Trope

This soundtrack is seriously one of my all-time favourites, from Horner or any other film composer, and La-La Land's expanded release of it is near perfect. It's so amazing to be able to hear what Horner's complete vision of the score was before all the editing took place, and the third disc entirely devoted to alternates and additional music is a real treat. 
 
I've had this expansion myself for just over a year now and I still find myself listening to it over and over again. Horner delivered a real masterclass in cross-genre scoring, from the sweeping, impassioned love theme, to majestic new age anthems, to thrilling, heart-pounding action setpieces, and even to dark, horror-influenced portions for the sunken ship. I believe this score really does have it all, and this set presents it all beautifully. My only complaint is the absence of My Heart Will Go On, which I personally believe to be a climactic thematic moment, given that it is perhaps THE greatest and most prominent statement of the love theme on the soundtrack. Other than that, this expanded soundtrack proves that Horner's Titanic, for all its mainstream success, remains a true film-music gem.

This soundtrack is seriously one of my all-time favourites, from Horner or any other film composer, and La-La Land's expanded release of it is near perfect. It's so amazing to be able to hear what Horner's complete vision of the score was before all the editing took place, and the third disc entirely devoted to alternates and additional music is a real treat. 
 
I've had this expansion myself for just over a year now and I still find myself listening to it over and over again. Horner delivered a real masterclass in cross-genre scoring, from the sweeping, impassioned love theme, to majestic new age anthems, to thrilling, heart-pounding action setpieces, and even to dark, horror-influenced portions for the sunken ship. I believe this score really does have it all, and this set presents it all beautifully. My only complaint is the absence of My Heart Will Go On, which I personally believe to be a climactic thematic moment, given that it is perhaps THE greatest and most prominent statement of the love theme on the soundtrack. Other than that, this expanded soundtrack proves that Horner's Titanic, for all its mainstream success, remains a true film-music gem.

JURASSIC PARK - THE LOST TEETH

Couldn’t resist

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

His TREK scores really show off his brilliance at orchestration.
Nobody was better in the Eighties.
Glad to see the scores published so they can be studied!

This soundtrack is seriously one of my all-time favourites, from Horner or any other film composer, and La-La Land's expanded release of it is near perfect. It's so amazing to be able to hear what Horner's complete vision of the score was before all the editing took place, and the third disc entirely devoted to alternates and additional music is a real treat. 
 
I've had this expansion myself for just over a year now and I still find myself listening to it over and over again. Horner delivered a real masterclass in cross-genre scoring, from the sweeping, impassioned love theme, to majestic new age anthems, to thrilling, heart-pounding action setpieces, and even to dark, horror-influenced portions for the sunken ship. I believe this score really does have it all, and this set presents it all beautifully. My only complaint is the absence of My Heart Will Go On, which I personally believe to be a climactic thematic moment, given that it is perhaps THE greatest and most prominent statement of the love theme on the soundtrack. Other than that, this expanded soundtrack proves that Horner's Titanic, for all its mainstream success, remains a true film-music gem.

This soundtrack is seriously one of my all-time favourites, from Horner or any other film composer, and La-La Land's expanded release of it is near perfect. It's so amazing to be able to hear what Horner's complete vision of the score was before all the editing took place, and the third disc entirely devoted to alternates and additional music is a real treat. 
 
I've had this expansion myself for just over a year now and I still find myself listening to it over and over again. Horner delivered a real masterclass in cross-genre scoring, from the sweeping, impassioned love theme, to majestic new age anthems, to thrilling, heart-pounding action setpieces, and even to dark, horror-influenced portions for the sunken ship. I believe this score really does have it all, and this set presents it all beautifully. My only complaint is the absence of My Heart Will Go On, which I personally believe to be a climactic thematic moment, given that it is perhaps THE greatest and most prominent statement of the love theme on the soundtrack. Other than that, this expanded soundtrack proves that Horner's Titanic, for all its mainstream success, remains a true film-music gem.

This soundtrack is seriously one of my all-time favourites, from Horner or any other film composer, and La-La Land's expanded release of it is near perfect. It's so amazing to be able to hear what Horner's complete vision of the score was before all the editing took place, and the third disc entirely devoted to alternates and additional music is a real treat. 
 
I've had this expansion myself for just over a year now and I still find myself listening to it over and over again. Horner delivered a real masterclass in cross-genre scoring, from the sweeping, impassioned love theme, to majestic new age anthems, to thrilling, heart-pounding action setpieces, and even to dark, horror-influenced portions for the sunken ship. I believe this score really does have it all, and this set presents it all beautifully. My only complaint is the absence of My Heart Will Go On, which I personally believe to be a climactic thematic moment, given that it is perhaps THE greatest and most prominent statement of the love theme on the soundtrack. Other than that, this expanded soundtrack proves that Horner's Titanic, for all its mainstream success, remains a true film-music gem.

They wouldn't, or certainly not on the scale and in the numbers as on this set if the people given the honor to do justice to these pieces of art would put some fucking pride into their work and have any sort of basic fucking standards. Even our beloved specialty labels, how many replacements are in progress right now? Is it really that hard to just give it a listen before asking 30-50 dollars for it? And then comes "are you sure those are mistakes", "oh you're just complaining" and "don't call out those faults, I want more sets with faults" and I just can't help but try and express honestly enough how goddamn frustrated I am with this pile of situations. And I'm still holding back. Certainly tried to keep the actual fault breakdown and fix guide cool enough.

Okay, what must one do to beat this release into shape?
 
1-01 The Bells of Notre Dame - opening missing the film version bells overlay, can be ripped from the film if desired.
1-03 Out There - glitch at 1:34 removed by simply splitting it there and dragging the second half forward slightly, making the halves crossfade.
1-05 Feast of Fools - the very beginning needs a slight fade in, previous track ends on total silence, this one pops in with room noise and breath slightly before the music starts
1-07 The Pillory - 1:13 - next cue pops in with a room noise level from total silence, needs a fadein. OST has a shortened ending in a different key. At 2:22 the strings lower in volume for a short time and come back as if there's a transition or performance edit with a slight crossfade there. There's a pop right at the very end, needs a fadeout.
1-08 Humiliation - needs a fadein at the start, at 0:08 for the next cue's opening and a fadeout at the end, since the next track's room noise already starts here.
1-09 Frollo's Judgment - needs a fadein at the start, and a fadeout at the end since the next track pops in here already
1-10 God Help The Outcasts - needs a fadein at the start, and a fadeout at the end since the next track pops in here already
1-11 The Cathedral - needs a fadein at the start. A bad (but fixable with a loop) take transition pop at 0:18, one at 0:24 (fixable by removing that section and bridging it with a crossfade), one at 0:45 (fixable by a crossfade again). For the left channel dropouts at 1:48, you have to grab The Bell Tower from the OST and patch it in - I recommend replacing roughly 1:39-2:27 of the LE track with the corresponding section, roughly 0:53-1:39 of the OST track, these border points are easy to transition. Awful cue pop-in at 2:37, needs a fadein. Click at 3:54, can be looped over, cue pop-in right after that needs a fadein. Awful cue pop-in at 5:05, needs a fadein.
1-12 Heaven's Light/Hellfire - cue pop-in at 0:39, needs a fadein.
1-14 A Guy Like You -the next track begins already at the end of this track, has to be separated out and joined to it if separateness is desired.
1-15 Escape - as said before, its opening is at the end of 1-14.
1-17 Sanctuary - The transition into the next track is not correct according to the movie, there should be one voiceless drumroll, the voices only enter after the second one. Can be fixed with a movie rip.
1-18 And He Shall Smite The Wicked - the Big One. 8:02- we have 2 minutes missing, can be patched in with 1:38-end of the OST track of the same name. As released, the OST track version's missing a brass stinger insert/overlay at 1:49, can be ripped from the film if desired.
2-01 Emergence - the previously unreleased held strings at 0:56 sound like they're looped. Can be shortened with a crossfade to the rhythmic and lengthwise desires of the individual listener.
2-02 The Bells of Notre Dame (Reprise) - IMO the stereo field of 0:49- of the OST track is less jarring, can be replaced if desired.
 
Bonus: Film credits end with The Bell Tower without choir and an alternate ending. Can be ripped from the movie.
 
Thanks to @JohnnyD for the info about film differences!

All I can say is... pray that not a single person except Mike Matessino is allowed to touch Star Wars or Indiana Jones, period. 
 
I assumed titles released on the Legacy line would be safe from issues like these. Evidently that was a naive assumption. 

King Kong

Discs 1 & 2 = The complete James Newton Howard score
Disc 3 = The rejected Howard Shore score

Solo: A Star Wars Story
 
Discs 1 & 2 = the complete John Powell score, with previously unreleased alternates included as bonus tracks
Disc 3 = John Williams' theme track and original LA demos

This is why this board loses me from time to time:
 
"I mean, what about "This show is basically Episode 3.5" do you not get? This wasn't just some other random Star Wars show, it was marketed heavily with PT music, it was set right between ROTS and ANH, it featured the return of multiple PT actors, and it was extremely important to the overall saga story." 
 
Let’s get back to reality. Let’s call this show what it really is: a cash grab. This show shouldn’t even exist. Before you heard of this show, were you clamoring for an Obi-Wan show? Nope. Who was asking for this show? Maybe a small minority of Star Wars fan. This show is basically another Loki, Hawkeye, Mandalorian…This show exists because of Disney’s strategy of making as many sequels and spinoffs as possible since known properties are valuable marketing tools. And just using the other shows as barometers, you knew this was going be an elevated NBC type show. Nothing more, nothing less. Did anyone really think they planned this show with the notion this is Episode 3.5?
 
Just reading the interviews, it seemed like they wanted Williams’ involvement more as an obligation than creating music with artistry and care. They hired Holt because of her previous work with Loki, and she is a rising choice for these type of mid-level shows. In hindsight, Holt’s music is exactly what anyone should be expecting from an exploitation show like this.  

Disney+ is at its best when offering easy access to classic kids movies from Disney, Pixar and Fox, and at its worse when exploiting the Mouse's prized franchises to create crappy, low-effort, cash-grab content. Yeah, content is the word that best describes these productions, not TV shows.

There's also the beautiful The Good, the Bad and the Ugly by Ennio Morricone

Between Twister and Tarzan, Mancina scored some of my favorite movies as a child. I'd surely welcome a Legacy Edition of both Tarzan and Brother Bear, but Disney is unfortunately slow as a snail when expanding their classic scores.

Wow! Now I want to hear those unreleased highlights! And I'll probably rip the end credits to put at the end of th album

Not to worry, I actually went back and listened to the film again, and this is the order I found:
 
2. THE SEA BEAST
8. THE HUNTERS CODE
10. JACOB INTO THE SEA
1. PRELUDE TO THE SEA [START-0:48]
6. CAPTAIN CROW
4. SOMEDAY [0:28-END]
9. ONE MORE TRY [0:40-END]
9. ONE MORE TRY [START-0:40]
15. WEAR IT DOWN
13. RED [0:46-END]
12. LITTLE BLUE [0:50-END]
7. THE FIGHT OF THE GIANT CRAB
16. BLUE AND MAISIE
4. SOMEDAY [START-0:28]
1. PRELUDE TO THE SEA [0:48-END]
12. LITTLE BLUE [START-0:50]
5. JACOB EVOLVING
14. GWEN BATTERBIE [0:30-END]
14. GWEN BATTERBIE [START-0:30]
3. KING AND QUEEN
11. CROW'S BETRAYAL
13. RED [START-0:46]
17. MAISIE'S SPEECH
18. WHEREVER THE WIND TAKES US
 
END CREDITS SUITE:
6. CAPTAIN CROW [EXTENDED VERSION]
1. PRELUDE TO THE SEA [START-0:48]
9. ONE MORE TRY [0:40-END]
13. RED [0:52-END]
15. WEAR IT DOWN [1:57-2:44]
UNRELEASED TRACK
 
It appears that Mancina arranged the album for a better listening experience, moving around the music from the action-focused first half of the movie, and combining several disparate cues into complete tracks. There is also some great music missing from the album, such as the regal and patriotic first arrival at the king and queen's palace, as well as the percussion antics of the rope-swinging sequence on the beach. Overall, this is a very solid score by Mancina, with a blend of vibrant swashbuckling, intense action, and a lovely emotional heart. It's certainly a worthy successor to Moana, and I hope he continues writing for animated movies.
 

Not to worry, I actually went back and listened to the film again, and this is the order I found:
 
2. THE SEA BEAST
8. THE HUNTERS CODE
10. JACOB INTO THE SEA
1. PRELUDE TO THE SEA [START-0:48]
6. CAPTAIN CROW
4. SOMEDAY [0:28-END]
9. ONE MORE TRY [0:40-END]
9. ONE MORE TRY [START-0:40]
15. WEAR IT DOWN
13. RED [0:46-END]
12. LITTLE BLUE [0:50-END]
7. THE FIGHT OF THE GIANT CRAB
16. BLUE AND MAISIE
4. SOMEDAY [START-0:28]
1. PRELUDE TO THE SEA [0:48-END]
12. LITTLE BLUE [START-0:50]
5. JACOB EVOLVING
14. GWEN BATTERBIE [0:30-END]
14. GWEN BATTERBIE [START-0:30]
3. KING AND QUEEN
11. CROW'S BETRAYAL
13. RED [START-0:46]
17. MAISIE'S SPEECH
18. WHEREVER THE WIND TAKES US
 
END CREDITS SUITE:
6. CAPTAIN CROW [EXTENDED VERSION]
1. PRELUDE TO THE SEA [START-0:48]
9. ONE MORE TRY [0:40-END]
13. RED [0:52-END]
15. WEAR IT DOWN [1:57-2:44]
UNRELEASED TRACK
 
It appears that Mancina arranged the album for a better listening experience, moving around the music from the action-focused first half of the movie, and combining several disparate cues into complete tracks. There is also some great music missing from the album, such as the regal and patriotic first arrival at the king and queen's palace, as well as the percussion antics of the rope-swinging sequence on the beach. Overall, this is a very solid score by Mancina, with a blend of vibrant swashbuckling, intense action, and a lovely emotional heart. It's certainly a worthy successor to Moana, and I hope he continues writing for animated movies.
 

Not to worry, I actually went back and listened to the film again, and this is the order I found:
 
2. THE SEA BEAST
8. THE HUNTERS CODE
10. JACOB INTO THE SEA
1. PRELUDE TO THE SEA [START-0:48]
6. CAPTAIN CROW
4. SOMEDAY [0:28-END]
9. ONE MORE TRY [0:40-END]
9. ONE MORE TRY [START-0:40]
15. WEAR IT DOWN
13. RED [0:46-END]
12. LITTLE BLUE [0:50-END]
7. THE FIGHT OF THE GIANT CRAB
16. BLUE AND MAISIE
4. SOMEDAY [START-0:28]
1. PRELUDE TO THE SEA [0:48-END]
12. LITTLE BLUE [START-0:50]
5. JACOB EVOLVING
14. GWEN BATTERBIE [0:30-END]
14. GWEN BATTERBIE [START-0:30]
3. KING AND QUEEN
11. CROW'S BETRAYAL
13. RED [START-0:46]
17. MAISIE'S SPEECH
18. WHEREVER THE WIND TAKES US
 
END CREDITS SUITE:
6. CAPTAIN CROW [EXTENDED VERSION]
1. PRELUDE TO THE SEA [START-0:48]
9. ONE MORE TRY [0:40-END]
13. RED [0:52-END]
15. WEAR IT DOWN [1:57-2:44]
UNRELEASED TRACK
 
It appears that Mancina arranged the album for a better listening experience, moving around the music from the action-focused first half of the movie, and combining several disparate cues into complete tracks. There is also some great music missing from the album, such as the regal and patriotic first arrival at the king and queen's palace, as well as the percussion antics of the rope-swinging sequence on the beach. Overall, this is a very solid score by Mancina, with a blend of vibrant swashbuckling, intense action, and a lovely emotional heart. It's certainly a worthy successor to Moana, and I hope he continues writing for animated movies.
 

I love this score, and this album of this score. 
 
Personally I take out the two Newlyn tracks and "Willow's Theme", and what's left is an incredibly well-paced album that flows well and gets me hooked into wanting to hear the whole thing every time.  I'm so happy the 1988 stereo mixes were preserved and we can finally hear all this after all these years! 
 
 

Oh I don't think it's up there with Mancina's best work, nor the very best of the animated action/adventure genre, but it's still very good, and certainly among the very best of scores being made in the year 2022, and that's good enough for me to be pretty excited about it!

I'd say that THE GOOD THE BAD AND THE UGLY, ONCE UPON A TIME IN THE WEST, ONCE UPON A TIME IN AMERICA, THE MISSION, CINEMA PARADISO, THE LEGEND OF 1900, and THE UNTOUCHABLES, would all be on that list.