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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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Toby ChuLadd McIntoshJim DooleyKevin Globerman
ComposerOrchestratorSong WriterDigital Score Recordist
Legends Of Oz - Dorothy's Return
Label: Columbia
Length: 45'38
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 (2925 votes)
  1. When The World - Lea Michele (4:06)
  2. Candy Candy - Martin Short (2:25)
  3. China Princess - Megan Hilty (3:56)
  4. Jester - Martin Short (2:26)
  5. Work With Me - Lea Michele (2:40)
  6. Even Then - Lea Michele, Megan Hilty & Hugh Dancy (2:43)
  7. When The World Finale - Lea Michele (3:52)
  8. One Day - Lea Michele (3:21)
  9. Overture (3:06)
  10. Under The Jester's Spell (4:21)
  11. The Spell Is Broken (4:26)
  12. Escape From Emerald City (4:25)
  13. Dorothy Wakes (3:51)
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Michael Fields reply Replies: 0 || 2018-08-11 10:12:55
MOVIE CREDITS:

Songs By
BRYAN ADAMS
JIM VALLENCE
TIFT MERRITT
JIM DOOLEY
MIKE HIMELSTEIN

Score Composed And Arranged By
TOBY CHU

Music Supervisor
VICKI HIATT

Supervising Music Editor
VICKI HIATT

Music Editor
SEBASTIAN ZULETA

Additional Arrangements By
PAUL CRISTO
IVANA LISAK

Score Recorded And Mixed By
JEFF BIGGERS

Digital Score Recordist
KEVIN GLOBERMAN

Assitant Score Engineer
DANIEL WALDMAN

IGLOO MUSIC STUDIOS

Songs Produced And Mixed By
GUSTAVO BORNER

Songs Arranged By
TOBY CHU
NICK BAXTER

Vocal Recordings By
GUSTAVO BORNER
NICK BAXTER
JUSTIN MOSHKEVICH

Music Assistants
SERGE COURTOIS
LEAH HERDER

Score Recorded At
SONY PICTURES STUDIOS

Conducted By
NICK GLENNIE - SMITH

Orchestra
THE HOLLYWOOD STUDIO SYMPHONY

Orchestrated By
LADD McINTOSH

Orchestration Coordinator
ESTHER McINTOSH

Music Prepration By
BOOKER WHITE

Scoring Stage Recordist
ADAM MICHALAK

Scoring Stage Engineer
GREG LOSKORN

Scoring Stage Hands
DAVID MARQUETTE
MARK ESHELMAN
DANTE REYNOLDS

Orchestra Contractor
PETER ROTTER

Choir Contractor
JASPER RANDALL

Music Business Affairs
GRETCHEN O'NEAL

Music Contractor
SHARI GIRDLESTON (SAVANT PRODUCTIONS, INC.)

Vocal Coach
DARLENE KOLDENHOVEN

Music Transcription
KRISTIN SUMMERS

Choir
VANGIE ARCHER
ERIC BRADLEY
REID BUTTON
HARRY J. CAMPBELL
ERIN CARLSON
DANIEL J. CHANEY
ALVIN K. SHEA
RANDY CRENSHAW
TIM DAVIS
AMBER ERWIN
CLAIRE FEDORUK
AMY FOGERSON
CHRISTOPHER GAMBOL
MICHAEL THOMAS GEIGER
ABDIEL GONZALES
SCOTT TOBY GRAFF
JENNIFER KAY GRAHAM
JEFFREY MICHAEL GUNN
WALTER S. HARRAH
KATIE HAMPTON
AYANA HAVIV
KAREN HOGLE
TODD HONEYCUTT
CLYDENE JACKSON
ANGIE JAREE
ELISSA JOHNSTON
BOB JOYCE
MICHAEL LIGHTENAUER
CHRIS M. MANN
ELYSE MARCHANT
DONNA MEDINE
JESSICA ROTTER
NIKE ST. CLAIR
NANCY SULAHIAN
KIMBERLY SWITZER
JASPER TITMAN
MARIJKE VAN NIEKERK
SUZANNE WALTER
GREG WHIPPLE
GERALD T. WHITE

Off Camera Singers
RANDY CRENSHAW
ARIA GUNN
MISSI HALE
AYANA HAVIV
KARISSA LEE
MICHA LEE
JOE MATTHEWS
DAN NAVARRO
JASPER RANDALL
RANDI SOYLAND
LESLIE STEVENS
GERALD T. WHITE

SONGS

"WHEN THE WORLD"

Written By
TIFT MERRITT

Performed By
LIA MICHELE

"CANDY, CANDY"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
MARTIN SHORT

"CHINA PRINCESS"

Written By
JIM DOOLEY

Performed By
MEGAN HILTY

"JESTER"

Music By
JIM DOOLEY

Lyrics By
MIKE HIMELSTEIN

Performed By
MARTIN SHORT

"WORK WITH ME"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
LIA MICHELE

"EVEN THEN"

Written By
TIFT MERRITT

Performed By
LEA MICHELE
MEGAN HILTY
HUGH DANCY

"ONE DAY"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
LIA MICHELE

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Legends Of Oz - Dorothy's Return soundtrack - Toby Chu 2014