Makeshift Python

It may be a "direct" sequel but it's such a tonally different film from the II and III that it makes sense that Nimoy would want to go for a different sound that was remiscent of the classic light hearted episodes, rather than continue the more dramatic stuff from the last two. I don't really care that we miss out on Spock's theme as I got all I wanted from those two scores. Being a direct sequel shouldn't restrict you to just sticking to a particular sound or composer, especially if the new sound fits like a glove with the specific film. All I can say is I strongly disagree with the assertion that his score doesn't fit the material. With what the film was aiming for, I thought it complimented the film.

A lot of the complaints seem to come down to "it doesn't sound like the other scores", which is such a bullshit criticism. Scores should be judged by how well they fit into the film, not the fucking franchise. It's the same kind of gripes I heard over GOLDENEYE's score because Eric Serra made a score that was unique and perfectly suitable to that film, rather than just taking a "traditional" approach by copying John Barry, which you'd get in full spades anyway with David Arnold's banal run. I've heard Rosenman's comments on why he repurposed previous material like LOTR onto this score, and his reasoning was simple: That film flopped hard, and he wanted the music he liked to be in a film more people would likely see. Truthfully, I never saw that animated film and have no intention of ever seeing anyway, so the fact that THE VOYAGE HOME repurposed music from that means very little to me. And I can sympathize his reasoning for doing so. Jerry Goldsmith's SUPERGIRL score is absolutely wonderful and should be something more people should listen to, but that will never happen because it's attached to a terrible film no one wants to see, thus remaining neglected by everyone except Goldsmith/film score aficionados. It's too bad both Goldsmith and John Barry put a lot of great work into really shit films that fewer people are likely to see. John Williams seemed to have a much better knack at selecting more films that became embedded in pop culture.

I look forward to another soundtrack that turns out to be just a bunch of pop tunes and only two tracks by Faltermeyer.

There is this certain sound effect David Arnold used in some of the Bond songs he produced that always caught my attention. I don't know exactly what you call it, but it's this weird electronic buzzing sound right before kd Lang starts singing in "Surrender". You can even hear it in the songs he remade with artists on the Shaken and Stirred compilation album, and he would go onto use it for Bassey's "No Good About Goodbye".

I believe those were new recordings by Newman, he simply used the Arnold's "The Names Bond... James Bond" arrangement and put in his own touches. You can tell it's different just by the guitar. It's either for Newman wanting to keep some consistency with the two Craig films or as you suggest Broccoli/Wilson simply like it enough to have Newman do new recordings of it.

Would be nice to release a 2 disc deluxe version with all cues avail.

Arnold belongs where he's been spending the last few years: On TV. If not Newman, I want Alberto Iglesias.

Has anyone been able to compile a chronological list of tracks that appear in SPECTRE? Speaking of which, why do soundtracks generally have the tracks out of order? I never understood the reasons behind that.

You like Kingdom of the Crystal Skull that much? No. Those were inter-dimensional beings, mister. Big difference.

I recently revisited E.T. Other than the fantastic Williams score, it still doesn't do anything for me. I prefer his other two alien films to be honest.

He only captured Barry's sound at the surface level, beyond that he's not very exceptional.

Given his lack of film projects over the years, I'm guessing most have caught on that Arnold isn't anything special. And yet, most in Bond forums seem to think he's the heir of John Barry or something.

The red carpet won't be the same.

TEMPLE OF DOOM is looney, but I don't think it really comes off offensive as some of the films it was inspired by, like GUNGA DIN with its warm-hearted racism.

I just never cared for Temple of Doom. I was referring to those who don't include CRYSTAL SKULL in the rankings.