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Sure it would have. It's practically never varied, just like all the other themes (it's the start of Horner's epic phase, which was marred by endless repetition).

I'm the first to admit that it's impossible mush in boldest Barry strokes and compositionally rather simple, but the main theme (i. e. the firs track) is probably Horner's best theme or at least up in the Top Three. I's a perfect tune (the fiddle tune is also great and i even like the Cocoon-like singalong theme).

You wouldn't hear me complain.

The whole score to 'Temple of Doom'? To me still the quintessential colourful adventure score.

And it's still a 2022 Top 3 score. I may wish a true intellectual like i. e. Wintory or Greenwood would get a chance to develop a truly 'alien' score, which does not confuse complexity with elaborate layering and sound wizardry, but as it is, Zimmer delivered.

Love it. 
 

The world will survive this misfortune, too.

You listened to hungarians mangling 80's Goldsmith and still call this performance lousy?

He was slaughtered for it ca. 5 million times here and on FSM, so cut him some slack here. We also don't need to single out old Newman or all the other ancient examples that are of a completely different nature - during the old studio system, highly accomplished composers/arrangers helped out their likewise supremely gifted bosses (like Newman), whose job it was to delegate the musical chores of movies or cues within scores to others to get the job done in time. There was no secret about it.
 
As for Horner, during a short phase of his career, ca. 1991 - 1995, he overbooked himself to the extent that he farmed out stuff he didn't care for to highly accomplished composers/arrangers like himself. And of course, with Horner the problem of not giving credit went far beyond not crediting Davis or Pasatieri, he neither did for Britten nor Prokoviev. Crediting just wasn't his. thing, i guess.

I want my film composers different: gruff and fickle, capricious and moody! (which pretty much describes Herrmann, Morricone, Goldsmith, Barry and Horner)

I just saw the movie and now i do get better what Zimmer was after, and he nailed the alien-ness of the setting, but musically it's not exactly rewarding. Hans is not very subtle, and especially the crash bang stuff in tandem with the often 'psychotic' layering of the other thematic elements starts to grate after a while. But i give him that it is one of the best concept scores of recent years.

Nice for a background listen, like one of those countless Zimmer et al. nature documentary scores. I am convinced Simon Franglen is just an AI that put together 50% recent Horner stylistics and 50% trailer clichés and that's the result. 

My honest pick as Best Soundtrack Release 2022 is, to my own surprise, Goldsmith's 'Hollow Man', Intrada Edition. You need affinity for high-grade thriller and suspense textures to really *get it*, but the thematic and motivic base are laid out in very clear terms, so it's no elusive rocket science. Science though, it is, and the lilting 'Explorers'-vibe combined with the slithery sensuality of the 'Basic Instinct' years plus a good splash of harsh, modernistic spikiness - clearly the biggest surprise of 'Hollow Man' - makes for a thrilling combination. 
 
My fairly pronounced respect for this score's finesse back in 2000 didn't prepare me for the depth and detail of the whole thing. It's truly pearls before swine considering the rotten product it was conceived for, so i guess it was as much a love letter to favourite director Paul Verhoeven (on his last Hollywood legs back then) as well as a final lion's roar from the maestro himself, who surely saw the end of the rope in terms of his career. Be that as it may, the lack of fan favourite checklist material (love theme, theme-driven action set piece, more love theme etc.) is also HM's USP. In fact, the score's most dreary when Goldsmith gets the old crashbang chestnuts out in the final half an hour: the composer even bemoaned this on the dvd commentary he recorded, basically acknowledging that his only real music interest lay in getting the movies three complex transformation sequences right, all of them in the first half of the movie (in a discussion panel with director Phil Alden Robinson for whom he scored 'The Sum of all Fears' 2 years later, Goldsmith visibly sighed in relief when Robinson agreed to leave a big action scene unscored for better effect, 'Ahh, one fight less!').
 
For those who 'know the score' i just marked the before-unreleased cues that enriched the content of the original album for me immeasurably, and for fans of Goldsmith's more populist material there's the revised 'Big Climb', which bangs up the fairly mundane original version to a sizzling degree (this is what additional material always should offer in terms of value!).
 
04. Chasing Isabelle (2:04)
08. I Liked It (1:41)
09. The Buttons (Revised) (3:28)
11. Not Right (4:50)
15. I Can’t See Him (4:31)
19. He’s Here (3:13)
20. Dead Dog (1:31)
24. No Code (4:05)
25. Find Him (Revised) (4:55)
CD 2 Complete Score (Continued)
01. Wet Attack (Revised) (1:23)
03. The Big Climb (Revised) (3:09)
12. Broken Window (Revised #1) (2:53)
17. Wet Attack (1:10)
 

That's were we differentiate: i consider this stuff loved by either deaf guys or guys who are much more in love with movies than with music (as Music). Is Abyss great? Titanic? Probably for guys that like movies more than music, but to me as a purely music-driven person, i have a hard time accepting that people find stuff like that the pinnacle of the medium.

Never doubt Cameron's talent for submerging any composer's original talent.

That's were we differentiate: i consider this stuff loved by either deaf guys or guys who are much more in love with movies than with music (as Music). Is Abyss great? Titanic? Probably for guys that like movies more than music, but to me as a purely music-driven person, i have a hard time accepting that people find stuff like that the pinnacle of the medium.

That's were we differentiate: i consider this stuff loved by either deaf guys or guys who are much more in love with movies than with music (as Music). Is Abyss great? Titanic? Probably for guys that like movies more than music, but to me as a purely music-driven person, i have a hard time accepting that people find stuff like that the pinnacle of the medium.

No he shouldn't. To have some assistent hack elevated to mad genius level is wrong on all levels.

That's were we differentiate: i consider this stuff loved by either deaf guys or guys who are much more in love with movies than with music (as Music). Is Abyss great? Titanic? Probably for guys that like movies more than music, but to me as a purely music-driven person, i have a hard time accepting that people find stuff like that the pinnacle of the medium.

That's were we differentiate: i consider this stuff loved by either deaf guys or guys who are much more in love with movies than with music (as Music). Is Abyss great? Titanic? Probably for guys that like movies more than music, but to me as a purely music-driven person, i have a hard time accepting that people find stuff like that the pinnacle of the medium.

Never doubt Cameron's talent for submerging any composer's original talent.

No he shouldn't. To have some assistent hack elevated to mad genius level is wrong on all levels.

Nice for a background listen, like one of those countless Zimmer et al. nature documentary scores. I am convinced Simon Franglen is just an AI that put together 50% recent Horner stylistics and 50% trailer clichés and that's the result. 

No he shouldn't. To have some assistent hack elevated to mad genius level is wrong on all levels.

No he shouldn't. To have some assistent hack elevated to mad genius level is wrong on all levels.