Damien F

The desert chase track on the expanded album is good if you want to simulate the DCC CD skipping in the middle of that track.

It reminds me a little of Jaws 2. They are both incredible scores in their own right but they get overshadowed by the more famous and acclaimed scores for the original films.

If reusing existing cues for the prologue meant he could focus his time and energy for tracks like The Battle of Syracuse, I think that's an acceptable trade-off.

I get the impression it was business as usual for him while writing the action cues except for The Battle of Syracuse where he decided to lean into the golden age style of swords and sandals scores. It probably wasn't too difficult or even innovative for him but wasn't as by-the-numbers as the other action cues in the score. The Battle of Syracuse is an awesome track.

Delicious!

I think it's the Randy Edelman score to the 1997 comedy Gone Fishin' with Joe Pesci and Danny Glover. It's an even bigger holy grail than the Star Wars prequels!!

It has to be a new release of Jurassic Park and The Lost World with covers featuring three levels of embossing.

My favourite is The Hunt from The Lost World but Goldsmith's cue from The Final Conflict is a very close second. The way the jovial tone is suddenly interrupted by the menacing main theme on powerful brass at 0:50 is incredible.

I love Goldsmith. He's my second favorite composer after JW. I think Arthur's Farewell from First Knight is the closest Goldsmith came to Duel of the Fates but I still prefer the latter by a considerable margin. The finale from The Omen 3: The Final Conflict (from 4:45 below) is a stunning religioso moment of film score. I feel it's been somewhat forgotten and overshadowed by the original's score but it's amazing. (And yes, as my name is Damien, I'm probably predisposed to liking anything from The Omen )

1978 also seems to be the furthest back we can go for an audio or visual interview with JW. I can't find any interviews older than 1978 that aren't written only.

@KittBash I don't see on the spreadsheet this interview from 1978 https://jwfan.com/?p=8550

I was watching this video on Youtube of Williams conducting the Imperial March in Vienna. This angle looked amazing with Williams between the orchestra he's conducting and a full audience enraptured by his music: Also, this exchange in the comments made me LOL:

I like the Raider Match at 1:07:35 when Indy takes control of the Tuk Tuk and says he didn't come to Tangiers to rescue Helana from her fiance.

I don't think this has been mentioned yet. The music that plays at the airport when Teddy is trying to jump start the plane right before he sees Helena chase Voller's plane is not in the The Airport track. I'm not sure if it was just microedited out or if the album has a different version of the cue from the movie. I think it is the Airport Nazis cue. Perhaps the difference is due to the numerous patches for that cue listed on GEMA

I do actually respect JW's desire to curate an enjoyable listening experience that flows well on the album, and I guess JW fanatics like us who complain about missing cues or microedited moments make up a very small proportion of people who listen to the album.

There used to be a 5th level which was the score as heard on the FYC which sadly seems to be no more The TROS OST + FYC is so much better than only the OST. Thankfully we got that FYC before they started just using the OST but it's such a pity we didn't get one for DoD.

I'm referring to the section that begins when Helena makes her entrance on the plane in Syracuse and says ''Guttentag" to the soldiers and drops them out of the place. I don't hear score unless it is mixed low. However, I didn't listen specifically to the rear channels so perhaps it can be heard there??

I just watched the Battle of Syracuse scene. There is exactly 5 minutes (give or take a few seconds) between the music at the start of the Battle track and the music at the end of the track. There is about 30 seconds of those 5 minutes with no score. The track is 2:50 on the album so that leaves about 1 minutes 40 seconds that has been microedited out including a statement of Indy's theme.

The twist was kinda spoiled by Indy figuring out the continental drift before they entered the portal. I think it would have been so much more impactful if the score and the sight of the roman galleys were the very first indication that they had traveled too far back in time, and only then does Indy think of continental draft as the explanation. Indy explaining it before the twist already made the audience expect a twist.

I was watching a few scenes featuring unreleased cues. That moment when Indy is shot in the cave and he barks "Go!" to Helena and Teddy waiting in a passageway, all I could think of is "Fly you fools!".

@Jay, are you planning on doing one of your cool tables that breakdowns the score chronologically in the film?

I'm guessing this one. Is this Sid Ramin's?

A few months ago, I was unable to put any weight on my right foot for a few days. I was far less mobile than JW in that clip. The ER doctor said it was just muscle inflammation and it pretty much cleared up by itself.

The distressing chaotic piano strikes in AI's Rouge City and Abandoned In The Woods. I haven't seen this movie in years but I always remember that moment accompanying the shot of David in the car mirror as it drives away.

I told you we shouldn't have scheduled a concert for 7am!