composed one of his best scores, for the acclaimed television production The Last Place on Earth. Jones reunited with Henson for the 1986 fantasy musical Labyrinth. David Bowie wrote and performed the vocal tracks for this movie, including the hit "Underground", while Jones provided the dramatic score. Reflecting that his complex, symphonic score for The Dark Crystal garnered little notice, Jones began to re-think his entire approach to dramatic scoring. Around the mid-80s, Jones' work became more electronic-based (much like fellow film composer Maurice Jarre), eschewing identifiable themes in favor of mood-enhancing synth chords and minimalist patterns. While he wrote a somber, chamber orchestra score in 1988 for Dominick and Eugene (which featured classical guitarist John Williams), scores like Angel Heart (1987), Mississippi Burning (1988) and Sea of Love (1989) are more typical of Jones' output during this period. Jones' return to large-orchestra scoring came with 1990s Arachnophobia, and he provided a light-hearted Georges Delerue-flavoured score for Blame it on the Bellboy in 1992. Jones' most popular success came later in 1992 with his score for The Last of the Mohicans, and his soaring, passionate music belies the difficulties which afflicted its creation. Director Michael Mann initially asked Jones to provide an electronic score for the film, but late in the game, it was decided an orchestral score would be more appropriate for this historic epic. Jones hurried to re-fashion the score for orchestra in the limited time left, while the constant re-cutting of the film meant music cues sometimes had to be rewritten several times to keep up with the new timings. Finally, with the release date looming, composer Randy Edelman was called in to score some minor scenes which Jones did not have time to do. Jones and Edelman received co-credit on the film (thus making this very popular and acclaimed score ineligible for Oscar consideration). Although all were displeased with the circumstances, Jones was not fired from the film despite reports to the contrary. Jones became active in television in the 1990s, with orchestral scores for several Hallmark productions, including Gulliver's Travels, Merlin and Cleopatra. He also provided a fun, jazzy, 1930s-style score for Richard III (1995), which features a swing-band setting of Christopher Marlowe's The Passionate Shepherd to His Love. In 1997 Jones worked for the first time with Ridley Scott, providing an electronic/orchestral/rock-flavoured soundtrack for G.I. Jane (1997). Discography Film Television Video gamesMarvel Nemesis: Rise