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Its Imagine the Fire insertThe Japanese version can be ordered here: http: //www.cdjapan.co.jp/ product/WPCR-18185<br><br>The "Swan Song" is also included on the CD. So it has 3 additional tracks.Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.
So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
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Mark MancinaDon HarperJohn Van TongerenBruce Fowler
ComposerAdditional MusicAdditional MusicOrchestrator
Twister (Expanded Archival Collection)
Label: La-La Land Records
Length: 64'07
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (2920 votes)
  1. Wheatfield (Film Version)** (1:26)
  2. The Hunt Begins** (3:51)
  3. The Sky** (1:03)
  4. Dorothy IV (Film Version) (1:56)
  5. The First Twister* (0:49)
  6. In The Ditch - Where's My Truck? (2:00)
  7. Waterspouts** (2:49)
  8. Cow (5:42)
  9. Walk In The Woods* (2:05)
  10. Bob's Road (2:13)
  11. Hail No! (2:43)
  12. Futility (Film Version) (2:17)
  13. Drive-In Twister** (2:57)
  14. Wakita (Film Version)** (5:19)
  15. Sculptures (Film Version) (3:06)
  16. House Visit (4:47)
  17. The Big Suck (Film Version)** (1:47)
  18. End Title** (2:20)

    ADDITIONAL MUSIC
  19. Wheatfield (Alternate) (1:33)
  20. Waterspouts (Alternate)** (2:50)
  21. The Big Suck (Alternate) (1:13)
  22. End Title - Respect The Wind§ (9:21)

*Previously Unreleased
**Contains Previously Unreleased Material
§Written & Performed by Edward & Alex Van Halen
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Bayhem reply Replies: 4 || 2018-06-28 12:41:11
IMO, easily one of the best action-adventure scores. Mancina and his team knocked it out of the park. There's not a single track that I don't like. Love them all.

Compare this score to the scores we have today and you'll see how messed up a lot of modern scores are. What happened to THAT type of music? Adventurous, exciting, beautiful.....Seems to be gone nowadays.


P.S. I still don't know why they didn't include the "Leaving Wakita" track in any of the official releases of the Twister score. I think it's only available on YouTube....ripped from the movie. Not a great quality, but I'm glad someone did it. It's an awesome track. Pure Mancina.

Mr Tweedy2018-06-28 13:26:24
The "Leaving Wakita" track is featured on this release (the "La La Land" one).
It's track 9 "Walk in the Woods".

superultramegaa2018-06-28 16:25:11
"What happened to THAT type of music? Adventurous, exciting, beautiful.....Seems to be gone nowadays."

Lost in Space, Transformers 5, Teenage Mutant Ninja Turtles 2, most animated films, the Destiny videogame soundtracks, The Hobbit films, Pirates of the Caribbean 5, Blue Planet II, Solo: A Star Wars Story, the final 2 Harry Potter films, Most John Powell works...

If you're speaking purely for RCP and generic action films, the answer is Hans Zimmer devolved and the industry devolved with him. If you're speaking for artful, obscure films, those scores have almost always had little substance besides sounding nice aesthetically.

Bayhem2018-06-29 10:23:06
Mr Tweedy,

Oh, wow! Had no idea. So much for my research then......lol.

Thanks!

Bayhem2018-06-29 10:37:41
superultramegaa,


Good examples, but - as much as I love them - they're just not the same as Twister and say, Jumanji. Hell, put Braveheart in there as well. Fact is, the 90's were an AMAZING decade for adventurous, melodic, exciting, beautiful scores. Scores that "lift you up". The only recent ones that can come close, IMO, are the Hobbit scores.

The recent MV/RC scores you mentioned are solid, but they're nowhere near Twister. With Twister, there's just more meat to the bones. The music fills you up. It's very hard to explain with words. And it's something that rarely happens nowadays, at least from my perspective. Most similar modern scores just feel......emptier. And yes, I talk mainly about mainstream big Hollywood scores. I think Zimmer's Inception was the point where things kinda changed. Sound design, crazy electronics and VROOOOOOOM, BROOOOOOOM play too much of a part nowadays. You rarely get something truly melodic. A real theme. Jablosnky gets really close, Powell gets really close, but still......a lot of it feels too artificial.

Yes, I get it - things change and we can't be stuck with the 90's scores forever, but I don't think things got better with film music. It's really sad actually - Horner (one of the great melodic composers) left us way too soon, Mancina is pretty much gone from mainstream Hollywood, Rabin rarely scores......It's like most of the great "melodic composers" are gone. It's really sad.

mpolonest123 reply Replies: 3 || 2016-12-30 23:09:59
Yes!!! :D

One of my holy grails, I'm especially looking forward to the orchestral lead-in for Humans Being.

Angelos2017-01-17 20:22:27
Finally, LaLaLand has done it! Many kudos to them!!!! One my holy grails as well. I've been waiting for this for ages!
Take my money LaLaLand Records! Just take it!

Kusi2017-01-17 21:06:44
There's a sample of this cue on their site :)

mpolonest1232017-01-17 23:54:49
And it sounds great! It also seems like the original end titles are included as well.

One interesting thing, the mix sounds a bit different in the samples. The percussion and brass are both more pronounced I think.
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Twister (Expanded Archival Collection) soundtrack - Mark Mancina 1996