WampaRat

Ooh. Intriguing! Ironically the one I work for isn’t lol. 

Made it home safe after a perilous snowy drive home. Now to dig in!
 
 

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well.
 
Just a few things that jumped out at me this time:
 
Introduction and Retribution: 
The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these!

The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more.
 
Which brings me to the heart rending 
Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving.
 
Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version.
 
The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius!
  
That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃
 

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

Mine arrived. Listening now. Incredible release!

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well.
 
Just a few things that jumped out at me this time:
 
Introduction and Retribution: 
The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these!

The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more.
 
Which brings me to the heart rending 
Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving.
 
Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version.
 
The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius!
  
That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃
 

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well.
 
Just a few things that jumped out at me this time:
 
Introduction and Retribution: 
The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these!

The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more.
 
Which brings me to the heart rending 
Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving.
 
Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version.
 
The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius!
  
That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃
 

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well.
 
Just a few things that jumped out at me this time:
 
Introduction and Retribution: 
The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these!

The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more.
 
Which brings me to the heart rending 
Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving.
 
Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version.
 
The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius!
  
That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃
 

Mine's arriving next week. Cannot wait.

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

Made it home safe after a perilous snowy drive home. Now to dig in!
 
 

I’m seem to recall Horner saying in some interviews (like 2014 or so) that he was “sketching ideas” for the second film. If so, I’m sure Simon would have access to those and I’d hope he would incorporate them into his score. Thing is, I doubt Horner sketched enough material to spread between 4-5 more films lol. 

“…like butter scraped over too much bread…” - Neytiri (from Harry Potter) 😉

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

Never underestimate human stupidity.*
 
*I deliberately left the antecedent vague.  

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

same here... besides of ID4 Tomorrow Never Dies is my favorite score by David Arnold. Loved it!!!!! Can't wait till the delivery arrives in Switzerland  

My jealousy knows no boundaries.
 
I resent and hate you in this moment.

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 
I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 
Toss out those old boots and iso score rips. Nobody does it better than Lala Land
 
(Now onto Amistad. Talk about a tonal shift 😁)

My copy of TND arrived today. I swapped the Sheryl Crowe song for the Alternate version of “Surrender” to play after “White Knight” and “Backseat Pilot” and its *chefs kiss*. Such a great way to announce Arnold’s main theme in full after being teased with it in “white knight”. You’re really able to identify all its iterations throughout the rest of the score’s narrative. And then close the main program with the film version of “Surrender”. Nice big ole’ reprisal that sends the whole adventure off with a bang!