HunterTech

Except freedom of speech means people are just as entitled to call someone out as they are to spout contentious opinions. After all, it only protects you from getting arrested over it. Nothing more.
 
Now let's get off this train before we risk seriously violating forum rules over a detour in conversation that wasn't necessary.

While I agree that having Williams back would have been a total boon, Doyle and Desplat’s efforts are wonderful.
 
And I have grown to like Hooper’s for what they are as well.

I will admit this has become my monkey's paw for wishing that more people could actually bother with modern soundtracks to make proper assessments instead of immediately jumping to conclusions 
 
Though I suppose it was inevitable with a franchise this big, so @artguy360 maybe just listen to enjoyers only in this instance
 
It's been fun reading this particular page if you're gonna stick to your guns still:
https://www.filmtracks.com/scoreboard/forum.cgi?read=113082

This is absolute nonsense. Lord of the Rings (the 3 albums) rank firmly in my top 10 scores of all time and probably very close to #1. And I love this score by McCreary. 
 
The notion that you and a few others are the only people who "get" the brilliance of the original LOTR scores is pure egotism. 

The problem with this argument as Nick pointed out is that we can’t argue this about taste after a certain point. I don’t put forth a lot of theory on here because as Richard Penna put it, he “don’t know what you mean about harmony.” That’s not a read. I just assume that most people are going to qualify their statements as like or dislike in general terms. I tried to mention intervals a few times because music is mathematical. Whether you can tell what you are hearing or not there are definitive patterns that, like math, you can point to and say “this sounds this way for precisely (this reason or that)” That applies to all music but it is very apparent in LOTR. People didn’t understand what made it sound so fresh, most of them, but it was the math of it. It all added up. It’s smart music. But on top of that it’s soulful, stirring gorgeous music as well with stepwise motions and all kinds of beautiful, glistening figures in the melodies. The dense Orffian structures of the Nazgul. I reiterate: the math, the brain was what made it fresh.
 
So to bring us to ROP: All of that was mostly thrown out the window for more broad choices like whistles = hobbits. Choir = elves. Etc. but even those broad choices aren’t totally tonally consistent with LOTR.
 
Now I am not saying that he had to do exactly the same math that Shore did. There are multiple ways to divide the number six, for example. But there are things he could have done that didn’t totally disregard that previous brilliant creation.
 
I recognize that these might not be a dealbreaker for someone. But a lot of the tracks follow very similar, predictable progressions that because the math isn’t quite there for me leaves it sounding stale and average. Not terrible mind you. Just average. But average LOTR music almost pisses me off more than an utter failure. Who knows why. Mediocrity has always done that for me.
 
However, it is totally valid for me to say the math, the brain, the head of this music isn’t enough. The last thing I want to do is say “only uneducated listeners like it” I don’t think that’s true. What stimulates us musically is so subjective. This music just doesn’t do it for me. It doesn’t add up to much in my ears. 

Does it sound like shore? No. Is it as good as the LOTR scores? No. Was there any chance the answer to these two questions would be yes? No. Does it make this score bad? No. 
 
I find this score to be very very solid and  I would gladly sign for every TV show, hell, even most of movies to have such quality material. Sure we can debate about the sound mix and the most modern colors here and there. 
 
But we are clearly listening to something that was well prepared and well thought out. I will wait for the show to see how it works in context. 
 
I was highly skeptical when I first heard the two themes released a while ago but I’m in a way more positive state of mind now that I listened to the whole album. 
 
It’s not perfect for sure but still. I think McCreary did a good job on this one (way WAY better than in Foundation).
 
Of course and despite saying the contrary, they are trying to sell this show as part of the same vein as the Peter Jackson movies. But it’s not. We just have to accept it’s not and judge everything on its own.

Im optimistic about the music treatment.  And very very cautiously optimistic for the show despite some eye rolling stuff I saw in the trailers. 

I can see that we're not agreeing on the most basic of elements because there's no basis for you to assume that he just treated the project as another job.
 
I suspect that you just resent that Shore wasn't able (or didn't want to) do it and no other composer was going to do a good enough job for you without basically imitating him and changing their style for this project. That's not a fair thing to ask a composer to do.

So the impression I'm getting here is that this would be a lot more uniformly received than divisive if this was a completely different franchise, correct?
 
Given the reactions to the show itself, I do have to ask: is it fair to put this much pressure on McCreary if the series he's scoring might already risk not understanding what makes the franchise work? After all, it's not like he's actually scoring another proper adaptation of an existing text, so is the issue really just that Shore should have a monopoly on everything Middle Earth?

So the impression I'm getting here is that this would be a lot more uniformly received than divisive if this was a completely different franchise, correct?
 
Given the reactions to the show itself, I do have to ask: is it fair to put this much pressure on McCreary if the series he's scoring might already risk not understanding what makes the franchise work? After all, it's not like he's actually scoring another proper adaptation of an existing text, so is the issue really just that Shore should have a monopoly on everything Middle Earth?

So the impression I'm getting here is that this would be a lot more uniformly received than divisive if this was a completely different franchise, correct?
 
Given the reactions to the show itself, I do have to ask: is it fair to put this much pressure on McCreary if the series he's scoring might already risk not understanding what makes the franchise work? After all, it's not like he's actually scoring another proper adaptation of an existing text, so is the issue really just that Shore should have a monopoly on everything Middle Earth?

So the impression I'm getting here is that this would be a lot more uniformly received than divisive if this was a completely different franchise, correct?
 
Given the reactions to the show itself, I do have to ask: is it fair to put this much pressure on McCreary if the series he's scoring might already risk not understanding what makes the franchise work? After all, it's not like he's actually scoring another proper adaptation of an existing text, so is the issue really just that Shore should have a monopoly on everything Middle Earth?

So the impression I'm getting here is that this would be a lot more uniformly received than divisive if this was a completely different franchise, correct?
 
Given the reactions to the show itself, I do have to ask: is it fair to put this much pressure on McCreary if the series he's scoring might already risk not understanding what makes the franchise work? After all, it's not like he's actually scoring another proper adaptation of an existing text, so is the issue really just that Shore should have a monopoly on everything Middle Earth?

Just assume it's all of them, cause even the movies following II tend to be very reliant on using a bunch of material from I in the oddest of places. It's gonna matter more if it works decently enough as a standalone thing (for which the RDC simply does not).

Been using AirVPN for the longest time now, so I definitely would go for that one (especially in the occasional times when they give out hefty discounts during the holidays).

Donner and Michael Thau decided on reusing the score to the original movie for the cut when they couldn't get Williams to make a new one due to scheduling conflicts. They only resort to using Thorne's work in the few areas where the previous music didn't have an appropriate piece for a scene.
 
The FSM/LLL releases are going to strictly adhere to the theatrical cut, since there's no real point in releasing what's effectively a heavily cut up version of a widely available soundtrack.

Donner and Michael Thau decided on reusing the score to the original movie for the cut when they couldn't get Williams to make a new one due to scheduling conflicts. They only resort to using Thorne's work in the few areas where the previous music didn't have an appropriate piece for a scene.
 
The FSM/LLL releases are going to strictly adhere to the theatrical cut, since there's no real point in releasing what's effectively a heavily cut up version of a widely available soundtrack.

Totally agree, Mr Who. I've had long discussions with him on social media and he is a passionate and always interested/interesting creative. But I think he also understands that film music is a business and to make it in this world you do as you are told by those that have the money. It's just frustrating that his team pumps out 7-10 scores per year and they literally just provide background noise to pointless Bruckheimer dreck.
 
Balfe's done interesting stuff on the projects where he is given more time to work or where there is a mandate to not go for the basic sound - Black Widow, Dark Materials.

I am not familiar with this film or score at all, but I will say when I heard the Kamen music in that "trailer" Intrada made, I thought it was nice. But then I heard the Mancini music in the other one, and thought it was GREAT. I may not purchase either for a while until I get a better education on the film and score(s), but I do wonder if I will lean toward just wanting the Mancini album more than the Kamen additional music since that was my reaction?

The thing with Mancini's work is that the opening/ending titles isn't particularly indicative of the score as a whole. I would've described it yesterday elsewhere as this elegant space fantasy adventure that ramps up in key sequences. The Discovery Suite is better indicative of what the score feels like as a whole.
 
Kamen is more akin to what I'm told was the standard horror music of the time, per the demands of the American distributors for the film. It never quite gets to the high of Mancini's key tracks, but I'd argue it works better as this overall package of moody terror (as I did find Henry's full score hit a bit of a lull after the fantastic opening cues, taking a bit before picking up again).
 
The US cut most definitely is the worse version of the movie, and I'm told the MK cues clash with the HM stuff that is kept. But since we're here to compare the scores, it probably would be a good viewing after you've seen the original cut.

60% the same still counts as being a large amount
 
I'm obviously being a pedantic little bitch for show, since I figured I was gonna have no hesitation buying both sets when they were announced. After years where I've bought multiple copies of Williams Superman and the Raimi Spider-Man trilogy, I just find it greatly amusing this is where else I've decided to make a double dip (especially in a time I could easily invest in other releases of interest).
 
Mancini I'm mainly buying for the sound improvement, plus those extras that make me very curious. Kamen I've decided on because listening again to what's effectively a sampler on the BSX release recently made me appreciate better what he was going for, and I'm sure hoping it ends up being a more well rounded presentation with all the added pieces.
 
What I want to know is if all the orchestral cues are just for the opening, given my awareness of Intrada pulling the same separation of it and synth cues for Apollo 13.

Oh that's not the part I find amusing. It's the fact Intrada kept the "of Destiny" part for the subsequent finale tracks instead of removing them like BSX did. Of course, it most certainly adds to charm of the old school movie monster inspired title, but it just throws me off being used to the previous arrangement.

Roger says
 
"
INTRADA Announces:
LIFEFORCE
Composed and Conducted by MICHAEL KAMEN
INTRADA ISC 480

The 1985 Cannon-produced space-vampire thriller Lifeforce went through a myriad of changes before being released in the US. Its running time was cut down dramatically and Henry Mancini's original score no longer quite fit the new film's configuration. With Mancini no longer available to work on this new version, director Tobe Hooper brought in composer Michael Kamen to help add new score, often with a more contemporary use of synths, to the newly cut scenes. Most notably, Kamen wrote new music for the opening sequence to conform to the new edits, eschewing Mancini's driving, heroic feel with a more brooding, stormy orchestral approach with sharp orchestral stabs. It was an early example of Kamen's strong command of the orchestra and creating a strong sense of foreshadowing. It is a more gothic opening to the score that is a modern take on an old story.
 
This new 76-minute CD, produced with the Michael Kamen Estate, features Kamen's complete 14-minute orchestral score performed by the National Philharmonic Orchestra, mixed by Eric Tomlinson, as well as the 51 minutes of complicated, multi-layered electronic scoring used throughout and mingling with Mancini's score in the film. Those in turn are followed by two very cerebral cues intended for the initial two reels of the film, the second of which concludes with a series of chimes that trails quietly off into the darkness of silence. On its own it gives a very different and eerie take on the atmosphere of the Lifeforce film.
 
View the soundtrack trailer here: https://youtu.be/tQskUAtkBTI
 
In Lifeforce, astronauts stumble upon a mysterious vessel in space that contains bat-like creatures and three humanoids. Brought down to England, the three humanoids aren't everything they appear to be, as noted when the female space vampire (Mathilda May) begins to suck the lifeforce out of everyone she crosses. Astronaut Col. Tom Carlsen (Steve Railsback) becomes psychically possessed by and obsessed with the femme fatale, who also has the gift of shapeshifting. That knack leads a team of scientists out to a psychiatric hospital on the moors, then back into a zombie-infested London where the city’s siphoned life juice is being shot back to the vampire spacecraft. In the end Carlsen gets his ultimate consummation of desire, saving the planet at his own expense.
 
Intrada Special Collection Vol. 480
Retail Price: $22.99
Barcode: 720258548009
Shipping Now
For track listing and sound samples, please visit https://store.intrada.com/s.nl/it.A/id.12632/.f
"
 
 
Doug says
 
"
Michael Kamen
Label: Intrada Special Collection Volume ISC 480
Film Date: 1985
Album Date: 2022
Time: 76:49
Tracks: 18
Price: $22.99
 
Premiere of full Michael Kamen score for wild space vampire tale! Tobe Hooper directs bizarre space vampire tale, Steve Railsback, Peter Firth, Patrick Stewart, Mathilda May star, Dan O’Bannon co-writes with Don Jakoby from Colin Wilson novel, Cannon Films (now an MGM property) releases in 1985.  Henry Mancini originally tackled scoring duties. However, due a number of post-production editorial changes to film prior to release, Mancini was unable to come back in to rescore affected segments - notably the entire opening - and equally esteemed composer Michael Kamen stepped in to handle additional scoring duties.
 
Ultimately, Kamen recorded over 75 minutes of music, including powerful orchestral cues for the entire opening sequence and complex electronic music for much of the film thereafter. This current CD is all Michael Kamen, produced in cooperation with the Michael Kamen Estate. Separate 2-CD set of Henry Mancini’s score is also available from Intrada! Joint U.S. and British team working in space encounter immense spaceship hidden within Hailey’s Comet. Inside vessel are bats and humanoids. Brought back to earth, the female alien (Mathilda May) emerges a “space vampire”, draining energy from her prey. Particular focus is on Col. Tom Carlsen (Steve Railsback). His encounters with the female vampire (who memorably plays much of her part nude) ultimately lead to spectacular, and bizarre, climax in London cathedral. 
 
For the initial spaceship encounter sequence, Kamen scores for full orchestra with aggressive blocks of fortissimo brass leading the massive resources of the National Philharmonic Orchestra. Kamen also rescored the Carlsen nightmare sequence with his orchestra. 
 
For the electronic cues, Kamen worked with multiple layers of sound, melding both his signature rhythmic devices and piano motifs within larger ideas both thick and intense, transparent and cerebral. In addition to the underscore, Kamen recorded two lengthy sequences which he entitled, “Alien Spacecraft Atmospheres”. These appear as extras after the 65-minute score proper, with the second one bringing the entire album to a peaceful, serene cascading of electronic chimes that fade, twinkling away into the night. 
 
Tim Greiving offers informative booklet notes, Kay Marshall designs the exciting package. Eric Tomlinson records and mixes at EMI Abbey Road Studios in London and Mayfair Studios during April and May 1985, Michael Kamen composes, conducts the National Philharmonic Orchestra. Intrada CD available while quantities and interest remain!
 
ORCHESTRAL CUES
01. Main Title/Approaching The Comet (1:42)
02. We Have To Look Now (1:40)
03. Entering The Alien Spacecraft/The Gate Opens (4:24)
04. The Discovery (2:52)
05. Nightmare/Carlsen Wakes Up (2:26)
Orchestral Cues Time: 14:09
 
ELECTRONIC CUES
06. Entering The Alien Spacecraft (1:18)
07. Passage Of Time/Rescue Mission/Girl Awakens (10:49)
08. Caine’s Entry/Waking Male Vampires (4:07)
09. Autopsy On Guard/End Of Autopsy Scene (4:13)
10. Girl In Park (1:01)
11. Leaving The Nurse/To Sykes’ Cell/Injecting Dr. Armstrong/Interrogating Armstrong (8:50)
12. London Street Chaos (0:33)
13. Helicopter Interior And Blood Clot Scene (2:58)
14. Carlsen’s Flashback (2:36)
15. Prime Minister/Helicopter Escape/Army Base/Lifeforce To Aliens (6:01)
16. Arrival At The Cathedral/Carlsen Enters The Crypt (8:28)
Electronic Cues Time: 51:18
 
THE EXTRAS
17. Alien Spacecraft Atmospheres – Reel 1 (5:26)
18. Alien Spacecraft Atmospheres – Reel 2 [Chimes] (5:34)
The Extras Time: 11:04
 
CD Total Time: 76:40
"
 

 

 

 
 
 
 
 
 
 
 
Roger says:
 
"
INTRADA Announces:
 
LIFEFORCE
Composed and Conducted by HENRY MANCINI
LONDON SYMPHONY ORCHESTRA
INTRADA ISC 481
 
In 1985, composer Henry Mancini was able to return to his roots. The composer, most famous for his light, pop melodies like "The Pink Panther" and "Breakfast at Tiffanys," got his start scoring Universal B sci-fi and horror films in the '50s. And while Mancini was a star in pop circles, he always yearned to take on more dramatic projects. Lifeforce, the 1985 Cannon-produced film about space vampires with a unique taste for human souls, afforded him just such an opportunity – one which he embraced wholeheartedly with the power of the London Symphony Orchestra. It's driving, propulsive main theme (excised from the US print) kicks off what can be best described as a serious, symphonic work that provides a magnificent scope of mystery, terror and thrills, concluding with one of Mancini's most powerful endings. Mancini was so proud of his theme that he included it in his concert repertoire, feeling compelled to explain what Lifeforce was while looking at the audience and stating, "You didn't see Lifeforce."
 
For this new release, Intrada struck new transfers of the 1/4" Eric Tomlinson film mixes made at Abbey Road Studios and subsequently stored at MGM. Intrada created an all new complete program, retaining some of Mancini's envisioned assemblies. Two of Mancini’s session rolls included a variety of individual instrumental effects created between the player and engineer. Some of these sounds are signatures that Mancini aficionados will recognize from his earlier classic suspense work such as Charade, Experiment in Terror, Arabesque and Wait Until Dark. These premiere on this release in the extras section.
 
Visit our album trailer here: https://www.youtube.com/watch?v=Y6qfhN2JYg8

In the film, after a space shuttle goes dark while investigating a mysterious spaceship hiding in the tail of Halley's comet, an investigative unit discovers the sole survivor (Steve Railsback) has protected three human-looking occupants of the spaceship. Once brought down to earth, these seemingly human characters escape, wreaking havoc on London, stealing souls and threatening all of human kind. The hunt is on to stop them before it's too late.
 
Intrada Special Collection Vol. 481
Retail Price: $30.99
Barcode: 720258548108
Shipping Now
For track listing and sound samples, please visit https://store.intrada.com/s.nl/it.A/id.12633/.f
"
http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8961
 
 
Doug says:
 
"
Henry Mancini
Label: Intrada Special Collection Volume ISC 481
Film Date: 1985
Album Date: 2022
Time: 148:03
Tracks: 53
Starts Shipping August 17
Price: $30.99
 
Complete, riveting Henry Mancini horror score on remastered 2-CD set! Tobe Hooper directs wild space vampire tale, Steve Railsback, Peter Firth, Patrick Stewart, Mathilda May star, Dan O’Bannon co-writes with Don Jakoby from Colin Wilson novel, Cannon Films (now an MGM property) releases in 1985. Leading the memorable components: Legendary Henry Mancini’s ferocious and evocative score! Due a number of post-production editorial changes to film prior to release, Mancini was unable to come back in to rescore affected segments - notably the entire opening - and equally esteemed composer Michael Kamen handled additional scoring duties. This current 2-CD set is all Mancini. Separate album of Michael Kamen’s score, including premiere of his orchestral sessions is also available from Intrada! 
 
Joint U.S. and British team working in space encounter immense spaceship hidden within Hailey’s Comet. Inside vessel are bats and humanoids. Brought back to earth, the female alien (Mathilda May) emerges a “space vampire”, draining energy from her prey. Particular focus is on Col. Tom Carlsen (Steve Railsback). His encounters with the female vampire (who memorably plays much of her part nude) ultimately lead to spectacular, and bizarre, climax in London cathedral. Henry Mancini is right in the midst of the action! Launching with incredible 12/8 meter rhythm in lower strings, with dynamic French horn and trumpet lines above, Mancini instantly takes command, runs with the ball. Within his score are moments of haunting beauty, quiet mystery, but aggressive climaxes are always nearby. Ultimately, Mancini reaches finale after much spectacular orchestral fireworks, coming to an incredible finish in what might be his most powerful fortissimo - and bravura - ending of his celebrated career. The orchestra crescendoes, strings and woodwinds swirl, brass and percussion pound with massive chords… wow! And in an equally magnificent moment of musical excitement, Mancini then jumps into his 12/8 meter action rhythm to launch “The Lifeforce Theme (End Title)”, bringing this final riveting piece to an unyielding rhythmic coda. Take that, space vampires! 
 
2-CD set includes entire Mancini score plus a few alternates, courtesy MGM, including his “stingers” and myriad brief cues intended for the film makers to utilize throughout the film as musical punctuation. These include his signature rubber balls dropped on piano strings, glassy bowing effects on the edges of gongs, other ideas both grotesque, ethereal. Original Varese label CD program also appears on CD 2. Tim Greiving provides informative booklet notes, Kay Marshall designs exciting package. Eric Tomlinson engineers at EMI Abbey Road Studios in December 1984, Henry Mancini composes, conducts the London Symphony Orchestra. Intrada Special Collection 2-CD set available while quantities and interest remain!
 
CD 1 LIFEFORCE – SCORE PT. 1
01. The Lifeforce Theme (Main Title) (2:23)
02. The Discovery (9:55)
03. The Discovery (Cont.) (6:58)
04. Rescue Mission (4:26)
05. The Vampire Lives (6:44)
06. Nervous Time (0:59)
07. No Longer Dangerous (0:46)
08. Feeding Time (With Strum) (4:27)
09. Prelude (0:40)
10. Carlsen’s Story (4:12)
11. Carlsen Sleeps (1:02)
12. Evil Visitation (1:20)
13. Energy Crisis (3:25)
14. It’s Immense (1:43)
15. Are You In There? (1:22)
16. Let Me Go! (2:38)
17. Chain Reaction (1:05)
18. Anyone For Tums (1:30)
19. Horny Alien (3:44)
20. Martial Law (2:07)
21. Call Of The Wild (2:17)
22. House Of Blue Lights (1:13)
23. The Web Of Destiny (2:54)
24. Son Of Web Of Destiny (3:06)
CD 1 Total Time: 74:42
 
CD 2 LIFEFORCE – SCORE PT. 2
01. Grandson Of Web Of Destiny (4:09)
02. The Lifeforce Theme (End Title) (3:32)
Score Pt. 2 Time: 7:41
 
LIFEFORCE – Total Score Time: 82:23
 
1985 SOUNDTRACK ALBUM
03. Lifeforce Theme (3:32)
04. Evil Visitation (2:20)
The Discovery Suite
05. Part I: Spacewalk (4:43)
06. Part II: Into The Alien Craft (3:06)
07. Part III: Exploration (2:48)
08. Part IV: Sleeping Vampires (2:56)
09. Carlsen’s Story (4:11)
10. The Girl In The Raincoat (3:28)
The Web Of Destiny
11. Part I (2:54)
12. Part II (2:53)
13. Part III (4:10)
Total Album Time: 37:11
 
THE EXTRAS – ALTERNATES & STINGERS
14. Feeding Time (Without Strum) (2:58)
15. Son Of Web Of Destiny (Alternate Mix) (3:06)
16. Grandson Of Web Of Destiny (Alternate Mix) (4:12)
17. Brass Stings (0:25)
18. Vomit Scene No. 1 (1:01)
19. Vomit Scene No. 2 (1:01)
20. Wild Piano Series (2:24)
21. Bass Bow On Bowl (2:23)
22. Big Ball On Piano (0:35)
23. Waterphone Series (1:51)
24. Bowed Gong Series (1:42)
25. Super Ball On Gong (2:02)
26. Super Ball On Smaller Gong (1:26)
27. Nuts & Bolts Wind Chime (1:10)
28. Nail, Crystal And Plastic Wind Chimes (0:45)
29. Keys & Screws Wind Chime (0:50)
Total Extras Time: 25:08
 
CD 2 Total Time: 73:21
"
https://store.intrada.com/s.nl/it.A/id.12633/.f?sc=13
 

 

 

And now, its companion!
 
 
Furthermore, Doug Fake says the following:
https://store.intrada.com/s.nl/sc.13/category.60330/.f
 
Yavar

Since it got lost in this thread derailing, I reposted the full cuelist and album breakdowns here for those who want to further dissect the release:
 

Hey guys!
 
I have been reading some of the issues highlighted in this release (super interesting by the way, especially the higher pitched Got Any ID that fades into Extreme Ways) and I might disagree about the Bourne On Land - Alternate Version being a demo from the Supremacy score. 
 
I think John Powell had this melody in mind already when working on the Bourne Identity. When listening to Love Scene - Alternate version, you can hear that :
the notes played by the guitar are Supremacy’s theme (Goa); it is mixed with the humming voice we can hear in Marie drives/Bourne sleeps (Tumescent edition) or The Drive To Paris (Regular edition); and the strings/ambient sounds we can hear at 01:23 are very similar to the lower pitched ones in Hotel Regina at 0:37 and 1:10, as well as in The Bourne Identity (regular edition) at 4:01; the same atmospheric bass from the normal Love Scene/At The Hairdresser(Regular edition) we can hear from the start of the song is also there. Finally, Bourne on Land - With Bassoon has a very similar piano to the Alternate Version.  
For some, this might be a bit of a stretch but these are a few things I noticed while listening. So maybe these two alternate versions of Bourne On Land and Love Scene were made for Bourne Identity but because of their melody being so different from the rest of the pieces, they were put aside and used later as a base for Supremacy. Explaining why they are there, and I expect John Powell to at least listen to his stuff before green lighting it. 

In regards to Got Any ID, Powell mentioned on Instagram that most of these songs were made before dubbing the film. Maybe, Extreme Ways was selected much later in the process and they realized that by increasing the pitch and putting the songs together with a fade, this was the most epic way of closing the movie.
 
Just my two cents! I am a huge fan of the Bourne Trilogy (Identity being my favorite for its revolutionary score, almost (Luc)Besson-esque feeling with steadier sequences, Marie, and the epic conclusion with Extreme Ways).
 
Honestly, this thread has been awesome to read through, you guys are experts! As mentioned in an earlier post, this is indeed a niche community and reading inputs of fellow fans is quite an experience.
 
Greetings from France!