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I am not a completist. I am happier with a concise, two-dimensional performance of a score, like the Jaws or E.T. original releases, than with the whole package. In fact, I have purchased several complete and chronological editions of scores I love only to be utterly bored by them and pining for an edition that would separate the wheat from the chaff. It is a trait that has long separated me from a lot of posters here. It doesn't mean I don't understand them. We needed the complete Star Wars releases. We needed Superman. We needed Independence Day. We still need Hook. These epic scores were larger than the releases they got. Their musical narrative was too tight, too cohesive, to successfully exist in any abridged form. But then, there have been fantastic original releases that superseded the missing music. Michael Giacchino's Star Trek, Jerry Goldsmith's Alien, just to name two. We have also had expanded releases of smaller scores where the narrative was so abstract, they could only benefit from a cohesive trimming. Like you, I have bought them. Unlike you, I have done away with them after a dozen of listens and stuck to the original album. It's a more frugal taste, but it is more satisfying than going through thematic repetitions without development and tracks that were written to accompany the images without much going on musically. But, being a curious mind, I want to listen and learn. What is it that draws you to these releases? Do you really miss all the music that was cut from the album? Do you just prefer the musical re-telling of a movie, scene by scene? Or do you find a pleasure I'm missing in those atmospheric tracks? Is it that you can't get enough iterations of those brassy, bombastic themes? In other words, if a film's main themes are the foundations of a musical experience, why would you want the musical narrative to stop so you can hear them a few more times than it is strictly necessary to trace their development all the way to the end? I once read that not a note was wasted on the expanded release of James Horner's Wrath of Khan. I beg to differ. I find the original album to have a more fluid musical narrative of the film's emotional arc. I don't need Surprise on Ceti Alpha V or Khan's Pets to get to the finale. Those tracks sound to my ears like a composer doing his job of adding atmosphere without distracting from the images (a lot of the prequel scores have music like this). Just dissonant chords that, without the scenes they were meant to improve, become devoid of musical and narrative meaning. So I have decided to use the first one as an example that embodies my point -- what do you see in it? You don't need to answer the poll do give your opinion. I'm really curious about such an insatiable thirst for completion.