composed a couple of cues, but I'm sure they were adapted from Kamen's thematic material), while Blake Neely went on to compose the score for First Daughter, based on the demo theme written by Kamen (which was obviously approved by the director).
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Michael, have you seen that bonus feature on the First Daughter DVD? Because if you have`nt I recommend you to do that.
In that feature you got the feeling that Kamen had done a little bit more than what you are saying but ok I admit it was a while ago I saw it so I could be wrong. Still recommend you to seek it out.
Yes, I have indeed seen the featurette to which you refer. In it, Blake Neely confirms the sequence of events I've recounted. He mentions that, once the theme had been orchestrated, he was going to send it back to Kamen for his final approval before it was shown to the director. Kamen was in London, while the director was in the United States, so Neely was acting as the go-between during the initial stages of the collaboration (naturally, Kamen and the director would have ultimately met face-to-face once the demo had been accepted, and the formal scoring process had begun). Tragically, when Neely called to find out what Kamen thought of the orchestration, he was informed that the composer was gone.
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Among his most beautiful works is What Dreams May Come. A gorgeous score that burrows into the soul and stays there.
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