Molly Weasley

Just to add to the endless DoD covers, here's one with the same exact format as the original, but where the logo definitely should have been 
 

New covers for Indiana Jones and the Dial of Destiny
 

 

 

 

 

 

That's a very good point and may explain the short album. #ReleaseTheRossCut

JW really just said

As always with a JW score... however Mangold has expressed that he is open to an Isolated Score, so let's really push for this and we might make it happen!

Now that we have less than 50 hours to release, I do just want to take a moment to say how much fun it has been to be a part of this community for the last few years. The possibility of new Star Wars movies scored by John Williams back in 2012 is what got me to lurking on this board and watch to see members speculate if he'd come back. The actual hype up to TFA and the actual score is what caused me to create an account. The last decade has allowed me to geek out with people about film score events in a way that I had always wanted but felt like I had missed out on. Part of me still can't believe we got another trilogy of Star Wars scores and an Indy 5 score alongside more Spielberg scores. Whether or not you like the movie, I hope you all find something to like in the new score. This little recess of the Internet has consistently been a fun little space to geek out on these things, and I've very grateful for it. This is truly the end of an era, and I'm happy to be here for it.

OST cover:

 
Vinyl cover:

 
Well, that's certainly an album cover.
 
No idea why they didn't put the title top left, there's an obvious gap in the artwork for it. It covers that brute character almost comically on the CD cover.

There's 13 minutes of blank space on the c.d. and they still managed to edit out the best part of cues
 
And there's absolutely  no excuse for the full End Credits not to be on  the OST

No, I think you misunderstood me. None of those are filler. Only Tuk Tuk is filler, in my opinion. ALL the others are masterpieces, which is the point when comparing to Tuk Tuk (not a masterpiece, much closer to "filler"). And, I appreciate and respect your opinion on the the pieces you referenced from DoD. I don't share them. I'm envious as I wish I did. But I am grateful that you shared them with me -- if we were in person together, I'd buy you a beer and celebrate all of the JW awesomeness that we probably do agree on.

It’s not disappointing because it means we have two hours of music from one of the greatest living musical minds that statistically should not exist, even if we don’t immediately have access to all of it.

No, he did not.

Quite enjoyed the movie, that, all in all, is a heartfelt final chapter, and I came much more satisfied than with Kingdom of Crystal Skull, which left me very empty.
KOCS had : an annoying sidekick, didn't play the age angle, had a boring McGuffin, an atrocious photography, forced humor (a shocker), some frankly hard to swallow WTF moments, and some ugly fake FXs that made you feel you were not there..
DOD has : a great sidekick (Phoebe Waller-Bridge is the obvious MVP), makes the age of the caracter center stage, has a McGuffin thematically connected, is well lit (save some ugly green screens, more on that later). However, it does not have the playfulness of classic Spielberg (the one he actually still showed in "Tintin" but as said, was largely absent from Indy IV), a few more than exaggerated moments to be sure, and a few less than stellar FX/too much green screen as well (I fully understand this will put completely off some people, you're warned). 

I thought the introduction worked like gangbusters (save for the de-aging, we are not quite there yet).
As for the rest, everything is not perfect for sure - there are some good character bits and some overlooked ones - some bits are really not that credible - I am not talking about the inevitable fantastical elements from an Indy finale, more some "stunts" that are not stunts - a lot of the action feels unreal - again a little like in the previous movie - when Vic Amstrong was performing incredible stuff in the 80s, it felt so "real" and raised so much the stakes - well I guess we still have Tom Cruise (that, yes, is obviously not 80 years old).
The last half hour will be divisive, but i thought it was risky and welcome move and absolutely successful with a handful of great moments (despite some ugly green screen work) 
But , all in all, a movie with a lot of rhythm, care and love. Considering all the ways the movie could have gone south after Spielberg exit, my congrats to Mangold for making a Indy film that feels part of a whole and is not an indecent extra chapter. 

And the score certainly helped in that regard.
I managed to stay away from Helena's theme for over a year, it is a winner - the versions in the movie are much more dynamic than in the wonderful concert version in the End credits. There are obvious motives for the bad guys and the Dial as well, dynamic scoring that propels the movie and yes - a few  "quotes" (all of them of the album, which I found rather surprising, actually). 
I was relieved that the Raiders march wasn't overused (it is notably absent from some map cues), to be there just at the right time and favor new material - a forte of the Indy films. In the movie, the score is very much present, front and center, incredibly dynamic and propelling, carrying all the scenes and mixed pretty high! 
Let's never forget we are so lucky to have 91 year old Williams having scored this, hard to imagine it any other way.
 
My memory is that there was some good introductory stuff from the themes early in the movie (in NY) that may be missing from the album, but nothing major I would say.

Well I remember when people first saw Revenge of the Sith they were saying "no major cues or highlights were left off the OST"

Hearing We Go Together in the theaters for the first time with no prior knowledge of the score was one of my best JW experiences.  A surprisingly sentimental piece for Star Wars 

I think there is a HUGE difference between a production tracking in music recorded for another film (from another studio) to be used as underscore, vs having new music recorded which bears a striking resemblance to an existing composition

Reading through the media reviews on RT over the last week, I don't think there has been a film in at least the last 20 years (maybe even since Schindler's List) where the the score is mentioned so frequently and so positively by the reviewers--regardless of whether they like or even hate the film.  It is nice to see JW getting the credit he deserves.  

Saw the movie on Monday.
 
If I had to compare the score to any of the previous parts in the series, I'd pick  "The Last Crusade". There was also really one leading new theme (Grail) and the compelling action music that dominated the score. There is even more of it here. Helena's Theme we hear more often in the film itself in adventure arrangements (that are really great) than the one we know from last concerts. It's only in its full "Golden Age" glory during the end credits.
 
But there is a lot going on here, it is dynamic and dense, because there is no shortage of action in the movie. There are also some musical surprises. In one of the scenes I heard something that would fit to "Dirty Harry" or "Bullitt" or other Shiffrin's scores form 70's. Very unusual for Williams.  There's another theme, more exotic, similar to "Tintin". And a lot of "Raider's March" and twice
 
 
The music is very intense, just like "The Last Crusade" mixed with "Tintin". And sometimes it rushes like "The Lost World". The music accompanying action scenes, with motifs accompanying the antagonists, is very intense and the whole score is very "busy" , if I may use such a word. Williams had a lot to do here. And must have had fun!
 
And there is theme related to the McGuffin - very simple one. 
 
I can't wait to hear the score from the album and I have no doubt that it will be a great listening experience.
 
Williams and Ross are listed as conductors.
 
And the movie itself? Without giving away any spoilers, I really liked it. A lot of humor, lots of action, with a solid emotion in the background. There were moments that really surprised me. The biggest acting star here is indeed the fantastic Phoebe Waller-Bridge.
 
Can't wait to see it again!

If 3 notes is getting us wild right now imagine when we hear all the notes 

I like how JW thanks the orchestra for coming as if they´re not contractually obligated to be there.

He's wearing glasses in all the footage here
 
Why did KK say 3 notes instead of 4 notes

I tried, but he didn't listen to me!
 
Speaking of, here's the promised view of where I was compared to Williams: