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What exactly wrong with the KOTCS music? At least the sessions have complete Jungle Chase which is one of the best action tracks in the whole franchise and may I say the one of the Williams finest in terms of action scoring. Warehouse stuff is great, Academy chase is great, finale stuff is great too and e.t.c. Soviet theme is cool and the Skull motif itself is very creepy. That Peru cue is pure cheese and I freaking love it. I've finished Dial right now and I don't know how to react to it, honestly. The album is 100% frustrating and I feel that the actual movie will have a ton of highlights. Also for the action packed movie, as it was already called by some reviewers, I don't hear enough representation of it. On the other hand, the score sounds excellent, the recording is stellar too. P.S. I think that pretty much every original Indy album is lackluster, the same goes for the Star Wars.

I mean as the separate recording, for one last time. But KOTCS one is still works wonderfully.

Seems like it. And no new Raiders arrangement. And too much Helena's theme, and there is a very strange edit point in the Germany, 1944 and e.t.c. I feel like this album will be lackluster when we will get the complete version somehow. Still hoping for complete 5 movies box set. And I wasn't really into KOTCS soundtrack before I've heard the recording sessions.

That's the Nazi theme from the Raiders. It's not new.

Any chance for me to get the spreadsheet? I want to jump into the score, and watch the show because I've missed it

Thanks, my bad, Google sometimes is not very good in terms of handling the search of certain things here. But the track is so good that it's definitely deserves it's own thread.

Whoops, my bad, thanks for correcting me I can't remember, their old theme was present in the Holiday Special or not?

I still can't properly get into Wakanda Forever score. If the first score was a big step from standard MCU sound, the sequel one is a giant leap.

The thematic inconsistency problem was in MCU since day one and current situation is morbid, based on the themes above: Silvestri is unlikely to score upcoming two Avengers movies, but who knows, it'll be dumb to waste most memorable MCU theme Giacchino will definitely return for new Spider-Man movies so the theme is safe Bates will not score the third Guardians, John Murphy have replaced him, so the theme is in danger Beck scored all three Ant-Man's and that is the most cohesive MCU trilogy in terms of music Elfman have replaced Giacchino in the second Strange and the theme went out of the window Göransson barely used any music from the first Black Panther in the sequel so it's a miss And Pinar Toprak was replaced by Laura Karpman, Ms. Marvel composer for the sequel, I don't think that the theme will survive that change (EDIT: My bad, the theme will be featured in the Marvels)

How this wasn't brought up here yet? It's marked 1 year anniversary yesterday. This 12 minute-long juggernaut piece was written for the area in Disney parks It's brilliantly mixes themes from Avengers, Spider-Man, Guardians of the Galaxy, Ant-Man, Doctor Strange, Black Panther and Captain Marvel

Some cues weren't released, and it's not in chronological order, since the bonus material is added to the end of the program, but it's mostly complete

I know not so much examples of it, but it's one of the most horrible inclusions to do, if not absolutely the worst. That's a thing on the first Creed album and they are integrated right in the tracks. And the only way to avoid it is to buy "Director's Cut" vinyl from Mondo. What were they thinking...

Yeah, Live and Let Die is very nice, it's definitely worth to pick it up

EMI have done a remaster/reissue series in the 2003. Some expanded, some expanded and remastered. Thunderball, On Her Majesty's Secret Service, You Only Live Twice (complete) and Diamonds Are Forever (complete) were remixed. Live and Let Die is complete

I wish for LLL release of the first score but it seems too small to make it 2CD (Speed got the expansion, for example, but it was only 1CD too) but Paramount clearly had an opportunity to do it at least in digital form on the waves of the Maverick hype. (Every song from the movie should be here too) Maverick complete score will be great too but I'm not that interested in RCP ostinato-driven stuff. Since Faltermeyer was upset about the released score I have thoughts that it was clearly botched in the production, as was mentioned before. (Of course it will be botched, changing Kraemer in Mission Impossible for Balfe was quite jarring) And that new re-recorded version of the Danger Zone will be great too I understand that Cruise wanted to evoke same feelings as the original but c'mon that's still too interesting to leave it "on the shelve". Remix for the Ace Combat 7 rocks btw Edit: Wow I've listened to the complete Maverick score (of course with some audio from the movie) and aside Hold My Hand motif and original Top Gun anthem it is absolute mediocrity. Canyon Dogfight sounds like something from Transformers, hell, even Transformers have better music than that. It works in the context of the movie but outside of it, well, nope. At least Zimmer did WW 1984, which is his best work in years

God, just how you've got it? I hope you will recover as soon as possible. I wish you all the best and it's sad that you've got it when there are so many cool releases around

I'm pretty sure that there is enough cues that failed to made it into the album, since it provides only about 39 minutes of the score. I know the film is short and about 90 minutes. Sad that there is no recording sessions, shitty quality leak, nothing.

For a spoof score it's really sick and awesome. It sounds better than any of the last three Bond soundtracks IMO It's a really good merging of Barry's and Arnold's mannerisms. Also expect plenty of choir and timpani I'm surpirsed that nobody have talked about it there Just check main title and awesome chase cue and you'll see what I mean What bothers me most on the album is how often the score is interrupted with the not so engaging songs/instrumentals (minus ABBA of course)

Excellent release by the La-La-Land, as always. The mix is better but it's not a significant improvement, development of it is much more interesting in comparison to the original album and it's strange that Elfman have included only a 45 minutes of it. There is also numerous highlights. I find original albums for both of his works lacking, second one is especially too heavily focuses on the melodrama, and yeah I know about all this stuff with replacement cues/inserts from Debney and Young. He could've include almost an entire score for the first movie on that 1 CD Funny how the score was bashed on the release and now it's like a modern classic of the superhero genre.

Based on duration and what I've heard and checked, the cue in the main program is revised and is the film version, original one is on the CD 2 and original soundtrack album

I feel like OG version have beats and all the synth parts kinda overthrowing orchestra a bit and the film version let it flow much more naturally Strange that isolated score just have original version with the insert of Bond theme tacked onto it

Yup, drumpads cut is on the album, and I'm thinking that insert with Bond theme in the end was added because this build-up in the ending have led to nothing, and it's quite an excellent celebration of this rocket going through the BMW into the goons car. Film version absolutely rocks and I'll take it any day over the original. Also Backseat Pilot in it's original version is very fun and bombastic, but it lacks suspense of the film version. Original White Knight is almost the same as the film version, except this is a clearly different take and intro is a bit different, and there was no melody which sounds ultra-similar to the Tina Turner's song for the Goldeneye

I've heard it. Definitely one of his best.

Arnold is the only one who can handle Bond, in my opinion. If John Barry have recommended him, it is definitely means something. Maybe Powell can take a spin and do something interesting with it. Plus he is most likely my favourite composer after JW. EDIT: Actually George Martin introduced Arnold to Barry and he was very complimentary about his work. Plus Arnold had won Grammy and sent some his tracks to aprroval from EON when he did Shaken and Stirred album with covers and that how it went. Arnold also is a life-long Bond fan.

There is so much leitmotifs it's bonkers. Main theme, From Russia With Love, Surrender, love theme for Paris, Kaufman, Goldeneye-like motif in the White Knight which reappears in the Grenade, NATO, Vietnam, all ship things have it's own motif including sinking (The Sinking of the Devonshire is heavily connected with the all final stuff), villain motif which reappears in the TWINE, Harpoon missile almost exploding/ship self-destructing ostinato in the White Knight/Carver Gets It, three-note "Danger" ostinato which featured in all Arnold-scored movies except Quantum, damn