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It's a bit square. None of the action music here is really worth mentioning, sadly.

It needs hefty editing and some longer thematic pieces. It's mostly a 'moments' score in this form but i guess Paramount has business sense enough to leave some central pieces to the OST release alone.

Maybe it would be a swell idea to send one of those 'MIB' memory eraser sticks with each Indy-set...so a lot of hissy fits over alleged problems which amount to very little can be avoided and people will be smiling all over about the wealth of new material they've got.

'DEFIANCE' - James Newton Howard Here you can listen to a good portion of the score. It's very subdued and becomes quite 'Village'ish in some places. What it lacks is a guiding theme to connect all the minors...hopefully he full CD will correct that...

'The Best Years of our Lives' by Friedhofer got a 70s re-recording and is considered a masterpiece by the aforementioned group. Other than that,could it be one from the bernstein Film Music Collection? Even 'Masada'?

This isn't included? Bastards. Why is the track "Indy and the Villagers" 4 minutes long, then? The conversation in the hut felt much shorter....

Spalko didn't strike me as a very seducing villain. Yes, but I thought this was about the music? He said Irina's Theme conveyed evil, and I said it's more like seduction. I know. It's just a little odd that the music is seductive when the character is not. That's the joy of being a film composer; being asked to score what's not there...

To enrich this topic even further, when do the rapidshare-files finally pop up? Someone is bound to have it by now!

The only one of these composers wo seems to be really past it is Horner... Note to K.M.: even Goldsmith was every bit as sharp as he was in his heyday when he got A-films ('Ghost and the Darkness', 'Edge', the song from 'Sum of all Fears'). Let Williams' have a chunk of good 'ole 'Chain Reaction'/'Along came a Spider' fodder and we'll see how 'prime' those scores would look...

Part of them were, of course. Due to the close working relationship with Leone, Morricone would later adjust them much more than usual for him (the pasting is easier to spot if you watch 'Navajo Joe', 'Ringo', 'Il Mercenario' and gazillions more). But this isn't really important...it wasn't the question! Basically i gather that you just mean you like to listen to Morricone westerns more, which is ok. If i had to choose i certainly would go with Morricone, too, since he just has done so many great western stuff ('The Big Gundown', anyone? Brilliant!). But sometimes, a bit perspective is helpful if one throws apples and oranges in one basket. So i just wanted to add that Goldsmith certainly wrote much more refined scores for his westerns, whereas Morricone made them iconic with a very broad musical brush.

Would you at least establish a kind of rating matrix why a Goldsmith western can't match a Morricone (not 'Bad Girls', this one is just a footnote)? Goldsmith had a way of writing it, Morricone had another...the italians famously just recorded a lot of stuff beforehand which was then pasted on the soundtrack at will, Goldsmith had a rather strict habit of scoring every nuance of the character and his psychological traits. If you like the themes or the showoff pieces more, then it's Morricone...but as pure FILMscore, no Morricone western could touch even 'Bandolero' (which is clearly inspired by Morricone).

I don't have an iota of passion for this film, so i'm certainly in the comfort zone of cold analyzing in stark contrast to users called 'indy4' or similar... but let me say that i sincerely hope that neither Spielberg nor Ford degrade themselves by making another 'Indy' film. The series had run it's course by 1989 and the worst thing one can say about 'Crystal Skull' is that it's just one of 1000 unnecessary sequels...while it was made, without doubt, with sincere intentions - and this makes it more sad than infuriating.

Williams may have recorded this stuff in chunks. Since i'm no database on Indiana-Jones music, can someone tell me if this big ecclesiastical horn moment when Indy sees the the Jesus picture on the wall at Julian Glover's apartment in 'Indy III' is on there? As far as i can recall, this popped up several times throughout the movie, did any version of this make it? Source is on the bottom of the post, man...

Now with track times.... CD 1: RAIDERS OF THE LOST ARK - EXPANDED EDITION 01. John Williams - In the Jungle (04:11) 02. John Williams - The Idol Temple (03:54) 03. John Williams - Escape from the Temple (01:31) 04. John Williams - Flight From Peru (02:21) 05. John Williams - Washington Men/Indy's Home (01:03) 06. John Williams - A Thought for Marion/To Nepal (02:10) 07. John Williams - The Medallion (02:52) 08. John Williams - Flight to Cairo (01:28) 09. John Williams - The Basket Game (05:01) 10. John Williams - Bad Dates (01:11) 11. John Williams - The Map Room: Dawn (03:49) 12. John Williams - Reunion in the Tent/Searching for the Well (03:59) 13. John Williams - The Well of the Souls (05:26) 14. John Williams - Indy Rides the Statue (01:07) 15. John Williams - The Fist Fight/The Flying Wing (04:34) 16. John Williams - Desert Chase (07:31) 17. John Williams - Marion's Theme/The Crate (02:07) 18. John Williams - The German Sub (01:21) 19. John Williams - Ride to the Nazi Hideout (03:17) 20. John Williams - Indy Follows the Ark (01:38) 21. John Williams - The Miracle of the Ark (06:05) 22. John Williams - Washington Ending & Raiders March (06:51) ca. 73 Min. CD 2: INDIANA JONES AND THE TEMPLE OF DOOM - EXPANDED EDITION 01. John Williams - Anything Goes (02:49) 02. John Williams - Indy Negotiates (03:58) 03. John Williams - The Nightclub Brawl (02:30) 04. John Williams - Fast Streets of Shanghai (03:39) 05. John Williams - Map/Out of Fuel (03:21) 06. John Williams - Slalom on Mt. Humol (02:23) 07. John Williams - Short Round's Theme (02:28) 08. John Williams - The Scroll/To Pankot Palace (04:24) 09. John Williams - Nocturnal Activities (05:53) 10. John Williams - Bug Tunnel/Death Trap (03:28) 11. John Williams - Approaching the Stones (02:38) 12. John Williams - Children in Chains (02:41) 13. John Williams - The Temple of Doom (02:58) 14. John Williams - Short Round Escapes (02:20) 15. John Williams - Saving Willie (03:34) 16. John Williams - Slave Children's Crusade (03:22) 17. John Williams - Short Round Helps (04:49) 18. John Williams - The Mine Car Chase (03:40) 19. John Williams - Water! (01:55) 20. John Williams - The Sword Trick (01:03) 21. John Williams - The Broken Bridge/British Relief (04:46) 22. John Williams - End Credits (06:19) ca. 75 Min. CD 3: INDIANA JONES AND THE LAST CRUSADE - EXPANDED EDITION 01. John Williams - Indy's Very First Adventure (12:00) 02. John Williams - The Boat Scene (02:21) 03. John Williams - X Marks the Spot (03:11) 04. John Williams - Ah, Rats!!! (03:40) 05. John Williams - Escape from Venice (04:22) 06. John Williams - Journey to Austria (00:38) 07. John Williams - Father and Son Reunited (01:48) 08. John Williams - The Austrian Way (02:39) 09. John Williams - Scherzo for Motorcycle and Orchestra (03:52) 10. John Williams - Alarm! (03:05) 11. John Williams - No Ticket (02:44) 12. John Williams - Keeping Up With the Joneses (03:36) 13. John Williams - Brother of the Cruciform Sword (01:56) 14. John Williams - On the Tank (03:37) 15. John Williams - Belly of the Steel Beast (05:28) 16. John Williams - The Canyon of the Crescent Moon (04:17) 17. John Williams - The Penitent Man Will Pass (03:23) 18. John Williams - The Keeper of the Grail (03:23) 19. John Williams - Finale & End Credits (10:37) ca. 77 Min. CD 4: INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL - ORIGINAL SOUNDTRACK 01. John Williams - Raiders March (05:06) 02. John Williams - Call of the Crystal (03:49) 03. John Williams - The Adventures of Mutt (03:12) 04. John Williams - Irina's Theme (02:26) 05. John Williams - The Snake Pit (03:15) 06. John Williams - The Spell of the Skull (04:24) 07. John Williams - The Journey to Akator (03:07) 08. John Williams - A Whirl Through Academe (03:34) 09. John Williams - "Return" (03:12) 10. John Williams - The Jungle Chase (04:23) 11. John Williams - Orellana's Cradle (04:22) 12. John Williams - Grave Robbers (02:29) 13. John Williams - Hidden Treasure and the City of Gold (05:14) 14. John Williams - Secret Doors and Scorpions (02:17) 15. John Williams - Oxley's Dilemma (04:46) 16. John Williams - Ants! (04:14) 17. John Williams - Temple Ruins and the Secret Revealed (05:51) 18. John Williams - The Departure (02:27) 19. John Williams - Finale (09:20) ca. 77 Min. CD 5: INTERVIEWS AND MORE MUSIC FROM INDIANA JONES 1. John Williams - Raiders March (02:28) 2. John Williams - Interviews with John Williams, Steven Spielberg and George Lucas (17:56) 3. John Williams - Uncovering the Ark (05:30) 4. John Williams - Indy and the Villagers (03:51) 5. John Williams - The Secret Passage (03:28) 6. John Williams - Father's Study (02:25) 7. John Williams - Marcus Is Captured/To Berlin (01:53) 8. John Williams - To the Blimp (02:01) 9. John Williams - The Blimp Turns Around (01:27) 10. John Williams - Death of Kazim (02:24) 11. John Williams - Wrong Choice, Right Choice (04:34) 12. John Williams - Return to the Village/Raiders March (03:26) Music ca. 34 Min. + Interviews ca. 18 Min. = 52 Min. http://www.exlibris.ch/musik.aspx?status=d...00&t_na=pho

The biggest problem for me are the cartoony action sequences; this is the right approach for 'Tomb Raider' but they don't have to drag poor 'ole Harrison out of the closet just to put him in a video game. The heroes are never vulnerable, ergo you don't care for them (from the nuked fridge up to the THREE waterfalls...). The script is bad without question but with so many bad event movies out there, this maybe wouldn't have broken the camel's back if the direction would be up to it. But it isn't: - the whole teaser sequence is much too long; apart from being infantile nonsense it runs for an eternity without any real focus; it obviously is all designed to nuke this damn fridge at the end... - action sequences, if not wholly pooty CGI-concoctions, are superfluous; Indiana Jones has to flee KGB agents in HIS OWN COUNTRY? And then this irritating motorbike scene in the library with the final joke with the nerd so bad and broad that you almost feel sorry for Spielberg... - some of the places they travel to are not properly established; think of this graveyard sequence, for instance. We just cut to a set with some mountains in the background...

My problem is not lacking focus but people being painfully somber and talking in hushed voices all the time. It's seemed a bit like an adolescent's idea of how a broken marriage should present itself vs. a more refined version of an adult who really experienced such a thing. And Bryant, let's be honest here: neither you nor me can say with certainty why director X choose approach Y. Maybe he just doen't know any better. I felt very uncomfortable watching Robin Williams in 'Patch Adams' and that certainly was no 'specific directorial decision'. It may work for you, that doesn't make it valid, per se.

And while the 'Weightlifting' sequence unfolded i thought 'wow, this Newton Howard guy is really much better than i thought!'. And i agree about the domestic scenes. It's always a sign of directorial indifference about their subject, as if broken relationships are always signalled by a crude cemetary mood hanging all over the proceedings instead of more subtle gestures or sudden outbursts.

'Ghost and the Darkness' has an interesting history, since the film was re-edited heavily and Goldsmith had to write half of it again. Legend has it that there are over 100 minutes of music recorded and that the schedule of this film cut Goldsmith's work time on 'First Contact' in half. It's one of those rare late scores where Goldsmith invested much more heavily than on the usual fare he was doing at the time. No bootleg ever surfaced...sadly. have you heard of any kind of promo surfacing? In the early parts of this century, someone allgedly had it and we traded CD's. Unfortunately, his package never arrived...and he claimed that he sent me his only copy. Make of that whatever you will....

'Ghost and the Darkness' has an interesting history, since the film was re-edited heavily and Goldsmith had to write half of it again. Legend has it that there are over 100 minutes of music recorded and that the schedule of this film cut Goldsmith's work time on 'First Contact' in half. It's one of those rare late scores where Goldsmith invested much more heavily than on the usual fare he was doing at the time. No bootleg ever surfaced...sadly.

Most likely not. It's below 'bottlecap' status and the composer himself cited it as a low point, so...

The only thing 'obvious' here is you being a thickie. Damn right, now i'm pouting and listen to my complete bootleg of 'Agent Cody Banks'!

Well, just as 'Deep Impact' is regarded as great film music on the Horner boards. And it IS faux Prokoviev, because it directly references his scherzos, simple as that. And you heard it right; i'm totally more interested in everything Indiana Jones which is not the blaring Indy fanfare....i have heard that often enough by now. And again: to compare an artist like Rózsa with David Arnold is just heresy. Neither 'Stargate' nor 'ID4' achieved any 'heights' compared even to a second-rate Rózsa like 'All The Brothers Were Valiant'.

Dear God, Mark, doesn't it even hurt in your brain when you babble nonsense like this? Rózsa had a very distinctive style (like DAVID ARNOLD??)and sometimes adapted this style to fit the glossy MGM stuff he worked on, but even there scores like 'Quo Vadis', 'Knights of the Round Table', 'Plymouth Adventure', 'Julius Caesar' or 'Diane', even 'Moonfleet', have great and accessible scores. And that was only 1950 till 1959, then there's 'Thief of Bagdad', 'Sodom and Gomorrah', 'Private Life of Sherlock Holmes', 'Eye of the Needle' and several film noir scores of notice. I mean if you get slap-happy by listening to one of those anachronistic faux-Prokoviev scherzo's Williams was churning out in his 80s-phase, how can you say things like this?

Which begs the question if no one should make his/her objections public only that you or others feel more comfy? You may not have intended to mean that, but very often, it's exactly what shines through those complaints. And let's not forget the sometimes shoddy research i. e. Intrada does on it's releases (claiming they'd release the first stereo edition of a Jay Chattaway score, which was plainly wrong, when someone took them to task for the erranous information they acted like he committed a crime, the same applies to the mastering issues some Intrada releases have since they are churning'em out). The admitted crap on the FSM MB works both sides: unnecessary vitriolic malice vs. brainless appraisal. My initial argument still stands: Just because soemeone puts a piece of music on a physical medium doesn't make it good or worthwile music, don't you agree?

I'm sorry, but scores like 'FOTR' or 'El CId' are the absolute exception. Even most scores written by 'competent composers' often have disposable parts. That's the nature of the beast, it's music for films, it's there to serve films. If it's good away from it, great, but often, it's not. But this is all a very broad discussion; let's be specific, then. Do i need: the 78-minute 'Braveheart' CD? A lot of it is the dirgelike love theme played without much variation, or rather nervewracking 6-minute cues called 'Revenge'. the 32-minute 'Deep Rising' CD? 3 great Goldsmith action tracks, a lot of functional tension and suspense stuff obviously only there to ratch up the tension meter before the octopus monster attacks. the 44-minute 'Accidental Tourist' (or 'Presumed Innocent') CD? One good theme in ca. three good variations, the rest nearly undistinguishable variations thereof? I could go on with most Horner scores ('Four Feathers', 'The Missing' etc.), not so many Goldsmith scores (since most of them still have very short releases) and a good amount of Williams scores ('Munich', 'Minority Report'). And i'm in no way thrashing most of the scores as such, since i like parts from all of them. But the fact remains that just because someone puts music to a disc doesn't make it worthwile, per se.