Delorean90

But the regular and quad vinyl both share the same program, but with different sound mix, right? Because that's what I was referring to.
 
Anyway, just for curiosity, here's how that same portion of Chrissie's Death sounds like on the quad vinyl.
 
Screen_Recording_20250829_193641_Samsung Music_1.mp4

Indeed! Haha.
I'm finding more and more that there are very few scores that can sustain my interest longer 70 minutes. Most of which are Williams scores (for my part). And even then, unless its a particularly rich score with a lot of sonic and thematic variety (Hook, baby!), I feel a score can say all that it has to say in a nice 65-70ish minute arrangement (*cough Minority Report*cough War of the Worlds *cough) 

The tough part is when particularly unique and narratively essential cues are left off the OST. It's harder to construct a satisfying musical journey when, say, half the action cues in an action adventure score are missing (looking at you, Crystal Skull!)

I even find myself breaking with listening to a score in chronological order. So yes, Thor-itis is catching  

I get what you mean and I don't think that the tracking necessarily ruined the movie per se, which imho wasn't that sublime to start with (I personally think it's one of Steven Spielberg's weakest efforts).
 
What we got here is one of the rare examples of Spielberg basically letting Williams virtually free to score the film as he saw fit and not interferring one iota during the scoring sessions--I think he didn't even attend them as he was filming Amistad on the East Coast at the same time. Much like what happened in Jurassic Park, all the choices where the filmmakers thought the music should do something different were not re-scored by JW, but instead they had the music editors do a collage, moving around cues from one scene to another, etc. This is usually a sign of desperate measure, but here I think it was because it was only Spielberg who had the power to ask JW to rewrite anything, but since he wasn't on the scoring stage, everyone else let things go and didn't interfere.
 
In this case, it seems to me that Spielberg stopped caring about the film right after he finished shooting and let the rest of the team take the reins to deliver it. This is wild speculation on my behalf, but perhaps Spielberg and Williams didn't even talk that much when spotting the film for music. Besides the choice of doing something of a different nature from the first film, I can see Steven saying "Okay, Johnny, do whatever you think is fine, I'm sure it's gonna be great! Just do some Max Steiner here and there." The fact he didn't write original liner notes for the album makes me think he probably didn't have much to say.
 
It seems to me that Williams didn't necessarily conceive "The Lost World" main theme as something all-encompassing for the entire film. It is something that represents the adventurous character of the story, but in the actual scoring he went on to enhance particularly the horrific and thriller side of things, with lots of dissonant passages, wild aleatoric writing for winds and a general lack of leitmotivic drive, save for the four-note "rising" motif for the island. So the main theme, in JW's original concept, actually works more as the curtain riser when we go off for the adventure and as the final bow for the end credits. Yes, it's kind of referred to in cues like "The Stegosaurus" and "The Hunt", but it's more hinted to than actually quoted. Perhaps Spielberg, Kennedy and/or whoever else was in charge of post-production dubbing felt that the film was missing some of the adventurous side music-wise and then went on to choose moments where they could feature the main theme more prominently. 
 
I agree though with your point that using the upbeat adventurous music to score scenes of slaugther, escape in panic and poaching of animals has a weird effect. While it's true this is just popcorn fare, making the audience feel giddy when watching people being killed in this context is kind of awkward. Williams scored the horror and the chill, the filmmakers wanted just the fun. I can picture them seeing the scenes as originally scored and saying "Oh, this is too serious/scary, let's tone it down," but the end result doesn't really work that well. Sometimes filmmakers are scared when music gets too wild or serious.

It's weird how little of the main TLW theme JW intended to use in the score and I understand the decision to track it into the film. I wish it didn't replace The Hunt as I love that piece and I agree a little about the tonal oddity. Overall, I agree with the tracking of the theme in general.

I love the theme from The Lost World, truly. It's kinda earthy. Darkly adventurous. I wish JW had used it more in the score. But he didn't. And for the most part, I don't like the way it was tracked in.
 
The roundup is a great example. I'm actually not as big a fan of "The Hunt" as a lot of you are, and I really like the tracking of "Streets of San Diego." But then the theme is a bad fit. The scene is not a happy one—the humans are clearly the bad guys. The theme makes it sound like the film is saying, "Hey, what a fun adventure for these folks!"
 
Ludlow's death comes to mind as well. Yes, he's the main baddie, and he's kinda reaping what he sowed, but still, this is a T-Rex slowly killing a man. There's something that feels sadistic about hearing those major chords over his screams of agony.
 
I have a harder time pinpointing why I don't like my third example, but I'll bring it up anyway. I've never liked hearing the theme come in during the escape from the raptors.  It hits right as Sarah goes tumbling onto a fluorescent light and through a window, and it just feels weird to me. It makes more sense a moment later as the group escapes to the helicopter, but from the first time I saw the movie, I always felt like, Why did JW score it that way? And of course, the answer is that he didn't.
 
Moments like these have a cumulative effect on the film as a whole. During these moments, I feel an unpleasant disconnect between the movie and its music, and my brain resolves it by going, I guess the filmmakers want me to think something good is happening, but I disagree. That sort of contrast can absolutely work for irony, humor, or horror, but you really have to play it up so it's clearly intentional.
 
I'll go to my grave defending the choice to track the island fanfare into the first film's climax, though.
 
Anyone else feel the same way?

https://lalalandrecords.com/reivers-the-remastered-expanded-limited-edition-2cd-set/
 

 
REIVERS, THE: REMASTERED & EXPANDED LIMITED EDITION (2CD Set)
$31.98
LLLCD 1659
Music Composed and Conducted by John Williams
Limited edition of 2000 units
 
La-La Land Records, Sony Music and Columbia Masterworks proudly present a remastered and expanded 2-CD release of renowned composer John Williams’ original motion picture score to the 1969 feature film period drama THE REIVERS, based upon the novel by William Faulkner and starring Steve McQueen, Mitch Vogel and Sharon Farrell, and directed by Mark Rydell.
 
The treasured collaborative relationship between Maestro John Williams (JAWS, E.T., SCHINDLER’S LIST) and filmmaker Steven Spielberg had its roots in the director’s admiration for Williams’ brilliant score to this nostalgic 1969 drama, in which Faulkner chronicles the arrival of the automobile in the American south at the dawn of the 20th century. This new remastered and expanded 2-CD reissue, featuring the full score presentation for the first time, is an Americana wonder – beautiful, dramatic, heartfelt – an ideal match for Faulkner’s blend of playful humor and vividly drawn prose, conjuring the warm glow of an “endless summer” as experienced by a child on the cusp of adolescence. Williams expertly augments orchestra with guitar, banjo, fiddle, harmonica, mouth harp and honky-tonk piano, and his traditional orchestral cues are interwoven with passages rooted in old-time music and early jazz.
 
Produced, edited and mastered by Grammy nominee Mike Matessino, this deluxe, expanded 2-CD presentation was remixed and remastered from Sony Music’s original 3-track elements and approved by the composer. Disc 1 showcases the score presentation and additional music, including a medley of Stephen Foster tack player piano tunes and several alternates, (some of which have only survived as mono recordings provided by the CBS Archives at UCLA), while Disc 2 presents the original soundtrack assembly, with its unique performances and edits. Williams’ concert suite for THE REIVERS, as recorded for the 1994 Boston Pops album “Music for Stage and Screen,” concludes the presentation. Here the composer revisits and expands upon his 1969 score, which features the film’s original narrator, Burgess Meredith.
 
The exclusive, in-depth liner are by writer John Takis and the sharp art direction is by Jim Titus.
 
This CD Release is limited to 2000 units.
 
TRACK LISTING:
 
DISC 1 • SCORE PRESENTATION • 52:55
1. Logo And Main Title (The Reivers) 3:53
2. The Winton Flyer 1:46
3. First Instruction 1:21
4. Ned Tries It Out 1:54
5. Family Funeral / Lucius’ First Drive (Film Version) 2:39
6. A Tall Tale / To Memphis / That Ole Mud Hole 1:48
7. The Road To Memphis (Film Version) 1:44
8. Memphis (Film Version) 1:32
9. Corrie’s Entrance / The Picture (Extended Version) 2:56
10. Lucius And Corrie 1:37
11. The Bad News :35
12. Ned’s Trade (Extended Version) 2:49
13. The Sheriff Departs 2:34
14. Ned’s Secret / The People Protest 2:08
15. Prayers At Bedtime (Extended Version) 2:42
16. Lucius Runs To Corrie 2:11
17. The Prize 1:33
18. Moment Of Glory 1:35
19. Back Home 1:35
20. Boss’s Collar 1:15
21. Camptown Races And End Credits† 1:14
Total Score Time: 41:51
 
ADDITIONAL MUSIC
22. Stephen Foster Medley‡ 4:06
23. The Winton Flyer (Film Version) 1:47
24. Family Funeral 1:04
25. The Road To Memphis (Alternate) 1:38
26. Boss’s Collar (Alternate) 1:04
27. Camptown Races And End Credits (Alternate) † 1:14
Total Additional Music: 11:10
 
DISC 2 • 49:07
REMASTERED ORIGINAL SOUNDTRACK
1. Main Title / First Instruction / The Winton Flyer 5:11
2. Family Funeral / Lucius’ First Drive 2:31
3. The Road To Memphis 1:44
4. Corrie’s Entrance / The Picture 2:12
5. The Sheriff Departs / The Bad News / Ned’s Secret 3:34
6. Memphis 1:23
7. Ned’s Trade 2:05
8. The People Protest 1:07
9. Prayers At Bedtime 2:28
10. Lucius Runs To Corrie / Back Home 3:33
11. Finale† 4:12
Total Soundtrack Album Time: 30:20
 
ADDITIONAL MUSIC
12. The Reivers (Concert Suite) 18:43
 
† Includes “Camptown Races” composed by Stephen Foster (P.D.)
‡ Contains “Oh! Susanna,” “Beautiful Dreamer,” “Massa’s In De Cold Ground” (P.D.)
 
This is a CD format release
 

It's realistic and relatable. 

A nod to funnier times
 

Spooky season is here, I saw the movie not too long ago and got the FSM a week ago so why the hell not?
 
Thanks to http://www.poltergeist.poltergeistiii.com for the script excerpts.
 
 

1m1 The Star-Spangled Banner - Couldn't leave this wonderful iconic/ironic opening source cue out.
 
 
 

1m2 The Calling - Goldsmith starts the first cue as Carol-Anne is left alone, the camera moves in on her and she wakes up. Initially nearly every shot is emphasised and the unsettling nature of the cue shifts a lot - for example while initially it floats on high strings, when we cut to the living room lit by the unseen flickering TV, it's suddenly grounded with low rumbling, which turns to bass figures at the next cut.
1m1A/1m2A Cuesta Verde (Main Title) - The cue picks up nearly seamlessly with a very different mood, establishing the town as a peaceful place, moving to playful joy when we get closer. The final film removes the opening deconds that overlap with 1m2's ending.
 
 
 

1M5/2M1 The Tree - Two distinctly different soundscapes clash: ominous woody textures for Robbie and the tree and gorgeous lush treatements of Carol Anne's theme for Tweety's funeral. The cue went completely unused and while it still fits perfectly, I can kind of see why, in such a deliberately spotted film I'm not sure why this moment was picked to be scored and what was really meant to be achieved with this cue overall, maybe just giving the tree more explicit foreshadowing maybe and taking any opportunity to score more of Carol-Anne - maybe I could see it having more purpose if the fun foreshadowing with Tweety's coffin being excavated for the pool was also scored, calling back to this cue?
 
 
 

2m3 The Clown - Distinct moods again for the three parts of the scene - uneasy for the so far unseen threat, crazy with some jumps for the terrifying clown, then some still uneasy but driven music for Robbie's brave solution.
 
 
 

3m2 They're Here - After a reprise of techniques from 1m2, things finally get real and the brass joins the fun, emphasising the ghostly hand appearing, searching around, then blasting into the wall. The final film shortens the room shaking by a bit (originall glass was breaking for example), I had to loop some shots to cover that.
 
 
 

3m3 Broken Glass - Another unused cue, though I think this fits better than The Tree, emphasising the strange happenings and tying Carol-Anne to the static again with her theme similarly to other cues.
 
 
 

3m4/4m1 The Hole - Another unused cue - not sure about the sync here especially since the booklet mentions this scene has been shortened.
 
 
 

4m2 TV People - Basically a more confident reprise of 3m3 - while that one seems to suggest "*is something strange going on?", this one suggests "okay, at least we're not completely crazy - but something weird is going on". (Brilliant transition at the end of this scene to suggest the soulless copypaste nature of this suburban hellhole, it absolutely got me the first time, thinking they moved out!)
 
 
 

4m3/5m1 The Closet - The tree's woody sounds quickly give way to low brass as it comes alive, then brass-heavy action alternates with strings+choir for Carol-Anne and the closet portal. The mood distinctly switches to desperate action after the tree is dispatched, but choir still sticks around to signify the TV and Carol-Anne. The film loops the opening, it was pretty hard to find a way to reedit it so the strings match the lightning as the booklet says they were meant to. It also dials out the statement of Carol-Anne's theme at the end turning from relief to horror without actually changing anything. I also had to just barely shorten it at one point and loop it twice.
 
 
 

6m1 The Jewelry - Now we're moving into the part of the score which IMO is its greatest strength - conveying events in the unseen dimension almost purely through music, mostly scoring dialogue. The cue starts with the general uneasy mood and unsure Carol-Anne themes, then moves into a more anticipatory mood when the dog starts signalling, finally ending up on a warm Carol-Anne as she responds. The theme seems to finish without problem... until an ominous motif interrupts it, helping the family warn her away from the light. The motif for the portal enters and is followed by a fun 50s theremin scifi throwback for the items that appeared out of thin air. The mood turns ominous again for the Beast closing in on her, then after a wonderful moment where she passes through Diane, her theme returns again playing happily, but once again is capped by a wild coda removed from the final film.
 
 
 

7m1 The Light - The optimistic theme for the Light is introduced for this explanation about the afterlife.
 
 
 

7m2/8m1 Instant Replay - Marty's visions are scored with building craziness, played off by a Beast theme that's removed in the film. The apparitions on the stair get a new theme, "lost souls", then they disappear in flashes to some action music. The scene is represented again in a shortened form for the instant replac, the Lost Souls theme this time leading to an unused Beast statement. For the ending, the cue ominously extends the Beast's theme to the entire suburban setting. Because of all the missing footage and complex history this wasn't an easy cue to work on, in the end I just synced the footage up so the final film edit of the cue matches, fully aware that this might not be correct.
 
 
 

8m2 No Complaints - The Lost Souls theme foreshadows what we don't explicitly know yet (that the relocated cemetery doesn't actually have the bodies), and agan casts a dark light over the entire neighborhood.
 
 
 

9m1/10m1 Let's Get Her - And so begins perhaps the biggest highlight setpiece, employing nearly every theme to move us through many moods for what are once again dialogue scenes suggesting completely unseen things and events. I had to extend the footage just a little bit at the switch from monologue to preparations.
10m1 Pt. 2 Rebirth - Mostly based around statements fo the Light theme at key points (also note the portal motif for the tennis balls and rope passing through it), the cue brilliantly gives religious weight to this climactic scene, resolving it very satisfyingly with Carol-Anne's theme. I had to extend the cue here and there, but didn't want to keep looping the same shots over and over for the Beast's face.
 
 
 

11m1X - This unused "extension" perhaps makes the ominousness of the scene a bit too on the nose.
 
 
 

11m1 The Clown Attacks - With its back and forth of horror action and supernatural choir, this cue is somewhat of a calback to 4m3/5m1 The Closet. I had to stretch/loop the footage in multiple places. There was an alternate version shot in Diane's room with the hole in the wall expanding, but only a few images are available (see the fan site I mentioned at the start).
 
 
 

11m2/12m1 The Caskets - For the final total pandemonium, Goldsmith mostly opts for all-out athematic spooky action, finally finishing with the suburbia setting of the Beast theme to play off the madness. The film dials out the opening bubbling brass and of course considerably edits down the scene/cue.
 
 
 

12m2 No TV - This unused cue uses the Lost Souls theme to comment on the family's situation, but perhaps makes for too low of a note to end on. Not sure about the sync at all so I just assumed Mike's way of joining it with the credits was correct.
12m2A End Credits - Finally a wonderful full rendition of Carol-Anne's theme. The film dials out the opening vocals, only bringing them in on the first B part.
 
 
 

1m2 The Calling (alternate) - The main difference here is the presence of many woodwind figures.
 
 
 

11m2/12m1 The Caskets (alternate) - This cue is a fascinating insight into how many small things can get refined over new takes - ostinatos tightened up/extended, instrumentations slightly changed or cleaned up. Of particular note are the more melodic and simplistic string effects for the skeletons' first appearance, the richer sound when Diane slides back into the water, the more piercing wind shriek in the middle of the stretching corridor shots and the far less driven feeling percussion at the end of it, and the section when Dana arrives which here doesn't have much of a building progression to it.

Just snagged one from Screen Archives, thank goodness!

Just snagged one from Screen Archives, thank goodness!

If Screen Archives' image is accurate, we got a cut foot.

Just snagged one from Screen Archives, thank goodness!

Just snagged one from Screen Archives, thank goodness!

Screen Archives to the rescue with an unknown number of copies for anyone who missed it

After his work on Ant-Man and in particular WandaVision (which was by the same director as FF), I think Chris Beck would have been a great choice to score Fantastic Four. Shame that he didn’t get the gig.

Some recent updates:
Switched the two Prologues but still kept the viola section - so I edited it into the "final" version which I'm using as an opener and edited it out of the "alternate/extended" version which I'm using in the alternates suite. Since the Cornucopia insert is an extended buildup plus a shortened version of the original Banquet bit, I added the removed percussionless second statement of the Banquet A theme back into it. I used the clean ending from the sessions to remove Lost Boy Chase from the credits, that transition just didn't sit right with me.

https://store.intrada.com/s.nl/sc.13/category.60330/.f
 
A huge loss for the film score community. My condolences to his family, Roger and the  gang at Intrada.

I would include the songs from the main program, if I were fiddling with disc 3: We don't want to grow up, Pick them up and When you're alone. And if I would attempt a "Songs and other non-orchestral Material" album, what your inclusion of Concertina Medley suggests, I would also include Banning back home here. Saying that, perhaps I will do that now; could be a neat idea.

Does this topic need its own thread?  Our Johnny has added another accolade to the list - he's the top performed living classical composer of 2023 beating out Arvo Part!
Movie maestro John Williams named 2023’s most-performed living composer - Classic FM
 
The report is based on the performances listed on its website last year, which numbered over 30,000.  
Annual classical music statistics 2023 vx (bachtrack.com)

This ended up being my first pass at an edit:
 

 
Main program:
An overall problem I had is that the silences left between tracks are just getting too long for my taste, especially when many tracks already end with long held notes fading out, so I shortened the dead air at the end of many tracks. This and the joining of some tracks actually removed so much time that even though I added music to the main program from the bonus section, the length of my edit main program came back down to 2:16! Banning Back Home is the longer earlier version. The Bedroom is joined with The Nursery Scene with just a soft overlap, the latter starting near the end of the fadeout of the former - not sure if I'll keep this one together. When You're Alone (Moira's Lullaby) is soft joined with Saying Goodbye. Forgotten How to Fly is soft joined with The Stories Are True (Alternate), which I used to lose some of the repetitiveness and because I like how its lowkey ominousness leads into the Low Below section better. The Arrival of Tink and The Flight to Neverland are joined into one track but with no real overlap, I just wanted to get their timing right. Presenting the Hook is the vocal version. Enter Rufio and The Lost Boy Chase are joined with a hard overlap (last note with first note). I noticed that a version of the percussion is already there for a section of the main program Chase, so what I did was isolate the revised percussion overlay well enough by phasing the two versions, and put it under the main program version trying to match the volume of the percussion that's already there, this way it's all present (I like the sound of it a lot) but it's not as overpowering as in the bonus track version, and I don't lose the brass from the main program version either. Banquet and Never-Feast are joined, I selected a place in the repeating ending of the former where the latter would take over, turns out it's pretty much the same way JW joined them for the concert piece! Peter Remembers (The Flying Sequence) is joined with You Are The Pan with a hard overlap, this was the one that bothered me even back when I was just watching the movie on black friday while following along with the LLL tracklist, the latter so perfectly flows from the unfinished winding down energy of the former and caps the sequence off so nicely. Tink Grows Up is hard joined with Ultimate War which is hard joined with Death of Rufio which is soft joined with The Sword Fight and The End of Hook, because for the latter I couldn't find a way to hard join them that felt just right. Also, for the Lost Boy entrance segment of Ultimate War, I used the OST version first, then the insert. Lost Boy Fanfare overload! The bit for Peter's Entrance is just the main program version of course, it's a longer and better structured version of the original section which has nothing to add to it. I used the alternate Exit Music since it sounds richer. Then comes the source music/songs section.
Mothers is the only big loss, it's one thing that I'm not a fan of the lyrics but her singing in it just puts me off completely. Instead of it being one big block, I split Smee's Concertina Medley into 3 parts, 0:00-1:34 (with a faked ending with the help of some added reverb), 1:34-3:48 and 3:48-end, so fast pieces, slow pieces, fast pieces. I like how the track is assembled like this on the LLL but for this program I thought this would be more fun and varied. I really appreciate Take Me Out to the Ball Game all being on the LLL as is, but for me it's a bit too long for what it is, so I got creative: 0:00-0:26 (one full "theme statement" ending with the bridging ending to transition it), 0:53-1:19 (one full "bridge section" with the bridging ending to transition it), then 1:46-end, overlapped with a reduced volume 1:19-1:46 (one more full "theme statement" with the finale, with the additional "bridge section with finale" to make it sound just a bit bigger for the reprise. And then finally my usual "alternates suite" where the orchestral alternates went, I tried to represent as many themes as I could:
Hook Prologue Banning Back Home (Film Version) (joined pretty closely, almost to keep up the rhythm) The Stories Are True (LLL main program version since I used the alternate in my main program) The Never-Feast (0:57-end, the opening just felt more right this way, wanted to represent the insertless version even though I think the revision vastly improves its structure, then I just let it run because again it feels right for the next join) The Face of Pan (choral version, hard overlapped with the end of The Never-Feast which works surprisingly well, I love this but I left the instrumental in the main program so that You Are the Pan can remain a step up from it) The Arrival of Tink (Alternate) (1:55-end, the only different section is here) The Flight to Neverland (Alternate) (0:21-end, in the main program I struggled to hard overlap these two cues as they are and kinda gave up, but here I'm free to remove material from them and I found this perfect hard overlap point to join these two). Pirate Sequence (Instrumental) (0:00-3:12 or so) (Not a huge fan of the ending of this without the voices or brass so I took the perfect opportunity to transition here to... The instrumental version of Presenting the Hook, starting with the vocal version to utilise its clean opening then switching to the main program version, I also "fixed" the tempo jump in the first "line" so it wouldn't be out of place after the song's consistent tempo, then for a cleaner join I overlapped the clean opening with the piano in Pirate Sequence so that this starts at full volume right away but the piano fades out gradually. Farewell Neverland (Short Version - Alternate) (2:24-end, so only the last of the 3 cues) Exit Music (main program version since I used the alternate in the main program, these two play together remarkably well when leaving a gap about as long as between End Credits and Exit Music).

May I also humbly recommend trying the original, first version of Banning Back Home to be what's in your new main playlist instead of the revised film version?  I personally find it to be a superior composition and performance, and it's really what John Williams always intended, until the revision was done at the VERY last minute purely because Spielberg carved a minute out of the sequence.
 
We actually discussed having that original version be the one in the main program, but the CD length limitations were so tight, they couldn't be swapped!

My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.

Initially I wasn't too hot on this score, but when coming back I kept liking it more and more. The very fluid way the themes are used makes it less immediately accessible but it definitely rewards repeats! For example until reading the booklet this weekend, I didn't even put it together in my head that the Goblin has a proper theme, but now I can hear it all over. After my last listen through my edit, I just love this score.
 

Some of the score is a bit patchy here and there so I had to move it around. Most cues begin and end satisfyingly enough so it was hard to find a place for some loose short bits. I also tried to incorporate as many of the alternate segments as I could.
 
Changes:
Spider Bite: I cut off Deadlines. Peter's New Powers: this is the biggie. I felt New Powers is a great self-contained piece that builds up the Spidey theme and ends well enough, so Web Slinger's additional nonthematic buildup and action right after felt tacked on. So I combined them! Basically I put Web Slinger's stronger opening and ending at the front and back, and put the remainder in the middle to extend a buildup. Web Slinger 0:00-0:15 (overlapped with the ending) New Powers 0:00-1:30 (overlapped to continue the buildup, sped up to 1.02 to match the tempo better) Web Slinger 0:14-0:42 (overlapped to transition better) New Powers 1:28-2:08 (end) Web Slinger 0:42-end Backyard Connection is the alternate, I just liked it a bit better plus it's longer I split Harsh Words / Peter Wins up and added them to the previous and the next track. Revenge is the alternate with the section from the OST restored, more music! Responsibility is City Montage, with City Stinger at the end moved closer so it feels more like a natural ending. Your Friendly Neighborhood Spider-Man is Moondance / Photography / City Stinger with City Stinger 2 again moved closer to overlap with Photography's end, it works really naturally. Norman Gets the Boot is Deadlines + Norman Gets the Boot / Spidey-Sense, this felt like a good place to move Deadlines to. I wanted to use both versions in Parade Attack, and I felt the main version is a better intro to Spider-Man's theme so I had to place the original section later, right before the Goblin's percussion takes over. Parade Attack (Film Version) 0:00-2:32 Parade Attack (With Alternate Section) 1:52-2:16 Parade Attack (Film Version) 2:32-end For Specter of the Goblin, I used a combination of the two openings, I thought the longer revision and the quieter original were both too interesting to just pick one over the other, so I did a long crossfade from the main program version to the alternate at the brass swell early in. This results in a bigger punchier opening, but then a quieter flute Goblin as we "cut inside" or something. Then I joined it with Roof Chat, and capped it off with Enter the Goblin, which I felt sucked in its original place on its own but isn't a horrible coda here. I added Father and Son to the opening of Fire since it opened somewhat abruptly and FaS was just an odd bit of nothing in its original place that only held up the momentum of getting to the finale. I switched and joined Drop of Blood and The Clue, I felt that helped a bit with the dramatic structure in this part. Norman's Troubles is of course the lovely longer alternate. Joined Danger / On the Bridge with To The Rescue seamlessy, then also joined in a Final Confrontation assembly from the two versions - here the alternate of the section is just a bit of action but the film version is big Spidey statements so the order was obvious: The Final Confrontation (With Alternate Opening) 0:00-0:53 The Final Confrontation 0:24-end The End Credits piss me off, they're so obviously written to just be an intro to the rest but then we have nothing on the OST or LLL, just a shitty annoying song in the film. So instead of my usual Alternates Suite, I made up a longer Credits! End Credits (Extended Version) Backyard Connection (since I used the alternate in the main program) - this one felt so natural with the Credits' softening end! Costume Montage, Web Practice (Alternate) - This one was a no-brainer too, its slowly growing opening follows the romantic cue nicely Norman's Troubles 0:00-0:45 (since I already used the alternate in the main program) Fire (With Alternate Section) 0:57-end - Started from the different segment but ended up just leaving the whole rest of the track in for more Goblin representation and a good transition point Getting Through - OST version for the alternate take and clean ending Main Titles (Album Version) - The songtrack version for the sliiiightly different mix. The 60s TV theme as a "hidden bonus track" Oh, also a new cover because I never liked the poster the LLL uses, he looks weird. So I used another poster, AI and some guidance and encouragement from @crumbs!
It works for a thumbnail, don't zoom into the buildings too much

I don't think of the score theme as more generic, but I DO wish we'd gotten some of those song progressions in iterations of the theme for sure.
 

Looking forward to listening to this!